The Canon EOS C50 is here, and after spending an enjoyable but short time with it, I’m happy to share some footage and my initial findings about this new camera with you. In my opinion, this new camera is set to shake up the filmmaking market by bringing compact size, features like internal 7K 12 bit RAW recording even in 3:2 open-gate, and all at a price point we haven’t seen from Canon in their EOS cinema line before. These alone might make the camera very appealing to many. For our news article covering the release of this new camera, please head over here. Canon also announced the release of the RF 84 f1.4, a compact portrait lens (news article here), and an ultra-wide Cine-Servo zoom lens (more details here). Now, let’s dive into the Canon EOS C50 review! (Note: for the mini-doc, a pre-production EOS C50 was used)
To put it bluntly, the Sony FX3 has dominated the segment of compact, capable, well-priced cinema cameras for way too long. Now, for the first time, there is a true competitor, though the question is, is it really a better choice than the Sony FX3? Well, the Canon EOS C50 has its shortcomings, which I’ll mention in a moment, but ultimately it depends on your filming needs and style. When you consider the included features and final price, it appears to offer better value for money compared to the aging FX3.
Canon EOS C50. Credit: CineD
It is also worth mentioning that Canon announced a firmware update for several of their cameras, most notably the EOS C400, which will now get a 3:2 open-gate recording as well. If you own an EOS C70 or C80, unfortunately, you are out of luck for now.
Before diving into talking about the camera, I hope you will take a few minutes to watch the short mini-documentary I shot in the beautiful, peaceful Kiso Valley in Japan. I took a long train ride to meet Kana, who moved from Tokyo to a village called Okua. She bought a 150-year-old house, rebuilt it, and plans on welcoming guests in the near future to experience complete, unconditional tranquility. You can follow Kana and the progress of rebuilding the house on Instagram here.
EOS C50 other sensor modes. Credit: CineD
Canon EOS C50 in a nutshell
The EOS C50 is here, and in my opinion, Canon hit the nail on the head by bringing a very capable compact camera to the market. If only it had an EVF and IBIS, it would have been a perfect filming machine. But for now, let’s focus on what it has, not what it’s missing.
EOS C50 top view. Credit: CineD
This is the smallest camera in Canon’s cinema line, and the big news is its new 7K full-frame sensor, paired with Canon’s trusted DIGIC DV 7 processor. This lets you use the full width and height of the sensor to record in 3:2 open-gate, shoot internal RAW at up to 7K 30P, and record full-frame up to 60p with no crop. The camera can also handle high frame rate at up to 4K/120P or even 2K at 180P. For a full list of codecs, resolutions, and frame rates, please head to our news article here.
And of course, you can take 32MP still photos with it, but the main focus here is professional filmmaking!
Canon EOS C50 3:2 Open Gate option. Credit: CineD
Open-gate recording
Personally, I wanted Canon to offer open-gate recording, and I’m happy to see that it is finally being offered. But why is the 3:2 open gate such a big deal? Well, as far as I’m concerned, there are two main reasons. First, you can film with an aspherical lens in this format and later reframe your shot in post to fit your delivery needs, whether vertical or horizontal. And, as Canon is offering a “Marker Aspect Ratio” overlay option in the menu, it is fairly easy to decide on your framing.
EOS C50 marker aspect ratio. Credit: CineD
EOS C50 marker aspect ratio is set to 9×16 as an example for vertical work. Credit: CineD
Second, if you are using anamorphic lenses, you will capture the maximum possible vertical information, which is then stretched to its full width, giving that classic “cinematic look”.
Canon EOS C50 and SIRUI IronStar anamorphic lens. Credit: CineD
Canon also lets you de-squeeze the image on the LCD and EVF for the most common ratios, like x1.3, 1.5, 1.8, and 2x out of the box. No need to wait for a future firmware update for such an elementary feature that helps with anamorphic filmmaking.
