Canon EOS C80– 6K Full Frame & SDI

Canon has unveiled the EOS C80, a follow-up to the C70 that was announced almost 4 years ago. Just like the C70, the C80 was designed to be a camera that bridges the gap between a traditional mirrorless hybrid and a digital cinema camera when it comes to form factor and features.

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The C80 offers a lot of the same functionality and features as the recently announced C400 but in a smaller package.

The C70 was well-received and arguably became one of Canon’s most successful digital cinema cameras. I would go as far as saying that it was their most popular digital cinema camera since the original C300.

Just like its predecessor, it’s a camera that keeps the form factor of a mirrorless hybrid with a lot of the features of a digital cinema camera. For those users who want a compact video camera without some of the bells and whistles of a larger digital cinema camera, the C80 may be the camera for you.

The FX6 was a huge hit for Sony, and despite Canon having the C70 and the R5 C, the FX6 arguably has been the more popular choice for shooters. Canon tends to work on a 4-year cycle when releasing cameras, and that has arguably hurt them in the past. Timing often plays a critical role in the success or failure of a camera.

What are the main key upgrades over the C70?

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• 6K Full 6K full frame Back Illuminated Stacked sensor (same sensor as C400)
• SDI Out
• Dual Pixel CMOS AF II
• Brighter LCD screen (same as the C400)
• New top handle
• Multi-Function Shoe
• Ethernet
• Built-in Wi-Fi

Sensor

The C80 utilizes the exact same 6K full frame Back Illuminated Stacked sensor as the C400. This new sensor does not use a Dual Gain Output (DGO) like previous Cinema EOS cameras because of the new design. One of the reasons a lot of companies are now utilizing back-illuminated stacked CMOS sensors is that they allow for better AF performance.

Canon also uses a back-illuminated stacked sensor in its R3, and I would imagine that the sensor in the EOS C80 shares some similarities with that sensor.

The sensor has a physical size of 38.4 x 20.2 mm.

• Total Pixels- 26.7 Megapixel
• Effective Pixels- 19 Megapixel

The camera also uses the DIGIC DV 7 processor, which is the same one that is found in the C400, C500 Mark II, and C300 Mark III.

As a comparison, the C70 uses the exact same sensor as the C300 Mark III. Which is a Super35 26.2 x 13.8 mm CMOS sensor that also utilizes the exact same DGO technology. The C80 has a Digic DV7 image processor. Again this is the exact same image processor that is found in the C300 Mark III.

That sensor had a pixel pitch of 6.4 µm and an effective resolution of 4096 x 2160 (8.85 MP).

The sensor in the C80 can operate in two different modes:

• Full Frame
• Super 35mm 

It doesn’t have the Super 16mm (crop) mode that is found in the C400.

Here are the various crop factors when shooting in different resolutions and crop modes:

• 4K Super 35mm: 1.46x
• UHD Super 35mm: 1.53x

The Back Illuminated Stacked sensor in the C80 allows light to be captured more efficiently with the added benefit of achieving a much wider AF coverage area. It also allows Canon to increase the readout speed, so it will be interesting to see how well the camera performs in regard to rolling shutter speed.

The new sensor in the C80 features circuitry on its rear, instead of its front, so it can gather more light, which reduces noise. Two layers of circuitry are ‘stacked’ together, transforming the speed at which the sensor can send image data to its DIGIC processor.

Canon claims that the C80 has 16 stops of dynamic range, which is the same as the C400. This claimed figure is 1 stop more than the C500 Mark II and on par with the C70 and C300 Mark III which utilize a DGO sensor.

Just like with the C400 and C500 Mark II, the C80 uses an oversampling process from the 6K image capture to produce 4K (DCI or UHD). Canon claims that this enhances image sharpness, curtails moire, and produces a lowered visibility of noise at the higher ISO settings. Canon states the image will be sharper with better detail and will resolve color better when shooting in 2K, and HD.

No more DGO

Unfortunately, it seems like Canon has ditched DGO sensor technology. I personally thought the sensor in the C70 was one of the best they had made.

With the DGO sensor in the C70, the construction of the red, green, and blue components entailed no algorithmic debayering processes. A parallel readout process within the image sensor separately extracts the four individual components, including the two spatially offset green components (green has twice as many spatial samples as the red and blue components). This approach avoids any of the reconstruction errors inevitably associated with algorithmic debayering.

