Pyxis 12K

Pyxis 6K had a major price drop by 30% here in the UK.

Do you think it has anything to do with the impending release of the Pyxis 12K?

That's probably a factor.

Or BMD has a plan for another variant and is clearing out its inventory to gear up for that?

Or it's just a reflection of the current state of the film world and things are slow for everyone, so BMD is trying to steal everyone's market share

… image circle
The Fujinon 20-120mm IC is 28.5mm.
The Tokina 11-20mm IC is 30mm.
The Tango 18-90mm IC is 31.5mm.
The Tokina 25-75mm IC is 36mm.

The 20-120mm would be restricted to shooting 9K 16:9 aspect ratio with possibly a very small vignette!
Tango 18-90mm does 9K 17:9.
Tokina 11-20mm does 9K 16.9 with a small vignette at 17:9.
Tokina 25-75mm easily manages 9K 3:2. Tokina is the least expensive and the most flexible shooting aspect ratio but the smallest zoom range...

After hours spent looking at various 9K options with these zooms, I go back to my original goals of a single lens that can cover the width of the stage where I record most of my videos where theatrical performers need at least 18mm to cover the stage. 16mm might be better but that’s like 1% of my shots so for those very wide shots I can pan. Also I have a desire to be able to isolate performers with a medium telephoto zoom range for a closeup.

The Fujinon 20-120mm has a very impressive telephoto and verges on being able to do extreme closeups but isn’t quite wide enough. And doesn’t shoot 9K 17:9.

The Tokina 25-75mm fails at both wide and telephoto needs but is otherwise very flexible for recording 9K 3:2.

Only the DZOfilm Tango 18-90mm covers both of these objectives in one lens. And shoots 9K 17:9 which is important for reframing in post. So I expect that is the best overall affordable zoom lens for the Pyxis 12K and meets my framing preferences.

Looking at my spreadsheet for recording resolutions and given the 31.5mm image circle of the Tango 18-90mm zoom, I see there’s a way to record 9K open gate 9408x6264 3:2 aspect ratio with that Tango lens. In post you centre crop to 9408x5292 for a 16:9 aspect ratio that has 17% more information than the standard 8688x4896 16:9 aspect ratio. The oversized crop has an image circle of 31.3mm which works with the Tango’s native 31.5mm image circle.

Why bother? Well it will give you a more than 8% wider view which might be significant. It does mean you’re throwing away over 18% of your media! I would consider it for the theatrical performances that use the entire stage, but it’s not needed for music videos. Unlike music videos, I don’t retain the raw media for theatrical performances so it’s only a temporary waste of space.

I went to BildExpo here in NYC today. Got to see the Pyxis 12K which was nice. The USB-c output supposedly works perfectly with the Pyxis monitor, no low contrast. Conflicting info regarding the rear USB-C port supporting a video monitor. Today I was told it didn't but someone else spoke with a BMD engineer at another expo and was told it did support a monitor.

As far as ship dates, BMD said they never told retailers June, and when I spoke to B&H they said they were told June, so who knows. But the B&H pro video guy said BMD has missed projected ship dates in the past, sometimes by many, many months.

The OLED viewfinder looks great, and now I'm wondering if I should have gotten that instead of the Pyxis monitor with the EVF Kit.

I did get to meet Mary who creates all the wonderful Fairlight training videos and made her aware of several issues with the editing by transcription feature (it needs to ignore the ellipses when searching) and some issues with the Advanced Panels V2 programming.

I went to BildExpo here in NYC today. Got to see the Pyxis 12K…
The OLED viewfinder looks great, and now I'm wondering if I should have gotten that instead of the Pyxis monitor with the EVF Kit.

I did get to meet Mary who creates all the wonderful Fairlight training videos...

Thanks so much for visiting the BMD booth. Always best when you can connect in person.

Very interesting observation regarding the OLED viewfinder. I think if you’re operating the camera handheld, the viewfinder is most important and can be used in many scenarios including on a tripod. If your style of shooting the Pyxis is usually mounted on a tripod, the monitor is a good option.

