Blackmagic Design has announced the PYXIS 12K Cinema Box Camera, a follow-up to the Blackmagic PYXIS 6K that was unveiled at NAB last year. The new 12K version features the same box design and form factor as the original Blackmagic PYXIS 6K, but with a larger sensor and increased resolution.
Sensor
The PYXIS 12K utilizes the same 12K large format sensor that is found in the URSA Cine 12K LF. Blackmagic states that the PYXIS 12K has 16 stops of dynamic range, which is the same as the URSA Cine 12K LF.
The new sensor has physical dimensions of 35.63 x 23.32mm with a horizontal resolution of 12,888 pixels and a vertical resolution of 8,040 pixels.
The large format sensor in the PYXIS 12K allows you to shoot in 3:2 open gate, and you can also use the large sensor area to shoot anamorphic and deliver in a range of aspect ratios with 1.3, 1.5, 1.6, 1.66, 1.8 and 2x de-squeeze factors. Plus, you can shoot in 4K, 8K or 12K using the entire sensor without cropping, retaining the full field of view of your lenses. There are even 9K Super 35 4-perf, 3-perf, and 2-perf modes for full compatibility with classic cinema lenses.
The unique feature of this full-frame 12K sensor is that features a multi-scale design with symmetrical color filters that allow in-sensor scaling. Now cinematographers can shoot in 12K, 8K or 4K at the full sensor size. They can simply choose the resolution for the job or the shot they want! VFX plates can be shot in 12K while documentaries can be shot in 8K or 4K for lower data rates. Plus, customers can also crop if they want a greater depth of field.
Blackmagic Design spent years developing this 12K sensor to help create the next generation of cinematography, so it had to have extremely high performance. When working in 8K 3:2 open gate you can capture up to 70 fps. When shooting in 12K 3:2 open gate, it can record up to 40 fps, or up to 60fps in 12K 2.4:1, and 50fps in 12K 17:9.
Shooting in 12K is fantastic as it enables color super sampling for better handling of fine image detail. Plus, the new 12K full frame sensor has the latest Blackmagic color science, which has been designed to be the perfect sensor for color grading in DaVinci Resolve. The color filters have been chosen specifically to match DaVinci Resolve’s image science and processing.
The 12K sensor is a good choice for shooting VFX plates where customers want to shoot wide but retain high resolution. It’s also suitable for shooting IMAX-style immersive content. The high-resolution sensor also allows interesting lens effects where customers can crop a specific part of the image for creative analog-style optical effects, but still be well above your delivery resolution. Even vintage Super16 lenses have high enough resolution to use.
Cinematographers can use the large sensor area to shoot anamorphic and deliver in a range of aspect ratios with 1.3, 1.5, 1.6, 1.66, 1.8, and 2x de-squeeze factors. There are even 9K Super 35 4-perf, 3-perf, and 2-perf modes for full compatibility with classic cinema lenses.
The table above shows the distribution of dynamic range above and below mid gray in the 12K and 9K recording formats. When shooting in 8K and 4K formats on PYXIS 12K and URSA Cine 12K LF, the image sensor runs in a different way and uses sensor hardware scaling, allowing you to capture in 8K or 4K without cropping down or changing your field of view at all. This gives you slightly smaller file sizes and also runs the sensor twice as fast. The following table shows the distribution when shooting in any of the 8K or 4K recording formats.
As you can see in the second table, when shooting in the 8K and 4K formats on the PYXIS 12K and URSA Cine 12K LF, the dynamic range distribution is effectively shifted by one stop for each given ISO setting compared to the 12K and 9K formats. While there is also a very small decrease in the total stops of dynamic range, there is more information in the shadows, but 1 stop less highlight headroom.
Frame Rates & Resolutions
The PYXIS 12K can record in all the same resolutions as the URSA Cine 12K LF, but as I mentioned earlier, the frame rates are basically about half.