The DGO sensor produces images optimized for HDR by creating two images. One prioritizes highlights and the other prioritizes shadows and dark areas. Canon states that this sensor is capable of 16+ stops of dynamic range with reduced noise in the shadows and improved low light performance. You probably didn’t notice a massive increase in dynamic range if you are still finishing in SDR. It is with HDR that DGO was noticeable.

Noise was also greatly reduced because the Dual Gain Output signal was taken directly from the sensor and before any image processing took place.

The DGO worked across all ISO ranges on the camera. Canon stated that the most dynamic range (16+ stops) was achieved when shooting at 800 ISO in Canon Log 2. If you shoot in Canon Log 3 then the dynamic range drops to 14 stops. If you moved off the camera’s native ISO the DGO wasn’t as effective when shooting at higher ISO levels. It also appears that the extra dynamic range you are getting on the camera is coming below middle grey. If you look at images from the C300 Mark III there didn’t seem to be any dynamic range improvement in the highlights if you compare it to the C500 Mark II, and the same was true with the C70.

There was a catch with this Dual gain Output system. It didn’t work when you were shooting in frame rates above 60p in S35 4K. However, it did work when you were shooting in 2K Super 16mm Crop mode up to 180fps. This was not surprising because the amount of processing power to deal with two readouts at high resolutions and high frame rates put a proportionally bigger load on the system.

You shouldn’t confuse Dual Gain Output with Dual Base ISO. Although it’s the same basic idea of having different readout calibrations, Dual Gain Output is much harder to do than Dual Gain ISO because that switches between the two. What ARRI and Canon are doing requires there to be a dual readout on every frame and then processing all of that on every frame.

The DGO also couldn’t be turned on or off.

Canon also included an Auto ISO option in the C70, which made it the first Cinema EOS camera to feature an Auto ISO capability. The Auto ISO could be set to either High or Low in the menu. For certain shooting applications, this was a nice feature to have, especially if you happen to be going from outdoors to indoors in one shot.

Triple Native ISOs

We have seen cameras with dual native ISOs, but not three native ISOs.

On the C80, just like the C400, you can manually choose between three native ISOs or you can put it in an Auto selection mode.

The three native ISOs vary depending on what shooting mode you are in. below you can see what those are:

Canon Log 2, Canon Log 3, or Cinema RAW Lite

• Base ISO 800
• Base ISO 3200
• Base ISO 12600

Canon 709, BT.709, Wide DR, PQ, HLG

• Base ISO 400
• Base ISO 1600
• Base ISO 6400

BT.709 Standard

• Base ISO 160
• Base ISO 640
• Base ISO 2500

In the Auto selection mode, the camera will automatically switch to the most appropriate native ISO, all while maintaining low noise and the same dynamic range.

Having a native ISO of 12800 is interesting, and if it has relatively low noise which Canon is claiming, it could be very useful for anyone who needs to shoot in low-light environments. We have previously seen digital cinema cameras with dual native ISOs as high as 12800 from Sony.

Weight & Size

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The C80 is slightly heavier than the C70, and just a little bit taller, however, it is the exact same depth and width.

The C80 tips the scales at 1.3 kg (2.86 lb). It has physical dimensions of (H) 137.4 mm / 5.41″ x (W) 160 mm / 6.3″ x (D) 115.9mm / 4.6″.

As a comparison, the C70 tipped the scales at 1.17 kg (2.58 lb) and it had physical dimensions of (H) 130.2 mm / 5.1″ x (W) 160 mm / 6.3″ x (D) 115.9mm / 4.6″.

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The compact size of the C80 makes it suitable for a variety of applications. Whether you are shooting handheld, putting the camera on a gimbal, or using a tripod, the C80 should work well.

Above you can also see the bottom of the camera. There are multiple mounting holes just like on the C70, but Canon has now added an additional 1/4-20″ hole to increase mounting flexibility.

So how does that weight compare to other Canon cameras, past & present? Below you can see:

	WEIGHT
CANON C80	1.3 kg / 2.86 lb
CANON C70	1.17 kg / 2.58 lb
CANON R5 II	670 g / 1.5 lb (With Battery, Recording Media)
CANON R5	738 g / 1.62 lb (Body with Battery and Memory)
CANON R5 C	770 g / 1.7 lb (With Battery, Recording Media)
CANON C400	1.5 kg / 3.4 lb (Body Only)
CANON C200	1.5 kg / 3.2 lb
CANON C100 Mark II	1.5 kg / 3.2 lb
CANON C300 Mark III	1.77 kg / 3.9 lb
Canon XC15	910 g / 2 lb
CANON 1D C	1.5 kg / 3.5 lb
CANON 1D X Mark III	1.25 kg / 2.75 lb (Body Only)
CANON R1	920 g / 2.0 lb (Body Only)

As you can see the C80 basically falls between an R5 C and a C400 when it comes to weight. It is smaller than a 1D X Mark III but very similar in weight.

