The big surprise following Blackmagic’s DaVinci Resolve 21 announcement was that the free-to-use video editor now supports photo editing. That’s right, stills photographers can access the coveted software’s color grading tools, favored by Hollywood productions. But of course, that’s just the tip of the proverbial iceberg, with a whole roster of video-centric upgrades to boot.

Unsurprisingly, AI-powered tools feature heavily in this year’s update, with none perhaps as bold as AI Face Age Transformer and AI Face Reshaper. The former allows you to “de-age” faces, while the latter allows you to reshape them. It wasn’t all that long ago (circa 2016) that Robert Downey Jr and Johnny Depp were de-aged in Captain America: Civil War and Pirates of the Caribbean: Dead Men Tell No Tales, respectively, which certainly puts this tech into perspective.

AI Blemish Removal rounds off the face-tweaking tools, but they’re not the only AI additions. AI IntelliSearch allows creators to “instantly” find the content they’re looking for, with the intelligent search tool allowing you to find people, objects, and even key words in dialogue. AI CineFocus is a particularly interesting addition, with the ability to alter the perceived depth of field of a scene, going so far as to add bokeh and simulate rack focusing.

AI Speech Generator generates voiceover from text and can even replicate your own voice with just a 10-second sample, while AI SlateID can automatically add metadata that it extracts from a clapperboard used in footage. The final two AI-powered tool additions are AI UltraSharpen and AI Motion Deblur, used to sharpen footage and remove motion-blur artifacts, respectively.

And that’s not all. DaVinci Resolve’s visual effects page, Fusion, gets over 70 new graphics via the new Krokodove toolset. Fusion also links with Fairlight’s audio engine (Resolve’s integrated audio post-production software), which allows for automatic animation based on audio analysis for audio-driven animation (a boon for music video or social media editors). Fairlight also gets folders to collapse or expand audio tracks in a boost to track management.

DaVinci Resolve 21 also boasts big virtual reality updates, with Fusion adding spherical Panomap rotation said to provide more intuitive pitch, tilt, pan, yaw and roll, alongside ILPD retargeting data “for more advanced stereoscopic media handling and compositing.” In addition, Foveated rendering, designed to mimic the human eye’s rendering to reduce GPU processing will now be supported for Apple Immersive workflows. Meta Quest and YouTube presets will also be supported.

Another major workflow update is native support for OGraf HTML graphics and Lottie animations, allowing for files to be dragged directly into the media pool, treated like fully-rendered animations – alpha channels recognized.

Keyframing has also been treated to a few updates, including new ease animations, simultaneous adjustments to multiple clips, as well as a four-point Bézier curve. Another key update is MultiMaster trim passes. This allows you to produce multiple HDR and SDR trim deliverables from one timeline, without having to keep duplicating the timelines.

The news has dropped just days before content professionals descend on Las Vegas for the annual NAB Show. And if you’re lucky enough to be visiting ‘Sin City’, DaVinci Resolve 21 will be demonstrated at the Blackmagic Design booth (#N2502). If you can’t make NAB, you can download the DaVinci Resolve 21 public beta and try it out for yourself now.

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DaVinci Resolve has a reputation for color-grading major Hollywood films – and now those same tools are coming for still photos. DaVinci Resolve 21 will support still photos, including organizing and culling, color editing, and node-based editing – and it’s part of the free version of DaVinci Resolve.

During a livestream event on April 13, Blackmagic Design unveiled DaVinci Resolve 21. The software update brings a long list of tools for video editors, but the software also jumps into editing for still photos. Along with giving photographers access to longstanding color tools, the update gives hybrid creators working in both video and stills one program that can edit across both formats.

BlackMagic Design says that the move brings Hollywood-level color tools to still photography, giving still creators cinematic color grading tools. Cinematic photos have been a rising trend on social media lately – BlackMagic’s move brings actual cinema color tools into still photos. That list of tools includes color corrections, curves, and qualifiers – and the support goes beyond color editing as well.

Adding photo support to the longstanding video program gives still photographers access to DaVinci Resolve’s color wheels and custom curves. The programs Scopes – which are like histograms for color, including channels, hue, and saturation – are also supported on still photos.

Photographers will also find the well-known sliders for adjustments like exposure and white balance within the long-standing video editor as well.

DaVinci Resolve uses a node-based workflow rather than the layers that are popular among mainstream photo editors. Where layers in Photoshop are stacked on top of each other, nodes are a flow-chart style set of adjustments. As Blackmagic explains it, "It’s possible to add nodes in series or parallel to build complex grades, apply different corrections to different parts of an image simultaneously and use shared nodes to apply the same look across an entire album of photos at once."

The list of photo features also includes the program’s Film Look Creator, which adds film-like effects, including halation, bloom, grain, and vignetting. Relight FX, which adds lighting effects in post, also works with photos, along with Magic Mask and Depth Maps, to adjust only a portion of the image.

The program’s AI-based tools will also support increasing resolution, lowering noise, and removing unwanted distractions. AI blemish removal is also available, along with tools for smoothing skin and removing dark circles under the eyes.

While DaVinci is known for its color tools, the support for photos also gives photographers and hybrid creators a free software option for organizing and culling images. DaVinci Resolve 21’s Media Pool supports still photos and includes tools for star ratings, setting a photo as a favorite, rejecting a bad shot, and color labels. Albums are also supported.

DaVinci Resolve 21 will support native RAW files from Canon, Fujifilm, Nikon, and Sony, along with the iPhone’s ProRAW format. The software will also support wired tethering to import images from supported Sony and Canon cameras into the software as you shoot.

The added support for still photos comes alongside a long list of updates for what DaVinci Resolve is traditionally used for: videos. That list includes AI-powered focal point adjustment, a search tool, and more.

One important thing is not changing with the latest update: DaVinci Resolve 21 is still free, with a paid Studio version housing the most advanced tools. The beta version of DaVinci Resolve 21 is available to download now directly from Blackmagic Design.

This is a breaking news story. Check back for updates and a full list of features coming to DaVinci Resolve 21.

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The Blackmagic PYXIS 12K can capture incredible footage, but specs mean nothing in a real-world environment if the hardware cannot withstand the elements. Knowing that I’m going to shoot in a cold environment, there are certain things I always factor in: myself, the equipment, and time. While testing some extreme shooting scenarios in Iceland and Norway, temperatures dropped to -32°C.

As well as working in sub-zero temperatures, we were also challenged with shooting from moving vehicles. From a modified Icelandic Jeep, designed for mountainous terrain, through to a modified Suzuki Swift that could tackle ice driving on frozen lakes, every setup came with its own demands. With the support of Uncharted Iceland Expeditions, Safari Quads, and Peter Gwynn Motorsports, we pushed the crew and kit harder with every setup.

All of my decisions had to be carefully considered and only the essentials made the kit list. I needed a solution that would deliver an immaculate image, but was also sturdy enough to withstand the conditions. This felt like the perfect opportunity to test the PYXIS 12K in these unforgiving environments. I paired it with a set of DZO Arles Lustre Prime lenses and a selection of 9.solutions rigging equipment.

Since most shots required the camera to be mounted externally, it spent hours exposed to wind, snow, grit and occasionally water. I relied heavily on Tilta’s Hydra suction cup system, combining both electronic and manual cups. The electronic versions maintain their vacuum, which is reassuring when filming at speed, while the manual cups have the advantage of not needing power when you’re already juggling multiple batteries in freezing temperatures.

Every new angle required stripping the rig down and rebuilding it somewhere else on the vehicle, which could easily take an hour. Patience quickly became a part of the workflow. From an imaging perspective, though, the effort was worth it. The 12K RGBW sensor delivered a huge amount of detail and dynamic range, which proved invaluable when shooting in environments filled with bright snow, reflective surfaces and rapidly changing sunlight.

Those conditions can easily clip highlights or crush shadows on less forgiving cameras, but the PYXIS gave me enough latitude to protect highlight detail while maintaining depth in darker areas of the frame. I was shooting mostly in 8K, which gave me a nice balance of rolling shutter performance and a manageable data rate, while not having to compromise the field of view.

Interestingly, the extreme cold can even work slightly in your favour when it comes to sensor performance. Sensors generally produce less noise when they’re cooler, and since cinema cameras are designed to keep the sensor temperature controlled, anyway, the surrounding environment helped to keep things running efficiently.

The camera hardware definitely took some punishment. During one ATV river crossing in Iceland, a wave of freezing water splashed across the rig. Thankfully, the protective XLCS cage around the camera body took the hit first, and because everything was already so cold, the water effectively froze on impact rather than soaking into the camera.

Battery performance was one of the few areas that required constant management. Cold temperatures inevitably reduce runtime, so I put hand warmers in my camera bag to help maintain a stable temperature for both batteries and accessories. I always tried to keep unused batteries tucked in a jacket pocket, close to my body heat.

What struck me most after weeks of shooting in these environments was how reliable the system proved to be. Despite constant exposure to harsh weather, dust, snow and vibration, the PYXIS never became the weak link. The biggest challenge was simply working efficiently in such extreme conditions.

If you’re planning to shoot in similar environments, the most important advice is simple: respect the conditions, prepare carefully and keep your kit manageable. Cold weather will slow everything down, so plan your setups methodically and make sure you have warm clothing, spare batteries and reliable rigging.

And perhaps most importantly, don’t be afraid to let your camera work. A well-built cinema camera is designed to handle demanding shoots. Sometimes you just have to take it into the storm and see what it can really do.

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For To Fly or Float, cinematographer Ben Saffer set out to create a 1970s period look built on layered images and interesting contrast ratios, with something bright in the frame to anchor the shadows.

Working closely with director Charlotte Peters, he chose the Blackmagic Ursa Cine 17K 65 digital film camera to translate the emotional closeness of handheld 16mm into the sculptural space of 65mm, keeping the audience inside the moment rather than looking at it.

Producer-writer Olivia Maiden rooted the film in the lived experience of childhood grief, with Saffer drawing on visual references including Kes, Ratcatcher and Fish Tank to inform the collaboration.

“From our first conversations, Charlotte, Olivia and I aligned on tone and texture,” said Saffer. “Those references shaped everything, from the locations we pursued and the production design palette to how we planned lighting and lensing.”

Saffer breaks down the format choice, how it shaped intimacy and distance, and the practical on-set decisions that carried through to post production.

In an exterior, like our canal sequence, we wanted a canal in Birmingham during the '70s. This was shot using daylight only, so having trees to one side and reflections off the water on the other side gave us a bit of everything we wanted.

To get a sense of geography and space, I would normally shoot anamorphic on a 50mm or 60mm lens. But the larger 65mm format allows you to step back while still getting that same level of compression.

Shooting with the Ursa Cine 17K 65 meant I could use the spherical 75mm Cooke Panchro 65/i, which is quite a long lens, while retaining a sense of being right there in the moment.

For the kitchen, I used a Vortex8 with a big 8x8 silk with the light source bouncing down into the silk, almost like a book light, but made very simply. Then we had this hard light coming through the window behind the Uncle. The look we were able to achieve was a combination of the way we lit, the color pipeline and some of the production design choices.

But it is also something that comes from shooting in the 65mm format. This is an intimate story about a young girl, but I still wanted to give it a sense of scale because in her life experiences, these were the biggest things that had ever happened. And 65mm certainly gives you that sense of importance.

Head over to the Ursa Cine 17K 65 gallery page to learn more about Saffer’s work on To Fly or Float, including downloadable Blackmagic RAW files from the short.

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Recalls that affect only a small percentage of models tend to come with a free inspection to see whether or not the camera needs the repair – but one cinema camera maker is repairing 100 percent of cameras released before a certain serial number, even though the issue only affects roughly ten percent of those models.

Blackmagic Design is recalling some early PYXIS 12K cinema cameras. The recall includes all cameras before serial number 14221337 for a component in the sensor board, which causes artifacts under certain conditions.

But while not every early model is affected, the manufacturer is still recalling all of them – and even the cameras that hadn’t been experiencing the issue are getting an improved sensor board.

“While only a small percentage of cameras show these artifacts visually, our experience of upgrading cameras over the last few months has shown measurable improvements on every camera,” Blackmagic explained. “This means every camera can be improved by doing this upgrade to the Revision B sensor board.”

The company notes that its newly manufactured PYXIS 12K cameras, built over the last few months, already ship with the new sensor board.

A recall of a cinema camera affects fewer creators than those using more widespread consumer models, but what’s interesting is how Blackmagic is handling the recall. They are repairing every model with the earlier serial number, even though only around 10 percent of them actually have the issue.

The company is also giving customers three years to get the free repair, and the company even notes that they’ll give customers a replacement board “or a replacement camera. Whatever is fastest.”

“The Blackmagic PYXIS 12K was purposefully designed to let cinematographers experience the quality, resolution, and dynamic range of the Blackmagic 12K sensor at a lower cost,” the company wrote. “It's the same sensor used on the URSA Cine 12K. It's an amazing sensor, and we want everyone to get the best performance out of it.”

Affected users are instructed to contact Blackmagic Design support for the recall.

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Blackmagic’s Pyxis 12K arrives as one of the most compelling cinema cameras of the moment, packing a full-frame 12K RGBW sensor and wide 16-stop dynamic range into the same compact, modular body that made the Pyxis 6K so popular.

However, this new camera isn’t just about resolution for its own sake – the huge 12,288x8040 sensor provides filmmakers with serious creative flexibility, whether you’re chasing maximum detail at 12K or downsampling to richly detailed 8K and 4K, which benefit from Blackmagic’s signature color science and tonal response.

At roughly the same physical size as its 6K sibling, the Pyxis 12K feels instantly familiar, yet the performance leap inside is dramatic. Dual CFexpress slots, multiple mount options, and deep integration with the Blackmagic ecosystem (including DaVinci Resolve workflows) position it as a versatile tool for narrative, commercial, and high-end indie production alike.

That said, this sensor’s capabilities demand careful rigging and infrastructure – from power and cooling to media and post-processing – making the Pyxis 12K a camera that rewards planning as much as creativity.

Specifications

Price

Release date and price The Blackmagic Pyxis 12K is available now, with a body-only price of approximately $6,595 (subject to fluctuations due to tariffs) / £4,320.

Design & Handling

Physically, the Pyxis 12K shares the rugged, machined aluminum box design of the 6K model. It is dense, feeling every bit of its 1.5kg weight, and is clearly designed to be the brain of a larger rig rather than a handheld unit. I tested the L-Mount version, which I found versatile for adapting to PL glass (using a Fotodiox adapter with built-in variable ND) or using native L-mount lenses.

The most significant operational difference is power management. The 12K sensor is "hungry." In my endurance testing, a standard Sony BP-U35 battery lasted only 35 minutes. Even larger third-party BP-U100 equivalent batteries provided just over an hour of recording time. Users stepping up from the 6K or Pocket lines must account for this; a V-mount plate and high-capacity bricks are practically mandatory for a full day of shooting.

I’d be surprised if anyone who is seriously considering the Pyxis 12K does not already rely on V-lock batteries for their rigs. They’re generally a better solution that gives peace of mind for longer periods of filming. As someone who shoots in a studio a lot of the time, I’m also grateful for the ability to run the camera from DC power via its 2-pin locking LEMO connector. It accepts a voltage range between 12V and 18V and will run even without a battery connected.

In terms of audio inputs, the Pyxis features a single mini XLR connector for pro mics, which is switchable between mic and line-level with phantom power delivery. It also has a 3.5mm stereo input for smaller microphones or other stereo line-level sources, like an AUX cable.

Performance

While the Ursa Cine 12K is built for speed, the Pyxis 12K trades some frame rate capability for compactness, generally topping out at half the frame rates of its larger sibling. However, readout speeds are impressive where it counts. While the full 12K Open Gate (up to 40fps) readout sits in the 24ms range, dropping to 8K results in much faster readout speeds of under 12ms, minimizing rolling shutter artifacts significantly.

Above: 4K sample footage show on the Pyxis 12K

A notable omission for some professional workflows will be the lack of internal ProRes recording. It can record ProRes to SSD, however and DaVinci Resolve now supports ProRes media natively. Internally, the Pyxis 12K records exclusively in Blackmagic RAW. While BRAW is efficient, the inability to quickly offload ProRes 422 files for fast-turnaround clients is a missing convenience.

On the positive side, the lack of IBIS is mitigated by Blackmagic’s gyro data. In my testing, applying gyro stabilization in DaVinci Resolve took seconds and effectively smoothed out handheld micro-jitters, making the footage look properly stabilized.

The image quality is the Pyxis 12K's raison d'être. As with previous Blackmagic cameras, the skin tone reproduction is pleasing and natural across a wide variety of complexions, requiring very little work in post to look "right". The highlight rolloff is equally impressive, contributing to a distinctively filmic image.

I did observe some banding artifacts in the skies in certain high-contrast shots, particularly when shooting in 8K/4K modes. Perhaps a potential side effect of the compression or sensor readout. However, I found this was easily rectified in DaVinci Resolve by switching the color management lookup table interpolation from "Trilinear" to "Tetrahedral," which smoothed out the gradients immediately.

Low-light performance is solid, this camera handles shadow detail admirably, though without a second base ISO, you are reliant on the camera's native ISO 800. Pushing to ISO 1600 or 3200 introduces minor noise, but it is organic and easily cleaned up with Resolve's noise reduction.

Given the amount of detail this camera can pick up, I would say for the most attractive look - particularly when filming faces - you’ll want to lean on soft manual or “characterful” lenses to counterbalance the camera sensor’s inherent sharpness.

Verdict

The Blackmagic Pyxis 12K is a fascinating proposition: it effectively places the heart of the Ursa Cine 12K - one of the most sophisticated sensors on the market - into a significantly smaller and more affordable body.

For many, 12K might seem like overkill. However, the true strength of this camera lies in its ability to downsample. Shooting in 12K or the 9K Super 35 mode yields incredibly rich 8K and 4K images, often retaining slightly better dynamic range in the highlights than shooting in the lower resolution modes directly. I found the "sweet spot" to be the 8K 3:2 (open gate) mode at 8:1 compression; it offers a manageable balance of file size and image fidelity while still benefiting from the sensor's downsampling capabilities.

This camera is a dream for cinematographers who need maximum resolution for VFX plates, or reframing flexibility via open-gate 3:2. Just like the 6K model, the UI is intuitive, and thankfully, the Pyxis 12K also features vertical menus when turned on its side for social deliverables.

Given its colossal resolution, the chassis has to work hard to support this camera’s sensor. The fan noise is definitely more noticeable than on the 6K model, which is something to consider for quiet narrative work. I hadn’t noticed it during my first couple of days with the camera, but later that week, I filmed a sound bowl meditation class, and I had to switch cameras because the fan was intrusive in such an intentionally sound-sensitive setting. Furthermore, the absence of a dual base ISO - with the camera limited to a single native sensitivity of ISO 800 - means users lose that "safety net" gain circuit found in other cameras for extreme low light. That said, Davinci Resolve - which typically costs around £225 / $295 - comes free with this camera and makes light work of reducing the impact of noise in most plausible, real-world use cases.

Ultimately, this is a camera that benefits from building it out. At the very least, I would highly recommend picking it up with the fantastic Pyxis Monitor EVF Kit. You cannot treat it like a run-and-gun hybrid; it needs a rig, substantial batteries, and plenty of storage. But if you feed it what it needs, the image quality is virtually indistinguishable from cinema systems costing three times as much.

Alternatives

How I Tested

I tested the Pyxis 12K on a variety of professional shoots, including a series of monologue shooting days with actors, a product video, a promotional shoot for a wellness company, and run-and-gun street capture. I paired the camera with Viltrox Cine lenses, a Laowa 8-15mm Probe lens, and the Sigma 24-70mm f/2.8, which was provided with the camera by Blackmagic. My endurance testing involved running the camera continuously to drain standard BP-U35 and BP-U100 batteries, and I verified workflow speeds using Angelbird 2TB and 1TB CF Express Type-B cards.

