Brother, THANK YOU, for this. You didn't just turn your camera on and started babbling. You broke it down to where, even a 6th grader can comprehend everything about this camera and make a decision, if this camera is for them or not. I respect creators like you. You do not talk out of emotion. You present logic break down anyone can follow. Take it from me, a cinematographer with over 20 years experience in cinematography and over 8 feature films under my belt, this is the best Pyxis breakdown I've seen since this camera was announced. I look forward to seeing what content you'll create with it. Respect!
Thanks so much, we do our best to let the facts speak for themselves. We're going to follow up with another video after we've had some time to shoot with the camera and collect some proper thoughts. We appreciate you watching and commenting.
I totally agree with you. One of the things I really love from this channel is that they are respectful of the viewer. No wasted time and only information that’s relevant and important.
T2F's great explanations and teaching are why I highly recommend their DaVinci Resolve for Editors course. Not that you probably need it with your experience, but you talked about how well they explain and break it down. I'm a hugely happy customer and always look forward to when These2Friendly people share their knowledge with us.
Actually, 12 bit gives 64 times more precise color info than 10 bit, because it is per channel, so we are speaking of 36 bits vs 30 bits per pixel. And it's 4096 times more info than 8 bit, which is amazing imo
Yeah, that's technically true. Although there is a danger of getting into the world of 'creative statistics' 🤣 I think it's better to be conservative as there are a lot of scenarios where you won't see those gains. And having three channels affects chromatic resolution, but does not have the same impact on tonal resolution. Either way, it's a lot of quality packed into an incredibly priced camera! Thanks for watching and commenting.
60P/ 10 bit colors from C200 raw give way, way better colors than many 12 bits camera. I haved make my own test. Yes 12 bits is better than 10 bits but, you need to test your real workflow from start to finish. Many old camera 12 and 16 bits give today less pictures-quality than a "solid" 10 bits. color-depth is just one parameter. 8bit is just like JPEG : you just need a perfect exposure from start for good result, and doing NO post process. (sorry for my poor english)
@@bobrazowsky85 Yeah, that's a great point. Just because the codec is 16-bits or 12-bits doesn't mean that the sensor is able to provide that level of quality. We appreciate you watching and contributing towards the conversation. Thank-you.
I just want to say, this channel is a breath of fresh air in the polluted creative space where creatives are constantly regurgitating the same thing. I’ve learned so much from this channel. Your breakdown of color management and film emulation techniques (bleach bypass) made me respect this channel over all other channels. I above deep appreciation for you guys!
Absolutely stunning video again. Team2Films finally someone who understand cameras and talk about it. Because youtube is full of creators they do not understand cameras but they talk about them so much
The S5 II (x) can accommodate 12-bit BRAW (with the BM 12G Assist) I would say that this is a very strong argument in itself and in conjunction with all the other functions it has ...
Unfortunately 3:2 open gate RAW is not supported over HDMI, so it unfortunately can't be recorded. But otherwise, yeah the S5IIX is a phenomenal value proposition, with autofocus, IBIS and a smaller form factor over the BMCC 6k FF and the Pyxis. And BRAW seems to be very well implemented.
Yeah that's so true. Add the cost of the S5IIX, Video Assist, cabling, mounts, cages, etc together, and now you're talking about the same money as a PYXIS in a package that is bulky and not as reliable. It's 16:9 only, not open gate, and limited to a maximum of 29.97 fps. So the limitations start to stack up. There's a definitely case for the PYXIS and similar cameras.
@@team2films Basically there are possibilities to record with the full 3:2 in the Lumix. Rigging to get additional functions ultimately affects the Pyxis in the same way - also in terms of the security/unreliability of such a chaos of extra parts. In the end, with the Lumix you have besides a very potent video cam a fully-fledged photo camera, with a stabiliser and several other features in addition to the price. It is certainly difficult to pick a winner - all in all, the PYXIS has a very difficult position in this market segment and is still interesting for very specific applications.
A little bit info on the FX6 for some correction, it is 10-bit internal, but 16-bit RAW output. Almost all cinema Sony cameras have this, just the only monitor to capture it is the Atomos NEON (and that is compressed linear-RAW, not the same level of RAW you can get from BURANO or F55) It's wild tho that we don't even have a global shutter with the BURANO. Idk why Sony decided to abandon the global shutter technology that made the F55 as legendary as it did, but that's incredible to learn!
@@AllTheBeef the AXS recorders do capture 16 bit RAW. Atomos is the brand that claims 12 bit ProRes is the same as 16 bit linear RAW, which is where you get your claim.
Sounds like we're all on the same page here :) Logarithmic encoding is more efficient than linear. As a result in typical scenarios 12-bit log is typically considered to be equivalent to 16-bit linear. The '16' drum gets banged quite a bit in marketing... but it's a gross over simplification to say that 16 is better than 12 because it's a bigger number :)
@@team2films I'd disagree with you on the fact they are close to equivalent. It's more to do with the workflow requirements and 12-bit being usually good enough. 16-Bit linear just holds so much more color values compared to 12-bit ProRes. Since the amount of data being stored is so great, 12-bit Prores easily is enough for 99% of workflows. On the F55 via AXS-R5, this is a 960 MBPs video size, which is nearly impossible to work with unless you have tons of storage to do so. The compression to 12-bit does handle the dynamic range appropriately, and does do a good job at trying to approximate what the color readout is, so that it is as close to 16-bit RAW as possible. I still think there is enough of a difference between the two, that it does matter in specific scenarios. To really highlight just what I'm talking about, there are some that were unhappy with attempting to record the F55/FS7 through an external monitor. Because the codecs differ between Atomos and Sony, it can be significant of a difference, even within the same color bit-depth. Video codecs are very weird, and since Sony refuses to handle their 16-bit RAW reasonably for their newest cameras, we can't even tell the differences between 16-bit linear and 12-bit prores since there is no reasonable way of testing this. Luckily, BMD is developing BRAW for the Sony FX6, so it'll be nice to have a different RAW handling of the data.
Thanks for the fascinating review. Before Blackmagic took over Fairlight, they made audio workstations like the Xynergi used in post-production. Fairlight made an "add-on" called "PYXIS", a collection of PCIe cards with the host being an HP Z400/800s PC workstation. These were used to store/lock up the Video with the audio workstations, and they used Decklink cards. Seeing this fantastic camera, the wheel has turned full circle. "A pyxis is a cylindrical box with a separate lid and no handles. It was used in ancient times to store cosmetics, jewellery, and other small items. Physicians also used pyxides to store medicine, and they were used to dispense incense."
Pyxis price is crazy value proposition - it's putting a powerful camera system into hands of so many talented people. Can't wait to start receiving more and more braws instead of arri MXFs :)
As always, the best videos in UA-cam. Informative, elegant, right information… all substance no fluff. Looking forward to the next video. I would love to have one of this cameras. Exactly what I need. You gave everyone of the reasons why is perfect for my needs. Thanks.
I think the Zcam F6 (mk ii) is a good competitor. It has better/more flexible anamorphic modes, but no good internal RAW solution. It's also able to shoot in high frames rates (and lower resolutions) w/o windowing into the sensor (as often).
Amazing explanation. I love my BMPCC 6K. It pushed my limitation to become a cinematographer. Gave me lot of hard times at first but it was my great step to buy my BMPCC. Looking forward to buy PYXIS
Yeah, that would be nice! It's possible to add those things though... L to PL with ND and a DJI Focus Pro. I know that adds cost and bulk so won't be for everyone.
I was so happy to have found your channel. This is helpful, insightful, thought provoking and focused (no pun intended). Your newest subscriber. With love from Atlanta.
Hahah. We love the way you think :) I’m So impressed with what canon has done recently. The c80 and c400 are amazing cameras that seemingly do ‘everything’ a shooter would typically need. I don’t think you could go wrong with that choice. The PYXIS is a little more specialist, but you can still pick the kids up from school in a sports car. Yes, It’s great there are so many affordable and capable cameras. Thanks for watching. It’s great to have you here.
Heya Frank. Thanks so much, we always love to make the videos as accurate as possible. Some comments about what you mentioned… 1. In the timeline, DaVinci is actually 32 bit float…. Not 16 bit. 2. I don’t think that the camera is 16-bit internally. In fact I don’t think there are any true 16 bit cameras commercially available. Most sensors work in 12 or 10 bit and interpolate the higher bit depths that are recorded in the codec. I’d need to do some more research on that though before committing to that. 3. I think we will do a dedicated video about bit depth because sometimes people think 16-bit linear is better than 12-bit log. It’s not. As log is more efficient it doesn’t require as much bit depth, so it’s actually very comparable to 16-bit linear. If I’ve misunderstood anything, please say! Or if I need correction, don’t hesitate. It’s great to have you here.
@@team2films There are a lot of myths about bit-depth, it would be great if you can make a video clarifying this topic. Thanks for educating the community with your elegant and excellent videos.
@@beamsandwaves In this instance it refers to video. For every pixel in the image 32 bits are assigned to each colour channel. ‘Float’ refers to the precision of that number. It’s not an integer, the decimal place can move so very large and very small values can be stored.
Ha yes, sorry! After the video was recorded I realised I hadn’t talked about that. We’ll hit that up in the next video. The silver lining is that it’s got a short flange mount so you can add ND with a mount adapter. I think companies like Metabones and Kippertie will be working on these.
I really like the points you made. Products are about striking a balance between needed and nice to have. The features the Pyxis 6K delivers such as Ethernet, true 6K FF, industry standard connection ports, streaming capabilities, and the modular rigging ability is such a good value proposition and will make creatives be excited to pick it up and shoot.
A truly excellent overview, great work! It looks a big improvement in so many ways. Well priced too. It's funny to see so many of the plus points being features of the now near 4-year old Z Cam E2F6. I've used one for 3 years, a fab work horse, and a great tool for what I need. It was good enough for Wong Kar-Wai on a recent production = more than good enough for me 😉 I think the Pyxis should work well with the F6 + a Video Assist, and I may get one. A shame BM didn't use a swappable mount though, a big plus of Kinefinity and Z Cam. Love that it has SDI, not too sure about the batteries though. Yet more e-waste to invest in. There must be a reason not to go with NPF...? Really looking forward to seeing your footage!
We love our Kinefinity too, and yes there is some similarity to what the PYXIS is now offering, so not a new concept, but perhaps at a better price point and packaged in a more appealing way. I think BP-U has a higher voltage than NPF. BP-U can output the same voltage as a V-Mount (14v) whereas NPF is 7.4v. That's probably why it's using those batteries instead. Thanks for watching. Great to have you here.
