This is such an honest and non biased perspective of Blackmagic and the Pyxis. As a film community, we really need to disconnect from the technical wars that camera manufacturers are trying to impose on us. At the end of the day, what makes Blackmagic stand out is that it’s not about the dollar or hype and make great products that are easily accessible for all filmmakers at great price points. Thank you for this review 🙏🏾
Spot on. I have the same gripe with Sony. The lack of open gate and anamorphic support features. I haven't totally switched eco systems, but I did purchase a Pyxis 6K to pair with my Blazar 2X anamorphic set. I have 1.6X E Mount anamorphic lenses for my Sony cameras, but without the open gate features I haven't been able to realize the full potential of those lenses. Great content...👌🏽
Yeah, it's gonna be an interesting and exciting next 5 years in the camera space. At some point, giants like Sony are going to have to stop gatekeeping to keep up with the likes of Panasonic and BMD. Competition is good for us as shooters!
I work at a physics and engineering company. They have the actual tools and resources for texting dynamic range. I asked if could bring in some cameras and test and we made a whole event of it. We had my Pyxis, my buddy’s Red Komodo X, an fx6, fx3, and S52. The dynamic range between those cameras is extremely close with RED boasting numbers but being closer to a little under 14 stops. And the thing is you can see this in a lot of tests online where people compare footage. A lot of it comes down to lighting and post grading. That’s it.
First of all, that is awesome haha. Sounds like fun! Thanks for sharing, I think myself and a lot of others spend too much time comparing the marketing numbers when the reality is pretty much any modern sensor camera with log shooting capabilities can retain enough dynamic for all but the upper echelon of cinema
I also switched from Sony back in 2020. I do have an a7siii which is more expensive than my bmpcc4k, but it stays in the bag 90% of the time. I really like that Blackmagic still updates my old Pocket camera on regular basis. Completely without any warning, we suddenly had firmware updates that gave us BRAW, Gyro Stabilization, cloud sync etc. And BMD still keep updating the camera features even though it was released in 2018. They really care about their consumers. Meanwhile a7siii (which was Sony's hybrid video flagship at some point) just gets forgotten and has no significant firmware updates. Got my Pyxis yesterday and waiting for the monitor, seems like a fun platform to work with once all 3rd party manufacturers release their cages and accessories.
Yeah Sony really needs to step up their update pace and support. I think what Blackmagic has done almost perfectly is they have kept their cameras consistent since the OG BMPCC4K. No design overhauls to the menus, body styles and display aspects are similar, etc. I guess they have the advantage of making cameras that are strictly videocentric, so maybe that makes it easier, and the differences between each model have been relatively small in terms of features and capabilities, but Sony has pissed off a lot of people with their lack of support for what is STILL their video hybrid flagship (wouldn't consider the FX3 a hybrid solely considering it's lack of an EVF). It's pretty ridiculous. I'm hoping they are forced by loss of market share to innovate once again and focus on their consumers, but if they don't, they can only hold on to fanboys like me for so long haha.
@@Gloryvisuals Sony is great on innovation if you want to change camera all the time. Their every new camera release is great. But if you want to keep your Sony for many years(because its an expensive investment, lets be honest), you will be forgotten. Whatever their next release is, even if its a entry level cam, it will most likely have some better software features than your flagship.
Plus highligh recovery in DaVinci is a game changer too. I think they have the best cinema camera lineup in the industry now. Ready to take on arri with the new 12/17k cameras. If a company controls the production of the sensors, the codec, and the editing/colour grading tech it’s a win too.
@@Gloryvisuals the beauty of highlight recovery is a long as it doesn't miscolor the highlights, it can extend the dynamic range by about a stop or two. Red cameras have it on by default, which is why in cine-d charts one will almost always see the channels skewed so that the highlight recovery stops stand out. This can be really useful outside as it can bring cloud detail and even the sun back from being clipped in some situations. It can work on skin to a lesser degree, but when one gets into really saturated colors that's when it tens to fail; however, most of the time the highlights are going to be the lights or whitest objects of a given scene, particularly if one is trying to expose correctly. It really can give one a little more DR play room in the right situations, but it requires one to do a little experimenting to really take advantage of unless one is trying to salvage a shot that was accidentally clipped.
