Hands-on Canon EOS C50 review: The FX3 killer is here

It’s finally here, the Canon EOS C50 – Canon’s long-awaited response to the enormously popular Sony FX3. It isn’t a fair fight, however, as the latest Cinema EOS body annihilates the four-year-old Sony with a spec sheet that will have videographers and creators heading to MPB and KEH to look up the trade-in value on their kit.

The Canon EOS C50 packs a new 32MP full-frame sensor with dual base ISO, capable of 7K 60p internal RAW and open gate capture, Dual Pixel Autofocus II, 40fps bursts for stills, a modular design with removable handle, twin XLRs, full-size HDMI, 4-channel audio, Canon Log 2 and 3 with 15 stops of dynamic range, Frame.IO support, active cooling system… and a price tag lower than the FX3’s.

For videographers, solo creators, wedding shooters and production companies looking for a small, lightweight setup with adaptable shooting and efficient workflow, it looks like there’s a new sheriff in town.

Canon EOS C50: Specifications

Canon EOS C50: Price

The Canon EOS C50 will carry a retail price of $3,899 / £3,359.99 / AU$5,899 including the modular handle. It will be available from November.

For context, the four-year-old Sony FX3 (its direct competitor) sells for $4,098 / £3,799 / AU$6,499.

The next model up in the Cinema EOS range, the Canon EOS C80, costs $5,849 / £4,499 / AU$7,999.

Canon EOS C50: Build & handling

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The Canon EOS C50 is intended to act as a bridge between Cinema EOS cameras and the PowerShot V and EOS RV product lines. And this is certainly reflected in the design of the body, which in many ways feels like a cross-pollination of the EOS C70 and the EOS R50 V (the cameras it sits in-between in the video range). Which, of course, gives it a form factor very similar to the Sony FX3 at which it’s taking aim.

It’s the smallest and lightest Cinema EOS body, coming in 10g lighter than the Canon EOS 5C, and it’s also lighter than the FX3 – though it’s noticeably chunkier than Sony’s body. It’s still compact for a cinema camera, though this does leave the three-inch articulating touchscreen feeling a little bit cramped. And you’ll probably want to spend most of your time with the screen flipped out, as it covers one of the camera’s active cooling ports.

On that note, we haven't been able to torture test the C50's record times. But Canon tells us that it's capable of up to 65 mins of open gate in Cinema RAW Light LT, 42 mins in Light ST and 55 mins in XF-HEVC S. For standard full frame it's 81 mins in CRAW Light LT, 55 mins in Light ST, 26 mins in Light HQ, and 505 mins in XF-HEVC S and 136 mins in XF-AFC / S.

As with most cameras in this class, there is no electronic viewfinder – and while Canon doesn’t rule it out, there are no plans to produce an external one. It’s the kind of thing that a third-party manufacturer might come out with, but then again – given the lukewarm reception to the Sony FX2’s EVF, you probably shouldn’t hold your breath.

The small size of the Canon EOS C50 is accounted for by its modularity. Included with the camera is the top handle / grip, which accommodates a pair of full-size XLRs (with input controls), an additional Multi-Function Shoe and a handful of extra controls – including a fourth Rec button.

As is the case with Cinema EOS bodies, you’re spoiled for choice when it comes to controls. There are fourteen numbered on-body buttons, with six on the top plate, six on the back of the camera and two on the front. Most of these are preassigned to functions like waveforms and peaking, but the body is highly customizable so that your fingers can always find what they’re looking for.

Surrounding the primary Rec button (which sits atop the grip, in the same position you’d usually find a camera’s shutter button) is a power zoom rocker switch for smooth operation of compatible PZ lenses.

Speaking of lenses, the Canon EOS C50 features a full-frame RF mount that accommodates both RF and RF-S (APS-C / Super 35) lenses. Unlike some other Cinema EOS bodies, the C50 isn’t available with a PL mount – but Canon introduced an RF-PL adapter with the EOS C400, and obviously there are multiple RF-EF adapters available, so mounting the majority of standard cinema lenses isn’t a problem.

Canon EOS C50: Performance

We haven’t yet had sufficient time to properly evaluate the Canon EOS C50 (due, in part, to issues with Canon’s new password facility that locked us out of the camera for much of our allotted testing time!). However, it’s already obvious that this is a class-leading product in terms of sheer specs and versatility.

While the Canon EOS R5C is still a current product, it seems pretty clear that the C50 is destined to replace it. Both are hybrid, high-resolution, video-first cameras aimed at mid-tier videographers and professionals. But while the 45MP / 8K R5C still offers superior resolution, everything else is in the 32MP / 7K C50’s favor.

