Camera announcement after camera announcement, Blackmagic Design has delivered user-desired features like resolution, dynamic range, and raw recording to the filmmaking world in sometimes quirky camera bodies. I’m looking at you, Blackmagic Cinema Camera. The PYXIS 6K is their latest camera in a far less quirky and more user-friendly mid-sized box-style camera.

Over two weeks of testing this camera across multiple shoots, including a personal test shoot with my daughter, I’ve had the opportunity to explore its features, advantages, and a few shortcomings. The glaringly obvious thing must come first: Blackmagic is going to sell an absolute sh@# ton of PYXIS cameras. There are too many features at this price point, $2,995.00, for shooters to ignore. Here is a quick minute-long video showing the PYXIS and some of what I shot with it.

Build and Design

With the PYXIS 6K, Blackmagic introduces a new camera design that is a significant improvement over the Pocket Cinema Camera style. Unlike its predecessor, which often felt closer to a DSLR, the PYXIS 6K camera feels closer to a high-end camera, screaming to be rigged for any shooting situation. Same 6K sensor in a whole new body. Kind of like Steve Guttenberg in the 1990 film “Don’t Tell Her It’s Me.” You have to love a good/bad movie from the 90s. The link to the trailer can be found here.

The Blackmagic PYXIS 6K camera is sturdy with a more traditional box-like design. Its compact body is made from aerospace aluminum, making it lightweight and strong. But this camera is not weather-proof – not at all. Don’t run out into the rain with the PYXIS if you don’t have a rain cover for it.

When one looks at the PYXIS, one will see the multiple 1/4″ and 3/8″ thread mounts on the top and bottom of the body and even on the right side of the camera. I think Blackmagic knows cameras no longer live on tripods. Instead, cameras bounce from gimbals, car mounts, jibs, and just about any place a shooter can think to put the PYXIS. The more mounting options, the more likely the camera will be utilized in new and different ways.

One of the standout features for lasting durability is the inclusion of locking screws for the EVF and Monitor cables. The cable powering the EVF is the weakest piece of a camera. Placing locking screws on these connections is a massive win for professionals, as it prevents accidental disconnections and protects the connection ports from wear and tear due to repeated use. However, it’s important enough for me to repeat myself that the PYXIS lacks weather sealing or proofing, so users should exercise caution in less-than-ideal environments. In other words, buy a rain cover for this camera!

Lens Mount Options

The PYXIS offers three lens mount options at purchase: PL, Canon EF, and L-mount. The L-mount stands out as the most versatile due to its small flange distance, allowing for the adaptation of almost any lens system. However, it’s crucial to choose wisely, as the mounts are not interchangeable—what you pick at the time of purchase is permanent. The EF mount’s lockable design is a noteworthy feature, ensuring zero movement once a lens is attached, similar to the sturdiness of a PL mount.

Mounting Threads and Rigging Flexibility

Mounting options abound with the PYXIS, making it one of the most adaptable cameras I’ve ever used. Threads are located not only on the bottom but also on the top and right side, offering endless rigging possibilities. It is my opinion that Blackmagic has delivered a highly mountable and riggable camera. Each side of the PYXIS is packed with thread mounts, including 3 3/8″ thread mounts and 6 1/4″ thread mounts on the top of the camera, 2 3/8″ thread mounts, and 7 1/4″ thread mounts on the bottom of the camera.

Adding a rosette mounting plate to the side unlocks even more potential. I paired mine with a Kinogrip, and the combination felt natural and intuitive. In fact, the Blackmagic PYXIS is dying to have a right-hand grip attached to the camera. It’s the only thing missing at the moment. It appears one will be able to use a URSA Mini handgrip, but there are more ergonomic options available, like my trusty kinogrip. With USB-C and Bluetooth connectivity, you can also integrate handles with record/stop functions or even a DJI focus system for added convenience. The rigging options are deep and plentiful on the PYXIS. Just look at the difference from 20 years of cameras and how much more likely a Blackmagic PYXIS will be used in many other places than this old Panasonic DVPro ENG Camera. 

Dual ISO and Image Capture

The PYXIS features dual native ISO settings of 400 and 3200, which switch seamlessly. This capability ensures smooth transitions in varying lighting conditions and benefits every user, from seasoned professionals to indie filmmakers. What I love about the PYXIS is how one has no need to dive into a menu to set the base ISO. The camera’s UI just makes the change for users as one changes the ISO. Be wise about the change in ISO, though. The switch from one base ISO to the other happens when one switches from 1000 ISO to 1250 ISO. While the 1000 ISO is the highest ISO on the base 400 ISO, it offers slightly more dynamic range above middle gray than the 1250 ISO at base 3200 ISO. In the image below, you can see the frame grabs side-by-side. I think this is the best example of the two different dual native ISO settings. That feature helped me continue shooting after the ambient light went down with the sun.

