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If it's subscription, I think there will be rioting in the streets and a lot of users migrating to Final Cut... including me. On the other hand, given that I paid like $200 for my license like 5-8 years ago and have been receiving free upgrades ever since then - and now I have a second license that came with my camera, if they were to ask for $50/year for license upgrades, I wouldn't be upset. After all, if Resolve either makes no money or loses money, they have no incentive as a business to keep supporting it. I'm not upset about that. If, however, they want me to hand them $20/month to use it, I'm done.

I remember Grant saying the same thing in these presentations in years previous. And I remember looking for anything that explicitly stated "free upgrades for life included" and could never find it. People just assume this because that's how it's been so far. I would hate a subscription model. Paying per major version would be fine, I would most likely skip a generation or two before feeling a need to upgrade. Same as I did with Adobe before their switch to subscription. Assuming the AI stuff is the major cost driver that would cause a switch to a different model, it would seem fairer to attach the cost more to the AI stuff- you get basic models/capabilities with the regular Studio purchase, then can pay to add-on better models or faster processing etc.

These are the numbers provided by the Blackmagic employee in the forum thread that I linked above. 8K 3:2 Open Gate 13.51 8K 16:9 11.61 8K 17:9 10.89 8K 2.4:1 8.59 8K 6:5 13.51

How to make someone addicted to drugs: first I will gift you drugs and then when you can't do without them I will ask you for money. Another clear example of enshittification (https://en.wikipedia.org/wiki/Enshittification)

Yeah If it becomes subscription based, and it is in the Adobe price range. I might jump ship, as photoshop and Lightroom would be nice to have. We will see. I really hate the adobe subscription model.

02:37:32 "We'll probably eventually charge some kind of upgrade for this." Looks like we can expect to pay for major version upgrades in the future. Still better than a subscription, thankfully.

12ms is pretty acceptable. I sort of suspected it would be a bit slower.

Just watched the first episode, it feels a little a bit gimmicky to me. Sometimes the lighting is a bit boring, as that is normal as you can't lock off shots like you do on static shots. I rather have something more stylistic. With cuts between ECU's, wides, medium shots, cutting between characters to build suspense etc. Might be a bit more classic approach, and maybe in my head that works better. Never the less they did an fantastic job nailing an entire episode in one shot. (The studio episode 2 is also done in similar style)

That 12k sensor does have some mojo going on. As good as Alexa? doubt. But the Alexa is soooo heavy + lowlight is better on the pyxis.

All I want to know is if the presentation has finished yet?

Haters of rolling shutter, weep with sadness. While the 8K readout speeds that the the Blackmagic employee posted in this thread are still very good for an 8K camera, they are about 2x the speeds from the Pyxis. For me, I wouldn't care much about ~12ms readout in 8K 16:9 mode and would barely see a difference from the ~6ms of the UC12K, but some people seem really upset by even a small change in RS. I suppose that means that the 12k readout times will be about 24ms which is still totally fine for most things, but I suppose if they send one to Gerald to review, he'll spend half the video whining about it. https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=218593&start=50

If you can wait 2-3 months after it ships, you'll find it barely used for that much or even a bit less. That's the nice thing with YouTube-popular cameras these days.

Had to listen to the livestream while on the road for work. Man oh man does Grant love his broadcast stuff. I drove my full nearly two hour trip before he even hinted at cameras lol. Anyways, the Pyxis 12K is super exciting to me. It makes sense that its price is exactly halfway between the Pyxis 6K and Cine 12K…. But $4500 USD would have felt worlds better to me haha.

Well that's just great! Off to watch the video!

It is the S5ii as far as I’m aware. I’ve pulled this from a demo of the new functionality and shows switchable contrast and phase detect in the UI. Full video is here Yeah I think it will become clearer what BM’s intentions actually are for the 12K when they are doing demos and interviews at the show itself.

Even if the sensor has PDAF as an option, there's no guarantee that they bought a variant of it that has it enabled. Someone somewhere else mentioned that it's the same sensor as is used in the S1H which has autofocus, but not PDAF. Any BMD didn't say that they were giving their cameras PDAF that I saw - just continuous AF. It's entirely possible that they're rolling out contrast-based AF across the board. The fact that Petty said it would only work with L-mount lenses since they give distance information would suggest PDAF, though. Petty did strongly imply, however, that it would be coming to other cameras in time - he made some comment about how it was really important for large format sensors. Only time will tell, though - for now, Focus Pro gives me something like decent AF, though with all of the annoyances that come with doing focus based on a second camera that sits under the other camera.