Shooting Resolutions
12,288 x 8040 (12K 3:2 open gate)
12,288 x 6912 (12K 16:9)
12,288 x 6480 (12K 17:9)
12,288 x 5112 (12K 2.4:1)
9648 x 8040 (12K 6:5)
9408 x 6264 (9K 3:2)
8688 x 4896 (9K 16:9)
9312 x 4896 (9K 17:9)
9312 x 3864 (9K 2.4:1)
7680 x 6408 (9K 6:5)
8192 x 5360 (8K 3:2 open gate)
8192 x 4608 (8K 16:9)
8192 x 4320 (8K 17:9)
8192 x 3408 (8K 2.4:1)
6432 x 5360 (8K 6:5)
4096 x 2680 (4K 3:2 open gate)
4096 x 2304 (4K 16:9)
4096 x 2160 (4K 17:9)
4096 x 1704 (4K 2.4:1)
3216 x 2680 (4K 6:5)
Frame Rates
Project frame rates of 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 fps supported. Maximum sensor frame rate dependent on resolution selected.
High Frame Rates
12K (3:2 open gate) up to 40 fps
12K (16:9) up to 45 fps
12K (17:9) up to 50 fps
12K (2.4:1) up to 60 fps
12K (6:5) up to 40 fps
9K (3:2 Super 35) up to 50 fps
9K (16:9 Super 35) up to 65 fps
9K (17:9 Super 35) up to 65 fps
9K (2.4:1 Super 35) up to 80 fps
9K (6:5 Super 35) up to 50 fps
8K/4K (3:2 open gate) up to 72 fps
8K/4K (16:9) up to 84 fps
8K/4K (17:9) up to 90 fps
8K/4K (2.4:1) up to 112 fps
8K/4K (6:5) up to 72 fps
Generation 5 Color Science
Blackmagic Generation 5 Color Science features a new film curve designed to make full use of the massive amount of color data from the new URSA Cine sensor. This is claimed to deliver even better color response for more pleasing skin tones, and better rendering of highly saturated colors such as neon signs and car tail lights in high contrast scenes. Generation 5 Color Science informs complex Blackmagic RAW image processing, with color and dynamic range data from the sensor preserved via metadata for use in post production. It is compatible with all previously shot Blackmagic RAW files.
It doesn’t have the same recording capabilities as the URSA Cine 12 LF.
Unlike the URSA 12K LF, which can record to a Blackmagic Media Module 8TB, the PYXIS 12K only has CFExpress slots, so you are limited to what frame rates you can record in certain resolutions internally.
Blackmagic Design lists that the following CFexpress cards are recommended for recording to a single card.
The following CFexpress cards are recommended for recording to a single card 12K 3:2 (Open Gate) Blackmagic RAW 8:1 up to 45 fps:
Dual Gain ISO
The PYXIS 12K has an ISO of 200 to 3200 and is optimized for 800
Lens Mount Options
The Blackmagic PYXIS 12K is available in three models; however, the mounts are not swappable. You can choose between L-Mount, PL, or Locking EF lens mounts.
The L-Mount model works with the latest full frame lenses from Leica, Panasonic and Sigma, but can also accommodate lens adapters, allowing customers to use a wide variety of new and vintage lenses. The EF model lets customers use high-quality photographic lenses that customers already own from DSLRs or even Blackmagic Pocket Cinema Cameras. Or the PL model lets customers work with professional cinema lenses from Zeiss, ARRI, Cooke and more without needing an adapter.
With multiple mounting points and accessory side plates, it is relatively easy to configure the Blackmagic PYXIS 12K into the camera that fits your needs. PYXIS’ compact body is made from precision CNC machined aerospace aluminum, which makes it lightweight and very strong, making it usable on a range of camera rigs such as cranes, gimbals, or drones. In addition to the multiple 1/4″ and 3/8″ thread mounts on the top and bottom of the body, Blackmagic PYXIS has a range of side plates that further extend its ability to mount accessories such as handles, microphones, or even SSDs.
There are also numerous third-party companies that have already made cages and accessories for the PYXIS.
