The new Blackmagic PYXIS monitor features a 5-inch HDR touchscreen panel and offers full camera control with the same overlays as the built-in LCD on the Blackmagic PYXIS 6K camera. It includes multiple mounting points along with a USB-C connector.

Today, Blackmagic Design announced a new monitor designed specifically for the Blackmagic PYXIS 6K camera, which was announced back in April 2024 at the NAB show (but sadly is still not shipping). Let’s take a quick look at the details.

The monitor’s features

The new monitor features a 12.7cm/5 in HDR 1080p touchscreen display with up to 1500 nits of brightness. It has a removable sunshade for better visibility in bright conditions and multiple mounting points for more flexibility. When recording, the monitor has a bright tally light that’s easy to see from a distance. The monitor offers three customizable buttons for quick access to zebra, focus assist, false color, and more.

I like that the monitor supports a one-cable solution with USB-C. In addition to displaying an image, the included locking USB-C cable can be used to power the monitor from the camera and provide access to all of the PYXIS 6K camera settings and menus. This means you get power, live video, record controls, menus, metadata, and camera settings all through a single USB connection.

The Blackmagic PYXIS monitor can be purchased with the PYXIS Mount, a clutch-based mount that lets you adjust the monitor without unbolting the mount. The mount is very short, so the monitor is positioned closer to the camera. A PYXIS EVF Adapter is also available that lets the monitor mount onto the Blackmagic URSA Cine EVF mounting hardware so you can use it as a large-screen viewfinder.

The monitor also works with Blackmagic URSA Cine cameras where it 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.

Price and availability

The monitor will be available in three different configurations depending on the included mounting accessories:

• Basic kit of the PYXIS monitor with the sunshade only will be priced at $295.
• Mounting kit with the monitor with sunshade, a custom USB cable, the PYXIS monitor mount, and the URSA Cine EVF adapter will be priced at $445.
• Finally, the full kit (including the monitor, a sunshade, 2 different length USB cables, a PYXIS mount, a full URSA Cine top handle, the PYXIS EVF adapter and the full URSA EVF rotatable mount with carbon fiber rods) will be sold for $645.

All PYXIS monitor configurations will be available worldwide later this year.

What do you think about the new monitor? Would you like to see a one-cable solution with USB-C coming to more camera and monitor models? Let us know your thoughts in the comments section underneath the article.

Blackmagic Camera’s 1.4 update for Android has been released, adding support for Xperia series 1, 5, and Pro-I devices, and compatible Oppo devices. Plus, it offers some serious updates in the audio sector, including support for Bluetooth microphones. Let’s see what else is in this update!

Blackmagic Design stays serious with their smartphone app updates, most of which include adding more Android phones capable of using Blackmagic Camera app.  With this update, they’ve added support for Sony’s Xperia series 1, 5 and Pro-I devices, as well as compatible Oppo devices, and introduced several enhancements to their advanced feature set.

Audio support – Bluetooth microphones & Tentacle Sync

The app introduces a major improvement in audio capabilities with real-time monitoring during recording sessions. Additionally, it offers full compatibility with Bluetooth microphones.

Furthermore, it integrates Tentacle Sync for timecode synchronization in multi-camera setups and provides flexible recording bit rate options for both H.264 and H.265 codecs.

Blackmagic 1.4 update for Android at a glance

• Audio monitoring while recording.
• Support for Bluetooth microphones
• Support for Tentacle Sync for recording timecode sync
• Recording bit rate options for H.264 and H.265 codecs
• Support for compatible Oppo devices
• Support Sony Xperia series 1, 5 and Pro-I devices
• General performance and stability improvements

Price and availability

As always, the update for Android 1.4 is free and can be downloaded here.

Are you a Sony Xperia or Oppo user who has downloaded the app? What’s your take on it? Let us know in the comments!

The Blackmagic Camera 9.1.2 update for the URSA Cine 12K LF has been released. It adds support for the Blackmagic PYXIS Monitor, along with third-party display port monitors, plus Blackmagic Cloud improvements and new REST API commands for remote camera control. Let’s take a look at the new update! 

The Blackmagic URSA Cine 12K LF debuted right as NAB 2024 was kicking off. It features a brand new 12K full-frame sensor, Open Gate 3:2, 16 stops of dynamic range, and can film up to 12K Open Gate 3:2 (in 12K and 8K) at 80 fps or  120 fps at 12K and 2.4:1 widescreen aspect ratio (in 12K and 5K). As Blackmagic said at the time, it’s the “dream high-end camera” for filmmakers. Check out the CineD lab test here.

Meanwhile, the recently released Blackmagic PYXIS Monitor is a 5-inch touchscreen monitor with USB-C camera control and 1500 nits of brightness. It features multiple mounting points, the same overlays as the PYXIS 6K camera, and three customizable buttons for fast access to focus assist, zebras, false color, and more.

With the update, the Blackmagic URSA Cine 12K LF can finally take advantage of full touchscreen support and menu controls for the PYXIS Monitor and third-party display port USB-C monitors.

Blackmagic Camera 9.1.2 update – features and improvements 

The Blackmagic Camera 9.1.2 update for the Blackmagic URSA Cine 12K LF sees two big improvements by adding support for the new PYXIS Monitor, along with new and enhanced REST API commands for remote camera control. It also adds additional fixes, overall improvements, and an updated manual with a 12K LF dynamic range chart.

The full list of features found in the latest update:

• Support for Blackmagic PYXIS Monitor and third-party display port USB-C monitors with the Blackmagic URSA Cine 12K LF. Includes full touchscreen support and menu controls.
• Adds new REST API commands for remote camera control. Plus, enhances existing REST API functionality to control the URSA Cine over a network with secure commands that are easy to use.
• Focus markers no longer disappear on the 1st AC page when the camera is power cycled and switching between shooting and playback modes.
• Revised manual with 12K LF dynamic range chart.
• Enhanced playback performance.
• Improvements when using Blackmagic Cloud.
• Button lock behaviors.
• Lens support is improved.
• Updating via Ethernet.
• Brief display glitch on startup is fixed. 

Price and availability 

The Blackmagic Camera 9.1.2 update is available now and is a free update. Visit the Blackmagic Design Support Center to learn more. Additionally, the Blackmagic URSA Cine 12K LF retails for $14,995, while the PYXIS Monitor starts at $295.

What do you think of the new additions and improvements with the Blackmagic Camera 9.1.2 update? Are you shooting with the Blackmagic URSA Cine 12K LF? Let us know in the comments below!

Blackmagic Design released their Camera 2.1 update last month, and if you didn’t update it or haven’t had time to explore and learn everything new for iPhone users, the company has just released a run-through video to show you how to get the most out of it. Let’s take a closer look at it!

If you have never heard of Blackmagic Camera, this free Android and iOS app unlocks your smartphone camera’s full potential while giving you access to many manual settings, codec choices, recording modes, and more. As mentioned, two versions exist, one for Android, the latest version being version 1.4, and the iOS/iPadOS version, which is currently version 2.1. So, what’s new in Blackmagic Camera 2.1 for Apple devices?

Blackmagic Camera 2.1 – what’s new?

Blackmagic Camera 2.1 is compatible with many different Apple devices, but it has clearly been optimized for the latest iPhone 16 and iPhone 16 Pro. Indeed, both of Apple’s latest flagship smartphones feature a new Action Button that can be assigned and used to take pictures. Also, the iPhone 16 Pro features a 48MP Fusion camera with a quad-pixel sensor and can shoot 4K120P footage in Dolby Vision, which is quite impressive.

In the run-through video, Blackmagic Design demonstrates how the new Action Button can be used to adjust your zoom, focus, ISO, and exposure bias settings by simply swiping left or right. Also, the new overlay and revamped user interface look like a nice improvement to quickly see and adjust your camera settings. Here is a full list of all the improvements:

• Camera Control launching and recording support on the iPhone 16.
• Control zoom, exposure bias, focus, and ISO settings via Camera Control in the iPhone 16.
• Launch the app from Control Center, Lock Screen, or the Camera Control button.
• Ability to log into Blackmagic Cloud accounts.
• Display time-lapse frequency and duration timecode on the overlay during recording.
• Audio is now included in off-speed recording.
• Improved overlays indicate when off-speed mode is active.
• The option to limit HDMI monitoring to HD resolution.
• Bit rate options when recording to H.264 and H.265 codecs.

Price and availability

The Camera 2.1 update is available now, and you can download it for free on the Apple Store.

For more information, please visit Blackmagic Design’s website here.