I went to BildExpo here in NYC today. Got to see the Pyxis 12K which was nice. The USB-c output supposedly works perfectly with the Pyxis monitor, no low contrast. Conflicting info regarding the rear USB-C port supporting a video monitor. Today I was told it didn't but someone else spoke with a BMD engineer at another expo and was told it did support a monitor.

As far as ship dates, BMD said they never told retailers June, and when I spoke to B&H they said they were told June, so who knows. But the B&H pro video guy said BMD has missed projected ship dates in the past, sometimes by many, many months.

The OLED viewfinder looks great, and now I'm wondering if I should have gotten that instead of the Pyxis monitor with the EVF Kit.

I did get to meet Mary who creates all the wonderful Fairlight training videos and made her aware of several issues with the editing by transcription feature (it needs to ignore the ellipses when searching) and some issues with the Advanced Panels V2 programming.

The biggest delay from shipping announcement to actual release remains the URSA Mini 4.6K, which was said to ship July 2015, and ended up shipping March 2016. Otherwise, Blackmagic has been very good with their shipping date announcements since then. At worst it's a month or two off these days.

As for the OLED Viewfinder, I'm guessing you're referring to the URSA Cine EVF. And, it's amazing! I love it. I've been using it with my URSA Cine 12K and it is a perfect pair. Probably my only real complaint is the carbon fiber rod when using the extension because it really does slip from the weight, no matter how tight you make it. And, I like to use the extension whenever I can. So you really need to get that support piece that only comes with O'Connor Tripods, which is a tad annoying. I'm going to look for a solution that may work with my Sachtler Aktiv tripod. Either way, I love it, and the image is phenomenal with it.

Other than the 5" PYXIS Monitor I'm looking forward to a 7" version in the future. I hope Blackmagic makes one. I really love using a nice 7" Monitor on camera when using monitors over the EVF. And, with so many 5" monitoring options on the UCine a 7" would be very welcome.

… I'm guessing you're referring to the URSA Cine EVF. And, it's amazing! I love it. I've been using it with my URSA Cine 12K and it is a perfect pair. Probably my only real complaint is the carbon fiber rod when using the extension because it really does slip from the weight, no matter how tight you make it. And, I like to use the extension whenever I can. So you really need to get that support piece that only comes with O'Connor Tripods, which is a tad annoying. I'm going to look for a solution that may work with my Sachtler Aktiv tripod. Either way, I love it, and the image is phenomenal with it...

I wasn’t aware of that slipping issue. Having the viewfinder extension is highly desirable. Hopefully BMD will take a look at this problem perhaps by adding a support. If anyone can include a picture of the support that OConnor provides, I’d appreciate learning more about that.

… I'm guessing you're referring to the URSA Cine EVF. And, it's amazing! I love it. I've been using it with my URSA Cine 12K and it is a perfect pair. Probably my only real complaint is the carbon fiber rod when using the extension because it really does slip from the weight, no matter how tight you make it. And, I like to use the extension whenever I can. So you really need to get that support piece that only comes with O'Connor Tripods, which is a tad annoying. I'm going to look for a solution that may work with my Sachtler Aktiv tripod. Either way, I love it, and the image is phenomenal with it...

I wasn’t aware of that slipping issue. Having the viewfinder extension is highly desirable. Hopefully BMD will take a look at this problem perhaps by adding a support. If anyone can include a picture of the support that OConnor provides, I’d appreciate learning more about that.

Starting Page 65 of Manual:
It’s the Eyepiece Leveler.


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Thanks, Tim, I just found this as well:

https://woodencamera.com/products/eyepi ... tilt-heads

Thanks, Tim, I just found this as well:

https://woodencamera.com/products/eyepi ... tilt-heads

You’re welcome! Yeah, there’s third party solutions for O’Connor heads, but only O’Connor. So I want to find another solution that may exist for a Sachtler Aktiv 8T Flowtech 75. But I have a feeling it’s a needle in a haystack sort of search.

