Pyxis 12K

I agree with you there.

And as a case in point, Arri's flagship camera is the Alexa S35, according to Arri.

And it's "only" a 4.6K or so camera.

It's popular both because of its color rendition and dynamic range combination and because it so reliably and simply fits I to a production ecosystem.

Lots of people are hung up on resolution and dynamic range, but we have so much available now that we just don't need to worry about it anymore.

For me, Ellory, the dynamic range captured is the biggest appeal. I have no control over the lighting for what I shoot, but sometimes I have some influence on how things are lit. The dynamic range will hopefully help manage the situations in which sometimes there is intentionally little illumination and often too bright spots on some characters but not everywhere. During live capture of continuous action, I don’t have opportunity to adjust exposure so I pick ‘safe’ settings and hope the bright and dark times are manageable in post. I’m very much looking forward to the Pyxis from the perspectives of capture and post becoming easier.

In terms of the time I spend in post, I’m hoping that I’ll no longer need to perform noise reduction which is currently my usual practice. That can save me days in the turnaround for my deliverables.

And then there’s the capture detail of 8K/9K which can only improve the quality of my 4K deliverables. I don’t foresee delivering 8K to any of my clients. On the other hand, perhaps I’ll find that my subjects can’t stand up to the scrutiny of higher details and I’ll need to soften the image in post. I’m not expecting that to happen, but I’d rather add an aesthetic with a touch of softening more than adding post sharpening which can risk artifacts.

I’m not doing anything for high-end work, but some of the artists often ask for select excerpts of productions for their own websites. They take those items seriously and what to look their best understandably. I think this is part of the reality of doing video today compared to decades ago. The quality desired continues to grow. This is not to imply the increased technical quality can replace the artistic quality of a film from a century ago. It’s just a different evolving expectation.

It happens everywhere, look at the evolution of paint on your car where for a hundred years you might have had the choice of the colour of paint, but now the choices have evolved into the quality and stunning appearance of the paint that shows so much depth and durability and variable response to the illumination on the paint, especially for red paint. It’s completely an artistic wonder nowadays. And I’m not talking six or seven figure supercars, even cars I drive or my neighbours drive can look gorgeous. That’s what I hope for in my videos!

Remember the valid criticism when BMD first released the 12K sensor with miserly 2 micron photosites that was an insult to the traditional ‘real’ cinematographers who only wanted to shoot with a few K of 8+ micron sensors or stay with real film. The chorus sang “we don’t need no 12K!” Now a few K of large photosites can make a beautiful image, but that began when theatres projected HD and home theatres were HD.

Now 4K is coming into its own with home theatres ever so gradually including 8K (partially because almost no one captures 8K material and partially due to technical limitations delivering 8K material among other reasons). I’ll be dead before 8K is commonplace, but I’m not fighting that battle. I just want to produce the best 4K I can, given all the things I can’t control which are all very important to the final result. Resolution probably contributes the smallest portion of making a beautiful image, but it’s one ingredient.

For the next model test shoot video I may do 4K 3:2 just to see how it holds up. Currently fighting a cold, but when I can find the next person to shoot with and do it I may do that. Either way, resolution isn't as important as we all make it out to be as 4K is definitely enough.

Again, the reason I said earlier that making the pixels larger and going to for global shutter with the same dynamic range makes more sense to me than increasing resolution is that exact rationale: resolution doesn't matter as much as everything else. That said, 8K VistaVision and 6K Super 35 is plenty for most purposes.

Also, notice how many manufacturers have stopped selling 8K TVs. They pushed it hard from 2018 to about 2022, only for no one to care. So they discontinued 8K TVs. 4K TVs are here to stay.

Paul, thanks for sharing your perspective on this. I am very familiar with all the points you made, about DR, large sensor, less noise, etc. l also was not equating sensor size with huge budgets. But I will somewhat disagree that it requires these new sensors, DR, new cameras to make a better picture, less noise, better image quality because one is shooting at 8K to be processed down to 4/2K deliverable. Same can be achieved with smaller sensor, less stops of DR etc with the right eye, lighting, and exposure.

Like I said, no judgement on anything or anyone. I just think with what I just said, someone who knows how to light and use an, for example, URSA 4.6K to its full capability could equal or outshine a Pyxis 12K when its delivered the viewer will not be able to see the difference.

