PYXIS 6K

... Most people who review cameras for clicks don't actually know how to use them.)

It does take considerable time to learn how to manage the camera beyond knowing what the menus say. I think there are some who take the time, like Florent, but some seem driven by the need for clicks more than sharing any wisdom online. Nonetheless they can garner a large subscriber base due to the relentless pursuit of frequent reviews of everything including widening their brand scope beyond their early years to include areas in which they likely have little expertise. I watch or read very little of it usually trusting the opinions in this forum instead.

It does take considerable time to learn how to manage the camera beyond knowing what the menus say. I think there are some who take the time, like Florent, but some seem driven by the need for clicks more than sharing any wisdom online. Nonetheless they can garner a large subscriber base due to the relentless pursuit of frequent reviews of everything including widening their brand scope beyond their early years to include areas in which they likely have little expertise. I watch or read very little of it usually trusting the opinions in this forum instead.

Agreed. I'm the same, though there are a few other reviewers that I take seriously because they actually use the cameras before reviewing them. The clibckbait potatoes are really just pandering to the crowd of camera dongles who think that being a director of photography requires little more than owning "the best camera" or the "game changer" or whatever.

I quite like the form factor. Also, looks like it has the same sensor which the BMCC6k has.
However, for a single member cinematographer, it will be difficult to operate without a viewfinder.
The camera just needs three things:
1. Articulating screen.
2. An HDMI out along with the SDI out.
3. Some sort of an internal ND

V mount attachment should be possible with the 12 volt power input, so that’s not an area of concern.
If not Komodo, the camera certainly has the potential to compete with FX6.

This looks amazing and I love it.

My wish list for the next generation would be a little more DR, and higher frame rates. If they could find a way to keep the L-mount, and add ND's it would be even that much more incredible. But wow I'm excited.

I was curious, and I doubt they would usually just put such a feature into a firmware update but...
With the 2 Cards... Could the camera dual record to both cards to achieve a higher frame rate? I thought that was something the Ursa used to do at some point, maybe I'm thinking of the G1. 60p would be great. But 48p is great in DCI 6k. I wonder if they could try and get into dominating the high frame rate world... If they could someday get into 240fps, 480fps, 960fps they could absolutely make some big waves into the phantom camera territory. I can dream!

If that sensor could be read faster, I’m quite sure they’d do it.

What a time. This cam is gonna fly off the shelves.

The clibckbait potatoes are really just pandering to the crowd of camera dongles who think that being a director of photography requires little more than owning "the best camera" or the "game changer" or whatever.

Wait? You mean to tell me that the guy with the RED who says that he's a better DOP than me because he has a RED isn't actually better? Even when he boasts that he lights better than everyone else. That he also is so good that every time he announces he's going to DOP a project he's then fired because he's so good they can't afford him. That the DOP you're talking about?

I know its a box camera that many people are asking for but its really a $5k camera once you get a monitor and EVF. Even if you don't use EVF its going to be $3.5k unless you already have a 1500 nit screen.
The Pyxis design seem a little premature, perhaps they might have only started designing it 6 months ago after the flak BMD got for bringing out another Pocket camera with a FF sensor? Already the side monitor is viewed as a design flaw not fit for purpose of a sole operator yet the clue to solving that also came in the form of the newly announced Ursa Cine were the monitor simply fold out and can be closed with the screen on the side of the body if needed. I much prefer BMD suspend release of the Pyxis and fix the monitor to make it flip out like the Ursa Cine but I feel that might be too late. The next Pyxis Pro, G2 or whatever will most likely address that and more with internal ND, hopefully a sensor with higher frame rate and reduce rolling shutter.

The Pyxis design seem a little premature

Sums it up.
G2 will have a useable swivel screen.

Wait? You mean to tell me that the guy with the RED who says that he's a better DOP than me because he has a RED isn't actually better? Even when he boasts that he lights better than everyone else.

Or boast about 21 stops of dynamic range.

This camera has me extremely excited. There are a few complaints I have with it, but overall I think it’s a home run.

The ability to connect a phone to this thing and simultaneously record and upload to an editor somewhere is the feature that has me most excited. Having worked at small production companies, I think this would have been an amazing feature to have at the time where the editor could start working on a project as we were still shooting.