Built-In LCD
Many box cameras don’t have a very bright or easy-to-use LCD monitor. The 4″ high-resolution HDR touchscreen has 1500 nits, however, that screen does not flip out or move.
Its full HD resolution means you can frame and focus shots without needing an external monitor; however, you probably will still want one as the LCD doesn’t flip out.
Luckily, Blackmagic Design makes the PYXIS Monitor, which is probably a must-have option for this camera. The PYXIS Monitor is a 5″ HDR touchscreen monitor with full camera control.
What is nice is that it provides the same controls and overlays as the built-in LCD on the Blackmagic PYXIS 12K/6K cameras. It features multiple mounting points, making it easy to attach to any camera rig. Having a 5″ HDR touchscreen monitor with full camera control makes a lot of sense for this camera, and it is sure to broaden its appeal.
Key features
- 5″ HDR touchscreen monitor with full camera control.
- Multiple mounting points on top and bottom.
- All video, power and camera control via a single USB-C connection
- Removable sunshade for improved visibility
- Built in tally light
- 3 user assignable buttons for quick access to functions.
- Built in accelerometer for image orientation
- Available as monitor only, monitor with PYXIS Monitor Mount, or monitor with EVF mount.
The Blackmagic PYXIS Monitor is more than just an adjustable high-brightness monitor, it’s a powerful extension of the camera with a touchscreen so customers can control all of the camera’s features.
When recording, the monitor has a bright tally light that’s easy to see from a distance. The monitor has a claimed brightness of 1500 nits and a removable sunshade.
The included USB cable can be used to power the monitor from the camera and this also passes the data that allows you to access all the PYXIS 6K camera settings and menus. That means you get power, live video, record controls, menus, metadata and camera settings, all through a single USB connection.
There are also 3 customizable buttons for access to zebra, focus assist, false color, etc.
The Blackmagic PYXIS monitor can also be purchased with the PYXIS Mount, which is a clutch-based mount that lets you adjust the monitor without unbolting the mount. Plus, the mount is very short, so the monitor is positioned closer to the camera.
There is also a PYXIS EVF Adapter available that lets the monitor mount onto the Blackmagic URSA Cine EVF mounting hardware so you can use it as a very large screen viewfinder. This is a good solution for documentary shooters.
The Blackmagic PYXIS Monitor also works with the URSA Cine. When mounted onto URSA Cine, the Blackmagic PYXIS Monitor can be used as an additional crew monitor or as a large screen viewfinder. Just as with Blackmagic PYXIS, URSA Cine supports the same USB-C connection that carries all video, power, and camera control via a single cable. There will be 3 separate configurations available for the Blackmagic PYXIS Monitor, depending on how you plan on mounting it.
Design
The PYXIS 12K features a logical design that puts important functions such as ISO, WB, and shutter at your fingertips with both touchscreen and physical controls. A row of 3 customizable function buttons means you don’t have to go hunting through a messy menu on a tiny screen to find a command. The controls can even be locked to avoid accidentally changing settings during a shot or when the camera is out of reach on a rig.
The standard plate included with Blackmagic PYXIS 12K is made from the same aircraft-grade aluminum as the camera body and features two 1/4″ thread mounts and one 3/8″ thread mount, allowing customers to add microphones, brackets, or other accessories. Customers can also attach the included SSD plate, which offers a convenient location to securely attach a USB-C drive for recording or even a mobile phone for live streaming.
Media
The Blackmagic PYXIS 12K features two built-in CFexpress card recorders and a USB-C expansion port for recording directly to external flash media disks or an SSD. CFexpress media are more durable and faster than even older media, so they are perfect for recording full-resolution, 12-bit Blackmagic RAW files. Plus, with dual CFexpress slots, you can keep recording because they can hot-swap full cards without stopping.
Storage Type
1 x CFexpress Type B
1 x high speed USB-C expansion port for external media.
Storage Rates
Storage rates based on 24 frames per second.