When I first walked into Wilton’s Music Hall for Musik, I knew the venue itself was going to be as important as the performance. It’s an old, worn, slightly derelict hall with a rich built-in texture and atmosphere. That kind of space instantly gives you an aesthetic to play with.

Creatively, the goal in capturing this live performance was to balance intimacy, spectacle, and energy. Musik is a one-woman show, starring Frances Barber, and my role as DP was to ensure we had enough angles over a 60-minute runtime to make you feel like you occupy the space alongside the performer. We shot across three shows. I wanted the coverage to move from wide shots that hold the room to close shots that sit right within the performance, and for the continuity to feel seamless when both shows were cut together.

Because the show itself worked so well, and Frances is such a strong performer, my job became making sure the edit had everything it needed to get the best out of the material.

Working with the venue

The hall largely dictated how we worked. It’s a distinctive, characterful space, but you still have to respect audience sightlines and the practical constraints of working in a live environment. I was very conscious that we needed wider shots that really acknowledged the architecture. At the back of the hall, we rigged a camera high up to give us a wide, high-angle view that took in the space, the truss, and the room. On other shows, we added a couple more high angles for the same reason.

If you have a great venue, I think it’s important to make it part of the piece, not just let it disappear into the darkness behind the actor. I always want to be able to pull something out of the shadows so you can see the environment you are in, because that becomes part of the artwork, too. With a venue like Wilton’s, it would be a shame if you couldn’t see the walls or the depth of the hall. A lot of the exposure and lighting decisions were about keeping enough information in the shadows to define the space, while still protecting the performance on stage.

We also needed enough angles without turning it into a chaotic multicam shoot. We had one handheld camera off to the left of the stage to bring some freehand energy into the coverage. Beyond that, everything was a mix of tracking cameras and long-lens positions, set up so they could move slowly and predictably rather than whipping around. It was all about keeping the viewer grounded in the space and making sure every move felt deliberate.

The lighting plot was largely set before I came on board, but once I was involved, I made some suggestions in prep. We varied a few of our A and B angles so some positions could sit a bit closer for key moments. In practice, I shot two cameras one night, seven cameras on the matinee, and another six on the following shows. That gave us around 15 distinct angles. The key was making sure none of those positions doubled up. I wanted every angle to bring something new, so the edit had the widest possible range of options.

Building the camera package

For Musik I kept everything within the same Blackmagic family: an URSA Cine 17K 65, an URSA Cine 12K LF, supplemented by a mixture of PYXIS 6K Cinema Cameras and Pocket Cinema Camera 6Ks, so I knew the sensors and color science would all play nicely together.

We were lensing this as a full-frame show. Sensor sizing and the ability to intercut across cameras were important to me. Effectively having the same or very similar sensors in everybody, but with different ergonomic designs, is a big advantage.

I love large-format and am very attached to it. On a small, intimate show like this, a larger sensor size can draw you deeper into the performance. You can go closer and tighter with your lensing, but still feel like you have a meaningful field of view, as if you are seeing more through the sensor than you would on a smaller format.

Lens-wise, we had large-format coverage across everything. On some of the longer lenses, we went back to Canon stills glass. Those lenses have great sharpness, they cover full frame easily, and they're relatively quick to adapt into something ergonomic for a live show. We combined those with cine zooms and primes where needed, which gave us full coverage for the large-format look we wanted and a more immersive frame.

A few years ago, shooting 17K 3:2 on the full sensor would have sounded like data madness, but Blackmagic RAW keeps the files totally manageable. I was able to oversample down to an 8K image in-camera without any changes to the field of view or a loss in image quality. I honestly do not want to go back to shooting Super 35 if I can avoid it. I just really like what bigger sensors are giving us on these kinds of jobs.

For post-production, we have prepped everything in DaVinci Resolve and generated proxies, with the offline being done in Avid elsewhere. The plan is that we will handle the final finish and delivery in DaVinci Resolve, so the whole workflow has been set up with that in mind.

A leap forward for multi-cam

One thing that’s really starting to change how I approach multicam work is the level of camera control we now have during a show – I‘m getting quite obsessed with it. In the last six months, having Ethernet ports on the PYXIS and URSA Cine, and the Blackmagic Camera app allowing multicam control, has opened up new possibilities.

I first tried that approach on a larger job in New York and was pleasantly surprised by how quickly we could deploy it. We essentially just needed Ethernet or reliable Wi-Fi from the cameras to an iPad, and I had camera control.

On Musik, it was not a hard requirement, but I had it in the back of my mind from the start. On this show, we didn’t need to switch live, but we did need to build a gallery so the director could see every feed at once. That was a hard requirement, which is why I knew the ATEM SDI Extreme would make sense.

I hadn’t touched an ATEM for four or five years, but handled intelligent switching and locked to everything immediately, whether it was 25p or 30p. Most feeds came in via straight SDI, but we had some wireless links due to the building.

The real benefit for me was having a 24-inch confidence monitor fed from the ATEM. I could sit through the show and use it to nuance the image, tweaking ISO by a stop here or there, dialing in color temperature, and refining exposure as we went. I could see things as we were shooting instead of having that traditional experience of seeing it two weeks later in post and wishing I had changed something. That level of immediate control feels like a big step forward on multicam work.

Everything was filmed using Blackmagic’s Generation 5 color science, with a LUT applied in camera and white balance set so that everything was at roughly the same Kelvin. I adjusted the ISO based on lens speed. The only wrinkle was a monitoring device with a gamma shift, so I built a small correction LUT downstream for that wireless unit. Beyond that, everything was effectively managed in camera.

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When I read that DaVinci Resolve now supports 32K video editing, I genuinely wondered if I'd fallen and landed on my head. 

Because let's get real: we're talking about a picture that's 32,000 pixels across. Over half a billion pixels per frame. This, in an industry still wrestling with 4K delivery, where 8K remains a curiosity reserved for tech demos and the occasional wildlife documentary.

Despite all that, though, Blackmagic Design has unlocked 32K editing in the free version of DaVinci Resolve 20.3 for anyone with an M5-powered Mac. That's 30,720 × 17,280 pixels. Sixteen times the resolution of 8K. Two hundred and fifty-six times the resolution of 4K. 

So I'm still rubbing my temple and checking whether there's a lump there. These numbers are absurd. The question is whether they're usefully absurd.

Reality check

After all, we're living in a world where 4K is only just becoming standard. Most streaming services still default to 1080p unless you've got the bandwidth and the subscription tier to prove otherwise. Netflix is still optimizing how to get 4K HDR into homes without constant buffering. 

Meanwhile, 8K adoption has been glacial. Less than 3% of televisions support it. Content is sparse. The entire industry spent years being told 8K was the future, and the future hasn't bothered to show up.

So who needs 32K? Is this genuinely useful, or is it just Blackmagic flexing? The answer, I'd argue, is somewhere in between.

Niche uses

LED volumes are the obvious use case – those massive wraparound screens used on shows like The Mandalorian aren't constrained by broadcast standards. They're custom installations where resolution directly impacts how believable the virtual environment looks to the camera. The same goes for projection domes, large-format digital signage, and certain high-end VFX workflows.

If you're shooting on something like the Blackmagic URSA Cine 17K camera, you need software that can actually handle that footage without choking. Editing in 32K will presumably give you the headroom to work comfortably.

Then there's Apple's immersive video format for Vision Pro, which shoots in 180-degree 8K 3D at 90fps. As spatial computing develops (assuming it actually does) these resolution demands will start to make more sense. Though we're still talking about extremely niche territory.

To my mind, then, the strongest case for working in 32K isn't about what you're delivering today; it's about what you might need tomorrow.

Film studios have been scanning 35mm prints at 8K; not because anyone's watching in 8K now, but because they're future-proofing their archives. When you finish a project at 32K, you create a master that can be downscaled to 8K, 4K or 1080p with exceptional quality. In 10 years, if 8K becomes standard, you won't need to return to the original camera files. The work is done.

Verdict

Overall then, I think the very fact that Blackmagic has made 32K editing available to anyone with an M5 MacBook matters. Not because everyone's going to suddenly start shooting 32K; that would be madness. But because when specific workflows demand it – a museum installation, a high-end retail display, volumetric capture prep, key archiving – the tools will be there.

For the majority of working photographers and filmmakers, 32K capability is irrelevant right now. Your clients aren't asking for it. The infrastructure isn't there. And most strikingly, the storage requirements are punishing. A single minute of uncompressed 32K footage at 24fps would eat roughly 270GB. 

Right now, figures like that sound totally insane. Remember, though, that five years ago, 8K editing would have seemed ridiculous. Now it's a legitimate acquisition format, even if delivery remains predominantly 4K. 

So I guess the real question isn't whether you need 32K today. It's how long it'll be before we stop asking the question altogether?

Cinematography is often seen as a high-stakes, high-cost art form, but James Westlake is part of a new wave of filmmakers demonstrating that incredible visuals don’t have to come with an intimidating price tag.

Having built a career spanning commercial projects for major brands and narrative films, Westlake has a profound understanding of both the craft and the technology that makes it possible.

In this interview, we dive into his creative process, from collaborating with directors on set to the tools he relies on to bring stories to life. Central to his workflow is Blackmagic cameras, a system that balances affordability with professional-grade performance.

From capture to storage and post-production in DaVinci Resolve, Westlake’s approach highlights how modern cinematography can be both accessible and uncompromising, proving that powerful storytelling is about vision as much as it is about the gear.

Above: A demo reel of Westlake's work with the Blackmagic Pyxis 6K

If you want to see James Westlake put the Blackmagic Pyxis through its paces, check out his demo reel above.

Blackmagic continues to prove it’s here to compete with the biggest cinema camera brands, offering a complete workflow ecosystem that’s winning over the next generation of filmmakers.

With its balance of accessible pricing, high-end specs, and robust support, it’s becoming the go-to choice for storytellers everywhere. And as Westlake’s work shows, the real power of these tools lies in how they help filmmakers bring their visions to life.

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Blackmagic Design has just released a full suite of free training books for DaVinci Resolve 20 – and they’re an absolute gift for anyone learning to edit, color grade, mix sound or build visual effects.

The new step-by-step guides take a project-based approach, walking you through everything from cutting a documentary trailer to colour grading with Resolve’s legendary tools, building soundtracks in Fairlight and compositing in Fusion. There are six books in total, covering editing, audio, color, and visual effects, and each one is available to download right now, free of charge.

As someone who’s transitioned from stills into video, I’ve found Resolve to be one of the most intuitive video editing platforms out there. These new guides delve much deeper, providing both newcomers and experienced editors with a structured way to learn the software’s ever-growing toolkit.

They’re also completely up-to-date for version 20, which recently introduced a host of new features, so even seasoned users will find fresh techniques to explore.

Each book focuses on a different aspect of the workflow. The Beginner’s Guide covers the essentials of editing, audio, and color. The Editor’s Guide moves into advanced cutting and trimming, metadata, and multi-camera workflows.

There are dedicated guides for Fairlight audio and for color grading, including everything from balancing footage to working with nodes and Resolve’s powerful Magic Mask. And for those diving into visual effects, two volumes take you through compositing, green screen work, 3D particles and much more.

For photographers dipping a toe into video, filmmakers who want to explore Resolve’s newer features, or editors ready to sharpen their craft, these books are well worth the download.

I’ll be grabbing them myself, especially the visual effects and audio guides, as those are areas where, coming from stills, I could use a step-by-step guide.

The new DaVinci Resolve 20 training books are available now via Blackmagic’s website.

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I’ve long been fascinated by how Blackmagic Design keeps pushing boundaries in filmmaking. As someone who uses its Camera App and admires its cinema cameras, I’ve seen firsthand how the company takes tools that feel out of reach for many and makes them both accessible and professional. Now, it's doing the same thing for the iPhone.

Blackmagic has just announced the Camera ProDock, a new dock that adds professional camera connections to the iPhone 17 Pro and 17 Pro Max. And honestly? It looks like a genuine game-changer.

At first glance, it’s a neat little adapter box. But take a closer look at the connections it offers and it’s clear this isn’t some novelty accessory, but a serious production tool. The ProDock unlocks genlock and timecode support, HDMI out, external disk recording, and proper audio monitoring. In short, it transforms your iPhone into something you could actually rig for cinema production.

For me, the inclusion of genlock and timecode is the big reveal. That’s not something you expect to see in the iPhone ecosystem. It means multi-camera productions, once the domain of cinema rigs, can now be achieved with iPhones kept perfectly in sync.

Think music videos, live events, or even LED volume shoots where flicker can be a nightmare. With the ProDock, suddenly the iPhone is more than a B-cam; it's a genuine contender in a professional setup.

Then there’s HDMI out, something I’ve wanted on a mobile device for years. The ability to connect an iPhone to an on-set monitor means directors, DPs or even a small crew can frame and follow shots in real time. Pair that with external disk recording via high-speed USB and you’ve got extended recording times without being limited by internal storage.

Audio hasn’t been forgotten, either. A proper 3.5mm mic input means you can use directional mics, lavs, or even wireless systems, while the headphone out gives you monitoring on set, another small but crucial detail that moves iPhone filmmaking into the professional sphere.

And of course, Blackmagic has thought about rigging: 1/4-20 mounting points on the top and bottom mean this thing can be built into almost any shooting configuration. Plus, the locking 12V input ensures your iPhone and accessories are powered throughout a shoot.

The Blackmagic Design Camera ProDock is available now through the Apple Store and Blackmagic stockists worldwide, priced at $295 / £270 / AU $495 (excluding duties). For what it offers, that feels almost absurdly affordable.

I haven’t used the ProDock yet, but I already know how much potential this holds. Blackmagic’s Camera app for iPhone was already a statement, giving creators more control and professional features in their pocket. But this is the missing piece that could unlock iPhone filmmaking in a way we’ve never quite seen before.

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When most people set out to buy their first serious camera for filmmaking, they tend to land in one of two camps. Either they spend big on a dedicated cinema rig that feels intimidating and impractical for a beginner, or they opt for a hybrid stills camera that can shoot decent video but was never really designed for cinema.

The Blackmagic Pocket Cinema Camera 4K lands in the sweet spot between those extremes. At just over $1,000 in the US, it’s an entry point that feels genuinely cinematic without being overwhelming.

What makes the Blackmagic Pocket Cinema Camera 4K stand out is its identity as a dedicated cine camera. It isn’t a stills-first body with video features bolted on; it’s designed from the ground up for moving images. Yet, its form factor is more mirrorless than a shoulder rig, which means the transition from photography to filmmaking is far less daunting. For anyone coming from stills, this feels like the right bridge.

The specs tell the story. A true 4K DCI sensor at 4096 × 2160, with 13 stops of dynamic range, gives you a level of highlight and shadow detail typically reserved for much more expensive cameras. Dual native ISO up to 25,600 means it also handles low light better than most budget options, while Blackmagic RAW and ProRes recording give you professional-grade files that are flexible in post.

The Blackmagic Pocket Cinema Camera 4K's large five-inch touchscreen is a huge win for beginners, too. You don’t need to budget for an external monitor straight away, and the Micro Four Thirds lens mount keeps things affordable and adaptable, with easy access to both modern and vintage glass. Even audio is taken seriously, with solid built-in mics and proper mini XLR inputs so you’re not stuck with consumer-level sound.

Then there’s the bigger picture: the Blackmagic ecosystem. This isn’t just about the camera; it’s about a workflow. Straight out of the box, you’re given DaVinci Resolve Studio, the industry-standard software for editing, color grading, audio post, and VFX. That means your first camera also comes with a full professional post-production pipeline. Something no other entry-level option can really match.

All of this combines into a camera that genuinely raises the production value of your video work without raising barriers to entry. With the Blackmagic Pocket Cinema Camera 4K you can shoot your first short film, music video, documentary, or YouTube project and feel like you’re working with the same kind of tools used in professional cinema.

It makes filmmaking feel accessible, not exclusive, and that’s exactly what a first cinema camera should do.

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Blackmagic Design has released a comprehensive new guide for its groundbreaking URSA Cine Immersive Camera, offering what is arguably the most detailed resource yet for filmmakers looking to step into the world of immersive storytelling.

At 156 pages, the free guide covers the entire workflow from camera operation and shooting strategies to post-production and delivery, making it an invaluable resource for creators exploring this emerging format.

Immersive filmmaking remains in its infancy, but with Blackmagic’s commitment to open access resources and clear technical explanations, the barriers to entry are coming down. This new guide follows the company’s tradition of publishing in-depth, no-cost manuals designed not just to explain the 'hows' but also the whys behind their technology.

The URSA Cine Immersive is purpose-built for Apple Immersive Video, a 180-degree stereoscopic format developed for Apple Vision Pro. Unlike traditional cinema or even 360-degree video, immersive filmmaking enables audiences to experience stories in three-dimensional space with a natural field of view, combining the best of cinematic composition with the presence of spatial video.

The Blackmagic guide doesn’t just teach button presses; it contextualizes the format itself, covering everything from exposure strategies at 90 frames per second to managing motion for comfortable viewing, to the nuances of delivery for Apple Vision Pro. For filmmakers, this means fewer unknowns and a smoother path into a format that can otherwise feel intimidating.

At the heart of the system is the URSA Cine Immersive camera, designed specifically for high-resolution stereoscopic capture. It features two matched 58-megapixel RGBW sensors, nearly square in aspect, paired with custom 210-degree fisheye lenses placed 64 millimeters apart to mimic the natural spacing of human vision.

The camera records dual 8K streams at 90 frames per second to match Apple Vision Pro playback, while also supporting alternative frame rates for other applications.

The camera has been designed to simplify what has historically been a very complex pipeline. While immersive filmmaking demands higher light levels, careful shutter management, and new approaches to framing, the combination of the URSA Cine Immersive and Blackmagic’s supporting software ecosystem, including DaVinci Resolve, makes the entire process more approachable than ever before.

What’s more, the new 156-page guide serves as a roadmap for creators, bridging the gap between traditional film practices and the unique considerations of immersive formats. From avoiding motion sickness-inducing pans to using lighting and leading lines to direct the audience’s gaze, the resource provides not just technical instruction but also creative best practices.

While immersive is not intended to replace traditional cinema, it offers a new layer of narrative possibility by placing audiences inside the story world rather than simply in front of it. Apple Vision Pro currently stands as the most advanced playback device for this format, with dual 3660 x 3200 micro-OLED displays, spatial audio, and precise head-and-eye tracking.

The technology is still young, but Blackmagic Design is clearly positioning itself at the forefront of this new chapter in filmmaking. By providing both tools and education, they are helping ensure that immersive storytelling is not just the domain of big studios but becomes accessible to independent creators as well. The URSA Cine Immersive guide is available now for free!

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Earlier this year, Blackmagic Design released a major update to DaVinci Resolve, ushering in version 20 with a wave of new features. Now, just a few months later, another significant update has arrived, and this time, it’s all about immersive video.

DaVinci Resolve 20.1 introduces support for Apple Immersive workflows, marking a major leap into the future of spatial video. The update coincides with new releases for Fusion Studio 20.1 (Blackmagic's node-based compositing tool) and the Blackmagic Camera 9.7 Public Beta, with all three updates' primary focus on immersive video creators.

As always, Blackmagic knows how to deliver a hefty update. The full list of features is extensive, but the key highlights are:

• Full support for Apple Vision Pro spatial and immersive video workflows in macOS

• Direct monitoring of immersive content in Apple Vision Pro

• Support for the Apple Spatial Audio format

Not long ago, I shared my thoughts on the Apple Vision Pro and argued that immersive video is still in its infancy, but brimming with potential to reshape how we experience visual storytelling. Blackmagic seems to agree. The Blackmagic URSA Cine Immersive camera, launched earlier this year, now pairs seamlessly with the DaVinci 20.1 and Fusion 20.1 updates to form a complete immersive production workflow; from capture through to edit, grade, and delivery.