Man, you put it all out so nicely. Well done. I do like that there is getting more voices on RUclips in our film making niche. I know that knowledge and usable tips we can give to the community all around the globe is very important. I was a bit hesitant over the years to step into this youtube world, but here I am, and I support others that do great job like you. Keep on rolling Bro!. Cheers!
i even have the 2.5k and no complaint about it. people love to complaint instead of knowing its strength. currently i have the ursa g1, i love that camera until now. anyways im gonna get this pyxies in the future
That’s simply because they both have a 12bit ADC, and you can’t really get more than 12 stops out of them. Sony, like most companies use the assumed maximum DR or the sensor in advertising. So technically, with a good LOG gamma you should be able to get more usable stops, but practically that doesn’t really happen.
Just got the pyxis! Waiting for some parts before I can use it though. Interested in your opinion on the low light capabilities of the pyxis since you're used to working with Sony cameras.
Yeah the only bummer with the Pyxis that's kinda sneaky is the fact that you absolutely HAVE to order batteries, a handle and a monitor to make it even useable. So realistically it's $3600+ if it's your first camera. I believe it's marketed towards people who already have most of these things, so it's smart but deceiving for people looking to jump in from a mirrorless camera running body-only.
I'm working on a V-Mount plate for the Pyxis as we speak. Mines fits and work perfectly but I modified 2 Sony FX6 V-Mount adapters to make one. Hopefully I can partner with someone to make it accessible to everyone that needs it.
Not a dumb question! Let me get permission from the client to link it in the description and I’ll let you know when that happens! I plan on making more content around this camera too, so I’ll also include some example footage from this project in future videos
Sony’s lack of open gate is a the biggest bummer. I’ve been pro Sony since 2001 and this is a bigger deal than internal raw for me. At this point there is no excuse.
It really is. And we can clearly no longer say it's a hardware limitation when you have cameras like the S5II delivering almost 6K open gate at half the price of an FX3, and considering the readout speeds of the FX3/6. The FX3/6 with open gate would immediately become the most popular cameras as their rolling shutter would perform much better than other cameras in the class. Honestly, I find the 10-bit internal codec in the FX6 to hold up really well, even against the Pyxis - especially considering the massive reduction in file size. That said, I'd take a 12-bit RAW Lite like the Burano for sure.
Not just that but gatekeeping necessary filmmaking tools behind either long-to-release updates or weird upgrade options to access features you need. BM cameras typically share all tools across the board minus frame rates and IO options. That’s the little annoyances that come with Sony.
Most cameras, apart from Arri, feature an A/D converter that restricts dynamic range to between 10 and 14 stops, with claims beyond this range often being an exageration or false.
That's great to know! Is that an imposed limitation or just a limitation of the hardware? Would be nice for more cameras to extend to ARRI levels in the DR department.
I mostly use my FX6 and FX3 for "money" jobs. My Pyxis is my "sunday car". You are just way slower working with BM cameras. But in the end I like both systems for what they are.
This is a PERFECT way of putting it. The FX6 is a daily driver, the Pyxis is more of a specialty tool. Although I'd say for a commercial job working with the Pyxis on a dolly or sticks actually was as fast if not faster because of the better playback and clip review process. I think for events and/or weddings it's definitely clunkier but if you're running handheld and pulling manual focus yourself, it's about the same as the FX6 in my opinion!
Just curious. For someone who is not at your filmmaking level i can understand the concerns. But you seem to be pretty experienced. How were you still concerned? I mean let's talk about some of the points. 1. DR: Blackmagic is around for some time with their cameras. They are known to be reserved with their Dynamic Range numbers. Just like Porsche does with Horsepower numbers for example. 2. Internal ND. Fair point. But as you mentioned you were gonna use the adapter anyways. What are your opinions about the lack of more forms of autofocus like RED offers. Or what is your experience with the noise levels from 400 ISO and upwards. Is 6K resolution future proof enough or will the camera be used for a shorter time period?