Now, like any modern camera, the EOS C50 offers a wide variety of codecs, resolutions, and frame rates. The thing is, it feels like there is a “blanket effect”: when you pull it on one end, the other side suffers. For example, if you want to record in RAW at 3:2 open-gate, digital stabilization cannot be activated. But why is it not available when filming in a compressed codec?
Image magnification will not work in high frame-rate mode. Credit: CineD
Another example? When filming in 4K/120p, you cannot use magnification to check focus, which is not ideal when working with manual lenses. There are more examples like this, but overall, once you adjust to working around some of these limitations, this camera is a joy to use.
The top XLR audio handle is included in the camera kit. Credit: CineD
I would also like to highlight a few more things:
Like with any other Canon camera, the images it produces are simply gorgeous. On top of that, the camera comes with a top XLR handgrip, wisely included by Canon, so that the audio side of your production is not neglected.
The active cooling fan is working well! Credit: CineD
I worked with the camera outdoors for many hours in very hot temperatures and didn’t experience any issue with overheating.
As I’m not a DP who uses camera cages, I really appreciate that the camera body has four connecting points. That allowed me to easily attach the Kinefinity Eagle HDMI viewfinder directly.
Connecting the Kinefinity HDMI Eagle EVF was easy without a cage, thanks to the supporting holes. Credit: CineD
The dual-gain base ISO is also very handy, with values of 800 and 6400.
Last but not least, yes, the camera comes with a shutter angle option, so you don’t have to worry about adjusting shutter speed settings when changing frame rates. The same goes for clear scan, which helps eliminate flicker when adjusting to different screen frequencies.
How does the camera stand against the competition, namely the Sony FX3?
The EOS C50 outperforms the Sony in almost every way, except stabilization, since the FX3 sensor itself is stabilized. And for photographers, the Sony FX3 does have a mechanical shutter.
Other than that, the Canon camera comes in cheaper than the Sony, offers higher recording resolutions, has internal 12-bit RAW recording, and, most noticeably, a 3.2 open-gate option.
Don’t get me wrong. The Sony FX3 is a proven working horse that has done great since it was first introduced more than four years ago. But with this Canon release (and upcoming near-future camera releases), Sony will have to act soon if they want to maintain their lead.
Canon EOS C50 inouts/outputs. Credit: CineD
What the new Canon is really missing is an EVF and IBIS. Hopefully, Canon will consider making a small EVF that can connect directly to the camera. As for stabilization, I don’t want to go into the digital vs. IBIS debate, but it would be great if digital stabilization worked in 3:2 open-gate when filming in XF-HEVC S YCC422 10 bit. (In other modes, the digital stabilization will work well.)
Adobe Premiere’s latest edition cannot read the Canon RAW open-gate files. Credit: CineD
Please note that, at the time of recording this video, unlike DaVinci Resolve, the latest version of Adobe Premiere cannot properly read open-gate RAW files. This meant I had to convert all my footage to ProRes, knowing I’d lose the flexibility in adjusting clips, but for now, it is what it is.
At least, when recording in RAW, the camera offers the possibility to record proxies on the second card. But remember that “blanket” effect I mentioned? Switch to open-gate XF-HEVC S, and recording proxies at a lower resolution or bit rate is not available.
Needless to say, the camera is also supported by various Canon apps, and of course, if you are into camera-to-cloud workflows, that is possible too; frame.io is supported.
Equipment used for filming the mini-documentary, together with the Canon EOS C50. Credit: CineD
Final thoughts
The Canon EOS C50 is one of the most likable and capable cameras I have tested recently. Its physical size is just right, the included XLR top handle is a bonus for professional work, and looking at the overall features it offers (for the price), I’m sure that Canon has a winner here!
Of course, we will also test the camera in our lab when a production model becomes available.
On location with the Canon EOS C50 while making the review. Credit: Kana Suzuki/CineD
What do you think about the new Canon EOS C50? Does this camera sound interesting enough to give it a closer look? Please share your thoughts with us in the comment section below