Either way, being aware of it means you just keep an eye on it while in use and then making it more compact if walking away. Maybe Blackmagic can come out with their own Eyepiece Leveler for other tripod brands. Or a third party solution can come to be.


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The leveler looks so awkward and possibly accident prone. BMD should rethink how they secure the extension position if tension on the clamp for the round carbon fibre rod approach isn’t strong enough. For all the high cost of OConnor gear, I’m surprised they don’t have a better solution. Something that grips like a rosette or a ratchet might work rather than a stick resting on a tripod accessory.

The leveler looks so awkward and possibly accident prone. BMD should rethink how they secure the extension position if tension on the clamp for the round carbon fibre rod approach isn’t strong enough. For all the high cost of OConnor gear, I’m surprised they don’t have a better solution. Something that grips like a rosette or a ratchet might work rather than a stick resting on a tripod accessory.

It’s definitely an antiquated approach. That’s for sure.

I think Blackmagic is best positioned to come up with a new and better approach. I think they went Carbon Fiber for the weight, but I have always had issues with slippage with carbon fiber rods and lens motors. So maybe Carbon Fiber wasn’t the best option.

We’ll see what happens. I’m sure they have been getting feedback. I’m positive they’re are aware and looking at solutions for it in the future.


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Perhaps something that will be ready in 2026?

I use this with my SmallHD Ultra 5 and it is rock solid ... cannot move it until you loosen it.

https://www.mid49.com/products/twist-mo ... 2977106083


https://www.canva.com/design/DAGeNIfJ8h ... 6ce6fdb5ea

Thanks, Bob.

I went to BildExpo here in NYC today. Got to see the Pyxis 12K which was nice. The USB-c output supposedly works perfectly with the Pyxis monitor, no low contrast. Conflicting info regarding the rear USB-C port supporting a video monitor. Today I was told it didn't but someone else spoke with a BMD engineer at another expo and was told it did support a monitor.

As far as ship dates, BMD said they never told retailers June, and when I spoke to B&H they said they were told June, so who knows. But the B&H pro video guy said BMD has missed projected ship dates in the past, sometimes by many, many months.

Richard thanks for posting this update here for all of those unable to attend. And great news about the monitor working out of the box with the 12k, no update required (:

The Fujinon 20-120mm has a very impressive telephoto and verges on being able to do extreme closeups but isn’t quite wide enough. And doesn’t shoot 9K 17:9.

The Tokina 25-75mm fails at both wide and telephoto needs but is otherwise very flexible for recording 9K 3:2.

Only the DZOfilm Tango 18-90mm covers both of these objectives in one lens. And shoots 9K 17:9 which is important for reframing in post. So I expect that is the best overall affordable zoom lens for the Pyxis 12K and meets my framing preferences.

Rick on the risk of repeating what I said over in the zoom thread, I highly recommend a used Fujinon 19-90 over the Tango. The look is so much nicer, the price likely lower (depending on how patient you are), the resale value much higher, Fujinon offers a free service and the built-in macro mode is a dream. It seems like you are not pressed for time, so I would highly recommend being on the lookout for a good deal of that lens in good condition. Also the glass is different from the 20-120 (which I never really liked the look of) on top of the smaller image circle and slower aperture. I never found the tele-end of the 19-90 lacking in day-to-day use and on the odd shot where it did I was always comfortable digitally zooming a few percent, which with the 9K of the Pyxis is going to be a total non-issue as well. Do yourself a favor rent the 19-90 for a day or just head over to a rental of your choice and test it out if you haven't (:

I’ll keep looking for the ZK Cabrio 19-90mm to compare to the Tango 18-90mm. The Tango is fairly new and the Cabrio is quite old so hard to find a direct comparison of the two in terms of image. A good deal could mean you buy a lens that was a $38,000 sensation when introduced and that is likely less than $8,000 after a couple of decades. But with these old and well-used lenses, it’s a gamble.

