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It looks like Canon is finally going to go head-to-head against Sony's Cinema Line of FX cameras with a Cinema EOS series of their own. Sony has been the dominant player in the segment of compact and affordable cinema cameras.
Sony launched the series with the full-frame FX3 in 2021, followed it up with the APS-C FX30 in 2022 and didn't release another in the line until this year with the brand new FX2 and the FX3A, which was a very minor update to the FX3.
There is the FX6, but that's more of a “true” cinema camera in form-factor.
Canon has been rolling with their hybrid camera strategy, which has served them well, but it was time that they moved into a space dominated by Sony.
A True Sony FX30 Competitor from Canon?
We believe that Canon will announce an APS-C version of the new Cinema EOS segment first. This will put Canon up against the FX30 and it will likely be a camera with much better specifications, which should be expected since they've had 3 years to do so.
The “Canon Cripple Hammer” no longer exists and we don't expect it to come back for a new product segment, especially one that will wear the Cinema EOS badge.
What to Expect
We currently don't have detailed specifications on the new camera, but that will likely come in short order. Canon is going to be putting some marketing muscle behind the camera(s).
We think it's quite likely that we'll be seeing an “all-new” APS-C sensor. We'd expect a new sensor with a similar readout speed as the EOS R1, which is currently the fastest of all rolling shutter cameras. Making an APS-C sensor with the similar capabilities shouldn't be too difficult for Canon.
We don't think this is where Canon would bring their first global shutter sensor since the Cinema EOS C700 GS, but there's nothing wrong with having a little bit of hope.
It would be nice to see the new camera have at least an option for a tiltable EVF. Sony built one into the FX2, but its inclusion is somewhat polarizing. Some people can't live without one; and some people would never use one.
Another area Canon could address is the battery, it would be a big bonus if something better than what we see in Canon's current hybrid cameras is part of the feature set. I'm not sure that you can make a compact camera with a battery like the BP-A30N, but something better than the battery found in the compact Sony FX line would be nice to see.
We would expect dual SD Card slots, which is the same configuration as the Cinema EOS C80. Matching card slots is a better way to go on this type of camera over doing a mismatch like we see in the EOS R5 Mark II.
A Full Frame Version?
If Canon does this for APS-C, they will make a full-frame camera to compete with Sony's FX2 and FX3A offerings. The EOS R5 C needs a follow-up without compromises in software and ergonomics.
There are already plenty of great hybrid camera options from Canon if you're into both stills and video.
Conclusion
Canon did bring the EOS R50 V to market this year, which was designed with video in mind, though it is still a hybrid camera and used a lot of the same internals as the EOS R50, but for what it costs? It's a great value product.
If Canon can do that with a $650 camera, it'll be exciting to see what they can do with a $2000-$2500 camera built from the ground up with a focus on cinema quality video.
A few more things are known about this coming camera, but we're waiting for further confirmation.
The Cinema EOS announcement going to be the first week of September. The IBC 2025 tradeshow in Amsterdam begins on September 12, and they will want to show it off.
If they made an FX30-style camera with that sensor (including internal raw) + IBIS, that would be incredible. Especially with the new Sigma 17-40mm f1.8. PLEASE include a timecode port on this body though. If it's true cinema, it needs a timecode port.
My hope:
- Canon C70 sensor
- FX3 style body, with XLR handle when needed
- IBIS
- Get the DGO raw up to 120fps, rather than just 60fps.
- TIMECODE PORT
- Mini XLR on body + 3.5mm when you don't want to use top handle.
- Larger battery
- Internal ND?! One can dream. Even a single 5 or 6-stop ND would be great (like the Powershot V1, but stronger).
Give us a whole new product line like Sony did with the FX-line.
Fuji should do this too with the XH2s sensor.
Everybody sees things differently.
A true "cinema" camera in my mind is something that would take full advantage of the image produced by the camera, done by the user, not decided by the manufacturer.
It seems that they put the raw option in these R-series so that we could have a fine H.265/264. That is good, but not enough. The raw files are just for show.
What makes the RED cameras special in my eyes is that you can have hundreds of stuff on your timeline and your computer still works, thanks to the compression.
If Canon didn't have one, then yes. The sad thing is that they do but they kept it only for the C80 and above. If a camera is called Cinema, it should have 12-bit Cinema RAW Light LT. The camera can capture it, but the manufacturer doesn't put it so that the R1 cannot beat the C80. On paper it does, but it remains on paper.
I can put a variable ND on a matte box, I can put a 2000nits of brightness monitor on top of an R1, but I cannot use files that are 1600 Mbps bitrate. Look at the bitrate of RED, Pyxis and the C80.
1600 Mbps is only for show. "Look, my camera can do 6K RAW (29.97p): at 2000 Mbps; but can it do 6000 x 3164 / 25P at 576 Mbps? The answer is no.
Canon's Cinema series cameras are always great!
So when we expect a Cinema Camera, this should be there.
Am I asking too much?
Cinema RAW Light LT:
6000 x 3164: 576Mbps – C80
8192 x 4320 / 25P / 1070: Mbps – R5C
6000 x 3164 / 50P [1160 Mbps] – C400
8192 x 4320 / 50P / 2140 Mbps – R5C
The main difference is 8K vs 6K.
Will wait for a 6K cinema that does 60FPS, other than C400, then.
Thanks for the post.
-Open Gate 4k
-4k 60p or 120p
-1080p 480fps
-All-intraframe recording (whyyyyyyyyyyy the remove on R6)
-Built in ND
-Dedicated interface for video settings like R5C
Tis all i ask oh dear canon, we dont have the budget for high tier