Have you already updated Blackmagic Camera to version 2.1? Have you tried it? What is your favorite mobile filmmaking app? Don’t hesitate to let us know in the comments down below!

It’s hard to believe, but 2024 is about to retire, leaving us with an impressive amount of new cameras announced during the past 12 months. Most camera manufacturers (possibly with the exception of Panasonic?) were extremely busy bringing us new toys to play with, from fully featured “cinema cameras” all the way down to mobile and pocket action cams.

While we are busy gathering our thoughts regarding “Camera of the Year 2024”, we thought it would be great to hear your voice, too! We are fully aware that you guys usually work with a specific camera from a specific brand. Yet, it might be that you admire what a neighboring company is doing with their offering, which is why we are allowing multiple answers. (Two answers in each camera category, to be specific).

And just because some might ask:

• Cameras that have been announced but lack clear specifications are not included. (So, in other words, the FUJIFILM GFX ETERNA and the Blackmagic Design 17K 65, for example, will have to wait for next year.)
• We are including the Sony Burano and Sony A9 III here, too. These were announced during 2023 but were available for testing only within 2024.

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So, what caught your attention in 2024? What camera is the one that you liked and desired most? Please be kind enough to vote and comment in the section below.

Blackmagic Cloud storage service just got a 50% price reduction. From the previous monthly fee of $30 per 1TB, the price went down to $15 per 1TB. It seems like this is a permanent price drop, which, according to Blackmagic Design, has been made possible by improvements in their data center backend.

The Australian company Blackmagic Design is known for frequent price reductions – this time, they are cutting down the price of Blackmagic Cloud’s monthly storage fee. What does this mean?

Blackmagic Design price reductions

We have seen Blackmagic Design reduce the prices of their gear and services quite regularly. Sometimes, the price reduction is time-limited, as in May 2024 with the $1,000 discount on the Blackmagic Cinema Camera 6K or later in June 2024 with the Blackmagic Design URSA Mini Pro 4.6K G2, which got a massive $3,000 discount. Some price drops are permanent – this happened in the past with the Blackmagic Design URSA Mini Pro 12K, for example. While these price drops are good news for potential buyers, they do reduce the resale value of used gear, so keep that in mind.

This time, the Blackmagic Design price reduction seems to be a permanent one, but it is a bit different because it applies to a subscription service – Blackmagic Cloud storage. Let’s take a look at the details.

Blackmagic Cloud storage price reduction

The price reduction of the Blackmagic Cloud storage results in a 50% discount on the monthly fee for storage. From $30 per 1TB of storage previously, the service will now cost $15 per 1TB of storage per month. As Blackmagic Design states, the company hopes this will allow many more people to use the cloud workflows.

According to Blackmagic Design, this price reduction has been made possible by improvements in their data center backend and the Blackmagic Design engineers.

First introduced in 2022, Blackmagic Cloud is a service designed for team collaboration and camera-to-cloud workflows with DaVinci Resolve. Sharing projects with other team members and collaborating in real time is possible. The cameras can also sync files to the cloud as they record, so post-production can start while still shooting.

The files can either be stored locally if you own one of Blackmagic’s hardware solutions, or you can pay for storage on the company’s server – this second option is now discounted.

It is worth noting, however, that the Blackmagic Cloud is not yet available in every country. Hopefully, Blackmagic Design will continue to expand their availability across more regions.

For more information, please visit Blackmagic Design’s website.

Do you use Blackmagic Cloud for your post-production workflow? How satisfied are you with it? Let us know your thoughts in the comments section underneath the article.

The Blackmagic PYXIS 6K ‘box-style’ camera was unveiled at NAB 2024. While the features are impressive, there isn’t much in the way of mounting points. Now, Tilta has announced their new camera cages for PYXIS 6K, available in a Pro Kit, Base Kit, and a Full version, which should help to address the need for more attachment points. Let’s dive in!

The Blackmagic PYXIS 6K features a full-frame 36 x 24mm sensor, wide dynamic range, a built-in optical low pass filter, 12-bit Blackmagic RAW and H.264 proxy recording, and more. Blackmagic says it is the “most riggable” camera in the world, and they have the accessories for it. However, there aren’t a lot of mounting points, which is why companies are releasing camera cages for the PYXIS 6K, including the new options from Tilta.

Tilta Camera Cage features

There are three options available, including the Pro Kit, Base Kit, and a Full version. Features depend on the specific cage configuration, ranging from the fully equipped Pro Kit to the more basic Full option. All cages feature a sleek modular design and are constructed from aluminum alloy.

Let’s take a look at each one.

Tilta Full Camera Cage for PYXIS 6K

• Includes Top Plate (works with the PYXIS top handle), multi-functional Side Plate (with integrated SSD mount), Bottom Plate, Right Side Arm, and Left Side Arm.
• NATO rail
• Cold Shoe
• ARRI Rosette
• Tilta Multi-Functional Mini Toolkit
• Multiple 3/8”-16 and 1/4”-20 threads/locating points

Tilta Camera Cage for PYXIS 6K Base Kit

• Features everything that comes with the Full version.
• Xeno Top Handle.
• Xeno Side Handle, mounts on the right or left side.

Tilta Camera Cage for PYXIS 6K Pro Kit

• Features everything that comes with the Base Kit.
• Universal 15mm LWS Manfrotto Baseplate with Tilta Standard Dovetail Receiver. 
• 2x 15mm Rods.
• Battery Plate with a pair of 14.8V P-Tap ports, one 14.8 2 Pin Lemo Port, one DC Power Input Port, and one USB-C Port.

Price and availability 

The three Tilta Camera Cage for PYXIS 6K options are available to pre-order now. The Pro Kit retails for $349, the Base Kit for $169, and the Full version for $109. Visit Tilta’s website to learn more.

Will you be using any of the three Tilta cages for PYXIS 6K options? Or are you using the supporting Blackmagic accessories and skipping a camera cage? Let us know in the comments below!

Time cannot be stopped. The proof? It’s another end-of-year article, and this time, we are taking a closer look at our candidates and the winners for Camera of the Year 2024. Whatever story you want to tell, there’s a good chance the perfect tool for filming is already available.

2024 is slowly but surely fading, and we are left with a bunch of new cameras that represent the pinnacle of current technology. In all honesty, when it comes to dedicated video or even mirrorless cameras, it is hard to find “bad” or even so-so cameras. We are currently at a level of overall picture quality, resolution, features (like autofocus, for example), AND price point that, a couple of years ago, we could only dream of. We will need to see a jump in sensor technology or a “must-have camera feature” to be impressed again. But still, when looking at what was offered during 2024 (see the list of cameras in our Camera of the Year poll here), these are the tools that managed to impress us, be it for their uniqueness and/or value for money. Based on this list, we have come to a conclusion.

Video-specific cameras

Blackmagic Design (PYXIS, Ursa Cine LF 12K), Sony (BURANO), Canon (EOS C400, EOS C80), and RED (V-Raptor X) are our candidates in this category. Every one of them has its strengths or limitations but at the end of the day, we chose the Blackmagic Design Ursa Cine LF 12K, the Canon EOS C80 and (ex aequo) the Canon EOS C400 as our cameras of the year in this category!

Blackmagic Design Ursa Cine LF 12K

This new camera represents Blackmagic Design’s commitment to catering to the higher end of our filmmaking market but at a much more comfortable price. There is no denying that some past offerings from Blackmagic suffered from some reliability issues or even a lack of performance consistency between cameras of the same type. Still, here, it seems as if we are talking about a completely different beast. I’m mentioning this because rental houses are understandably cautious about stocking cameras in their arsenal, which might cause issues. The last thing that they need is customers riding on their backs complaining about such things.

Now, in our opinion, with the introduction of the Ursa Cine LF 12K, it seems Blackmagic Design aims to achieve two key goals: 1) directly challenging established players like ARRI and RED, who have been dominating the larger production arena, and this time with a reliable filming tool and kind of “futuristic ecosystem” workflow. 2) allowing midrange production houses to purchase a “high-end” camera at a much more affordable price.

If you haven’t done so, we encourage you to dive into the lab test we conducted on this camera and see why we are impressed with what Blackmagic is offering here. As Gunther, our colleague, summarized in our lab test article: “This camera sets a new benchmark in terms of features and price”!