How does this weight compare to some other cameras?

	WEIGHT
Canon EOS C80	1.3 kg / 2.86 lb
Sony FX6	890 g / 2.0 lb
Sony FX9	2.00 kg / 4.41 lb
Sony BURANO	2.4 kg / 5.3 lb
Blackmagic Design PYXIS 6K	1.5 kg / 3.3 lb
Kinefinity MAVO EDGE 6K	1.6 kg / 3.6 lb
RED KOMODO-X	1.19 kg / 2.62 lb
RED KOMODO	1 kg / 2.1 lb

If we have a look at the weight of what is arguably the C80’s closest competitor, the Sony FX6, it is lighter, but once you add all of the required extras that it comes with it ends up being around twice the weight of the C80.

	WEIGHT
Canon EOS C80	1.3 kg / 2.86 lb
Sony FX6	890 g / 2.0 lb (Body Only) 2.59 kg / 5.71 lb (With Battery, Grip, Handle, Viewfinder)

Multi-functional grip

Just like with the C70, Canon has taken what people loved about the handgrips that have appeared on various Cinema EOS cameras over the years and integrated it into the C80’s body. At least to my eye, the handgrip looks identical to that of the C70.

A lot of the camera’s controls are configured around the right grip, which allows users to access and change various settings while holding the camera. Three custom dials and a joystick are placed on the grip.

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The only real difference between the C80 and C70 is that Canon has moved the joystick to where the PUSH AUTO IRIS and INDEX/MAGN. buttons were, and those buttons are now where the joystick is on the C70.

The custom dials can be set to perform various functions. Along with iris and ISO/gain, WB selection and color temperature are also included. This is useful in a lot of shooting scenarios.

Various settings can also be assigned to the RF lens control ring in addition to the front and rear custom dials. Three different parameters can now be set at the same time.

The camera has a total of 13 user-assignable buttons. Below is what you can set them to do:

New Top Handle & Multi-shoe Interface

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With the C80 you get a newly designed top handle and Canon has also included a new Multi-shoe Interface on the camera body.

The handle attaches to the front top part of the camera while the Multi-shoe Interface is located further back. This allows you to use both at the same time.

Canon does have the MA-400 Microphone Adapter for the C300 Mark II and the XC15 ($499 USD), that will work on the C80.

RF Mount

The C70 was Canon’s first dedicated video camera to utilize the RF mount, and the C80 follows suit. The RF mount is a lot more versatile than the EF mount and it allows users to use a variety of different lenses through the use of adapters. The EF mount was designed in the ’90s and it technically reached its limits and that’s why Canon moved in a different direction.

Owners of the C500 Mark II and C300 Mark III were probably a little perplexed as to why Canon didn’t give either of those cameras an RF mount. Only the C400, which was announced earlier this year has an RF mount.

Canon PL-RF Adapter

Canon has its own proprietary PL-RF Adapter that will work with the C80 and C400.

It can be user-installed on the camera using four M3 bolts and locking plates that attach to the front of the camera.

The adapter, unlike other third-party solutions on the market, has electronic connections and it can utilize the Cooke /i protocol to send compatible lens information to the camera. This metadata is also useful when working in virtual production environments.

Please note this adapter will not work with the C70 or original R5.

Internal ND

Arguably one of the biggest selling points of the C70 was the built-in ND and it was good to see Canon squeeze built-in ND into such a small camera. The C80 features the same ND system that is in the C70 and C400.

The C400 has an internal mechanical ND filter (2 / 4 / 6 / 8* / 10 stops* ) *with extender.

You can activate the ND through the touchscreen or via the ND buttons on the side of the camera. Having built-in ND filters in a compact-sized camera is a big selling point, just like it was for the C70.

Auto Clear Scan Mode

The Auto Clear Scan setting available in the camera is an automatic shutter mode setting that can detect the frequency of light sources between 50.0 Hz to 2011.2 Hz to help reduce or virtually eliminate the flickering in some LED walls.

Resolution, Framerates & Codecs

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The C80 is capable of recording in resolutions up to 6K DCI. It can also record in 4K DCI, UHD, 2K DCI, and HD.

