So the title should say "Sony user" instead of "loser" (lol) I was going to change this, but it's a 2/10 (on it's was to 1/10) on my TH-cam dashboard. We'll let this title ride and see where it goes
I thought you somehow lost your Sony gear and got a Blackmagic 😂 or you felt so bad about your images with Sony. It definitely made me watch the video 😂
You can easily select frame rate by tapping on the top left framerate. Not in the menus. A slider will pop up. Way easier than when you’re currently doing. 12:1 is perfectly fine to use and what I am mostly using on all my work. The sensor windowing on lower resolutions is pretty common. Happens with all red and Arri cams. That’s why it’s such a big deal that the ursa cine has no windowing on the 4k and 8k options. 1250 iso is your friend for low light. 2000 max. Avoid 3200 as much as you can. 1000 is also a good choice for day exteriors. (Puts all your DR in the highlights) Welcome to the club =]
I love this title. I sold my Sony and Red ecosystem and went all in on the Pyxis. I'm rocking 3 of them. 2 on sticks and one on a Steadicam Axis. Having to deal with one sensor and camera model has made my life easier. It was a pain in the ass to shoot 2-camera interviews, now I'm volunteering the 3rd camera. It just makes sense. For $3000, you can buy 2-3 cameras (with accessories), rather than buy a FX6, Komodo KX, or C400. None of those other cameras even offer the coveted "opengate" feature that is in demand right now. Shooting 16*9 and 9*16 without weird crops is the best thing ever. The DJI lidar focus has pretty much solved the "AF" problem when using cine lenses. Obviously, using the Lidar with electronic fly-by-wire lenses is a horrible experience. As for the slow rolling shutter... clients don't care. Not even your marketing agency clients who are better informed than most of our corporate clients. Thanks for sharing the video. I hope Sony fanboys don't get butt-hurt over the title. It's a fun title!
Haha I'm glad to hear that the title is getting taken the right way! I obviously still love my Sony cameras, but the Pyxis has been really interesting to use. Still figuring it out as I've only had it for a short time, but the unique set of features it brings to the table is pretty awesome. Open gate has been super fun to use and agree with the multiple formats. I have my f3 key setup to record 9:16
I once heard this and I think it was from youtube: "the pyxis is a low light camera, whereas Sony's are no light cameras." And after taking my FX3 out on a night shoot with almost no lighting, I see what they mean. Love my Pyxis, but it has a love for light that I can appreciate.
For the dual base iso, I would check out blackmagic's resources on ISO. I like, at night, to shoot at a lower iso like 1250 or 2000. You lose a few stops of dynamic range in the highlights, but gain quite a few more stops in the shadows. Image cleans up insanely well. A fun trick is to cover the sensor, turn on the internal focus peaking tool, and then slowly increase/decrease the ISO. You can watch the noise increase or decrease incrementally and when the ISO switches from one base to the other. This helps a lot in a pinch!
It’s a dual gain ISO, not dual base, so there’s a disconnect between noise and dynamic range. 1000 ISO has better dynamic range and worse noise, where 1250 is the opposite. So it’s about choosing which is more important for the subject.
@ exactly. I kick into 1250, because I don’t need as much dynamic range in my highlights, and want less noise. There are some interesting scenarios in full bright daylight where I could kick into 400/800 iso, to really maximize highlight dynamic range.
Very interesting to see the difference in range / gain! I like that you can choose between more dynamic range and use noise reduction in post, or have better noise reduction at 1250. I need to write this down and do some more tests. I underestimated how difficult it is to jump into a new camera system and learn all of the intricacies but this is great. Thank you
Definitely try q5. We use it for 90% of our projects and the files are shockingly small. Id say conveniently small, but were yet to have an issue in an interview set up. Also the time remaining for Q5 is giving you the worst case scenario. If you're shooting a static interview you can easily get 1.5 up to 2x the displayed remaining record time.
I have shot with RED and Blackmagic a lot, and I'll say that 12-1 compression works in most cases especially when it comes to sit down interviews, low budget shoots, or just in general for social media content. Makes no difference to most people. Unless your client specifically requires low compression at 5-1 or 3-1, or editors need it for VFX, then I always shoot 12-1. Shooting 6K or 4k raw you gotta have a lot of storage space over time lol
I'm going to try out 12:1 and another person said even q5 - so I'll be trying that out! Thank you for the suggestion and 6k open gate is fantastic, but it does come with a cost... storage haha. Totally worth it.
A few reasons why i shoot BM. Their technical info especially on performance is spot on. 13-13.(something stops) of dr AND most camera companies (Sony, red, and canon) over shoot their dr statements, no in camera noise reduction means I can add or remove whatever in post, fast firmware updates that consumers actually want, and BM always listens to their consumers. It might be quick or a little longer for a change but they listen all the time. They are great cameras.
So from everything I've seen it's a dual gain iso system and not a dual based iso setting so it's a little different then a sony or canon where it cleans up. So you'll get different latitude of stops above and below so 400 is the cleanest from the range of 100-1000 iso and the second gain iso 3200 is cleanest at 1250 from a range of 1250-25600 iso if that makes sense
Dual base ISO-s of blackmagic cameras are 100 and 1250. These have cleanest shadows but also least amount of highlight dynamic range Dual native ISO are 400 and 3200, thats where the camera has equal amount of dynamic range in shadows and highlights.