If you are considering getting this camera, please note that there is a learning curve. It has A LOT of buttons and a few screens. Even if many of those buttons have the same functionality (or can be assignable), it is still a bit overwhelming. Also, please remember that the camera records to a proprietary dedicated internal media module. While this massive 8TB storage solution allows for no compromise even when recording 12K open-gate up to 80 frames per second, it might be the Achilles Heel in the overall workflow. The module itself has no connecting input/output to a computer, so currently, to copy the material, you need to use the camera (not recommended due to limited transfer speeds) or Blackmagic’s Media Dock, which is far from portable. This Media Dock has three slots, and we hope to see a single-slot device that will allow DITs to manage the transfer of material in the field soon.

Congratulations to Blackmagic Design. All in all, they did a great job of offering a comprehensive filmmaking tool, which is tightly connected to a post-production and cloud workflow.

Canon EOS C80 and Canon EOS C400 – winning ex aequo

2024 represents the year of Canon’s comeback! After a long period of silence, a few solid offerings found their way to the market. But the biggest (pleasant) surprise was Canon’s new pricing strategy. Suddenly, from being a manufacturer known for charging premium prices for cinema cameras, it became a company that is offering great filming tools for prices that can make sense for many.

Here at CineD, we debated to the last minute which of Canons’ cameras to award. Both the EOS C400 and the EOS C80 bring very solid offerings for independent filmmakers. In the end, our inability to choose one of the two cameras over the other is a testament to Canon’s success in tailoring these cameras for distinct user groups – which is why we decided to award both cameras “ex aequo” with a CineD Camera of the Year 2024 Award.

Here’s my (Johnnie’s) reasoning for the Canon EOS C80, and below you find Nino’s reasoning for the Canon EOS C400.

Canon EOS C80 – the affordable full-frame 6K RAW recording one-man-band camera (Johnnie’s take)

For $2,500 less than the EOS C400, the EOS C80 offers fewer connectivity options and features but still includes all the essentials without feeling like you’re compromising much.

This camera brings what Canon is mostly renowned for: warm colors, good autofocus/lowlight performance, and internal RAW recording. Top this with a 6K full-frame sensor (found in the EOS C400, too) and add features that were missing from the EOS C70, and here you get a winner.

Please watch our full-camera review and mini-documentary here if you have a minute.

Canon EOS C400 – the versatility wonder stacking up very well against competition (Nino’s take)

The Canon EOS C400 features the same sensor and similar features to the C80, however it has a lot more connectors, making the camera much more versatile when used alongside other cameras in a multicam setup (Genlock, a 2nd SDI port, return port, 12-pin Port for Lens Control). On top of that, it can shoot up to 60fps in 6K (the C80 can do only 30p) and it records on CFexpress Type B cards instead of SD cards.

I find it funny that the C400 is mostly considered the “larger” camera where arguably, if you look at both cameras from the front, the C400 is smaller than the C80 and probably less intimidating for anyone being filmed. It also only weighs 200 grams more which is negligible.

Essentially, the C400 is competing with Sony offerings such as the FX6 or even FX9, and I have to say, it gives Sony a run for the money. For thousands of dollars/Euros/pounds less, you get a 6K RAW-internal recording, triple base ISO camera from Canon. The closest camera for internal RAW video from Sony is the BURANO which costs more than 3 times as much. Bravo, Canon.

In case you missed it, here are the results from our Canon EOS C400 Lab Test in the Camera Database (article will follow).

Congratulations to Canon. The company did their homework and presented us with a great value-for-money working horse. Now, give us a dedicated viewfinder for even more usability.

Mirrorless/Hybrid cameras

The “bare bone” of our industry continues to be mirrorless/hybrid cameras. These have grown to be extremely capable and, dare we say, very affordable. They also reflect the shift our industry has undergone. Heavy, bulky cameras are almost a thing of the past, and even more significantly, we’ve seen a consolidation of professions. Like it or not, in some segments of our business, mastering multi-functional skills that combine photography and filmmaking has become essential for survival. There is no better way to make the most out of this opportunity than working with these types of cameras. In this category, we had FUJIFILM (GFX100S II, X100 VI, X-T50, X-M5), Canon (EOS R1, EOS R5 Mark II), Leica (SL3), Nikon (Z6 III), Sony (Alpha a1 II, a9 III, ZV-E10 II), and Panasonic (LUMIX S9, LUMIX GH7). As you can see, most of the manufacturers were productive, offering different camera and sensor sizes and, of course, an assortment of functionalities.

This category’s runner-ups are the Sony a9 III and Nikon Z6 III. The Sony camera represents a quantum leap in sensor technology; after all, it is the first to have a global shutter solution for a mirrorless camera. One of our concerns was that the camera’s dynamic range would suffer because of this kind of sensor, but our lab test proved the opposite. The Sony a9 III is the best Alpha camera to date in video mode in terms of dynamic range!

And then, we have Nikon, a company that was perceived by many as very traditional and slow to react to some of the changes in our industry. And then earlier this year, in a surprising move, they acquired RED Digital Cinema. The full impact of this acquisition on our industry is yet to be seen, but for now, Nikon is continuing to deliver solid mirrorless cameras. What Nikon started with the Z9 (our Camera of the Year 2021), evolved into the Z8, a more affordable and user-friendly model. This year, Nikon has captured our attention once again with the introduction of the Z6 III. While this camera is more limiting for photographers compared to the Z8, when it comes to video, this camera is priced at around $2,197—$1,000 less than the Z8 and still gives a great run for the money comparatively. So, with ProRes and N-RAW internal recording next to 6K up to 60p (and 4K/120p), it is a great versatile compact tool aimed at creators of different levels. Please head to our camera database to find out more about the Nikon Z6 III.

So, let’s proceed to the winners of this category…

Panasonic LUMIX GH7 (full body size)

Panasonic had only two major camera releases this year, the LUMIX S9 and LUMIX GH7. We would like to concentrate on the formidable LUMIX GH7. By the time you read this article, we hope to have released our long-term GH7 review, but even if it’s not quite finished, we’d like to share a summary of our findings so far. Since its release, we’ve successfully used this camera on numerous projects. What really impressed us was how quickly Panasonic caught up with implementing excellent autofocus in this camera (next to their latest full-frame LUMIX S5 II and LUMIX S5II X offerings). Also, the stabilization functionality in this camera is one of the best (if not the best) on the market. Implementing an effective stabilization system in a camera with a smaller sensor (Micro Four Thirds) is certainly helpful, but this doesn’t take away from the significance of this achievement.

Moving forward to our lab test, here is what Gunther, our colleague, had to say: “Panasonic did it again – the LUMIX GH7 is in a class of its own considering the Micro Four Thirds sensor size! Not only does it show good rolling shutter values, but the dynamic range results don’t disappoint. They are quite similar to the recently tested Sony A9 III or the Canon EOS R5 C, for example. As mentioned, it plays in the league of recent consumer full-frame cameras with those results (a bit on the lower end, though)”.

More of our findings and conclusions about this camera can be found in our comprehensive lab test here.

Back to working with the camera. On a recent trip to Japan, as part of our review, I used it to film a mini-documentary (watch this space for the link). One of the things I wanted to check is how the footage looks if it is NOT working with Panasonic’s V-Log, as this camera has the alternative to record in ARRI’s LogC3 picture profile (Paid update). The results were very convincing. Finally, I was able to film and avoid the overall red-looking skin color that V-Log tends to give (at least for my taste). One thing to remember when filming with ARRI’s LogC3 is the imposed limitation of not being able to film ProRes RAW internally.

Last but not least, it seems as if Panasonic is one of the only mirrorless camera manufacturers that really cares about audio, as this is the first camera to allow 32-bit audio recording when using their optional DMW-XLR2 XLR unit.

The question of the LUMIX GH7 price is left a bit open. Yes, it is a very orientated and friendly filmmaking device, yet, at $2,198, it is already combating a niche of larger sensor cameras.

Congratulations to Panasonic. Here at CineD (and the filmmaking community as a whole), we are looking forward to seeing what 2025 will bring. Hopefully, it will be the successor of one of your aging flagship full-frame cameras.

And now, in a sharp turn, to our last winner.

FUJIFILM X-M5 (compact body size)

Surprise! As not all mirrorless cameras are created equally in size (and performance), we decided to give an award for a compact camera, too – one that is capable of producing good-looking videos, packed with conventional features, can go with you anywhere, doesn’t make you break a savings account, and has a surprising feature. For less than $1,000 ($799 to be exact), FUJIFILM X-M5, the latest in the company’s offering, ticked all those boxes (a review is coming soon). When we first got the camera, we could not believe how small it was. We have yet to find a photo that does justice to the unbelievably small camera size. Now, the “killer feature” of this APS-C camera is the ability to film internally in 4:2:2, 10-bit, 6.2K (up to 30p) open-gate. Top this with FUJIFILM’s 20 Film Simulation looks and the ability to send clips to the cloud (Frame.io, for example) with no additional grip, and you might have a winner here. Yes, of course, there are some limitations, like the absence of a viewfinder or limited recording data rate, but for a 355g/0.78lb compact camera that costs less than $800, we think it is an achievement.