Blackmagic describes the update as follows: "Today we announced DaVinci Resolve 20.1, a major new update that adds support for Apple Immersive workflows, including support for Apple Spatial Audio, to DaVinci Resolve Studio for macOS. With this update, you can effortlessly edit, color grade, add visual effects, mix Spatial Audio, and deliver Apple Immersive Video captured using the new Blackmagic URSA Cine Immersive camera. A new immersive video viewer will let customers pan, tilt, and roll clips for viewing on 2D monitors, or directly stream to Apple Vision Pro for an even more immersive editing experience."

While immersive video is the headline, the update offers plenty for all DaVinci Resolve users. Key improvements include overhauls to the keyframe panel with better refinement controls, upgrades to MultiText making text formatting faster and more intuitive, and a more responsive and flexible curve editor.

Other enhancements span the Cut and Edit pages, Fusion, Color, Resolve FX, Fairlight, Codec and IO, and general performance refinements, all of which continue to make Resolve one of the most powerful editing platforms around.

Immersive filmmaking may not yet be mainstream, but Blackmagic is clearly working to lower the barrier to entry. With the URSA Cine Immersive camera and a free DaVinci Resolve update that supports spatial workflows end-to-end, they’re pushing this next wave of storytelling forward.

You can explore it yourself too, with sample immersive video clips for DaVinci Resolve Studio 20.1 (macOS) available to download.

And don’t forget, DaVinci Resolve remains completely free, and so is this 20.1 update.

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Blackmagic Design has released the first update to DaVinci Resolve 20, addressing early teething issues and refining key tools introduced in the major version launch.

DaVinci Resolve 20.0.1 is available now as a free download and brings quality-of-life enhancements across the board, particularly for music editing, media management, and Fusion workflows.

For users of DaVinci Resolve Studio, the one-time payment version, the update significantly improves the AI Music Editor. Editors can now enjoy better beat marker detection when automatically adjusting music to fit a scene, with markers updating in real-time to reflect changes, making it easier to sync cuts precisely to the beat.

In addition, the Music Editor now remembers all user-defined settings when projects are reloaded, preserving channel configurations such as stereo tracks without requiring rework.

Another key improvement addresses a long-standing user frustration. When dragging multiple clips from the media pool to the timeline, Resolve now maintains the correct clip order. This change streamlines rough cuts and assembly edits, especially for high-volume workflows.

DaVinci is renowned worldwide for its industry-leading color correction abilities, and in this update, colorists and VFX artists will also benefit from updated OpenColorIO support in the Fusion viewer. This includes better handling of LUT directions, file transforms, and multiple LUT stacks, delivering more consistent refreshes and improved control when working in complex node trees.

Other notable fixes include improvements to voiceover sync, audio alignment using IntelliScript, and Magic Mask caching. Performance, stability, and remote collaboration tools also see minor refinements.

DaVinci Resolve continues to stand out as one of the most powerful and accessible video editors on the market, free to download and packed with professional features rivaling paid alternatives.

The free firmware update, along with a detailed guide on how to update, can be found on the Blackmagic Design support website.

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I’ve recently started taking filmmaking seriously and, like many others at the beginning of the journey, I’ve been looking for the right camera to invest in. I considered Sony’s FX line and a few mirrorless hybrid cameras but, after digging deeper, I keep coming back to Blackmagic Design.

The Pocket Cinema Camera 4K and 6K offer exceptional video quality, RAW recording, beautiful color science and high dynamic range, all without the steep cost usually associated with dedicated cinema cameras. With recent price drops, they’re more accessible than ever – and it’s hard to argue with what they deliver for the money.

But the real advantage is the workflow. From the moment you press record to the final grade, Blackmagic has built an ecosystem that makes sense.

You can shoot on one of its cameras, collaborate through Blackmagic Cloud and edit in DaVinci Resolve – software that’s used professionally across the industry and yet is available for free. It’s not stripped down, either. Resolve gives you everything: editing, color, audio, VFX and delivery in one place.

There’s also a level of support that stands out. Blackmagic continues to push updates to its cameras long after release, often unlocking features that feel like genuine upgrades.

Just this week, the new Ursa Cine 17K has been added to the Netflix Approved Camera List. That speaks volumes as it shows that the brand isn't just catering to entry-level filmmakers, but also raising the bar at the top end.

So the only question I’m left with is: which camera model best fits the way I want to work?

Do I stick with the compact familiarity of the BMPCC models, or take the leap into something more modular and production-ready like the Pyxis or even the new Ursa? I’ll need to get hands-on and see which one clicks…

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Blackmagic Design seems to be one of the few camera companies forging new ground in the cinema camera space, pushing not just resolution but trying new technologies, and the Ursa Cine 12K LF is the latest example of this. Aimed squarely at the filmmaking community, the Ursa aims to offer all the features you could need for capturing the best image, with all the trimmings for supporting it in that role.

I’ve rigged and shot with many cameras over the years, from DSLRs back in the day, numerous mirrorless systems, a whole range of cinema cameras, and have spent countless hours rigging and shooting in all manner of situations. I don’t believe there is a ‘best’ camera out there, only the best for you, or for a given task. The Ursa looks set to offer versatility, quality, and a form factor that allows it to excel in as many situations as possible, though, with a feature set that should deliver the goods.

But does it deliver? I’ve spent some time with it now, weighing up the pros and cons, focusing on everything from the form factor, image quality, rig integration, to the overall user experience.

URSA Cine 12K LF: Specifications

URSA Cine 12K LF: Price

The Ursa Cine 12k LF comes in a number of bundles/kits starting at $7,695 / £7014, which is a big investment, but it compares very favorably with other high-end cinema cameras. You get a lot of capability for your money, so even if 12K isn’t something you’ll be delivering, you still get a fantastic 4k and 8K camera, with a level of future proofing built in, alongside all the other benefits Blackmagic provides. I’m also a big fan of the peli cases these come with, with custom-cut inserts to keep everything safe and organised. Just remember to factor in the cost of things like media, plus you’ll need to ensure your supports can handle the size and weight. The price is good, though, and you can actually buy it, unlike certain members of the competition.

URSA Cine 12K LF: Design & Handling

The Ursa is a substantial piece of equipment which feels very well put together, from the finish to every screw, bolt, hinge and button. Although it takes its toll on the shoulder after a while, that weight can be beneficial, as it removes some micro jitters. A good thing, as cine cameras generally aren’t stabilised internally. That said, the size and weight mean you’ll want to use something like a good tripod or an easy rig, as it's just a bit too much for handheld work. With a battery, lens, and other add-ons, the weight will be somewhere around the 15 lbs plus mark.

If you’ve seen the photos, you’ll notice how the body looks very similar to the Ursa Mini Pro, and yes, style-wise, there is a shared design language. The Cine is larger and heavier, but also feels built to an even higher quality. Obvious differences are that the main LCD is a 5” option and bright enough to be used in daylight, plus the data screen on the outside is colour, which can aid in quickly checking things. Similarly, the buttons illuminate, often in various colours. For example, the ND filter buttons change colour so you know where you are at all times. I prefer this setup so much more than the older rotary knob they used to use.

Then, of course, there is that lovely large assistant’s monitor on the AC side of the camera, which is big, bright, and crisp, with its own set of buttons dedicated to functions an AC would benefit from, like editing slate data.

IO is plentiful and covers all the bases. There's a 12G SDI, full-size XLR on the top rear (although I’m not a fan of the flappy cover, I’d much rather have a hinged lid) and a number of USB-C ports. One up front for sending power and data to the EVF or Pyxis monitor, and others for data. There is a DC power input, and under the fold-out monitor is the media bay. This can take either of Blackmagic’s media cartridges (more on this later). There’s a 7-pin LEMO port, timecode and reference ports, and a 10GB Ethernet port, plus twin wifi aerial ports on top.

Rigging points can be found up top and underneath. These are basic but serve the purpose of adding tripod plates, top handles, and the like. Because of that extra screen, there’s no space for a side plate or handle, but I don’t think that will be a problem for anybody looking at this camera. Keep in mind that cooling is handled by venting on the top and bottom, so you will want to keep these clear and also consider a rain hood to protect the internals, which are somewhat vulnerable out of the box.

I’ve been testing using Blackmagic’s top handle, which adds some rigging points on top, perfect for an easy rig release or another monitor. This handle is the same as the Pyxis, meaning it has slots for adding the EVF/monitor accessories. I don’t usually like being tied into what a manufacturer wants me to use, but the rod setup here is really good, so I’m happy. The rods are just right for adding my Nucleus motors. The setup allows for super fast adjustment of the EVF too, so when changing position, keeping shooting isn’t held up by tweaking the rig.

I was sent the PL version of the Ursa Cine; however, it is available as a locking EF or LPL too.

Overall, this makes a compelling package that is easy to use, as a single operator or as part of a team. An AC can very easily work on the extra screen, pulling focus, adding shooting, and so on. The colourfully illuminated buttons allow for an at-a-glance operation, although I find the record button placement to be awkward in certain positions. However, there’s another on the EVF which I find I use far more, along with the other function buttons found there. All the buttons can be locked with a small switch. A good safety net feature, but there’s no way to customise what gets locked or not that I could find, which is a shame but could be sorted in a firmware update.

With a B-mount battery and a lens, the rig ends up at 19” long. Not exactly a stealthy run and gun rig, but then the target audience for this type of camera will most likely not be worried by that.

URSA Cine 12K LF: Performance

Let’s start with that sensor. The Cine 12 can shoot 3:2 open gate, as well as anamorphic in a range of squeeze factors. Shooting open gate means no need for calculating crop factors, so focal lengths stay consistent, and you get the benefits of using the entire sensor. The sensor is large at around 51mm x 23mm, which is 65mm. The high pixel count means the pitch is rather small, and I had thought this might be detrimental to dynamic range, as well as introduce some noise, but the clever folk at Blackmagic have developed a new sensor layout which uses RGBW, with the ‘W’ handling gamma. The end result is a claimed dynamic range of 16 stops. I’m often cautious when it comes to manufacturers’ claims, but Blackmagic has always been pretty true to their word, and shooting on this, I’d say 16 stops is accurate.

That said, this is a camera that likes light. When testing ISO performance, I did find that lower ISO introduced noise fairly quickly; however, higher settings were much more forgiving.

Shooting at higher quality settings in camera, then downscaling in Resolve, will yield better results, but it’s good that you can take advantage of the full sensor and do it in camera, saving on some of the huge file sizes. That said, the Ursa still produces lovely results, and the lack of cropping or pixel binning is a big plus. No need to calculate how much of the frame you’re going to lose.

Now, the elephant in the room with a sensor so large is the size of the files. These can get pretty large, at around 1,194 Mbps data rate at the highest quality setting of 3:1 compression. This will clearly eat up media in no time, but you can address this using higher compression settings. At the max 18:1, you get 199mbps. The downside to this is that some obvious artefacts are present. They aren’t so obvious at 8:1 but become more so at 12:1 as you’d expect. The image is still very usable at these rates, but if you’re shooting content where detail is key, then you will want to invest in more storage. Zoom into a 12:1 frame, and you can see the lack in clarity around certain details, such as text or small foliage. The Cine 12K does deal with moire well, thanks to the inclusion of an optical low-pass filter that handles aliasing and pattern noise you see on things like fabrics or bricks. This works very well, and even zoomed in to a frame, there’s no evidence of these issues.

Storage itself comes in two flavours. You can use the CF Express caddy, but do check on which cards are supported, as with any other camera. Or opt for the M.2 drives, which are fantastic, although you can max these out pretty fast too. At the highest constant quality settings, you can shoot for over 2 hours, but that will fill 8TB. This can be drastically reduced, though. Use Q3, still open gate at 24fps, and you’ll get over 7 hours. Blackmagic has a handy calculator, making it easy to see what different balances of quality, speed, and storage could work for your needs.

Transferring these files is well catered for too. You can use wifi, a Blackmagic dock for the media caddies, or hook up via 10gig Ethernet, my preferred choice.

The Ursa Cine 12K also allows for proxies, on the fly, that can be uploaded to the Blackmagic Cloud, using wifi or even your phone, all at the same time as capturing your full quality footage.

Handling the footage in Resolve is surprisingly fast. My M4 Pro MacBook Pro handled everything well, and an older M1 MacBook didn’t seem too bothered by the files either. I did test some fusion comps, which were perhaps a little slower but not in any meaningful way, although this will, of course, depend on what you throw at it.

Now, there’s no global shutter on offer here, but don’t worry too much about rolling shutter. I have no way to test this to any degree of accuracy, but others have, and reports are around 12ms, which is pretty impressive and can be reduced further by using a lower resolution, without any cropping of the image. In my real-world tests, I found no significant jello effects at all, other than the fastest of pans, and even these can be countered in Resolve. Yes, it’s another step in the workflow, but not a big one, and for all the other benefits of this camera, something I can live with.

The Ursa CIne 12K runs Blackmagic’s latest gen 5 colour science, which is beautiful. The balance between detail, saturation, clarity, and contrast is excellent, producing really lovely images with the kind of highlight rolloff I really appreciate. That said, getting the most from your footage will mean doing some work in Resolve, navigating the very full lists of colour space transforms, but that’s something you only really need to nail once. The footage is endlessly tweakable with a lot of latitude. Correcting and then applying any styling is simple and allows for a colourist to really go to town. Likewise, for VFX shots, the bump in resolution to 12K should mean comp work, tracking, and so on are accurate too.

Now, back to the camera and its extra screen. This is a feature that I wish more cameras had. Even for solo shooters, it’s a real joy. The large, bright display is easy on the eye, at 1600nits with a sunshade. It gives quick access to add useful slate data and has some handy benefits for pulling focus. If your lens is compatible, you get matched focal distance and aperture scales, with markers. For team shoots, this is truly a useful feature, and even for the lone operator, it has its uses, especially when mounted on a tripod. It doesn’t articulate, however, unlike the main screen, which can be flipped, keeping things compact.

Blackmagic’s app can control the camera too, via Bluetooth and an iPad. This is handy not just for a hands-off approach but also for when the camera is mounted in an awkward position, say on a crane.

A note on operating. Blackmagic has hands down the cleanest, most intuitive user interface of any camera system. I can tolerate others, but actually enjoy the OS here. It’s nice to look at, logical, and never feels overwhelming. Applying different settings to the various outputs is a breeze, adjusting anything takes no more than a few clicks, and most can be done via buttons and switches if you prefer to work that way. The physical controls are great too. I really like the combination of encoders, buttons, and switches, which makes it easy to lock in muscle memory. Perfect for dimly lit locations.

With all this in mind, you’ll need a solid power source too. Luckily, you have plenty of choices here. The Ursa ships with a B mount battery plate, but there are options for V mount and gold mount plates, at very reasonable prices, making it easy to adapt to your preference. It does come with a hefty 250-watt power supply too, perfect for those shooting indoors or with access to a generator on location. How much mileage you get from your setup will vary, with not just accessories being powered but also the type, capacity, and age of your batteries, as well as ambient temperature. For sending power elsewhere, there are standard Lemo and Fischer connectors, as well as USB-C ports, ideal for keeping your phone powered for streaming and offloading proxies.

One last thing to keep in mind is your lens choice. There’s no point having a 12K sensor if your glass isn’t capable of resolving that detail as well as providing coverage for the sensor size. My testing was done using Tokina Vista primes, which turned out to be a perfect match. For many, this will be a case of lens rentals, but if you have already invested in glass, make sure your choices play nicely together.

I wanted to test the real-world results of the various compression settings, so I set up a very simple scene, with just two lights. Lots of contrast, some skin tones, various textures, and so on, then recorded using both 12K and 4K, using all the different compression settings. Dropping them on a HD timeline, as that is still how so much content is delivered. I did a simple colour correction and colour space transform, which is the same across all the clips. I'm amazed at how little difference there is in the end results, and this shows not just how good BRAW is but also demonstrates the in-camera downsampling. Yes, the differences would be far more obvious on a 12K timeline, but the actual use case for that is negligible. For now.

URSA Cine 12K LF: Verdict

The Ursa Cine 12K is a powerhouse of a camera. Operation is a joy, although make sure the size and weight are suited to your needs. The picture is beautiful, even at higher compression settings, thanks to BRAW, and there are plenty of options to manage quality vs file size. Yes, media may be expensive, but that’s going to be the case for any camera with these kinds of data rates, and you can mitigate that depending on the project you’re shooting. Handling the files is less of a headache than you might imagine, even on older machines, plus the proxy system is ace. Blackmagic has hit a real home run with the Cine 12K. It produces images comparable to cameras that cost significantly more and pairs seamlessly with Resolve (which you would expect).

Alternatives

DaVinci Resolve 20 is officially out, and it’s a huge release not just for existing users, but for any filmmaker, editor, or creative who's been on the fence about switching.

With over 100 new features and meaningful AI integrations, it’s a major leap forward in what’s already one of the most advanced video editing platforms available – and yes, it’s still free.

DaVinci Resolve has always stood out for its deep color tools and robust timeline editing, but with every update, it inches further into territory once reserved for high-ticket subscription software. This latest version makes that gap feel almost absurd. DaVinci Resolve 20 isn’t just viable, it’s elite, and more and more filmmakers I know are finally making the jump.

Part of that shift comes down to what this update enables. AI isn’t just tacked on, it’s central. AI IntelliCut, for instance, uses AI to clean up timelines with remarkable speed, removing silences, separating speakers, and even generating ADR lists. It’s not just automation but rather editorial assistance.

AI Magic Mask has also been refined to deliver faster, more accurate tracking for isolating subjects, and the AI Depth Map tool now gives a greater sense of visual control, enabling users to effortlessly push a subject forward in a frame without tedious masking or keying.

All of it adds up to a platform that genuinely speeds up the technical grind so you can spend more time creating. Whether you're crafting a short, cutting a commercial, or finishing a documentary, Resolve 20 meets you with tools that feel built for the future

DaVinci Resolve 20 is out now and FREE to download!

DaVinci Resolve Studio 20 has also seen an update adding a few more pro features and retains its one-off low price point of $295 / £255 / AU$495.

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To celebrate its 30th anniversary in true boundary-pushing style, American metal band Korn teamed up with longtime cinematographer Sébastien Paquet and Blackmagic Design to create a fan-powered film project unlike anything seen before.

Armed with his everyday workhorse, the Blackmagic Pocket Cinema Camera 6K Pro (BPCC), Paquet captured the chaos and emotion of the landmark concert from every angle; on the ground, backstage, in the pit and even on private jets.

But what made this show truly unique was the addition of 200 fans filming the show alongside him, each using the Blackmagic Camera app on their phones.

ABOVE: See the Korn x Blackmagic gig in action

In a new behind-the-scenes video Paquet walks through his process and tools, praising the BMPCC 6K Pro as a cinematic tool in a small body that enables him to shoot freely on the move.

But this project was about more than just traditional concert cinematography. With the Blackmagic Camera app connected to Blackmagic Cloud, each fan’s footage was uploaded in real time to a shared DaVinci Resolve project. Editors could begin working on the footage seconds after it was captured.

The result? A massive, collaborative archive of more than 11 hours of material, offering a rare, raw view of the band-fan relationship from the crowd’s perspective.

"The Korn guys have always been technology savvy, so they immediately liked the Blackmagic Camera app to the Cloud idea for their fans," Paquet commented.

"We had literally hundreds and hundreds of fans all wanting to be part of this project, and the Blackmagic Camera app being synced to Blackmagic Cloud was the way to make it all happen."

The project is a prime example of how Blackmagic’s end-to-end workflow, spanning from mobile camera capture to cloud-based editing in DaVinci Resolve, makes high-quality filmmaking more accessible than ever.

I highly recommend trying the free Blackmagic Camera app, which is available now and brings professional features and seamless integration to your iPhone, making it easier than ever for new filmmakers to get started.

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After raising prices in the US, Blackmagic Design has put plans for a factory in Texas on hold because proposed semiconductor tariffs could negate the cost savings of opening an American factory.