I may be in the minority, but I really like the side screen. Having used the OG komodo, I always found that screen is beyond useless for anything for anything beyond changing settings. I believe Grant mentioned several times that this monitor is for viewing media. And for that I think it’s great. I don’t really see why anyone would want a smaller/less useful screen hidden elsewhere on the camera. The cost savings on the end customer would be basically non-existent, and it’s a given that you need an external monitor with a box camera to make it operable.

I can actually see scenarios where I could hook this thing up on a gimbal and use the side monitor for framing. I’d have to walk sideways with the gimbal, so maybe that would prove to be awful in execution, but I really like the side monitor.

The new battery system is a win. Large or smaller batteries depending on the need at the time. Would V-mount have been better? Maybe. But V-mount adapters will be made for this thing in the future, and I like being able to attach small batteries that will lay flush for gimbal work.

My only real concern is simply rolling shutter. It’s fine in 4K crop, and pretty good in Super16, so there are ways around it if I need to avoid it. If the rolling shutter speeds were just a bit better (15ms open gate, 8ms 4K, <5 Super 16) I think this camera would’ve been perfect and there would be very few complaints to be had about it.

I’m not super knowledgeable about the reasons for varying rolling shutter readout speeds and haven’t found great information online. Could someone please explain to me if rolling shutter is always a product of the sensor (sensor X will always have Y readout speed no matter what), or is it possible to speed up the readout speed with a faster processor in the camera or something else?

Usually, the sensor itself is the limiting factor. You can spot that if you read up on sensor’s spec sheets, like those from Sony, and look at the times from cameras using a specific sensor.

Great Design! I love that they brought back the soft buttons on this camera from the original URSA & URSA Mini. It's great for solo operators on a 2nd camera to quickly toggle false color etc. I hate the flip out screen on the URSA Mini so this is a win for me having it built into the body. Awesome that it has a PL mount!

Can the thumb wheel be mapped to adjust audio levels?

Love that they made a side plate to mount accessories. Hopefully the mini baseplate will be available as well, I don't see that for sale yet. I'd also like to see them make a monitor mount for the compatible top handle without having to go 3rd party.

When not operated on a jib or gimbal or flying, this camera seems very appealing when you add the new viewfinder on its flexible mount we’ve been craving for years. If I ordered the camera, that shipment would have to include the viewfinder. Just the way my UM4.6K was delivered but much better now.

If not that, then add the current or next gen BMVA12G7 when shooting on sticks.

Remember we all know the lower priced BMD cameras in many situations require additional rigging and accessories. The cameras are priced with that in mind. This is particularly true of the box format cameras which we’ve asked for over the last few years. Okay, BMD gave us what we asked for. Not yet ‘perfect’ but it’s a start in the right direction.

I’m super pumped for Blackmagic to enter the Cinema market with the big URSA CINE.

I’m super pumped for the box camera that everybody wanted


But this ain’t it for me, because for one :
I don’t shoot cinema nor I want to
I shoot a variety of project : brand, ad, documentary and some event (sports and music)

That 6k sensor and readout ain’t it at all.
The selection of codec is WAY too restrictive (yeah we NEED prores for some jobs or even smaller files for 5% of the job of the year).

I don’t do Cinema, and won’t be, but I’d gladly have HALF of the URSA CINE size and frame rates in a C300 ish form factor.

This ain’t for me or my market


As for RS, the amount of filmmaker that will mount a long lens or elaborate their shoulder kit will have a hard time dealing with this problem :
80mm

old mp4 clip sorry for the messy file.


So yeah 3000$ that’s cool for a lot of people, but I don’t see a market for people like me who invested in an URSA G2 back then and need something slightly lighter, with better DR and low light.


I’ll look somewhere else then…

You’re best to look for Sony or Canon prosumer cameras. Blackmagic cameras are for cinematographers and not videographers. Big difference between them.

I don’t do drama, but shoot in controlled area, controlled light for 75% of my jobs.
Web campaign and Craftman films for Guerlain, Dior, Honda, Tudor, Amazon, and do some doc work for Canal+ and National TV. While obviously 12k and 17k imax are not for my area of work (file size), a 6-8k RGB sensor with decent low light, ND and Blackmagic Colors and DR would be perfect !