Congratulations to FUJIFILM. It was a busy year for the company. Keep pushing the performance envelope, and please bring out a firmware update to help with the autofocus performance of more of your cameras.

That’s it for 2024. We haven’t touched the smartphone/action category. The iPhone 16 Pro is too close to its predecessor, and a new DJI Osmo Pocket 4 is nowhere to be seen. Next year, we promise to talk about the newly announced ARRI 265, Blackmagic Design Ursa Cine 17K 65, FUJIFILM GFX ETERNA, and MUCH more!…

What do you think about our Camera of the Year 2024 choices? Is it close to what you were hoping for or miles away from your observation and expectations? Please share with us your thoughts in the comment section below.

The Blackmagic ATEM Switchers 9.6.3 update has been released. It adds control of Blackmagic Design Cameras directly from the panel, and user profiles have been increased from 10 to 100. Plus, it provides overall performance and stability. Let’s take a look at the update!

The Blackmagic ATEM Advanced Panels offer a powerful solution for live production, such as broadcast news, sports, concerts, interviews, livestreams, and more. Along with advanced features, some of the ATEM models are portable, allowing for on-location broadcasts.

The ATEM Advanced Panels support 4K and 1080p, a variety of cameras, including those from Blackmagic, plenty of port options (SDI, AUX, USB-C, etc.), chromakey capabilities, and other professional features. Not too long ago, a broadcast switcher setup like this would have cost tens of thousands of dollars, if not hundreds of thousands.

Blackmagic ATEM Switchers 9.6.3 update – new features

The Blackmagic ATEM Switchers 9.6.3 update adds important new features, including:

• New menu that allows for control of Blackmagic Cameras directly from the panel.
• Camera controls include focus, iris, master RGB, black levels, and more.
• User profiles increase from 10 to 100, which saves button mapping and profiles for different shows or users. There’s no need to overwrite profiles.
• Performance and stability updates.

Supported Blackmagic ATEM Advanced Panel models

• ATEM 1 M/E Advanced Panel 10
• ATEM 1 M/E Advanced Panel 20
• ATEM 1 M/E Advanced Panel 30
• ATEM 2 M/E Advanced Panel 20
• ATEM 2 M/E Advanced Panel 30
• ATEM 2 M/E Advanced Panel 40
• ATEM 4 M/E Advanced Panel 40

If you’re using a Mac, you’ll need macOS 15 Sequoia or later, or macOS 14 Sonoma or later. Meanwhile, you’ll need Microsoft Windows 10 64-bit or Windows 11.

Price and availability 

The Blackmagic ATEM Switchers 9.6.3 update is available now as a free download. If you’re using any of the above Blackmagic ATEM Advanced Panel models, this could be considered a mandatory update. The ability to control cameras directly from the Panel and up to 100 user profiles, along with general performance and stability updates, will help to make broadcast switching more streamlined and enhanced.

Visit the Blackmagic support page to learn more and download. They also include instructions on how to install the 9.6.3 update.

Are you currently using a Blackmagic ATEM Production Switcher? Will you be updating to the ATEM Switchers 9.6.3 update? Let us know in the comments below!

The Blackmagic URSA Cine Immersive is now available for pre-order after the announcement in June 2024. It’s the world’s first to support the Apple Vision Pro for immersive and spatial capture. They also provide an update on immersive video support in DaVinci Resolve Studio. Let’s dive in!

The Apple Vision Pro debuted in February 2024 and is the first major new product from Apple in several years. Those who have used the immersive headset have said it’s the best AR/VR headset on the market. It can be used not only for entertainment, but also work with its virtual computer desktop and apps.

Blackmagic URSA Cine Immersive – features

The Blackmagic URSA Cine Immersive was first introduced back in June during the keynote speech at Apple’s Worldwide Developers Conference (WWDC). Apple also revealed that DaVinci Resolve would soon support immersive editing and color grading. (Final Cut Pro 11 supports only spatial video editing for the time being.)

It is the world’s first commercial camera system to support spatial and immersive filmmaking. When the Vision Pro debuted, there weren’t many options available to support production. Similar to when 3D filmmaking became popular again in the late 2000s/early 2010s, it’s a much more complex process than standard filming. The Blackmagic URSA Cine Immersive is a huge step towards immersive production.

Features include:

• Captures ultra-high-resolution 180° Immersive video and Spatial audio, supporting the Apple Vision Pro.
• 8160 x 7200 resolution per eye with pixel level synchronization thanks to dual sensors of the same size (58.7 MP).
• Custom dual lens system specifically designed for the URSA Cine’s large format sensor with very accurate positional data.
• Lens projection data is calibrated and stored on device and is embedded in the Blackmagic RAW file, enhancing and streamlining post-production.
• 16 stops of dynamic range.
• Generation 5 Color Science with new film curve.
• Films up to 90 fps at 8K 3D immersive cinema content (per sensor) and saved to a single BRAW file.
• High-performance Blackmagic Media Module 8 TB included for recording.
• High-speed WiFi, 10G Ethernet, or mobile data for network connections.
• DaVinci Resolve Studio.

New DaVinci Resolve Studio features supporting Apple Immersive Video

Blackmagic also revealed some features that will be found in the updated DaVinci Resolve Studio that will support Apple Immersive Video editing for the Vision Pro.

• Monitoring with the Apple Vision Pro from the DaVinci Resolve Studio timeline.
• Supports BRAW Immersive footage shot on the Blackmagic URSA Cine Immersive.
• Immersive video viewer for pan, tilt and roll to view on 2D monitors or the Vision Pro.
• Complete post-production workflow for Immersive video with edit, color, audio, and graphics.
• Export and deliver native files for viewing with the Apple Vision Pro.
• Supports FCP XML metadata for transitions rendered by Vision Pro, resulting in clean master files.

Additionally, if you’re interested in filming for the Apple Vision Pro, please watch the CineD Focus Check podcast episode with Nino Leitner and special guest, filmmaker Christoph Tilley. They discuss the challenges of immersive filming for the Vision Pro and also the workflows associated with it.

Price and availability

You can pre-order the Blackmagic URSA Cine Immersive now, with orders starting to ship in late Q1 2025. The price is $29,995. Click here to learn more. With the URSA Cine Immersive and the updated DaVinci Resolve Studio debuting in 2025, immersive video could take the next giant step with original content, including shows, films, and more.

Are you interested in filming for the Apple Vision Pro and immersive media? Will you use the Blackmagic URSA Cine Immersive? Let us know in the comments below!

Blackmagic Design has released Blackmagic Camera for iOS 2.2. The app keeps adding new features and updates and adapting to new models, like the Blackmagic Design PYXIS cameras, which now have remote control with the new version. Let’s take a look at the rest of the updates!

Since its release, Blackmagic Camera has become a standard for smartphone filmmaking. Its familiar user interface for those who are used to the Blackmagic ecosystem, the number of options, and improved reliability make it one of the top options for mobile filmmakers. Of course, the fact that it’s a free app also helps with its success. Let’s take a look at the new update.

Blackmagic Camera 2.2 new features

The latest iOS update introduces remote control functionality for PYXIS cameras, allowing users to manage settings such as focus, white balance, frame rate, and shutter angle directly from their phones. This is particularly useful in situations where the camera is positioned in hard-to-reach locations, making on-the-spot adjustments more convenient. Users can also start and stop recording the connected PYXIS camera and use it in a multicamera shoot.

Blackmagic Camera 2.2 for iOS also adds one feature I felt was missing from the beginning: the ability to click and drag multiple clips on the media tab. This streamlines the process of uploading or deleting multiple clips simultaneously, making it much faster and more efficient. This version also supports German and Italian and fixes an occasional bug where the image would flip when switching between front and back lenses when controlling a remote camera. 

Price and availability

As with previous versions, Blackmagic Camera 2.2 for iOS is now available for free from the Apple App Store. For more information, please visit Blackmagic Design’s app website.

What do you think of this new update? Are you currently using a PYXIS camera that you can control remotely? Let us know your thoughts in the comments below!