Same as I said about the UC12k, its big and heavy, and eats batteries. Used Alexa classics are so cheap, I'd rephrase and say that I'd get a Pyxis over an Alexa because cost isn't an issue.

Mmm…In terms of AF, it was only actually stated to be coming for the Cine 6K and then by extension, when that firmware is out of beta, for the PYXIS 6K. I’m wondering if a misguided conclusion has been leapt to here by me that it will come to the PYXIS 12K. The other two share the same Sony sensor and it’s one we know to have PDAF capabilities because it’s used in a number of other cameras. The 12K sensor though is all their own work so I don’t know if it actually does?

Exactly, the worst part of the P4K is the body, one of the best parts of the OG is the body. With a different comparison, I saw a video today of the BMMCC6K held up next to the Pyxis and I couldn't believe how big the FF 6K is... it looks bigger than a 1DX and other than form factor, not much smaller than the Pyxis. The Pyxis seems like the obvious choice between the two. I sure do, that's one thing I do know. Ha, I know that even more. I feel like there are so many good cameras out now that you almost can't go wrong, but like always, the best camera is right around the corner and we're just in a betweener stage. Maybe you just need the Z mount Komodo X... problem solved. Canon should just buy BM, and then I can hate them both together.

There’s dumb L mount adapters for most legacy mounts so just use electrical tape over the PYXIS end contacts to be on the safe side.

If cost isn't an issue and your intent is narrative filmmaking, then why not get an Alexa Classic?

Agreed! The Z-mount has a very short flange distance of 16 mm which is idea for adapting all sorts of lens. I wonder if the Pyxis can use a third party non-electronic mount so that you could have a custom mount machined (if you don't need auto focus and iris contro)l? Looks like all of the Pyxis mounts have electronic contacts.

If I'd known that Pyxis 12K was coming, I would have been less sure to buy the UC12K. There are a lot of things I like about it, but it really is heavy... and I'm sad about all of the lenses that I own and can't use with it - Leica M, Canon FD, etc. Even more surprising to me, given that the VA 12G can handle 4 audio tracks - the two from the camera and the two from its mini-XLR's. Maybe I'll play with that again this evening to see if I missed something. Anyway, owning Fairlight also doesn't seem to be that much of a flex. I'm sure that the audio engineers who use it exist, but I've never met one. In fact, when they hear that I'm editing in Resolve, they groan. At least in recent versions of Resolve, it seems to manage to produce an AAF that they can use on the first try. That wasn't always the case. Anyway. Even though a first-party solution in-camera could be really convenient, unless the transmitter were pretty cheap/included, I'd be unlikely to use it. There's already enough proprietary stuff! Are the latest versions of Bluetooth audio better than the old ones? Maybe that'd be a way to do in-camera wireless mic connection without having to buy a special Blackmagic transmitter? Anyway - the DJI pocket 3 does that when paired with DJI mics... but they never bothered to import that to Ronin 4D. Maybe if they announce the mirrorless that everybody is hoping for, it would be there too.

I'm sure that is true. Personally, cost isn't an issue between the Pyxis and UC12k. If they were equal price, I'd still pick the smaller Pyxis with smaller batteries, sacrificing ND. Conversely, I'd be stoked to pay a little more for a Pyxis with NDs that isn't as massive as the UC12k. Nothing is perfect, but the Pyxis 12k looks really close and, if I can manage to get my projects off the ground, is very likely to be the one we use anyway. Which is honestly surprising to me, considering they own Fairlight and own the braw format. They could do some pretty cool things with metadata, like keeping a raw 32 bit audio stream but applying EQ and other settings as metadata. Hopefully it's on their roadmap! I mentioned the H5studio in my last post, and the wireless receiver module. I'd love to see a similar 1st party solution on a camera. Cut out an audio recorder entirely, go straight from wireless transmitters to the camera.

Yes. I’ve only used it as a studio camera with an ATEM so all I can say is that with a P4K on another ATEM channel they look the same ! I find comparisons between the OG and new Pockets a bit moot as you can get them close enough for jazz visually so at that point it’s all about the rest of the deal. The new Pocket trounces the OG in every metric bar form factor. Depending on what you’re doing with a camera on any given day, the form factor of the OG can make all of the rest of the Pocket goodies irrelevant. The Komodo gave pause for thought over the PYXIS and the new PYXIS has given pause over the Komodo. You know how that goes. The bank balance has given pause over all of them though 😂 It remains to be seen what Nikon do as well with a new Cine line too. The Z mount is a great leveller for me because I can put anything on it. L mount is OK but the Z mount smokes it really when you’ve hoarded as many lenses in different mounts as I have.