Only time I DOP an interview for netflix doc, it was double Venices in 6k Raw.
Last shoot for Tudor and sport, company ask for 6k raw….

2% of my jobs ask for 1080p.

The point I’m making is that large sensor and raw are not restricted to Drama ! That’s the whole Blackmagic mentality.

Don’t tell me that every Pyxis user are going to be Indie and and Feature Cinematographer

I’m a point in my career that I would invest in a KOMODO-X, but honestly… I would gladly give that money to Blackmagic, for the right product.

Hopefully a simple usb-c to hdmi dongle will work to monitor from the viewfinder port. I don’t have a problem with the side monitor as it’s primary function is the menu, and I grew up on cameras with buttons on the side, but I agree that a flippy screen would be awesome, palmcorder form-factor for the win, no need to add anything.

I’m super pumped for Blackmagic to enter the Cinema market with the big URSA CINE.

I’m super pumped for the box camera that everybody wanted


But this ain’t it for me, because for one :
I don’t shoot cinema nor I want to
I shoot a variety of project : brand, ad, documentary and some event (sports and music)

That 6k sensor and readout ain’t it at all.
The selection of codec is WAY too restrictive (yeah we NEED prores for some jobs or even smaller files for 5% of the job of the year).

I don’t do Cinema, and won’t be, but I’d gladly have HALF of the URSA CINE size and frame rates in a C300 ish form factor.

This ain’t for me or my market


As for RS, the amount of filmmaker that will mount a long lens or elaborate their shoulder kit will have a hard time dealing with this problem :
80mm

old mp4 clip sorry for the messy file.


So yeah 3000$ that’s cool for a lot of people, but I don’t see a market for people like me who invested in an URSA G2 back then and need something slightly lighter, with better DR and low light.


I’ll look somewhere else then…

You’re best to look for Sony or Canon prosumer cameras. Blackmagic cameras are for cinematographers and not videographers. Big difference between them.

I don’t do drama, but shoot in controlled area, controlled light for 75% of my jobs.
Web campaign and Craftman films for Guerlain, Dior, Honda, Tudor, Amazon, and do some doc work for Canal+ and National TV. While obviously 12k and 17k imax are not for my area of work (file size), a 6-8k RGB sensor with decent low light, ND and Blackmagic Colors and DR would be perfect !

Only time I DOP an interview for netflix doc, it was double Venices in 6k Raw.
Last shoot for Tudor and sport, company ask for 6k raw….

2% of my jobs ask for 1080p.

The point I’m making is that large sensor and raw are not restricted to Drama ! That’s the whole Blackmagic mentality.

Don’t tell me that every Pyxis user are going to be Indie and and Feature Cinematographer

I’m a point in my career that I would invest in a KOMODO-X, but honestly… I would gladly give that money to Blackmagic, for the right product.

A Komodo-X is 9,995.00. Nothing is stopping you from recording at 4K on the Ursa 12k.

Usually, the sensor itself is the limiting factor. You can spot that if you read up on sensor’s spec sheets, like those from Sony, and look at the times from cameras using a specific sensor.

25ms rolling shutter means this camera could never output more than 40fps open gate.

BM Team, Nice work on the wheel! Tactile interfaces are way underrated these days.

Good Luck

Nathan, thank you for sharing more details about your work and so on. I think rather than wait for a half-Cine which may not materialize, you might still consider the current URSA Cine since you value image quality. It seems for the work you have described, that might be a good fit with some additional considerations to accommodate your needs.

Rolling shutter may not be an issue for those clients if you record 8K or 9K. Only the 12K recordings may have too slow a readout.

If your clients require ProRes, record in BRAW and deliver ProRes 12bit 444 or 10bit 422 HQ for example.

Your interest in smaller storage requirements can run contrary to producing the highest quality deliverables. The URSA Cine storage options were designed so that large capacities are not a limiting factor for most uses. I’d think about embracing large media and then deleting the original BRAW media when the contract is complete. Deleting the ProRes or charging the client to maintain the PeoRes may also be an option.

I believe you know what’s best and what’s necessary. But it can be prudent to find a way to make what’s available now work for you. Best wishes.

