GEAR CANON R6 III VS C50 isn’t about lab charts or pixel peeping. It’s about how these cameras behave in real light, under real time pressure – and whether Canon’s shared sensor strategy really delivers a unified look across two very different tools. Here’s what we found.
Get a handle on the ergos You only have to look at the cameras to see that the biggest differences are in body style and ergonomics. The R6 III is about as traditional in design as a modern mirrorless camera gets, while the C50 is very much aimed at cinema shooting. Spend a day with both cameras and the ergonomic differences become obvious. Handling and rigging possibilities are where the C50 earns its keep for serious video production. Everything is where you expect it to be. Nothing feels compromised. There is no EVF and, while some say video workflows don’t need one, it would be a bonus for content creator- style shooting. That’s why Sony fitted a tilting EVF to its Cinema Hybrid FX2. Depending on its mode, which is set using the very top switch, the C50 switches between the familiar Cinema EOS interface and the EOS R-style photo menu. There is a huge amount of customisation on both cameras, but the C50 has more video spec available, as you would expect. But it does not actually make a huge difference in usability. It would if you included the C50 in a cinema workflow alongside bigger EOS cine cameras though. Canon’s C50 is highly portable and, with multiple mounting points, rig- friendly. It has three tally lights and loads of customisable buttons, and it can be used in a horizontal or vertical orientation because its menus and display automatically adapt. And there’s the detachable top handle that adds XLR audio controls, a zoom rocker and a record button for camcorder-style handling. The handle features dual three-pin XLR inputs for pro-grade audio capture. The C50 is loaded with connectivity options so it will suit most workflows.
REST EASY Even in low light with the ISO cranked to 1000, the R6 III’s stills of this cemetery are noise free
But the XLR flexibility gives the C50 the upper hand. The R6 III’s strength is its body. It’s lighter, smaller, easier to travel with, faster to deploy and less intimidating in sensitive shooting environments. Its menu set-up is like a traditional EOS mirrorless but with added video functions, so Canon shooters will be at
There’s HDMI Type A, USB-C, timecode I/O and a mic terminal. The R6 III, in comparison, omits the timecode I/O and has no XLR input for audio, just a simple 3.5mm jack socket. Both cameras have the new Multi-Function Shoe that can handle high-speed digital communication such as audio from specific new mics.
SIX APPEAL From its conventional photo control layout and menu to its useful fold-out screen, the R6 III is ideal for hybrid shooters
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