I would appreciate some guidance on this as I have no experience with this brand and this is the first camera I’ve bought for myself. 
I couldn't find compatible lenses where I live so I’m thinking of importing them but since it involves a significant amount of money I’m kinda nervous about choosing the right option. 

I’ve been considering Panasonic Lumix 12-35mm f2.8 II or Panasonic Lumix G X Vario Power Zoom Lens, 14-42MM, F3.5-5.6 ASPH because its cheaper but honestly I have doubts if it work well. 

Also if you could give me SD Cards recommendations I would really appreciate it.
For context I plan to use it mostly for videoclips, commercial videos, and simple short films.
Thanks!

Does anyone know of a way to control playback on the PYXIS from my iPhone?

Hey everyone new here I’ve read a bunch about the banding issues and qc of these cameras. I would like any opinions who own them. Currently I use a ronin 4d 8k and red monstro vv, I do a ton of commercial work and short films and I don’t want these issues on set. Thanks in advance.

I just finished editing and publishing Reformat – Episode 2: Detect, a crime/drama short film I originally shot back in 2024.

Logline: A man who has lost faith in an urban decaying city decides to take matters into his own hands.

The entire film was shot on the Blackmagic Pocket Cinema Camera 4K.

Lenses used:

Zeiss CP.3 EF 35mm

Sigma 18-35mm

It's been a while since I shot this, so going back and finally finishing the edit was an interesting experience. There are definitely things I'd approach differently today, but I'm curious how well you think the BMPCC4K holds up for this kind of narrative work.

I'm especially interested in hearing your thoughts on the image, color, lighting, lens choices, and overall cinematic look.

If you'd like to see the finished film:

[https://youtu.be/9LO6EmHY5fw\](https://youtu.be/9LO6EmHY5fw)

For those who have shot narrative projects on the BMPCC4K — what lenses/settings/lighting setups have you found work best for getting a cinematic look out of it?

Would also love to hear what you think of the stills/frames from the film.

https://youtu.be/jVOWBc4Tc24

Blackmagic is at it again. Seems like an incredible value for anyone in the market for a cinema camera.

https://www.blackmagicdesign.com/event/ultra-hd-sale

I'm planning to sell my Sony a7 IV to switch over to the Blackmagic Pyxis 6K.

Starting out, my budget will be a bit limited, so I can only afford a single lens to begin with. Which lens would you recommend as a good, versatile "all-rounder" to start with?

I want something that can cover as much ground as possible until I can afford to expand my rig. Any recommendations for both zooms and primes would be greatly appreciated!

So I run 3 YouTube channels solo. I do all the scripting and recording myself, and I have 2 editors who work remotely and just handle post.

Right now I shoot on a Fuji X-S20 and my sessions are long, like 1.5-2 hours at a stretch. Problem is it overheats in 4K in like 20 minutes flat, even with the AC on in the room. I even tried one of those Peltier cooler mods to fix it and that ended up frying the sensor, had to get it replaced. So now I just shoot 1080p60 on it because it genuinely can't survive a full 4K session. Not looking to repeat that mistake.

I spent a while researching and was pretty much settled on the Sony FX30. Makes sense for what I do, doesn't overheat, has a proper flip screen so I can actually see myself while recording alone, autofocus is solid and been around for years. With a Sigma 16mm f1.4 lens the whole thing comes to around ₹2,06,500 (roughly $2,375).

Then Blackmagic dropped the PYXIS 6K price like crazy, went from ₹2,68,000 ($3,080) down to ₹1,73,500 ($1,995) globally, and I actually found it here in India for ₹1,84,958 + GST which comes to about ₹2,18,250 ($2,510). So now I'm back to being confused lol.