If you read all the comments of "this camera needs to have X for me to buy it" you should quickly see how difficult it is to find the right compromises at the right price points. For $3K, the Pyxis is gonna be an awesome little camera, and a great next step for the low cost line for BM.

Rolling shutter on it at 6K 16:9 is the same as the Pocket 6K at 16:9. Rolling shutter at S-35 16:9 is faster than the Pocket 6K at S-35 -- yes, this is at 4K resolution, but a good 4K S-35 is really all I'd need out of a $3,000 camera.

In most practical scenarios, the 25ms rolling shutter of the full frame really only comes into the play if you put a full frame anamorphic lens on it, and in reality very few people will actually do that. If you put a standard anamorphic lens and shoot at S-35 4:3, you end up with the same top to bottom rolling shutter speed as a 6K Pocket at 16:9. Those numbers are very workable for every production that would opt to use a $3,000 camera.

Nathan, thank you for sharing more details about your work and so on. I think rather than wait for a half-Cine which may not materialize, you might still consider the current URSA Cine since you value image quality. It seems for the work you have described, that might be a good fit with some additional considerations to accommodate your needs.

Rolling shutter may not be an issue for those clients if you record 8K or 9K. Only the 12K recordings may have too slow a readout.

If your clients require ProRes, record in BRAW and deliver ProRes 12bit 444 or 10bit 422 HQ for example.

Your interest in smaller storage requirements can run contrary to producing the highest quality deliverables. The URSA Cine storage options were designed so that large capacities are not a limiting factor for most uses. I’d think about embracing large media and then deleting the original BRAW media when the contract is complete. Deleting the ProRes or charging the client to maintain the PeoRes may also be an option.

I believe you know what’s best and what’s necessary. But it can be prudent to find a way to make what’s available now work for you. Best wishes.

Sorry to have detailed that much about my work, but the « videographer / cinematographer » line for a 3000$ camera got me irritated.


A right tool for each job.
URSA Cine is incredible indeed but only for certain jobs.

Wish my G2 was 1/3 smaller and had clean 3200 iso !


Anyway, I’m so pumped by the direction BM is heading.

but the « videographer / cinematographer » line for a 3000$ camera got me irritated..

Me too.
The vast majority of Pocket / Pyxis user do not shoot cinema, TV drama or high-end commercials. They're videographers or even hobbyists.

Sorry to have detailed that much about my work… Anyway, I’m so pumped by the direction BM is heading.

I think learning more about participants on the forum is valued information that helps give a context to what someone may be saying. Sometimes my opinions feel like a salmon swimming against the stream of many people’s thoughts. One thing that seems to keep the group together is the shared appreciation of the quality of images that BMD cameras and DaVinci Resolve enables. After that we’re a hodge-podge of different use cases and values, which is good of course.

Pyxis at NAB

but the « videographer / cinematographer » line for a 3000$ camera got me irritated..

Me too.
The vast majority of Pocket / Pyxis user do not shoot cinema, TV drama or high-end commercials. They're videographers or even hobbyists.

What’s to be irritated? Unless you think a videographer is inferior to a cinematographer, or one that you equate to be a hobbyist. That was not my intention at all. There are hobbyist that are better than a professional videographer or cinematographer too. Sometimes we just need to chill.

I have two questions:

Are the accessories like the BM handle, side grip with control buttons, and base plate for the URSA 4.6K G2 compatible with this camera?

What are the downside or limitations of using Metabones EF to L mount or the DZOFilm Octopus Adapter for EF-Mount Lens to L-Mount Camera with the L mount version of this camera?

I wished they have made the mount switchable like they did with the UMP G2. Maybe that’s with the G2 model.

What’s to be irritated? Unless you think a videographer is inferior to a cinematographer, or one that you equate to be a hobbyist. That was not my intention at all. There are hobbyist that are better than a professional videographer or cinematographer too. Sometimes we just need to chill.

It was you who said the Pyxis is not for videographers but for cinematographers.
Which btw makes no sense considering the price.

but the « videographer / cinematographer » line for a 3000$ camera got me irritated..

