Well, it’s finally here, the Blackmagic PYXIS 6K. Following on from the recently released Blackmagic Cinema Camera 6K, this is a box-type PIXIS that is more specialized for video shooting. It may be thought of as just a different body shape from the Cinema Camera 6K, which is equipped with the same FF sensor, but unlike the Cinema Camera 6K which only has an L mount, you can choose between EF mount and PL mount at the time of purchase, and above all, it is compatible with the optional URSA Cine EVF and dedicated PYXIS Monitor, so for professionals who are accustomed to operating existing cinema cameras, this one is likely to be much easier to use. This review of the Blackmagic PYXIS 6K will go over all of the details.
Nowadays, when gimbal shooting has become commonplace, a small camera is justice!? This review, I will explain the appeal of PIXIS, focusing mainly on the hardware, using the famous “URSA Mini Pro 4.6K G2” as the author who has shot hundreds of works so far.
PYXIS is a relatively latecomer to the full-frame sensor market, so its features and the overwhelmingly low price of 498,000 yen (including tax) make a big impact even with the current weak yen. After all, it’s half the price of its rival, the Sony FX6, on a list price basis, and it’s about 80,000 yen cheaper than the FX3. That’s a big price difference! Sorry for jumping straight in with the price. Now, let’s take a look at the features of PYXIS.
Cinema-like large format digital film sensor
The biggest feature is the full-frame sensor. Blackmagic Design has finally shifted its focus to full-frame cameras, and this is only natural considering the current trend. It is capable of shooting at a maximum open gate of 3:2 (6048 x 4032), and is compatible with a variety of formats and aspect ratios.
Whether recording in 4K or 6K, there is plenty of pixel count to spare, so I think that video production workflows that allow the material to be shot with an open gate and then resized will become mainstream in the future (in which case it would be even easier to use if the monitor OUT could be changed to any resolution).
The sensor supports a dynamic range of 13 stops and dual native ISO up to 25,600. With two native sensitivities of ISO400 and ISO3200, PYXIS has also improved its ability to shoot in low light, an area where other companies had an advantage. Although noise increases at the maximum sensitivity of 25,600, it is not the same as before when vertical lines could not be corrected, so I felt that it was quite practical depending on the post-production work.
Blackmagic PYXIS 6K: The world’s most riggable full-frame digital film camera
When it comes to ease of use when shooting video, nothing beats a vertically long camera with the lens facing the camera. The PYXIS has an ideal box shape, and feels just a size smaller than the ALEXA Mini. It’s clear that the company took user expandability into full consideration during the design process.
Since it’s a latecomer, it seems like they’ve put a lot of research into it, and to be honest, it’s much easier to use than my G2. I think the newly designed PYXIS case will be flexible and flexible enough to handle the ever-evolving peripherals. I’m looking forward to the accessories that will be released by third parties in the future.
Controlled by Blackmagic OS
The newly designed PYXIS has a 4-inch high-resolution HDR touchscreen built into the body. Unlike the conventional URSA-style flip-type monitor, this monitor is completely fixed inside the body. In addition, thumbnails and metadata are also displayed during playback, which is likely to be a great help for playback work required on location. The brightness is 1500nit, which is sufficient for visibility even outdoors, but it is probably not realistic to rely solely on this monitor for filming. The purchase of an EVF or PYXIS Monitor is a must.
As for the OS operation, if you are familiar with other Blackmagic cameras, you will be able to operate it intuitively. After using the G2 for many years, I can honestly say that this OS is incredibly intuitive and easy to understand. A complicated menu can lead directly to trouble, and above all, when you are in a time-pressed shooting situation, it is very important that the settings menu is easy to understand.
Compatible with URSA Cine Viewfinder and accessories
Even so, the genuine optional URSA Cine EVF is amazing. One reason for this may be that it is a common accessory with the higher-end URSA Cine. It is no exaggeration to say that it is over-specced.
How the URSA Cine EVF functions and connects:
This EVF connects to the body with a dedicated USB-C cable with a locking connector. The conventional URSA Viewfinder only had a range of motion that allowed it to slide back and forth a few centimeters, which was hardly user-friendly, but the URSA Cine EVF’s mount is made up of two 15mm carbon rods and one 19mm rod, giving it a large range of motion and allowing the cameraman to shoot in any position. One thing I particularly like is that the clamp on the locking part and many other parts are designed to be quite sturdy, so you can concentrate on creating your own frame without feeling stressed even on busy shooting sites.