The Lumix S5iiX is actually just a way better Pyxis when you combine it with a Cineback cage. Plus it has ZERO record time limits when you set the [thermal management] to high. Its full frame. you can record in BRAW with a BM 12G video assist at 12bit 6k 24fps and 4k 60fps. Combine that with the best image stabilization on the market (5 axis internal) and really decent autofocus. So yeah I would say you guys were being a little dishonest when you mentioned the S5iiX. it's much better then the Pyxis in more ways than one.
eh, the S5IIx might be my favorite camera ever made, but it has its limitations, when using the Video Assist 12G isn't it limited to 4k DCI or UHD? That negates the benefits of getting 6k Open Gate... I think it's auto-focus is a hair behind Sony but excellent, and its stabilization is best in class. It is disappointing though that when recording 6k Open Gate internally, you have to go down to 4:2:0. It definitely can do things the Pyxis can't, but I wouldn't say it's better across the board. I would say the same thing about the Sony ZV-E1, it can record 4k 120p, which the Pyxis can't, is much smaller and lighter, and also has probably the best auto-focus with very good stabilization. So, I think it kind of goes back to the first part of the video where there are features that are nice to have and features that are necessary, and that varies based on the person and the job. I am curious if there are bad moire issues with the Pyxis, which was an issue that I saw on the S5IIx. So, I would agree with you that the S5IIx is better than the Pyxis in a few ways (auto-focus, stabilization, etc), but the Pyxis is better than it in a few different ways (IO, mounting points, internal recording, chroma subsampling). I definitely agree that the S5IIx is the better camera for most people (it's hybrid), but I think the Pyxis might be the best camera for a smaller niche.
We're sorry you felt that way.... The S5IIX is a great camera for sure and for a lot of people it's the perfect camera. There's definite differences between it and the PYXIS though, even when combined with an external recorder. And the cost and complication associated with external recorder workflows is often less economical than a camera like (for example) the PYXIS. @MaximoJoshua gives a really great list of S5IIX limitations in his reply. I can't say it better than what he said! Thanks everyone for watching and joining the discussion in the comments.
This is the only video I've seen about this camera, and I don't regret doing so. Thank you for all the details and info. I have the 6KFF, and I have to say it's a great camera with a great sensor. I also have to say that a few months ago, I purchased a used OG Komodo 6K, and it makes it hard for me to use the BM6KFF, lol. Love your video about the KX! You look like the cool Neo inside the Nebuchadnezzar with that sweater! Cheers!
Hahah, I know exactly what you mean when you described Neo. Thanks for watching. We've not examined the image from the PYXIS yet. Still out collecting footage. What I can say though is that Red cameras produce some beautiful colours. I've enjoyed all the red cameras I have used.
You mention pixel binning as a negative with high speed, which is not a negative, it means that it still reads out the whole sensor, but it downsamples it to a lower resolution with a greater sharpness than a 1:1 readout. the real negative (which is often used) is line skipping, which skips every other line of pixels to read out faster, and kinda "fills in the blank" which causes a pretty bad blurring effect, which is then not sharp. You also mention that FX9, FX6 and FX3 dont have "true full frame sensors" as well as the burano. which is not true, all of these (as far as i can find) do use true full frame sensors, 35mm. They just dont have open gate video read out, they use a 17:9 and 16:9 crop readout of the sensor, but they are still indeed truly full frame. The FX3 can even take 3:2 photos.
That’s a great point about the difference between pixel binning and line skipping. Thanks for adding that to the conversation. We were referring to cameras that compromise quality in the pursuit of high speed. Our apologies if the term used wasn’t as specific as it should have been. Regarding the 3:2 sensors in Sony cameras, yes we are aware of that. We were careful to say that the maximum shootable aspect ratio is 17:9, but perhaps we were not specific enough. Cameras like the FX3 simply have not implemented an open gate mode. With cameras like the FX9 or Burano it’s a little more complicated. I’m not 100% sure but I think the ND system is designed for a 17:9 image so it’s not possible to ever shoot open gate. But we feel it’s still relevant. My car has 5 wheels. Four touch the road and there is a spare 5th wheel in the trunk. However it would seem reasonable to call it a 4 wheeled vehicle?The size of the cameras sensor is irrelevant if it can never shoot an open gate image (for whatever the reason). Please don’t misunderstand. The FX3, FX9, FX6 and Burano are fantastic cameras. We love them. Those points are not meant to be negative about Sony, but instead they help to emphasise what makes the PYXIS special. Sony and Canon make amazing cameras. Thanks for watching and commenting. Looking forward to hearing your thoughts.
@@team2films I totally agree with you on that. personally I find the pyxis as a way now capable camera than the FX lineup and I'm not sure what Sony is doing when they limit their products so much on purpose. I've looked into getting an fx3 or even fx6 but the value in blackmagic and the user friendliness is just so much better. I love blackmagic and I miss having a camera from them. I have an s5ii x and it's an amazing camera. but the menu system is not great and I feel like most of its potential is locked to rigging. whilst I can see the pyxis being used very barebones and still have the same potential as rigged out
@@verebellus Thanks so much. Obviously there's things that the Sony cameras do really well. We're pleased that the market is big enough to sustain so many awesome manufactures doing different things. We're looking forward to playing with the S5IIX. Looks to be a pretty cool camera. The PYXIS is already great, but it's interesting to think where it might go in the future when the next generation of PYXIS cameras comes out. Great to have you here.
Lot's of great points I haven't heard anywhere else (including from BMD!) I'd say for me, this would be the perfect camera if the sensor read-out was quicker (giving less shutter roll and better high frame rate options - I'd put money on this being the case with the G2 Pyxis - inhouse BMD sensor!!) Maybe if I was really greedy I'd say that gorgeous new usb-c monitor was actually integrated to flip out from the left of the body instead of the fixed side monitor. Now that would be incredible!
Thanks so much, we’re glad the video is informative. Yeah, we’re excited for the ‘PYXIS G2’. We wouldn’t under estimate the first gen though. We’re going to do some practical tests to try and see how impactful the rolling shutter is. Regarding the side screen. We’re happy it’s not a flip out. It keeps the camera more compact. We think it has thrown some people. It’s not meant to be a monitor… it’s just for the menu and settings. It’s a bonus that it shows an image. That’s just us though!!! Thanks again for watching and commenting.
@@team2films For me as a solo shooter (which is my preference!) the side screen is less practical and the addition of an external monitor (as genius as it is!) obviously makes the whole rig less compact. It's definitely not enough to throw me. I guess the biggest drawback is not having a higher frame rate option in 4 or 6k for those times when you need it (filming fire, water, extreme action - like a ballet dancer etc. Overall though, if they delivery 4 or 5 cameras in this body over the next few years it's a super exciting road ahead with BMD! And yes, for the money, it's peerless.... I'e had a scroll through your videos and subbed btw, looking forward to grazing a bunch of your content.
@@JonasStuart Thanks Jonas. Appreciate having you here. Btw, there's a good interview that Craig Hefferman did on ProAV's channel where they talk briefly about some of the things like you mentioned that people are looking for from future cameras.
Haha, yeah! It can polarise opinion a little. There's no such thing as a perfect camera at any price point. Let's just say the Alexa35 was perfect... but it would still cost the price of a house, so not perfect. It's great to have so much conversation about it, but like you said I hope everyone appreciates that it's ok for the camera not to suit your workflows and as a result not buy it 😎 but that doesn't mean it won't work for someone else. Great to have you here, thanks for commenting.
I’m a long time ursa mini pro user and the internal NDs are something I use constantly. If the Pyxis had the it would be a no brainer for me to upgrade
Yeah, missing those NDs is a big thing. It would have been great to see them in there. Being able to have them in an L mount adapter could really be clutch though?
I really think the DJI Focus Pro is a game changer in that regard, as most cine lenses don't support AF anyway. Definitely adds to the cost, but seems like a perfect fit with the Pyxis, lidar based AF that works with every lens? Sounds awesome. Definitely pushes the package even further out of my price range.
Yeah the Focus Pro is such a great product. It will be interesting to see what the V2 looks like and whether other manufacturers start to innovate in this niche. Autofocus is a dealbreaker for some people, but it's also not for other people. So glad there's so many great camera manufacturers out there making awesome cameras.
@@team2films I wouldn't be surprised if BlackMagic makes their own one day, they had done an interview where they said they were trying to figure out AF.
Sony FX6 is not 12 bit if using Raw. Also it now (or very soon) features will have Blackmagic raw option too (both Prores RAW and BRAW are marketed as 12 bit log)
I would be very excited if it had ibis and autofocus. Even cinema lense producers make af lenses no, burano has ibis. Those features are the future. You dont need to use them but they have to be in it.
Yeah, I'm sure we'll see features like that in the future. And we totally appreciate that for a lot of people, those features are totally critical to their workflows. I gotta say though, we're loving it even though it doesn't have them! Something to remember though...A Panavision Millennium XL2 will never have IBIS or autofocus, but that won't stop it from being used to make some of our favourite films.
Awesome video, loved how you pointed out in that first section about how it's really matching what you need with what is offered. If you want to do sports, this is probably not a great fit, but for the right person/job this is just a perfect camera. I would say that S5IIx doesn't have record limits (at least that is what I thought), but I think you can only get 4k BRaw out of the video assist, which negates the benefit of 6k Open Gate to some extent. So, then if you want to compare 6k Open Gate, you are comparing 10 bit 4:2:0 vs 12 bit BRAW. I do think the S5IIx is probably the best comparison, maybe an in depth comparison would be cool to see. I think being a hybrid the S5IIx might have more broad appeal, but if you want to lean more towards cine workflows, than the Pyxis might excel in that area. Both are really great cameras. Another great review, Leon. Looking forward to seeing the rest of the Pyxis content :)
YES, thank-you Max. You understand exactly what we are saying, the PYXIS might not be for everyone, some people really do need the features found in other cameras. But the things that PYXIS does, it does them well. And the S5IIX is a great camera to be clear, but you are also correct about its limitations. It's not capable of matching the PYXIS's capabilities. We always appreciate having you watch our videos and comment. Thank-you.
Kind of interesting that Sony and BMD have have come together to have BlackMagic Raw out of the FX9 and FX6 to their external recorder. Still is frustrating that 3:2 isn't more of a standard on "mid" range cameras from Canon and Sony.
Yeah, that's a great move especially as there is such poor support for the alternative... apple pro res raw. 3:2 is such a big thing for us when we look at cameras. Excited to get out there and start shooting with the PYXIS :) Thanks for watching and commenting.
Did you just blow past the nikon z9/8 in your "Vs Others" segment?!! these things are absolute powerhouses. NRAW is amazing, better than BRAW technically, and 8k 60 raw...
No the mounts are not user changeable. Whether or not that will change in the future is not known…. Likely not. But here’s our recommendation, purchase the l mount because it can very easily be adapted to PL or EF. Plus you can add an aftermarket ND system.
@@team2films Thanks for the reply. I was thinking the same thing.....I assume you're taking Blackmagics word for it and have not actually attempted such a thing? I'm sure BM don't want to say it's user changeable in order to not be liable when people start damaging sensors etc....
the Z Cam e2 f6 with a video assist, and you have several locking mount's to choose from. + you find them used almost full rigged for about 2000 - 2500 euro's 😊
I just sold my pk4. Had it since it came out. It was very good but I hate its look. I just sold it. The pyxis is nice but I need af and tracking so until bmd doesn't have one ill be a Sony a6700 an fx30 guy.
