PYXIS 6K

"Accurate" is as defined as "cinematic".

Well, since no two people agree on what "cinematic" means, marketing departments can have a field day claiming their camera is more "cinematic" than the other guy's without fear of anyone putting their claims to the test.

That wasn't the point. Let me use your own words:

"marketing departments can have a field day claiming their camera is more "accurate" than the other guy's without fear of anyone putting their claims to the test."

I think this whole debate is pretty pointless.

You're not shooting a chromacity chart, you're shooting a patch chart.

Yeah...uh, that describes all calibration targets whether you're talking about a camera, a scanner a printer or a monitor.

But to your point of luts and looks, transparency as seen from lit patch charts, doesn't seem like proof was something you would be capable of, and in light of your agenda to disprove the "revolutionary RGBW 12K sensor," in a sad way, laughable.

So yes. There's the marketing. The claim is for revolutionary. Is it? Well, it's patented, no one else has it. It hasn't been described as superior in too many specific ways, but there's this; I have the pocket 6K (orig), it has great color, but I can see a difference, maybe not on a chart, maybe not in one instance, but overall it has a different look, worlds better than anything that I've been able to extract from my F55 and Sony AXSM raw. I think it's a valid enough claim, nothing provable. So who cares unless you are gnawed by envy, and griped that it appears primed to advance farther with the Ursa Cine-12K and 17K-65mm. What other reason for you to troll it?

Hey Tom, I think you're getting to the heart of it, even if you're wrapping it in an attack:

1. I have no agenda to "disprove" BMDs marketing about the original 12K. I'm not trolling the camera, or any company or any person, for that matter. The original Ursa 12K produces a perfectly nice image not all that different from the other 8K cameras I've tested. I'm merely, still, asking for a demonstration of the real world advantages of this new sensor tech. Maybe they exist. I can only say two things: A. In my very limited (one busy weekend) of testing I didn't notice any, and B. No one has been willing to educate me otherwise. The only thing I dislike about the original 12K is the form-factor. I've never hidden that fact, and it's nothing more than personal preference based on my working style.

2. Can you describe what makes it look "worlds better" to you? Can you provide a shot taken with both the F55 and the 12K that demonstrates the advantages? Maybe we have different ideas about what "worlds better" means, but I would assume it to mean at the very least that the difference is noticeable, right?

3. Why care? Well, if the new sensor design yields better color, then that might be a reason to spend more on a 12K over say, a 6K Pro. But if it doesn't actually offer a meaningful advantage, then other factors, including price, or form factor, or media, might become more important, right?

"Accurate" is as defined as "cinematic".

Well, since no two people agree on what "cinematic" means, marketing departments can have a field day claiming their camera is more "cinematic" than the other guy's without fear of anyone putting their claims to the test.

That wasn't the point. Let me use your own words:

"marketing departments can have a field day claiming their camera is more "accurate" than the other guy's without fear of anyone putting their claims to the test."

I think this whole debate is pretty pointless.

Okay, so our points passed each other in the night on a busy street - I don't think that doesn't make the core debate pointless.

When the original 12K came out, some people said: "Don't focus on the resolution, the real advantage of the new sensor is better color." That argument could indeed be valid. The new symmetrical sensor design could yield benefits to color reproduction over a bayer pattern sensor. But, I didn't find any in my limited testing. Maybe I made a mistake? Maybe I didn't test for the right thing?

Why does asking for someone to demonstrate it, or at least describe it with some clarity, make me a troll? Does having a starting hypothesis (that the differences between most modern cameras' PQ have become exceedingly small) make me troll?

Even if the differences aren't objectively right or wrong, someone should be able to demonstrate them, right?

1. I have no agenda to "disprove" BMDs marketing about the original 12K. I'm not trolling the camera, or any company or any person, for that matter. The original Ursa 12K produces a perfectly nice image not all that different from the other 8K cameras I've tested. I'm merely, still, asking for a demonstration of the real world advantages of this new sensor tech. Maybe they exist. I can only say two things: A. In my very limited (one busy weekend) of testing I didn't notice any, and B. No one has been willing to educate me otherwise. The only thing I dislike about the original 12K is the form-factor. I've never hidden that fact, and it's nothing more than personal preference based on my working style.

Let's not forget you called the 12K a "spectacular failure." No one has a problem with expressing an opinion, even that one. But your social media agenda was cloaked here behind an implication of objectivity, which wasn't true, and that's what people don't forget.

