CANON R6 III VS C50
EOS C50 (EOS R6 Mark III in brackets where different) SPECIFICATIONS
The C50 camera’s open gate mode, however, feels more cinematic: it uses a 3:2 format and records up to 60p. It is about capturing all the sensor sees so that creative decisions can be made downstream – whether they are about stabilisation, anamorphic extraction or multi-aspect delivery. 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, planes, motorsports, trains ISO: Video mode: Dual base 800/ 6400 dependent on colour space. 100-25,600, expanded to 104,400. Stills: 100-51,200 expanded to 104,400 (100-6400, expanded to 50-102,400) Dynamic range: 16+ stops Gamma: Canon Log 2 and Log 3, PQ, HLG, Canon 709, BT. 709 Wide and standard, BT. 2100 (Canon Log and Log 3, PQ, HLG, BT. 709 standard) Price: £3299/$3899 body only (£2799/$2799) Sensor size: 3:2 34.2 megapixels, 7144x4790 pixels, full-frame CMOS with Digic DV7 processor (32.5 megapixels, 6960x4640 pixels, full-frame CMOS Digic X) Video formats: Cinema Raw Light LT/ST/HQ, XF-AVC, XF-AVC S, XF- HEVC S (Raw standard and Light) Frame rates: Cinema Raw Light LT/ST/HQ 12-bit 7K full-frame up to 60p/2420Mbps; XF-AVC and XF-AVC S 4:2:2 10-bit All-Intra or Long GOP, 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 (Raw standard and Light, no XF-AVC) Fast/slow: 7K 17:9 Raw to 60fps, 2.5K Raw Super 16 crop to 150fps. 4K/120p, 2K/180p Photo formats: Raw, CRAW, Dual Pixel Raw, HEIF. JPEG (4K/120p, FHD 180p)
In use, the difference is subtle but important. With the R6 III, open gate feels like a safety net – something you enable when you’re not quite sure how the footage will be used. On the C50, open gate feels like the default choice for serious productions where framing decisions are deliberately deferred until post. Neither approach is better, but they do encourage different shooting mindsets. And the C50 has anamorphic de-squeeze built in as well. In terms of codec choices, the R6 III records 7K Raw Light internally at up to 60p, alongside oversampled 4K. You’re getting genuine Raw flexibility in Lens mount: RF Anamorphic support: 2.0, 1.8, 1.5, 1.3x (No) Shutter: Electronic rolling (mechanical and electronic rolling) Shutter speeds: Video: 1sec-1/2000sec Photo: 30sec-1/16,000sec Image stabilisation: No (in-body, 5-axis, 8.5 stops advantage) EVF: No (0.5in OLED, 3.29 million dots, 120fps refresh rate) Screen: 7.5cm/ 3in LCD touchscreen, 1.62 million dots Cooling fan: Yes (No) Monitoring tools: Peaking, zebra, waveform, false colour Audio: 2x XLR inputs on handle unit, 3.5mm mic input and headphone jack (3.5mm mic input and headphone jack) Output: HDMI Type A Records two different video feeds to both internal cards: Yes (No) Timecode/genlock: Yes/yes (No/no) IP streaming: UDP, RTP, SRT, RTP+FEC, RTSP+RTP FHD at 60p/ 4-9.0Mbps (No) Storage: 1x CFexpress Type B, 1x SDHC Tally lamps: 2x body, 1x top handle (No) Dimensions (wxhxd): 142x88x95mm/5.6x3.5x3.7in (138.4x98.4x84.4mm/5.5x3.9x3.3in) Weight: 670g/1.48lb (609g/1.34lb) body only
home. It feels like a highly polished photo mirrorless camera with all the extra video spec and virtually nothing left out. With the built-in IBIS and EVF, it could be your perfect stills hybrid, and if those features are deal breakers, it could be a better choice than the C50 for your video work. One sensor with two directions Canon has been quietly building towards this moment for a few years. The company began to blur the line between mirrorless and cinema with the EOS R5 and EOS C70. The R6 III and C50 take that innovative idea even further, uniting around the 7K sensor. The overlap is striking. The R6 III is pitched as a hybrid flagship, which suggests Canon is targeting filmmakers who want maximum flexibility from a small, travel-friendly camera. The C50, by contrast, is unambiguously a Cinema EOS designed to live on rigs, plug into audio, sync to timecode and sit in a multicamera environment. Canon isn’t positioning either one as better than the other. Instead, it is offering two interpretations of the same imaging core. A substantial differentiator against competition is not that its 33-ish-megapixel sensor isn’t partially stacked like some rivals, but that it offers surprising aspect ratio choices. And this is where both cameras reveal a lot about who they are really for. The R6 III’s 7K open gate mode records the full height of the sensor at up to 30p, delivering a tall image that can be reframed to horizontal, vertical or square outputs.
SILICON TWINS The
sensor may be the same, but the two Canons are otherwise very different
“Open gate mode records the full height of the sensor at up to 30p, delivering a tall image that can be reframed”
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