I hoping to find a sober comprehensive comparison made recently. A Matt Allard review of the Fujinon XK 20-120mm vs the Cabrio ZK19-90 vs the Canon 17-120mm came out with the 20-120mm having a better image away from the centre as the Cabrio showed more softening of the image (cinematic though)! However the 20-120mm loses because it wasn’t wide enough and the small image circle greatly restricted use of the lens as I’ve also found. The Cabrio ZK19-90mm and the Tango 18-90mm both have an image circle of 31.5mm. But the 19mm has a few feet less horizontal coverage than the 18mm.

I’ll be patient and see what’s available next year. Thanks for the encouragement!

Off topic but I recently passed on a very good deal for the Chiops 75-250 PL mount. While I need something on the longer end (I currently use the Tokina 50-135 EF mount photo lens when I need a longer zoom for S35) I don't have anything longer than the SLR APO 85MM in FF PL mount.

I had read good things about the Chiops, but in the lens test I saw, I thought Chiops medium range zoom looked better. The first event I get called to film with the Pyxis, I know I'll be kicking myself for not buying the 75-250, but perhaps I'm better suited to something more like a 180MM prime.

Off topic but I recently passed on a very good deal for the Chiops 75-250 PL mount. While I need something on the longer end (I currently use the Tokina 50-135 EF mount photo lens when I need a longer zoom for S35) I don't have anything longer than the SLR APO 85MM in FF PL mount.

I had read good things about the Chiops, but in the lens test I saw, I thought Chiops medium range zoom looked better. The first event I get called to film with the Pyxis, I know I'll be kicking myself for not buying the 75-250, but perhaps I'm better suited to something more like a 180MM prime.

I initially like the Chiopt 28-85mm look, but then every reviewer started saying that the Sirui Jupiter zoom was the same thing?? I'm still trying to determine if a FF zoom (shooting in 8k or 4k) is more economical than an s35 zoom (in 9k) on the Pyxis. If someone make a decent 24-70 FF zoom that's fairly compact in PL mount (with some character!) I'd buy that in a heartbeat. I've looked at the Zeiss 28-80 Compact Zoom, but it's a but hefty in price.

For those who are willing to restrict themselves to shooting with zooms in ‘only’ 9K, there are more PL options from vendors than full frame zooms. Still each has to be judged on its own merits. If you find a quality full frame zoom, let’s consider it too.

Rick on the risk of repeating what I said over in the zoom thread, I highly recommend a used Fujinon 19-90 over the Tango. The look is so much nicer, the price likely lower (depending on how patient you are), the resale value much higher, Fujinon offers a free service and the built-in macro mode is a dream. It seems like you are not pressed for time, so I would highly recommend being on the lookout for a good deal of that lens in good condition…

Paul, I’ve never forgotten your post. My major concern is the wide end where my preference is at least 18mm for my establishing shots. You know the image is my most important criteria so your statement “the look [of the 19-90mm] is so much nicer” gets to the heart of the matter.

I’m frankly shocked there’s so little material illustrating the look of the Tango 18-90mm on YouTube. I don’t understand that. The Cabrio has a long and successful history and the usurper is content to hide in the bushes!? The Tango looks very good on paper. If the Tango has the goods, why can’t I find more proof in the pudding? Fujinon support is great in North America. There’s even a representative that answers my emails.

In defense of the quality of the Tango’s image, the recent posts in the forum regarding the full-frame DZOfilm Catta Ace zooms look decent. So given the higher cost of the Tango compared to the Catta, one might assume the Super35 Tango is even better than Catta. That’s encouraging.

Lenses are a very tough market. Perhaps the relative infancy of the new Tango is a factor in that it takes considerable time for shooters to experience a new toy when the older Cabrio already has met their needs for over a decade.