2. Can you describe what makes it look "worlds better" to you? Can you provide a shot taken with both the F55 and the 12K that demonstrates the advantages? Maybe we have different ideas about what "worlds better" means, but I would assume it to mean at the very least that the difference is noticeable, right?

I've shot lots of stuff with the F55 that looked very 'right', beautiful, with both XAVC and 16 bit raw from the AXSM recorder, professionally and personally. But there was a time I hauled my F55 and kit on an ATV into the canyons and backcountry of Utah, San Rafael Swell, Temple Mountain, Green River. The varied sandstone colors and patinas of geologic time recorded in canyon walls, sand washes, cryptobiotic soils, hard scrabble and scree, the desert vegetation, the open skies. I shot it all in 4K raw. In my studio with Resolve, I was never satisfied that I got all the colors in balance with each other, and disappointed myself with the result of the effort that went into capturing it. I labored over the Resolve color tools, if I had one thing right, something else was off.

That's very unlike other footage I've shot with the F55 that looked great. I have only one direct comparison to the F55 with the U12K when new, shot with the same Sony PL primes. Both footages came out nearly identical, just test footage around the house.

So while I don't have Utah footage with the U12K to compare, my general experience with the 12K is footage shot in BRAW film mode, viewed with extended video lut, straight from the camera always has a beautiful appearance without much work. The F55 has been capable in every instance with that one exception of being good but always took more effort to get there.

3. Why care? Well, if the new sensor design yields better color, then that might be a reason to spend more on a 12K over say, a 6K Pro. But if it doesn't actually offer a meaningful advantage, then other factors, including price, or form factor, or media, might become more important, right?

I can list why it's right for me. If it's not right for you, say why and move on. You don't have to prove why you don't like it, especially with innuendo, unless you really do, in which case, who's being fooled? Could say the same about Pyxsis.

Let's not forget you called the 12K a "spectacular failure." No one has a problem with expressing an opinion, even that one. But your social media agenda was cloaked here behind an implication of objectivity, which wasn't true, and that's what people don't forget.

I did? I said that the camera was a "spectacular failure"? I honestly don't recall ever saying that. If I did, shame on me. Could you point me to the quote?

I've shot lots of stuff with the F55 that looked very 'right', beautiful, with both XAVC and 16 bit raw from the AXSM recorder, professionally and personally. But there was a time I hauled my F55 and kit on an ATV into the canyons and backcountry of Utah, San Rafael Swell, Temple Mountain, Green River. The varied sandstone colors and patinas of geologic time recorded in canyon walls, sand washes, cryptobiotic soils, hard scrabble and scree, the desert vegetation, the open skies. I shot it all in 4K raw. In my studio with Resolve, I was never satisfied that I got all the colors in balance with each other, and disappointed myself with the result of the effort that went into capturing it. I labored over the Resolve color tools, if I had one thing right, something else was off.

That's very unlike other footage I've shot with the F55 that looked great. I have only one direct comparison to the F55 with the U12K when new, shot with the same Sony PL primes. Both footages came out nearly identical, just test footage around the house.

So while I don't have Utah footage with the U12K to compare, my general experience with the 12K is footage shot in BRAW film mode, viewed with extended video lut, straight from the camera always has a beautiful appearance without much work. The F55 has been capable in every instance with that one exception of being good but always took more effort to get there.

I appreciate this subjective experience, but I'm struggling to understand how shooting one camera in one scenario and another in a different scenario leads to you proclaiming one as "worlds better"? Is there something specific that makes you think that the 12K would have better handled the colors in that scene than the F55? Do you think the 12K would have handled it better than another Gen 5 BMD camera, like the 6K Pro?

(I'm really tempted to make an anti-youtube YouTube page or something, haha. Just one that isn't a bearded guy with a podcast mic with blue lights in the background with goofy thumbnails.)

you forgot the plaid flannel shirt and the jack nicholson wool fisherman's hat.

Ps i ever loved the plaid flannel shirt ;/) from the 90’


Inviato dal mio iPhone utilizzando Tapatalk

… In the days of ENG broadcast cameras, for example, Rec 709 was very accurate. But again accuracy is in the eye of the beholder. Nobody but nobody wants it actually - as JB was saying very clearly. You have for example on every BMD camera 'Video' (ostensibly Rec. 709) and extended Video (I suppose meant to be full swing Rec. 709) Only it isn't on my UBG2, not on a scope...

