GEAR
BLACKMAGIC DESIGN PYXIS 6K
“You can push Raw files around like nothing else... It’s an incredible-quality camera, and filmic looks are as good as your skills in Resolve”
a matte box with filters or a variable ND to get the exposure right. Blow your clone trumpet Although cinema versions of hybrid cameras usually unlock a lot of higher-quality options, the Pyxis is virtually a clone of the Pocket 6K in terms of spec. But that’s not a bad thing, as this includes many options, such as open gate 6K in 3:2 and 6:5 anamorphic. It shoots DCI 6K and 4K up to 60p as well as 120fps in 1080 HD, in Blackmagic Raw and simultaneous HD proxy recording for fast delivery, speedier post or cloud workflows. The headline 6K footage from the CMOS sensor comes in 3:2 format open gate in 12-bit Blackmagic Raw. This is an ideal format that captures everything and is great for cropping in post-production to widescreen or even vertical. However, if you shoot in 6K 3:2 the frame rate maxes out at 36fps, but drop to DCI 6K 17:9 and it’s 48fps, while in a 2.4:1 crop it’s 60fps. Go to DCI 4K and the max is 60fps, while a drop to Full HD brings 120fps. However, in everything but open gate the sensor is windowed, so there’s a crop factor. In DCI 6K widescreen there’s a small 1.05x crop, while in 4K 16:9 it’s a 1.65x crop which is significant. The 1920x1080 HD at 120fps has a huge 3.3x crop that’s ideal for wildlife or sports shooters, but for anything else needs a very wide lens. The sensor doesn’t offer the fastest readouts either, so fast pans will produce skewed verticals. Realistically, this cinema camera is for slower, more considered work, rather than a high-speed-action, run-and-gun machine.
The sensor retains the 13-stop dynamic range and dual native ISO which bases at 400 and 3200. The Pyxis chooses 400 base from ISO settings of 100-1000 then goes to the 3200 base setting for ISO 1250 up to 25,600. If you find yourself needing to select 1000 ISO, then it’s actually better to go up to 1250 ISO, since there’s an improvement in quality for low light. However, there is no way of adding noise reduction in camera and noise at low light does rear its head so needs work in post. Like we said when we tested the hybrid 6K mode, this isn’t king of the darkness, but a camera that likes decent light. In fact, you’ll spend more time in post as the camera shoots its high-quality footage exclusively in Blackmagic’s Raw format, so you need to use DaVinci Resolve. There are no edit-ready formats like ProRes in camera for quick workflows. The Pyxis does things its own way, like using Raw and Blackmagic’s Generation 5 colour science, as well as HD proxies for fast editing and a cloud-based workflow when things are really needed in a rush. The Pyxis uses two CFexpress Type B card slots, which are a welcome addition, especially with the large size of Raw files. As on all the brand’s cameras, you can select different Raw compression levels, from 3:1 to 12:1, or four quality levels from Q0 to Q4 for consistent quality at varying bit rates. Put in the time in post and you will be rewarded with footage that is detailed, colour-rich and flexible. You can push Raw files around like nothing else, making huge colour balance alterations and the flashiest
IN THE BIG LEAGUES This new 6K cinema camera is as good as any others of its calibre for producing those film-worthy shots
deep grades. This is an incredible- quality camera, and filmic looks are as good as your skills in Resolve. There are lots of gamma choices when shooting, such as a video setting for punchy looks, extended video for a wider dynamic range and a filmic look setting. There are some LUTs included and you can load your own too. Resolve also offers some digital image stabilisation, although there is a small crop. And there’s no built-in image stabilisation – more proof that this is a cinema camera – so is best used on a tripod or gimbal. Screen better days When it comes to handling, the large, four-inch HDR touchscreen is bright at 1500 nits, sits on the left side of the camera and can be used to change the settings and navigate the menus. It sits next to
POWER UP USB-C connectivity (below left) and the battery pack rig (below) come in handy for streaming and on location environments
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PRO MOVIEMAKER
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