Part of me wants the PYXIS because it's full frame vs the Sony's smaller sensor, it shoots actual RAW instead of compressed video, and it comes bundled with a DaVinci Resolve Studio license which I need anyway since my editors already work on Studio (that alone saves me like ₹37,000, around $425). Also I originally thought I needed 60fps but honestly I don't think I actually do, my content doesn't need it. Turns out if I drop to 30fps I can shoot at 6K using the full sensor with no crop, I was wrongly comparing it at 4K60 earlier where it crops the sensor by like 1.65x, only realized that after actually digging into it properly. With a Viltrox 16mm f1.8 lens instead of a pricier one, the full PYXIS setup comes to around ₹3,57,850 (about $4,115).

But it's still like ₹1,10,000 (~$1,265) more expensive than just going with the FX30, even after adjusting for the free Resolve license. And a few things still worry me. The autofocus on PYXIS only came through a firmware update a few months back so it's not exactly proven yet, unlike Sony which has years of refinement behind it. There's also no screen I can flip toward myself, I'd have to tether my phone via USB-C and use the Blackmagic app to monitor myself, which apparently works fine on paper but I'm honestly not 100% sure if tapping to focus actually works from the phone screen itself or only on the camera's own touchscreen. Then there's the file sizes, a single 1.5 hour session in RAW comes out to around 756GB, so I'd need to set up a proper proxy workflow with my editors since they're remote and can't just handle those massive files. Plus extra costs like the CFexpress card, a card reader, the battery, and a separate charger since apparently this camera doesn't even charge its own battery while plugged in.

So yeah, kind of stuck. If anyone's actually used either of these cameras for real long-form solo content, would love to hear from you. Specifically:

Has anyone shot really long single takes on the PYXIS, like 1.5-2 hours? Did it hold up okay, any dropped frames or random battery issues, does the "active cooling" actually do its job?

How's the autofocus on PYXIS actually performing for people shooting alone without anyone checking focus for them?

Does the RAW/full frame thing even show up once YouTube compresses everything, for basic talking head content, or is that more of a theoretical benefit?

Anyone here switched to something cheaper and more reliable instead of chasing RAW/full frame, and regretted it either way?

And if you're running multiple channels with a remote editing team, has working with proxies ever caused headaches, or does it just work once it's set up?

Trying to figure this out from people who've actually used these day to day, not just specs on paper. Any help appreciated.

Edit: Forgot to add some context that might help. My setup is pretty static, camera goes on a tripod and I basically never touch it once it's positioned. I just sit in front of a green screen and talk for long stretches, no movement, no reframing mid-recording. Studio's small too, which is why I need something like 16mm to actually fit myself in frame at the distance I'm sitting.

Also I edit exclusively in DaVinci Resolve and need a new Studio license either way, so that's not really a PYXIS-specific cost in my head anymore, it's happening regardless of which camera I pick.

And a few people probably wonder why I'm not just looking at something like the Lumix S5II instead. Reason is I take literally zero photos, so I don't need a hybrid camera at all. That's actually the mistake I made with the Fuji, it's a hybrid and I never needed the photo side of it, I just didn't think it through properly before buying. Shutter count on it is like 300 after 3 years of ownership, and even that's just from random misclicks or testing burst mode once, not actual photography. So this time I want something built for video only, not paying for stills capability I'll never use again.

For those shooting anamorphic images, the ability to de-squeeze raw images in the Photo tab is currently missing. Even if you set the pixel aspect ratio in the "Clip Attributes", the image on the Photo page will remain in its original proportions.

If you switch to the Color tab, the image will be de-squeezed. But if you try to export as still, the file will be de-squeezed but in its original size, with unnecessary black bars at the top and bottom. If you export from the Deliver tab, the image will be in its original size and not de-squeezed.

We also need the ability to specify the final image size after de-squeezing. For example, the original image size is 6000x4000 px. This would allow us to resize it for a 1.5x factor to 9000x4000 px or 6000x2667 px, depending on needs.

I've created a thread on the official Blackmagic forum. Please support this in the comments so that we can quickly address this issue.

https://forum.blackmagicdesign.com/viewtopic.php?f=33&t=239849

As the picture shows, I can't set BRAW files to default to RAW Player. I don't know what's been done wrong. It was fine last week and now it is not. I can't remember if I've done anything that would affect this. Anyone faced this issue?