Actually BMD has commented on Video and Extended Video in the past on this forum. Neither are meant to be any standard Rec.709. They are BMD’s invention and intended as a camera monitor visual aid when capturing video. Close to 709, but not purporting to be 709.

Let's not forget you called the 12K a "spectacular failure."

I did? I said that the camera was a "spectacular failure"? I honestly don't recall ever saying that. If I did, shame on me. Could you point me to the quote?

Maybe Tom had just read this statement in today’s Bloomberg Evening Briefing:
“‘This is a disaster, a total disaster,’?Trump said, according to Cohen.”

Maybe Tom had just read this statement in today’s Bloomberg Evening Briefing:
“‘This is a disaster, a total disaster,’?Trump said, according to Cohen.”

Ha! See, I really need to ensure my camera can record that exact shade of orange.

Actually BMD has commented on Video and Extended Video in the past on this forum. Neither are meant to be any standard Rec.709. They are BMD’s invention and intended as a camera monitor visual aid when capturing video. Close to 709, but not purporting to be 709.

Thanks Rick, that's what I was saying 'As a matter of fact, non of the BMD cameras do that, Tom; they are not alone in that.'; and for the point too, 'The point I am trying to make is 'accuracy' has gone out of the window in these 'digital film' times.'

I don't see it as a problem particularly either, except it should perhaps, one could suppose reasonably, be closer in the Broadcast line, if only not to deliver unexpected results for ENG, straight to edit delivery; a colleague was tearing their hair out wondering why Extended Video on the UBG2 doesn't behave like the old 109% IRE, with a knee; such as the older ENG cameras had once.

Fundamentally now though it's not a problem because most workflows, of this kind; including most of broadcast I work (except ENG) in is log to some Rec.709 transform anyway; which is a much better quality thing than it once was too.

I appreciate this subjective experience, but I'm struggling to understand how shooting one camera in one scenario and another in a different scenario leads to you proclaiming one as "worlds better"? Is there something specific that makes you think that the 12K would have better handled the colors in that scene than the F55? Do you think the 12K would have handled it better than another Gen 5 BMD camera, like the 6K Pro?

Pawel Achtel's Sigma FP Deep Dive.

sigma-fp-venice.jpg (329.05 KiB) Viewed 10934 times

I'm not aware of any independent spectral color testing for the 12K. Are you referring to a test like this?

Go to about 11:50 in the above video.

I appreciate this subjective experience, but I'm struggling to understand how shooting one camera in one scenario and another in a different scenario leads to you proclaiming one as "worlds better"? Is there something specific that makes you think that the 12K would have better handled the colors in that scene than the F55? Do you think the 12K would have handled it better than another Gen 5 BMD camera, like the 6K Pro?

Okay, maybe not worlds better, but lots easier. The F55 has two shooting modes, Custom and EI. Custom doesn't make available the full color gamut (s-gamut or s-gamut3 cine), basically limiting you to 709 color spaces, but you have full numerical adjustability of color temperature in Custom. EI mode on the F55 doesn't let you dial in color temperature, you have a choice among 3 with SLog2/3, 3200/4000/5600. When shooting raw, Custom mode isn't available, only EI. Under the Utah skies of partly sunny/cloudy, I never got the delicate color balance I sought in post/CC. The U12K I'm certain would have been better, it's just so forgiving, so right and therefore, easy and fast, straight from the camera you have a pleasing starting point for a grade.

Comparing the U12K to the P6K, the P6K has a nice, colorful image too, a little more contrasty, punchy overall, the U12K more nuanced, smoother balance across the frame and skin tones. The P6K is much more sensitive in low light with it's dual ISO sensor, but in the one range the U12K has, there is more latitude. The P6K minimally gives an impression of more 'pop', the U12K again, more nuanced, finer nuanced details without having an impression of edge sharpness. The P6K is a great camera in my opinion, and usable in daylight with a Smallrig sun shade over the display. With a V-mount battery and d-tap, the P6k will power the whole long day and evening, and shooting to Samsung T5, lots of recording time in BRAW or Prores.

I btw, am not one of those for whom resolution does not matter. I am very much persuaded by it, particularly the natural and understated manner revealed within the U12K images, and also the frame rates, 8K-160 and 12K-75 fps, and low rolling shutter. I don't shoot cinema or narrative, I do put it on a tripod for events, wedding ceremonies, but run 'n gun with it a lot, shooting from the shoulder is what I like most. It's an easier to use camera than the F55, more forgiving and with more latitude for exposure and color. The U12K has good battery time from a V-mount, quiet running, fan cooled, good internal audio, really a pleasure to use and far more versatile, more manageable than I was expecting. The F55 has more complete connectivity.