Can you mention quickly how you’re planning to use the focus pro with the Panasonic 24-105? You’d have to use the gear strap of course but does the focus pro LiDAR system work with fly by wire focus lenses with no mechanical focus stops? I’m sure you’ll go into it in your next video but would love a quick word if you can
Hello, yes you are right, the 24-105 wouldn’t be a good choice for the Focus Pro. The lens is new to me and I hadn’t realised it was focus by wire. I’m having a great time using it on the Arles though!
I know it’s not the intended use case but I’d love some additional codec options beyond BRAW. I’m in and out of all NLE’s (including FCP) and having to transcode in one of them sucks. Even the old ProRes options would be welcome.
Blackmagic have made the braw API public so it can be used by all NLEs. Pr can use braw without transcode but FCPX doesn't. So tell Apple that they are missing out by trying to push ProRes RAW and excluding braw. Personally I don't want other proprietary codecs on BM cameras. I own the original 12k Ursa which is braw only and it's never been an issue. At the same time I've never had anyone send me projects with ProRes RAW for grading at my post facility so it's a non issue for me.
Good question. There’s a couple of possible reasons. 3:2 sensors are very common as they are made in bulk for stills cameras. Perhaps It’s cheaper to use an existing 3:2 sensor than to manufacture a new video specific sensor. Second, why don’t they enable open gate? It takes more processing power that the camera might not have? Or it could be because other components like ND systems might again be built to cover 16:9 or 17:9 again to keep costs low. So we’re not sure that these cameras were ever intended to be open gate, but it’s cheaper to just use a 3:2 sensor. Maybe, just speculating.
I really drool over these pro camera reviews even though they are way above my skill set. What's nice is that the body is a sensible price compared to my consumer cameras Panasonic's GH6, G9m2 and similar. But then I have to add on the extras and that bubble bursts very quickly. You are basically selling a Gateway Drug to empty my bank account. 🤣 Its really good to see somebody take on Sony, Canon and RED for that matter at their own game. What are your thoughts on the DJI Ronin 4D camera please? They, too, are thinking out of the box for camera form factor.
Hahahah. Yeah, it's still a lot of dollar if you're not making money from it. The awesome thing is that for people regularly shooting stuff for paid clients, it's such a great investment and really easy to get a ROI. The DJI 4D looks amazing. Would love to get my hands on one for a bit. Thanks for watching and commenting. Great to have you here.
You’re saying the right words and giving the wrong definitions. Full frame is not related to aspect ratio, it’s about how big of an image circle you need. 3:2 is sometimes referred to as open gate. Bit depth is not about how much color information is stored either.
Hello 👋 Thanks so much for watching and commenting. Here’s some extra information on those three terms. Full frame is originally a photographic term that was used when smaller than 35mm sensors started becoming popular. It refers to a particular size of sensor one that matches the dimensions of 8perf 35mm film, hence aspect ratio can also be derived from it. Here’s two helpful articles: en.m.wikipedia.org/wiki/Full-frame_DSLR petapixel.com/what-is-a-full-frame-camera/ Open-gate is not specifically associated with any particular aspect ratio. It simply means using the entire sensor or film available. For example, open gate on 4-perf has a very different aspect ratio to open gate on a FF sensor or open gate on 65/15 film or open gate on an Alexa, etc. As regards bit-depth, we specifically referred to it as ‘color detail’ not ‘color gamut’. By that we mean… Bit depth affects the accuracy with which a codec can store a color because more shades are available. For example, a 10-bit codec can only store 1024 different shades of red. A 12 bit codec can store 4096 different shades of red. If the colour space remains the same, the 4096 in a 12 bit codec stores the same value of red that 1024 would in a 10bit codec. 0 I’m both codecs is black. The 12-bit codec can store a greater number of unique shades of red in between those maximum and minimum values. Does that make sense? Would love to hear your thoughts, especially if we’ve said something inaccurate. Thanks for watching and commenting. Great to have you here.
10:10 the pyxis seems like a steal but there is one thing about the Burano. The latitude is unmatched. Well there is the Alexa 35 but it’s on par with the Mini LF. From that perspective the Burano is the pyxis of high end cinema cameras(:
Thanks so much for watching and commenting. There’s some really good dynamic range information out there from CineD. Here’s some highlights. These measurements are all at an SNR of 2 Mini LF 13.8 Burano 10.8 at 8K XOCN-LT but increases to 12.4 when down sampling and windowing to 6k. PYXIS 11.6 In summary, the PYXIS and the Burano are closer than the Burano and Mini LF. In their native open gate resolutions, surprisingly according to the stats the PYXIS beats the Burano. I was surprised by that.
The original or the X? They are great cameras with very similar Image quality. Main benefits: global shutter, better high speed Main downsides: Much higher cost, slow boot up, smaller sensor, different shape sensor. Hope that helps. You need to decide if those features are worth double or more cost and loosing some of the cool things the PYXIS does
I'd suggest L mount for most people. You can always adapt L to EF. But you can't adapt EF to anything else. I think a lot of people are going to want to buy an adapter with integrated ND too.
@@team2films Do you think using an adapter to PL on Pyxis L-mount is strong enough so it's not necessary to get the native PL version of the Pyxis? I am planning to use PL lenses 60-70% of the time but would like to have the L-mount option too, unless the PL adapter compromises the stiffness of the connection. What are your thoughts?
@@phrasalsyntax The L mount has a little bit of flex in it if you put a really heavy lens on. But I'd still recommend the L mount version even if you're planning to use PL because of the ability to add internal ND when someone makes an L to PL with ND. Just use a base plate or cage that has a mount for securing the mount adapter. I'm currently using Mid49's cage.
That’s fair. Cinema cameras suit a particular style of production, there’s a great deal of other types of production that are better suited towards other kinds of cameras.
Ah sorry. Will QC that better next time. Sometimes if I perform a little slow we increase the speed of the video slightly (105%). Shhh, don’t tell anyone! I put optical flow on but it’s the ‘faster’ version. Will look out for that in the future.
hype around 3/2 sensor ratio is really, like any hype : stupid. because when you do cinema, you never, ever, crop in. cropping is a vidéo gimmick. DCI 17/9 is the standard cinema matrice projectors ratio : the full chip surface from your projector, like christie 2230 or ANY theater projector. My 2 cent.
Thanks for watching and commenting. It’s worth noting that 3:2 has its origins in film. Vista Vision is 3:2 yet 3:2 was never a theatrical format. It was designed as a format from which it was easy to extract other deliverable aspect ratios. That concept continued into the 90’s with formats like shooting movies on 4-perf so they could extract a 1.85 or 2.4 theatrical release but then use the additional height for the home 4:3 release. Today people are shooting content that’s used for traditional media and they need to produce a social extract too. This type of stuff is super relevant. Does that make sense. Would love to hear your thoughts.
@@team2films yes you can crop-in, you can do anamorphic, but for me it's very "secondary" functionnality. And i think for many filmmakers, there is many "fonction" more important than that. so not a bad camera, but "strange" like many others, because no nd et sensitivity not so "good". maybe i am not a "modern" shooter.
@@bobrazowsky85 Yeah, for sure. Different people have different needs and the PYXIS won't be the right camera for everyone. For some people the FX6 is the right camera, for others the Komodo, for others the PYXIS, etc. It's great that there's so many awesome cameras out there.
Very interesting video and camera. I already own a set of two Sirui anamorphic full frame lenses with Sony E mount. Which mount should I consider if I was to buy a Pyxis ? What lens adapter needed ? Thank you.
Sadly you won’t be able to use e mount on the Pyxis. Choosing a mount depends on what kind of priorities you have. We like PL lenses. For flange distance means they can be adapted to pretty much any lens mount. The PYXIS we are using has an L mount.
This is a fantastic review indeed, truly the best review of a camera I've seen, just some things I would like for you to take into consideration for the follow ups about the Pyxis. what would you say its the advantage of the Pyxis from the previous models in terms of Image result, the end product which is in the most part, the most important, I've seen lack of performance in high ISO and Dynamic range compared to the 6K pro, really leaving me wondering what is the advantage here with going for a bigger sensor and having those bigger sensor "advantages" if there are none, except for the bokeh, so why would I spend more on the Pyxis? just for some extra IO, better build quality and mounting points, and open gate I suppose, is that worth that much over the previous gen ? not hating, it is a legitimately concern for me, I really like the Pyxis but its not that convincing for me in that regard, I own a Komodo, Z Cam F6 and Lumix S5II, and I want to add the Pyxis but I'm not sure.
Thanks so much, that's really kind of you to see. There won't be any significant improvements over the BMCC6K as it's the same sensor. Yes one of the big advantages of LF is the aesthetic you get from the sensor. There's so much you can do with s35 and smaller sensors. So they're a great option to consider. You got quite the selection of cameras there. Have you ever considered purchasing a second of one of the cameras you already have?
@@team2films thanks for the reply, appreciate it ! I do have a crazy selection I know but I’m one of those curious beings that likes to try everything he can and experiment, I also have Sony so the Z Cam F6 made sense right now because I bought the E Mount for it. I like testing out cameras, selling the ones I feel are not for me and then get another one if possible, I use all of them for jobs until I get my money back, but for keeps the Komodo is fantastic and yes I’ve thought of getting another one but the Pyxis is attractive really but I feel I need more to pull the trigger.
Hello! Thanks so much for watching. Yeah, the F6 is an interesting contender. To answer your comments: 1. Side screen. It’s awesome. Many pro cameras have a side screen for settings. Think of it that way. It’s not meant to be a shooting screen. 2. BRAW is awesome. Yes if your workflow doesn’t suit that, that is a problem. But this is not unique to the PYXIS. Most cameras have a short list of supported codecs. 3. Interchangeable mount? That’s what short flange mounts like L are good for. Easy to adapt. Does that help with your questions? Please let us know. Thanks again for watching and commenting.
There's a lock button and you can always cover the screen with gaff tape :) But seriously... I've heard others ask about this too. There's lots of legitimate workflows where there's good reason to turn the screen off. I think there is a good chance this is something we will see Blackmagic add through a firmware update.
@@team2films I believe there is already an auto dimming feature built into the BM camera / software. this i can comfirm witht he Pocket as for the pyxis i would assume it the same - so answer is yes but i dont think you can turn it off. and i think when it on it is in goes back on. bit hard to say realy cause i can see the monitor will and external monitor will need their own control on brightness. I dont think you they should allow it to be turned off cause should somehting happen to the monitor you woun't be able to access the camera unless you have bluetooth / wifi control access on. so they should allow indepent dimming to 1% but not 0%. just incase.
@@zoetmoments5625 Yeah, that's a valid point. I'm sure they'll take those things into consideration with any solution they implement. I'll check out the dimming while I am using the camera though. Thanks for watching and commenting.