Me too.
The vast majority of Pocket / Pyxis user do not shoot cinema, TV drama or high-end commercials. They're videographers or even hobbyists.

What’s to be irritated? Unless you think a videographer is inferior to a cinematographer, or one that you equate to be a hobbyist. That was not my intention at all. There are hobbyist that are better than a professional videographer or cinematographer too. Sometimes we just need to chill.

Irritated by the fact that you think shooting on a « ciné cam » are reserved to a certain category of people

Cinematographer and Videographer are blurry definition that do not have any translation in my country.
You either a cameraman / filmmaker or a DOP

« videographer » doesn’t make more sense in my country : with the amount of corporate, brand content and various type of work existing since everything is streamed on youtube and social media, lot of people can have this etiquette or cinematographer…


In either category there is not right or wrong camera based on their skill, it depends on the production company and budget.


I don’t know any hobbyst that are better cinematographer to any pro cameraman / videographer / cinematographer, DOP that I know

I have friends that are hobbyist that do some video work with pockets camera on their weekend for small price but they are far from professionals level.

I don’t know in which area you work but yeah, Blackmagic bloodline as always been to merge broadcast/indie/cinema, and make things affordable to everyone.

I’m chill about your message but I don’t see the point as categorising people on a 3000$ camera avaible for basically anybody.


Take care

What is the thinking behind no HDMI out?
A new Video Assist that can control the camera via USB C, maybe?

Using an USB C phone as a monitor?

I think going away from HDMI to USB-C is clever because quite likely we will get a new Video Assist monitor with USB-C and the capability to control the camera menu.

Maybe its a question for BMD. Can they not put the 12k FF sensor on the PYXIS with half the frame rates? If they could how much do you think it will sell for? I hope someone will ask Grant and co at NAB.

If the sensor would be read out at half the frame rates you would gain nothing in terms of rolling shutter speed.

This is a really exciting camera. I just hope the monitor/camera control situation can be handled elegantly. I feel sure that third parties will provide some kind of v-mount sled for the NPF battery section for folks who want that.

So many people get this wrong - the camera uses Sony BP-U batteries which are 14.4 Volt and available with D-Tap and USB-C PD outputs. So that was a much better choice than a 7.2 Volt NP-F.

If anyone is at NAB can you ask if the Pyxis 6K SDI output is 4:2:2: 10 bit 4K UHD and can you either add a lut to the output, or send it out Rec 709.

There is no manual yet and nothing on the website about it. Looking at using it for some green screen virtual production. I'm not sure it would work on a LED volume screen because of the sensor and lack of global shutter, but for green screen VP it might be a good fit.

If you look at the tech specs page of the camera you will find that the 12G-SDi output supports 2160p60 . As with all BMD cameras you can apply a LUT.

It would appear that one can use USB C as a HDMI source.

It's actually DisplayPort, not HDMI, but there are lots of accessories out there that will do the conversion.

The USB-C connection has support for one "alt mode" at a time; that can be power supply (more than the usual USB limits), DisplayPort, or Thunderbolt, depending on the capabilities of the connected devices. There may be a few other alt modes out there too, but those are the ones I am specifically aware of.

I'm not trying to sound all high and mighty, but has anyone used the 6k FF?
I bought one the day they were available, so I feel I have some knowledge about the sensor for the Pyxis, since they are the same in both cameras.

My Collected Thoughts:

- The image is beautiful at 400 ISO base. Anything above 1250 ISO is asking for noise. Still usable, but it's just noisy.
- The L Mount feels good and is adaptable. I've used Canon FD lenses, EF mount, PL mount...
- The image feels familiar and yet slightly nicer than the 6k Pro, in a way. Softer highlights? Could be my imagination...
- I HATE rigging it up. I love simplicity with the Pocket design, but this one, if I'm using a Metabones PL adapter, I need to cage it up and rig a monitor and run a V Mount plate on it... it's so cumbersome. With Cage, rails, Battery plate, Monitor and a Matte box of NDs, I'm already at 10lbs without a battery! The UMP body is near 6lbs.