As companies scramble with on-again, off-again tariff changes, the Trump administration is now investigating a potential tariff on devices with semiconductors, which could cover a wide range of tech products – including cameras.

In an interview with The Verge, Patrick Hussey, a Blackmagic Design spokesperson, told the publication that the company had plans to build a factory in Dallas, Texas – a move that would enable them to work directly with semiconductor companies based in the US.

However, Hussey says that those plans are now complicated by potential semiconductor tariffs.

Why would semiconductors from US companies still incur fees? According to the interview, many of the sensors used in Blackmagic cameras, which are from an American-based company, still come from outside the US. Hussey indicated that tariffs on parts and components alone would negate the savings of moving a factory to the US.

The Trump administration is currently investigating a potential tariff on semiconductors and devices with semiconductors inside. Camera sensors are one form of a semiconductor, along with memory chips, processors, and circuits, among other types of semiconductor components.

According to the White House, the goal of the tariffs is to revive American manufacturing jobs to "make America's economy great again." However, as the interview with Blackmagic Design indicates, the impact of the tariffs may not be so simple.

Some critics worry that the manufacturing jobs that the tariffs could bring will be instead relegated to automation and AI rather than human assembly workers.

In a recent survey of businesses, 61% of respondents said moving to lower-tariff countries would be more cost-effective, while 81% said they would use more automation than human workers if factories did move to the US.

According to the Observatory for Economic Opportunity, the US imported $25.4 billion in semiconductors in 2023; $22 billion of that falls under the category for photosensitive, photovoltaic, and LED semiconductor devices.

This is the category that camera sensors would fall under, along with many other types of devices, from LED screens to solar panels.

Previously announced tariffs are on a 90-day pause, dropping the originally announced amounts for most countries to 10%, except for China, which is facing a 145% retaliatory tariff.

Blackmagic Design, which is headquartered in Australia, was one of the first companies to confirm a price increase in the US. Some small accessory brands and retailers have also now confirmed price increases, while many of the key camera brands have stayed quiet about the impact of tariffs on camera pricing in the US.

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NAB 2025 is in full swing, and Blackmagic Design has been among many companies to have showcased new products this year, including the brand-new Pyxis 12K G2 and a mega update for DaVinci Resolve. One announcment that did fly under the radar, however, was the all-new Cintel Scanner G3 HDR+ 8/16, a film scanner specifically designed to support 8mm HD and 16mm Ultra HD film scanning.

Cintel has been a leading manufacturer of film scanners for decades, and since joining Blackmagic Design in 2012, the Cintel Scanner has seen a redesign that places it among the best-looking pieces of tech on the market. While the Cintel Scanner G3 HDR+ Scanner has been available in a model that scans 35mm and 16mm for some time, the new offering introduces support for the 8mm HD and 16mm Ultra HD formats.

Despite many similarities in appearance and features, the new 8/16 scanner features a completely new optical assembly that enables users to get up to 2.5 times higher resolution image scanning of these smaller formats. This is ideal for digitizing archived or historical footage and, of course, scanning new works shot in these timeless formats. It also retains the same capstan drives and real-time HDR film scanning.

Including both 16mm and 8mm film gates, users can create high dynamic range digital masters with enhanced colors, textures, and sharpness than ever before. Once scanned, the masters can be further improved with DaVinci Resolve Studio, which the scanner is designed especially for working with and is available for free. The Revival tools automatically remove de-flickering, dirt, patch repairs, and reduce noise, making the digital master smooth and clean.

Other standout features of the scanner include an RGB LED grid array illumination source facilitating advanced color science for incredibly sharp scans, PCIe connection as well as Thunderbolt 3 for use across Mac, Linux, and Windows, real-time scanning speeds, an optional Audio and KeyKode Reader that enables you to capture audio along with KeyKode information from the scanned film.

Shooting with film is becoming more and more popular both for photographers but also filmmakers who have the budget to do so, with The Brutalist, one of this year's biggest hits, being captured on film. Kodak has also recently developed a brand new Super 8 camera, and the new Cintel Scanner is the ideal tool to digitize your creations.

Now, as with most things analog and cinema, the Cintel Scanner G3 HDR+ 8/16 does not come cheap and will set users back around $35,255 / £26,775 / AU $52,355. This may seem like an out-of-this-world price, however, if you are a filmmaker or production house working with film as your medium, it's sure to pay off in the long run. And hey, it will also double as a statement piece of contemporary art in any studio!

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Blackmagic is the first camera manufacturer to break cover since President Trump announced his market-crashing reciprocal tariffs, confirming that prices will rise – but only for US customers. And not by as much as initially feared.

While most manufacturers have been radio silent while their shares hit freefall (Sony's stock dropped 20% since tariffs were revealed), Blackmagic found itself caught in the crossfire when it announced its new Blackmagic Pyxis 12K G2 at a US price of $4,995.

However, just 48 hours later, the price on the company's website had jumped 32% to $6,595. After a lot of unrest in the community, the company became the first camera brand to directly address the tariff situation.

"We wanted to post a quick note on USA prices and the new government tariff changes," Blackmagic posted on Facebook.

"Most products in the USA have increased and please check our web site for details. DaVinci Resolve and Blackmagic Cloud prices remain the same. It's also worth noting the price increases only affect the US and prices in other counties are currently unchanged."

The price has now settled at $5,495 – still a significant increase of $500, but only a 10% rise. Responding to customers, the company explained on its forum how it was able to minimize the inflated cost.

"We have moved production of the Pyxis cameras to reduce the impact of the tariffs," wrote Blackmagic's Kristian Lam, on the now-locked thread.

After a commenter noted that it takes companies a long time to move production to another country, Lam responded, "Not for us it doesn't". When another poster commented on the incredible speed at which such a decision could be make, Lam replied, "It's almost like… blackmagic".

Obviously the entire economic situation is in a state of upheaval right now, and things could change at any time. But I applaud Blackmagic for being quick, transparent and proactive – and I marvel at how quick it has been able to address an incredibly challenging issue.

As much as American trade policy feels like a moving target right now, I'd love to see other manufacturers being similarly open with customers.

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Blackmagic Design has announced DaVinci Resolve 20, a major update to one of the best video editing software packages and an industry standard application, used by big-budget Hollywood productions, with recent features including Alien: Romulus, The Brutalist, and Wicked. And while the base package is still free, and the software is still a one-stop shop for video editing, color grading, visual effects, motion graphics, and audio, DaVinci Resolve 20 has changed quite a bit, adding over 100 new features. And yes, some of these are brand-new AI-powered tools.

The news comes shortly after Blackmagic released a FREE beginner’s guide book to DaVinci Resolve 19. But before I get into the extensive updates, it’s worth mentioning Blackmagic Design’s extremely attractive pricing structure.

The base version of DaVinci Resolve 20 is free to download, and the more powerful DaVinci Resolve Studio 20 is $325 / £306. But users with DaVinci Resolve Studio 19 can currently upgrade to DaVinci Resolve Studio 20 for free.

DaVinci Resolve 20: What's new?

Perhaps the biggest news for long-time DaVinci users are changes to the interface itself, including a dedicated keyframes palette, which can also be toggled below the timeline, automatically implemented vertical page layouts, and a dedicated voiceover and teleprompter interface. But as with any new software release in 2025, the most glamorous additions regard artificial intelligence.

AI IntelliScript can be used to instantly organize footage into a timeline based on a text-based script document. This will even generate alternative takes on different tracks. DaVinci Resolve 20’s audio transcription engine now boasts over 60 languages, while AI Animated Subtitles will animate subtitles as words are spoken.

The AI Music Editor seeks to remove the pain of trimming music by automatically fitting the track to the desired length of footage, while AI Detect Music Beats automatically places markers over footage in the timeline to indicate beats, making it easier to cut or align specific moments within clips to correspond with the beat. And if you want to automatically create a mastered final mix, you can turn to AI Audio Assistant.

DaVinci Resolve can even use its AI Voice Convert to improve upon the original voice or generate an automated dialogue replacement, all while retaining a voice recording’s inflection, pitch variation, and emotion. Ideal if you’re struggling to capture clean audio out in the field. There’s an AI Dialogue Matcher, too, which will match the tone, level and room environment of dialogue, allowing for consistent dialogue across a range of locations.

AI Multicam SmartSwitch has the potential to save a lot of time by automatically switching to the necessary speaker when editing productions with a multi-cam setup. The software’s AI SuperScale has been enhanced with 3x and 4x upscaling, while AI Magic Mask and AI Resolve FX Depth Map are both upgraded to version two. Finally, AI IntelliCut can be used to remove silences, split each speaker’s dialogue into separate tracks, and generate ADR Cues.

And that’s just the tip of the iceberg, here are the rest of the upgrade highlights…

• Import Blackmagic Cloud Shared folders to the media pool.
• Text+ tool features paragraph, line wrapping and bounding tools.
• MultiText tool boasts layers and easy transform, clip and wrap controls.
• Live overwrite now supports edit keys and search dial.
• Click and drag to live overwrite multi source and sync bin.
• Trim with safe edit avoids overwriting adjacent clips.
• Full-featured audio mixer added to cut page.
• Voiceover tool with record and monitor options in edit page.
• Chroma Color Warper grading.
• Display viewer overlays for remote monitoring.
• Stream and monitor H.265 4:2:2 (on supported hardware).
• Deep-image compositing toolset.
• Multi-layer pipelining for OpenEXR, PSD and stereoscopic 3D.
• Vector warping toolset for image patching and cleanup.
• Fusion support for 180 VR.
• 3D Scene Dome Light.
• View color page grade in media out node on Fusion page.
• Clip EQ now features 6 bands.
• EQ and Level Matcher processes match tone and clip levels.
• EQ and Gain, now also available as Fairlight FX plugins.
• Fairlight Chain FX to create and restore frequently chained plugins.
• Resolve FX AI Set Extender.

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The Blackmagic 6K is one of the most affordable 6K cinema cameras – and new firmware is about to make the popular camera even more enticing. During a presentation ahead of the NAB Show in Las Vegas, Blackmagic shared that new firmware will soon add continuous autofocus, object tracking, and facial recognition via a firmware update.

The update is first headed for the Blackmagic Cinema 6K, but will be added to other cameras in the future as well, the company noted.

In a demonstration of the update, Blackmagic showed how continuous autofocus will adjust the focus to whatever is inside the pre-selected area, refocusing as the camera or the scene changes to keep that selected area in focus. The camera previously did not offer continuous autofocus, which limited the camera’s use for quick on-the-go shooting.

With the firmware update, creators can now activate object tracking, which will keep the object in focus even as the camera pans or tilts around the scene. Unlike continuous autofocus that locks the focus on a certain area, object tracking can keep an object in focus even as it moves to a different part of the frame.

The Blackmagic 6K will also be getting facial recognition with the firmware update. Like with object tracking, selecting a detected face will keep that person in focus even as the person or the camera moves. The tool feature will also recognize multiple faces, allowing videographers to tap to switch the focus to a different person.

The Blackmagic Camera 9.5 firmware update is made possible in part by new AI processing. It’s also coming first to the Blackmagic 6K because of the camera’s L-Mount – with autofocus motors sitting in the lens and not the camera, the lens is always an important part of continuous autofocus performance. A beta download of the firmware is rolling out beginning on April 04.

In addition to the firmware for the 6K, Blackmagic’s PYXIS 6K and URSA Broadcast G2 cameras will also be gaining a pre-record feature via firmware update. This can either be turned on in the camera menu or activated by pressing the record icon for more than two seconds. The pre-record function saves a set length of video and adds it to the rest of the footage that begins when the record button is pressed, ideal for avoiding missing the moment. The update, BlackMagic Camera 9.6, is expected to be released in a few weeks.

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Blackmagic’s modular cinema camera series just got a major resolution overhaul. The Blackmagic PYXIS 12K G2 brings a 12K full-frame sensor into the company’s modular, customizable cinema cameras. Announced during a livestream ahead of the NAB conference in Las Vegas, the announcement of the PYXIS 12K G2 comes along packed inside a long list of video and broadcast gear, including new accessories designed to allow the PYXSIS series to handle like a news broadcast camera.

The Blackmagic PYXIS 12K G2 takes the same modular, box camera design as earlier PYXIS cameras that allows creators to customize their setup with different grips, cranes, gimbals, or even drones along with audio gear, external monitors and SSDs all attached to multiple mounting points at the top and sides of the camera. But the newest camera in the series takes the 6K camera and doubles the resolution.

The Blackmagic PYXIS 12K G2 uses a full-frame 12K sensor, adapting the sensor from the brand’s high-end URSA Cine to a smaller, lower-priced camera. The 12K sensor can shoot in Open Gate at 3:2 at up to 40fps, 17:9 at up to 50 fps, or 2.4:1 at up to 60fps. That sensor measures 12288 x 8040 and has what Blackmagic calls the latest generation color science as well.

When downsizing to 8K or 4K, the camera combines the photosites, merging multiple pixels into one rather than cropping that full-frame sensor. The camera specs include a 4K OpenGate 3:2 at 72 fps or 2.4:1 up to 112fps, with those same frame rates and aspect ratios also available in 8K.

With that larger sensor, Blackmagic added all new electronics for processing those large files, along with a faster USB-C port for mounting external SSDs to the modular cinema camera. The camera is also equipped with 10G, which allows it to connect to the network and even enables network-connected editing while shooting footage.

Like the 6K variant, the camera still has a four-inch screen built into one side, along with a slew of custom buttons and audio ports. Along with SSDs, it can also record to two CFExpress slots for non-stop recording even after filling one card.

The modular camera is compatible with all the existing PYXIS accessories, such as handles, grips, and external monitors and viewfinders. Blackmagic also announced a new extended handle with a microphone and LED indicator as well as a new side grip designed to customize the ergonomics of the cameras to those of a broadcast news camera.

The camera will be available in three variants for L-Mount, EF-Mount, and PL-Mount lenses.

With four times the resolution of the PYXIS 6K, the Blackmagic PYXIS 12K G2 isn’t quite double the cost of the 6K variant, listing for $4,995 / £5,015. Blackmagic expects the new 12K camera to be available from early July 2025.

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Kolari, a leading innovator in optical technology, has introduced a new range of Magnetic Clip-In Filters designed specifically for Blackmagic Design full-frame cinema cameras. Known for their expertise in lens filters and infrared camera conversions, often showcased in their popular teardown videos, Kolari is now pushing creative boundaries further with this latest release.

The Blackmagic Design Pocket Cinema 6K and Pyxis 6K are two of the most accessible full-frame cinema cameras on the market, offering high-end filmmaking features at a competitive price point. Kolari’s new Magnetic Clip-In Filters are engineered to enhance these cameras’ performance, providing a compact, easy-to-use filtering solution for filmmakers seeking greater creative flexibility.

Above: The introduction video for the Magnetic Clip-In Filters for Blackmagic Design full-frame

Kolari’s Magnetic Clip-In Filters mount securely inside the camera body in front of the sensor, ensuring seamless integration with any lens setup while preserving optimal image quality. Designed for quick and secure installation, they enable effortless filter changes without interrupting workflow.

The filters use precision-crafted glass that minimizes color shifts and maintains sharp, high-resolution imagery. The ultra-slim CNC-machined aluminum frame is lightweight yet durable, fitting perfectly inside the camera without interfering with lens operation.

Each filter is coated with advanced multi-layer treatments, including anti-reflective, anti-smudge, hydrophobic, dust-resistant, and scratch-resistant coatings, making them highly durable in various shooting conditions.

Rather than requiring multiple filter sizes for different lenses, Kolari’s clip-in system provides a one-filter-fits-all solution. The lineup includes options such as neutral density filters for exposure control in bright conditions, mist filters for softening highlights and creating cinematic depth, infrared filters for striking IR photography and cinematography, and special effects filters for unique visual styles. An astrophotography filter is also available, designed to reduce light pollution for clearer night sky images.

These filters are particularly useful for ultra-wide-angle lenses that lack traditional filter threads and can also be used in combination with a matte box system. By combining clip-in filters with traditional lens filters, filmmakers can further refine their creative vision and develop signature looks that set their work apart. This added layer of customization makes Kolari’s system even more versatile, enabling users to stack effects and fine-tune their imagery without compromising quality.

Currently, the Kolari Magnetic Clip-In Filters are only compatible with the L-mount versions of Blackmagic Design Cinema Camera 6K and Pyxis 6K. They are available now, with prices ranging from $129.99 to $199.99 (GBP and AUD pricing to be confirmed).

The series joins Kolari’s existing lineup of clip-in filters, already available for Fujifilm, Sony, Canon, and Nikon mount cameras.

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Blackmagic Design has released The Beginner’s Guide to DaVinci Resolve 19, a free, step-by-step training guide aimed at both new and experienced users of the powerful DaVinci Resolve video editing software. This comprehensive guide walks users through the industry-standard tools available in DaVinci Resolve, covering everything from video editing and color grading to audio enhancement and visual effects.

The release of this free resource comes at a time when more filmmakers and video editors are shifting away from costly subscription-based software like Adobe Premiere Pro in favor of DaVinci Resolve’s free software, or the one-time purchase model and industry-leading features of DaVinci Resolve Studio. With this new guide, Blackmagic Design is making it easier than ever for creators to learn and master its software without additional financial barriers.

The guide takes a project-based approach to learning, enabling users to work through real-world examples while gaining hands-on experience with DaVinci Resolve’s tools. Lessons include editing techniques, normalizing audio levels, adding effects, automatically mixing music, color correction fundamentals, and advanced grading techniques.

Users will also learn how to create Power Windows, track objects, apply ResolveFX, organize projects with proxy files, sync and manage audio, enhance audio with the Fairlight page, and build custom titles and visual effects with the Fusion page. The guide also covers project delivery in various formats, including optimized settings for social media platforms.

As filmmakers seek cost-effective and high-performance alternatives to Adobe’s Creative Cloud suite, DaVinci Resolve has emerged as a top contender. Known for its powerful color grading tools, seamless editing workflow, and professional-level audio features, it has become a go-to solution for many independent creators and production studios alike. The addition of a comprehensive, freely available guide only strengthens its appeal, making the transition from other platforms smoother for new users.

For those considering making the switch to DaVinci Resolve or simply looking to refine their skills, The Beginner’s Guide to DaVinci Resolve 19 is a valuable resource. The book is available for free on Blackmagic Design’s official website, providing accessible, high-quality training to a growing community of DaVinci Resolve users.

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The Blackmagic Camera App is a serious tool for mobile filmmaking, offering a level of control and quality that was once reserved for high-end cinema cameras.

I’ve just started using it, as I’ve been incorporating my phone more into my video content, and I can already see how powerful it is. Designed for serious content creators, the Blackmagic Camera App is free and transforms your smartphone into a professional filmmaking tool, providing precision and flexibility like few other options.

Unlike standard camera apps, which focus on simplicity, the Blackmagic Camera App puts full manual control at your fingertips. You can adjust shutter angle, white balance, ISO, frame rate and focus, just as you would on a professional camera. Whether you're shooting for social media, documentaries or short films, this level of customization enables you to achieve the exact look you want.

The app also includes advanced monitoring and audio tools essential for filmmakers. You can rely on focus peaking, zebras, false color and waveform monitoring to fine-tune exposure and focus.

On the audio side, the Blackmagic Camera App enables you to monitor levels in real-time with professional-grade VU meters and connect external microphones for clearer, more controlled sound.

Above: A video introduction to the Blackmagic Camera App

One of the app’s standout features is its seamless workflow with DaVinci Resolve and Blackmagic Cloud. You can shoot, upload directly to the cloud, and begin editing without needing to transfer files manually. This is especially beneficial for creators working in fast-paced environments where time is of the essence such as travel.

Initially exclusive to iPhones, the app has now expanded to select Android devices, broadening its accessibility to a wider audience and making high-quality mobile filmmaking more achievable than ever. Blackmagic is also regularly updating the app, meaning that more features are continuously being introduced to keep up with the technological advancements of camera phones.

