The first reviews of the Blackmagic PYXIS 6K are starting to circulate, with Sean Viljoen’s video of filming with it at the Imire Game Reserve in Zimbabwe showcasing some impressive capabilities.
Sean Viljoen is co-founder Conservation Film Company aims to tell stories about humans and wildlife—the delicate line where those two worlds meet. Since 2017, it’s been using Blackmagic cameras, including the Pocket 6K Pro and URSA Mini Pro 12K to do this, but a shoot in recent months in the Imire Game Reserve in Zimbabwe gave the team the chance to put a pair of Blackmagic’s PYXIS 6Ks (one PL-mount, one EF-mount] to the test.
You can see what he thinks of the $2995 cameras (the PL version actually is a bit more expensive at $3195) in the video below. And underneath that we’ve also summarised some of his thoughts for those that prefer to read their way through these things
Using the PL-mount PYXIS first, the modular design allowed him to rig it up with a NISI C5 matte box, a SmallHD monitor and a shotgun mic running to the mini XLR port. He also fitted a tentacle for audio syncing, a must-have for any documentary filmmaker.
“While most elements worked seamlessly, he found the absence of a functional run/stop trigger with his side handle was a slight frustration,” he says. “I’m exploring Bluetooth alternatives like the DJI Focus Pro, but I’d love to see a Blackmagic-native solution in the future.”
The EF-mount PYXIS, meanwhile, proved ideal for gimbal work. “On the DJI RS3 Pro, balancing it was straightforward, especially after stripping the rig to essentials. Using a lightweight BPU 35 battery kept the setup nimble and stable, even for vertical shots. Across both configurations, the PYXIS’ boxy, lightweight form factor impressed with its flexibility, enabling quick transitions between shoulder rigs, handheld setups, and gimbal mounting.”
“Our first test was its low-light capabilities,” says Sean. “We started filming before dawn, capturing the soft light as it crept over the Game Reserve. While this camera isn’t designed to compete with low-light giants like the Sony A7S, it delivered impressively clean footage at ISO 400 and 1250. I personally embrace a cinematic aesthetic, allowing shadows to fall to black while keeping highlights detailed, and the camera performed beautifully in this regard.
“Later, we tracked rhinos at close range, using a Tokina 100mm macro lens to capture intricate details like the texture of their skin, the flicker of their eyes. The 3x2 open-gate mode on the full-frame sensor provided an expansive field of view, enhancing the immersive quality of our shots.
“Dynamic range was tested during the harsh midday sun as we filmed elephants swimming. Wildlife filmmakers often avoid shooting in such conditions, but we wanted to see how the PYXIS handled extremes. Its 13 stops of dynamic range preserved shadow detail without blowing out highlights, even in challenging lighting conditions.”
Rolling shutter has, of course, been a topic of discussion among early adopters of the camera. Sean reckons that while its readout speeds aren’t the fastest, they are on par with industry-standard cameras like the Sony FX9.
“For me, the slight rolling shutter is a reasonable trade-off, especially considering the PYXIS’ price point and image quality," he says.
“We filmed several handheld sequences, including high-energy scenes of rangers training their anti-poaching dogs. Despite shaky movements, the rolling shutter was barely noticeable in most scenarios. For the majority of wildlife and documentary applications, this won’t be a dealbreaker. A natural history trick we often use is filming at 30fps or 40fps to subtly smooth fast motion without making it look overtly slow.”
Sean values the seamless integration with Blackmagic Cloud and the ability to upload proxies or original media directly from the camera. With technologies such as Starlink and other MEO-based rivals becoming more accessible, even the remote locations the Conservation Film Company operates in can now support real-time client feedback and accelerated post-production workflows.
On the whole, he’s impressed. But there are still features he’d like to see in the future. Built-in ND filters, while not a deal breaker, would transform this camera into an even more versatile tool for run-and-gun filmmaking he says. Pre-roll functionality, which captures a few seconds before hitting record, would also be invaluable for wildlife applications. Additionally, the lock function currently disables recording; a minor oversight that could easily be fixed with a firmware update.
“The PYXIS full-frame cameras are not without their quirks, but their strengths far outweigh their limitations,” he concludes. “Its compact form factor, robust build and stunning image quality make them an excellent choice for wildlife and documentary filmmakers.”