Novelty: Canon EOS C50

Canon closes the gap between hybrid and cine with this compact Cinema EOS

The new, most compact Cinema EOS to date aims to combine cinema look, creator speed and pro audio in one body. We tried out a pre-production model and rank it

Transparency note: We were able to test the C50 as a pre-production model. Firmware and features are not yet final; restrictions on resolutions/codecs in particular may still change before delivery.

Why the EOS C50 now?

With the EOS C50, Canon is closing the gap between hybrid camera and genuine cine camera. Its handling is reminiscent of Sony's FX series, but it delivers noticeably more cinema DNA: 7K Open Gate, internal 12-bit Cinema RAW profiles and 4K oversampled from 7K give you the creative freedom that many solo shooters have been missing until now. In the line-up, the C50 sits above the C70 and in the competitive environment it meets the likes of the Sony FX3/FX2, Blackmagic Pyxis and Panasonic S1R II. Anyone looking for a compact camera with a 32 MP full-frame sensor, dual base ISO 800/6400, 4K up to 120p (LongGOP) and 2K up to 180p will get a package that combines creator speed with cinema tools - including a detachable XLR handle, CFexpress/SD dual slot, HDMI A and timecode in (DIN 1.0/2.3).

Body & Handling

At 665 g, the C50 is the smallest Cinema EOS - 16.5 mm lower and 16 mm less deep than the R5C and another 15 g lighter. It feels grippy and balanced in the hand; the operating feel is reminiscent of an FX3, but remains clearly cine-oriented. The active cooling with front air intake enables long takes even at high data rates. A note on ergonomics: Due to the fan, the fold-out display sits a little further back; if you look at it from above, simply fold it a little further back.

The C50 really comes into its own when it comes to the controls: numerous freely assignable buttons can be mapped precisely to your own workflow - from open gate toggle to zebra/false color to crop record or fast AF change. Zoom rocker, Rec button and tally are available on the body and on the handle; the dual menu for photo and video makes it easier to switch between contexts. On the connection side, there is HDMI type A, timecode input via DIN 1.0/2.3 and the multifunctional accessory shoe. Five 1/4-inch threads are available for rigging; at the bottom there is a 1/4-inch thread plus locating hole - two threads would be even better for quick tripod/gimbal changes.

The storage structure: CFexpress type B is the primary slot for 7K/RAW and high bit rates; the SD card is used as a secondary slot for proxies or simultaneous crops.

Sensor & AF

The 32 MP full-frame sensor contributes directly to the moving image. 7K Open Gate enables generous reframing (16:9, 9:16, 1:1) and clean anamorphic workflows; the resulting oversampled 4K delivers fine details and stable edges. The dual base ISO at 800/6400 ensures good low-light reserves; official information on the dynamic range is still pending (pre-series). With the rolling shutter, Open Gate 30p looks very solid; as usual, RS impression and readout vary depending on resolution, frame rate and codec.

Canon shows its strength in autofocus: Dual Pixel CMOS AF IIwithEOS iTR AF X reliably tracks people and animals. Important to know: The available tracking targets differ depending on whether you start in photo or video mode - people/animals are available in video mode, while vehicles and automatic target selection are also available in photo mode. Practical for creators: 32 MP photos, up to 40 fps (e-shutter), pre-continuous and no mechanical shutter - perfect thumbnails and BTS directly from the camera.

There is no IBIS; digital IS is on board, and many RF lenses come with OIS. If you shoot a lot handheld, it is better to plan for a gimbal or lighter glass.

Formats & Codecs

The C50 offers Cinema RAW HQ/ST/LT internally in 12-bit as well as Canon Log 2 and Canon Log 3 for flexible grading pipelines. 4K up to 120p is available and runs in LongGOP (no All-I); for extreme slow motion there is 2K up to 180p. Those who prefer more compact file sizes can use XF-AVC / XF-AVC S in 10-bit 4:2:2 or XF-HEVC optionally as 10-bit 4:2:2 or 8-bit 4:2:0.