Thanks for the response! I would consider myself experienced but honestly, I've been using Sony cameras for so long and my only real experience stepping outside of the ecosystem was a short stint with an URSA Mini Pro G2. I was so convinced it would be just WAY better and after shooting a couple projects on it, I was extremely unimpressed so we sold it. I was concerned that would be the same case with the Pyxis. With systems like the DJI LiDar hitting the market I'm less concerned with autofocus capabilities, and that's where the Pyxis' price point really shines - it's a camera we could afford to add to our arsenal without having to sell our entire kit and giving up things like autofocus and internal NDs. If I am shooting a project that calls for autofocus, it's likely the FX6 or FX3 is the right camera for the job. But on projects that afford more crew and time or call for anamorphics or other cinema lenses, the Pyxis has it's spot and I'm confident now that it can do that better than Sony's offerings up to the Burano/Venice (which mind-blowingly even the Burano can't shoot open gate). I haven't shot anything above 400ISO yet, and honestly I'm hoping I never have to. Image at 400ISO is clean if properly exposed. Looking at the display even at 1250ISO where the second gain circuit kicks in, it seems to be as noisy as the 12800ISO on the FX6. Another instance where if I'm needing extreme low-light performance, I'd pick up the FX cameras over the Pyxis. I personally think 4K is still plenty of resolution for anyone in our line of work, and am hoping the next Pyxis / Pyxis Pro is an 8K sensor with the ability to shoot full-width 4K (like the tech in the 12K) which I would do 99% of the time. I think the diminishing returns really start kicking in at 4K with maybe the exception for theatre-screen delivery. 6K Braw eats a LOT of data, like around 5-10 times that of the internal 10-bit on the FX6, so it really doesn't make sense for a lot of projects. Hope this all makes sense. Thanks for watching! :)
@@Gloryvisuals Not just DJi Focus Pro LiDar system, PD Movie Lidar system ($289 USD, Amazon. I bought one, it's on the way) is an alternative with good comments for autofocus, both useful if you have cinema and anamorphic lenses.
Idk, I think they look pretty good. And getting better all the time. For a low-budget project, spending hundreds or thousands of dollars on rentals doesn’t often make sense. I agree they CAN be overused. But “overused” to me can also be just another way of saying “these should only be used on high-budget productions because they traditionally have been expensive and unaccessible” which is antiquated thinking in my opinion. Either way, thanks for watching and giving your input!
Who gives a fuck what u think ??? These days is not about the camera anymore, I can show you footage shot with the S5II X that looks just the same, if not better.
Dang dog coming in hot with the hatred 😂 thanks for the algorithm boost, clearly people care about making informed decisions around here. Also, most of these points are centered around things that aren’t image quality. Have a great day!
![Overrated: Camera features that don't matter [ft Gerald Undone]](http://i.ytimg.com/vi/SlLbkeNH9to/mqdefault.jpg)
![Overrated: Camera features that don't matter [ft Gerald Undone]](/img/tr.png)
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
This is such an honest and non biased perspective of Blackmagic and the Pyxis. As a film community, we really need to disconnect from the technical wars that camera manufacturers are trying to impose on us. At the end of the day, what makes Blackmagic stand out is that it’s not about the dollar or hype and make great products that are easily accessible for all filmmakers at great price points.
Thank you for this review 🙏🏾
Amen to that! Thanks for watching
The main point is the price-to-value offering. This is where the Pyxis shines
Could not agree more!
Blackmagic is slowly becoming the best camera company in the world
True innovators for sure!
Spot on. I have the same gripe with Sony. The lack of open gate and anamorphic support features. I haven't totally switched eco systems, but I did purchase a Pyxis 6K to pair with my Blazar 2X anamorphic set. I have 1.6X E Mount anamorphic lenses for my Sony cameras, but without the open gate features I haven't been able to realize the full potential of those lenses. Great content...👌🏽
Yeah, it's gonna be an interesting and exciting next 5 years in the camera space. At some point, giants like Sony are going to have to stop gatekeeping to keep up with the likes of Panasonic and BMD. Competition is good for us as shooters!