Whether you're a filmmaker, content creator, or journalist, the Blackmagic Camera App offers professional-grade tools at no cost as it's free to download from the App Store. Its advanced controls, monitoring features, and cloud integration make it a must-have for anyone serious about elevating their mobile video production.

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South African cinematographer and director Sean Viljoen recently tested out the Blackmagic Design Pyxis 6K cinema camera in the stunning, wild landscapes of Zimbabwe. Known for his immersive documentary style, Viljoen was eager to see how the Blackmagic camera could handle the unique demands of wildlife filmmaking, and the results, shown on the Blackmagic website, were nothing short of impressive.

For Viljoen, one of the biggest challenges in wildlife cinematography is proximity to the subjects. Typically, when filming animals in the wild, you’re often using longer lenses to keep your distance. But Viljoen is a fan of documentary filmmaking that makes the viewer feel like they’re right there with the characters.

He says, "I’ve always been a fan of documentary filmmaking that connects the viewer to characters by shooting handheld with that really ‘close and wide look". He was excited to experiment with capturing the animals in a more intimate way, contrasting the traditional long-lens approach that’s so common in natural history cinematography.

Above: The Behind the Scenes with Blackmagic PYXIS 6K and Sean Viljoen

With the Blackmagic camera Pyxis 6K’s full-frame sensor, Viljoen was able to achieve this goal. The camera's full-frame sensor offered him the flexibility to shoot tighter shots without worrying about distortion, which would have been an issue on a Super 35mm camera due to the crop factor. This was crucial when filming both the wildlife and the conservation rangers, as Viljoen wanted to ensure the shots were proportional and felt authentic, especially when transitioning between the two very different subjects.

One of the standout features of the Blackmagic camera Pyxis 6K, for Viljoen, was its ability to shoot in 3:2 Open Gate mode. "This was the first time I had ever used 3:2 Open Gate on a camera," he shares. "When shooting 16:9, I would have framed for the elephant and then had to crop the tree. But with the Blackmagic camera Pyxis 6K, I could capture the full shape of the elephant without losing the context of its surroundings. It’s much easier to get that larger-than-life shot when you’re not forced to crop".

Another area where the Blackmagic camera Pyxis 6K impressed was its performance in low-light conditions. Viljoen filmed a scene just before sunrise when the light was still barely hitting the landscape.

“We were shooting around 5 am, and it was still quite dark. The clouds were bright, and the boulders were almost completely black in the shadows,” he recalls. “With such extreme contrasts in light, you’re really testing the limits of the sensor’s dynamic range. The Blackmagic camera handled it effortlessly, keeping the details intact in both the highlights and the shadows.”

For Viljoen, the camera’s versatility and dynamic range made it perfect for the unpredictable lighting conditions of the African wilderness. But what really stood out to him was how easy the Blackmagic camera was to work with, highlighting the renowned Blackmagic Design workflow that supports creators through capture to post-processing with DaVinci Resolve. The workflow ecosystem makes Blackmagic a really enticing brand choice for new filmmakers, as it provides seamless integration across each of the filmmaking processes.

The camera’s 6K Open Gate sensor (6048 x 4032) gives it incredible resolution and detail, whether shooting wide shots or up-close intimate moments. Coupled with Blackmagic RAW at a 5:1 constant bitrate, it provides filmmakers with a streamlined, high-quality workflow. Viljoen used Zeiss CP.3 35mm lenses at a T4 aperture, taking full advantage of the full-frame sensor to create a beautiful depth of field and natural bokeh. Shooting at ISO 400 provided him with clean images, even in low-light scenarios, while Nisi C5 True Color VND ND filters helped him control exposure in harsh lighting conditions.

Viljoen’s test of the Blackmagic camera Pyxis 6K truly shows its potential as a tool for wildlife filmmakers. Its impressive low-light performance, high resolution, and flexibility in framing make it ideal for capturing intimate moments with both animals and people in the field. You can read more about this test on the Blackmagic Design website.

With its affordable price tag, currently under $2,500, and seamless Blackmagic workflow, it’s no wonder that this camera has quickly become a favorite among filmmakers.

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YouTube channel Team 2 Films has released a video breaking down the frankly monstrous spec of the Blackmagic Ursa Cine 12k LF. This is a proper cinema camera designed to compete with the likes of Sony, Arri and Red. But while large format film cameras are notoriously expensive, the Blackmagic Ursa Cine 12k LF starts at just $6,995 in the US. And while the camera boasts a groundbreaking bumper feature set, it’s Blackmagic’s new RGBW sensor that has really set tongues wagging.

The Blackmagic Ursa Cine 12k LF’s 12K resolution will be overkill for most filmmakers. Heck, most movie productions aren’t even shot in 8K, let alone 12K (12288 x 8040). So, groundbreaking or not, that’s a spec that’d put more filmmakers off than it would actually attract. But hold your horses.

What’s clever about Blackmagic’s latest cine camera is its ability to switch seamlessly to 8K and 4K resolutions without any of its competitors' resolution-changing caveats such as cropping into the sensor and downsampling. And it’s all down to that large-format 36x24mm RGBW sensor. See the breakdown below:

ABOVE: See the magic behind Blackmagic's new RGBW sensor

RGBW sensors are nothing new, but they require a lot more processing oomph than the traditional Bayer filter array, favored by most camera manufacturers. As Team 2 Films puts it, Bayer filters have: “twice the number of green pixels as they do red or blue. That pattern repeats on a two-by-two grid. The Ursa’s color filter array repeats on a six-by-six grid. Half the photo sites are white, the other half are an equal number of red, green and blue.”

The YouTube channel highlights how the introduction of white photo sites increases a sensor’s light-gathering capabilities, resulting in a higher dynamic range. And as we all know, higher resolutions mean smaller photosites and reduced light-gathering potential, making these white photo sites incredibly important due to the Ursa's eye-watering 12K resolution.

But the real mystery is how the Ursa is able to switch resolutions at will, with seemingly no caveats such as pixel skipping or downsampling. Team 2 Films' video explains this in a lot more detail than I ever could. Simply put, though, the camera reads pixels individually when shooting at 12K, but Blackmagic has arranged them so they can be read in groups of 2 when shot at 8K. And while the channel explains that this is essentially pixel binning, it states: “that might make it sound like sensor data is being discarded, but it’s not (...) the value of two different photo sites is being summed together before being sent onwards.”

Grouping photo sites for 8K shooting then makes it possible for the camera to shoot at 4K, but I’ll let you watch the video at 07:50 to find out precisely how. The rest of the video goes on to discuss all of the camera’s other incredibly neat features, with the team even using it to shoot real-world footage, so be sure to give it a watch!

The big question on my mind now is will other cinema camera manufacturers follow suit?

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Blackmagic Design has unveiled the URSA Cine 12K LF Body, a stripped-down version of its high-end URSA Cine 12K camera, designed to provide more flexibility for filmmakers and rental houses. By removing bundled accessories, the new body-only model offers a more affordable option without sacrificing the cinema camera’s core features and, most importantly, performance.

The URSA Cine 12K LF Body retains Blackmagic’s cutting-edge full-frame 12K sensor, which supports in-sensor scaling for shooting in 12K, 8K, or 4K across the entire sensor area. This enables cinematographers the ability to tailor their resolution based on project requirements, whether capturing high-resolution blockbusters in 12K or shooting documentaries in 8K or 4K.

While the original URSA Cine 12K comes as a full kit, the LF Body version enables professionals to rig the camera to their exact specifications, using their own accessories. The model excludes components such as shoulder mounts, handles, battery plates, power supply, and the 8TB media module, enabling users to purchase only the items they need. This is a fantastic money-saving option for established filmmakers, as most of these tools are already in the kit bag.

However, the camera does come equipped with a new dual-slot CFexpress media module, offering high-speed recording with widely available CFexpress cards. It also ships with an EF lens mount as standard, with PL and LPL mounts available separately for those using different lens systems.

Despite its reduced accessory package, the URSA Cine 12K LF Body delivers the same professional-grade performance as its full-kit counterpart. With 16 stops of dynamic range, high-performance color science, and Blackmagic RAW recording, the camera is engineered for high-end film production, VFX work, and immersive large-format cinematography.

Blackmagic Design CEO Grant Petty highlighted that many filmmakers wanted a body-only version of the URSA Cine 12K, particularly those who already own high-end accessories.

By introducing this model at a competitive price of $6,995, Blackmagic is making its large-format 12K technology more accessible to both burgeoning and experienced professionals while maintaining the highest image quality standards.

To put this in a little more perspective the Blackmagic Design URSA Cine 12K LF Camera with EVF Kit is currently listed on B&H Photo for $16,495, so the body-only model offers a significant discount for those who already have the equipment and don't require the full kit.

The Blackmagic URSA Cine 12K LF Body is now available for purchase.

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Released in late 2024, the Blackmagic Design Ursa Cine 12K LF was introduced as the "world's most advanced digital film camera."

Designed to push the boundaries of digital filmmaking, the camera features cutting-edge technology tailored for seamless integration into modern post-production workflows. Now, this innovation has been recognized by the industry as the Ursa Cine 12K LF joins the prestigious list of Netflix-approved cameras.

Netflix, renowned for its premium streaming platform and high-quality original content, sets rigorous standards for the equipment used to produce its programming. To ensure consistent excellence in its visual storytelling, the company maintains a strict list of approved cameras, requiring at least 90% of a project’s final runtime to be shot on these systems. Meeting these demanding criteria signifies a camera's ability to deliver exceptional performance in areas like dynamic range, resolution, codec quality, and workflow compatibility.

Earlier today, Blackmagic Design announced that the Ursa Cine 12K LF had achieved this coveted status. In a LinkedIn post, the brand stated, "Today we announced that Blackmagic Ursa Cine 12K LF digital film camera has been added to the Netflix Approved Camera List. Officially titled 'Cameras and Image Capture: Requirements and Best Practices,' the list highlights the capture requirements necessary to be qualified as an approved camera by the streamer, including dynamic range, resolution, codec, workflow compatibility, and more. Netflix requires 90% of a program’s final total runtime to be captured on approved cameras. The list already includes the Blackmagic Design Ursa Mini Pro 4.6K G2 and Blackmagic Ursa Mini Pro 12K OLPF among its approved systems."

The Ursa Cine 12K LF's inclusion is a testament to its exceptional design and performance. The camera features a newly developed sensor that elevates image quality across all resolutions, from 4K to 12K. Larger photo sites on this sensor deliver an impressive 16 stops of dynamic range, enabling superior adaptability in diverse lighting conditions. In addition, its unique RGBW architecture offers equal amounts of red, green, and blue pixels, resulting in rich colors, exceptional clarity, and unmatched flexibility.

What further distinguishes the Ursa Cine 12K LF is its seamless workflow integration, which enhances every stage of production – pre, during, and post. This streamlined ecosystem, combined with Blackmagic Design's advanced technologies, positions the camera as a favorite among filmmakers seeking the best tools for cinematic storytelling.

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Blackmagic Design has announced that it will start taking pre-orders for the new Blackmagic URSA Cine Immersive camera – the first commercial camera system specifically designed to capture Apple Immersive Video for Apple Vision Pro.

Featuring a fixed, custom lens system designed for Apple pre-installed on the body, the sensor delivers 8160 x 7200 resolution per eye (more than 8K each eye), with “pixel level synchronization” and 16 stops of dynamic range, enabling cinematographers to shoot 90fps 3D immersive cinema content to a single file.

The immersive lens projection data then travels through post-production in the Blackmagic RAW file itself.

Pre-orders are now open for delivery in the first quarter of 2025 at a cost of $29,995 (no official pricing for other regions has been announced, but this works out as around £23,625 / AU$47,445).

Additionally, DaVinci Resolve Studio will get an update around the same time that will support editing Apple Immersive Video to create an end-to-end system supporting creators who want to make content for Vision Pro.

A key feature includes a new immersive video viewer, which will enable editors to pan, tilt and roll clips for viewing on 2D monitors or on Apple Vision Pro for an even more immersive editing experience.

“Apple Immersive Video is a remarkable 180° media format that leverages ultra-high-resolution immersive video and spatial audio to place viewers in the center of the action,” said Blackmagic.

Grant Petty, Blackmagic Design CEO, added: “We are excited to begin accepting pre-orders for the new Blackmagic URSA Cine Immersive camera and preview a true end-to-end workflow for Apple Immersive Video with DaVinci Resolve.

“We are looking forward to working closely with filmmakers and production companies on the Blackmagic production workflow for Apple Immersive Video before releasing the camera to a wider audience later in 2025. We can’t wait to see the amazing action, drama, concerts, sports and other incredible experiences our customers will capture in this powerful new format pioneered by Apple.”

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When a teaser video of a new boxy 6K cinema camera called the Nexus G1 hit the web last year, many were quick to question if the camera was in fact real. But start-up Nexus Camera has officially unveiled details on the Nexus G1, a long list that includes a number of modular features from multiple storage and battery options to even the ability to use multiple lens mounts. The company calls the G1 a cinema camera with “unparalleled usability designed by filmmakers for filmmakers.”

As teased last year, the Nexus G1 is built around the Black Magic 6K Super 35 Raw imaging system, giving the cinema camera a 6K full-frame sensor with dual gain ISO and up to 13.4 stops of dynamic range. The camera can record in Blackmagic BRAW (6K, 50fps) or Apple ProRes (4K, 60fps).

Nexus Camera says that the company is completely independent from Blackmagic, but notes that Blackmagic approved the project and assisted with technical questions. Nexus Camera is an authorized Blackmagic Design dealer, while the G1 camera itself comes with a 12 month warranty.

While the G1 is built around an existing sensor, the upcoming camera takes on a modular aspect to several different pieces of the design, starting with the lens mount. The G1 will have a built-in EF mount. However, an add-on accessory called the AutoLock enables the camera to swap mount adapters with the press of a button, including Micro Four Thirds, PL, and other lens mounts.

Even the G1’s storage takes on a modular stance. The G1 can record to SD cards, CFast 2.0 and external USB-C drives. The G1 also has a slot for a Nexus MaxDrive, which the company says offers fast recording at half the cost of CFast cards.

The G1 is also compatible with several different batteries, allowing for a 3-hour battery life with a lighter weight or even an 8-hour with a larger battery. The camera itself has an internal backup power supply that lasts for up to 30 minutes, allowing for hot swaps, or switching out the battery without interrupting the recording.

An optional module gives the G1 an electronic neutral density filter, adjustable from two to seven stops including automatic adjustments.

The external five-inch (12.7 cm) monitor furthers the modular customizable theme of the camera and can be mounted from several points on the camera body and works with a single cord. A built-in touchscreen at the top accesses the camera’s menu and settings.

The Nexus G1’s magnesium alloy and carbon fiber exoskeleton has 64 mounting points to further customize the camera’s setup, including a grip that houses several controls. Built-in rig rods extend to support extra accessories and slide back into the body of the camera when not in use. Integrated FIZ (focus, iris, and zoom) ports allow filmmakers to control manual cinema lenses from the camera's built-in controls using accessories.

As a filmmaker's camera, the G1 has a long list of different ports, including two XLR inputs, Phantom power, preamps, two D-tap, four USB-C, and four Lenmo ports.

Nexus says it expects to begin manufacturing at the start of 2025, with shipping slated to begin in the second quarter of the year. The company expects to list the camera at $3,300 / £2,600 / AU$5,180, but notes that followers and supporters that sign up on the website can get the camera for $2,980 / £2,348 / AU$4,677. In comparison, the Black Magic 6K Pro retails for about $2,500 / £1,970 / AU$3,924, but uses a format similar to a mirrorless camera rather than the boxy, modular design of the G1.

Adding on to the modular camera will also drive up the cost. The AutoLock to adapt to different lens mounts is expected to cost $250 / £197 / AU$392, plus the cost of the mount adapter which has yet to be determined. The electronic ND module is expected to cost $380 / £299 / AU$596. Grips, top handles and Max drive are also added costs, along with optional upgradeable SDI switchers and Lenmo power ports.

Nexus currently has a waiting list on its website to be notified when the camera first launches.

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DaVinci Resolve 19 is published by BlackMagic Design, the company behind Pocket Cinema and Ursa cinema cameras, together with a range video production equipment and mixers. It actually comes in two versions. DaVinci Resolve 19, which is free, and Davinci Resolve 19 Studio, which is a more powerful version sold separately but also bundled with some BlackMagic hardware products.

Both versions of DaVinci Resolve 19 are professional video editing applications on the same level as Apple Final Cut Pro or Adobe Premiere Pro. They incorporate powerful audio and effects tools too, so they are designed as all-in-one video editing solutions.

It's a kind of win-win for BlackMagic Design, because while DaVinci Resolve is one of the best free video editing tools you can get, DaVinci Resolve Studio is one of the best professional video editors.

You might imagine that the free version is pretty limited and designed to act as a tempter for the full product, but that’s not how it works in this instance. DaVinci Resolve 19 is a fully featured editor in its own right, with perhaps all the power – and more – that solo shooters, content creators and small production teams might need. There’s no catch.

DaVinci Resolve Studio 19 is a much more powerful tool that brings a multitude of AI workflow, editing and enhancement features and is designed for collaborative workflows and large-scale productions. BlackMagic claims DaVinci Resolve is “Hollywood’s most popular solution for editing, visual effects, motion graphics, color correction and audio post production.”

DaVinci Resolve 19: What’s new?

The new features in Davinci Resolve 19 are concentrated in the Studio version. There are so many that it would take thousands of words to describe them all, but here are a few highlights:

Auto Stingers: These can be moving graphics or sound transitions to let viewers know a scene or a camera viewpoint has changed.

Text Based Timeline Editing: You can edit clips based on their transcribed text directly, with multiple voice recognition and named speakerst.

AI Speech to Text Transcription: Automatically transcribes video and audio clips, with the ability to mark in and out points to edit or delete text, add markers, remove silence.

Automatic Subtitles: Transcribes speech to text automatically into a subtitle track on the timeline. 

AI Based Voice Isolation: Removes unwanted sounds from voice recording, and ideal for presenting or interviewing noisy environments. There’s also a new Built-in Dialogue Leveler.

UltraNR Noise Reduction: Uses the new DaVinci Neural Engine to reduce digital noise but maintain clarity. 

Film Look Creator: Adds cinematic ‘film’ looks with halation, bloom, grain, flicker, gate weave and vignetting.

Automatic Depth Map: Generates a 3D depth matte of a scene to allow separate foreground/background grading.

AI Audio Panning: A new IntelliTrack AI point tracker can follow people or objects as they move across the frame.

IntelliTrack AI Tracking: Powered by the DaVinci Neural Engine to optimize panning and tracking.

Music Remixer FX: Separates music into voice, drums, base, guitar, for example, for selective remixing.

Person Mask: Another DaVinci Neural Engine feature, this time to detect, mask and track people and their movement in a shot.

SuperScale: Advanced upscaling algorithm superior to standard resizing controls and ideal for scaling “archival footage” to today’s resolutions..

Smart Reframe for Social Media: Create square or vertical versions of shots using the DaVinci Neural Engine to identify key action and reframe the shot automatically.

Object Removal: You can use this to cover up moving objects in a scene – and there’s a Patch Removal option for static objects.

Optical Flow Speed Change: Uses an advanced retiming algorithm to slow down and extend the action in a sequence with frames “intelligently constructed” from existing visual data.

Track and Follow Objects: Follow objects and people in 3D space with masking for selective grading and effects.

That is just the tip of the iceberg. DaVinci Resolve 19 Studio is a major new release, so at this point you might be debating whether to upgrade. You don’t really need to worry, though, because your existing Resolve Studio license will still be valid.

If you’re not currently a Resolve user and you’re wondering if this is the right software for you, then there is a fully-featured free trial that will give you plenty of time to make your mind up.