@@Siimkristjanpariis sure i kind of said this in my comment above but this is a simple way to put it! But this is a response to his low light section where he is getting grain at 3200 at 1250 is where he would have the most dynamic range in the shadows when in the native iso of 3200
@@Shaiquille Well yeah, i just corrected that 400 and 3200 are actually not cleanest as you mentioned. Those are native ISOs which are the most balanced for both highlights and shadows. The cleanest images in terms of noise are 100 and 1250 but it noticeably reduces highlight dynamic range. They work especially well in dark-themed scenes where you have lots of shadows/dark colors and no glowing windows or lights. But will clip really hard in daylight if not used properly. All that might confuse most Sony users because I think Sony never officially mentioned what their native ISO-s are. People only know 640 and 12 500 which are Slog3 base(not native) ISOs, that result the cleanest images. I dont know what their actual native iso's are. Or maybe its just only noise reduction that hits in at 12 500. I use both Sony and Blackmagic and it does confuse a lot of people that use Blackmagics for the first time. They have no built in noise reduction, in these types of cinema cameras you are supposed to do it yourself in post.
@@Siimkristjanpariis wait did you not read my comment? I said that 1250 would be the cleanest for a low light settings which is correct no that’s why he’s getting the grain because there’s not much latitude in the 3200 iso as 1250 in the shadows I never really see anyone filming at 100 ISO you lose dynamic range in the highlights
@@Shaiquille okay i think i misread it yes. At first i understood that you said 400 is the cleanest, which I then corrected that actually 100 is the cleanest, my bad. I sometimes use iso between 100-400 if I have a mostly-dark-colored-theme studio scene with full lighting control. In these situations I dont need highlight dynamic range if there are no highlights and i will gain cleaner shadows
Fellow Ohio filmmaker here! Base ISO means it has the same dynamic range and noise ratio above and below - not the least noise at that ISO. The least noise in the higher base set is at 1250. Their ISO works much more like dual gain than anything. Always expose using false color to make sure you're hitting exposure. As far as file sizes, the FX cameras are filming compressed 4K HEVC using H.265 and the Blackmagic is filming in Braw. those are drastically different. You'd have much bigger file sizes using ProRes too, which is pretty much the standard for high-level pro work. Cropping in on the sensor is very normal and something anyone used to Red or other brands are used to. The Ursa 12K doesn't crop in and downsamples internally, but it's a much beefier camera and twice the price with a custom-designed sensor. Top and bottom vents are also common to Red and other things. The Pyxis isn't weather-sealed, but should be fine in most situations. They also make rain covers for cameras if you really need one. Also, cinema cameras don't ship with batteries. Red and Arri don't either. SDI is normal for higher-level pro work, which is where the Pyxis is designed to live. RE: drives - remember the T7 Shield is approved, I don't think the normal T7 is.
I need to try the constant quality options, I've stuck with constant bitrate and the file sizes are pretty huge if I'm letting the camera record for a while. Will try out q5!
If you go into the settings on the Pyxis under Monitor, select the SDI tab, arrow to the right and on the page 2 and you will see "Status Text". Turn that on. You have the option to display the Cinematographer or Director information but that will display what you are missing on your external monitor.
As for going quickly through your fps options, I would recommend not going into the record menu but rather tap on fps top left on your Info screen (goes for many of those settings on the GUI). There you get the usual settings layed put to quickly tap on as well as the option to go into off-speed framerates. Also you can hold down on the arrows to quickly run through the numbers. Hope that helps you dial in your fps quicker :)
I don’t shoot BMD but I do record ProRes Raw almost exclusively and the ISO on Raw video is way different than xavc or similar. If Braw is anything like Prores raw, your files will always come out looking noisy and will need some reduction done in post. I’ve learned Raw ISO is more about shifting dynamic range than noise level. So I imagine you will be able to push and pull your exposure more on the Braw at 3200 with good results than you would the Sony at 12800. Great review btw 🙏🏼
That makes sense! I have a ninja v and don't use it very often with my Sony cameras after doing some testing when I first got it. I can't believe I didn't connect those dots - the raw is bypassing any in camera noise reduction, etc. Very good call there! I completely forgot - I'll try to do some comparisons with the RAW vs BRAW files
Interesting to hear this perspective. I shoot both Blackmagic and Sony, and imo waiting for the larger files on the Blackmagic to upload is worth it for the image quality. I just upload the files overnight since I’m never both shooting and editing in the same day, but I understand for people that need same day turn around.
So the reason the Pyxis crops in is the sensor tech. It doesn't have the prores capability which would allow you to use the full sensor at different resolutions. With RAW the only way to change resolutions without cropping in is pixel binning which reduces the image quality a lot. It is the same with your FX3 when shooting in RAW you have to shoot full sensor, there is no HD option and if there was it would crop in to the HD portion of the sensor. RED cameras work the same way or ARRI if you shoot RAW. If you need smaller files it just makes sense to shoot at 12:1 compression. For jobs where IQ really doesn't matter it just makes more sense to use something like the FX3 which has highly compressed H264 150mbps option. I personally find the URSA bodies ideal for most work. The size and design just makes more sense for most applications. To me the Pyxis is a camera you get if you need something that can be mounted to a gimbal.
That makes sense - I've only tried to shoot 4k ProRes RAW on my Sony cameras, so switching 6k to 4k on the pyxis was my first encounter with switching resolutions on when shooting raw. I'm going to give 12:1 a try, and other people mentioned using the constant quality q5 which is an even bigger drop in file size, but I'm not sure of the quality loss that comes along with that. I really want to try out the Ursa LF, the sample footage I've seen with that camera is beautiful. Thank you for your help! Appreciate it
@@keith-knittel I think you'll be surprised how good q5 and 12:1 holds up. I honestly don't think you'll see any difference unless you pixel peep or are shooting some really low lit stuff.
