@photonewspn | photographynews.co.uk
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Specifications
EOS R6 III (C50 in brackets where different) Price £2799 (£3299) Sensor 32.5 megapixels, full-frame CMOS, Digic X processor (34.2 megapixels, full-frame CMOS, Digic DV7 processor and cooling fan) Stills formats Raw, CRAW, Dual Pixel Raw, HEIF, JPEG Video formats Cinema Raw standard and Light (Cinema Raw Light LT/ST/HQ, XF-AVC, XF-AVC S, XF-HEVC S) Video frame rates Cinema Raw standard/Light/12-bit, 7K full-frame up to 60p/2420Mbps; 4K full-frame to 50p/1000Mbps; XF-HEVC S 4:2:2 10-bit All-Intra or Long GOP, 6.9K full-frame to 30p/1350Mbps, 4K full-frame to 60p/225Mbps (plus Light LT/ST/HQ, XF-AVC S 4:2:2 10-bit All-Intra or Long GOP) Fast/slow 7K 17:9 Raw to 60fps, 2.5K Raw Super 16 crop to 150fps. 4K/120p, 2K/180p ISO Stills mode: 100-51,200 expanded to 102,400 (100-6400, expanded 50- 102,400). Video mode: 100-25,600, expanded to 104,400. (Dual base 800/6400 dependent on colour space) Dynamic range 16+ stops Gamma Canon Log and Log 3, PQ, HLG, BT. 709 Standard (Canon Log 2 and Log 3, PQ, HLG, Canon 709, BT. 709 Wide and standard, BT. 2100) Autofocus Dual Pixel CMOS AF II; one shot, continuous, subject detection for humans and animals, human face/eye/head/body tracking, dogs, cats, birds, horses, motorsport, planes, trains Lens mount RF Shutter Mechanical and electronic rolling (Electronic rolling) Shutter speeds Photo: 30secs-1/16,000sec Video: 1sec-1/2000sec Image stabilisation In-body, 5-axis, 8.5-stop advantage (No) EVF 0.5in OLED, 3.29 million dots, 120fps refresh rate (No) Screen 7.5cm/3in LCD touchscreen, 1.62 million dots Audio 3.5mm mic input and headphone jack (plus 2x XLR inputs on handle unit) Output HDMI Type A IP streaming No (UDP, RTP, SRT, RTP+FEC, RTSP+RTP FHD at 60p/4-9Mbps) Storage 1x CFexpress Type B, 1x SDHC Dimensions (wxhxd) 138.4x98.4x84.4mm (142x88x95mm) Weight 609g (670g) body only colour science once again proving forgiving and consistent, particularly for skin tones. Oversampled 4K in
DARK TIMES Even in low light at ISO 1000, the R6 III delivers noise-free images
highly customisable. The R6 III uses a familiar EOS mirrorless menu system, enhanced with professional video tools such as waveform monitoring, metadata tagging and HDMI output. The C50 can switch between Cinema EOS and EOS R-style interfaces using a physical top switch. While the C50 naturally offers deeper video options, the comparison in real-world usability is closer than expected – unless you are integrating the camera into a full cinema workflow alongside larger Cinema EOS models, that is. Where the C50 pulls ahead is in connectivity. It includes HDMI Type A as well as USB-C, timecode and a mic terminal, plus a detachable top handle with dual XLR inputs, zoom rocker and record button. The R6 III lacks timecode and XLR, relying instead on a 3.5mm mic input and Canon’s multi- function hotshoe for compatible digital audio accessories. For photographers who only very occasionally shoot video, the R6 III’s simpler set-up will often be preferable. For hybrid creators working with audio, lighting and multicamera set-ups, the C50’s flexibility is invaluable. The open gate debate One of the most interesting of the cameras’ shared features is open gate recording. This means you can shoot a subject once but then crop it vertically, horizontally, into a square or whatever you like in post – ideal for social media. Both cameras can record video using the full height of the sensor, but they approach it differently. The R6 III’s open gate mode feels like a safety net. It records a tall image that can be reframed in post so is great for creators who are unsure where their content will end up. On the C50, open gate feels more deliberate for a cinematic workflow. Shooting in 3:2 format at up to 60p, it captures everything the sensor sees,
AS YOU WERE The R6 III has a conventional Canon body style and menu set-up
making it well suited to stabilisation, reframing and use with anamorphic cine lenses. Built-in anamorphic de- squeeze options reinforce its cinema credentials as well. Neither approach is necessarily better, but they encourage different mindsets. The R6 III helps flexibility, the C50 supports intention. Both cameras offer 7K Raw Light recording at up to 60p, along with oversampled 4K, so video quality is consistently sensational. On the R6 III, Raw feels like an option – something
that you can enable when you need maximum flexibility. But file sizes rise quickly, media fills fast and battery life is already under pressure. On the C50, meanwhile, Raw feels like the camera’s native language. A built-in cooling fan, sustained power delivery and codec flexibility make extended high-bit-rate recording feel routine rather than risky. The C50 also offers a broader range of Cinema Raw Light and XF-AVC options. In testing, both cameras delivered excellent image quality, with Canon’s
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