Obviously the most exciting feature for most people considering this camera is the open gate video. This records footage using the entirety of the 3:2 sensor, giving you the flexibility in post to output it in whatever format you or your clients require – whether that’s 16:9 for YouTube, 9:16 for social media, 1:1 for adverts and so on.

Up until now this has been the calling card of Panasonic cameras – and has been reason enough for many people to jump to the Lumix system on its own. Now that Canon has adopted the technology, it’s going to be a major drawing card for the C50.

A feature I'm already a bit in love with is simultaneous shooting mode, which captures 4K horizontal video to the CFexpress card while recording 2K vertical video to the SD. You can't shoot in RAW in this mode, but I think it's a brilliant idea for those who want to capture vertical video to quickly throw up on socials without having to go through a second output pass.

In addition to full-frame open gate, the sensor supports standard full-frame shooting along with Super 35 and Super 16. As usual, this makes the C50 a compelling option for existing Cinema EOS users as the footage cuts seamlessly with Super 35 cameras like the C70.

Speaking of the sensor, it’s a completely new one that’s been designed specifically for this camera. While it’s not a stacked design, its readout speed is fast enough for the camera to eschew a mechanical shutter entirely. This is evidenced both by the video framerates, which go up to full-width 4K 120p and 2K 180p in HFR mode, as well as the 40fps continuous shooting offered in stills mode.

It feels that stills mode will be widely overlooked on this camera, given its video-first nature, but it would be a mistake to do so. This is still a hybrid camera that, like the R5C, offers dual menu systems – flick the power switch left to Photo, the C50 boots up with the standard EOS photographic interface; flick it right to Video and it powers up with Cinema EOS layout and menus.

The Canon EOS C50 truly is designed to be a cinema camera that takes great stills, taking advantage of the brand new sensor with its finetuned dynamic range and high megapixel count (being, for what it’s worth, the brand’s first 32MP full-frame sensor).

Photos can be rattled off at a blistering 40fps (matching the burst speed of the flagship EOS R1), with the camera also supporting pre-continous shooting (where shots are buffered when you half-press the shutter, so you never miss the decisive moment), supported by Dual Pixel AF II and EOS iTR AF X (Canon’s Intelligent Tracking and Recognition deep learning technology).

Of course, that autofocus system is at play when it comes to video as well – giving users Canon’s ultra-reliable AF performance that means solo shooters and professional videographers can trust the C50 with one-take moments such as wedding ceremonies.

Professional use really is the key, here, particularly when it comes to connectivity. In a big step up from the R5C, the Canon EOS C50 features a full-size HDMI port in addition to two full-size XLRs (on the handle) to take advantage of the four-channel audio, along with a DIN timecode (DIN) port.

The connectivity extends from physical to virtual, too. Multi-camera shooting is possible via Canon’s XC protocol, enabling remote IP control alongside other Cinema EOS and PTZ cameras, as well as the Canon Multi-Camera Control App. In addition, Frame.io and Canon’s CTP (Content Transfer Protocol) real-time delivery are also supported to streamline workflow.

While in-body image stabilization (IBIS) isn't something that Canon offers for its cinema cameras, it's one of the few areas where the FX3 has one up on the C50. For something billed as a direct competitor, and a run-and-gun camera for solo shooters in its own right, this is a notable omission.

Far more important, however, are the inclusion of a slew of essential filmmaking features that the Sony was missing, such as internal RAW, waveforms and the all-important shutter angle. Shy of integrated ND filters, which are a mark of higher-end cine cameras, it's hard to think of anything major that the C50 is missing.

Canon EOS C50: Early verdict

Again, our testing is still in the early stages and we’ll need more time to evaluate both the stills and video performance of the Canon EOS C50 (including putting it through our suite of lab tests). However, even at this early stage, it’s clear that this camera outclasses the Sony FX3 in every way – including price.

Its unique combination of photo and video firepower mean the C50 is untouched in its class, making it the most compelling choice in a category that has for years been dominated by Sony and Panasonic.

Indeed, while it’s obviously a broadside for the FX3, it’s arguably going to do even more damage to Lumix, given how open gate video was such a trump card for the brand – and now it’s available in a 7K 60p Canon body with all the Cinema EOS bells and whistles.

While we can’t give a definitive verdict until we’ve had a little more testing time, unless something goes drastically wrong in our lab tests, it’s hard to see this being anything other than the new top pick in town for creators and videographers who need professional-grade features without the price tag of high-end cinema products.