I had to sell my Ursa Mini 12K because of BRAW only. I just don’t need or want BRAW all the time. It was choking the post side of work. I can’t speak for the Pyxis, but I always found 12:1 compression on the URSA 12K to be pretty solid at all resolutions. You just kind of have to treat it the same way you would a more compressed FX3 file and get it right in camera. It still has decent wiggle in post, but not as much as lesser compressions.
Yeah, I wish the pyxis had even a long gop-like option like xavc on Sony cameras. Sometimes I have fast turnaround time projects, where all I need to do is nail it in camera, do some like exposure adjustments and ship it. Raw is nice when you need it, but overkill when you don't
I get your gripe with big file size, and I have a solution for you. I use it for shooting my TH-cam videos and sometimes also for documentary interviews. Use 4K instead of of 6K - you crop into sensor but you get super 35 sensor equivalent and file sizes are almost cut in half. Than instead of 50mm lens you get 35mm and you have same field of view. That will help 4sure. And if you don’t need braw you can record ProRes externally to Video Assist in 4K. File sizes will be smaller due to to resolution and you will get full sensor read out. Enjoy! ✊
This is the info I'm looking for! So if I get the video assist, I can record 6k, 4k or 1080p in full frame? I guess if I'm going to shoot in 4k internally on the Pyxis, use the FX30 instead of the FX3/6? I like to try to keep all of the A/B cameras the same field of view so it's just one less thing to think about
@ You cannot record 6K, but you can record 4K in all ProRes flavours and 1080p. Keep in mind that you set up output from SDI in Pyxis instead of input on Video Assist. I will post more videos on Pyxis on my channel, don’t hesitate to subscribe, maybe you’ll find something interesting. And if you have any other questions about Blackmagic Cameras, I’m here to help. Cheers 👊
The comments about file size, even when compressed, is 100% the same reason why I only use my Komodo when the image for the project deserves it. We're both spoiled with the Sony systems, and holy smokes file sizes are a huge aspect when you're working on sometimes 10 projects at a time.
Nice review, I can possibly help explaining the windowing when lowering resolution. I think it’s due to braw. Its a raw readout form the sensor pixels. To lower the resolution keeping the full frame would need a non raw codec with scale down in camera. For the rain I just carry a piece of transparent plastic cloth in your bag, and wrap it around with a couple of hardware store clamps. I’ve done it on Alexas, even under easy ups, just as a double safety measure. And I do it on my Sonys. It comes very handy also if you get close to sea or splashing water. I kinda never want to see what happens 😂
I can't believe I didn't connect the dots on the crops / raw! I definitely will be digging into this more shooting prores with the ninja v on my Sony cameras and compare that to the braw on the pyxis. I guess comparing raw to Sony's internal isn't the greatest comparison. Also going to look into a transparent camera bag - I used to carry a garbage bag and rubber bands but I used it once and never replaced it (like years ago at this point). Any suggestions on the transparent plastic cloth material?
@ just hardware store plastic cut from a roll, not too thick, not too fragile, the one used to cover I don’t know, woods piles in winter 🤔 Just the basic stuff but you can put it on top of camera and lens and possibly still operate in light rain. Just make sure it’s wrapped in a way it doesn’t drips on the camera and on pixis I guess try to leave some breathing space for the fans and an opening somewhere for ventilation. On arris you make sure the fans openings aren’t completely sealed but just protected. I’ve also rigged my FX3 on a boat in the sea, on a Ronin and tilta arm. I wrapped all that in a cheap plastic paint protective cloth (to be able to tare it in needed segments for the ronin arms etc.) and some tape. It worked even with water sprays from the boat, wind and waves. I reckon that saved the gear 🤙🏻
As a corporate/event videographer, the file sizes is one of the reasons why I stuck with Sony. I shoot events with multiple cameras regularly, some shooting in 4k60 which doubles file sizes. If you're shooting 1-3 events per month with multiple cameras potentially shooting for hours/mixed frame rates, the long term storage costs for that is not a joke.
It really does add up quickly. I've heard a few other people mention shooting in q5 - going to give that a try and see if that lowers the file size down, but I don't want to sacrifice too much iq. Well see how it goes. But I definitely hear you about file sizes. I was shocked when I saw 700+ GB for 2 hours, when I thought I was shooting pretty compressed already
@@Lumin8Productions So I should lose autofocus, smaller body size/IBIS, exceptional low light, & spend x10 extra money on storage all so that I get a badly lit 12bit file for a wide shot of a conference & a close up of a speaker? If you're shooting higher end commercials & films, agreed. But for corporate work? It's just not necessary, as evidenced by the majority of corporate shooters preferring Sony/Canon/Lumix over Blackmagic.
A big gripe for me on my Sony is that the file sizes are too small and you can really tell that on landscape shots. Take your Sony vs Pyxis out to do some landscapes and you will quickly see that braw even at 12:1 is far better. Sony's codecs are so poor that the long gop files are better quality than the all-i files.
I will definitely try this. Thank you for the suggestion - were you running into issues with xavc-i pushing the footage in the grade? Or even just pixel peeping side by side?
@@keith-knittel Not so much in the grade, although braw has made better skin tones gradation, but more in the detail/ resolution around branches and leaves in the distance. There's just not enough bit rate in xavc-i (I'm on the a7iv and a7siii). The long gop has the issue to a lesser degree and the braw is just so much better in every way except file size.
