Canon Officially Announces the Cinema EOS C50

Open gate uses the entire 3:2 image sensor when recording video. A bonus is the ability to crop to multiple aspect ratios.
Request: Could you tell me how the 'open gate' concept works? In my 3 decades of photography/videography I never needed it or used it. What am I missing? What will I gain? Thx. Is it all about reframing in post?
I have never used it either and I don't see yet the reason to be excited about it. It is only in 6k raw at 976Mbps if in LT and 1510Mbps if in ST. That is too much of a data rate for every day-to-day use. For occasional shoot, yes, not day-to-day.
I hope they will trickle it down to HEVC-S long GOP, same as compressed 6K, in future update. That would allow them to put it in the C80 as well.
So, in one word, I am not excited about it yet. What can be of great interest for many is the option to have a vertical crop in the SD. I welcome that very much: horizontal in CF-E and vertical 1080p in SD: two birds in one stone.
 
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Request: Could you tell me how the 'open gate' concept works? In my 3 decades of photography/videography I never needed it or used it. What am I missing? What will I gain? Thx. Is it all about reframing in post?
Open Gate is a term mainly used now to describe using the maximum height and width of the digital camera sensor (or film strip height for film movie cameras)
This is largely beneficial for anamorphic lenses, to maximize the amount of digital sensor resolution or film resolution.

These days, it’s often referred to as benefitting post production for cropping multiple aspect ratios, or reframing a shot vertically.

Many digital cinema cameras today have different sensor sizes, so the term doesn’t necessarily refer to a constant, but means to use the entire sensor area for video recording. Zero windowing or cropping.

While open gate is very exciting for the C50, you aren’t necessarily gaining an extraordinary amount of pixel resolution.
The maximum raw resolution offered by the R5C in 8k mode at 60fps is 8192 x 4320.
The maximum raw resolution in “open gate” on the C50 is 6968x4646, at 30fps.

The C50 gains 326 pixels vertically, but loses 1224 pixels horizontally. Different strokes for different folks.

I love having more options.
The C50 I would not consider an R5c successor, but another cinema camera in the lineup that targets a specific, and slightly different user.

Open Gate is sort of an overused expression that dates back to the early motion picture film industry, opening the film gate to check for debri. Digital cinema cameras don’t even have a gate to “open”.

A more accurate term could be suggested, “full sensor readout” or something like that. But once a term on the internet gets ingrained (“open gate”) good luck changing it for today’s accuracy.
 
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Open Gate is sort of an overused expression that dates back to the early motion picture film industry, opening the film gate to check for debri. Digital cinema cameras don’t even have a gate to “open”.

A more accurate term could be suggested, “full sensor readout” or something like that. But once a term on the internet gets ingrained (“open gate”) good luck changing it for today’s accuracy.
That term is already taken, referring to full-width, usually oversampled video taken at wide aspect ratio (which can still be different, like using 17:9, 16:9 etc.). Better to have a "less accurate", but at least clearer (and shorter) expression.
Same as Super 35mm vs APS-C in the film vs. digital era, a bit vague but no big deal.
The C50 I would not consider an R5c successor, but another cinema camera in the lineup that targets a specific, and slightly different user.
It kind of is. Similar concepts derived from stills cameras, released at similar price points (exactly the same in terms of $ MSRP).
Canon probably felt that going from an R5 sensor to an R6 III sensor is a negligible resolution difference, but an overall improvement in AF, video DR and ISO, and the end users might appreciate C-Log 2 and full HDMI in a slightly more compact body with more mounting points to an EVF and mechanical shutter, so they end up with a better overall package, that could be more popular.
 
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Open Gate is a term mainly used now to describe using the maximum height and width of the digital camera sensor (or film strip height for film movie cameras)
This is largely beneficial for anamorphic lenses, to maximize the amount of digital sensor resolution or film resolution.

These days, it’s often referred to as benefitting post production for cropping multiple aspect ratios, or reframing a shot vertically.

Many digital cinema cameras today have different sensor sizes, so the term doesn’t necessarily refer to a constant, but means to use the entire sensor area for video recording. Zero windowing or cropping.

While open gate is very exciting for the C50, you aren’t necessarily gaining an extraordinary amount of pixel resolution.
The maximum raw resolution offered by the R5C in 8k mode at 60fps is 8192 x 4320.
The maximum raw resolution in “open gate” on the C50 is 6968x4646, at 30fps.

The C50 gains 326 pixels vertically, but loses 1224 pixels horizontally. Different strokes for different folks.

I love having more options.
The C50 I would not consider an R5c successor, but another cinema camera in the lineup that targets a specific, and slightly different user.