Checkout some of the demo that JB made with the UMP when it came out. They looked balance with qualities of equal to what Patrick made for the Pyxis. Both work looked exceptional that it’s hard to tell if the were shot in 4.6 and 8K respectively then delivered to 2K for web viewing. That’s the curiosity in me that question if one really needs the very latest and greatest. I don’t mean to derail the topic - just having a healthy segway. I’m sure the Pyxis 12 is a great camera and when I need it, certainly it’s in my list of choices.

For me, Ellory, the dynamic range captured is the biggest appeal. I have no control over the lighting for what I shoot, but sometimes I have some influence on how things are lit. The dynamic range will hopefully help manage the situations in which sometimes there is intentionally little illumination and often too bright spots on some characters but not everywhere. During live capture of continuous action, I don’t have opportunity to adjust exposure so I pick ‘safe’ settings and hope the bright and dark times are manageable in post. I’m very much looking forward to the Pyxis from the perspectives of capture and post becoming easier.

In terms of the time I spend in post, I’m hoping that I’ll no longer need to perform noise reduction which is currently my usual practice. That can save me days in the turnaround for my deliverables.

Rick, you have a very good point and very valid case when a camera gives you the necessary value in situations you’re not able to control.

For the next model test shoot video I may do 4K 3:2 just to see how it holds up. Currently fighting a cold, but when I can find the next person to shoot with and do it I may do that. Either way, resolution isn't as important as we all make it out to be as 4K is definitely enough.

Again, the reason I said earlier that making the pixels larger and going to for global shutter with the same dynamic range makes more sense to me than increasing resolution is that exact rationale: resolution doesn't matter as much as everything else. That said, 8K VistaVision and 6K Super 35 is plenty for most purposes.

Also, notice how many manufacturers have stopped selling 8K TVs. They pushed it hard from 2018 to about 2022, only for no one to care. So they discontinued 8K TVs. 4K TVs are here to stay.

Agreed. Hope you feel better soon.
I haven’t shot anything this month since a freak accident that broke my right wrist and the thumb on my left hand. Uggg.

I agree with you there.

And as a case in point, Arri's flagship camera is the Alexa S35, according to Arri.

And it's "only" a 4.6K or so camera.

It's popular both because of its color rendition and dynamic range combination and because it so reliably and simply fits I to a production ecosystem.

Lots of people are hung up on resolution and dynamic range, but we have so much available now that we just don't need to worry about it anymore.

Exactly my point.

Rick, you have a very good point and very valid case when a camera gives you the necessary value in situations you’re not able to control.

That's also one of the few cases where reframing in post is actually a good thing to plan for, as a way to get around not being in control of the frame as a DoP would be on a film set.

The ludicrous resolution will probably also help with pulling keys on hair and things like that, provided that the computer doesn't explode under the computational load of that much data

I can also imagine the huge images being used for things like matte paintings, background images on LED volumes, and stills for printing images that are very close to medium format photo quality.

People worry about resolution of Pyxis 12k just shoot in 4k.

I shoot a lot of interviews where the subject doesn’t give you much time. I shoot medium wide and punch in for close ups, as there isn’t time to switch lenses, reframe, etc.

I’ve been delivering in HD because of this, so being able to shoot 8k or 12k means I can punch in and deliver 4K. I’m also hoping to get some financing to shoot features so the idea of that level of reframing is very attractive.

I’m also hoping the added dynamic range will mean we can shoot in more available light situations with maybe just one added light.

I did get a message today who said he got an email (don’t know from who) that Pyxis will be available late July or early August.

I really was hoping I’d have the Pyxis by now. I’m filming a number of street interviews later in the day (backlit) that I know would have looked amazing with the Pyxis.

… Pyxis will be available late July or early August.

I really was hoping I’d have the Pyxis by now.

There are so many steps in ramping up production including supply chain considerations that never seem to get easier. If the alternative is releasing a camera before it’s ready, the delays may have a silver lining in that the camera arrives after increased quality controls with some pleasant surprises.

Disappointing, true, but not necessarily all bad news. Delivery in a month or more means missing most of the busy summer months which can impact so many projects. Interesting and encouraging that the higher spec’d Cine 12K LF is delivering while the somewhat more modest Pyxis 12K LF is not. It’s quite possible the Pyxis 12K life cycle began later than the Cine 12K or it may be more challenging to overcome the difficulties of meeting the high specs in a relatively small package.

