Canon continues to innovate in the Cinema EOS line with the new C50, a compact, lightweight cinema camera capable of capturing 7K full-frame video in a 3:2 open gate mode, as well as a host of more traditional formats. Bundled with an XLR top handle that features a start-stop button and zoom rocker, the C50 represents the smallest Cinema EOS camera to date, yet is still chock full of features, codecs, and a dedicated stills mode that takes advantage of its 32MP sensor. For those looking to elevate their content creation game, the C50 is a bold and exciting proposition. Read on for more, as well as info on the new RF 85mm f/1.4 L VCM and CINE-SERVO 11-55mm T2.95-3.95 lenses.
The flagship feature of the Canon C50 and the one that separates it most from its larger C80 sibling is the new 7K full-frame CMOS sensor capable of a 3:2 open gate mode that utilizes its entire height and width. Ideal for creating multiple deliverables in different aspect ratios, as well as utilizing the full image circle of anamorphic lenses, the C50 creates 7K open gate recordings in Cinema RAW Light or XF-HEVC.
Other sensor modes include 7K full-frame DCI 17:9, 5K Super35, and 2.5K Super16. All of these are available in Cinema RAW Light or XF-HEVC, while the more compressed XF-AVC format offers traditional 4K or 2K recording. As far as frame rates, the C50 can go up to 60p in 7K, 120fps in 4K, and 180fps in 2K, with frame rates above 60p utilizing XF-AVC. The Open Gate mode will also be coming to the C400 in a future firmware update.
The C50 is remarkable small and easy to carry, with the body itself weighing just 1.48 lb and measuring 5.59” x 3.46” x 3.74”. The bright 3” LCD touchscreen complements a robust Dual Pixel CMOS Autofocus II system from the C80 and C400, with advanced tracking and tap-to-focus capabilities. Canon has also added bird tracking to the C50, a first for its cinema line, and the camera can utilize multiple frame lines at a time to help with diverse deliverables.
The camera has a fan-based cooling system to prevent overheating, and robust I/O including a full size HDMI out, a USB-C port capable of power delivery or network connection, built-in Wi-Fi and XC Protocol, 13 customizable buttons, and a DIN Timecode port. The C50 has a CFexpress Type B card slot for high bit rate recordings like the open gate mode, as well as an SD card slot for simultaneous proxies, 2K crops, and more compressed codecs.
The C50 has dual base ISOs of 800 and 6400 when shooting in Canon Log 2 or Log 3. Canon zoom lenses with servo motors can be operated with the zoom rocker on the body or the XLR handle, with the zoom speed customizable through the menu. For traditional non-servo lenses, the rockers activate a 4x digital zoom. Adobe Frame.io C2C (Camera to Cloud) integration has also been brought over from the C400 and C80.
Similar to those two cameras, the RF mount on the front of the C50 has four screws for securing Canon’s PL adapter or EF-EOS R 0.71x adapter. Like the R5 II, the C50 uses the new longer lasting LP-E6P batteries and includes one in the box. The camera also works with the BGR-20 battery grip. Users can expect noticeably longer battery durations than they got with the R5C, though they’ll have to upgrade their DC power solutions to the DR-E6P and PD-E2.
Akin to the R5C, the C50 can toggle between a Video mode that utilizes Cinema EOS menu systems and a Photo mode featuring traditional Canon mirrorless menus and overlays. The highlight of the photo feature set is a stunning 40fps continuous shooting rate using the electronic shutter, on par with the brand’s flagship cameras, though the C50 does lack any kind of mechanical shutter.
The photo autofocus system has been brought over from the R5 Mark II, and should be more than capable of tracking a variety of subjects even in tough environments. Whether you’re creating high-end digital content or looking to move further into the cinema space, the C50 is a great option that makes premium features more accessible.
Alongside the C50, Canon unveiled an RF 85mm f/1.4 L VCM lens, as well as a CINE-SERVO 11-55mm T2.95-3.95, available in RF or PL-mount. The RF 85mm has a similar weight (1.4 lb) and identical size (3 x 3.9”) to the other hybrid L-series primes, with a video-friendly Voice Coil Motor (VCM) rear focus system, minimal focus breathing, a manual iris ring, and an AF/MF switch.
The 11-55mm represents the widest and lightest CINE-SERVO lens yet, with a built-in 1.5x extender, a new V Drive unit, focus breathing compensation, and enough detail and clarity for 8K capture. The RF version supports Dual Pixel CMOS AF and Image Correction, while the PL version supports Cooke/i Technology and ZEISS eXtended Data.
For more information about the Canon C50 cinema camera and the new lenses, including features, specs, and highlights, be sure to check out the detailed product page.