@@Gloryvisuals Preach
I work at a physics and engineering company. They have the actual tools and resources for texting dynamic range. I asked if could bring in some cameras and test and we made a whole event of it. We had my Pyxis, my buddy’s Red Komodo X, an fx6, fx3, and S52. The dynamic range between those cameras is extremely close with RED boasting numbers but being closer to a little under 14 stops. And the thing is you can see this in a lot of tests online where people compare footage. A lot of it comes down to lighting and post grading. That’s it.
First of all, that is awesome haha. Sounds like fun! Thanks for sharing, I think myself and a lot of others spend too much time comparing the marketing numbers when the reality is pretty much any modern sensor camera with log shooting capabilities can retain enough dynamic for all but the upper echelon of cinema
I also switched from Sony back in 2020. I do have an a7siii which is more expensive than my bmpcc4k, but it stays in the bag 90% of the time.
I really like that Blackmagic still updates my old Pocket camera on regular basis. Completely without any warning, we suddenly had firmware updates that gave us BRAW, Gyro Stabilization, cloud sync etc. And BMD still keep updating the camera features even though it was released in 2018. They really care about their consumers.
Meanwhile a7siii (which was Sony's hybrid video flagship at some point) just gets forgotten and has no significant firmware updates.
Got my Pyxis yesterday and waiting for the monitor, seems like a fun platform to work with once all 3rd party manufacturers release their cages and accessories.
Yeah Sony really needs to step up their update pace and support. I think what Blackmagic has done almost perfectly is they have kept their cameras consistent since the OG BMPCC4K. No design overhauls to the menus, body styles and display aspects are similar, etc. I guess they have the advantage of making cameras that are strictly videocentric, so maybe that makes it easier, and the differences between each model have been relatively small in terms of features and capabilities, but Sony has pissed off a lot of people with their lack of support for what is STILL their video hybrid flagship (wouldn't consider the FX3 a hybrid solely considering it's lack of an EVF). It's pretty ridiculous.
I'm hoping they are forced by loss of market share to innovate once again and focus on their consumers, but if they don't, they can only hold on to fanboys like me for so long haha.
@@Gloryvisuals Sony is great on innovation if you want to change camera all the time. Their every new camera release is great.
But if you want to keep your Sony for many years(because its an expensive investment, lets be honest), you will be forgotten.
Whatever their next release is, even if its a entry level cam, it will most likely have some better software features than your flagship.
Plus highligh recovery in DaVinci is a game changer too.
I think they have the best cinema camera lineup in the industry now. Ready to take on arri with the new 12/17k cameras.
If a company controls the production of the sensors, the codec, and the editing/colour grading tech it’s a win too.
Haven't needed to use highlight recovery just yet, but I'm sure I'll run into a situation soon where I will. Excited to try it out!
@@Gloryvisuals the beauty of highlight recovery is a long as it doesn't miscolor the highlights, it can extend the dynamic range by about a stop or two. Red cameras have it on by default, which is why in cine-d charts one will almost always see the channels skewed so that the highlight recovery stops stand out. This can be really useful outside as it can bring cloud detail and even the sun back from being clipped in some situations. It can work on skin to a lesser degree, but when one gets into really saturated colors that's when it tens to fail; however, most of the time the highlights are going to be the lights or whitest objects of a given scene, particularly if one is trying to expose correctly. It really can give one a little more DR play room in the right situations, but it requires one to do a little experimenting to really take advantage of unless one is trying to salvage a shot that was accidentally clipped.
Man, you put it all out so nicely. Well done. I do like that there is getting more voices on RUclips in our film making niche. I know that knowledge and usable tips we can give to the community all around the globe is very important. I was a bit hesitant over the years to step into this youtube world, but here I am, and I support others that do great job like you. Keep on rolling Bro!. Cheers!