I’m still convinced this camera and this sensor will be very successful in the marketplace as people adapt its capabilities to meet their varied needs. This is one very flexible box to rig or not to rig, to fly or not to fly, to lead or to follow, to shoot full-frame or Super35, to do it all in camera or be a perfect setup for post perfection.

There are so many steps in ramping up production including supply chain considerations that never seem to get easier. If the alternative is releasing a camera before it’s ready, the delays may have a silver lining in that the camera arrives after increased quality controls with some pleasant surprises.

Yes, Black Magic has definitely learned from experience to do proper QA before shipping in volume.

Admittedly, the UC 12K is the first BMD camera I've personally owned in a long time, but I've been using BMD's cameras on set quite a bit because I've been working with folks who own them so we've been using them alongside my camera, and they've been very reliable.

Disappointing, true, but not necessarily all bad news. Delivery in a month or more means missing most of the busy summer months which can impact so many projects. Interesting and encouraging that the higher spec’d Cine 12K LF is delivering while the somewhat more modest Pyxis 12K LF is not. It’s quite possible the Pyxis 12K life cycle began later than the Cine 12K or it may be more challenging to overcome the difficulties of meeting the high specs in a relatively small package.

I think you're right about the LF going into production a lot earlier, partly since the full 12K production packages were already shipping when BMD start offering the body only version. Also, BMD did mention shuffling around production pipelines in order to minimize the impacts of the tariffs, which probably added some delays.

I’m still convinced this camera and this sensor will be very successful in the marketplace as people adapt its capabilities to meet their varied needs. This is one very flexible box to rig or not to rig, to fly or not to fly, to lead or to follow, to shoot full-frame or Super35, to do it all in camera or be a perfect setup for post perfection.

As am I. I think the Pyxis version will be more popular than the UC version because it's easier for small productions, but since I expect that both will have nearly identical color rendition, they're going to turn the industry on its head.

BMD really outdid itself with the 12K LF.

Tangent Alert!
Was just reading that Christopher Nolan’s The Odyssey is his first film that will be completely shot with IMAX with a budget of $250M. The article didn’t mention if was shooting on traditional film rather than a sensor package. Will be released in theatres July 17, 2026.

Nolan seems to have inherited Quentin Tarantino’s love of cinema traditions. I’m sure some of us are wondering if his next epic will be an opportunity to at least audition a Cine 17K or Tim’s hypothetical Cine 24K?

Nolan’s legacy potentially could also give Stanley Kubrick a run for his money. If the first T0.7 lens was built so Kubrick could film in large rooms lit by a modest amount of candles, maybe Nolan will be remembered as the one who had the first Cine 24K built. Even if that RGBW sensor cost $12M to build one dozen, that’s not likely going to discourage anyone who commands a budget of $250M. The decision may not be about money, it might be about legacy. The first 300 megapixel cinema sensor. If the pixels really don’t matter then build a URSA Cine 9K IMAX with fat photosites.

Tangent Alert!
Was just reading that Christopher Nolan’s The Odyssey is his first film that will be completely shot with IMAX with a budget of $250M. The article didn’t mention if was shooting on traditional film rather than a sensor package. Will be released in theatres July 17, 2026.

Nolan seems to have inherited Quentin Tarantino’s love of cinema traditions. I’m sure some of us are wondering if his next epic will be an opportunity to at least audition a Cine 17K or Tim’s hypothetical Cine 24K?

Nolan’s legacy potentially could also give Stanley Kubrick a run for his money. If the first T0.7 lens was built so Kubrick could film in large rooms lit by a modest amount of candles, maybe Nolan will be remembered as the one who had the first Cine 24K built. Even if that RGBW sensor cost $12M to build one dozen, that’s not likely going to discourage anyone who commands a budget of $250M. The decision may not be about money, it might be about legacy. The first 300 megapixel cinema sensor. If the pixels really don’t matter then build a URSA Cine 9K IMAX with fat photosites.

Nope, Nolan is 100% film. There will be no digital acquisition in his Odyssey.

IMAX made brand new camera for his film. These are quieter for dialogue capture. And, supposedly lighter. But all of the movie will be captured in 15-Perf 70mm IMAX Film.