As you mentioned Paul, I can’t rush into this lens purchase. I’ll likely buy the Pyxis next year as a replacement or adjunct for the BMPCC4K and the zoom might have to wait for some cosmic singularity (like a catastrophic failure of the UM4.6K that refuses to die or an even more improbable collapse of the Fujinon Cine Zoom).

I just read some comments that state the audio on the Pyxis 6K is bad. I tried to get them to qualify what they mean with no response yet, but has anyone who’s used the 6K, plugged a shotgun (Schoeps CMIT in my case) into the Pyxis?

I just read some comments that state the audio on the Pyxis 6K is bad…

Is this referring to the internal camera audio or an external mic XLR plugged into the camera? I’m always pleased with the external audio from my Sennheiser 416MKH U48 plugged into my UM4.6K XLR port. I only use camera audio for scratch to help sync my externally recorded audio if needed.

I just read some comments that state the audio on the Pyxis 6K is bad. I tried to get them to qualify what they mean with no response yet, but has anyone who’s used the 6K, plugged a shotgun (Schoeps CMIT in my case) into the Pyxis?

The onboard mics on the Pyxis are TERRIBLE. I can use my 6kFF in-camera audio just fine, like it adds enough clarity without needing an external mic. The Pyxis NEEDS an external mic, IMO, for anything other than 'clap sync' audio. It's almost completely unusable.

I did purchase a cheap Audio Technica mic from Sweetwater that's small and v48+ that I run all the time with a Pyxis.

The Preamp on the Pyxis is fine, just not the internal on-board mics.

That is very strange. Glad the audio circuits are good. Very odd to drop the ball on those internal mics given the otherwise good quality of the camera. Maybe this will be corrected in Pyxis Pro or Pyxis G2 in 2026. A camera that is designed for using on a gimble or other mobile support needs to have decent audio for run’n’gun operations.

on a better note, the Pyxis 12k SHOULD be arriving very soon, as one of the reps at Cinegear LA 2025 said "Late June, Early July".... so, hopefully VERY soon!

It won't be late June for sure. Not enough days left in the calendar and its the last weekend already.
We would be the first to know on here for clues of its arrival if you keep checking the support page for Pyxis 12k firmware update because the camera won't be released without one. Anywhere else saying when it is coming out is speculative.

I’m sure someone is checking the audio from the internal mics on several units as we speak to see if the problem is endemic to all the units or just an odd problem with the unit which experienced the problem. Perhaps spilled coffee.

You can’t get off on the wrong foot for a camera that aspires eventually to be a best seller. The social media uproar will kill the camera.

I now have all my components ready for the Pyxis:
Kippertie Revolva L/PL
Mid49 Cage (top plate, arms, rainbow handle, side plate, battery plate)
DJI Focus Pro
SmallHD Cine 7
V Mount Batteries
Deity TC-1

I went ahead and added up the total weight (camera and all) and it was about 16 lbs!
So, curiously, I estimated what a Pyxis Body with all the parts to make it 'caged' + a Battery/Kippertie: 10 lbs.
And THEN I figured the URSA Cine 12k w/ just a battery is about 10.5 lbs.
So in reality, both cameras would be about the same weight when rigged up with similar things like my Monitor and Focus Pro, etc. (and honestly, the Ursa Cine 12k would have been cheaper by about $700, facepalm.) All in the name for a 'smaller, lightweight camera' haha.
THOUGH, I can rig the Pyxis down to a very small format, but the URSA Cine is always gonna be a big boi with big weight. And hopefully, the Pyxis Monitor issues get resolved and I can instigate a smaller setup.

16 pounds without a heavy capable Super35 zoom so it’s going to be very close to my current UM4.6K with large and heavy Fujinon Cine Zoom.

16 pounds without a heavy capable Super35 zoom so it’s going to be very close to my current UM4.6K with large and heavy Fujinon Cine Zoom.

I forgot to mention the weight of an SLR Magic APO Microprime (2.3 lbs), is added into the final 16 lbs.