@@team2films I too can imagine a few situations (live shooting etc) where it would be advantageous to shut it off. Let's see what BM does. Thanks for the reply. 👍
I don't know how you could forget the MAIN flaw of this camera : the absence of internal ND. That is an instant dealbreaker, at least for me. This is part of the absolute necessary options for me. And having the FX6, it would be hard to leave their variable ND technology (but i could for a pyxis with internal ND, AF capability like at sony, 120fps4K without crop, and 2K 240fps, dual iso with the high iso being 12800, and same DR than FX6... well, i'll probably stay at sony for a decade... but i'm waiting for the perfect camera of BMD ! i'm sure it will come, theyre getting close !).
Ah yeah for sure! You know what we finished the video and then realised we forgot to talk about ND. We will cover that in the next video. But in short… L to PL adapter with integrated ND. Metabones and Kippertie are working on them I think. Yes ideally it should be in camera but it’s a pretty good compromise. Sorry about that. There are some definite strengths to Sony’s cameras. They make excellent cameras.
@@schmui ND was never in the PYXIS or BMCC6K previously... so it's not removed as such. I'm sure it would add size, complication and cost to the camera if it was included. So there are pros to not having it. There's lot's of other cinema cameras that don't have ND. With the L Mount it's really easy to add ND when adapting to a longer flange distance mount like PL. I think a lot of people will settle on that solution.
@@team2films Wait, what? I was 100% sure the regular 6k had built in NDs. Strange. Anyway, to me it's still a missed opportunity but the adapter solution sounds alright. PS: I could obviously just google it but where's the fun in that. I think I remember the original 6k had the NDs and they removed it with the PRO, is that correct? Either way, Happy Bergfest!
Leon, what is the xyla21 based dynamic range for this camera compared to the bmcc 6k ff? The actual clean stops above the noise floor. Couldn't find any for this camera.
It should be the exact same as it's the same sensor, Look up CineD's BMCC6K test. It scores really well. That will be the same figures for the PYXIS I believe.
Actually, I think the record limits can be removed with a setting in the menu… forgive us we’re still exploring that camera. But there are still a lot of things that the s5iix cannot do that the PYXIS can. Of course there are things that it can do that the PYXIS can’t. We’d say that both cameras have appeal.
@@team2films the more you know hey! There are no recording limits on any format - but 6K open gate has a record limit of 30 minutes.... Luckily I don't record using that format. Thanks for enlightening me 🙏
Just one on Price, I feel it is a bit misleading to be said it is THAT afforadable, as the base price of box cameras are generally not the full price. Now not even 5 years ago a ff cine camera for sub 3k people would say your crazy and even as a wedding shooter this has been very, very tempting though for the final price that I found other competing cameras come in and well clinch it for me. Which is a bit annoying as I feel that BMD is probably a system that would benefit me a lot almost for your exact reasons. Though in this case it doesnt work for me. Maybe if they make a cheaper s35 one I may be able to move over, that also said I think the weight once rigged is a bit much for how I shoot.
Hey, yeah good point. Finished systems always cost more…. But… remember the PYXIS monitor is less than £400. Red’s monitor costs about £3000. So monitor and camera costs around £3000. We appreciate that’s still a good chunk of change… but compared to the competition it’s amazing! If you want that same sensor but for less money buy the BMCC6K. It comes with a monitor already and requires no additional rigging to start using. Or if you want to go even cheaper buy a PCC4K and a speed booster, that will give you a s35 image. Thanks for watching and commenting.
@@team2films absolutely the pricing is great and now they have the monitor it's exceptional value. I honestly wouldn't reject that claim! Especially compared to that end of the market. It's coming in less than a c100and my only negatives about this camera is one XLR port and then I'd wish for open gate 60! (We can dream) The bmcc6k is discontinued and it eventually lead me down a rabbit hole with getting a c200. I know but of an odd choice though for weddings and events 4k60 raw and super affordable. While also only being about 1.5kg rigged as you only really need a lens and sometimes a monitor. While the pocket 4k I just couldn't use as an acam and again once rigged the cost and weight is not great, for me at least. But having internal NDs now is really a mind off
today, there is just two big things to distinct "cinema camera" from hybrid camera : form factor / ergonomics , and ND filters. That all, in fact. because you can rig a hybrid camera like a cinema camera, exept for ergonomic and ND internal. you can pick-up maybe a panasonic "S" line camera ( example) and filming Braw with that, for top-notch quality pictures.
@@bobrazowsky85 Yeah, that's true, there's amazing products for rigging up hybrids into bigger cameras. It can often be a false economy, or a cumbersome or limited rig. ND filters would be great... but don't forget you an add one in an L to PL mount. I'm sure companies will be making them soon.
if Blackmagic had the autofocus of Sony I would have gone blackmagic...but the problem is autofocus...I did about 70 hours of viddeo work this summer...needed the autofocus...the autofocus is so good with Sony and once you understand how it works...it is almost like having a partner working with you
Yeah, Sony camera's have awesome autofocus. It sounds like you've chosen the right camera. Different cameras excel in different scenarios, and if Sony's cameras are delivering what you need, then brilliant. Great to have you here, thanks for watching and commenting.
"I don't think there's a cleaner or easier interface" - Er, yeah there is. Arri. So this is clearly not a very objective or honest review. How much are Blackmagic paying you to make this?
Hahah! Not being paid anything to make this. Our apologies that the video didn't include Arri in that roundup. Arri's interface is great too, it's so clean! But Blackmagic's menu system is pretty swish! Definitely beats Sony and Canon. And to be fair, the Alexa35 and PYXIS are in slightly different price categories. Thanks for watching and commenting. Great to have you here.
At 05:40, the wrong prices are shown for the PYXIS, the correct prices are:
L-Mount and EF-Mount £2325 (ex VAT)
PL Mount £2425 (ex VAT)
Big respect for the upfront transparency 👍👍
PYXIS? More like POOPXIS 💩 😅
@@mattstone8878 Haha!!
Brother, THANK YOU, for this. You didn't just turn your camera on and started babbling. You broke it down to where, even a 6th grader can comprehend everything about this camera and make a decision, if this camera is for them or not. I respect creators like you. You do not talk out of emotion. You present logic break down anyone can follow. Take it from me, a cinematographer with over 20 years experience in cinematography and over 8 feature films under my belt, this is the best Pyxis breakdown I've seen since this camera was announced. I look forward to seeing what content you'll create with it. Respect!
Thanks so much, we do our best to let the facts speak for themselves. We're going to follow up with another video after we've had some time to shoot with the camera and collect some proper thoughts. We appreciate you watching and commenting.
I totally agree with you. One of the things I really love from this channel is that they are respectful of the viewer. No wasted time and only information that’s relevant and important.
T2F's great explanations and teaching are why I highly recommend their DaVinci Resolve for Editors course.
Not that you probably need it with your experience, but you talked about how well they explain and break it down. I'm a hugely happy customer and always look forward to when These2Friendly people share their knowledge with us.
@@Deep-Travel Thanks, that's really kind of you to say. We're glad people are enjoying our videos.
People will complain about what they want from a camera but never make anything with the cameras they have… 🙄
So true!
Actually, 12 bit gives 64 times more precise color info than 10 bit, because it is per channel, so we are speaking of 36 bits vs 30 bits per pixel. And it's 4096 times more info than 8 bit, which is amazing imo
Yeah, that's technically true. Although there is a danger of getting into the world of 'creative statistics' 🤣 I think it's better to be conservative as there are a lot of scenarios where you won't see those gains. And having three channels affects chromatic resolution, but does not have the same impact on tonal resolution.
Either way, it's a lot of quality packed into an incredibly priced camera! Thanks for watching and commenting.
60P/ 10 bit colors from C200 raw give way, way better colors than many 12 bits camera. I haved make my own test. Yes 12 bits is better than 10 bits but, you need to test your real workflow from start to finish. Many old camera 12 and 16 bits give today less pictures-quality than a "solid" 10 bits. color-depth is just one parameter. 8bit is just like JPEG : you just need a perfect exposure from start for good result, and doing NO post process. (sorry for my poor english)
@@bobrazowsky85 Yeah, that's a great point. Just because the codec is 16-bits or 12-bits doesn't mean that the sensor is able to provide that level of quality. We appreciate you watching and contributing towards the conversation. Thank-you.
@@bobrazowsky85 12 bit log unpacks to 16 bit linear. its the same. 12 bit braw is better than that raw lite on the c200
I just want to say, this channel is a breath of fresh air in the polluted creative space where creatives are constantly regurgitating the same thing. I’ve learned so much from this channel. Your breakdown of color management and film emulation techniques (bleach bypass) made me respect this channel over all other channels. I above deep appreciation for you guys!
Absolutely stunning video again. Team2Films finally someone who understand cameras and talk about it. Because youtube is full of creators they do not understand cameras but they talk about them so much
Ah thanks so much. That’s kind of you to say. Glad people are enjoying the video. Appreciate you!
Yet another amazing video for an amazing camera. Thanks Leon & Natalie!
Thanks Kaur. Makes us happy knowing you are watching :)
The S5 II (x) can accommodate 12-bit BRAW (with the BM 12G Assist) I would say that this is a very strong argument in itself and in conjunction with all the other functions it has ...
Unfortunately 3:2 open gate RAW is not supported over HDMI, so it unfortunately can't be recorded. But otherwise, yeah the S5IIX is a phenomenal value proposition, with autofocus, IBIS and a smaller form factor over the BMCC 6k FF and the Pyxis. And BRAW seems to be very well implemented.
Yeah that's so true. Add the cost of the S5IIX, Video Assist, cabling, mounts, cages, etc together, and now you're talking about the same money as a PYXIS in a package that is bulky and not as reliable.
It's 16:9 only, not open gate, and limited to a maximum of 29.97 fps. So the limitations start to stack up.
There's a definitely case for the PYXIS and similar cameras.
@@team2films Basically there are possibilities to record with the full 3:2 in the Lumix. Rigging to get additional functions ultimately affects the Pyxis in the same way - also in terms of the security/unreliability of such a chaos of extra parts. In the end, with the Lumix you have besides a very potent video cam a fully-fledged photo camera, with a stabiliser and several other features in addition to the price. It is certainly difficult to pick a winner - all in all, the PYXIS has a very difficult position in this market segment and is still interesting for very specific applications.
The value for money of this new body is in-sane.
For sure!
A little bit info on the FX6 for some correction, it is 10-bit internal, but 16-bit RAW output. Almost all cinema Sony cameras have this, just the only monitor to capture it is the Atomos NEON (and that is compressed linear-RAW, not the same level of RAW you can get from BURANO or F55)
It's wild tho that we don't even have a global shutter with the BURANO. Idk why Sony decided to abandon the global shutter technology that made the F55 as legendary as it did, but that's incredible to learn!
No such thing as 16-bit color depth. It's just marketing for 12-bit wrapped in a "16 bit" container. RED, Sony ect use full 12-bit color.