@@Ryan-Payne I havent done the tests myself, but given the file size differences, I bet that is the case. I wonder how the BRAW holds up to the x-ocn of the burano? I went down a rabbit hole of videos about XAVC-I (FX6) vs X-OCN (Burano) and the difference is noticeable, but my clients are not asking for that, so I cant justify the upgrade right now. I imagine BRAW would sit somewhere between XAVC-I and X-OCN? I'm just not sure where it would be on that scale
Honestly I'd return the Pyxis. The Blackmagic image and especially the way their cameras handle highlights is much better than Sony, but the Pyxis is using a really old sensor and the body has a lot of compromises.
Great video. I owned the black Magic 6K full frame about a year ago when it came out, and I was not that impressed with the image. It’s nice, but it looks kind of like Video to me. I don’t know how to explain it, but the motion cadence looks too smooth. It doesn’t have film motion to it in my opinion. I find the FX3 to be much more filmic and a very similar image over the black magic, and if you shoot with a ninja V in prores raw I find it to be a more organic more cinematic image, but again all this is subjective. This is my opinion. I’m actually selling all my Sony gear and going all in with Nikon. Nikon will be coming out with some amazing cameras integrating the Red technology. They already demoed a Nikon Z9 with shutter angle at a camera show in Japan last week, and rumors have it that it’s gonna have more sophisticated cinema features in firmware updates. I’ve always loved Nikon, I’ve only been a Sony shooter because I had to because of their auto focus, etc. But I actually I’m not a fan of the image of the FX6, even though I have one use it, I prefer the FX3, but I also have a Nikon Z8 and the image is so much more beautiful than the Sony cameras, the color is clean and pretty, and the camera shoots internal raw and ProRes . Nikon is the future. People just haven’t seen it yet, but with the cameras they’re gonna come out with very soon, they are going to be the brand to go to. My other main reason for switching to Nikon is that with a Nikon Z9 and a Nikon Z8, or even the new Z63, you are covered for high-end Video up to 8K and also 45 megapixel photos and 24mp if you go with Z6iii as 2nd body. I have to have four Sony cameras to be covered for both my video and professional skills work. Because you have to have a main camera back up. But with Nikon with two cameras, I’m covered for both Video and stills
Looking forward to what Nikon releases next. I haven't tried out any Nikon's since I sold my D90's back in the day. I'm sure they've come a long way since then ha. Very excited to see what they release after acquiring RED
If the Sony footage is 1/10 the size of the Pyxis and is still acceptable, something tells me you shouldn’t be worried about compressing the Pyxis more.
Honestly, I would keep every camera you’ve purchased if you like the black magic get it but if you trade or get rid of the Sony. I feel there will be lots of regret I regret it every camera I traded or got rid of even the old crappy ones from tape and JVCs. 😂. But iam a gear head.
@keith-knittel I’ve just bought the Pyxsis and my understanding is that the Pyxsis monitor will allow full control of the camera . The side monitor is intended as a 1st AC screen .I bought the L mount and am debating what lenses to get . I quite like the Nisi Athena primes. I’m undecided about the PL mount which would work on other cameras via adaptors- not that I have any other cameras, other than my XH2S . Or I can get the Athena’s in L mount which allows for drop in filters which is quite appealing. I noticed the Arles you used were PL mount , presumably because you can use them on other cameras. Any thoughts ? 🤔
I figured since there was a slot for a BPU battery, there would be a small battery included. I power the camera with v mount batteries, but I still like to have a battery in the camera if I can to swap batteries and not have the camera go down. Would have been nice, but I get it
FX3 is a 4K cam that shoots a compressed LOG codec and Pyxis is shooting in 6K BRAW of coarse the flies will be larger. You are comparing apples to oranges. FX3 does not even compare in quality when it comes to the codec. More data requires more storage that is a no brainer. Also how often are you changing project settings in the middle of a shoot? Its not like your going to shoot one clip in 4k 60 then change to 6k open gate 24 then go to 120fps then to DCI and back. You should be able to display your settings on your external Small HD monitor via SDI so you don't need to see the side screen during an interview. I don't see why anything would change in the middle of a clip while the tripod is locked off and rolling.
There is a reason that BM users suffer the plasticky build and bad battery life. That reason is the picture quality! The image quality of the BM 6k cameras is much better than all of the Sony cameras up to the fx9. To get better image quality you would have to get a Burano. I love my Sony cameras but the BM image is just better in every way. I was a Sony a7iii owner at the time I bought my first BM camera. I bought the bmpcc 6k from Amazon so that I could send it back. I still have it 🥳.
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So the title should say "Sony user" instead of "loser" (lol) I was going to change this, but it's a 2/10 (on it's was to 1/10) on my TH-cam dashboard. We'll let this title ride and see where it goes
Have to admit, wasn't sure what a "Sony loser" meant. lol. I guess I'm one too.
got my attention, scared the crap outta me, but I'm good now you're still the man! Sony on! FX6 rules
I’m attributing 30% of the views to angry Sony users that took offense to the title.
As Sony user, i am not offended at all. lol
I thought you somehow lost your Sony gear and got a Blackmagic 😂 or you felt so bad about your images with Sony. It definitely made me watch the video 😂
You can easily select frame rate by tapping on the top left framerate. Not in the menus. A slider will pop up. Way easier than when you’re currently doing.
12:1 is perfectly fine to use and what I am mostly using on all my work.
The sensor windowing on lower resolutions is pretty common. Happens with all red and Arri cams. That’s why it’s such a big deal that the ursa cine has no windowing on the 4k and 8k options.
1250 iso is your friend for low light. 2000 max. Avoid 3200 as much as you can.