DaVinci Resolve 19: Price and availability

DaVinci Resolve comes in two versions. DaVinci Resolve 19 is the free version, and is a full-powered video editor with no time limits or upgrade nagging. DaVinci Resolve Studio 19 is a more powerful version aimed at high-end studios and filmmakers. It sells for $295 / £235. Be aware, though, that many BlackMagic hardware products, such as its Pocket Cinema cameras, come with a Studio license included, so you may not have to pay at all. BlackMagic updates DaVinci Resolve regularly, but does not currently charge for updates.

DaVinci Resolve 19 vs Resolve Studio 19

Will the free version of DaVinci Resolve 19 be enough for you, or will you need the advanced tools in the paid-for Studio version. The first point to make is that the free version is not simply a cut-down version with extra features you can unlock. It’s a separate, fully-featured and very powerful professional video editing tool in its own right. The fact that it’s free really is quite remarkable. Nevertheless, there are things the Studio version does that the free version doesn’t, so here’s a brief run-down.

First, the free version is limited to 4K resolution and 60fps. This will be fine for many creators out there, but if you film in 6K open gate or 8K, you will need the Studio version, which go right up to 32K resolution (!) and 120p frame rates.

The free version offers pretty much all the video editing tools and effects you could ask for in a regular video editor, but the Studio version brings extremely powerful AI features such as UltraNR noise reduction, intelligent tracking, magic masking, music remixing and more. It’s a long, long list.

The Studio version is also better for resolution changes and horizontal/vertical crop options. It has a SuperScale feature to upscale 1080 video to 4K, for example, and a Smart Reframe feature that uses the software’s neural engine to crop and follow key objects.

You also get a new Film Look creator, whereas previously you might have needed a plug-in like Dehance. So while much of the increased power of Resolve Studio 19 is aimed at large production studios and multi-cam, multi-person setups, there’s still a lot for individual creators, filmmakers and smaller studios.

Perhaps the best approach is to start with the free version, see how you get on and then check the features in the Studio version to see if it’s worth swapping.

DaVinci Resolve 19: Interface and usability

Rating Davinci Resolve 19 for design and usability is difficult. It’s a bit like Photoshop, in that it’s designed for speed, efficiency and clarity for professional users. It’s not designed as an easy introduction to video editing for beginners.

For a start, it’s organized into seven different panels, or workspaces. There is some overlap between them, but each one focuses on a specific area of editing. First is the Media panel, where you organize your media into Bins, add new timelines and generally manage all the assets used in the project. Next is the descriptively named Cut panel, where you cut your clips and media together in your video timeline. The Edit panel is where you make detailed adjustments to the video and audio tracks, clip by clip, and after that you have the Fusion panel for special effects, the Color panel for in-depth color grading and Fairlight panel for detailed audio adjustments. Finally there’s the Deliver panel, where you choose your video output settings.

You may not use all these panels, you probably won’t use them in order but jump to and fro as needed, and you may certain workflows more intuitive for you.

That’s just a quick, simple tour. In fact, each panel offers huge depth of control, and there’s a lot to take in. There are some great tutorials online to get you started, but if you’re a new user you should still expect to spend a few hours getting up to speed, much of it absorbing the techniques and terminology of high-end video editing. 

If you’re coming here from Final Cut or Premiere Pro you’ll already know the principles and just need to adapt to a new environment. If you’re coming here from iMovie on the Mac, say, or any other basic video editor, then it’s going to take a little longer to gain any kind of fluency. But if you’re a first-time video editor looking for a free tool to get you started, then DaVinci Resolve will probably scare you to death.

DaVinci Resolve 19: Performance

Video editing is a hardware-intensive process, and the higher the resolution and frame rates you work at, the more processing power is required. This, and the fact that everyone’s hardware setup is different, makes it hard to measure performance. On my old 2017 iMac with 16GB RAM it ran well enough up to 4K resolution but wasn’t fast – it felt about as speedy as iMovie. On my newer Mac Studio with 32GB RAM and Apple Silicon it’s very fast. If you’re going to work at higher resolutions and frame rates, though, with a lot of real time FX and audio/video track mixing, you’ll probably need to look again at your hardware setup. 

DaVinci Resolve 19: Verdict

DaVinci Resolve is available as a free version which has much of the power of paid-for professional video editors, together with an efficient workflow and powerful audio and grading tools. But just because it’s free, it doesn’t mean it’s good for beginners. There is a great deal of excellent training material online, but new users will have a lot to learn and even users with some experience of other video editors will need time to adapt to Resolve’s way of working.

And then there’s DaVinci Resolve 19 Studio. This is a professional video editing powerhouse that packs in just about every AI enhancement and effects tool imaginable and is right at the cutting edge of video production. This is the version you’ll need if you want to edit 6K video, 8K and beyond. It does come with a fairly stiff one-off license fee – unless you buy a BlackMagic camera or certain other BlackMagic products, which include a free Resolve Studio license key.

For amateurs, and many professionals, DaVinci Resolve 19 is the best free video software you can get – if you can put in the time to learn it. And for those who need to go further, Resolve 19 Studio is the next logical step and one of the top three professional video editors on the market right now.

DaVinci Resolve 19: Alternatives

At IBC 2024, Blackmagic introduced the Blackmagic Pyxis monitor, a new 5-inch HDR touchscreen monitor designed to enhance cinematic monitoring for Blackmagic Pyxis cameras and rival other best on-camera monitors in the market.

The innovative monitor offers a bright, high-visibility display along with complete camera control, making it an essential tool for filmmakers seeking flexibility and high-end performance on set. 

Available later this year for an astonishing $295, the Blackmagic PYXIS Monitor is poised to become a game-changer for camera operators needing adaptable and reliable monitoring solutions.

The Blackmagic PYXIS Monitor features a 1500-nit brightness screen, providing excellent visibility even under direct sunlight. This touchscreen monitor doubles as a full camera control interface, allowing users to manage all camera functions directly from the screen. 

Whether used as an external viewfinder or as a monitoring station for crew members, the device offers multiple mounting options, making it easy to attach to camera rigs, cranes, or other accessories. A removable sunshade adds extra convenience, while the rugged, machined metal design ensures it can withstand the demands of professional filmmaking environments.

Designed specifically for use with the Blackmagic Pyxis camera, the monitor integrates seamlessly with the camera's design. However, it also supports Blackmagic Ursa cine cameras, offering filmmakers a versatile and comprehensive solution for their monitoring needs. 

Users can mount the Pyxis monitor using a single USB-C cable that transmits video, power, and camera control all at once, minimizing cable clutter and simplifying setup. With customizable buttons and a built-in tally light, the monitor is designed for efficiency and ease of use.

Blackmagic Design CEO Grant Petty expressed excitement about the new release, stating:

"The Blackmagic PYXIS Monitor is more than just an external monitor; it’s an extension of the camera with full camera control that you can place almost anywhere. We wanted to create a monitor that provides filmmakers with flexible, high-end accessories while staying integrated with the design of our cameras. We can’t wait to see how our customers use it on set."

The Blackmagic PYXIS Monitor will be available worldwide through Blackmagic Design resellers, starting at $295 later this year.

Blackmagic Design has announced the pricing and availability of its latest cinematic powerhouse (and rival to the legendary Arri Alexa 65), the Ursa Cine 17K 65. Officially launched at IBC 2024 in Amsterdam, this revolutionary large format digital cinema camera is set to retail starting at a jaw-dropping AU$45,000 (US$29,995).

Which is a lot of money, no doubt, but not when you think of large-format cinema. Featuring an unprecedented 65mm RGBW sensor, the Blackmagic Ursa Cine 17K 65 is designed to deliver breathtaking image quality and unparalleled integration into post-production workflows – specifically with DaVinci Resolve.

With its large format sensor boasting a resolution of 17,520 x 8,040 and 16 stops of dynamic range, the camera is poised to become a go-to for high-end cinema production. 

The RGBW architecture ensures accurate color reproduction by providing equal amounts of red, green, blue and white pixels, resulting in stunningly rich and detailed images. Offering compatibility with PL, LPL and (weirdly) Hasselblad lenses, the camera's versatility caters to a wide array of creative preferences.

The Ursa Cine 17K 65 also includes a massive 8TB of built-in high-performance storage, along with high-speed networking capabilities, allowing for efficient media uploads and real-time syncing to Blackmagic Cloud. With 12G-SDI outputs, 10G Ethernet and USB-C, the camera provides extensive connectivity options, while industry-standard Lemo and Fischer connectors enable seamless integration with external accessories including lens motors and focus controls.

In terms of usability, the camera is built with a lightweight yet robust magnesium alloy chassis, making it ideal for dynamic on-set work. A fold-out five-inch HDR touchscreen monitor and an assist station, with a secondary display, further enhance the production workflow, ensuring that crews can monitor and control the camera from multiple angles without the need for external monitors. For filmmakers requiring perfect focus, a dedicated focus puller mode adds to the camera's appeal.

The Ursa Cine 17K 65 also features Blackmagic RAW, optimized for 17K editing, with built-in tools for media transfer via the Blackmagic Media Dock. This ensures rapid post-production workflows and real-time editing within DaVinci Resolve, making the camera an all-in-one solution for filmmakers aiming for high-quality production from capture to post.

While the 17K 65 might be a massive stretch for most of us, it is remarkable to hear that such a camera is able to compete with the likes of the Arri Alexa 65 – which until today held the distinction of being one of the only 'real' production models that solo users could purchase in this format.

Indeed, with the Alexa 65 costing well in excess of $100,000, the $29,995 price tag of the Ursa 17K 65 makes it an 'affordable' option for those few solo filmmakers that want large format output – not only for feature films but also the capability to crop in-post after the fact. We are witnessing history in the making!

Pre-order at B&H (US) for $29,995

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The Blackmagic Pyxis 6K is a cinema camera that has fallen a little under the radar since its release earlier this year, but new sample footage has proven it to be a powerful yet affordable cinema camera.

Announced at NAB 2024, the Blackmagic Pyxis 6K has been dubbed "the world's most riggable full-frame digital film camera", offering next-generation customization. New test footage has been captured by cinematographer Patrick O'Sullivan that showcases the camera's powerful features.

The Pyxis 6K is targeted towards filmmakers who are looking to take the next step up in production, perhaps from a mirrorless camera, as it's a lightweight and compact cine camera that's easily operated by a one-man team – it's more akin to the Blackmagic Pocket Cinema Camera 6K than the Ursa.

The standout feature is the camera's whopping full-frame sensor with a native resolution of 6048 x 4032, which is triple the size of a Super 35 sensor. This large sensor size enables 6K capture and an impressive 13 stops of dynamic range to record detail in the lightest and darkest parts of an image.

The dynamic range capabilities were the first thing I noticed when watching the new test footage, as it helped keep the sky and subject evenly exposed. The clip when the subject is walking through the forest is a particularly good example, as it captures the dimly lit surroundings while keeping the dappled light spots exposed.

The large sensor size also has the advantage of providing versatile aspect ratios and film formats without sacrificing image quality. The full area of the sensor gives an open gate 3:2 ratio, which enables flexibility during post-processing.

This versatility also extends to the frame-rate. The Pyxis will shoot up to 36fps at 6048 x 4032 3:2 open gate, or 60fps at 6048 x 2520 2.4:1 and 60fps at 4096 x 2160 4K DCI. Blackmagic also states that, for higher frame-rates, you can window the sensor and shoot up to 100fps at 2112 x 1184 Super 16.

You can't be called the most riggable cinema camera in the world without offering outstanding customizability. The Pyxis includes multiple 1/4″ and 3/8″ thread mounts on the top and bottom of the body, and a range of side plates that further extend your ability to mount accessories such as handles, microphones or SSDs.

The Pyxis is also compatible with Ursa accessories including the renowned Cine EVF, a must-have for shooting in bright sunlight. It provides a high-quality 1920 x 1080 color OLED display with a built-in proximity sensor, and 4-element glass diopter for incredible accuracy with a wide focus adjustment.

Other notable features include dual native ISO up to 25,600, a 4″ high-resolution HDR touchscreen, Blackmagic Raw capture with HD H.264 proxies, and recording options for CFexpress cards or external disks via USB-C.

The Blackmagic Pyxis 6K is available in three mounts – PL, EF and L – offering further versatility to users. It also comes in at an extremely attractive price point of just $2,995 / £2,425 / AU $4,519.

At first glance it looks to compete directly with the Blackmagic Pocket Cinema Camera 6K, but many differences distinguish the two cameras. The most obvious being the form factor, with the Pocket Cinema 6K being more stills camera-shaped, and the Pyxis more like a higher-end cinema camera box shape.

Although I haven't had a chance to test out the Pyxis 6K, it looks like an absolute steal – and as someone looking for a first cinema camera, this may have just jumped to the top spot!

You may also be interested in our guides to the best Blackmagic cameras, the best cinema cameras and the best cine lenses.

Blackmagic Pocket Cinema Cameras aren’t for everyone, that’s for sure. They’re big, they’re plasticky and they use focusing from the Dark Ages – at least by modern mirrorless standards. They also make no concessions to stills photography, except maybe for grabbing images on set for client approval or publicity shots.

But can I just point out one huge, obvious advantage they have over even the best hybrid cameras: the interface. I’m not just talking about the physical interface but, just as importantly, the digital interface, too.

First, the screen. Look at it. It’s a five-inch HDR touchscreen in an age when you’re lucky to find a mirrorless camera that goes beyond a three-inch display. It’s big enough that perhaps you don’t need to rig your camera up with an external monitor after all, and it’s big enough that if you do need to shoot in wider ratios you’re not left with a tiny letterboxed image. 

This is the screen on the Blackmagic Cinema Camera 6K, but all the other Pocket Cinema Cameras have 5-inch screens – even the smaller and older Pocket Cinema 4K model. Please don’t tell me it’s not possible to fit a 5-inch screen onto a mirrorless camera. Yes, it might make the bodies bigger – but given the size of many pro zooms, a bigger body could actually be a good thing. 

A 3-inch screen might be all right for stills photography, but if you’re shooting video too then it just doesn’t seem enough – especially when you’re trying to compose 16:9 video on a 3:2 ratio display.

It’s not just the screen size, but the digital interface it displays. Blackmagic OS, the operating system within the camera, displays all the video controls you need as large, tiled, touch-sensitive buttons – not tiny lines of text buried layers deep in a menu system. Video is complicated enough, so any system that simplifies the choices and makes them more easily accessible seems like a major step forward.

It does seem to me that mirrorless camera makers are locked into an old way of designing cameras and an old way of presenting on-screen controls. They’re offering plenty of choice but precious little clarification, and the continued use of tiny three-inch screens is a limitation we’ve suffered far too long - and forcing many photographers to pay extra for an on-camera monitor as an accessory.

I’m not saying you should get a Blackmagic Pocket Cinema Camera. That’s not really the right choice for typical solo shooters and vloggers. But please, can all you camera makers just look at the size of the screen, the clarity of the interface and properly adapt your mirrorless cameras to serious videography. Power is not enough; you need proper product design, too.

You might be interested in the best Blackmagic cameras, or perhaps the best cameras for video from all brands. 

If you're a budding filmmaker and love seeing the best cinema cameras being used in productions, then you are going to love this new documentary series. 

Guardians showcases the valiant efforts of anti-poaching rangers in Mozambique's Zambezi Delta. Produced by Conservation Film Company for EarthXTV, the 7-episode, 23-minute docuseries highlights the daily challenges faced by these unsung heroes as they protect endangered wildlife in one of Africa's toughest environments. 

Through breathtaking cinematography filmed with a Blackmagic Ursa Mini Pro 12K, along with numerous other bodies from the Australian manufacturer, director and camera operator Sean Viljoen' intimate storytelling offers viewers a rare glimpse into the lives and dedication of these remarkable individuals.

Below is a behind-the-scenes look at how this amazing docuseries was filmed:

"Guardians is a character-led factual series that goes beyond the headlines to show audiences the effort that goes into safeguarding wildlife in Africa through the eyes of the local people on the front line," explains Viljoen. "We wanted to tell their story as cinematically as possible.” 

The series unfolds against a backdrop of a country recovering from civil war, where wildlife populations had plummeted by 90%. With conservation efforts leading to a gradual recovery, the resurgence of poaching posed new threats that the rangers tirelessly combat.

Filming Guardians required versatile and robust equipment to capture high-quality footage in challenging conditions. The production team, alongside 19 rangers, patrolled the 2,000 square kilometers of the Coutada 11 safari concession. They relied on a comprehensive outfit digital cinema cameras including the Ursa Mini Pro 12K, Ursa Mini Pro 12K OLPF and Ursa Mini Pro 4.6K G2, along with several Pocket Cinema Camera 6K Pros.

"Most of the content we were creating was handheld," notes Viljoen. "We were often jumping on the back of motorbikes with the anti-poaching guys, so that limited the amount of kit we could bring with us."

The harsh filming conditions, with daytime temperatures reaching 104°F / 40°C and high humidity, tested the durability of the camera gear. Viljoen was impressed with the performance of the Ursa Mini Pro 12K, especially in handling highlights and natural light exteriors. "There's a lot of latitude within the Blackmagic RAW codec to work with." 

The production also employed DJI Mavic 3 drones for aerial shots, and LUTs applied by DP Garth de Bruno Austin ensured consistent and high-quality visuals throughout the series. 

"We wanted to get the most out of the image and tap into some of that downsampling benefit by shooting in 8K," says Viljoen. "We were extremely happy with the images and the amount of information to work with."

It's amazing to see some of the best video cameras and the best camera drones being put through their paces in a real-world environment, and it goes to show that you can have multiple camera setups all tuned to offer the best overview of certain products. 

They might be out of reach for many of us, but being able to see how they were used to produce the docuseries is a real eye-opener to any aspiring filmmaker.

If you're anything like me, the idea of using a video monitor when your camera already has a perfectly serviceable LCD screen for shooting feels like an extravagance. That was until I used the Blackmagic Video Assist 5 3G, which is considered one of the best on-camera monitors currently available.

This is ultimately a small professional video monitor that despite only being 5 inches, provides much more screen real estate than a 3-inch camera LCD, alongside a much clearer on-screen image and additional functionality. This makes it an enticing option for enthusiasts looking for a smaller video monitor ideal for location shooting, rather than 7-inch models that are packed with higher-level features and functionality.

So, you may be wondering why you'd need a monitor like this, and the simple reason is that it makes compositing, focusing, and shooting much more accurate and reliable. In many cases, such as with the Blackmagic Video Assist 5 3G, you can take advantage of Raw video capture to seriously elevate your video, whether shooting with a video camera, mirrorless camera, or DSLR.

The main downside to this monitor is that it only supports up to 1080p 60fps video, which means that you'd have to consider the Blackmagic Video Assist 5 12G HDR or the 7 12G HDR to capture in 4K. This may not be a problem if you only intend to shoot Full HD, but for professionals capturing 4K, this will undoubtedly be a deal breaker.

Blackmagic Video Assist 5 3G: Specifications

Blackmagic Video Assist 5 3G: Price

The Blackmagic Video Assist 5 3G was released back in 2020, and the price has come down since then to $325 / £299. But with the major downside of the monitor being that recording is limited to 1080p at 60fps, which in today's terms is low when 4K is the standard, this does make the Video Assist 5 3G seem expensive.

The advantage of this monitor is, however, that you can capture Raw video, bypassing your camera's internal recording function and compression, to enjoy a higher quality of flat footage. That's alongside the added benefit of the additional features it provides over your camera, but only if you can get by with your Raw video resolution being maxed out at 1080p.

Blackmagic Video Assist 5 3G: Design & Handling

Just like all Blackmagic products, the Video Assist 5 3G is extremely well-built and finished to a high standard. It measures 148x90x37mm / 5.83x3.54x1.44 inches with a 5-inch 1080p touchscreen and weighs 387g, so it's compact and lightweight. Albeit quite thick as a result of the rear cooling fan and the two battery slots on the back.