@@AllTheBeef the AXS recorders do capture 16 bit RAW. Atomos is the brand that claims 12 bit ProRes is the same as 16 bit linear RAW, which is where you get your claim.
Sounds like we're all on the same page here :) Logarithmic encoding is more efficient than linear. As a result in typical scenarios 12-bit log is typically considered to be equivalent to 16-bit linear.
The '16' drum gets banged quite a bit in marketing... but it's a gross over simplification to say that 16 is better than 12 because it's a bigger number :)
@@team2films I'd disagree with you on the fact they are close to equivalent. It's more to do with the workflow requirements and 12-bit being usually good enough. 16-Bit linear just holds so much more color values compared to 12-bit ProRes.
Since the amount of data being stored is so great, 12-bit Prores easily is enough for 99% of workflows. On the F55 via AXS-R5, this is a 960 MBPs video size, which is nearly impossible to work with unless you have tons of storage to do so. The compression to 12-bit does handle the dynamic range appropriately, and does do a good job at trying to approximate what the color readout is, so that it is as close to 16-bit RAW as possible. I still think there is enough of a difference between the two, that it does matter in specific scenarios.
To really highlight just what I'm talking about, there are some that were unhappy with attempting to record the F55/FS7 through an external monitor. Because the codecs differ between Atomos and Sony, it can be significant of a difference, even within the same color bit-depth. Video codecs are very weird, and since Sony refuses to handle their 16-bit RAW reasonably for their newest cameras, we can't even tell the differences between 16-bit linear and 12-bit prores since there is no reasonable way of testing this. Luckily, BMD is developing BRAW for the Sony FX6, so it'll be nice to have a different RAW handling of the data.
Thanks for the fascinating review. Before Blackmagic took over Fairlight, they made audio workstations like the Xynergi used in post-production.
Fairlight made an "add-on" called "PYXIS", a collection of PCIe cards with the host being an HP Z400/800s PC workstation. These were used to store/lock up the Video with the audio workstations, and they used Decklink cards. Seeing this fantastic camera, the wheel has turned full circle.
"A pyxis is a cylindrical box with a separate lid and no handles. It was used in ancient times to store cosmetics, jewellery, and other small items. Physicians also used pyxides to store medicine, and they were used to dispense incense."
Ah that's so cool! I think the reason the name is used now is something to do with the stars. It's the same with the name URSA.
Love the break down! Great video as always!
Thanks so much
Pyxis price is crazy value proposition - it's putting a powerful camera system into hands of so many talented people. Can't wait to start receiving more and more braws instead of arri MXFs :)
Yeah, it's pretty wild how accessible Blackmagic make filmmaking tools. Thanks for commenting.
Just pressed play and I'm pumped to dive in 💪
Thanks so much Patrick! You’ve made my morning :)
As always, the best videos in UA-cam. Informative, elegant, right information… all substance no fluff.
Looking forward to the next video.
I would love to have one of this cameras. Exactly what I need. You gave everyone of the reasons why is perfect for my needs.
Thanks.
So glad you enjoyed the video, thanks for watching as always. We appreciate having you here.
I think the Zcam F6 (mk ii) is a good competitor. It has better/more flexible anamorphic modes, but no good internal RAW solution. It's also able to shoot in high frames rates (and lower resolutions) w/o windowing into the sensor (as often).
Yeah a lot of people have been praying the F6.
Agreed. The F6 is anamorphic heaven ;-) It's also small, sips power and has eND available.
The Pyxis is a great Cine cam and super versatile! Would love to see the low light capabilities!
We'll make sure we get some tests. Thanks so much for watching.
Amazing explanation. I love my BMPCC 6K. It pushed my limitation to become a cinematographer. Gave me lot of hard times at first but it was my great step to buy my BMPCC. Looking forward to buy PYXIS
Glad you have been enjoying those cameras so much. Thanks for watching :)
the moment the pyxis gets nds and continuous autofocus it is definitively mine
Yeah, that would be nice! It's possible to add those things though... L to PL with ND and a DJI Focus Pro. I know that adds cost and bulk so won't be for everyone.
I was so happy to have found your channel. This is helpful, insightful, thought provoking and focused (no pun intended). Your newest subscriber. With love from Atlanta.
Awsome video! This really broke down what to expect from this beast of a camera. Greetings
Thanks so much! Glad you enjoyed it.
Amazing cameras are so affordable now you can justify getting a workhorse camera like a Canon c80 or Sony fx6 AND treat yourself to a Pyxis. Winners
Hahah. We love the way you think :) I’m
So impressed with what canon has done recently. The c80 and c400 are amazing cameras that seemingly do ‘everything’ a shooter would typically need. I don’t think you could go wrong with that choice. The PYXIS is a little more specialist, but you can still pick the kids up from school in a sports car. Yes, It’s great there are so many affordable and capable cameras.
Thanks for watching. It’s great to have you here.
Great video. As always.
Thanks Stefan. Appreciate you saying that.
For the record: like all BM cameras it's 16 bit linear - the 12 bit is just in the log container, but in the timeline you get the full 16 bit.
Heya Frank. Thanks so much, we always love to make the videos as accurate as possible.
Some comments about what you mentioned…
1. In the timeline, DaVinci is actually 32 bit float…. Not 16 bit.
2. I don’t think that the camera is 16-bit internally. In fact I don’t think there are any true 16 bit cameras commercially available. Most sensors work in 12 or 10 bit and interpolate the higher bit depths that are recorded in the codec. I’d need to do some more research on that though before committing to that.
3. I think we will do a dedicated video about bit depth because sometimes people think 16-bit linear is better than 12-bit log. It’s not. As log is more efficient it doesn’t require as much bit depth, so it’s actually very comparable to 16-bit linear.
If I’ve misunderstood anything, please say! Or if I need correction, don’t hesitate. It’s great to have you here.
@@team2films 32-bit-float normally refers to audio not video.
@@team2films There are a lot of myths about bit-depth, it would be great if you can make a video clarifying this topic. Thanks for educating the community with your elegant and excellent videos.
@@beamsandwaves In this instance it refers to video. For every pixel in the image 32 bits are assigned to each colour channel. ‘Float’ refers to the precision of that number. It’s not an integer, the decimal place can move so very large and very small values can be stored.
The Pyxis doesn't have build in ND. This is a big difference with most other camera's mentioned and imo another 'elephant' you could have added ;)
Ha yes, sorry! After the video was recorded I realised I hadn’t talked about that. We’ll hit that up in the next video. The silver lining is that it’s got a short flange mount so you can add ND with a mount adapter. I think companies like Metabones and Kippertie will be working on these.
@@team2films You are right, it's the same for the RED's. thanks a lot for creating these videos!
You didn't mention how bad the low light capability is on this camera in all ISOs apart from 800, it's also the king of CMOS smear and banding.
Great questions. We’ll get into that in the next video 👍
I really like the points you made. Products are about striking a balance between needed and nice to have. The features the Pyxis 6K delivers such as Ethernet, true 6K FF, industry standard connection ports, streaming capabilities, and the modular rigging ability is such a good value proposition and will make creatives be excited to pick it up and shoot.
Thanks so much. You understand exactly what we are trying to say. It's great to have you here. Thank-you.
Always the best videos, thank you!
Any chance you will be reviewing the URSA Cine 12k?
Thank-you Barry. Yes, we definitely plan to cover the Cine 12k. There’s so much to talk about. We just need to work out the scheduling.
A truly excellent overview, great work! It looks a big improvement in so many ways. Well priced too.
It's funny to see so many of the plus points being features of the now near 4-year old Z Cam E2F6. I've used one for 3 years, a fab work horse, and a great tool for what I need. It was good enough for Wong Kar-Wai on a recent production = more than good enough for me 😉
I think the Pyxis should work well with the F6 + a Video Assist, and I may get one. A shame BM didn't use a swappable mount though, a big plus of Kinefinity and Z Cam.
Love that it has SDI, not too sure about the batteries though. Yet more e-waste to invest in. There must be a reason not to go with NPF...?
Really looking forward to seeing your footage!
We love our Kinefinity too, and yes there is some similarity to what the PYXIS is now offering, so not a new concept, but perhaps at a better price point and packaged in a more appealing way.
I think BP-U has a higher voltage than NPF. BP-U can output the same voltage as a V-Mount (14v) whereas NPF is 7.4v. That's probably why it's using those batteries instead.
Thanks for watching. Great to have you here.
@@team2films thanks, yes, that makes sense about the battery power.
The Lumix S5iiX is actually just a way better Pyxis when you combine it with a Cineback cage. Plus it has ZERO record time limits when you set the [thermal management] to high. Its full frame. you can record in BRAW with a BM 12G video assist at 12bit 6k 24fps and 4k 60fps. Combine that with the best image stabilization on the market (5 axis internal) and really decent autofocus. So yeah I would say you guys were being a little dishonest when you mentioned the S5iiX. it's much better then the Pyxis in more ways than one.
eh, the S5IIx might be my favorite camera ever made, but it has its limitations, when using the Video Assist 12G isn't it limited to 4k DCI or UHD? That negates the benefits of getting 6k Open Gate...
I think it's auto-focus is a hair behind Sony but excellent, and its stabilization is best in class. It is disappointing though that when recording 6k Open Gate internally, you have to go down to 4:2:0.
It definitely can do things the Pyxis can't, but I wouldn't say it's better across the board. I would say the same thing about the Sony ZV-E1, it can record 4k 120p, which the Pyxis can't, is much smaller and lighter, and also has probably the best auto-focus with very good stabilization.
So, I think it kind of goes back to the first part of the video where there are features that are nice to have and features that are necessary, and that varies based on the person and the job.
I am curious if there are bad moire issues with the Pyxis, which was an issue that I saw on the S5IIx.
So, I would agree with you that the S5IIx is better than the Pyxis in a few ways (auto-focus, stabilization, etc), but the Pyxis is better than it in a few different ways (IO, mounting points, internal recording, chroma subsampling). I definitely agree that the S5IIx is the better camera for most people (it's hybrid), but I think the Pyxis might be the best camera for a smaller niche.
No OLPF, Open Gate 4:2:0 on its own makes it worse than a PYXIS
@@khanmimaad yeah, they both have their strengths and weaknesses, but the moire on the S5iix can be bad
We're sorry you felt that way....
The S5IIX is a great camera for sure and for a lot of people it's the perfect camera. There's definite differences between it and the PYXIS though, even when combined with an external recorder. And the cost and complication associated with external recorder workflows is often less economical than a camera like (for example) the PYXIS.
@MaximoJoshua gives a really great list of S5IIX limitations in his reply. I can't say it better than what he said!
Thanks everyone for watching and joining the discussion in the comments.