1000 is also a good choice for day exteriors. (Puts all your DR in the highlights)
Welcome to the club =]
I love this title. I sold my Sony and Red ecosystem and went all in on the Pyxis. I'm rocking 3 of them. 2 on sticks and one on a Steadicam Axis. Having to deal with one sensor and camera model has made my life easier. It was a pain in the ass to shoot 2-camera interviews, now I'm volunteering the 3rd camera. It just makes sense. For $3000, you can buy 2-3 cameras (with accessories), rather than buy a FX6, Komodo KX, or C400. None of those other cameras even offer the coveted "opengate" feature that is in demand right now. Shooting 16*9 and 9*16 without weird crops is the best thing ever. The DJI lidar focus has pretty much solved the "AF" problem when using cine lenses. Obviously, using the Lidar with electronic fly-by-wire lenses is a horrible experience. As for the slow rolling shutter... clients don't care. Not even your marketing agency clients who are better informed than most of our corporate clients. Thanks for sharing the video. I hope Sony fanboys don't get butt-hurt over the title. It's a fun title!
Haha I'm glad to hear that the title is getting taken the right way! I obviously still love my Sony cameras, but the Pyxis has been really interesting to use. Still figuring it out as I've only had it for a short time, but the unique set of features it brings to the table is pretty awesome. Open gate has been super fun to use and agree with the multiple formats. I have my f3 key setup to record 9:16
I once heard this and I think it was from youtube: "the pyxis is a low light camera, whereas Sony's are no light cameras." And after taking my FX3 out on a night shoot with almost no lighting, I see what they mean. Love my Pyxis, but it has a love for light that I can appreciate.
For the dual base iso, I would check out blackmagic's resources on ISO. I like, at night, to shoot at a lower iso like 1250 or 2000. You lose a few stops of dynamic range in the highlights, but gain quite a few more stops in the shadows. Image cleans up insanely well.
A fun trick is to cover the sensor, turn on the internal focus peaking tool, and then slowly increase/decrease the ISO. You can watch the noise increase or decrease incrementally and when the ISO switches from one base to the other. This helps a lot in a pinch!
It’s a dual gain ISO, not dual base, so there’s a disconnect between noise and dynamic range. 1000 ISO has better dynamic range and worse noise, where 1250 is the opposite. So it’s about choosing which is more important for the subject.
@ exactly. I kick into 1250, because I don’t need as much dynamic range in my highlights, and want less noise. There are some interesting scenarios in full bright daylight where I could kick into 400/800 iso, to really maximize highlight dynamic range.
Very interesting to see the difference in range / gain! I like that you can choose between more dynamic range and use noise reduction in post, or have better noise reduction at 1250. I need to write this down and do some more tests.
I underestimated how difficult it is to jump into a new camera system and learn all of the intricacies but this is great. Thank you
Definitely try q5. We use it for 90% of our projects and the files are shockingly small. Id say conveniently small, but were yet to have an issue in an interview set up.
Also the time remaining for Q5 is giving you the worst case scenario. If you're shooting a static interview you can easily get 1.5 up to 2x the displayed remaining record time.
Definitely going to give q5 a go. Thank you for the suggestion, and good to know about the time remaining!
I have shot with RED and Blackmagic a lot, and I'll say that 12-1 compression works in most cases especially when it comes to sit down interviews, low budget shoots, or just in general for social media content. Makes no difference to most people. Unless your client specifically requires low compression at 5-1 or 3-1, or editors need it for VFX, then I always shoot 12-1. Shooting 6K or 4k raw you gotta have a lot of storage space over time lol
I'm going to try out 12:1 and another person said even q5 - so I'll be trying that out! Thank you for the suggestion and 6k open gate is fantastic, but it does come with a cost... storage haha. Totally worth it.
I would also be interested in seeing you compare 12:1 VS Q5 against your Sony Camera
Will be doing a test with that!
A few reasons why i shoot BM. Their technical info especially on performance is spot on. 13-13.(something stops) of dr AND most camera companies (Sony, red, and canon) over shoot their dr statements, no in camera noise reduction means I can add or remove whatever in post, fast firmware updates that consumers actually want, and BM always listens to their consumers. It might be quick or a little longer for a change but they listen all the time. They are great cameras.
So from everything I've seen it's a dual gain iso system and not a dual based iso setting so it's a little different then a sony or canon where it cleans up. So you'll get different latitude of stops above and below so 400 is the cleanest from the range of 100-1000 iso and the second gain iso 3200 is cleanest at 1250 from a range of 1250-25600 iso if that makes sense
Dual base ISO-s of blackmagic cameras are 100 and 1250. These have cleanest shadows but also least amount of highlight dynamic range
Dual native ISO are 400 and 3200, thats where the camera has equal amount of dynamic range in shadows and highlights.
@@Siimkristjanpariis sure i kind of said this in my comment above but this is a simple way to put it! But this is a response to his low light section where he is getting grain at 3200 at 1250 is where he would have the most dynamic range in the shadows when in the native iso of 3200
@@Shaiquille Well yeah, i just corrected that 400 and 3200 are actually not cleanest as you mentioned. Those are native ISOs which are the most balanced for both highlights and shadows.
The cleanest images in terms of noise are 100 and 1250 but it noticeably reduces highlight dynamic range. They work especially well in dark-themed scenes where you have lots of shadows/dark colors and no glowing windows or lights. But will clip really hard in daylight if not used properly.
All that might confuse most Sony users because I think Sony never officially mentioned what their native ISO-s are. People only know 640 and 12 500 which are Slog3 base(not native) ISOs, that result the cleanest images. I dont know what their actual native iso's are. Or maybe its just only noise reduction that hits in at 12 500.
I use both Sony and Blackmagic and it does confuse a lot of people that use Blackmagics for the first time. They have no built in noise reduction, in these types of cinema cameras you are supposed to do it yourself in post.
