GEAR BLACKMAGIC DESIGN PYXIS 12K instance. It is far from the truth that the Pyxis 12K does not perform well, though. It’s just not as fast or ideal for fast-moving action as the burly Ursa. In terms of 12K shooting, open gate is up to 40fps, 16:9 is 45fps and 2.4:1 for anamorphic is 60fps. Go to 9K and there’s a Super 35 crop to get 50fps in 3:2 open gate, with 65fps in 16:9.
In 8K or 4K, 3:2 open gate reaches 72fps, 16:9 is 84fps and 2.4:1 gets up to a speedy 112fps. This is very useful for the vast majority of cinema work. Despite the crops, the image quality is stunning thanks to both the resolution and Blackmagic’s custom RGBW design, which delivers high dynamic range, clean colours and great low-light performance with clean shadows and good tonality, even
LOVE AT FIRST FOCUS Blackmagic’s Generation 5 colour science captures a high dynamic range for cinematic image quality
to get faster frame rates, for example. This might sound like a downside but, if you need 12K for either cropping or VFX work, you have it. Even if you want faster frame rates, which call for a sensor crop, the detail will be incredible. You can shoot interviews on a wide lens and punch in for close- ups on two or three speakers without sacrificing image quality. Like the Ursa Cine, the Pyxis series uses Blackmagic’s Generation 5 colour science, for both natural and pleasing skin tones. Colour roll-off is exceptional, especially in highlights and, in Resolve, the camera couples beautifully with the workflow, for both accurate on-set monitoring and a smooth grading experience in post. As the sensor has a built-in optical low-pass filter, moiré is not an issue. It’s a Raw deal The Pyxis sticks to its highly efficient Blackmagic Raw (BRAW) codec that enables high-resolution capture at manageable bit rates. With multiple compression options from Q0 to 18:1, it offers flexibility for high-end finishing as well as proxy workflows. Colour and ISO adjustments can be made non-destructively in post, using DaVinci Resolve. There are no non-Raw camera formats like ProRes or 4:2:2 10-bit for quicker workflows. All you get is Raw, plus HD proxies for editing and a cloud-based workflow for when things are needed in a rush. It’s a shame that there’s no edit- ready format on board. Workflow will be a consideration, as file sizes in 12K are massive, even with BRAW compression. You’ll need solid storage and a fast computer. The camera records onto two CFexpress Type B card slots or onto
Don’t forget this small camera is chewing through 12K footage that is ten times the resolution of 4K. The sensor supports full downsampling in camera to 8K and 4K, maintaining the look even when you don’t need it, which is most users, most of the time. Quality wise, our tests show it’s better to record in 12K and downscale in post, but 12K affects the available frame rates and rolling shutter performance. So, you might want to compromise on the ultimate image quality to downscale in camera to 4K
at ISO 1600. The native ISO is rated at 800 to give an incredible 16 stops of dynamic range. The 125-3200 ISO range is limited, but shows that the camera likes lots of light. WHICH PYXIS IS RIGHT FOR YOU? Pyxis 6K:
6K maximum resolution 120fps frame rates in HD Better rolling shutter performance Cheaper Full-frame look without massive, data-heavy files
Pyxis 12K: 12K maximum resolution Best for reframing and VFX Highest image quality overall
More dynamic range Dual USB-C outputs
Choose Pyxis 6K for events, docs, handheld, fast-moving subjects Choose Pyxis 12K for cinema, music videos, ads, green screen, beauty work
DON’T LAG BEHIND The question is whether the quality benefit offsets the price difference
PIXEL PERFECT
12K resolution is a significant upgrade over 6K, which you can see in our test shots
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