This is the only video I've seen about this camera, and I don't regret doing so. Thank you for all the details and info. I have the 6KFF, and I have to say it's a great camera with a great sensor. I also have to say that a few months ago, I purchased a used OG Komodo 6K, and it makes it hard for me to use the BM6KFF, lol. Love your video about the KX! You look like the cool Neo inside the Nebuchadnezzar with that sweater! Cheers!
based on your experience with both cameras, which image do you prefer? BM 6K FF or Komodo OG? (just in terms of pure image quality)
@@phrasalsyntax The Komodo! Don't tell Blackmagic Design, lol
Hahah, I know exactly what you mean when you described Neo. Thanks for watching. We've not examined the image from the PYXIS yet. Still out collecting footage.
What I can say though is that Red cameras produce some beautiful colours. I've enjoyed all the red cameras I have used.
@@team2films That’s right! Enjoy the Pyxis 👊
You mention pixel binning as a negative with high speed, which is not a negative, it means that it still reads out the whole sensor, but it downsamples it to a lower resolution with a greater sharpness than a 1:1 readout. the real negative (which is often used) is line skipping, which skips every other line of pixels to read out faster, and kinda "fills in the blank" which causes a pretty bad blurring effect, which is then not sharp. You also mention that FX9, FX6 and FX3 dont have "true full frame sensors" as well as the burano. which is not true, all of these (as far as i can find) do use true full frame sensors, 35mm. They just dont have open gate video read out, they use a 17:9 and 16:9 crop readout of the sensor, but they are still indeed truly full frame. The FX3 can even take 3:2 photos.
That’s a great point about the difference between pixel binning and line skipping. Thanks for adding that to the conversation. We were referring to cameras that compromise quality in the pursuit of high speed. Our apologies if the term used wasn’t as specific as it should have been.
Regarding the 3:2 sensors in Sony cameras, yes we are aware of that. We were careful to say that the maximum shootable aspect ratio is 17:9, but perhaps we were not specific enough. Cameras like the FX3 simply have not implemented an open gate mode. With cameras like the FX9 or Burano it’s a little more complicated. I’m not 100% sure but I think the ND system is designed for a 17:9 image so it’s not possible to ever shoot open gate.
But we feel it’s still relevant. My car has 5 wheels. Four touch the road and there is a spare 5th wheel in the trunk. However it would seem reasonable to call it a 4 wheeled vehicle?The size of the cameras sensor is irrelevant if it can never shoot an open gate image (for whatever the reason).
Please don’t misunderstand. The FX3, FX9, FX6 and Burano are fantastic cameras. We love them. Those points are not meant to be negative about Sony, but instead they help to emphasise what makes the PYXIS special. Sony and Canon make amazing cameras.
Thanks for watching and commenting. Looking forward to hearing your thoughts.
@@team2films I totally agree with you on that. personally I find the pyxis as a way now capable camera than the FX lineup and I'm not sure what Sony is doing when they limit their products so much on purpose. I've looked into getting an fx3 or even fx6 but the value in blackmagic and the user friendliness is just so much better. I love blackmagic and I miss having a camera from them. I have an s5ii x and it's an amazing camera. but the menu system is not great and I feel like most of its potential is locked to rigging. whilst I can see the pyxis being used very barebones and still have the same potential as rigged out
@@verebellus Thanks so much. Obviously there's things that the Sony cameras do really well. We're pleased that the market is big enough to sustain so many awesome manufactures doing different things.
We're looking forward to playing with the S5IIX. Looks to be a pretty cool camera. The PYXIS is already great, but it's interesting to think where it might go in the future when the next generation of PYXIS cameras comes out.
Great to have you here.
Lot's of great points I haven't heard anywhere else (including from BMD!)
I'd say for me, this would be the perfect camera if the sensor read-out was quicker (giving less shutter roll and better high frame rate options - I'd put money on this being the case with the G2 Pyxis - inhouse BMD sensor!!) Maybe if I was really greedy I'd say that gorgeous new usb-c monitor was actually integrated to flip out from the left of the body instead of the fixed side monitor.
Now that would be incredible!
Thanks so much, we’re glad the video is informative.
Yeah, we’re excited for the ‘PYXIS G2’. We wouldn’t under estimate the first gen though. We’re going to do some practical tests to try and see how impactful the rolling shutter is.
Regarding the side screen. We’re happy it’s not a flip out. It keeps the camera more compact. We think it has thrown some people. It’s not meant to be a monitor… it’s just for the menu and settings. It’s a bonus that it shows an image. That’s just us though!!!
Thanks again for watching and commenting.
@@team2films For me as a solo shooter (which is my preference!) the side screen is less practical and the addition of an external monitor (as genius as it is!) obviously makes the whole rig less compact. It's definitely not enough to throw me. I guess the biggest drawback is not having a higher frame rate option in 4 or 6k for those times when you need it (filming fire, water, extreme action - like a ballet dancer etc. Overall though, if they delivery 4 or 5 cameras in this body over the next few years it's a super exciting road ahead with BMD!
And yes, for the money, it's peerless.... I'e had a scroll through your videos and subbed btw, looking forward to grazing a bunch of your content.
@@JonasStuart Thanks Jonas. Appreciate having you here. Btw, there's a good interview that Craig Hefferman did on ProAV's channel where they talk briefly about some of the things like you mentioned that people are looking for from future cameras.
Very helpfull video. Thanks for sharing.
Thanks so much, appreciate you taking the time to leave a comment.
great content, i just found this channel!
Welcome, great to have you here
I've always hated the OG pocket cam's form factor. the
Pyxis is def a step up!
Yeah likewise. Wouldn't go so far as to say we hated it... but it definitely wasn't our favourite. Loving the PYXIS thus far.
Great video. Thank you
Thanks Joussef
Crazy how some people still complained about this camera, just don't buy it :)
Heard you can fix in post now
Haha, yeah! It can polarise opinion a little. There's no such thing as a perfect camera at any price point. Let's just say the Alexa35 was perfect... but it would still cost the price of a house, so not perfect.
It's great to have so much conversation about it, but like you said I hope everyone appreciates that it's ok for the camera not to suit your workflows and as a result not buy it 😎 but that doesn't mean it won't work for someone else.
Great to have you here, thanks for commenting.
I’m a long time ursa mini pro user and the internal NDs are something I use constantly. If the Pyxis had the it would be a no brainer for me to upgrade
Yeah, missing those NDs is a big thing. It would have been great to see them in there. Being able to have them in an L mount adapter could really be clutch though?
Watch a youtube on BMPCC 6K Pro or 6K G2 or 4K as you'll see there is no internal chassis and the Polycarbonate is also the Chassis.
That's good to know. Thank-you.
Thank you
You are welcome :)
The internal NDsd on the fx6 is probably still option
Yes they are great!
I would like to know will this camera stand up outdoor elements with the vents on top and bottom . Such as rain and sand and dust.
Good question, not sure. I’d imagine it’s going to be very similar to every other cinema camera out there as they all tend to have large vents.
what a review :)
Thanks! There will be a full review soon. Just wanted to get some initial thoughts out there.
0:40 you say the CInema Camera 6k but show the Pocket 6k pro, which is not the same camera.
In Germany we call people like you Korinthenkacker.
Hello! Thanks for watching, Oh YEAH! So sorry. Made the video on a tight schedule, sorry we let that mistake slip through.
Hahah! We love Korinthenkacker's though! We want to make sure our video's are accurate. Great to have you both here.
Great summary about cameras in general. Salute.
Personally I will stick to my Urse Mini Pro as the upgrade wouldn't change much for me.
Awesome. We always say the best camera you have is the one that you have :) The URSA Mini is such a great camera. Thanks for watching.
me looking at a camera that's way out of my price range: no autofocus? DEALBREAKER
You'll be rudely awakened when you dive into the cinema and broadcast world where camera bodies themselves are well over $20G😂😂
@@ChrisParayno i'm aware
I really think the DJI Focus Pro is a game changer in that regard, as most cine lenses don't support AF anyway. Definitely adds to the cost, but seems like a perfect fit with the Pyxis, lidar based AF that works with every lens? Sounds awesome.
Definitely pushes the package even further out of my price range.
Yeah the Focus Pro is such a great product. It will be interesting to see what the V2 looks like and whether other manufacturers start to innovate in this niche.
Autofocus is a dealbreaker for some people, but it's also not for other people. So glad there's so many great camera manufacturers out there making awesome cameras.
@@team2films I wouldn't be surprised if BlackMagic makes their own one day, they had done an interview where they said they were trying to figure out AF.
Sony FX6 is not 12 bit if using Raw. Also it now (or very soon) features will have Blackmagic raw option too (both Prores RAW and BRAW are marketed as 12 bit log)
Thanks for watching and commenting. What bit depth are you saying the FX6 is when using an external raw recorder?
I would be very excited if it had ibis and autofocus. Even cinema lense producers make af lenses no, burano has ibis. Those features are the future. You dont need to use them but they have to be in it.
Yeah, I'm sure we'll see features like that in the future. And we totally appreciate that for a lot of people, those features are totally critical to their workflows. I gotta say though, we're loving it even though it doesn't have them!
Something to remember though...A Panavision Millennium XL2 will never have IBIS or autofocus, but that won't stop it from being used to make some of our favourite films.
It's really cool.
Awesome video, loved how you pointed out in that first section about how it's really matching what you need with what is offered. If you want to do sports, this is probably not a great fit, but for the right person/job this is just a perfect camera.
I would say that S5IIx doesn't have record limits (at least that is what I thought), but I think you can only get 4k BRaw out of the video assist, which negates the benefit of 6k Open Gate to some extent. So, then if you want to compare 6k Open Gate, you are comparing 10 bit 4:2:0 vs 12 bit BRAW. I do think the S5IIx is probably the best comparison, maybe an in depth comparison would be cool to see. I think being a hybrid the S5IIx might have more broad appeal, but if you want to lean more towards cine workflows, than the Pyxis might excel in that area. Both are really great cameras.
Another great review, Leon. Looking forward to seeing the rest of the Pyxis content :)
YES, thank-you Max. You understand exactly what we are saying, the PYXIS might not be for everyone, some people really do need the features found in other cameras. But the things that PYXIS does, it does them well. And the S5IIX is a great camera to be clear, but you are also correct about its limitations. It's not capable of matching the PYXIS's capabilities.
We always appreciate having you watch our videos and comment. Thank-you.
Great video. Z Cam is also a great camera for comparison.
Yes, that’s another great option. Thanks for watching
Great vid! What are you using as pl adapter for the Arles lenses?
Trying DZO's Octopus convertor at the moment.
Kind of interesting that Sony and BMD have have come together to have BlackMagic Raw out of the FX9 and FX6 to their external recorder. Still is frustrating that 3:2 isn't more of a standard on "mid" range cameras from Canon and Sony.
Yeah, that's a great move especially as there is such poor support for the alternative... apple pro res raw.
3:2 is such a big thing for us when we look at cameras. Excited to get out there and start shooting with the PYXIS :)
Thanks for watching and commenting.
Did you just blow past the nikon z9/8 in your "Vs Others" segment?!! these things are absolute powerhouses. NRAW is amazing, better than BRAW technically, and 8k 60 raw...
Ah yeah, sorry! We also missed the Canon R5C too. Super curious to know what makes you say that NRAW is better than BRAW?