Thanks, Tim. Perhaps a new young lion will make the IMAX change from film to digital.

Thanks, Tim. Perhaps a new young lion will make the IMAX change from film to digital.

Yeah. Just remember that Nolan is a film dedicated individual. It's tough to get a tiger to change his stripes.

I still remember a decade ago at CinemaCon when Nolan spoke at a Luncheon Q&A and he insulted half the room by dissing digital projection, which the majority of the exhibitors had just switched to. Half the room got up and left in the middle of the Q&A. Basically most exhibitors love and hate him. They love the money he brings them with his movies, but hate his pretentiousness and snobbery about film over digital.

F1 was made for IMAX, and filmed mostly in 6K using custom cameras, Ronin 4D, and Venice cameras.

BMD doesn't need a higher resolution camera for IMAX, it's already overkill; all that BMD needs now is for some BMD camera users to make a film that gets into theaters and gets some attention, or gets picked up by one of the big streamers and gets some attention.

Sooner or later we'll probably see a higher resolution camera from BMD anyway, but based on BMD's history I think we'll get some nice refinements to the current 12K cameras, like integrated NDs once BMD figures out the electronic VariND thing, higher frame rates as BMD gains access to more computing power for its cameras, etc.

Perhaps a new young lion will make the IMAX change from film to digital.

I don’t think IMAX will leave film but digital IMAX has been around for a long while now.
IMAX certified the ALEXA 65 as a digital IMAX camera option in 2D productions, following ARRI and IMAX’s partnership dating back to 2015 .

The ALEXA 65 used 6.5K multi-sensor setup (three vertical ALEV III sensors) for stunning images and it has been used extensively in high-profile IMAX productions, such as Avengers: Infinity War, Endgame, Captain America: Civil War, Sully, and Transformers: The Last Knight.

So is the 17K BMD sensor comparable to the Alexa multi-sensor setup as technical that roughly about 19.5K? Maybe it can and get an IMAX certification given some tweaks for a new young lion.

Netflix is fairly transparent about what it takes to qualify as a Netfix certified camera. Is IMAX quite transparent about what they want to see for a digital camera?

Coming back down to earth, although there is the Pyxis 12K to contend with, I predict that BMD would be contemplating or even working on an 8K Broadcast/URSA‑style cube or modular S35/full‑frame camera with global shutter, CFexpress, cloud integration, detachable recording, and ability to use wireless modules. It will probably be in the price range of the Pyxis 6 and 12K. It seems that 8K is really the sweet spot for individual and small production buyers.

Netflix is fairly transparent about what it takes to qualify as a Netfix certified camera. Is IMAX quite transparent about what they want to see for a digital camera?

That’s a good question. Deep pockets make a lot of convincing. Maybe a partnership with IMAX… Hollywood stewards for BlackMagic, IDK. Netflix certification is kind of ridiculous.

Since I’m such a fan of reframing in post, I was actually thinking that 8K or 6K would be an option earlier today, but use a 9K sensor which could allow reframing in post for 8K or also support 6K recording from a 9K FOV just as the Pyxis 12K and Cine 12K generate 8K recordings today.

When I say a true IMAX camera I mean equal to the 15-Perf 70mm Film Size. So thus larger than the 17K 65 sensor because it's 70mm X 48.5mm in size. The 17K 65 is 50.81mm X 23.32mm in size for reference.

Nolan is shooting IMAX Film and that is that size stated above. It's a large imaging area altogether compared to 5-Perf Film, which is what the 17K is equivalent to in size.

And, I'll note that yes the Sony Venice 2, and FX6 equivalent sensor be extension, was used for F1 and that was good enough for Digital IMAX. The Alexa LF and Alexa 65 has been good enough for Digital IMAX screens. The URSA Cine 12K and PYXIS 12K by extension are equal to the Sony Venice 2 and Alexa LF & Alexa Mini LF. The URSA Cine 17K 65 is equal to the Alexa 65, and newly released Alexa 265.

So, on the Digital side Blackmagic is competing with all the top dogs.

Yet, as I just stated about Film Gauge, IMAX Film is in a league of its own when it comes to size. No digital sensor has matched it yet. I'm stating that if Blackmagic was to use their current RGBW Sensor design the math says that to match the 15-Perf 70mm size then that sensor would need to be 24K. That's the only reason for such high resolution... to match the physical size of the film equivalent.