Open Gate (7K, 3:2) is particularly exciting: Here you can choose between RAW ST/LT and XF-HEVC S (4:2:2 10-bit or 4:2:0 10-bit) - ideal if you want to use the full sensor window for reframing, vertical deliverables or anamorphics. To make the right decisions quickly on set, the C50 comes with LUT preview, false color, waveform and zebras; a desqueeze for monitoring is also available. There were no recording limits in our pre-series test; only the fan can be audible at the highest level - if you are sensitive, select "Low", provided the temperatures allow it.

Simultaneous recording & social workflow

The C50 records in parallel on CFexpress (master) and SD (second recording) . A record trigger starts both recordings synchronously; the sound is mirrored. In practice, this results in two useful options: For speed delivery - for a video podcast, for example - you record 4K60 All-I on CFexpress and simultaneously record a 9:16 or 1:1 crop on SD. The clips are lightweight and immediately ready for editing. For maximum quality, shoot 7K Open Gate as master and only put proxies on the SD card; crop the verticals later in post and use the full sensor height.

Important: In the current pre-production stage (firmware not final), simultaneous crop recording is not available with Open Gate and not with 7K 60p. Proxy & Sub-recording in different codecs usually works, with crop the camera is still selective regarding resolution, frame rate and codec of the main recording. Certainly 4K60 All-I plus simultaneous 9:16/1:1 crop works.

C50 in combination with the RF ecosystem

The RF system is a perfect match for the C50 because it combines cinematic options and creator speed. For wedding, documentary and run-&-gun, the RF 24-105 mm F2.8 L IS USM Z and the RF 70-200 mm F2.8 L IS USM Z are particularly attractive: large focal length ranges, constant 2.8, OIS and - as a workflow bonus - the servo zoom option, which can be controlled directly via the zoom rockers on the body and on the grip.

The compact f/1.4 primes (20/24/35/50 and - at the same time as the C50 - new: 85 mm f/1.4) are recommended for look work. They share the same form factor, have manual aperture rings, show hardly any focus breathing and are therefore very video-friendly. Those who mainly work handheld are often more comfortable with the RF 24-70/2.8 than with the heavier 24-105/2.8 Z.

You can mount old glass and cine glass using Canon's EFâRF adapter (with or without control ring) or a PL adapter. To be fair, the RF mount is still limited for third-party lenses - more choice would be desirable.

Audio, handle & I/O: four channels, real control

The detachable handle is a key to the slimline set-up: it brings 2Ã XLR with 48 V phantom power and allows four audio channels in parallel - XLR on channel 1/2, the internal microphone on channel 3 and the 3.5 mm input (switchable mic/line) on channel 4. Recording is at up to 24-bit (no 32-bit float). The preamps offer detailed level meters, limiters, a basic compressor (off/gear/high), attenuation, high/low pass and reference level; the directional and frequency characteristics of the internal microphone can be adjusted. You can also specify which channels are sent to headphones or HDMI out - practical for live setups.

Two finely adjustable speed levels are available on the body rocker for zoom rides; the handle rocker operates at a defined speed. Together with the RF servo zooms, clean, reproducible ramps are created without additional remote gear. Timecode in is provided via the DIN port, leaving the 3.5 mm input free. HDMI A proved to be rig-compatible in the test - internal recording and monitoring were stable in parallel.

Price & Conclusion

The Canon EOS C50 costs €3,799 including grip and is due to be delivered in November.

Our conclusion: The C50 delivers a cinematic look at Creator speed. Open Gate & internal RAWs bring look reserves, 4K120 ensures action takes, oversampled 4K covers everyday life. Plus 4-channel audio, servo zooms and a thermal that allows for long shots. The lack of IBIS, the far back display and the current crop limits remain points of criticism, but do little to change the overall picture: for weddings, documentary/run-&-gun, indie film and creator, the C50 is a very coherent package.

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