Z Cam F6, F6 pro, and F6 mark 2
Great options! It's great to see them getting used in films like Mission Impossible or series like The Grand Tour.
Question:
Are the mounts changeable? If I get the L mount version can I change out the mounts?
No the mounts are not user changeable. Whether or not that will change in the future is not known…. Likely not. But here’s our recommendation, purchase the l mount because it can very easily be adapted to PL or EF. Plus you can add an aftermarket ND system.
@@team2films Thanks for the reply. I was thinking the same thing.....I assume you're taking Blackmagics word for it and have not actually attempted such a thing?
I'm sure BM don't want to say it's user changeable in order to not be liable when people start damaging sensors etc....
Yes, same sensor, but better thermal design. The Sony FX6 makes skin look bad.
Ah yeah, that's a great point about the thermals. Looking through the grills in the camera you can see all the heatsinks inside. Thanks for watching.
the Z Cam e2 f6 with a video assist, and you have several locking mount's to choose from. + you find them used almost full rigged for about 2000 - 2500 euro's 😊
That's a great option for sure.
yes, there is many options today, for around same price.
Greate review. Still...plenty of films were made with just a handycam or even a smart phone; Story is number one then the camera.
Sure. But are they any good? 😂
Absolutely! THat's so true. The camera doesn't make the movie... the people do :)
I just sold my pk4. Had it since it came out. It was very good but I hate its look. I just sold it. The pyxis is nice but I need af and tracking so until bmd doesn't have one ill be a Sony a6700 an fx30 guy.
That’s fair enough. Sony makes great cameras. The FX30 is a great choice.
Can you mention quickly how you’re planning to use the focus pro with the Panasonic 24-105? You’d have to use the gear strap of course but does the focus pro LiDAR system work with fly by wire focus lenses with no mechanical focus stops?
I’m sure you’ll go into it in your next video but would love a quick word if you can
Hello, yes you are right, the 24-105 wouldn’t be a good choice for the Focus Pro. The lens is new to me and I hadn’t realised it was focus by wire. I’m having a great time using it on the Arles though!
I know it’s not the intended use case but I’d love some additional codec options beyond BRAW. I’m in and out of all NLE’s (including FCP) and having to transcode in one of them sucks. Even the old ProRes options would be welcome.
Yeah, ProRes would be nice as an option. But you can use Braw in Premiere and FCP can’t you? There’s a plugin?
Blackmagic have made the braw API public so it can be used by all NLEs. Pr can use braw without transcode but FCPX doesn't. So tell Apple that they are missing out by trying to push ProRes RAW and excluding braw. Personally I don't want other proprietary codecs on BM cameras. I own the original 12k Ursa which is braw only and it's never been an issue. At the same time I've never had anyone send me projects with ProRes RAW for grading at my post facility so it's a non issue for me.
Im gonna get pyxies before getting a komodo
Can you confirm at what resolutions/frame rates the Pyxis crops to APS-C?
Why do companies crop in a perfectly capable 3:2 sensor that’s already in the camera??
Good question. There’s a couple of possible reasons. 3:2 sensors are very common as they are made in bulk for stills cameras. Perhaps It’s cheaper to use an existing 3:2 sensor than to manufacture a new video specific sensor.
Second, why don’t they enable open gate? It takes more processing power that the camera might not have? Or it could be because other components like ND systems might again be built to cover 16:9 or 17:9 again to keep costs low.
So we’re not sure that these cameras were ever intended to be open gate, but it’s cheaper to just use a 3:2 sensor. Maybe, just speculating.
@@team2films never knew 3:2 was the commonly produced sensor. that makes it all make sense!
I really drool over these pro camera reviews even though they are way above my skill set. What's nice is that the body is a sensible price compared to my consumer cameras Panasonic's GH6, G9m2 and similar. But then I have to add on the extras and that bubble bursts very quickly. You are basically selling a Gateway Drug to empty my bank account. 🤣
Its really good to see somebody take on Sony, Canon and RED for that matter at their own game.
What are your thoughts on the DJI Ronin 4D camera please?
They, too, are thinking out of the box for camera form factor.
Hahahah. Yeah, it's still a lot of dollar if you're not making money from it. The awesome thing is that for people regularly shooting stuff for paid clients, it's such a great investment and really easy to get a ROI.
The DJI 4D looks amazing. Would love to get my hands on one for a bit. Thanks for watching and commenting. Great to have you here.
You’re saying the right words and giving the wrong definitions. Full frame is not related to aspect ratio, it’s about how big of an image circle you need. 3:2 is sometimes referred to as open gate. Bit depth is not about how much color information is stored either.
Hello 👋 Thanks so much for watching and commenting. Here’s some extra information on those three terms.
Full frame is originally a photographic term that was used when smaller than 35mm sensors started becoming popular. It refers to a particular size of sensor one that matches the dimensions of 8perf 35mm film, hence aspect ratio can also be derived from it. Here’s two helpful articles: en.m.wikipedia.org/wiki/Full-frame_DSLR
petapixel.com/what-is-a-full-frame-camera/
Open-gate is not specifically associated with any particular aspect ratio. It simply means using the entire sensor or film available. For example, open gate on 4-perf has a very different aspect ratio to open gate on a FF sensor or open gate on 65/15 film or open gate on an Alexa, etc.
As regards bit-depth, we specifically referred to it as ‘color detail’ not ‘color gamut’. By that we mean… Bit depth affects the accuracy with which a codec can store a color because more shades are available. For example, a 10-bit codec can only store 1024 different shades of red. A 12 bit codec can store 4096 different shades of red. If the colour space remains the same, the 4096 in a 12 bit codec stores the same value of red that 1024 would in a 10bit codec. 0 I’m both codecs is black. The 12-bit codec can store a greater number of unique shades of red in between those maximum and minimum values.
Does that make sense? Would love to hear your thoughts, especially if we’ve said something inaccurate. Thanks for watching and commenting. Great to have you here.
Bro lookin like Dumbo the Elephant with those ears.
All the better to hear people with.
Just get a Canon C80 or C400.
I would like to see ISO comparison against the 6kPro (Not FF version) Also dynamic range tests compared to the Ursa.
same as 6K FF : not as good as 6kpro s35. especially at high iso. there is many benchmark about this.
Thanks @bobrazowsky85
10:10 the pyxis seems like a steal but there is one thing about the Burano. The latitude is unmatched. Well there is the Alexa 35 but it’s on par with the Mini LF. From that perspective the Burano is the pyxis of high end cinema cameras(:
Thanks so much for watching and commenting.
There’s some really good dynamic range information out there from CineD. Here’s some highlights. These measurements are all at an SNR of 2
Mini LF 13.8
Burano 10.8 at 8K XOCN-LT but increases to 12.4 when down sampling and windowing to 6k.
PYXIS 11.6
In summary, the PYXIS and the Burano are closer than the Burano and Mini LF. In their native open gate resolutions, surprisingly according to the stats the PYXIS beats the Burano. I was surprised by that.
Im really stick between getting this or the RED komodo 6K, whats your take?
The original or the X? They are great cameras with very similar Image quality.
Main benefits: global shutter, better high speed
Main downsides: Much higher cost, slow boot up, smaller sensor, different shape sensor.
Hope that helps. You need to decide if those features are worth double or more cost and loosing some of the cool things the PYXIS does
great review! Qs, what would be the better options? L mount or EF mount?
I'd suggest L mount for most people. You can always adapt L to EF. But you can't adapt EF to anything else.
I think a lot of people are going to want to buy an adapter with integrated ND too.
@@team2films Do you think using an adapter to PL on Pyxis L-mount is strong enough so it's not necessary to get the native PL version of the Pyxis? I am planning to use PL lenses 60-70% of the time but would like to have the L-mount option too, unless the PL adapter compromises the stiffness of the connection. What are your thoughts?
@@phrasalsyntax The L mount has a little bit of flex in it if you put a really heavy lens on. But I'd still recommend the L mount version even if you're planning to use PL because of the ability to add internal ND when someone makes an L to PL with ND. Just use a base plate or cage that has a mount for securing the mount adapter. I'm currently using Mid49's cage.
An Ursa mini is better worth it than this camera
Yeah, that’s a great camera too!
I believe Spock, if he says so, it is so.
Hahahahah! ❤️ Thanks so much!
It’s a pass for me. Cinema cams are becoming old news in the hyper fast production world we live in.
That’s fair. Cinema cameras suit a particular style of production, there’s a great deal of other types of production that are better suited towards other kinds of cameras.
Not a lot of compelling reasons to buy one of these.
That’s fair enough. For some people there really won’t be. Thanks for watching though.
I do love your videos. But can you tell me what's with the odd motion trails/blurring going on with your hands? its odd!
Ah sorry. Will QC that better next time. Sometimes if I perform a little slow we increase the speed of the video slightly (105%). Shhh, don’t tell anyone! I put optical flow on but it’s the ‘faster’ version. Will look out for that in the future.
any idea when this will be released in the U.S.?
It's shipping already! Depending on the amount of orders perhaps there will be a small backlog? I'm not really sure.
What feature films are being shot on burano?
hype around 3/2 sensor ratio is really, like any hype : stupid. because when you do cinema, you never, ever, crop in. cropping is a vidéo gimmick. DCI 17/9 is the standard cinema matrice projectors ratio : the full chip surface from your projector, like christie 2230 or ANY theater projector. My 2 cent.
Thanks for watching and commenting. It’s worth noting that 3:2 has its origins in film. Vista Vision is 3:2 yet 3:2 was never a theatrical format. It was designed as a format from which it was easy to extract other deliverable aspect ratios. That concept continued into the 90’s with formats like shooting movies on 4-perf so they could extract a 1.85 or 2.4 theatrical release but then use the additional height for the home 4:3 release.
Today people are shooting content that’s used for traditional media and they need to produce a social extract too. This type of stuff is super relevant.
Does that make sense. Would love to hear your thoughts.
@@team2films yes you can crop-in, you can do anamorphic, but for me it's very "secondary" functionnality. And i think for many filmmakers, there is many "fonction" more important than that. so not a bad camera, but "strange" like many others, because no nd et sensitivity not so "good". maybe i am not a "modern" shooter.
@@bobrazowsky85 Yeah, for sure. Different people have different needs and the PYXIS won't be the right camera for everyone.
For some people the FX6 is the right camera, for others the Komodo, for others the PYXIS, etc. It's great that there's so many awesome cameras out there.
Very interesting video and camera. I already own a set of two Sirui anamorphic full frame lenses with Sony E mount. Which mount should I consider if I was to buy a Pyxis ? What lens adapter needed ? Thank you.
Sadly you won’t be able to use e mount on the Pyxis. Choosing a mount depends on what kind of priorities you have. We like PL lenses. For flange distance means they can be adapted to pretty much any lens mount.
The PYXIS we are using has an L mount.
@@team2films Thank you for answering.