I’m generally configuring my UC12K to be 20-22 lbs with all the accessories and the 275Wh B Mounts. If I went with the smaller 150Wh B Mounts then I may be able to shave a pound or two. And I’m not putting an external monitor on. But I am doing wireless video transmitter and Timecode. Whether it’s the manual follow focus or wireless follow focus also impacts weight.

So the UC12K is a big and heavy boy. But not too terrible. It’s lighter than a traditional film camera.

I got lucky to purchase all the UC12K gear before the tariffs. So it definitely is more money now to make the investment. I’d still recommend it to anyone. easily my favorite camera.

Hoping my buddy who pre-ordered a PYXIS 12K without tariff pricing gets his soon so we can compare. I’m extremely curious.


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… Hoping my buddy who pre-ordered a PYXIS 12K without tariff pricing gets his soon so we can compare. I’m extremely curious.

Amen to that!

Yeah, it is a bit of a beast. Especially coming after getting used to a Komodo, since the 299 watt hour Shape B-mounts are bigger than the Komodo.

The fact that it has two monitors built in nice, because the rigging + battery for adding an external monitor for an AC would weigh more than the built in monitor. I haven't yet added wireless video or my Tilta follow focus to the setup yet, but since I'm using lightweight primes I'm not worried about a lens support for now so I'll probably just use one of my carbon fiber rods attached via the rod mount dealie that came with the top handle. And then I'll be complaining about the excessive length of Tilta's power cable also

Yeah, it is a bit of a beast. Especially coming after getting used to a Komodo, since the 299 watt hour Shape B-mounts are bigger than the Komodo.

The fact that it has two monitors built in nice, because the rigging + battery for adding an external monitor for an AC would weigh more than the built in monitor. I haven't yet added wireless video or my Tilta follow focus to the setup yet, but since I'm using lightweight primes I'm not worried about a lens support for now so I'll probably just use one of my carbon fiber rods attached via the rod mount dealie that came with the top handle. And then I'll be complaining about the excessive length of Tilta's power cable also

Yeah, Tilta needs to shorten the length of those cables.

I'll note that even with my Vespid Primes being light and not needing lens support I still use the 15mm rod attachment for the matte box. Not only does that add extra support on that end of the lenses, but it also ensures that the matte box is on straight and more secure. I always feel funky about pure clamp on the lens with a matte box. I've never felt the matte box is secure enough doing that. But for longer and heavier lenses that's an extra support.

Agree the matte box on rails ensures good alignment for larger lenses. I don’t use a matte box on the BMPCC4K because I shoot with primes there.

Has anyone come up with a good stop/start right side handle for the Pyxis?
I have a DJI Focus Pro that I'll be running on camera left, but I would like a handle that can do some record feature.

I did see the Ursa Cine has some fancy handles, but I just need that one with the record button, haha.
https://www.bhphotovideo.com/c/product/ ... grips.html

Also, if they delay the shipping date, I'm gonna have to get another Pyxis 6k to get through some projects. Which stinks, cause I know the resale value is gonna drop, but I've got July so full of work, in a good way, but need a camera I can own.

Agree the matte box on rails ensures good alignment for larger lenses. I don’t use a matte box on the BMPCC4K because I shoot with primes there.

Yeah... I haven't been using a matte box all that much, so I don't find the alignment to be a problem

That will probably change, but for now I'm not worried about it; it's time to shoot stuff. Hopefully stuff that includes more cats.

Well, one cat, anyway.

Agree the matte box on rails ensures good alignment for larger lenses. I don’t use a matte box on the BMPCC4K because I shoot with primes there.

Yeah... I haven't been using a matte box all that much, so I don't find the alignment to be a problem

That will probably change, but for now I'm not worried about it; it's time to shoot stuff. Hopefully stuff that includes more cats.

Well, one cat, anyway.

I love using a matte box especially for filters. Using 4x5.65 filters is awesome. I have a RotaPola that I love to use.