- Lack of higher frame rates at 3:2 is a bit of a bummer. I wish it could have gone 48fps.
- The screen is responsive and bright
- Really like the Full Frame look with my full frame cinema lenses, not gonna lie
- Utilizing an s35 lens in crop mode didn't seem to dim performance
- Rolling Shutter - is BAD. If I'm doing handheld work, I'm on a Vibration Control type lens and I'm just gently adding movement. As soon as you take a step, it's game over. Well, I mean, it's usable. But since I do a LOT of interview and home-life B Roll, I'm often following someone around and even doing a ninja walk doesn't alleviate the bumps and jutter. When I'm locked off on a tripod, it's solid. I'm not a gimbal person right now. (I say that because the RS4 Pro looks very appealing...)

SO, I fear many people who have NOT used the 6k FF aren't used to the rolling shutter being this severe. Shoulder mounting will happen for many (due to the new EVF looking great), and I wonder if that will be the first time they've done it (shoulder rigging). Unless you're doing the ninja creep... RS is gonna come through, I think.
I was thinking this would be a great A Cam with my 6k FF being a B Cam for interviews and filming conversations, but now I'm like... I don't know!

What I do know, is that the things people seem to gripe about most is: Lack of Internal NDs, Rolling Shutter, Dynamic Range.
I think, for narrative/commercial work, the Pyxis, on sticks or gimbal or steadicam, will do really well. The average Joe that wants a box camera because this is box-ish are either gonna complain to the max or justify the shortcomings to make them feel better... or just be happy to have a camera that works great in a lot of situations!


Addendum
For YEARS, I cut my teeth on the URSA Mini body in EVERY iteration, 4k, 4.6k, G1, G2, 12k. I was just constantly upgrading ever so often. I even sold my 12k in preparation for a big announcement! (I may see myself as foolish in months to come)...

But now I'm looking at my options and I'm in a bit of a pickle.
The Pyxis, just isn't for me.
The Ursa Cine is out of my price range.
Going back to a 12k seems like the thing to do...
Though, I can get a used Ursa Mini Pro G2 for under $3000....
I can survive on one camera, but the times I need to 'up my game' with either bringing in a more robust camera or a B Cam, I feel I'm needing something else.

This is just my personal take. You don't have to agree with my thoughts.

I feel you.

Also, I can't unsee the footage of the Cine...

Sounds similar to our situation.

We also found that the 6k FF did not offer improvements over our 6k Pros, but did bring compromises and limitations (no NDs especially).

Cost analysis shows us that a rigged Pyxis costs far more than a similarly rigged 6k Pro, yet with no substantive advantages for our needs.

I am glad some people are thrilled with the Pyxis, but it is not a fit for our needs.

We have also been looking again at the v1 12k model, but it seems to not be available now.

I have two questions:
What are the downside or limitations of using Metabones EF to L mount or the DZOFilm Octopus Adapter for EF-Mount Lens to L-Mount Camera with the L mount version of this camera?

Other than some possible sacrifice in terms of physical sturdiness, there's no downsides to adapting.

Most of my cine glass is EF mount, and I currently use Metabones locking EF adapter. It's rock solid. If someone made a locking L to EF adapter that also held filters, that would be wonderful.

With all the EF glass around, getting cheap now second-hand after the change to RF, it's great to have a locking mount.

With all the EF glass around, getting cheap now second-hand after the change to RF, it's great to have a locking mount.

+1

I love my Pockets. I never had problem with the form factor. My 4K flies on an RS2. My 6K and 6K Pro usually sit on sticks. I use them for producing short films and acting workshops. Love them. Love the images. Love the screen. It takes nothing away from the gorgeous work I’ve seen from Florent and others with the 6K FF. And I’m sure the Pixsys will be a huge success. But when you think about it, it almost seems like a step backwards. The Pockets have everything right there and ready to shoot. I know batteries have been an issue. The grip helps, but I wind up mounting an AB battery and I’m good for hours. And there is no continuous auto focus. It would be nice to have sometimes, but I can live without that.
Aside from my concern that the rolling shutter on the FF could be an issue in some use cases, I would be happy if they just released the same 6K Pro with all the same frame rates etc., with the new FF sensor. It sounds boring, but I would love it.
Having said that, if you forced me to shoot with any of the new cameras, including the Ursa Cinés, I would not resist! But for the moment I will stay with the Pockets.