12K – 12,288 x 8040
Blackmagic RAW 3:1 – 1,194 MB/s
Blackmagic RAW 8:1 – 448 MB/s
Blackmagic RAW 12:1 – 298 MB/s
Blackmagic RAW 18:1 – 199 MB/s
Blackmagic RAW Q0 – 298 to 1,432 MB/s
Blackmagic RAW Q1 – 179 to 716 MB/s
Blackmagic RAW Q3 – 119 to 298 MB/s
Blackmagic RAW Q5 – 90 to 224 MB/s
9K – 9408 x 6264
Blackmagic RAW 3:1 – 713 MB/s
Blackmagic RAW 8:1 – 268 MB/s
Blackmagic RAW 12:1 – 178 MB/s
Blackmagic RAW 18:1 – 119 MB/s
Blackmagic RAW Q0 – 178 to 856 MB/s
Blackmagic RAW Q1 – 107 to 428 MB/s
Blackmagic RAW Q3 – 71 to 178 MB/s
Blackmagic RAW Q5 – 54 to 134 MB/s
8K – 8192 x 5360
Blackmagic RAW 3:1 – 533 MB/s
Blackmagic RAW 5:1 – 320 MB/s
Blackmagic RAW 8:1 – 200 MB/s
Blackmagic RAW 12:1 – 133 MB/s
Blackmagic RAW Q0 – 133 to 319 MB/s
Blackmagic RAW Q1 – 80 to 200 MB/s
Blackmagic RAW Q3 – 53 to 133 MB/s
Blackmagic RAW Q5 – 40 to 100 MB/s
4K – 4096 x 2680
Blackmagic RAW 3:1 – 135 MB/s
Blackmagic RAW 4:1 – 101 MB/s
Blackmagic RAW 5:1 – 81 MB/s
Blackmagic RAW 6:1 – 68 MB/s
Blackmagic RAW Q0 – 34 to 81 MB/s
Blackmagic RAW Q1 – 20 to 50 MB/s
Blackmagic RAW Q3 – 13 to 34 MB/s
Blackmagic RAW Q5 – 10 to 25 MB/s
Recording Formats
Blackmagic RAW 3:1, 8:1, 12:1, 18:1, Q0, Q1, Q3 and Q5 at full sensor width or height resolutions: 12,288 x 8,040, 12,288 x 6,912, 12,288 x 6,480, 12,288 x 5,112 and 9,648 x 8,040 with film, extended video or video dynamic range or custom 3D LUT embedded in metadata plus simultaneous recording of H.264 1920 x 1080 Proxies.
Blackmagic RAW 3:1, 8:1, 12:1, 18:1, Q0, Q1, Q3 and Q5 at Super 35 windowed sensor resolutions: 9,408 x 6,264, 8,688 x 4,896, 9,312 x 4,896, 9,312 x 3,864 and 7,680 x 6,408 with film, extended video or video dynamic range or custom 3D LUT embedded in metadata plus simultaneous recording of H.264 1920 x 1080 Proxies.
Blackmagic RAW 3:1, 5:1, 8:1, 12:1, Q0, Q1, Q3 and Q5 at full sensor width or height scaled to: 8,192 x 5,360, 8,192 x 4,608, 8,192 x 4,320, 8,192 x 3,408 and 6,432 x 5,360 with film, extended video or video dynamic range or custom 3D LUT embedded in metadata plus simultaneous recording of H.264 1920 x 1080 Proxies.
Blackmagic RAW 3:1, 4:1, 5:1, 6:1, Q0, Q1, Q3 and Q5 at full sensor width or height scaled to: 4,096 x 2,680, 4,096 x 2,304, 4,096 x 2,160, 4,096 x 1,704 and 3,216 x 2,680 with film, extended video or video dynamic range or custom 3D LUT embedded in metadata plus simultaneous recording of H.264 1920 x 1080 Proxies.
Constant Quality storage rates quoted are indicative only.
Actual storage rates are entirely dependent on image subject matter.