Thank you for watching and commenting! Cheers!
i even have the 2.5k and no complaint about it. people love to complaint instead of knowing its strength. currently i have the ursa g1, i love that camera until now. anyways im gonna get this pyxies in the future
I love the image from this camera.
Same. It's pretty great!
That’s simply because they both have a 12bit ADC, and you can’t really get more than 12 stops out of them. Sony, like most companies use the assumed maximum DR or the sensor in advertising. So technically, with a good LOG gamma you should be able to get more usable stops, but practically that doesn’t really happen.
People are starting rise up against Sony's bullshit and its so amazing to see
nice video! love the Pyxis.
Thank you! Same!
Opengate is the main reason why I left my Red and Sony ecosystems. The Pyxis's ability to give us the "full" frame is the best thing ever!
The difference in color grading between the a-roll and b-roll, is throwing me off.
Just got the pyxis! Waiting for some parts before I can use it though. Interested in your opinion on the low light capabilities of the pyxis since you're used to working with Sony cameras.
Yeah the only bummer with the Pyxis that's kinda sneaky is the fact that you absolutely HAVE to order batteries, a handle and a monitor to make it even useable. So realistically it's $3600+ if it's your first camera. I believe it's marketed towards people who already have most of these things, so it's smart but deceiving for people looking to jump in from a mirrorless camera running body-only.
Excellent overview! Definitely looking to upgrade from my Pocket 4k!
Earned a sub!
@@MtZionMediaPro Thank you so much!! Glad to have ya here! :)
I'm working on a V-Mount plate for the Pyxis as we speak. Mines fits and work perfectly but I modified 2 Sony FX6 V-Mount adapters to make one. Hopefully I can partner with someone to make it accessible to everyone that needs it.
Please do!! I’ll be your first customer :) haha
Great video!
Welcome to the party!
Thank you! 💪🏼
This might be a dumb question but, how do we watch you paid client video shot with the Pyxis?
Not a dumb question! Let me get permission from the client to link it in the description and I’ll let you know when that happens!
I plan on making more content around this camera too, so I’ll also include some example footage from this project in future videos
Bro made me a believer
Haha thanks for watchin!
Sony’s lack of open gate is a the biggest bummer. I’ve been pro Sony since 2001 and this is a bigger deal than internal raw for me. At this point there is no excuse.
It really is. And we can clearly no longer say it's a hardware limitation when you have cameras like the S5II delivering almost 6K open gate at half the price of an FX3, and considering the readout speeds of the FX3/6. The FX3/6 with open gate would immediately become the most popular cameras as their rolling shutter would perform much better than other cameras in the class.
Honestly, I find the 10-bit internal codec in the FX6 to hold up really well, even against the Pyxis - especially considering the massive reduction in file size. That said, I'd take a 12-bit RAW Lite like the Burano for sure.
Not just that but gatekeeping necessary filmmaking tools behind either long-to-release updates or weird upgrade options to access features you need. BM cameras typically share all tools across the board minus frame rates and IO options. That’s the little annoyances that come with Sony.
Most cameras, apart from Arri, feature an A/D converter that restricts dynamic range to between 10 and 14 stops, with claims beyond this range often being an exageration or false.
That's great to know! Is that an imposed limitation or just a limitation of the hardware? Would be nice for more cameras to extend to ARRI levels in the DR department.
@@Gloryvisuals It's a hardware limitation, as explained by a very knowledgeable expert on a RUclips channel I watched, I don't remember his channel
I mostly use my FX6 and FX3 for "money" jobs. My Pyxis is my "sunday car". You are just way slower working with BM cameras. But in the end I like both systems for what they are.
This is a PERFECT way of putting it. The FX6 is a daily driver, the Pyxis is more of a specialty tool. Although I'd say for a commercial job working with the Pyxis on a dolly or sticks actually was as fast if not faster because of the better playback and clip review process. I think for events and/or weddings it's definitely clunkier but if you're running handheld and pulling manual focus yourself, it's about the same as the FX6 in my opinion!