@@Siimkristjanpariis wait did you not read my comment? I said that 1250 would be the cleanest for a low light settings which is correct no that’s why he’s getting the grain because there’s not much latitude in the 3200 iso as 1250 in the shadows I never really see anyone filming at 100 ISO you lose dynamic range in the highlights
@@Shaiquille okay i think i misread it yes. At first i understood that you said 400 is the cleanest, which I then corrected that actually 100 is the cleanest, my bad.
I sometimes use iso between 100-400 if I have a mostly-dark-colored-theme studio scene with full lighting control. In these situations I dont need highlight dynamic range if there are no highlights and i will gain cleaner shadows
Fellow Ohio filmmaker here! Base ISO means it has the same dynamic range and noise ratio above and below - not the least noise at that ISO. The least noise in the higher base set is at 1250. Their ISO works much more like dual gain than anything. Always expose using false color to make sure you're hitting exposure. As far as file sizes, the FX cameras are filming compressed 4K HEVC using H.265 and the Blackmagic is filming in Braw. those are drastically different. You'd have much bigger file sizes using ProRes too, which is pretty much the standard for high-level pro work. Cropping in on the sensor is very normal and something anyone used to Red or other brands are used to. The Ursa 12K doesn't crop in and downsamples internally, but it's a much beefier camera and twice the price with a custom-designed sensor. Top and bottom vents are also common to Red and other things. The Pyxis isn't weather-sealed, but should be fine in most situations. They also make rain covers for cameras if you really need one. Also, cinema cameras don't ship with batteries. Red and Arri don't either. SDI is normal for higher-level pro work, which is where the Pyxis is designed to live. RE: drives - remember the T7 Shield is approved, I don't think the normal T7 is.
I use q5 for recording most scenes. The image is great and isn't low quality at all. Saves a ton on space
I need to try the constant quality options, I've stuck with constant bitrate and the file sizes are pretty huge if I'm letting the camera record for a while. Will try out q5!
If you go into the settings on the Pyxis under Monitor, select the SDI tab, arrow to the right and on the page 2 and you will see "Status Text". Turn that on. You have the option to display the Cinematographer or Director information but that will display what you are missing on your external monitor.
Will try that out - I think that could be a good stop-gap solution until the pyxis/ursa monitor and evf come out
As for going quickly through your fps options, I would recommend not going into the record menu but rather tap on fps top left on your Info screen (goes for many of those settings on the GUI).
There you get the usual settings layed put to quickly tap on as well as the option to go into off-speed framerates.
Also you can hold down on the arrows to quickly run through the numbers.
Hope that helps you dial in your fps quicker :)
These are the things I love knowing, going to try this out - thank you!
I don’t shoot BMD but I do record ProRes Raw almost exclusively and the ISO on Raw video is way different than xavc or similar. If Braw is anything like Prores raw, your files will always come out looking noisy and will need some reduction done in post. I’ve learned Raw ISO is more about shifting dynamic range than noise level. So I imagine you will be able to push and pull your exposure more on the Braw at 3200 with good results than you would the Sony at 12800. Great review btw 🙏🏼
That makes sense! I have a ninja v and don't use it very often with my Sony cameras after doing some testing when I first got it. I can't believe I didn't connect those dots - the raw is bypassing any in camera noise reduction, etc. Very good call there! I completely forgot - I'll try to do some comparisons with the RAW vs BRAW files
Interesting to hear this perspective. I shoot both Blackmagic and Sony, and imo waiting for the larger files on the Blackmagic to upload is worth it for the image quality. I just upload the files overnight since I’m never both shooting and editing in the same day, but I understand for people that need same day turn around.
I'm going to experiment around with 12:1 and q5. Grading 8:1 was nice... but the filesize was huge for a 2 hours worth of footage
So the reason the Pyxis crops in is the sensor tech. It doesn't have the prores capability which would allow you to use the full sensor at different resolutions.
With RAW the only way to change resolutions without cropping in is pixel binning which reduces the image quality a lot. It is the same with your FX3 when shooting in RAW you have to shoot full sensor, there is no HD option and if there was it would crop in to the HD portion of the sensor. RED cameras work the same way or ARRI if you shoot RAW.
If you need smaller files it just makes sense to shoot at 12:1 compression. For jobs where IQ really doesn't matter it just makes more sense to use something like the FX3 which has highly compressed H264 150mbps option.
I personally find the URSA bodies ideal for most work. The size and design just makes more sense for most applications. To me the Pyxis is a camera you get if you need something that can be mounted to a gimbal.
That makes sense - I've only tried to shoot 4k ProRes RAW on my Sony cameras, so switching 6k to 4k on the pyxis was my first encounter with switching resolutions on when shooting raw. I'm going to give 12:1 a try, and other people mentioned using the constant quality q5 which is an even bigger drop in file size, but I'm not sure of the quality loss that comes along with that. I really want to try out the Ursa LF, the sample footage I've seen with that camera is beautiful. Thank you for your help! Appreciate it
@@keith-knittel I think you'll be surprised how good q5 and 12:1 holds up. I honestly don't think you'll see any difference unless you pixel peep or are shooting some really low lit stuff.
I had to sell my Ursa Mini 12K because of BRAW only. I just don’t need or want BRAW all the time. It was choking the post side of work.
I can’t speak for the Pyxis, but I always found 12:1 compression on the URSA 12K to be pretty solid at all resolutions. You just kind of have to treat it the same way you would a more compressed FX3 file and get it right in camera. It still has decent wiggle in post, but not as much as lesser compressions.