As a comparison, the C70 is only capable of recording in resolutions up to 4K DCI (4096 x 2160).

The EOS C80 offers a variety of options in terms of onboard recording. You can record in Canon Cinema RAW Lite, XF-AVC, XF-HEVC S (H.265), or XF-AVC S (H.264).

The C80 can record 6K at up to 30p in Canon RAW Lite and up to 4K 120p in XF-AVC, XF-HEVC S (H.265), or XF-AVC S (H.264). There is also a 4.3K 4368 x 2304 (S35 crop) mode as well where you can shoot up to 60fps in Canon RAW Lite.

You can only shoot 6K in Canon RAW Lite. The max resolution in XF-HEVC S (H.265) and XF-AVC S (H.264) is 4K. There aren’t 4K or 2K RAW Lite recording options like you get on the C400.

The camera can also shoot in 2K or HD at up to 180fps. Note: When the frame rate exceeds 100P in Super 35mm mode, the angle of view is cropped at approx. 6%.

On-Board Recording

• 6K Cinema RAW Light, 4.3K Cinema RAW Lite
• 4K DCI or 4K UHD digital production formats with XF-AVC Intra
• 2K DCI or 1080-line HD digital production formats with XF-AVC Intra

	Cinema RAW Light 12-Bit
Full-frame 6000×3164/30P	23.98/24/25/29.97
Super35mm Crop 4368×2304/60P	23.98/24/25/29.97/50/59.94

During slow motion recording, simultaneous recording may not be possible depending on the shooting frame rate.

	XF-AVC 4:2:2 10-Bit XF-AVC S 4:2:2 10-Bit XF-HEVC S 4:2:2 10-Bit
4K (4096 x 2160)	23.98/24/25/29.97/50/59.94 S&F Mode: 61-120fps
UHD (3840 x 2160)	23.98/24/25/29.97/50/59.94 S&F Mode: 61-120fps
2K (2048×1080)	23.98/24/25/29.97/50/59.94 S&F Mode: 113 – 180fps
HD (1920×1080)	23.98/24/25/29.97/50/59.94 S&F Mode: 113 – 180fps

Having Canon’s Cinema RAW Lite in the C80 is no real surprise. First introduced in the EOS C200 and then implemented into other Canon cameras, Cinema RAW Lite is a proprietary Canon RAW format. The good news is most NLE’s can read it with plugins.

Canon added three new Cinema RAW Light formats in a firmware update that came out for the C500 Mark II, and one of those options is in the C80 and C400. This allows you to record in 12-bit at all frame rates. One of the advantages the C400 has over the C80 is that it can record in Cinema RAW Light LT, ST, and HQ formats, giving you the choice of four different RAW recording options, instead of just one.

The maximum bitrate when recording in Cinema RAW Light is 678Mbps when shooting 4.3K at 59.94p.

While the file sizes and recording times may seem overwhelming to someone who isn’t used to shooting RAW, they are actually pretty small compared to most other digital cinema camera RAW formats. The original Cinema RAW Light files were about a 1/3 to 1/5 the size of Canon’s Cinema RAW format that had to be recorded externally from the EOS C300 Mark II and EOS C700. The benefit of having these smaller RAW files is that they can be recorded internally to SD cards.

Canon’s Cinema RAW Light isn’t uncompressed, but the files still contain more than enough information to give you very clean images, good color accuracy and a smaller chance of seeing any image artifacts. Unlike traditional RAW recording, Cinema RAW Light does not record in a frame-by-frame file structure. Instead, the RAW information is compiled into a single Canon RAW Movie file (.CRM).

The integrity of the RAW signal is protected by eliminating video processes like the Linear Matrix that selects the color gamut, and employing a special RAW OETF that optimizes the digital coding over the entire transfer curve for all ISO settings

When you are recording in RAW to the CFexpress cards you can also record proxy files to an SD card.

Back in 2022, Canon announced a new firmware update for the C70 that added 4K RAW internal recording at up to 59.94P, as well as a couple of other features.

C70 users can record 4K RAW internally in Canon’s Cinema RAW Light. You can also record XF-AVC proxies at the same time.

Above you can see what resolutions and frame rates you can record in Canon’s Cinema RAW Light on the C70. You have the option of recording 4096 x 2160 in RAW ST or RAW LT. You can only record 4K DCI at 59.94p or 50p in RAW LT. RAW ST is only available in frame rates up to 29.97p.