The Blackmagic Camera 9.2 update has been released, and it includes full touchscreen and menu controls of the PYXIS Monitor with the Blackmagic PYXIS 6K camera. Additionally, users can now control the PYXIS 6K camera with the Blackmagic Camera app. Let’s take a look at the new update!

The Blackmagic PYXIS 6K camera was unveiled at NAB 2024 and featured a box-style design and a full-frame 6K sensor (36 x 24mm, 6048 x 4032) with 13 stops of dynamic range. It supports filming in open gate 3:2, full height 6:5 anamorphic, and Super 35, plus 6K, DCI 4K, and HD. Supported mounts include Canon EF, L-Mount, or PL.

Blackmagic Camera 9.2 update – New features, enhancements, and improvements 

The Blackmagic Camera 9.2 update allows the new PYXIS 6K full-frame camera to be controlled remotely with the updated Blackmagic Camera app. It also adds support for the PYXIS Monitor with the Blackmagic PYXIS 6K camera, including touchscreen and menu controls.

The full list of features and improvements includes:

• The Blackmagic PYXIS 6K camera can be used with the PYXIS Monitor with full touchscreen support and menu controls.
• Control the Blackmagic PYXIS 6K camera remotely with the Blackmagic Camera app. Using the app on an iPhone or iPad to control the PYXIS 6K’s  focus, white balance, frame rate, shutter angle and more. Start and stop recording, as well. This is great for multi-camera shoots. 
• Adds lens correction data for L-Mount lenses to Blackmagic RAW files recorded on the PYXIS 6K camera. 
• Improved battery life for the PYXIS 6K.
• Enhanced iPhone 15 Pro and iPhone 16 Pro tethering compatibility.
• When the Blackmagic PYXIS 6K’s lock switch is turned on, the built-in touchscreen is locked, but not the buttons below. That support extends to external monitors like the PYXIS monitor.
• Improves the gyro accuracy on the Blackmagic 4K G2. This helps with shot stabilization in DaVinci Resolve.

It wasn’t long ago that Blackmagic Design released the Blackmagic Camera 9.1.2 update. It added support for the PYXIS Monitor with the Blackmagic URSA Cine 12K LF along with other third-party display port USB-C monitors. Get the details of that release here.

Price and availability 

The Blackmagic 9.2 update is available now as a free download. If you own the Blackmagic PYXIS 6K camera, it’s definitely a great update. The camera’s remote control ability while using the Blackmagic Camera app for iOS is a must-have feature. Plus, full touchscreen support of the PYXIS Monitor or a third-party external monitor from the camera is another great feature. Learn more and download here.

Meanwhile, the Blackmagic PYXIS 6K full-frame camera is now shipping and starts at $2,995 (Canon EF, L-Mount, and PL), and the PYXIS Monitor is available for pre-order at $295.

Have you had a chance to shoot with the Blackmagic PYXIS 6K full-frame camera? What are your thoughts on the Blackmagic Camera 9.2 update? Let us know in the comments below!

The Blackmagic URSA Cine 12K LF has been added to the list of Netflix-approved cameras, meeting the capture requirements needed to receive the official designation. The dedicated Camera Production Guide featuring the camera’s capture requirements can be downloaded.

The full-frame cinema camera was unveiled in April 2024 and has a host of features but at a competitive price. (See our full camera lab test here). It comes with a large-format RGBW 12K sensor (35.64 x 23.32mm) and can film BRAW in 12K 3:2 Open Gate up to 80 fps or 120 fps in 2.4:1 mode.

Additionally, 8K and 4K Open Gate RAW can film up to 144 fps without a crop. The de-squeeze function includes 1.3, 1.5, 1.6, 1.66, 1.8, and 2x. Supported mounts include ARRI PL, LPL, Canon EF, and Hasselblad.

Blackmagic URSA Cine 12K LF is part of the Netflix-approved camera list

Netflix has created an official Camera Production Guide for the Blackmagic URSA Cine 12K LF, which can be downloaded here. The guide details the streaming giant’s requirements when setting up and filming with the camera. 

Some of the settings Netflix recommends include:

• Resolution of 12K, 9K, 8K, and 4K.
• Aspect ratio of 3:2 Open-Gate, 16:9, 17:9, 2.41:1, or 6:5.
• Dynamic range: Film (Blackmagic Design Film).
• RAW: Constant bit rate of 3:1, 8:1, 12:1, and 18:1, plus a constant quality of Q0, Q1, Q3, and Q5.

Additionally, there are settings for recording maximum frame rates and resolution to the Blackmagic 8TB Media Module – for example, 80 fps at 12K 3:2 Open Gate or 12K 6:5.

If you’re filming with the Blackmagic URSA Cine 12K LF for Netflix or any approved camera, the Camera Production Guides are an excellent resource. These recommendations are mandatory if you are filming original content for Netflix and 90% of the total run time.

Camera specs needed for Netflix approval 

Netflix has an official page called “Cameras and Image Capture: Requirements and Best Practices.” In it, the company details the minimum specifications and features needed for a camera to receive the official badge. The company does say that not all cameras that meet these requirements are approved. Non-fiction works have more flexibility when it comes to recommendations, it should be noted.

Some of these specs include:

• A true 4K sensor with at least 3840 photosites across.
• Lightly compressed or uncompressed RAW or intraframe-based codec with 4:2:2 chroma-subsampling or greater.
• Bit depth of 10-bit or greater.
• Data rate minimum of 240 Mbps at 24 fps.
• Scene-referred Color Space, including REDWideGamut, ALEXA Wide Gamut, S.Gamut3, and more.
• Scene-referred Transfer Function, including Slog3, Vlog, Log3G10, Log C, etc.
• Timecode must be able to jam to an external source and written as metadata. 

Check out the Cameras & Image Capture page to learn more. It includes the full list of approved cameras and best practices from Netflix. And the settings are also a good guide as a way to achieve high imaging quality.

The Blackmagic URSA Cine 12K LF starts at $14,995 for the body only, while a bundled option includes the EVF Top Handle Kit and retails for $16,495.

Are you using the Blackmagic URSA Cine 12K LF for your projects, Netflix or otherwise? What are your thoughts regarding the features? Please let us know in the comments below!

This is a guest article about the Blackmagic URSA Cine 12K by Leon Barnard. Leon is a director, cinematographer, and editor with a passion for training the next generation of filmmakers. Through Team 2 Films, he provides valuable insights into Camera equipment and DaVinci Resolve, helping creatives refine their craft.

We recently had the opportunity to shoot with Blackmagic’s URSA Cine 12K LF. While Blackmagic has been producing incredible cameras for the past decade, many consider this to be their first camera targeted at high-end prestige productions. In other words, a camera that can compete with industry standards like the Venice, Alexa and V-Raptor.

As 12K features prominently in it’s name, it’s easy for conversation to focus on it’s resolution. It prompts questions like, “Does anyone need 12K, have compromises been made to achieve such a high resolution and what’s it like to shoot with?” 

We’ll answer those questions shortly, but first there’s something way more revolutionary about this camera that no one seems to be talking about! The technology behind it’s sensor. We’ve sifted through the publicly available documents to better understand this incredible technology.

This article is based on Team 2 Film’s breakdown of the Cine 12K’s sensor technology.

Learn more by watching the video:

RGBW Sensor Technology

Almost every modern camera uses a Bayer Colour Filter Array (CFA). That includes the Alexa, Venice and V-Raptor. Bayer sensors use a repeating pattern of red, green and blue photo-sites that repeat on a 2×2 grid. In each 2×2 segment, there are two green photo-sites, one red and one blue. In contrast, Blackmagic have developed a new CFA. It repeats on a 6×6 grid, and uses a mix of red, green, blue and white photo-sites.

This design has at least two key advantages:

1. Typically, as the resolution of a sensor increases, the size of each photo-site decreases and therefore the sensors low-light capabilities suffer. That’s not the case with Blackmagic’s design. White photo-sites are able to absorb more light as they don’t have a colour filter in front. When combined with the colour data from the red, green and blue photo-sites, this greatly enhances the sensor’s sensitivity in low light.
2. Most cameras have a limited selection of resolution options. You either shoot at the sensor’s native resolution, or if you want a lower resolution there are often compromises involved. For example, the Red V-Raptor uses windowing to shoot lower resolutions which changes the field of view. The Sony Venice can shoot 4K using the entire sensor, but that downsampled image cannot currently be recorded in X-OCN. On the other hand Blackmagic’s unique sensor architecture allows in-sensor scaling from 12k to either 8k or 4k with no artefacts, no windowing and no change of codec.

Let us explain how.