Open Gate is sort of an overused expression that dates back to the early motion picture film industry, opening the film gate to check for debri. Digital cinema cameras don’t even have a gate to “open”.

A more accurate term could be suggested, “full sensor readout” or something like that. But once a term on the internet gets ingrained (“open gate”) good luck changing it for today’s accuracy.
Thank you for this detailed information/explanation.
 
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I'm guessing this new camera shares the same sensor with the soon to be lauched / announced R6III?
Roumoured to be around the same resolution.
Most likely, but it will be priced a lot lower, so I wouldn't be surprised to see some other limitation.
For instance, it may keep using dual sd card slots as before.
That would make it capable of 40fps stills with an ok buffer, and RAW video would be capped at 7k30p or 4k60p cropped.
 
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Open Gate is a term mainly used now to describe using the maximum height and width of the digital camera sensor (or film strip height for film movie cameras)
This is largely beneficial for anamorphic lenses, to maximize the amount of digital sensor resolution or film resolution.

These days, it’s often referred to as benefitting post production for cropping multiple aspect ratios, or reframing a shot vertically.

Many digital cinema cameras today have different sensor sizes, so the term doesn’t necessarily refer to a constant, but means to use the entire sensor area for video recording. Zero windowing or cropping.

While open gate is very exciting for the C50, you aren’t necessarily gaining an extraordinary amount of pixel resolution.
The maximum raw resolution offered by the R5C in 8k mode at 60fps is 8192 x 4320.
The maximum raw resolution in “open gate” on the C50 is 6968x4646, at 30fps.

The C50 gains 326 pixels vertically, but loses 1224 pixels horizontally. Different strokes for different folks.

I love having more options.
The C50 I would not consider an R5c successor, but another cinema camera in the lineup that targets a specific, and slightly different user.

Open Gate is sort of an overused expression that dates back to the early motion picture film industry, opening the film gate to check for debri. Digital cinema cameras don’t even have a gate to “open”.

A more accurate term could be suggested, “full sensor readout” or something like that. But once a term on the internet gets ingrained (“open gate”) good luck changing it for today’s accuracy.
I get that for some people, “open gate” just sounds like extra reframing flexibility or an anamorphic tool, but for me it goes deeper than that. Coming from photography like a lot of filmmakers, I’ve always loved the 3:2 aspect ratio. It just feels natural, especially when shooting with primes, the framing breathes differently than 16:9/17:9.

Yeah, technically on a full-frame 7K sensor it’s “only 326 more pixels vertically,” but that difference is way more noticeable in practice than it sounds on paper. It changes headroom, negative space, and composition in a way that’s closer to how I visualize when shooting stills. It’s not just a numbers game, it’s about how the frame feels.

There are filmmakers who lean into those taller, boxier ratios for storytelling and style, Wes Anderson being one obvious example. Another underrated perk: pulling stills from video. Having the full sensor readout in 3:2 means those frame grabs look a lot closer to a native photo capture, which is huge if you’re doing hybrid work or need promo material from your footage.

So for me, open gate isn’t just about reframing or VFX latitude, it’s about having a frame format that feels more photographic, more versatile, and sometimes more inspiring.
 
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I get that for some people, “open gate” just sounds like extra reframing flexibility or an anamorphic tool, but for me it goes deeper than that. Coming from photography like a lot of filmmakers, I’ve always loved the 3:2 aspect ratio. It just feels natural, especially when shooting with primes, the framing breathes differently than 16:9/17:9.

Yeah, technically on a full-frame 7K sensor it’s “only 326 more pixels vertically,” but that difference is way more noticeable in practice than it sounds on paper. It changes headroom, negative space, and composition in a way that’s closer to how I visualize when shooting stills. It’s not just a numbers game, it’s about how the frame feels.

There are filmmakers who lean into those taller, boxier ratios for storytelling and style, Wes Anderson being one obvious example. Another underrated perk: pulling stills from video. Having the full sensor readout in 3:2 means those frame grabs look a lot closer to a native photo capture, which is huge if you’re doing hybrid work or need promo material from your footage.

So for me, open gate isn’t just about reframing or VFX latitude, it’s about having a frame format that feels more photographic, more versatile, and sometimes more inspiring.
Yes! 2 SD cards most likely...
 
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I get that for some people, “open gate” just sounds like extra reframing flexibility or an anamorphic tool, but for me it goes deeper than that. Coming from photography like a lot of filmmakers, I’ve always loved the 3:2 aspect ratio. It just feels natural, especially when shooting with primes, the framing breathes differently than 16:9/17:9.