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My Bright Tangerine Misfit doesn’t support stages which seemed fine when I bought it on sale and inexpensive. Now considering the Kippertie a better solution but that doesn’t support a polarizer either. Perhaps my saving on the Misfit was a false economy if I have to go with Kippertie or another more capable matte box. The Misfit isn’t a write off though as I could use it on my Camera B and adding a better solution on my Camera A aka Pyxis.

Doing some quick math IMO the best recording options would be

9k 2.4:1 perf Super 35 - 11.6

8k/4k 16:9 - 11.6

8k/4k 17:9 - 10.9

8k/4k 2.4:1 - 8.6

Especially since in the first / 9k option you get the different DR distribution with the the extra stop in the highlights

And in all honesty, I could see myself shooting maybe exclusively in 4k 2.4:1 for the smaller files sizes and the best RS possible

I am coming around to see the practical wisdom in this old post. I may be following your lead. I always try to maximize my recordings but the reality (of huge recording media demands) may be setting in and this approach makes more sense to me now than when I first read it. Thanks.

I always reframe in post and shooting 9K 2.4:1 still would give me the extra pixels needed for reframing into an 8K widescreen timeline frame. I’ll think about how best to follow this approach while delivering 4K widescreen.

Or I could give up on my fixation with the 2.39:1 aspect ratio and succumb to the inevitable and irresistible forces imposed by BMD and go with the 2.4:1 aspect ratio once I incorporate Pyxis. There are worse defeats I could suffer than finally adopting 2.4:1.

That 2.4:1 aspect ratio just needs a unique name to go with ‘flat’, ‘DCI’, ‘Scope’, etc. A catchy name would help with its industry acceptance.

Does the Academy have anything to say about this?

Absolutely Rick, glad it is/was useful

I might actually be amending myself and say I might aim to shoot at 8k 2.4:1 space permitting, as that seems to be the sweet spot for NR in post…although, I spent MONTHS learning and I would say perfecting neat video to use on our BMMCC OG footage, which obviously *started* at 1080p, so in my mind having 4k as a starting point is more than enough haha

I may experiment with the Pyxis 12K LF recording in all formats for testing comparisons, but I expect in practice to record 8K when shooting full-frame with primes and 9K when shooting Super35 with a zoom.

I do expect by 2026 that BMD may offer a 6K recording option capturing the field of view of 9K.

Having an 8K 2.4:1 recording with 8.6 msec rolling shutter will be a bonus benefit to the reduction in media storage.

It will be interesting to see if actual usage (not lab testing) shows any appreciable change in dynamic range going from 12K/9K to 8K/6K. If it’s only a third of a stop HDR, that’s going to be very minimal impact especially since I try to expose without any clipping but must contend with the dreaded intense theatrical LED lights.

I’m just curious as to what kind of content really needs this much of resolution and field of view of 9K. Are you guys shooting for high budget theatrical release or just commercial content that is shown on the web or television, of which, as to to date, the world’s majority still are on HD sets and at the best a 4K streams. I’m not passing judgement on anything or anyone, just really trying to understand the reality of gear acquisitions. I can understand those that re just hobbyist or wanting to have the very latest and greatest. I can understand those who and having to shoot to specs of a production company, but that’s really it. Those skilled enough can shoot wondrous shots with a 10 year old Cine cam that even today’s commercials by Patrick Sullivan for the Pyxis cannot compare.

I’m just curious as to what kind of content really needs this much of resolution and field of view of 9K. Are you guys shooting for high budget theatrical release or just commercial content that is shown on the web or television, of which, as to to date, the world’s majority still are on HD sets and at the best a 4K streams. I’m not passing judgement on anything or anyone, just really trying to understand the reality of gear acquisitions. I can understand those that re just hobbyist or wanting to have the very latest and greatest. I can understand those who and having to shoot to specs of a production company, but that’s really it. Those skilled enough can shoot wondrous shots with a 10 year old Cine cam that even today’s commercials by Patrick Sullivan for the Pyxis cannot compare.