Blackmagic’s Unique Sensor Architecture

In each 6×6 grid, half the photo-sites are white, (also known as wide-band photo-sites). The remaining half is split evenly between red, green and blue, (also known as narrowband photo-sites). That 6×6 repeating pattern is split into macro cells. Each macro cell contains two diagonally opposed wide-band photo-sites, and two matching narrowband photo-sites.

When the camera operates in 12k mode, each photo-site is read individually. When the camera is switched into it’s 8k or 4k mode, the two narrowband photo-sites in each macro cell are paired together, as are the two wideband photo-sites.

As a result when processing each macro cell, instead of the camera having to read four individual values, it only has to read two. This is why the sensor readout is twice as quick (approximately 6ms) when working in the 8k or 4k mode.

When the sensor is in that mode, it’s super easy for the camera to extract both a high-quality raw 8k image and a high-quality raw 4k image. It makes sense because that 6×6 filter pattern is now made up of a grid of 3×3 macro cells. Four and eight both divide into twelve with factors that are aderivative of three. A different filter kernel will be used to process the 4k image and a different one to process the 8k image.

This is absolutely huge! This camera can deliver an un-compromised 4k, 8k and 12k open-gate image from the same sensor.

While this camera has 12k featured prominently in it’s name, thanks to this incredible technology, it’s equally as capable as an 8k or 4k camera. You could even argue that it’s more capable as an 8k camera given the fact that the pixel pairing technology dramatically reduces sensor readout and improves the signal to noise ratio, providing better low light performance.

You can think of this technology as being like a three speed gearbox. A car might be able to rev up to 7000 RPM, or go 120 miles per hour. The truth is that most of the time you don’t need that sort of speed or those sorts of revs. The gearbox converts that power into something useful that you can use at lower speeds. Third gear connects the engine to the wheels with a 1:1 ratio letting you use all 12k. When you drop down to second or first, you get more torque… because that 12K is being condensed into 8k or 4k.

Image Quality of the URSA Cine 12K

Whether Bayer or RGBW, any sensor CFA has the potential to introduce unwanted artefacts. We set out to see if there were any defects in the Cine 12K’s image. The cityscape below is a torture test for any camera. The fine details and repeating patterns will very quickly highlight any moire or aliasing issues that a camera has. It’s not an unreasonable test, as it’s typical of the kind of scenes anyone would film.

We’re pleased to report that no matter how far we zoomed into the image we were not able to find issues. But don’t take our word, see for yourself in the images below or better yet in our video.

We wanted to see if the Cine 12K LF could thrive under challenging production conditions. So we planned a fashion style spec shoot at the Barbican Center in London. This wasn’t a manicured shoot, it involved a great deal of low-light mixed-lighting scenarios.

See the results for yourself in our video. Finally, to eliminate any subjectivity, we shared our test footage with Tashi Trieu, an experienced LA based colourist. His interview is included in our video.

Conclusion

The Cine 12K is disruptive. In my opinion, its stats are groundbreaking in almost every category.

It shoots 12K with an RGBW sensor, comes with 8tb of storage and has integrated 10gb network connectivity. On top of that, it has a 6ms (approx) shutter readout in 8k mode, it can shoot up-to 224 frames per second, has internal ND and costs under $15,000.

Most cameras seem to be compromised in some way. They might have EVERYTHING but cost the same as a mortgage deposit. Or they might be affordable, but lacking features. The Cine 12K LF doesn’t seem to have any significant compromises. It’s incredibly affordable and well featured. About the only thing that we could critique is it’s size and weight but that’s not an issue for largeproductions that have the necessary support to manage a large camera package.

The Venice, Alexa and V-Raptor are incredible cameras. It’s difficult to say which camera is the best, because each excels in different regards. Regardless, from what we have seen, the Cine 12k LF delivers incredible quality that allows it to compete with established high-end cameras. When a complete Cine12K LF package can be purchased for less than $15,000, it’s a very hard camera to ignore. Rent one or visit your local supplier and go see for yourself.

Editor’s note: Don’t forget to also check out our extensive Blackmagic URSA Cine 12K Lab Test that we published recently, and the entry of the camera in our Camera Databases.

What do you think about the Blackmagic URSA Cine 12K? Let us know in the comments below.

Blackmagic Design has just released the newest version of their popular app – Blackmagic Camera 2.0 for Android. This update includes some of the features iPhone users have been enjoying for a while now: remote control and monitoring of several phones at the same time, the ability to drag and select multiple clips, and capturing up to 120 and 240fps on supported Sony Xperia devices. What else? Let’s take a closer look.

The company consistently brings updates to their smartphone app, so it’s no wonder it has become quite a popular solution for mobile filmmaking. First, if you’ve already worked with a Blackmagic camera, you’ll be happy to see a familiar interface. Second, it is free of charge. And above all, apart from fixing issues and improving general performance, these frequent updates do actually bring new and useful features to the table.

Remote control and multicam

In this case, the biggest highlight of Blackmagic Camera 2.0 for Android is that it allows creators to monitor and remotely control multiple phones simultaneously (just like the same-numbered version for iOS, which was released in August). From now on, you can set up your Android phone as a controller and connect up to 9 other phones running Blackmagic Camera via a wired or wi-fi network. After that, you will be able to see all your cameras in multi-view and sync them. The new feature also allows users to change all the important settings (like zoom, focus, white balance, frame rate, shutter angle, and lens selection) on any connected device or adjust all of them at once.

Support for further Android devices

Also, in this update, Blackmagic Design added support for some Android tablets, including the Xiaomi Pad 6 and Samsung Tab S9, as well as the new Samsung S25, S25+, and S25 Ultra phones. All these devices can be used as either a camera or a controller. Thus, if you need multiple perspectives, you can monitor and control them from a bigger tablet screen using several phones as cameras. Quite a neat setup for quick-paced projects, if you ask me.

There is more to Blackmagic Camera 2.0 for Android

Another long-awaited addition in Blackmagic Camera 2.0 for Android is the ability to click and drag multiple media clips on the media tab with your finger. This makes the selection process easier and faster if you need to upload or delete something.

Apart from that, the 2.0 update for Android includes support for Tilta Nucleus USB devices for lens control, adds German language to the user interface, and allows capturing at 120 and 240 fps on supported Sony Xperia devices.

Blackmagic Camera 2.0 for Android – overview of key features

Key features at a glance:

• Supports controlling multiple phones with Blackmagic Camera;
• Support for Samsung S25, S25+ and S25 Ultra phones;
• Support for selected Android tablets, including Xiaomi Pad 6 and Samsung Tab S9;
• Support for Tilta Nucleus USB devices for lens control;
• Ability to drag-select multiple media clips;
• Added German user interface;
• Ability to shoot 120 and 240 fps on supported Sony Xperia devices.

To read more about the Blackmagic Camera app, head over to their official page.

Price and availability

As with previous versions, Blackmagic Camera App for Android 2.0 is available for free and can be downloaded here. (The current version for iOS users is 2.2; here is the link to the free download).

Do you use this app? Have you already upgraded it to Blackmagic Camera 2.0 for Android? What features do you wish they would add next? Share your thoughts with us in the comments below!

Image source: Blackmagic Design.

Blackmagic Design just announced a new camera called Blackmagic PYXIS 12K. Combining the full-frame RGBW 12K sensor from the URSA Cinea with the compact body of the Blackmagic PYXIS, the camera will be available starting July 2025 at $4,995.

Blackmagic Design CEO Grant Petty has traditionally introduced new products in a livestream shortly before the NAB Show. We divided this up into three articles:

• Blackmagic Design hardware news – ATEM, HyperDeck, etc
• Blackmagic Design camera news – PYXIS 12K
• Blackmagic Design DaVinci Resolve 20

In this article, we will focus on the new camera updates. If you are interested in the other news, feel free to click on the corresponding link. Now, let’s take a quick look at what is new with Blackmagic Design cameras.

Firmware updates for Blackmagic cameras

Firstly, Grant Petty talked about new firmware updates for selected BMD cameras.

The Blackmagic camera 9.5 update will bring better AF capability with continuous AF, object tracking AF, and face tracking AF to select cameras. In fact, the public beta of the 9.5 update is now available for download for the Blackmagic Cinema Camera 6K. The company promised to bring this to more camera models in the near future.

Another firmware update is the camera 9.6 update. This will initially come to the PYXIS and URSA Broadcast G2 cameras. It adds the pre-record feature. This can be either always-on or activated each time with a long press of the record button.

