I took a US$5,000 cinema camera into an Icelandic blizzard so you don’t have to

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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