Yeah, I wish the pyxis had even a long gop-like option like xavc on Sony cameras. Sometimes I have fast turnaround time projects, where all I need to do is nail it in camera, do some like exposure adjustments and ship it. Raw is nice when you need it, but overkill when you don't
Just curious man. Why haven’t u mentioned 4K 120 fps? And at what aspect ratio can it do that?
I get your gripe with big file size, and I have a solution for you. I use it for shooting my TH-cam videos and sometimes also for documentary interviews. Use 4K instead of of 6K - you crop into sensor but you get super 35 sensor equivalent and file sizes are almost cut in half. Than instead of 50mm lens you get 35mm and you have same field of view. That will help 4sure. And if you don’t need braw you can record ProRes externally to Video Assist in 4K. File sizes will be smaller due to to resolution and you will get full sensor read out. Enjoy! ✊
This is the info I'm looking for! So if I get the video assist, I can record 6k, 4k or 1080p in full frame?
I guess if I'm going to shoot in 4k internally on the Pyxis, use the FX30 instead of the FX3/6?
I like to try to keep all of the A/B cameras the same field of view so it's just one less thing to think about
@ You cannot record 6K, but you can record 4K in all ProRes flavours and 1080p. Keep in mind that you set up output from SDI in Pyxis instead of input on Video Assist. I will post more videos on Pyxis on my channel, don’t hesitate to subscribe, maybe you’ll find something interesting. And if you have any other questions about Blackmagic Cameras, I’m here to help. Cheers 👊
The comments about file size, even when compressed, is 100% the same reason why I only use my Komodo when the image for the project deserves it. We're both spoiled with the Sony systems, and holy smokes file sizes are a huge aspect when you're working on sometimes 10 projects at a time.
also, being featured in this video is the greatest honor of my life. You've brought much pride to my family.
Yeah, for sure. 2-3 cameras on one shoot adds up really quick!
You the real mvp! 🙌
Nice review, I can possibly help explaining the windowing when lowering resolution. I think it’s due to braw. Its a raw readout form the sensor pixels. To lower the resolution keeping the full frame would need a non raw codec with scale down in camera.
For the rain I just carry a piece of transparent plastic cloth in your bag, and wrap it around with a couple of hardware store clamps. I’ve done it on Alexas, even under easy ups, just as a double safety measure. And I do it on my Sonys. It comes very handy also if you get close to sea or splashing water. I kinda never want to see what happens 😂
I can't believe I didn't connect the dots on the crops / raw! I definitely will be digging into this more shooting prores with the ninja v on my Sony cameras and compare that to the braw on the pyxis. I guess comparing raw to Sony's internal isn't the greatest comparison.
Also going to look into a transparent camera bag - I used to carry a garbage bag and rubber bands but I used it once and never replaced it (like years ago at this point). Any suggestions on the transparent plastic cloth material?
@ just hardware store plastic cut from a roll, not too thick, not too fragile, the one used to cover I don’t know, woods piles in winter 🤔 Just the basic stuff but you can put it on top of camera and lens and possibly still operate in light rain. Just make sure it’s wrapped in a way it doesn’t drips on the camera and on pixis I guess try to leave some breathing space for the fans and an opening somewhere for ventilation. On arris you make sure the fans openings aren’t completely sealed but just protected.
I’ve also rigged my FX3 on a boat in the sea, on a Ronin and tilta arm. I wrapped all that in a cheap plastic paint protective cloth (to be able to tare it in needed segments for the ronin arms etc.) and some tape. It worked even with water sprays from the boat, wind and waves. I reckon that saved the gear 🤙🏻
As a corporate/event videographer, the file sizes is one of the reasons why I stuck with Sony. I shoot events with multiple cameras regularly, some shooting in 4k60 which doubles file sizes.
If you're shooting 1-3 events per month with multiple cameras potentially shooting for hours/mixed frame rates, the long term storage costs for that is not a joke.
It really does add up quickly. I've heard a few other people mention shooting in q5 - going to give that a try and see if that lowers the file size down, but I don't want to sacrifice too much iq. Well see how it goes. But I definitely hear you about file sizes. I was shocked when I saw 700+ GB for 2 hours, when I thought I was shooting pretty compressed already
Easy fix, charge a little extra, build a 10Gb Nas :)
@@Lumin8Productions So I should lose autofocus, smaller body size/IBIS, exceptional low light, & spend x10 extra money on storage all so that I get a badly lit 12bit file for a wide shot of a conference & a close up of a speaker?
If you're shooting higher end commercials & films, agreed. But for corporate work? It's just not necessary, as evidenced by the majority of corporate shooters preferring Sony/Canon/Lumix over Blackmagic.
A big gripe for me on my Sony is that the file sizes are too small and you can really tell that on landscape shots. Take your Sony vs Pyxis out to do some landscapes and you will quickly see that braw even at 12:1 is far better. Sony's codecs are so poor that the long gop files are better quality than the all-i files.
I will definitely try this. Thank you for the suggestion - were you running into issues with xavc-i pushing the footage in the grade? Or even just pixel peeping side by side?
@@keith-knittel Not so much in the grade, although braw has made better skin tones gradation, but more in the detail/ resolution around branches and leaves in the distance. There's just not enough bit rate in xavc-i (I'm on the a7iv and a7siii). The long gop has the issue to a lesser degree and the braw is just so much better in every way except file size.
@@Ryan-Payne I havent done the tests myself, but given the file size differences, I bet that is the case. I wonder how the BRAW holds up to the x-ocn of the burano? I went down a rabbit hole of videos about XAVC-I (FX6) vs X-OCN (Burano) and the difference is noticeable, but my clients are not asking for that, so I cant justify the upgrade right now. I imagine BRAW would sit somewhere between XAVC-I and X-OCN? I'm just not sure where it would be on that scale
love your Pyxis rig, Please make a video on that
I'll add that video to my to-do list!