@@Gloryvisuals You are right! With a crew and planned scenarios the PYXIS really shines. And big plus BM makes the best menus besides ARRI :)
Just curious. For someone who is not at your filmmaking level i can understand the concerns. But you seem to be pretty experienced. How were you still concerned? I mean let's talk about some of the points. 1. DR: Blackmagic is around for some time with their cameras. They are known to be reserved with their Dynamic Range numbers. Just like Porsche does with Horsepower numbers for example. 2. Internal ND. Fair point. But as you mentioned you were gonna use the adapter anyways.
What are your opinions about the lack of more forms of autofocus like RED offers. Or what is your experience with the noise levels from 400 ISO and upwards. Is 6K resolution future proof enough or will the camera be used for a shorter time period?
Thanks for the response! I would consider myself experienced but honestly, I've been using Sony cameras for so long and my only real experience stepping outside of the ecosystem was a short stint with an URSA Mini Pro G2. I was so convinced it would be just WAY better and after shooting a couple projects on it, I was extremely unimpressed so we sold it. I was concerned that would be the same case with the Pyxis.
With systems like the DJI LiDar hitting the market I'm less concerned with autofocus capabilities, and that's where the Pyxis' price point really shines - it's a camera we could afford to add to our arsenal without having to sell our entire kit and giving up things like autofocus and internal NDs. If I am shooting a project that calls for autofocus, it's likely the FX6 or FX3 is the right camera for the job. But on projects that afford more crew and time or call for anamorphics or other cinema lenses, the Pyxis has it's spot and I'm confident now that it can do that better than Sony's offerings up to the Burano/Venice (which mind-blowingly even the Burano can't shoot open gate).
I haven't shot anything above 400ISO yet, and honestly I'm hoping I never have to. Image at 400ISO is clean if properly exposed. Looking at the display even at 1250ISO where the second gain circuit kicks in, it seems to be as noisy as the 12800ISO on the FX6. Another instance where if I'm needing extreme low-light performance, I'd pick up the FX cameras over the Pyxis.
I personally think 4K is still plenty of resolution for anyone in our line of work, and am hoping the next Pyxis / Pyxis Pro is an 8K sensor with the ability to shoot full-width 4K (like the tech in the 12K) which I would do 99% of the time. I think the diminishing returns really start kicking in at 4K with maybe the exception for theatre-screen delivery. 6K Braw eats a LOT of data, like around 5-10 times that of the internal 10-bit on the FX6, so it really doesn't make sense for a lot of projects.
Hope this all makes sense. Thanks for watching! :)
@@Gloryvisuals Thank you for your time with this amazingly detailed reply 🤝
@@robin-comments Of course! Always appreciate the dialog!
@@Gloryvisuals Not just DJi Focus Pro LiDar system, PD Movie Lidar system ($289 USD, Amazon. I bought one, it's on the way) is an alternative with good comments for autofocus, both useful if you have cinema and anamorphic lenses.
The "buy to own" anamorphics are not great, and are becoming inappropriately overused. Rent good ones where appropriate people.
Idk, I think they look pretty good. And getting better all the time. For a low-budget project, spending hundreds or thousands of dollars on rentals doesn’t often make sense.
I agree they CAN be overused. But “overused” to me can also be just another way of saying “these should only be used on high-budget productions because they traditionally have been expensive and unaccessible” which is antiquated thinking in my opinion.
Either way, thanks for watching and giving your input!
Who gives a fuck what u think ??? These days is not about the camera anymore, I can show you footage shot with the S5II X that looks just the same, if not better.
Dang dog coming in hot with the hatred 😂 thanks for the algorithm boost, clearly people care about making informed decisions around here. Also, most of these points are centered around things that aren’t image quality. Have a great day!
Praise Jesus
It's cheap enough to by just for fun. Flip if you don't like. Trying hard not to make a glory Hole joke. I guessing kinda failed.
I knew you clowns were wrong all the content creators have no clue.
Haha am I a part of the clown group?