Sent from my iPhone using Tapatalk

SO, I fear many people who have NOT used the 6k FF aren't used to the rolling shutter being this severe. Shoulder mounting will happen for many (due to the new EVF looking great), and I wonder if that will be the first time they've done it (shoulder rigging). Unless you're doing the ninja creep... RS is gonna come through, I think.
I was thinking this would be a great A Cam with my 6k FF being a B Cam for interviews and filming conversations, but now I'm like... I don't know!

In my opinion, it was a major mistake not to have put a better sensor in the PYXIS 6K. With a better sensor the price may have quickly increased to around $4,500 - $5,000 but I believe that would have been a better purchase. I suspect the Mark II will be out very soon.

I love my Pockets. I never had problem with the form factor. My 4K flies on an RS2. My 6K and 6K Pro usually sit on sticks. I use them for producing short films and acting workshops. Love them. Love the images. Love the screen. It takes nothing away from the gorgeous work I’ve seen from Florent and others with the 6K FF. And I’m sure the Pixsys will be a huge success. But when you think about it, it almost seems like a step backwards. The Pockets have everything right there and ready to shoot. I know batteries have been an issue. The grip helps, but I wind up mounting an AB battery and I’m good for hours. And there is no continuous auto focus. It would be nice to have sometimes, but I can live without that.
Aside from my concern that the rolling shutter on the FF could be an issue in some use cases, I would be happy if they just released the same 6K Pro with all the same frame rates etc., with the new FF sensor. It sounds boring, but I would love it.
Having said that, if you forced me to shoot with any of the new cameras, including the Ursa Cinés, I would not resist! But for the moment I will stay with the Pockets.

Fair assessment. I have a hunch it reflects a broader sentiment.

They did address the - long called for - box form.
They did address the battery issue. BP-U is a much better solution, albeit mini V-Mount would offer more power options for accessories and has become a hardly fought market lately with great price/performance ratio. But BP-U is a great step-up.

I didn't expect them to address internal NDs because they would need to be a lot bigger to cover the FF sensor, and it's already tough to do on the L-mount version.

The one major fail though is, if they already put that great daylight screen on there, make it usable for actual filming. They wanted to reach YouTuber and Social Media creators and that fixed side-screen will lose a lot of them.

Like Adam and Matt I'm in a situation where my UMPG2 has just been too good for me. When I sold the UM4.6K I needed a B-Cam. I solved that by getting the P6K, but wasn't overly happy with it. Battery life and all the other things. Rigging was necessary. I then got the P6KPro, which solved some of those issues, but still needed rigging because external V-Mount Battery was better for battery life. Now that the internal ND is busted on the 6KPro it has one less feature I loved.

Overall, I was never happy with the Pockets. I prefer the URSA Cameras. Can I afford an URSA Cine? Not at the moment, and maybe not for a while longer.

The UMPG2 is still in the Product Page. If you ask me it's still a great camera. So what if it's only Super 35! It's still a fantastic beast. And, since used ones are available for under $3K why not get it. They are still better than any of the Pockets. 4.6K vs 6K is nothing in terms of resolution difference. The 4.6K does feel like it has more dynamic range every time I put them side by side.

So, it's all coming down to the best camera is the one I have. Well, the UMPG2 was a great investment as it is still better than these newer and lower cost cameras. It's not better than the new URSA Cine line, but those are priced much higher. The PYXIS sadly does not fit my needs.

Personally I'd have loved if years ago when I sold the UM4.6K I could have gotten a PYXIS 4.6K which had the G1 4.6K sensor to be a B-Cam to the UMPG2. Then maybe a little bigger for V-Mount and internal ND. Overall, that would have been amazing. But wishing that happened years ago doesn't change what happened.

We still regret selling our 4.6k. Have bought and sold many cameras in the last five or ten years, but that one left a shadow.

Matt, I also sold my UM4.6 and I miss it. I have a feeling that there will be another shoe to drop for those looking for a new and improved Ursa Mini upgrade that doesn’t cost $15K.


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To quote Sundown by Gordon Lightfoot: Tim, Matt, and Norman “you'd better take care, If I find you been creepin' 'round my back stairs” lookin’ for my ol’ UM4.6K!