Batteries are hot-swappable, and since the Video Assist 5 3G only requires one battery to run you can charge the expended battery while using the other if you have two, which is a handy feature for location shooting. However, you would need a high-capacity and fast-charging power bank in this situation. The monitor can also be powered by the included 12v adaptor when working indoors or via a power bank with a plug socket. The battery type is the readily available NP-F570.

In terms of connections and ports, there's a full-size HDMI input and output, SDI input and output, a 3.5mm headphone jack, an SD card slot, USB-C, and an adaptor socket. There are also six 1/4-inch female threads – three on the top and three on the bottom – for mounting the monitor and attaching other accessories. There is, however, no mounting arm or the like included in the kit, but you do get a battery charger and an adaptor for powering from the mains. 

The overall design is fairly minimalist and this is possible because the Video Assist 5 3G uses a touchscreen interface on the up to 300nits 5-inch screen. This isn’t particularly bright so in brighter conditions the screen can be difficult to view, but you can buy compatible monitor hoods to help in these situations. There's even a small mono speaker for monitoring audio if you prefer this to headphones, but this is in reality better for playback of footage rather than reliable audio monitoring where headphones are much more effective. 

The user interface is incredibly intuitive, but like any product aimed at professional use, you do need to understand what many of the features and functions are for. Some are, of course, self-explanatory and even a small amount of video knowledge will be extremely useful. But some elements will need some research if you're unfamiliar with them. 

I found the interface extremely clear and easy to navigate, with a simple layout of controls. Adjusting the white balance of the monitor is performed manually to correct the color balance of the screen using two sliders with no Kelvin values and just white and grey rectangles as references, and this didn’t feel particularly reliable to me. 

Blackmagic Video Assist 5 3G: Performance

I purposely left my camera set to 4K capture while using the Video Assist 5 3G when capturing with the ProRes codec. As I expected, the footage captured was 1080p as the specs suggest. So, while the footage was in a Raw format, it still felt like a step down from 4K and ultimately quite limiting. Of course, if you only ever shoot in 1080p the Video Assist 5 3G could be perfect for you.

You can use the Video Assist 5 3G purely as a monitor, pressing the record button on your camera to capture video in-camera, and for this it works well. Not least because you can take advantage of the scopes etc. But the problem here is that you're ultimately paying for a recorder, and you can buy a simple video monitor for as little as half the price of the Video Assist 5 3G.

Video can be captured in 10-bit in ProRes and DNxHD codecs with various options for each available. There's only one SD card slot, which is no problem and understandable given the size of the monitor. But it's the larger screen size than cameras alongside features including Waveform, RGB Parade, Vector and Histogram scopes that make the difference; a small histogram can also be set to show over the video screen and there are also on-screen zebras for overexposure and focus peaking to aid with focusing.

Some of these scopes can be a little confusing at first if you're not familiar with them, but getting to grips with them doesn’t take long; they're invaluable tools for assessing exposure once you understand all of them. For many people though, the histogram overlay on the video capture screen is more than adequate and is my go-to option for quick exposure assessment when shooting stills and video, although I do find the other scopes useful for more in-depth initial set-up.

A great feature is that you can apply LUTs to the on-screen image to give you an idea of how your footage will look once colour graded. There are some LUTs already installed by default, but once you hook the Video Assist 5 3G up to the Blackmagic Video Assist Setup software on your computer, there are several slots available to import your own LUTs. I didn’t do this myself because I'm happy with viewing a flat on-screen image, but it's certainly useful if you prefer to view a partially colour graded image at the point of capture.

Blackmagic Video Assist 5 3G: Verdict

The Blackmagic Video Assist 5 3G is without a doubt a great little monitor in terms of build quality and the way it improves hugely on the 3-inch LCD screen most cameras have. A 5 rather than a 3-inch screen may not sound like much, but it makes a huge difference to the success and precision focusing, composition and exposure adjustment.

But I just can't get past the fact that the monitor tops out at 1080p video capture. Sure, you can capture in Raw formats, but 4K is the standard these days with many higher-end productions shooting at even higher resolutions, so the limitation here severely impedes the Video Assist 5 3G's potential and usefulness. Although it can also be used purely as a monitor.

That said, if you primarily work with 1080p video, and there are several reasons why some people will do this, the monitor is a great option in this situation. Plus, you can capture Raw video footage with it. It still feels a little dated as a result of the resolution limitation, so for more advanced users and professionals a more expensive higher-end model could be a better option both for now and for future-proofing.

Alternatives

Blackmagic is a big player in the video industry, not least for its amazing Davinci Resolve software. But the company also produces editing controllers and high-end video monitors/recorders, including the Blackmagic Video Assist 7 12G HDR. 

I've been sitting on the fence about whether or not I need a video monitor, but after using the Video Assist 7 12G HDR I can see some huge benefits for myself and anyone who shoots a lot of video. So, aside from the generous size of the screen and the features, which we'll discuss later, one of the Video Assist 7 12G HDR's key features is its ability to capture 4K Raw codecs at up to 60fps, aiming it squarely at professional users rather than enthusiasts, with a price that confirms this.

I can confidently say that it's one of the best on-camera monitors, and this professional-level monitor with Raw recording and its size, make it most suitable for studio work and location work where a team of people needs to view the action. As opposed to individuals taking a more run-and-gun approach to video work. 

You could attach this monitor to a hotshoe attachment, but this may put stress on the camera due to the weight. Plus, additional weight when one or two batteries are attached, but it would work perfectly well attached to a camera cage, a magic arm attached to the tripod, or on a separate tripod.

Blackmagic Video Assist 7 12G HDR: Specifications

Blackmagic Video Assist 7 12G HDR: Price

The Blackmagic Video Assist 7 12G HDR has been around for four years now, but it's still going strong and, as you'd expect, the price has reduced slightly since launch. It's still a professionally priced monitor at $795 / £759, but that's not too bad when you consider that it can record 4K Raw footage. 

What's more, it's not a great deal more expensive than smaller comparable monitors, which makes it pretty good value for money given the size and features of the monitor. The Video Assist 7in 12G HDR is available from multiple photo and video retailers, as well as online retailers including Amazon.

In the kit you get a USB battery charger and a 12v wall adaptor, but no batteries or mounting devices, so you'll have to supply these yourself. This probably won’t be an issue for most professionals, but a magic arm or mini tripod would be a nice inclusion that would also be useful.

Blackmagic Video Assist 7 12G HDR: Design & Handling

Blackmagic Video Assist monitors pretty much all look the same, with the main difference being the sizes of the 5-inch and 7-inch models, whereas the smaller monitors have fewer slots and connections. The Video Assist 7 12G HDR is quite a beast at 193x356x37mm / 7.6x5.14x1.45 inches and weighs in at 835g / 29.5oz without any batteries. Add one or two batteries on the back and the size and weight naturally increases further.

The batteries are hot-swappable so you can keep shooting without downtime, but you will need plenty of spare NP-F570 batteries to shoot all day. If you’re shooting indoors, however, you can use the included 12v adaptor for power. So, while this isn’t the most portable of monitors when compared to Blackmagic's 5-inch models, the ability to use batteries remains a necessity for times when a power source isn’t available.

The screen itself is luxuriously large and bright with a maximum brightness of 2500nits, which makes it possible to use the monitor in bright conditions. The screen resolution is 1920x1200px, despite the 4K recording resolution, but this doesn’t cause any issues in use and the screen is, forgive my enthusiasm, an absolute joy to use and nice and sharp to boot. But despite its bright and sharp screen, a monitor hood would, however, still be useful for reducing glare.

The touchscreen is also perfectly responsive and alongside the intuitive user interface, it's incredibly comfortable and easy to use despite being a high-end professional accessory. This, it has to be said is an accomplishment on the part of Blackmagic, and means that anyone who understands video settings can use it out of the box without worrying about instructions – it's that easy to use.

There are plenty of connections and ports including HDMI and SDI inputs and outputs, two balanced mini XLR connectors with phantom power if you'd prefer not to record sound through the camera, a 3.5mm headphone jack, and a USB-C port. With the latter, you can also connect an SSD to take advantage of higher storage capacity, but there's no mounting option for hard drives on the monitor.

Blackmagic Video Assist 7 12G HDR: Performance

The Video Assist 7 12G HDR can record HD and 4K DCI up to 60fps in 10-bit broadcast quality footage. Raw codecs include 4:2:2 ProRes and DNxHD, and with a selection of cameras listed on the Blackmagic website, Blackmagic Raw can also be recorded. Plus, as HDR in the name suggests, HDR10 and Hybrid Log Gamma are supported. You can also use the monitor purely as a monitor by recording from your camera directly, but this ultimately defeats the purpose of buying it.

The screen provides all the information you need with several options for features such as guides to be shown on-screen. Scopes are available to assist with exposure and focus, and exposure scopes can be viewed in isolation, overlaid on the record screen, or with a small box of the camera view over the scopes. These make it incredibly quick, easy, and comfortable to focus, adjust exposure, and monitor exposure, thus increasing precision and working speed.

A useful feature that some will love and others will be indifferent about is the ability to apply LUTs to your footage. LUTs can be imported into the monitor using the Blackmagic Video Assist Setup software on your computer. Once installed, they can be applied to the on-screen image to give you an idea of how color-graded footage will look or hard-coded into footage when shooting with the Blackmagic Raw codec. But remember, to use this codec you must be using a supported camera.

I had the screen initially set to capture in Blackmagic Raw and since my camera isn’t supported, I was faced with a black screen and a small message informing me of an incompatible codec. But once I'd changed over to DNxHD the on-screen image roared into life and I was able to begin shooting. 

Blackmagic Video Assist 7 12G HDR: Verdict

It's often said that size doesn’t matter, but the sharp and bright 7-inch touchscreen on the Blackmagic Video Assist 7 12G HDR is an absolute joy to use. With such a large and clear on-screen with up to a whopping 2500nits of brightness, the prospect of going back to the average 3-inch camera screen quickly becomes something of a nightmare.

Beyond the excellent and easy-to-use user interface, the scopes for assessing exposure and focusing make precision incredibly easy to achieve. Then there's up to 4K 60fps broadcast quality Raw footage that can be recorded with LUTs overlaid or hard-coded into Blackmagic Raw. There's so much to like here, but in all honesty, it won't be for everyone.

A 7-inch monitor like this is large and heavy on top of lenses, a camera cage, and all of the other accessories you may have attached to your camera. So, if this is too much for you, there is a 5-inch version – the Blackmagic Video Assist 5 12G HDR – that's perfect for run-and-gun handheld shooting, where size and weight are often an important consideration. 

Alternatives

Blackmagic launched the Blackmagic Camera app for iPhone late last year, now the App comes to all Android users for FREE and I think this is a great move from Blackmagic!

The app leverages the same operating system found in Blackmagic’s professional cameras, providing Samsung Galaxy and Google Pixel smartphone users with tools typically reserved for feature films, television, and documentaries. Additionally, Blackmagic Camera integrates with Blackmagic Cloud, facilitating instant collaboration and media sharing with editors and colorists worldwide.

Blackmagic Camera app can harness the power of smartphones by incorporating digital cinema camera controls and advanced operating systems into your smartphone. Users can achieve a cinematic look akin to Hollywood films, thanks to the intuitive and user-friendly interface similar to that of Blackmagic’s professional cameras. 

The app allows for seamless adjustments of settings like frame rate, shutter angle, white balance, and ISO with a single tap. Users can also record directly to Blackmagic Cloud in industry-standard formats up to 8K. 

With Blackmagic Camera, users have access to all the essential controls needed to quickly set up and begin shooting. The interface is interactive, allowing users to tap on any item to change settings instantly, avoiding cumbersome menu navigation.

The heads-up display (HUD) provides quick access to status indicators, recording parameters, histograms, focus peaking, levels, and frame guides. Users can show or hide the HUD by swiping up or down and can utilize touch-to-focus for pinpoint accuracy. 

The app supports various aspect ratios, including 16:9 and vertical, and allows discrete vertical shooting for unobtrusive filming. It also offers tabs for media management, uploading to Blackmagic Cloud, chatting, and accessing advanced settings.

Blackmagic Camera can be downloaded for free now from the Google Play app for Google Pixel and Samsung Galaxy devices.

The introduction of the Blackmagic Camera app to Android revolutionizes mobile filmmaking. Samsung Galaxy and Google Pixel users can now access professional digital cinema features directly on their smartphones, enabling cinematic quality and creative control previously exclusive to high-end cameras. 

This advancement democratizes filmmaking, offering seamless collaboration via Blackmagic Cloud, and makes high-quality film production more accessible and efficient for all content creators worldwide.

Apple announced a lot of software developments yesterday during the WWDC 2024, keynote which was introduced by Apple CEO Tim Cook. Apple developers (and fans) were shown briefly a new immersive cine camera in development from Blackmagic Design – the Blackmagic URSA Cine Immersive camera while Apple alluded to the idea of 3D content available through Vision OS for the Vision Pro augmented reality headset.

Since the conference, renowned cinema camera manufacturer Blackmagic Design has officially announced not just the world’s first commercial camera system designed to capture Apple Immersive Video, but an entire end-to-end workflow including updates to DaVinci Resolve which will introduce a new way to consume cinema.

Blackmagic Design CEO Grant Petty says, "We are thrilled to announce the first-ever commercial camera system and post-production software that supports Apple Immersive Video, giving professional filmmakers the tools to create remarkable stories with this powerful new format pioneered by Apple."

He continues, "Built on the new URSA Cine platform, URSA Cine Immersive features a fixed, custom, stereoscopic 3D lens system with dual 8K image sensors that can capture 16 stops of dynamic range. With this innovative system, filmmakers can record remarkable moments like action-packed scenes, unique perspectives, stunning landscapes, intimate performances, and more, all with incredible fidelity, offering viewers an unparalleled sense of realism and immersion."

Although still in development, Blackmagic has released some jaw-dropping camera specifications that place the viewer in the middle of the action. 

The Blackmagic URSA Cine Immersive camera features a fixed dual custom lens system for shooting Apple Immersive Video for Apple Vision Pro, that comes preinstalled on the camera body. The lens and camera combination enables the user to capture an 8K stereoscopic 3D immersive image, with a resolution of 8160 x 7200 per eye.

The custom lens is specifically designed for Blackmagic's URSA Cine’s large format image sensor, capturing extremely accurate positional data. The immersive lens data is captured, mapped, calibrated, and stored per eye before being saved as a Blackmagic RAW file.

The new immersive camera looks aesthetically incredible, with its bug-like lens reminiscent of something straight out of a sci-fi movie, however, Blackmagic has well and truly removed the "fi". The body is made from a 'robust magnesium alloy chassis and lightweight carbon fiber polycarbonate composite skin', providing the user with a well-balanced and lightweight shooting experience.

The astonishing camera body design continues it includes a large fold-out 5-inch HDR touchscreen monitor on one side, and an external color status LCD on the other. On the other side of the camera features a 'dedicated assist station' with another 5-inch HDR touchscreen enabling crew to work around the camera and removing the necessity of external monitors. 

The camera offers state-of-the-art cinematic technology with other notable features including a massive 16 stops of dynamic range, generation 5 color science with new film curve, 90 fps capture, Blackmagic Media Module 8TB for recording, and Wi-Fi, Ethernet, and mobile data network connections.

History has shown that a sticking point in capturing immersive video is the post-production and editing software, but as Blackmagic Design owns one of the leading video editing software on the market, DaVinci Resolve will undergo an overhaul to accommodate. 

The update will introduce powerful new editing features enabling users to edit Apple Immersive Video that has been shot on the URSA Cine Immersive camera. 

Blackmagic states, "A new immersive video viewer will let editors pan, tilt, and roll clips for viewing on 2D monitors or on Apple Vision Pro for an even more immersive editing experience. Transitions rendered by Apple Vision Pro will also be able to be bypassed using FCP XML metadata, giving editors clean master files. Export presets will enable quick output into a package which can be viewed directly on Apple Vision Pro".

We do not currently have a release date or price for either the camera or the update to DaVinci Resolve, however, we can expect them to be released 'later this year'. 

For decades we have been told that immersive cinema is the future with 3D cinema seeming to have passed as soon as it arrived, however, this feels a bit different. This places the viewer in the middle of the action, providing a completely immersive and personal view, and with industry-leading manufacturers such as Blackmagic, Apple, and Canon developing tech for it, it may just change the future of consuming video content.

You may also be interested in our guides to the best cinema cameras, the best cinema lenses, and the best video editing software.

In a first for the industry, Canon's latest camera – the Canon EOS C400 – features a newly developed image sensor with triple-base ISO. Yes, triple. 

Canon has leapfrogged the current dual-base ISO technology, which has become standard in many video-oriented cameras. This enables the C400 to shoot with a trio of native sensitivities – ISO800, ISO3200 and ISO12,800 – to offer an unprecedented spectrum of dynamic range. 

Simply put, this is huge. 

At NAB 2022, Blackmagic's Bob Cagnilia laughed out loud when asked about the possibility of triple-base ISO. But now it's real, it's here, and I think this is one of those game-changing moments for the industry. 

Of course, only a few people are going to rush out and spend $7,999 on a Canon EOS C400. But then, only a few people rushed out to buy the Sony A9 III – but its global shutter sensor was a likewise landmark moment. These technologies will eventually trickle down to other models and transform the way we capture images. 

Hold up – what even is dual-base ISO?

If you're unfamiliar with the technology, let me explain. 

A standard image sensor has a "base" (or "native") ISO, which is its lowest ISO setting (before using the expanded range) – on some cameras it's ISO100, others it's ISO64 or ISO200. 

You know how, when you increase your camera's ISO, you introduce more noise? That's because the ISO is essentially increased by running more voltage through the sensor's photodiodes – which, in turn, generates noise.

Sensors with a dual-base ISO are specially designed to have two base ISO values. On the Blackmagic Ursa Broadcast G2, it's ISO400 and ISO3200, on the Panasonic Lumix S5II / S5IIX it's ISO640 and ISO4000, on the Sony FX9 it's ISO800 and ISO4000 and so on.

This means that, if you want to shoot at higher sensitivities, you can switch to the sensor's second base ISO without introducing any noise. Below is a great video that explains things in more detail. (Confusingly, dual-base ISO is completely different to Dual Gain Output.) 

Okay, what is triple-base ISO?

As the name suggests, triple-base ISO adds a third "base" ISO setting – and unlike the dual-base sensitivities I've cited above, which offer one "somewhat normal" ISO setting and one "kinda high" ISO setting, the third setting on the Canon EOS C400 is ludicrously high.

With a third base sensitivity of ISO12,800, you can shoot at what would normally be a pretty sketchy ISO setting without introducing any noise whatsoever. And if you've ever cranked your ISO up to 12,800, even on a dual-base camera, you'll know just what a massive deal that is.

Again, I'm not suggesting that everyone should go out right now and drop eight grand on Canon's new camera (although, if you're someone who shoots in a lot of changeable conditions, it's probably worth every penny). 

But just as dual-base ISO was once a magic feature exclusive to premium cameras, sooner or later this is going to find its way into a camera that you do want to buy. Who's laughing now, eh? 

You might be interested in the best Canon cameras. If you're someone who cranks up your ISO, check out the best low light cameras.

I have to confess that I have no problems using software interfaces for making adjustments when editing photos and videos, but I may have been swayed by the Blackmagic Design DaVinci Resolve Micro Color Panel. This is a color grading control panel designed for use with DaVinci Resolve video editing software that can be used with both computers and iPads.

In reality, I don’t spend enough time color-grading videos to justify the investment in this slick, tactile, and ultimately time-saving device. But if you spend a lot of your time doing just that, the Micro Color Panel could be a game-changer for your workflow. Plus, the compact size, internal battery, Bluetooth connectivity, and an iPad slot mean that not only is it highly portable, but it can also be used on the go, practically anywhere.