Size & Weight
The camera weighs in at 3.3 lb / 1.49 kg.
Cloud Options
When uploading to Blackmagic Cloud, you can use an Apple or Android phone to get a connection to the internet via mobile data. Simply connect the phone to the USB-C port and Blackmagic PYXIS 12K will configure for mobile data. Plus it works with the latest high speed 5G phones, as well as 4G phones! You can also connect via wired Ethernet using the camera’s Ethernet port. This lets you get your media out as you shoot so post-production teams anywhere in the world can start work in real time! Plus on set grading can be done in a grading suite and synced back to DaVinci on set.
Blackmagic URSA Cine EVF
Blackmagic PYXIS 12K supports the optional Blackmagic URSA Cine EVF to make outdoor and handheld shooting much easier. You get an integrated high-quality 1920 x 1080 color OLED display with built in proximity sensor, 4 element glass diopter for incredible accuracy with a wide focus adjustment.
IO
The Blackmagic PYXIS 12K features a wide range of connections for audio, monitoring, power, and more. The camera includes a 12G-SDI out for monitoring with support for HDR and Ultra HD output. That means customers can connect an SDI display for on-set monitoring of images, with or without overlays that show critical information and camera status. SDI allows for much longer cable runs than HDMI, making it easier to reach monitors that are further away on set. There is also now a 10G Ethernet port.
Connections
Total Video Outputs
- 1 x 12G-SDI up to 2160p60
- 1 x Viewfinder USB-C with power, data, video and locking connector.
Analog Audio Inputs
- 1 x mini XLR analog audio in, switchable between mic with phantom power support and line level (up to +14dBu).
- 1 x 3.5mm Stereo Input.
Analog Audio Outputs
- 1 x 3.5mm headphone jack.
Reference Inputs
- Tri-Sync/Black Burst and Timecode.
Computer Interface
- USB Type-C for external drive recording,
- PTP camera control and software updates.
Ethernet
- 1 x 10Gb/s RJ‑45 connector supporting 10/100/1000/10G BASE‑T.
Blackmagic PYXIS features a built hardware streaming engine that supports RTMP and SRT streaming to YouTube, Facebook, X and more. For internet access, customers have two options: one to connect via Ethernet, or customers can connect to a 4G or 5G phone for mobile data. As the streaming is built into the camera, you can see the stream status and data rate in the viewfinder and the LCD.
Analog Audio Inputs
The camera only has one mini XLR audio input that is switchable between mic with phantom power and supports line level (up to +14dBu). The second channel is a 3.5mm Stereo Input. It’s not great, but at least you have two channels. With the popularity of products such as the RODE Wireless Pro, you can get a tiny wireless setup and use the RODE to mix two channels in the settings. Not ideal, but possible.
Battery Option
The PYXIS 12K uses the popular and fairly inexpensive Sony-type BP-U battery. It can be powered externally with a 12V power supply and has a 1×2-pin locking connector.
Includes DaVinci Resolve Studio
The PYXIS 12K includes a full version of DaVinci Resolve Studio. You get the world’s most advanced solution that combines professional editing, color correction, audio post, and visual effects all in one software tool.
Availability and Price
Blackmagic PYXIS 12K will be available in June from $4,995 USD, excluding duties, from Blackmagic Design resellers worldwide. It is available in ARRI PL, Canon EF, and Leica L mounts.
Thoughts
Blackmagic Design is always full of surprises, and I am not sure many people were expecting this announcement. Given all the time and money Blackmagic Design has invested in the 12K LF sensor, it does make financial sense for them to put it into other cameras. The box camera design is popular, and Blackmagic Design has packed a lot of impressive features into a compact box-style camera at an incredibly competitive price.
The camera doesn’t have internal ND, and you can’t record in anything other than Blackmagic RAW. This will make it unsuitable for certain types of work depending on what you do.
Blackmagic Design continues to swing for the fences, and they aren’t afraid to use technology from some of their more expensive offerings in lower-cost cameras.