At this point the 12K is nothing more than getting the most dynamic range out of this sensor, and the same is true of the 9K Super 35 Window. However, I just did a shoot choosing 8K and was more than satisfied with the detail. So 8K is easily sufficient enough. And, the dynamic range seemed good enough still.

Ultimately, I think Blackmagic should keep pushing the RGBW Sensor design. Instead of increasing resolution let's keep pushing pixel size. Go for Global Shutter and make it 8K in VistaVision. The hope I'd have is that just like there was a dynamic range boost from the S35 12K to the VV 12K that the GS VV 8K would be similar in dynamic range to the VV 12K. This is based of the concept that the Global Shutter would cause a decrease in dynamic range. Thus by increasing the pixel size and aiming for 8K then a Global Shutter version could have equal dynamic range of 16 stops. Then the 17K 65 could probably end up being 12K 65 with Global Shutter.

That's kind of where I'm at. Mainly because the next hurdle is to get good global shutter in these cameras. We don't need more resolution. And, then maybe that could lead to a 16K 15-Perf IMAX size sensor with global shutter. Hehe.

Pretty much none. I expect to shoot in 4K most of the time for both client work and for films, usually in either UHD or DCI aspect ratios, though for some films we might go wider, and even start using anamorphics, for which the 3:2 aspect ratio will work rather nicely.

The color rendition on this camera is stunning though; that's the biggest win, with the second biggest win being just how production friendly this camera is. It's a lot like having an Alex Mini that can record 100 megapixels for no good reason, but at 4K the image is shockingly close to that of an Alexa Mini S35.

It also has wonderful dynamic range; BMD really hit it out of the park on this one.

But for smaller one man band type productions, the Pyxis 12K is the better choice, mainly because it's smaller, lighter, requires less power, and is therefore easier to operate without an assistant. On a show with a crew though, the UC 12K will shine. I'm looking forward to the audio mixer and AC pages being fully implemented also. That ought to improve the usability of the camera even more, and also further reduce the rigging needs.

I’m just curious as to what kind of content really needs this much of resolution and field of view of 9K. Are you guys shooting for high budget theatrical release or just commercial content that is shown on the web or television, of which, as to to date, the world’s majority still are on HD sets and at the best a 4K streams. I’m not passing judgement on anything or anyone, just really trying to understand the reality of gear acquisitions. I can understand those that re just hobbyist or wanting to have the very latest and greatest. I can understand those who and having to shoot to specs of a production company, but that’s really it. Those skilled enough can shoot wondrous shots with a 10 year old Cine cam that even today’s commercials by Patrick Sullivan for the Pyxis cannot compare.

We have many amazing cameras that are all legit enough for the biggest features all the way down to web content. With resolution, unless it's a special case, around 4K has always been enough. It's just a matter of things like having a cleaner image because the noise at 8K is smaller so when you downscale to 4K, the noise reduces a little bit. Dynamic range.... if you're shooting scenes with a wide range of lighting, then the dynamic range will matter more. Most cameras look so good that if you shoot and you're skilled and you clip the image (sun in the shot, etc) they'll just think you meant to do it that way.

As far as field of view, that's another creative choice. So many times I've seen stuff shot on stuff like Alexa 65 and similar cameras, but you can't really tell and it just looks good. Supposedly they shot El Camino on the Alexa 65 and it's not that it looks THAT visually different to me that you go, "Yeah, that's definitely a 65 sensor." Especially with scripted, there's only so wide and shallow you can go.

I work for a company that does stuff across the board from big commercials to web promos and they shoot on a mix of cameras and resolutions for each.... 8K, 4K, HD... they've even shot web content at 8K. It's more about the starting look/data the camera is capable of rather than a specific number.

It's really all about reputation and then creative decisions regarding sensor size and resolution. It's not like companies go "ok this is for broadcast TV so we're going to shoot 8K Raptor but this other project is a web promo so we're just going to shoot Alexa Classic HD.

So yeah, definitely don't equate sensor size and resolution with huge projects and bigger budgets.

That's my opinion anyway.