Wondering what cases people are using with the 6K or are planning to use with the 12K? Looking for a standby case, that can ideally have the lens and some accessory attached while still passing as a small carry-on piece if I need to fly. Have been looking at camcorder cases from Sachtler & Portabrace but nothing quite seems to fit the bill.

What we are able to take into the cabin as carry on luggage is changing in some countries:

[...air regulations will implement the new security rules that have been approved. The European Union has agreed to tighten security measures in order to unify them throughout the territory. …From September, cabin luggage may not exceed 55 x 40 x 20 centimeters (21.6”x15.7”x7.85”), including handles and wheels, and the weight may not exceed 10 kilograms. ...Respecting this type of measures can save us from fines of between 100€ and 1000€.]

https://www.lagradaonline.com/us/wont-a ... september/

In light of this, a case with a snug fit is the way to go for carry-on luggage. A case for a die cut machine is one option:

four oh five Heather Gray Die Cut Machine Carrying Case 210538 $29.99 USD
9"Hx22"Lx8.5”D Fabric, Plastic & Metal 2 full sides have the zipper on the edge

Four oh five die cut machine case

HobbyLobbyFourohfiveDieCutMachineCase.png (253.13 KiB) Viewed 967 times

Four oh five die cut machine case

HobbyLobbyFourohfiveDieCutMachineCaseB.png (311.1 KiB) Viewed 967 times

https://www.hobbylobby.com/scrapbook-pa ... p/81044053

KRDPMV Die Cut Machine Carrying Case Storage Organizer with Adjustable Strap for Travel Supplies, Gray $36.69 USD
Oxford cloth 8.27"Dx22.44"Wx7.48”H

KRDPMV die cut machine case

KRDPMVDieCutMachineCase.jpg (71.05 KiB) Viewed 967 times

https://www.amazon.com/KRDPMV-Carrying- ... B0DKFGGXW7

An URSA Cine 12K with a Core SWX Helix Max 275 battery and a DZOFilm Pictor 14-30mm PL lens is 20.25” L x 6” H x 6” W & 16 lbs.
The length of a Pyxis 12K is about 5.6” less.

… if Blackmagic was to use their current RGBW Sensor design the math says that to match the 15-Perf 70mm size then that sensor would need to be 24K. That's the only reason for such high resolution... to match the physical size of the film equivalent.

One can match the physical size of the IMAX film even with a 9K resolution by increasing the size of the photosites. That would be a new sensor and be very costly, but price may not be a hindrance to adoption.

Use photosites at leeast 7 microns for 9K, 8.5 microns for 8K. ARRI uses 8.25 micron pitch.

How important is the delivery resolution and aspect ratio to conform to various standards we see in use? For example a 2.39:1 aspect ratio is the result of a resolution of 4096x1716. Ive used that ratio for years on my deliverables.

However once I shoot with the Pyxis 12K LF, it appears that I shall switch to a 2.4:1 aspect ratio. The camera ostensibly supports 2.4:1, not 2.39:1. Here’s a summary of what I’m thinking:

9K 2.4:1 9312x3864
A perfect 2.4:1 frame is 9312x3880. Not sure why this wasn’t chosen but it must be related to the 9K window.
Camera frame capture is not exactly a 2.4:1 ratio; it’s ~2.40993888:1 aspect ratio.
For deliverables, downscale 2.425x for ~3840x1594 or downscale 4.85x for ~1920x796.
Alternatively cropping to 9264x3860 is exactly 2.4:1 ratio & uses most of captured media.
Using that alternate crop, for exact 2.4:1, downscale 4.825x for 1920x800 or downscale 2.4125x to 3840x1600.

9K 2.39:1 is more frustrating
NB: no exact 2.39:1 ratios exist for 9K.
A crop of 9224x3864 is very close and then downscale ~2.403x 3840x1608;
crop 9214x3860 downscales ~2.4x to ~3840x1608 which is how I currently deliver UHD 2.39:1.

But maybe having exact 2.4:1 or 2.39:1 isn’t important; it is much simpler to go with the camera frame capture that’s sort of 2.4:1 and call it a day.

What do you think? Difficult but exact or quick and dirty?