I have the Sony 6 pk SCL Cinealta PL primes set, (they are beautiful), and a Red 300mm Pro Prime. I installed the EF mount on the U12K because I prefer generally the convenience of shooting with EF stabilized lenses and zooms for shooting on the go.

I have used the Red 6k Komodo and really did not care for the box style. I am not the target user, or for the Pyxis however I am on the preorder for the Cine-12K.

So that's my answer to how I think the U12K handles color better than F55. The F55 has looked great, but more demanding in terms of exposure, latitude, and cc in post.

a colleague was tearing their hair out wondering why Extended Video on the UBG2 doesn't behave like the old 109% IRE, with a knee; such as the older ENG cameras had once.

With Gen 5 the knee is baked into the video/ext. video transform. As such the signal will never clip or fully saturate a 10 bit container. With "BM Video" the signal rolls off to infinity at around 98-99IRE. The early transforms, which were more mathematically pure, had no such tone mapping enabled which why so many folks were advocating the Arri LUT even with BM footage.

Good Luck

With Gen 5 the knee is baked into the video/ext. video transform. As such the signal will never clip or fully saturate a 10 bit container. With "BM Video" the signal rolls off to infinity at around 98-99IRE. The early transforms, which were more mathematically pure, had no such tone mapping enabled which why so many folks were advocating the Arri LUT even with BM footage.

Thanks Howard for the clarity.

I'm very excited for the PYXIS! Just a heads up for those who are looking at the Sigma 24-70 for your new camera. It looks like they are going to release a version 2 on May 16th. I'm hoping for lighter, internal zoom, and mechanical focus. Looks like it for sure has an aperture ring. PS: I'd still like to know the distance between the two front/top quarter twenties if anyone at Blackmagic wants to let us know that info.

Readying for my PYXIS delivery next month, I've taken the plunge into anamorphic cinematography for the first time after finding an irresistible bargain today for the Blazar 50mm 1.8x (https://bhpho.to/3ULlJx3) that will match my PYXIS with its locking EF mount. After all, the PYXIS (like its BMCC6K forebear) is one of the few cinema cameras on the market that actually can leverage full-frame open gate capability (whereas Canon and Sony show no signs of going there, Panasonic doesn't offer a cinema camera with open gate, and Z CAM/Kinefinity/R3D/Arri present codec compromises compared to internal BRAW).

But there are anecdotal reports of vignetting that might require punching in a little for a 2.4:1 aspect ratio when shooting in the 6K Open Gate resolution. What's more, an official chart in the BMCC6K manual shows that 1.8x de-squeeze preview is only available in the reduced Super35mm resolution. Remains to be seen how much vignetting cuts into the 6K Open Gate shooting mode that only has 1.6x de-squeeze previews, but the 6:5 anamorphic at 2.0x de-squeeze probably sacrifices too much horizontal resolution.

I anticipate just framing my compositions with the inaccurate 1.6x de-squeeze preview and getting it right in post, but this inaccurate preview will complicate selection of diopters to compensate for the lens' deviation from 1.8x as foreground subjects require closer and closer focus. We are assuming that the OS and options in the PYXIS will be identical to the BMCC6K, so this will remain problematic.

I'm aware of the increased risks of rolling shutter with anamorphics, and mostly don't care: the style of cinematography best associated with ultra-wide 'Scope aspect ratios is locked down anyway (e.g., the stunning Ripley on Netflix lensed by Robert Elswit).

Panasonic doesn't offer a cinema camera with open gate....

Worth noting that the BS1H, which occupies a similar market segment to the Pyxis, does have a full frame anamorphic mode.

Panasonic doesn't offer a cinema camera with open gate....

Worth noting that the BS1H, which occupies a similar market segment to the Pyxis, does have a full frame anamorphic mode.

And I suppose the same could sorta be said for the Z CAM full-frame box camera. This video suggests quirks to check when using the Blazar 1.8x lens (though I think it's a flawed test with excessive vignetting and incorrect aspect ratios):

The BMCC6K is on sale for US$1575.00, for a limited time (and apparently in limited quantities). What a time to be a filmmaker.