Yeah, technically on a full-frame 7K sensor it’s “only 326 more pixels vertically,” but that difference is way more noticeable in practice than it sounds on paper. It changes headroom, negative space, and composition in a way that’s closer to how I visualize when shooting stills. It’s not just a numbers game, it’s about how the frame feels.

There are filmmakers who lean into those taller, boxier ratios for storytelling and style, Wes Anderson being one obvious example. Another underrated perk: pulling stills from video. Having the full sensor readout in 3:2 means those frame grabs look a lot closer to a native photo capture, which is huge if you’re doing hybrid work or need promo material from your footage.

So for me, open gate isn’t just about reframing or VFX latitude, it’s about having a frame format that feels more photographic, more versatile, and sometimes more inspiring.
Beautifully explained and worded. Bravo.
 
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I get that for some people, “open gate” just sounds like extra reframing flexibility or an anamorphic tool, but for me it goes deeper than that. Coming from photography like a lot of filmmakers, I’ve always loved the 3:2 aspect ratio. It just feels natural, especially when shooting with primes, the framing breathes differently than 16:9/17:9.

Yeah, technically on a full-frame 7K sensor it’s “only 326 more pixels vertically,” but that difference is way more noticeable in practice than it sounds on paper. It changes headroom, negative space, and composition in a way that’s closer to how I visualize when shooting stills. It’s not just a numbers game, it’s about how the frame feels.

There are filmmakers who lean into those taller, boxier ratios for storytelling and style, Wes Anderson being one obvious example. Another underrated perk: pulling stills from video. Having the full sensor readout in 3:2 means those frame grabs look a lot closer to a native photo capture, which is huge if you’re doing hybrid work or need promo material from your footage.

So for me, open gate isn’t just about reframing or VFX latitude, it’s about having a frame format that feels more photographic, more versatile, and sometimes more inspiring.
Ooh. Like that you just like the aspect ratio. Also, hadn't thought about pulling for stills. That's a good point. Lots of conversations with clients day of recently explaining that we don't really have time for dedicated stills capture, but the 4K raw from my C70 will look just fine for social. This is an excellent point.
 
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I just saw a Peter McKinnon review and man - so many jitters, for this little killer camera. I imagine having no IBIS, explained by pros, is always like - nice to poit out pros don't need it, while later on cageing the little cool camera anyway and making it a portable flying truck 10 times the original size, lol :)

Well, anyway - each to their own. We are definitely not pros here. So doing some b-roll shorts during the wedding shoots, we will add R6III, once it arrives, though I like the C50 and being a gear head, this would be an overkill in our situation.
 
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So for me, open gate isn’t just about reframing or VFX latitude, it’s about having a frame format that feels more photographic, more versatile, and sometimes more inspiring.
Thanks for mentioning this, you make a great point about the extra vertical space for framing. As someone who does both video and still photography, I very much like the framing being consistant between photo or video configuration. Some of that compositional magic can get lost with excessive re-framing and fiddling between aspects. I hope we will continue to see open gate in Canon cameras going forward. Those are my pixels! Don't throw them away!
 
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I have never used it either and I don't see yet the reason to be excited about it. It is only in 6k raw at 976Mbps if in LT and 1510Mbps if in ST. That is too much of a data rate for every day-to-day use. For occasional shoot, yes, not day-to-day.
I hope they will trickle it down to HEVC-S long GOP, same as compressed 6K, in future update. That would allow them to put it in the C80 as well.
So, in one word, I am not excited about it yet. What can be of great interest for many is the option to have a vertical crop in the SD. I welcome that very much: horizontal in CF-E and vertical 1080p in SD: two birds in one stone.
I think I was mistaken in my post above.
3:2 open gate is available in HEVC-S long GOP as per https://www.youtube.com/watch?v=CFIQ-Eyxyuk
and, in the spec sheet indeed there is 4:2:2 10-bit (Long GOP): 6912x4608 / 25P [486 Mbps]
That changes everything. That bitrate is very usable.
I am now curious why they won't put it on C80. Let's see.
 
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I think I was mistaken in my post above.
3:2 open gate is available in HEVC-S long GOP as per https://www.youtube.com/watch?v=CFIQ-Eyxyuk
and, in the spec sheet indeed there is 4:2:2 10-bit (Long GOP): 6912x4608 / 25P [486 Mbps]
That changes everything. That bitrate is very usable.
I am now curious why they won't put it on C80. Let's see.
It remains a future possibility.
 
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Canon's Australian price has dropped from $5,899 to $5,499 since yesterday. I feel that's a fairer price, since the C80's price has dropped from its launch price, making the $5,899 C50 price too close to the C80.
 
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