The URSA Cine EVF set also includes a soft eyepiece and extension bracket, which allows you to extend the EVF and fix it in any position (it’s a nice touch that the design is very similar to ARRI products). This will be very useful when shooting in a low position or when the cameraman is riding on a dolly.
Ony issue;
Currently, the URSA Cine EVF cannot be connected to the camera body without using the URSA Cine Handle (which unfortunately only has two 1/4″ holes), but I expect that in the near future third parties will release top handles that can be used to attach the URSA Cine EVF.
Unfortunately, the PYXIS Monitor did not arrive in time for this writing. The camera is connected to the main unit with a dedicated USB-C cable with a locking connector, so you can only use either the EVF or the Monitor (you cannot use them simultaneously). The PYXIS Monitor also functions as a panel for adjusting all camera settings, so you will probably have to choose which one to purchase depending on your environment (it would be best to have both).
Battery or AC adapter power supply
PYXIS uses BP-U series batteries. In addition to genuine Sony batteries, compatible batteries are available from various companies such as IDX and SWIT, so there should be no shortage of them around the world. If you are using peripherals such as picture monitors, BOLTs, and wireless focus systems, a D-tap is required, so it may be a good idea to use a BP-U battery with a D-tap or a dummy battery that can use V-mount batteries.
Considering the need to simultaneously power peripheral devices, a product with a capacity of at least 100Wh would be safe. A dedicated AC adapter is included for AC operation. The connector is a Lemo type, which seems to be reliable, but the cable itself is quite thin, so be careful not to break it.
Advantage
Although I was not able to touch on it this time, Blackmagic PYXIS 6K is packed with new features including some pretty innovative features such as SRT and RTMP live streaming functions, real-time remote workflow using Blackmagic Cloud, and direct upload by directly connecting a smartphone to a camera. So, is this the era where YouTubers use full-frame cameras for streaming? Regardless of whether a full-frame camera is necessary for streaming videos, Blackmagic Design’s specialty is being able to build the latest technology at a low cost.
Although it’s not my specialty, I imagine this camera would also be attractive to people who use multiple cameras in studios for streaming purposes.
Disadvantage
So far, I’ve only mentioned the good points of the PYXIS, but there are some annoying points. Personally, I think it’s very disappointing that it doesn’t have a built-in ND filter. Also, HS only supports up to 6K16:9/46fps and 4K16:9/60fps (48fps at 6K DCI 17:9). Incidentally, open gate is up to 36fps. I would have liked at least 120fps at UHD. Also, it doesn’t support recording in ProRes (although I think there is still a demand for ProRes at the on-site level…).
Other features that are now standard on rival cameras, such as autofocus and image stabilization, are also omitted, which may divide opinions. There is also focal plane distortion, and the audio input is limited to one mini XLR analog audio input and one 3.5mm stereo input, so the XLR 2 channel cannot be used.
If I could be greedy, it would be much easier to operate if there was another 12G-SDI video output terminal… but maybe I’m just asking for too much.
I guess something has to be sacrificed to make it compact. The environment in which a camera is used varies from person to person, but the impression I got was that the PYXIS is a camera that is more selective about the field in which it can be used.
Summary:
Above all, I am happy that I can purchase a 6K full-frame cine camera for this price.
The newly designed case has a high-quality feel and a luxurious feel, and it doesn’t feel cheap at all, which is something I want to emphasize. It also seems to have a high degree of expandability for peripheral devices, so I’m looking forward to seeing what accessories will be released by third parties in the future.
Also, since the lens mount is not interchangeable, choosing the mount when purchasing can be a headache, but the theory now is to buy an L mount model and attach your favorite lens via an adapter. However, it’s hard to throw away the firm, no-play locking mechanism of the EF mount model. This will likely be the first thing you think about when purchasing a camera.
If you want more advanced performance, there’s the URSA Cine 12K and 17K, but the introduction costs are several million yen higher. There’s no room for argument that the PYXIS offers great value for money. To be honest, there are some concerns about the finer details, but I’m looking forward to seeing Blackmagic Design release this as a series of mid-class cinema cameras in the future.
Special thanks Felicity Cafe (HAYAMA)
WRITER PROFILE
He has been a photographer for 33 years and is active in a variety of genres, from documentaries to music videos, dramas, movies, and commercials. Article originally written in Japanese by Takashi Chiba.