Fabián

The BMCC6K is on sale for US$1575.00, for a limited time (and apparently in limited quantities). What a time to be a filmmaker.

Fabián

I think you mean Pocket 6K G2, not the full-frame successor: https://bhpho.to/3IWCnVz

It's the BMCC6K. Here's the press release. There's also a banner for it on BMD's web site.

https://www.facebook.com/BlackmagicDesi ... VZUpsxR2Jl

It's the BMCC6K. Here's the press release.

https://www.facebook.com/BlackmagicDesi ... VZUpsxR2Jl

Wow! Thanks for clarifying; the BMPCC6K G2 is currently discounted to that neighborhood too but the news on the full-frame is so fresh that it isn't updated at retailers yet. Now the PYXIS value proposition is really complicated by asking, is it now worth double the price for the modicum of added options? (Still is for me: I refuse L mount and want the locking EF mount and longer battery life without rigging, principally.)

The BMCC6K is on sale for US$1575.00, for a limited time (and apparently in limited quantities). What a time to be a filmmaker.

Even considering its shortcomings, this is an unreal level of value. $300USD more than a BMPCC4K! Wild stuff.

I bet it’s very short lived. Like the legendary discount that happened to the OG pockets for a short while.

JB

I wonder if they’re going to discontinue the Pocket 6K Full Frame. Or if there’s an updated version coming soon. I feel bad for anyone who paid full price recently.

As long as we’re speculating, why would they cut the price by almost half? Seems to me either it’s not selling or they’ve got a tweak and want to make a v2 already.

Those are my speculations. Tell me what’s really going on!

BMCC6K at that price the Pyxis is no longer compelling. Its already a hard sell before given you need to rig it up at a cost of around £5k.


CVP only offer 30% discount?????

CVP only offer 30% discount?????

Switching the currency on CVP to Euro, the discount is calculated to 39%.

CVP only offer 30% discount?????

Switching the currency on CVP to Euro, the discount is calculated to 39%.

I'm in the UK but if I switch to Euro will I still get 39% discount?

Might consider buying one and selling it when the deals are over

As long as we’re speculating, why would they cut the price by almost half? Seems to me either it’s not selling or they’ve got a tweak and want to make a v2 already.

Those are my speculations. Tell me what’s really going on!

A version 2 will almost kill off the Pyxis before launch so it is unlikely that.
I think its a stock readjustment were a surplus of cameras that need to be cleared and re-stocked because workers need to be paid in Indonesian factory.

As long as we’re speculating, why would they cut the price by almost half? Seems to me either it’s not selling or they’ve got a tweak and want to make a v2 already.

Those are my speculations. Tell me what’s really going on!

The 50% discount on the OG Pocket fueled similar speculation. The successor wouldn’t be released for another couple years IIRC.

Good Luck

Was there a true successor?

I bet it’s very short lived. Like the legendary discount that happened to the OG pockets for a short while.

JB

In hindsight that was the best offer in the history of cinema cameras, at least imo.

Wasn't it like $495? Jesus Christ. That camera could still be used to shoot a stellar looking feature.

I bet it’s very short lived. Like the legendary discount that happened to the OG pockets for a short while.

JB

In hindsight that was the best offer in the history of cinema cameras, at least imo.

Wasn't it like $495? Jesus Christ. That camera could still be used to shoot a stellar looking feature.

Thats blasphemy

Was there a true successor?

I'd say the Blackmagic Micro Cinema Camera was probably the successor, no?

Also, can they please just hurry up and the put the 4.6k G2 sensor in a "pyxis body" already.

As I said earlier, that would be an instant buy for me

can they please just hurry up and the put the 4.6k G2 sensor in a "pyxis body" already.

As I said earlier, that would be an instant buy for me

+1

I bet it’s very short lived. Like the legendary discount that happened to the OG pockets for a short while.

JB

This is exactly what I was thinking about when I saw the announcement. I missed that one and have been kicking myself ever since. I still see used OG pockets selling for more than that price used now.

So I decided not to miss this deal.

All the perceived drawbacks for the new BMCC 6k FF, I suppose are relative. As someone who is still using and loving his original BMCC 2.5k, problems like Rolling Shutter and Ergonomics of the new camera are all still improvements compared to what I am used to now. What held me back was being so used to shooting with a M 4/3 sensor, I wasn't sure if I would like shooting with full frame or not. Plus I really still happen to prefer the color and look from my OG BMCC. It has been a great cam.