This could be incredibly useful for content creators because work can be completed on location with an iPad and quickly and easily uploaded to social media or a client for proofing. For professional video editors and colorists, it’s undoubtedly a comfortable and precise input device that’s equally at home connected to a desktop or laptop.

It’s fair to say that given the cost of the Micro Color Panel, it’s not going to be a cost-effective option for casual video editors. Of course, you could still buy one and you would no doubt be happy with yet another high-quality product from Blackmagic Design that makes adjustments incredibly precise and, indeed comfortable. But at $509 / £498 with no copy of DaVinci Resolve Studio included, it’s arguably aimed more at professional users who already own a software license. Although, it can also be used with the free version of the software which provides access to professional color grading controls available in the full version.

Blackmagic Micro Color Panel: Specifications

Blackmagic Micro Color Panel: Price

The DaVinci Resolve Micro Color Panel is a specialist device designed to provide tactile control within DaVinci Resolve’s Color Page. So, in a nutshell, it’s just for color grading and image adjustments. It’s quite expensive at $509 / £498, although it is less expensive than the more advanced, larger and heavier DaVinci Resolve Mini Color Panel. 

The Micro Color Panel is, however, more expensive than products such as Loupedeck and TourBox controllers that can be used with a variety of photo and video editing software. But where the Micro Color Panel lacks this multi-software versatility, it makes up for it in the fact that it’s designed for one job and does it extremely well. 

A point to consider is that where many Blackmagic Design controllers come bundled with a copy of Davinci Resolve Studio, ultimately reducing the cost if you don’t already have the full version of the software, the Micro Color Panel doesn’t come with a software license.

Blackmagic Micro Color Panel: Design & Handling

There’s no getting away from the fact that Blackmagic Design manufactures high-quality products, and the Micro Color panel is no exception. The black finish looks great, albeit a dust magnet. The trackballs, wheels, and dials have a pleasing amount of resistance that adds to the tactility of the device, while the backlit labeled buttons have a positive feel when pressed. Plus, rubber pads on the bottom help to avoid slipping when used on a desk.

The backlighting is fantastic overall because colorists and editors often work in dimly lit rooms, so this naturally makes it easier for you to see what’s what. Unfortunately, the dial labels aren’t backlit and this would be extremely useful because when the buttons are backlit the labels appear extremely dull in comparison. It’s certainly not a dealbreaker, but it would undoubtedly be better if they were backlit.

The setup of the Micro Color Panel is as simple as could be, so you don’t have to be a computer expert to get yourself up and running. The instructions suggest that you can simply connect the device and that DaVinci Resolve will recognize it, which it does. But to make it work with the software I discovered that I had to select it as the Color Panel to be used in the software preferences. 

It’s not a difficult task, and once this is done the Micro Color Panel can be connected via USB-C or Bluetooth. Although it needs to be charged for the latter so you will initially and occasionally have to use it plugged into your computer, or at least charged directly with a USB-C charger. The internal battery, alongside the iPad slot, also allow for the Micro Color Panel to be used on the go, and it can even be charged by the iPad although this has obvious consequences.

Compatibility of the device is for DaVinci resolve version 12.5 and above, so it goes back quite a long way since the current stable version is 18.6.6 and the final release of version 19 is imminent at the time of writing. In terms of operating systems, the Micro Color Panel is compatible with Mac 14.3 and above, Windows 11, and Rocky Linux 8.6. I connected it to computers running Windows 11 and 10 via Bluetooth and had no issues with the latter despite Windows 10 not being officially supported.

Blackmagic Micro Color Panel: Performance

The Quick Start guide that comes with the Micro Color Panel is extremely useful and is clearly laid out so that you can learn what all of the controls are for if you’re unfamiliar with them. It’s essential reading anyway because some buttons have toggle operations – they change what a specific control adjusts – so knowing this will ultimately improve the effectiveness of the device.

The Micro Color Panel at its most fundamental level simply takes the on-screen user interface controls of the Color Page and puts them in your hands. Can you get by without one? Definitely, but there’s no denying that it makes adjusting these controls quicker, easier, and more precise. It would be difficult to justify the expense as a casual user, but for people who spend a lot of time color grading, it would be a worthwhile investment.

I didn’t test the device with an iPad neatly tucked into the iPad slot/holder. However, it’s obvious that using the two in combination would provide a vastly improved user experience than touching the screen to adjust settings; adding precision and also providing a more comfortable working position with the Micro Color Panel positioned on a desk or your lap.

One feature that I found extremely useful concerning the dials is that as well as twisting them to make adjustments, pushing down the dials resets the relevant adjustments. It’s just a small thing, but it helps to reduce the reliance on using a mouse or touching the iPad screen to reset if you’re unhappy with any of the dial-based adjustments you’ve made and would like to start again.

I could list all of the controls available, but that’s not going to explain much and would end up being a boring list. But some of the highlights include Y Lift, Y Gamma, and Y Gain for controlling the luminance of the three main tonal ranges, Contrast and Pivot to control contrast and the balance of how contrast is applied, the three trackballs and surrounding wheels, and much more.

Blackmagic Micro Color Panel: Verdict

The Blackmagic Design DaVinci Resolve Micro Color Panel is an excellent tool for professionals or those who often color grade their video footage and require tactile precision. It’s highly portable – small and light enough to carry around in a backpack – and can be used at a desk with a computer or an iPad, but at $509 / £498 it may be less expensive than the more advanced Mini Color Panel, but it’s still a pricey piece of kit.

That said, it is a pleasure to use and it certainly makes color grading video a more comfortable experience and ultimately faster. The default sensitivity of the trackballs, wheels, and dials is perfect being not so sensitive that adjustments go off the charts, but sensitivity can be customized if you wish. There is a small learning curve to understand all of the controls, and over time this naturally becomes second nature. But there’s no getting away from the fact that the Micro Color Panel is a specialist professional device rather than a consumer product for occasional video editors/colorists.

Alternatives

Blackmagic Design's new 17K cine camera sensor is extraordinary. Unveiled as just one of over 20 new products at NAB 2024 – including two other new cine cameras – its 17K sensor and the cameras it will be used in are groundbreaking for many reasons.

Forget, 4K and 8K - this sensor allows you to record in 17K. But what does that actually mean? 

Essentially, 17K means that the sensor has a width of over 17,000 pixels - making it a monster, offering higher resolution than we have ever seen before from a cine camera, and four times more resolution than 8K cameras. 

In fact, the pixel dimensions of the new sensor measure 17,520 pixels by 8,040 pixels - offering a phenomenal 140 megapixel resolution for every frame that this movie camera shoots.

The sensor itself is huge - measuring 50.8 x 23.3mm - so it is around 35% wider than the full frame. These dimensions have been chosen to be similar to those of the 70mm 5-perf film used to shoot high-budget Hollywood movies.

Similar digital cameras are already available in Hollywood - the most obvious being the Arri Alexa 65 - which has a slight larger 54.12 × 25.59mm size, but a lower, 6K (6560×3102-pixel) resolution. 

The Arri Alexa 65 is a camera that costs well into the six figures - and it is not something you will even find listed at B&H Photo. We don't know the price yet of the Blackmagic URSA Cine 17K - but it will be a fraction of this. We are told that it will be "a lot more" than the $15k URSA Cine 12K - but they will announce the actual price later in the year.

The design of the URSA Cine 17K is essentially the same as the 12K version. But a notable difference is with the lens mount - which needs to be larger to allow for that super-wide sensor. For this reason the camera, when it goes on sale later in the year, will come in two versions - either using LPL lenses (like the Arri Alexa 65) or using Hasselblad H-Series medium-format photography lenses. Another difference is that it won't have built-in ND filters - simply because they can't make them for a sensor this size.

But why would you want a camera with this resolution? Blackmagic CEO Grant Petty explains that it is about bringing IMAX to a greater number of filmmakers. "Imagine if every film could be shot in IMAX-style resolutions without being a complex process," he explains. 

"Our dream is to make high-resolution shooting really easy. I don't know why cinemas still use projectors. I think they should use high-resolution LED screens," he added.

• The highest resolution cameras you can buy today

I've seen some weird and wonderful things out there in the world of photography and filmmaking, from reproductions of old Leicas to cameras with 16 lenses built in. Still, I have never heard of someone – or at least another company – taking an existing product's internals and using it to build something else. 

Who am I kidding, this happens all the time with lens manufacturers and camera sensors. But why has the news of a new box-style cinema camera, which is built around the sensor and electronics of the popular Blackmagic Pocket Cinema Camera 6K, caused so much speculation?

The Idea of such a thing sounds plausible enough, but why is another company doing it rather than Blackmagic itself? That's the first red flag in my book. The second seems to be that this box-style has been applied rather heavily. The design trend comes from the famous Red Digital Cinema Camera, the Red Komodo, which really spearheaded the box-style camera design and helped introduce others like the remarkable Panasonic Lumix BS1H.

But it appears that what's really got under the skin of filmmakers around the world is that this new company – Nexus, founded by filmmaker Thomas Boland – just so happens to be based in Australia, where Blackmagic camera originates. What's more, it has revealed a CGI rendering of this camera project. 

Creating a rendering is expensive to do when a project is just getting off the ground, leading to a lot of the community thinking that this could potentially (or even likely) be a scam. See the video below to make your own judgment:

While this video is of high production value, there are no suggestions that the filmmaker didn't make it himself. And investigating the website www.nexus-camera.com reveals that nothing seems to be on it, other than a lot of "coming soon" side tabs.

However, Redshark reached out to Thomas over this speculation and received this response from him: 

"The entire project is self-funded, and will continue to be until we have completed development, have proof of concept, and prototypes. While crowdfunding may be the wisest way to fund the production of the Nexus, no plans have been made or even suggested that this will happen yet, and all reference to crowdfunding by people is speculation. 

"I am not only an industrial designer and filmmaker, but also a CGI artist (it's what I do for work) and I am backed by my family who I work together with daily, and this gives us the unique ability to very easily share the project using our own expertise, at an early stage, to get critical input from people who have far more experience in the film industry than we do – this 'mastermind' input of the community is the foundation of the Nexus project, and what excites me/us most of all."

So there we are, right from the horse's mouth: yes it is a project and, no, it's not a scam, just a work-in-progress – an idea for consideration. Which hopefully keeps the naysayers happy, but leaves the genuinely excited a bit sad.

While investigating these claims across social media I saw many users comment on how this would be a great system and many stating "Take my money now." What Blackmagic would have to say about this is yet to be seen – after all, it's designed using the company's hardware – but maybe this is just the design kick it needs to give filmmakers what they want; a box-style Blackmagic camera.

Only time will tell if the Nexus G1 ever comes to fruition, but as a concept I would say it has done its job marvelously – and I'd think it would be a pretty cool camera.

Take a look at the best cinema cameras, among them the best Blackmagic cameras, along with the best cine lenses.

Finally, Blackmagic has gone full frame with the Cinema Camera 6K and dropped the name ‘Pocket’ which was always a misnomer as the camera is simply huge – as were the crop-sensor versions that came before it. 

It’s also the third lens mount as the original Pocket Camera used a Micro Four Thirds sensor and matching lenses, which was then upgraded to an APS-C – called Super35 by filmmakers – then a Canon EF mount fitted in the 6K Pro version. Now it’s gone full-frame 6K and there’s a Leica L mount. 

Not everyone has lots of these L-Mount lenses, but it means the camera can use an adapter to accept popular glass that cinematographers often use, like Arri PL/ LPL or Canon EF.

You could consider it as the successor to the Pocket Cinema Camera 6K Pro but fitted with a larger sensor. In some ways, it is a serious upgrade which includes the addition of an Optical Low Pass Filter to combat moire. But in other ways, some of the spec has been downgraded. The built-in ND filters have been dropped, and also absent are the twin card slots of the 6K Pro – one for CFast cards and one SD. These are replaced by a single CFexpress type B card, although you can record to an external SSD via the USB-C port, as long as you’re not using the port to trickle charge the camera.

But the biggie is that the new 6K camera can only record in Blackmagic’s own Raw format – or BRAW for short. The 6K Pro also offered ProRes in C4K, 4K, or FHD which meant you have an edit-ready codec that needs no conversion.

The full-frame 6K model does record a folder of low-res 1080p proxy copies of the Raw files that can be used in a quicker workflow. But you have to use the large B-Raw files for final output, so you need to transcode these in DaVinci Resolve software which means more time in front of the computer for color correcting, grading, and adding noise reduction. There is also a lot more memory used in the camera and on your hard drives, too.

Resolve usually is a standalone purchase but is industry-standard for color grading and also great for editing, too. You get a free, full Studio version of Resolve bundled with the camera to allow you to use all its high-end formats. But there is a learning curve to getting the best out of it, as it is powerful yet complicated. 

The new camera has a very similar shape and size to the older 6K Pro version, including the Large, five-inch tilting rear screen, Sony-fit NP-F batteries, and the latest Blackmagic color science.

Blackmagic Pocket 6K: Specifications

Blackmagic Pocket 6K: Key Features

Blackmagic’s new 35mm CMOS sensor has dual native ISO and is the most obvious upgrade in terms of image quality and the formats the camera can shoot in. And there’s any codec you like, as long as it’s Blackmagic Raw.

The sensor shoots in 3:2 format in 12-bit Blackmagic Raw ‘open gate’ as it records from the full area of the sensor where the frame rate maxes out at 36fps. This is because the camera is largely designed to be shot in this way, and then the image is cropped in post to suit whatever size and format you need. From super-wide anamorphic to widescreen 17:9 and even 9:16 vertical for social media, all from one setting which is then cropped in post. There are lots of in-camera overlays to help monitoring. 

There are other options, such as DCI 6K, DCI 4K, Super 35 4:3, and 1080 HD. But in these settings, the sensor is windowed during shooting. So as there is a crop factor to the shot, the camera doesn’t have to scan the whole sensor which means there is an increase in frame rates.

In full-frame 6K the frame rate is 36fps, in DCI 6K widescreen it’s 48fps but with a 1.06 crop. At DCI 4K it speeds up to 60fps, but there’s a 1.57x crop and in FHD 1920x1080 you can go to 120fps but there’s a huge 3.3x crop. Of course, cropping into part of the sensor means image quality and resolution are reduced. 

The camera offers 13 stops of dynamic range and dual native ISO which bases at 400 and 3200, so it’s clearly a camera that likes a lot of light. As it’s all shot in Raw, there is no in-camera noise reduction so you need to add this to every shot in post. 

There is also the file size issue as you will need a lot of CFexpress cards to shoot in the best quality. But the camera allows you to select different Raw compression levels from 3:1 to 12:1 if you keep the bitrate constant, or four quality levels from Q0 to Q4 for consistent quality. 

The  Optical Low-Pass Filter effectively combats moire but with a large sensor and not the fastest processor, there are some rolling shutter issues. One clever way of reducing this is in DaVinci Resolve which uses the camera metadata to detect skewed verticals and then correct the image for it. This works surprisingly well, but there is a small crop which is something the camera could do without. The same technology also works to reduce camera shake, which is useful use as there is no built-in image stabilization.

Resolve is also the only place to process stills from the 6K camera. There is a separate shutter release next to the main video button, which takes a full-resolution still image. This is also in Blackmagic Raw format, so they have to be opened in DaVinci Resolve and worked on like a video file. So it’s decent for a thumbnail but is a long way from stills out of a conventional mirrorless camera. This is a camera for serious video only.

Blackmagic Pocket 6K: Design & Handling

This pumped-up camera has lots of vents to help keep the sensor cool when it’s recording 6K video Raw files, so there is never an overheating problem. Add on the optional £492 EVF and £161 battery grip and the camera is a bit of a monster, though. The EVF has a 1280 x 960-color OLED display and the unit can swivel through a 70-degree range. There is an adjustable dioptre lens as well as a choice of eyecups. These do fall off easily, though.

The battery grip screws onto the bottom plate which accepts two additional NP-F batteries. In tests, we coaxed approximately an hour of shooting and reviewing per battery.

The left side of the camera has rubber covers over ports that include a headphone socket and mini XLR jacks. And there are good-quality internal mics and preamps, too, with on-screen audio monitoring. The screen tilts but does not swivel around, sadly.

On the back of the camera is an auto exposure button which gives a rough setting but isn’t particularly accurate. 

There is also the autofocus button which uses the contrast-detect AF system in single-shot only that often hunts around before locking on. Not only is the AF not a clever hybrid phase-detection system but it this is old-school, one-shot AF. There is no C-AF, subject tracking, face detection, or any mod cons. You really need to focus manually, which is decent as there is a punch-in focus button to zoom feature, and the screen is big. 

Like the Blackmagic Pocket Cinema Camera 6K Pro the new 6K full-framer has a carbon fibre composite body but it doesn’t feel premium or like it would take a significant beating.  

However, the controls are well-designed with a large Rec button and an obvious control dial on the front to adjust the aperture. There are clear buttons to change ISO and white balance, and three customizable function buttons ideal for false color, effect of the display LUT, and frame guidelines. 

The large touchscreen menu is clear and allows you to change settings including shutter speed or shutter angle. Once shooting, the main info is all around the outside of the screen or you can turn it off for a clear view. 

Compared to cameras with built-in ND filters, you need to use a variable ND or standard ND filter in a matte box. Maybe Blackmagic will launch a full-frame 6K Pro that includes NDs, or perhaps they are too hard to squeeze in because of the large sensor. 

Blackmagic Pocket 6K: Performance

There is little to compare to the ultimate quality and flexibility you have when shooting Raw files. In the full 6K setting, even the most compressed files give superb results. The files are detailed and packed with colors to allow extreme grading, thanks to the Generation 5 color science. The hues are not oversaturated, even in the ‘video’ setting, which is relatively bold and punchy. The Extended Video has a wider dynamic range, and the Film setting has a more organic, filmic feel. Included LUTs can be used to normalize the monitor image while recording Log. And you can load your own LUTS, too. This ultimate control in image quality is what this camera is all about.

Yes, there are some rolling shutter issues that can be combated in Resolve, albeit with a crop. And you definitely need to add noise reduction, even at low ISO settings, as there is none applied in camera. But the ability to change white balance, push highlights and shadows, and change colors in post is a massive benefit thanks to those BRAW files.

Faster frame rates look good if you don’t mind the crop. But the 3.3x crop to achieve 120fps should be considered a get-you-out-of-jail card for occasional use rather than for serious-quality filmmaking. 

But to get the best out of the Blackmagic Cinema Camera 6K, you really need a decent amount of light as the sensor isn’t best at high ISO. The camera really needs to be on a tripod or motorized gimbal to take out the shakes and focus manually. The old-school AF and lack of image stabilization means it isn’t great for events or fast-paced work, either.

We found the sweet spot at DCI 4K with 5:1 compression, shot at 60p which allows for half-speed slow motion, and just put up with the 1.57x crop. Or shoot in 6K and you can crop in post anyway, but your frame rates are stuck at a maximum of 36fps. 

Once you get to grips with this camera, you will be rewarded with superbly sharp and cinematic images at a price nothing else comes close to.

Blackmagic Pocket 6K: Video Sample

Blackmagic Pocket 6K: Verdict

There is much more to a camera than simply its sensor and processor pipeline to get the images onto the card. But in the case of the Blackmagic Cinema Camera 6K, the new full-frame chip and full-on BRAW workflow it allows really are at the heart of what this machine will do. 

It’s about creating top-quality, wonderfully cinematic films that can be cropped and graded to taste, with a super-shallow depth-of-field if you want it.

Yes, it’s a big machine that makes it a bit awkward to use, with no built-in ND filters or fully articulating screen. The AF is poor, there are no edit-ready codecs in full resolution, the frame rates aren’t great and there’s a crop on everything except open gate 6K. 

But once you work on the files in DaVinci Resolve, you can’t fail but to be impressed at the results. And considering the low price of the camera body, you will forgive it all its quirks.

If you have the talent and vision to make stunning, filmic movies, this camera will help you deliver.