No worries Rick. You are safe… For now. lol


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I can see the IQ different beween the 6kFF and the Pocket 6k. The FF is more detailed and organic, very similar to when I compare dSLR still images between FF and APS-C.

Overall, I was never happy with the Pockets. I prefer the URSA Cameras. Can I afford an URSA Cine? Not at the moment, and maybe not for a while longer.

The UMPG2 is still in the Product Page. If you ask me it's still a great camera. So what if it's only Super 35! It's still a fantastic beast. And, since used ones are available for under $3K why not get it. They are still better than any of the Pockets. 4.6K vs 6K is nothing in terms of resolution difference. The 4.6K does feel like it has more dynamic range every time I put them side by side.

So, it's all coming down to the best camera is the one I have. Well, the UMPG2 was a great investment as it is still better than these newer and lower cost cameras.

Tim, I share your sentiments and love for the UMPG2. I used it as my a-cam and the Pocket6K as the b-cam. I sneak in the IPhone15 as a c-cam when I need to really be incognito from the permit police in Southern Cali. So I’m not abandoning the setup. I will lean on the UMPG2 because it has a wider DR than the Pyxis or other BM cameras other than its larger brothers (12K), has Prores, everything I need I have invested for it. However I have my eye sight for a box camera so the Pyxis will replace the P6K. Not yet however coz I will have to wait for G2. And usually, they turn out cheaper that other OGs, as historically has happened with BM cameras. It won’t be long.

Overall, I was never happy with the Pockets. I prefer the URSA Cameras. Can I afford an URSA Cine? Not at the moment, and maybe not for a while longer.

The UMPG2 is still in the Product Page. If you ask me it's still a great camera. So what if it's only Super 35! It's still a fantastic beast. And, since used ones are available for under $3K why not get it. They are still better than any of the Pockets. 4.6K vs 6K is nothing in terms of resolution difference. The 4.6K does feel like it has more dynamic range every time I put them side by side.

So, it's all coming down to the best camera is the one I have. Well, the UMPG2 was a great investment as it is still better than these newer and lower cost cameras.

Tim, I share your sentiments and love for the UMPG2. I used it as my a-cam and the Pocket6K as the b-cam. I sneak in the IPhone15 with the BM camera app as a c-cam when I need to really be incognito from the permit police in Southern Cali. So I’m not abandoning the setup. I will lean on the UMPG2 because it has a wider DR than the Pyxis or other BM cameras other than its larger brothers (12K), has Prores, everything I need I have invested for it. However I have my eye sight for a box camera so the Pyxis will replace the P6K. Not yet however coz I will have to wait for G2. And usually, they turn out cheaper that other OGs, as historically has happened with BM cameras. It won’t be long.

Could this be BM engineers’ inspiration for the Pyxis body?

https://www.bhphotovideo.com/c/product/ ... 867789.jpg

This looks like it could really be a great camera - I love the new form factor. Still, three design decisions I find odd:

1. Only one XLR input (so there are 3 tracks of audio total??)
2. A V-Mount would've been nice, or in lieu of that at least two NPF slots so we could hot swap the batteries and keep running.
3. I just don't understand that fixed screen on the side. Who is it for? A focus puller? This seems like a single shooter kind of camera. If the screen were articulating, you might not need an external monitor for all jobs. I just don't get that screen...

The screen placement is a mistake. There’s no way you can R &G with this as a minimalist rig. Why not put it on top?

[quote="Fabián Aguirre"]I just saw this on a Reduser channel and thought it was appropriate for this conversation.

Screenshot 2024-04-12 at 9.30.19 PM.jpg

Yes, this is useful and I often rig my camera this way for a director or camera assistant, however, the Pyxis screen is on the operator side making it useful for mainly just the camera menu interface. My biggest gripe is that no cameras introduced after the Ursa Mini 4.6 G2 support ProRes any more. You have to buy a Video Assist to record ProRes. That's a huge step backwards. I'm most likely going to get one though. I love the L mount and have a collection of L and PL mount lenses that will work great with it. I really wish the BMCC6K did not use that stupid stills camera body style or I would have gotten it. I figured it was only a matter of time though, that they released a FF 6k camera with a legit body style/form factor.