As with the Pocket Cinema Camera, the PYXIS supports full 3:2 image capture. This is ideal for anamorphic shooting, as it provides additional width without the need to crop the sides to achieve a standard aspect ratio like 2.35:1. The added vertical height also makes it easier to capture multiple aspect ratios, including 9:16 vertical video without compromising the composition. Would I use the full 3:2 image area for my work? Not unless I was shooting for something specific or on a project that required multiple deliverables from broadcast to social media. In that case, the added height of the 3:2 frame may be helpful outside anamorphic shooting. In theory, shooting this way is not a bad idea.

Portrait and Vertical Video Shooting

Shooting vertical video on the PYXIS is a revelation. Flipping the camera on its side with the side screen positioned on top transforms it into an excellent portrait camera. In this orientation, the menu and screen layout feel intuitive and well-suited for social media content creation. In fact, I’ve never experienced a camera that handles vertical shooting better than the PYXIS. I could see a lot of social media content creators using the PYXIS in this manner.

Blackmagic RAW and Proxy Recording

The PYXIS exclusively records in Blackmagic RAW (BRAW), unlike the full-frame Pocket Cinema Camera, which also supported ProRes. While some may lament the lack of ProRes, the integration of BRAW with DaVinci Resolve makes for a seamless post-production workflow. BRAW offers options for constant quality or constant bitrate recording, providing flexibility based on your project’s needs. I find BRAW to be a very easy codec to work with in Adobe Premiere and Blackmagic DaVinci Resolve. My Mac Pro can handle multiple streams of BRAW which is more than I can say about highly compressed codecs.

Additionally, the camera allows simultaneous recording of 1080p H.264 8-bit proxies alongside BRAW. This feature can save one time in post-production by eliminating the need to create proxies manually, enabling faster editing workflows. Blackmagic has the files and naming structure figured out to make this process super easy.

High and Low Frame Rates

Like the Pocket Cinema Camera, the PYXIS supports increasingly higher frame rates as you crop into the sensor. It also enables low frame rates, such as recording at 5 fps in a 24p setting, which can create unique effects when combined with a dragged shutter. While requests for such techniques are becoming rare, they remain a valuable tool for certain genres, like true crime reenactments.

For High Frame Rates, the Blackmagic PYXIS supports up to 36 fps in 6K 3:2 open gate and, more importantly, up to 60 fps at 4K 16:9, which I expect many to consider the sweet spot between resolution and high frame rates. One can shoot up to 120 fps in HD.

Timelapse Mode

Thankfully, the PYXIS includes a timelapse mode, a feature sometimes missing from more expensive cameras. Setting up a timelapse is straightforward and user-friendly, making it a practical option for a variety of projects.

Audio Inputs

The PYXIS provides one mini XLR audio input, which supports phantom power. However, its placement at the front of the camera is unconventional and could pose challenges for clean cable management. A dedicated 90-degree mini XLR barrel adapter would help maintain a tidy setup. There’s also a 3.5mm audio input on the rear, as well as built-in mics on the front. However, these onboard mics are likely to pick up significant operational noise, so external audio solutions are recommended for professional use.

EVF and Monitor Options

An EVF or monitor is essential to operate the PYXIS, as the camera lacks a user-friendly built-in display that can be used while shooting. I’m not throwing shade at the on-camera monitor, which is wonderful. Still, it’s more of a camera menu than a monitor. I found it difficult to use the side monitor while shooting for more than anything other than menu diving.

Blackmagic offers an affordable monitor option. However,t I tested the camera with the EVF, which has an extended arm for better positioning. This accessory is especially useful when the camera is mounted on a tripod or rig. The EVF mount itself is robust, with a pivot mechanism that feels durable and unlikely to loosen over time. I think for most shooters, the additional and inexpensive monitor will be the wisest of accessories.

Battery Life and Power Solutions

Battery life on the PYXIS ins’t too bad. I found the camera’s runtime to be around 40 minutes using smaller Sony batteries. Don’t use the smaller Sony batteries like me – learn from my mistake. I didn’t have larger Sony batteries on hand, but I’d expect a better outcome when using those larger Sony batteries. Additionally, there’s no battery warning—the camera powers down when depleted. Most users will likely rely on external power sources like V-mount or Gold Mount batteries for extended shoots.

Missing Features

One area where the PYXIS falls short is autofocus. Blackmagic’s cameras have historically lacked advanced autofocus capabilities, and the PYXIS is no exception. While this may deter some users, it’s not a dealbreaker for those accustomed to manual focusing. Another limitation is the 12-bit color depth of BRAW files, which restricts dynamic range compared to potential 14 or 16-bit solutions that Blackmagic may offer in the future.

Final Thoughts

The Blackmagic PYXIS 6K is the camera many have been waiting for. It’s a highly configurable box camera with a large-format sensor, offering excellent low-light performance and a range of professional features. While it’s not a 12K or even 8K camera, its 6K resolution strikes a balance between quality and practicality for most projects.

This camera is poised to become a staple on sets, thanks to its simplicity and versatility. Blackmagic has managed to create a straightforward yet powerful tool that filmmakers will appreciate for years to come. Despite its shortcomings in autofocus and battery life, the PYXIS is built upon a history good design and engineering. Expect to see this camera widely adopted by both professionals and aspiring filmmakers.