Finally, the third upcoming camera 9.7 update will bring support for the Blackmagic PYXIS monitor to be used on the Blackmagic Micro Studio 4K camera G2. The connection will be provided by the camera’s USB-C port, so just like with the PYXIS, both image and power can be transferred with one cable. This will enable interesting clean rigs, in my opinion.

Blackmagic URSA Cine 17K body

Also unsurprising, considering it follows the earlier announcement of the URSA Cine 12K body-only announcement from a while ago. The URSA Cine 17K camera will now also be available as a body-only option. This time, however, the camera still comes with the 8TB media module with the built-in 10G ethernet port.

The camera will be priced at $21,995, and it is available for pre-order now.

Blackmagic PYXIS 6K broadcast accessories

Before talking about the whole new camera model, Grant Petty introduced a set of new accessories for the PYXIS 6K camera aimed at ergonomics for broadcast use.

• There is a new Blackmagic PYXIS Pro Handle that includes a built-in EVF at the back as well as a microphone at the front, along with controls and rockers. The handle will be available in June 2025 for $895.

• Another new accessory is the Blackmagic PYXIS Pro Grip, which attaches to the right side of the camera and brings a zoom rocker along with a record button and a strap. The Pro Grip will cost $119 and will be available in June 2025 as well.

Blackmagic PYXIS 12K

Finally, the new camera model is called Blackmagic PYXIS 12K, and it brings the full-frame RGBW 12K (12288 x 8040) sensor from the URSA Cine into the smaller PYXIS body. The available frame rates, however, are a bit limited compared to the URSA Cine.

The PYXIS 12K can record the following framerates and resolutions:

• 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

The advantage of the RGBW sensor is that it offers full-frame mode in lower resolutions, too.

As Grant Petty also told us, the USB-C port at the back of the camera is now faster, so it supports recording of the high-resolution high-bitrate modes straight to a compatible SSD drive.

Otherwise, the camera body is identical to the PYXIS 6K model, including the touchscreen monitor on the side, multiple rigging points, dual CFexpress B slots, and so on.

Just like the PYXIS 6K, the new 12K camera comes in either EF, PL, or L Mount version.

Price and availability

The Blackmagic PYXIS 12K camera will be available starting July 2025, and it will cost $4,995 regardless of the lens mount version.

Do you have experience working with the original Blackmagic PYXIS 6K camera? What do you think about the new 12K model? Can you imagine adding this new model to your kit? Let us know your thoughts in the comments section underneath the article.

Among the most interesting new non-camera hardware products announced today by Blackmagic Design are the new ATEM Mini Extreme ISO G2, HyperDeck Shuttle 4K Pro, and the ATEM Micro Camera Panel. All products further enhance the connectivity and functionality of live streaming and multi-camera productions.

Blackmagic Design CEO Grant Petty has traditionally introduced new products in a livestream shortly before the NAB Show. We divided this up into three articles:

• Blackmagic Design hardware news – ATEM, HyperDeck, etc
• Blackmagic Design camera news – PYXIS 12K 
• Blackmagic Design DaVinci Resolve 20

In this article, we focus on the new non-camera hardware updates. If you are interested in the other news, feel free to click on the corresponding link (articles are coming soon). Now, let’s take a quick look at what’s new with Blackmagic Design hardware.

ATEM Mini Extreme ISO G2

The new generation of Blackmagic Design’s popular HDMI switcher has been released, and it features a new layout, new controls, new buttons, and enhanced connectivity options.

There are still 8 HDMI inputs, but now 3 HDMI outputs, a manual transition fader, two 10G ethernet ports, a built-in media player, a CFexpress memory card slot, and more. There are now three USB-C ports.

The audio features were enhanced as well. The panel now features a 6.3mm headphone jack, XLR audio analog inputs with phantom power, MADI IN, and more.

The new ATEM Mini Extreme ISO G2 should be available in July 2025, and it will sell for $1,995.

HyperDeck Shuttle 4K Pro

HyperDeck Shuttle 4K Pro is a new version of Blackmagic’s live production clip player. Compared to the existing HyperDeck Shuttle HD, the new 4K Pro model (apart from supporting UHD resolution) includes a built-in 7” touchscreen and expanded connectivity.

The device features a speaker, large search dial, internal SD card for recording, 10G ethernet port for recording and connection. There are 12V power, SDI & HDMI ports. The HyperDeck Shuttle 4k Pro should be available in June and will cost $1,495 without any built-in storage or $1,895 with 2TB built-in M.2 SSD.

ATEM Micro Camera Panel

ATEM Micro Camera Panel is a single control unit that can fully control compatible cameras. The new micro model is based on the existing large ATEM Camera Control Panel, which features four separate units for full simultaneous camera control.

The ATEM Micro Camera Panel features an internal battery and a USB-C port for charging and connection. It can, however, function completely without cable via a Bluetooth connection.

Other new products

I will not go into detail about every new product announced today, but Grant Petty also mentioned:

• Blackmagic Cloud Backup 8 is a new 8-bay storage solution for standard 3.5″ drives. It will be available for $1,495.
• Blackmagic Videohub Mini 12G is a new video router with multiple 12G-SDI connectors. Available in three sizes – 4×2, 6×2, and 8×4, the Videohub Mini starts at $595.
• Blackmagic 2110 IP converters are SMPTE-2110 IP video products that support UHD using 10G Ethernet. There are various models available starting at $295.
• DeckLink IP 100G is a new PCIe expansion card with two 100G ethernet ports for extremely fast data transfer (up to 8 channels of UHD signal). The card will be available in Q2 2025 for $1,795.
• ATEM 4 M/E Constellation 4K Plus is a new large production switcher with 48 independent SDI outputs. It should be available in June 2025 for $12,995.
• Blackmagic Streaming Encoder and Blackmagic Streaming Decoder 4K are basically successors to the popular Web Presenter with new functionality and connectivity.

Do you use any of the existing products mentioned above for your productions? What is your favorite new piece of hardware announced by Blackmagic Design? Let us know your thoughts in the comments section underneath the article.

Just ahead of NAB 2025, Blackmagic Design announced DaVinci Resolve 20 and here we outlined many of the changes. Now, at the show, they released the public beta, which brings over 150 new features across the platform. Nino stopped by the Blackmagic Design booth to speak with DaVinci Resolve specialist Simon Hall, who highlighted the key updates, many centered around AI-assisted workflows aimed at streamlining the editing process while keeping creative decisions in the user’s hands.

It’s important to note what Simon pointed out: the idea of AI is not to replace the person “in the seat” but to provide tools that simply make editing quicker. Let’s have a look at what stood out!

AI script-based pre-editing – Intelliscript

One of the most exciting new features is Intelliscript, an AI-powered tool that assembles timelines based on a written script, a transcript, or an audio transcription. It doesn’t require any special formatting – a basic text file with paragraphs is enough. Editors can use this to auto-assemble long interviews or scripted scenes, with the system matching text to spoken content.

When multiple takes exist, the tool stacks them in the timeline so you can choose the best version during the edit. It also works with multi-camera setups, allowing the same script to be applied across multiple angles.

AI-assisted multicam switching

Nino asked Simon how Resolve handles multicam edits, especially with two or three cameras recording at once. He pointed out the new AI Multicam Smart Switch, an AI tool that analyzes mouth movement and audio to identify who’s speaking and automatically switches angles. It’s useful for podcasts or interviews recorded without live switching. If the footage is synced via timecode, the tool can generate a clean first pass. Simon noted it’s not meant to replace live switching but offers a helpful shortcut in post.

AI Voice Conversion tool and music editing

The update also introduces a voice replacement feature. Editors can swap out a voice using built-in models or a voice sample – for example, to change a voice or an accent or fix a line. Nino asked Simon whether Resolve can actually learn someone’s voice. He confirmed that it can: Resolve includes a learning module that allows users to train a voice model by uploading a sample. While the built-in models cover common needs, users who want something more specific have the option to create their own.

Music trimming has also been improved: Resolve can now automatically identify loop points and restructure a track to match the length of your edit. Instead of manually cutting and blending sections, you can simply drag the cue shorter or longer, and the software adjusts it in the background.

More editing tools for DaVinci Resolve 20

Simon said that many of the tools are meant to save editors time. Here are some examples:

• Media Pool stacking, so you can manually order clips before dropping them into a timeline.
• A new Source Timeline view that lets you edit from one timeline into another – handy for doc-style workflows.
• A redesigned keyframe editor with spline support, bringing more of Fusion’s animation power directly into the edit page. It’s especially useful for animating layered PSD files.