Honestly I'd return the Pyxis. The Blackmagic image and especially the way their cameras handle highlights is much better than Sony, but the Pyxis is using a really old sensor and the body has a lot of compromises.
create presets with the most common setting you use. makes it much easier
Great video Keith 👌❤️
Thank you! 🙌
in talking head settings q5 is the goat in case of file sizes, but still huge :)
thanks for this review! definitely not getting the pyxis now :)
Great video. I owned the black Magic 6K full frame about a year ago when it came out, and I was not that impressed with the image. It’s nice, but it looks kind of like Video to me. I don’t know how to explain it, but the motion cadence looks too smooth. It doesn’t have film motion to it in my opinion. I find the FX3 to be much more filmic and a very similar image over the black magic, and if you shoot with a ninja V in prores raw I find it to be a more organic more cinematic image, but again all this is subjective. This is my opinion. I’m actually selling all my Sony gear and going all in with Nikon. Nikon will be coming out with some amazing cameras integrating the Red technology. They already demoed a Nikon Z9 with shutter angle at a camera show in Japan last week, and rumors have it that it’s gonna have more sophisticated cinema features in firmware updates. I’ve always loved Nikon, I’ve only been a Sony shooter because I had to because of their auto focus, etc. But I actually I’m not a fan of the image of the FX6, even though I have one use it, I prefer the FX3, but I also have a Nikon Z8 and the image is so much more beautiful than the Sony cameras, the color is clean and pretty, and the camera shoots internal raw and ProRes . Nikon is the future. People just haven’t seen it yet, but with the cameras they’re gonna come out with very soon, they are going to be the brand to go to. My other main reason for switching to Nikon is that with a Nikon Z9 and a Nikon Z8, or even the new Z63, you are covered for high-end Video up to 8K and also 45 megapixel photos and 24mp if you go with Z6iii as 2nd body. I have to have four Sony cameras to be covered for both my video and professional skills work. Because you have to have a main camera back up. But with Nikon with two cameras, I’m covered for both Video and stills
Looking forward to what Nikon releases next. I haven't tried out any Nikon's since I sold my D90's back in the day. I'm sure they've come a long way since then ha. Very excited to see what they release after acquiring RED
If the Sony footage is 1/10 the size of the Pyxis and is still acceptable, something tells me you shouldn’t be worried about compressing the Pyxis more.
Very true ha
Honestly, I would keep every camera you’ve purchased if you like the black magic get it but if you trade or get rid of the Sony. I feel there will be lots of regret I regret it every camera I traded or got rid of even the old crappy ones from tape and JVCs. 😂. But iam a gear head.
The Pyxis monitor will allow settings to be visualised on its screen.
Awesome. I think that will solve my monitor issues
@keith-knittel I’ve just bought the Pyxsis and my understanding is that the Pyxsis monitor will allow full control of the camera . The side monitor is intended as a 1st AC screen .I bought the L mount and am debating what lenses to get . I quite like the Nisi Athena primes. I’m undecided about the PL mount which would work on other cameras via adaptors- not that I have any other cameras, other than my XH2S . Or I can get the Athena’s in L mount which allows for drop in filters which is quite appealing. I noticed the Arles you used were PL mount , presumably because you can use them on other cameras. Any thoughts ? 🤔
From 12 to 1 to 8 to 1 is night and day
You like the ratio of 12 to 1 until you see what those other ratios do
When you buy a cinema camera there isn't a battery in the box. Batteries cost $400 plus on cinema cameras.
I figured since there was a slot for a BPU battery, there would be a small battery included. I power the camera with v mount batteries, but I still like to have a battery in the camera if I can to swap batteries and not have the camera go down. Would have been nice, but I get it
Professional cameras traditionally don’t come with batteries
This camera is probably not for you
FX3 is a 4K cam that shoots a compressed LOG codec and Pyxis is shooting in 6K BRAW of coarse the flies will be larger. You are comparing apples to oranges. FX3 does not even compare in quality when it comes to the codec. More data requires more storage that is a no brainer.
Also how often are you changing project settings in the middle of a shoot? Its not like your going to shoot one clip in 4k 60 then change to 6k open gate 24 then go to 120fps then to DCI and back. You should be able to display your settings on your external Small HD monitor via SDI so you don't need to see the side screen during an interview. I don't see why anything would change in the middle of a clip while the tripod is locked off and rolling.
Nice title Sony loser
🤓🤓🤓
@ is this a new form of click bait 😂
I'm done with sony. Looking at the Pyxis and ursa cine LF
The ursa LF definitely has my attention! Really want to try that camera out
What's going on with the title? Sony loser or lover?
Hahaha USER, I meant to say user. My god my autocorrect
@@keith-knittel 😅🤣 Nice Video!
Compared to Sony cameras, Blackmagic cameras have every downside I can think of… return it.
Which downsides? The fx6 can't even capture raw at nearly double the price
@ who cares about raw
There is a reason that BM users suffer the plasticky build and bad battery life. That reason is the picture quality! The image quality of the BM 6k cameras is much better than all of the Sony cameras up to the fx9. To get better image quality you would have to get a Burano. I love my Sony cameras but the BM image is just better in every way. I was a Sony a7iii owner at the time I bought my first BM camera. I bought the bmpcc 6k from Amazon so that I could send it back. I still have it 🥳.
@@BobsmithabcI’m guessing you’ve never used RAW?
@ with all the extra downsides