But for this reduced price it seems like it might be fun to try the much simpler Braw workflow and have a camera that doesn't need an external monitor and battery. Something that perhaps can be a bit more point and shoot than what I have been doing for the last decade or so. And it will be fun to compare the two and see if I like the footage as much.

Was there a true successor?

I agree with you Uli. For me, I felt like there never was. I know the micro has the same or very similar sensor, but it was a much different form factor. A lot more work and accessories needed. Sometime you just want to be able to grab something and capture a moment without going into full production mode.

That’s a huge jump in technology with about a decade between the two cameras. Enjoy.

Maybe they want to sell them all before the Pyxis becomes available.

Ricardo Marty

That’s a huge jump in technology with about a decade between the two cameras. Enjoy.

Thanks Rick! It should be fun. At that price it seemed like a good time.

Of course this does nothing to relieve the problem of finding a high end fluid head rig for sub 2 kg camera. LOL That struggle continues. But all in all I suppose good problems to have.

I bet it’s very short lived. Like the legendary discount that happened to the OG pockets for a short while.

JB

In hindsight that was the best offer in the history of cinema cameras, at least imo.

Wasn't it like $495? Jesus Christ. That camera could still be used to shoot a stellar looking feature.

I took advantage of that discount. My only regret is not buying two of these cameras when I had a chance - I figured the price would eventually drop down to $495 again... it never did. Despite its shortcomings, I still enjoy using the OG BMPCC and I still really like the image it produces.

Shawn

Saw the price drop this morning and was blown away. That's a steal for what is a flawed but ultimately solid camera. Have to assume the BMCC6K is getting quietly discontinued before having a second life as the Pyxis?

In light of such a deep discount... I bought one. Wouldn't call it an impulse buy as I've been considering it for a while, but not with the intention of making it a work camera. It's something I plan to very minimally rig up that'll fit in my camera bag and is light enough to go on my photography tripod.

Have to assume the BMCC6K is getting quietly discontinued before having a second life as the Pyxis?

This camera has been available for less than a year folks. There's no G2 version around the corner; it's not being discontinued; it's just a discount, probably to move units and make warehouse and retail space for the multitude of new products BMD announced at NAB.

The BMCC6K is eating sales as we speak from the Pyxis. So getting rid of them a.s.a.p. is the way.

Ricardo Marty

I switched to a BMCC6K six weeks ago and pre-ordered a PYXIS. Last night I bought another BMCC6K for $1575 ..I just couldn't resist. Two months ago I sold my Ursa
Mini 12K and all the CFast cards. So that sale was an zero expense side move to: one BMCC6K and one PYXIS Camera.

The extra BMCC6K for $1575 was an impulse buy but I'll have 3 cameras where the footage all matches perfectly and I've always wanted to be able to do multi-cam properly.

And my thoughts are ..maybe Blackmagic thinks everybody that wanted a BMCC6K already bought one. And maybe the pre-orders for the PYXIS was so overwhelming -perhaps they need some cash to up the production numbers for the PYXIS. I think it's already proved to be a popular camera, especially for those of us who have been in the Blackmagic ecosystem for a long while.

And yea, they have many offerings they launched at NAB this year that might need to take precedence over the BMCC6K. I'm glad bought a BMCC6K on sale last night, but I'm really happy to be getting a PYXIS in PL when it arrives. -So happy it's got SDI and time code IN. I might go with a 35 watt-hour battery so there's not so much battery hanging out the back ...and i might get one 98 watt-hour just to have.

The smart money is on the BMCC6K. Does'nt cost much to get it shooting and now the discount.
The Pyxis will get a version 2 sooner than BMCC6K because it need to be different and higher spec.

maybe the pre-orders for the PYXIS was so overwhelming

Given the feedback around the internet I'd guess we can rule out this option
Maybe not, I'm purely speculating.

This camera has been available for less than a year folks. There's no G2 version around the corner; it's not being discontinued; it's just a discount, probably to move units and make warehouse and retail space for the multitude of new products BMD announced at NAB.

We'll see. The Pyxis is the de-facto G2 version, surely.

-----

As an aside, does anybody have any recommended storage media for the BMCC6K? Mine arrived today a lot sooner than expected, so I'm getting a move on kitting it out. The Angelbird CFexpress Type B cards seem sufficient, but was wondering how they cope with higher frame rates at BRAW Q0?