This is a fantastic review indeed, truly the best review of a camera I've seen, just some things I would like for you to take into consideration for the follow ups about the Pyxis.
what would you say its the advantage of the Pyxis from the previous models in terms of Image result, the end product which is in the most part, the most important, I've seen lack of performance in high ISO and Dynamic range compared to the 6K pro, really leaving me wondering what is the advantage here with going for a bigger sensor and having those bigger sensor "advantages" if there are none, except for the bokeh, so why would I spend more on the Pyxis?
just for some extra IO, better build quality and mounting points, and open gate I suppose, is that worth that much over the previous gen ?
not hating, it is a legitimately concern for me, I really like the Pyxis but its not that convincing for me in that regard, I own a Komodo, Z Cam F6 and Lumix S5II, and I want to add the Pyxis but I'm not sure.
Thanks so much, that's really kind of you to see. There won't be any significant improvements over the BMCC6K as it's the same sensor.
Yes one of the big advantages of LF is the aesthetic you get from the sensor. There's so much you can do with s35 and smaller sensors. So they're a great option to consider.
You got quite the selection of cameras there. Have you ever considered purchasing a second of one of the cameras you already have?
@@team2films thanks for the reply, appreciate it !
I do have a crazy selection I know but I’m one of those curious beings that likes to try everything he can and experiment, I also have Sony so the Z Cam F6 made sense right now because I bought the E Mount for it.
I like testing out cameras, selling the ones I feel are not for me and then get another one if possible, I use all of them for jobs until I get my money back, but for keeps the Komodo is fantastic and yes I’ve thought of getting another one but the Pyxis is attractive really but I feel I need more to pull the trigger.
@@AndyLSB See if you can go try one at a shop?
@@team2films unfortunately that’s no available in my country ☹️
Zcam f6?? As a comparison with the bm assist. Nothing mentioned about the side screen? Lack of codecs, interchangeable mounts etc??
Hello! Thanks so much for watching. Yeah, the F6 is an interesting contender.
To answer your comments:
1. Side screen. It’s awesome. Many pro cameras have a side screen for settings. Think of it that way. It’s not meant to be a shooting screen.
2. BRAW is awesome. Yes if your workflow doesn’t suit that, that is a problem. But this is not unique to the PYXIS. Most cameras have a short list of supported codecs.
3. Interchangeable mount? That’s what short flange mounts like L are good for. Easy to adapt.
Does that help with your questions? Please let us know. Thanks again for watching and commenting.
Subbed
Thanks!
How the battery life is with that 90w battery?
Good question, We've not done a full battery run down yet. We'll try and include that in the next video.
Thanks for the video. Is it possible to deactivate or completely dim the side monitor screen when using the forthcoming external monitor? Thanks.
There's a lock button and you can always cover the screen with gaff tape :)
But seriously... I've heard others ask about this too. There's lots of legitimate workflows where there's good reason to turn the screen off. I think there is a good chance this is something we will see Blackmagic add through a firmware update.
@@team2films I believe there is already an auto dimming feature built into the BM camera / software. this i can comfirm witht he Pocket as for the pyxis i would assume it the same - so answer is yes but i dont think you can turn it off. and i think when it on it is in goes back on. bit hard to say realy cause i can see the monitor will and external monitor will need their own control on brightness.
I dont think you they should allow it to be turned off cause should somehting happen to the monitor you woun't be able to access the camera unless you have bluetooth / wifi control access on.
so they should allow indepent dimming to 1% but not 0%. just incase.
@@zoetmoments5625 Yeah, that's a valid point. I'm sure they'll take those things into consideration with any solution they implement. I'll check out the dimming while I am using the camera though. Thanks for watching and commenting.
@@team2films I too can imagine a few situations (live shooting etc) where it would be advantageous to shut it off. Let's see what BM does. Thanks for the reply. 👍
@@HeathcliffBlair Yeah, agreed. Can we get games installed on it too? Great to have you here.
I don't know how you could forget the MAIN flaw of this camera : the absence of internal ND. That is an instant dealbreaker, at least for me. This is part of the absolute necessary options for me. And having the FX6, it would be hard to leave their variable ND technology (but i could for a pyxis with internal ND, AF capability like at sony, 120fps4K without crop, and 2K 240fps, dual iso with the high iso being 12800, and same DR than FX6... well, i'll probably stay at sony for a decade... but i'm waiting for the perfect camera of BMD ! i'm sure it will come, theyre getting close !).
Ah yeah for sure! You know what we finished the video and then realised we forgot to talk about ND. We will cover that in the next video.
But in short… L to PL adapter with integrated ND. Metabones and Kippertie are working on them I think. Yes ideally it should be in camera but it’s a pretty good compromise.
Sorry about that.
There are some definite strengths to Sony’s cameras. They make excellent cameras.
@@team2films
Hm. That's weird though. Why would they remove such a useful feature?
@@schmui ND was never in the PYXIS or BMCC6K previously... so it's not removed as such.
I'm sure it would add size, complication and cost to the camera if it was included. So there are pros to not having it. There's lot's of other cinema cameras that don't have ND. With the L Mount it's really easy to add ND when adapting to a longer flange distance mount like PL. I think a lot of people will settle on that solution.
@@team2films Wait, what? I was 100% sure the regular 6k had built in NDs. Strange. Anyway, to me it's still a missed opportunity but the adapter solution sounds alright.
PS: I could obviously just google it but where's the fun in that. I think I remember the original 6k had the NDs and they removed it with the PRO, is that correct? Either way, Happy Bergfest!
@@schmui The Pocket 6K Pro had ND. The CC6K did not have them.
Leon, what is the xyla21 based dynamic range for this camera compared to the bmcc 6k ff? The actual clean stops above the noise floor. Couldn't find any for this camera.
It should be the exact same as it's the same sensor, Look up CineD's BMCC6K test. It scores really well. That will be the same figures for the PYXIS I believe.
Import an s5iix from a country that doesn't have record limits. UK is fecked with that limit BS.
Actually, I think the record limits can be removed with a setting in the menu… forgive us we’re still exploring that camera. But there are still a lot of things that the s5iix cannot do that the PYXIS can. Of course there are things that it can do that the PYXIS can’t. We’d say that both cameras have appeal.
9:15 - the S5iiX does not have record limits.
According to all the specs I can find, In 6k open gate there is a 30 minute record limit.
@@team2filmscan confirm. You can immediately roll again and again but it always caps at 30.
@@loganwebb5449 Thanks for confirming, much appreciated.
@@team2films the more you know hey! There are no recording limits on any format - but 6K open gate has a record limit of 30 minutes.... Luckily I don't record using that format. Thanks for enlightening me 🙏
@@team2films you can bypass that limit by setting the temperature threshold to high. Then it has no recording limits in any mode.
$3000 for body at BH
Just one on Price, I feel it is a bit misleading to be said it is THAT afforadable, as the base price of box cameras are generally not the full price. Now not even 5 years ago a ff cine camera for sub 3k people would say your crazy and even as a wedding shooter this has been very, very tempting though for the final price that I found other competing cameras come in and well clinch it for me. Which is a bit annoying as I feel that BMD is probably a system that would benefit me a lot almost for your exact reasons. Though in this case it doesnt work for me. Maybe if they make a cheaper s35 one I may be able to move over, that also said I think the weight once rigged is a bit much for how I shoot.
Hey, yeah good point. Finished systems always cost more…. But… remember the PYXIS monitor is less than £400. Red’s monitor costs about £3000. So monitor and camera costs around £3000. We appreciate that’s still a good chunk of change… but compared to the competition it’s amazing!
If you want that same sensor but for less money buy the BMCC6K. It comes with a monitor already and requires no additional rigging to start using.
Or if you want to go even cheaper buy a PCC4K and a speed booster, that will give you a s35 image.
Thanks for watching and commenting.
@@team2films absolutely the pricing is great and now they have the monitor it's exceptional value. I honestly wouldn't reject that claim! Especially compared to that end of the market. It's coming in less than a c100and my only negatives about this camera is one XLR port and then I'd wish for open gate 60! (We can dream)
The bmcc6k is discontinued and it eventually lead me down a rabbit hole with getting a c200. I know but of an odd choice though for weddings and events 4k60 raw and super affordable. While also only being about 1.5kg rigged as you only really need a lens and sometimes a monitor.
While the pocket 4k I just couldn't use as an acam and again once rigged the cost and weight is not great, for me at least. But having internal NDs now is really a mind off
today, there is just two big things to distinct "cinema camera" from hybrid camera : form factor / ergonomics , and ND filters. That all, in fact. because you can rig a hybrid camera like a cinema camera, exept for ergonomic and ND internal. you can pick-up maybe a panasonic "S" line camera ( example) and filming Braw with that, for top-notch quality pictures.
@@bobrazowsky85 Yeah, that's true, there's amazing products for rigging up hybrids into bigger cameras. It can often be a false economy, or a cumbersome or limited rig.
ND filters would be great... but don't forget you an add one in an L to PL mount. I'm sure companies will be making them soon.
@@heartshapedfilms There's some amazing deals out there on camera's like the C200. Glad it's working so well for you.
What about rolling shutter?
Rolling shutter can be fixed using Davinci Resolve!
@@Filmmaker593 Thats no good
@@gabriel7556 Have you even try it?
You should watch the video. It has the exact same sensor readout as the Sony Burano at the same aspect ratio. But it’s slower open gate.
Yes, like @booneh said. Thanks!
You had it sent to you by Blackmagic?
if Blackmagic had the autofocus of Sony I would have gone blackmagic...but the problem is autofocus...I did about 70 hours of viddeo work this summer...needed the autofocus...the autofocus is so good with Sony and once you understand how it works...it is almost like having a partner working with you
Yeah, Sony camera's have awesome autofocus. It sounds like you've chosen the right camera. Different cameras excel in different scenarios, and if Sony's cameras are delivering what you need, then brilliant. Great to have you here, thanks for watching and commenting.
Yes but with anamorphic lens the rolling shutter is 37.5ms, absolutely garbage
Hello, thanks for watching. I’m not sure where you got that statistic though. If you are shooting open gate anamorphic the readout is around 25ms.
"I don't think there's a cleaner or easier interface" - Er, yeah there is. Arri. So this is clearly not a very objective or honest review. How much are Blackmagic paying you to make this?
Hahah! Not being paid anything to make this. Our apologies that the video didn't include Arri in that roundup.
Arri's interface is great too, it's so clean! But Blackmagic's menu system is pretty swish! Definitely beats Sony and Canon. And to be fair, the Alexa35 and PYXIS are in slightly different price categories.
Thanks for watching and commenting. Great to have you here.
Bro this is the most hater comment lol. Dawg it’s an interface that’s the same on all Blackmagic cams lol. Just go use an arri
Stop being a hater go buy iphone I think that will make you happy😉
what an infantile comment, like a ten years-old complaining to his parents for an unsubstantial matter
🤣😂🤣... bla bla bla
Thanks for watching
@@team2films we haven't lost us after rthe first bla bla bla...😂😂😂