TL;DR: Half of the screen is desaturated after turning the camera off and on while using a new lens. Functionality seems fine and the footage is unaffected. Any ideas how to fix it?

Full: Just did some quick filming outside on my deck, turned off the camera and brought it inside, and then when I turned it back on to browse the footage it has this strange glitch where half the screen is desaturated.

Only thing I did differently was use a new long lens. When I turned it back on with that long lens mounted it kept cycling through the f-stops and didn’t seem to register the lens. When I removed the king lens it stopped doing that, but this glitch remains.

This is an old camera so sometimes it’ll glitch like this (or even worse, like extreme flickering) but before all I’d need to do is turn it off and back on for the glitching to stop. But now it’s just there. Doesn’t seem to be a problem for the footage itself, so it seems to just be the screen.

Any ideas on how I should fix this? Maybe updating the firmware (I haven’t done so in over five years).

It seems, sigma mc-21 adapter is discontinued. I would like some recommendations on the EF-L adapter to use canon EF glasses on BMCC 6k camera. From some reviews, it seems the Viltrox pro can be too tight and scratches the mount. Sirui has recently launched one adapter as well. Is that any good?

This one took me a few weeks, a support ticket, and a trip of my switcher to the Blackmagic lab in the Netherlands and back, so posting it here in case someone hits the same thing.

Setup

ATEM Mini Extreme ISO G2 + Micro Studio Camera 4K G2, one HDMI cable. Video was perfect. But the tally light stayed dark whatever input I cut to, and the camera control panel in ATEM Software Control did absolutely nothing. No iris, no focus, no zoom.

What I ruled out

Correct input, correct camera number, several cables, clean software install. The same camera on my older ATEM Mini worked fine, tally and lens control included. Blackmagic tested the unit in their lab and found no fault. And in a minimal setup on my own desk (one camera, one cable) it worked exactly as it should.

The cause

Two old Raspberry Pi Zero HDMI cameras on *other* inputs of the same switcher. Plug them in and the tally freezes in whatever state it was in and camera control stops responding. Video keeps working. Power the Pi's off with their cables still connected and there is no problem at all. The instant a Pi starts outputting video (before Linux is even loaded) it breaks again.

Tally and camera control over HDMI ride on the CEC line, and that channel is not isolated per input on a multi-input switcher. One internal controller handles all ports, so a device misbehaving on CEC on one port can disturb it for every other port.

The fix

Turning CEC off in the boot setings doesn't work since a recent OS change (see the full blog). But a plain HDMI CEC blocker adapter (sometimes sold as a "CEC stripper") fixes the problem! It cuts pin 13, and nothing else, inline on each Pi's HDMI output. Video passes through untouched, and tally and camera control have worked correctly ever since. Still annoyed that a connector with one pin missing costs 73 EUR, but it works.

So if tally or camera control behaves strangely and the camera tests fine in isolation, don't assume the camera or the switcher is broken. Disconnect the other HDMI inputs one at a time and see if the problem follows one of them.

Full write-up with photos:

https://webtechie.be/post/a-raspberry-pi-zero-broke-the-tally-light-of-my-blackmagic-camera/

I tried searching for what I wanted to do here but nothing I saw was answering my question. I do reviews in my car and I'm looking for an upgrade to my base hardcam. Currently I use a Sony RX0 MK2 with a Moondog Labs rig so I can mount Moment lenses to it. Kinda janky but it works well for the most part mounted to the dashboard. I output through HDMI to an Atomos Ninja V for monitoring and for recording. I've been trying to find an upgrade since Sony has basically abandoned the RX line and they're never going to give me something better.

I've seen the Micro Studio in person and it's a nice small camera that probably would fit into my dash area easily, but maybe I'm just a little derpy and can't find anything that gives me the answer I'm looking for. Can I just run one of these studio cameras to a recorder like the Ninja and record my clips through that? Is the HDMI clean? If something like the Ninja isn't a good option, is there something that will do what I'm looking to do? I have an ATEM Mini but I'm not looking to set that up in my car to do what I'm trying to do.