Cut page improvements

The Cut page has been updated with features like dynamic trimming, for example, aimed at speeding up fast-turnaround edits. It now includes a full-height portrait mode, making it easier to work with vertical video for social platforms. Mouse-based trimming has also been added, bringing Speed Editor-style functionality to users without the hardware. In addition, new AI-assisted trimming tools help streamline edits without interrupting the flow of the timeline.

Fusion gets deep image compositing

Although it wasn’t mentioned in the interview, according to their webpage, Fusion offers a Deep Image Compositing toolset. This feature typically allows for advanced layering and depth-based compositing workflows, which is especially useful for VFX-heavy pipelines.

Privacy and AI training

Simon emphasized that no user content is used to train AI models (except when explicitly providing a voice sample for voice conversion). AI tools may perform temporary cloud-based processing, but project files and media stay local.

Price and availability

The public beta is available now, and you can download it here. As in the past, it is free. Some features are still being finalized and could carry a small fee down the line, but nothing has been confirmed yet.

How do you see AI fitting into your editing process? Let us know in the comments below.

So many new gear updates have dropped recently due to NAB Show 2025—it’s almost overwhelming to keep track! But don’t worry—sit back, relax, and check out this week’s episode of Fokus Check for all the highlights and key updates. From cameras and lenses to lighting and software, we’ve got all our NAB 2025 highlights covered in one easy-to-digest episode. Enjoy!

Sponsor: This episode is sponsored by FUJIFILM. Check it out at 34:36

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Chapters & Articles Mentioned in This Episode:

(00:00) –  Intro

(02:07) – Blackmagic Design NAB 2025 Update – Join the Live Stream

https://www.cined.com/blackmagic-design-nab-2025-update-join-the-live-stream/

(03:29) – Blackmagic PYXIS 12K Camera Explained in Video Interview

https://www.cined.com/blackmagic-pyxis-12k-camera-explained-in-video-interview/

(07:16) – Blackmagic PYXIS 12K Camera Price Increased by 32% to $6,595 in the USA Due to Tariffs

https://www.cined.com/blackmagic-pyxis-12k-camera-price-increased-by-32-to-6595-in-the-usa-due-to-tariffs/

 (10:57) – Immersive Video for Apple Vision Pro with Blackmagic Design URSA Cine Immersive & DaVinci Resolve 20 – Interview

https://www.cined.com/immersive-video-for-apple-vision-pro-with-blackmagic-design-ursa-cine-immersive-davinci-resolve-20-interview/

(15:30) – Blackmagic Design PYXIS Top and Side Handles Explained

https://www.cined.com/blackmagic-design-pyxis-top-and-side-handles-explained/

(19:27) – DaVinci Resolve 20 Released in Public Beta – with AI-Powered Features

https://www.cined.com/davinci-resolve-20-released-in-public-beta-with-ai-powered-features/

(23:49) – FUJIFILM GFX ETERNA Camera Development Update – Internal ND, Hot Swap, Audio, and More

https://www.cined.com/fujifilm-gfx-eterna-camera-development-update-internal-nd-hot-swap-audio-and-more/

(35:40) – Tilta Nucleus-M II Introduced – Features a New 4-Channel FIZ Unit, Flexible Motors, and More

https://www.cined.com/tilta-nucleus-m-ii-introduced-new-fiz-unit-flexible-motors-and-more/

(40:04) – NiSi AUREUS PRIME T1.4 Cinema Lens Series Introduced – Fast & Full-Frame

https://www.cined.com/nisi-aureus-prime-t1-4-cinema-lens-series-introduced-fast-amp-full-frame/

(44:31) – BLAZAR Mantis 1.33x Anamorphic Full-frame Lightweight Lens Series Announced

https://www.cined.com/blazar-mantis-1-33x-anamorphic-full-frame-lightweight-lens-series-announced/

(46:57) – DZOFILM X-tract Macro Zoom Probe Lens Introduced – 3 versions, 18-28mm, T8, and Full-Frame

https://www.cined.com/dzofilm-x-tract-macro-zoom-probe-lens-introduced-3-versions-18-28mm-t8-and-full-frame/

(49:25) – Laowa Probe Zoom Lenses Introduced – 15-35mm T12 / 15-24mm T8 with Interchangeable Barrel Options

https://www.cined.com/laowa-probe-zoom-lenses-introduced-15-35mm-t12-15-24mm-t8-with-interchangeable-barrel-options/

(51:36) – Hollyland LARK MAX 2 – 32-bit Float and Wireless Monitoring

https://www.cined.com/hollylands-lark-max-mk-ii/

(55:12) – Saramonic K9 Audio System Debuts with Ultra-Wide UHF Transmission

https://www.cined.com/saramonic-k9-audio-system-debuts-with-ultra-wide-uhf-transmission/

(57:56) – Sennheiser Profile Wireless Introduced – All-In-One, Clip-On Microphone System

https://www.cined.com/sennheiser-profile-wireless-introduced-all-in-one-clip-on-microphone-system/

(01:00:09) – NANLITE PavoTube II 6XR RGBWW Tubes with CRMX and 8 Pixels Explained

https://www.cined.com/nanlite-pavotube-ii-6xr-rgbww-tubes-with-crmx-and-8-pixels-explained/

(01:01:35) – GVM Reign FH400 Introduced – Flat, Lightweight COB Light

https://www.cined.com/gvm-reign-fh400-introduced-flat-lightweight-cob-light/

(01:03:17) – Aputure STORM XT52 – First Look at the Brightest LED Fixture Yet

https://www.cined.com/aputure-storm-xt52-first-look-at-the-brightest-led-fixture-yet/

(01:05:45) – amaran Pano 120c Presented – a Lightweight, Full Color, LED Light Panel with Multiple Powering Options

https://www.cined.com/amaran-pano-120c-presented-a-lightweight-full-color-led-light-panel-with-multiple-powering-options/

(01:08:35) – ASUS ProArt Monitors, a MicroLED Display, and a Display Calibrator Explained

https://www.cined.com/asus-proart-monitors-a-microled-display-and-a-display-calibrator-explained/

(01:13:06) – ATOMOSphere, A-Eye PTZ cameras, a TX-RX System, and StudioSonic Headphones Introduced

https://www.cined.com/atomos-atomosphere-a-eye-ptz-cameras-a-tx-rx-system-and-studiosonic-headphones-introduced/

(01:18:51) – Strada Agents Introduced – Be Your Own Cloud for Remote Collaboration

https://www.cined.com/strada-agents-introduced-be-your-own-cloud-for-remote-collaboration/

We hope you enjoyed this episode!

What were your personal NAB 2025 highlights?

Let us know in the comments below. And when you have feedback, comments, or suggestions, write us at podcast@cined.com 

UPDATED May 6: Blackmagic has issued another firmware update to their camera software, 9.5.2. According to the company, the update is for “Blackmagic Cinema Camera 6K and fixes an occasional issue where CFexpress cards are not recognized on some cameras.” This update is available on their support page now too.

Original article on the 9.5.1 update below!

Blackmagic Design has released Camera Update 9.5.1, a minor but important firmware update for users of the company’s high-end URSA Cine line. The update introduces optimizations and improvements that particularly benefit the recently launched URSA Cine 17K 65 camera, along with refinements that apply across the full URSA Cine range. Let’s dive into the Blackmagic Camera 9.5.1 Firmware update a bit deeper.

Better image performance for open gate recording on URSA Cine 17K, improved clip playback, faster focus scale readouts

One of the headline changes in Camera 9.5.1 is improved image performance for 65mm open gate recording modes on the URSA Cine 17K 65. While the update does not go into specific detail, Blackmagic notes both “image improvements” and “manufacturing improvements” in this mode, suggesting refinements that could affect both visual fidelity and sensor calibration.

The update also brings improved clip playback behavior across all URSA Cine cameras. According to Blackmagic, this enhancement ensures the correct clip is played when selected via the thumbnail screen in the media pool—an important usability fix for DITs and operators on set.

Focus pullers and 1st ACs working with cine-style lenses that support smart communication (i/Data protocol) will also benefit from better responsiveness on the camera’s focus scale readouts. This could lead to smoother and more accurate focus pulling, particularly in high-pressure production environments.

Download link for Blackmagic Camera 9.5.1

Blackmagic Camera 9.5.1 is available now as a free download from Blackmagic Design’s official support page.

As always, we recommend users check compatibility and review the full release notes before updating firmware in the middle of a production cycle.

Are you using an URSA Cine camera already? What’s your experience with its software so far? Any other suggestions for enhancements? Let us know in the comments below.