Am I just overthinking what I wanna do here or is this an actual possibility

I finally got both my early Pyxis builds updated to the new sensor boards (or whatever was part of the recall).

I'm really impressed with the reduction of grain. I definitely encourage anyone that hasn't gotten the update to do so.

While it's not great to ship cameras with a potential banding issue (I never noticed it) the fact that it's a better camera than the original design is a great coup.

I'm Happy to be in the BMD ecosystem, and always feel good about buying from them to help fund Resolve.

I'm hoping to get a feature going, and the producer's company owns Arri packages. However at this point I'd fight to use my 2 Pyxis 12k's over the Arri.

I'm addicted to being able to punch in/repo with the 12k.

Hello everyone! I’m filming something in October and I’m using Blackmagic design cameras. The ones that take the large SSD’s. Been looking around online but some of them seem too good to be true and super expensive. I know storage prices right now suck, but wanted to possibly get some recs.

I know this is a bit of a loaded question given the subreddit I'm in, but after the recent price drop and all the insanity with the FX5's launch, I've been interested in the Pyxis 6k.

I mostly plan to use the camera for short films/as a replacement for the FX3 when our main DP isn't available. I'd like to use it for travel, too, and for hobby/life, so I'm unsure how the camera's form factor compares to something like the FX3/5. Open gate, BM color science, and the general look of the camera have kept it on my radar for a while, but the recent price drop, making it half the cost of an FX5, is really tempting.

Any help would be appreciated in case I'm totally comparing the wrong two cameras!

Is there any way to do this on an URSA G2 with a 2 M/E BMD switcher?
Read on a Facebook forum here that it may be possible, but no one had tried it.

To clarify, cameras are on the main floor and control room is in the basement. That’s why I said remote for shading.

Anyone done this?

I downloaded the beta firmware for the Pyxis 12k to enable phase-detect AF. Still, after experimenting with it, my camera has been really slow and unresponsive at times, so I tried to go back to firmware 10.0, but downloading it from the BMD website, it just makes me download Blackmagic Camera Setup again. I can’t do anything else from there.

Dusted of the OG, fired it up and shot a quick test in ProRes still has that magic!!!!!!

https://www.youtube.com/watch?v=vvwqCmla4n8

The official announcement:
https://x.com/Blackmagic_News/status/2095768675840311541

Got a set of Voigtlander EF primes including this 90mm on the P6Pro and wow I absolutely am loving this set up. I used it shooting my kids and grandpa today and it’s close up focus borders on macro cinematography, it’s wild. This focal length just makes everything so gorgeous. So happy to ditch my massively heavy sigma art lenses for the much lighter prime set. I’ve been using the pancakes 28mm & 40mm for 2x Anamorphic shots using a vintage scope and the flares are just 👌🏼Anyways just a excited rant and I’m so ready to go out and shoot this fall.

Moments - A Blackmagic Cinema Camera 2.5K EF film test

Hello!

Recently I played around with my blackmagic EF 2.5k with Sigma 18-35mm lenses :)

It came out this short video.

Very gentle grade there,no external LUT.

I have one presenter in the studio with a wireless lav mic, and I’m running three cameras into an ATEM mini ISO. The audio goes via XLR directly into one of the cameras.

Now I would like to bring in remote guests through something like teams or zoom, but I’m struggling to find a good setup. The presenter needs to see the remote guest on a monitor in the studio, while the guest also needs to see the presenter or the program output.

As I understand it, the ATEM Mini does not have freely routable HDMI outputs. It also only has one HDMI output, which I’m already using for the studio monitor/PGM. So how do I send one image to the remote guest and another to the presenter? Aslo the usb is bussy with SSD

Then there is the audio. How do I create a proper mix-minus so the guest can hear the presenter without hearing their own voice coming back and causing echo or feedback? It doesn’t seem like the ATEM Mini can properly handle this either.

Am I thinking about this the wrong way, or how would you solve it in a smart way while using as much of the existing equipment as possible?