The data rates are still pretty reasonable for recording in both RAW ST and RAW LT.

You can also record 2048 x 1080 RAW at up to 59.94p in a cropped Super 16mm mode. In this Super 16mm mode, you have the choice of recording RAW HQ, RAW ST, or RAW LT.

Above you can see what type of proxy clips you can simultaneously record when capturing internal RAW.

Above you can see the ISO/Gain settings when recording RAW.

H.264

GAMMA	Color sampling	Bit Depth	Codec
Standard (SDR)	4:2:0	8-bit	H.264
Standard (SDR)	4:2:2	10-bit	H.264
Canon 709	4:2:0	8-bit	H.264
Canon 709	4:2:2	10-bit	H.264
BT 709 Standard	4:2:0	8-bit	H.264
BT 709 Standard	4:2:2	10-bit	H.264
HDR PQ	4:2:0	8-bit	H.264
HDR PQ	4:2:2	10-bit	H.264
Canon Log 2 Canon Log 3	4:2:0	8-bit	H.264
Canon Log 2 Canon Log 3	4:2:2	10-bit	H.264
PQ HLG	4:2:0	8-bit	H.264
PQ HLG	4:2:2	10-bit	H.264

H.265

GAMMA	Color sampling	Bit Depth	Codec
Standard (SDR)	4:2:0	10-bit	H.265
Standard (SDR)	4:2:2	10-bit	H.265
Canon 709	4:2:0	10-bit	H.265
Canon 709	4:2:2	10-bit	H.265
BT 709 Standard	4:2:0	10-bit	H.265
BT 709 Standard	4:2:2	10-bit	H.265
HDR PQ	4:2:0	10-bit	H.265
HDR PQ	4:2:2	10-bit	H.265
Canon Log 2 Canon Log 3	4:2:0	10-bit	H.265
Canon Log 2 Canon Log 3	4:2:2	10-bit	H.265
PQ HLG	4:2:0	10-bit	H.265
PQ HLG	4:2:2	10-bit	H.265

Easy-to-manage folder structure

With XF-HEVC S / XF-AVC S, the folder structure has been changed from the conventional MP4 format, and video files can be saved in a folder with the same structure as Cinema RAW Light and XF-AVC. This means that the folder structure will be the same regardless of which video format is used, making video file management more efficient during shooting and editing.

External RAW

6K 60p Apple ProRes RAW (10-bit) shooting is possible when the EOS C80 is connected via HDMI to a compatible ATOMOS product. Different formats (XF-AVC, XF-HEVC S, XF-AVC S) or Proxy data can also be recorded to an SD card simultaneously for more efficient post production.

*As of September 2024, the following models are supported.

Manufactured by ATOMOS.

 – NINJA / NINJA ULTRA

 – Shogun / Shogun Ultra / Shogun Connect

 – Ninja V (OS 11) / Ninja V+ (OS 11)

A separate HDMI cable and firmware update are required to connect to the above models (date to be determined).

Yes, it does support anamorphic shooting, but it doesn’t have anamorphic recording modes

The C80 doesn’t feature any 4:3 or 6:5 anamorphic shooting modes. You can still shoot with anamorphic lenses and a desqueezing of the image can be applied for output to the LCD monitor or monitor (via SDI or HDMI). The magnification ratio can be selected from OFF, 2x, 1.8x or 1.3x in the menu. Data recorded for metadata can be configured separately from the magnification ratio.

With the C80 you can do simultaneous audio recording when shooting high frame rates. The audio gets recorded in a separate file from the video. The file format it records in is BWF (.WAV extension). This is a great feature and something that shouldn’t be overlooked.

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The C80 does have some in-built LUTs, but you can’t load up or import any custom LUTs of your own. However, according to Canon Japan, there is a “Look File” for creating custom picture profiles. This allows you to import a .Cube format 3D LUT into the camera and apply the captured 3D LUT for recording. This makes it possible to record with the intended look even in workflows that do not do color grading.

What does it record to?

Just like the C70, Canon has given the C80 dual SD card slots. The camera can use SD UHS-II cards. The media card slots are located on the front right-hand side of the camera where you would grip it.

By having dual slots the C80 can simultaneously record the same resolution and frame rate to two cards at once, or you can simultaneously record different formats at once, or you can do relay recording. As the camera can also record proxies you could choose to record your main footage to one card and proxies to the other.

What can it output over HDMI & SDI?

The C70 can output up to 4K DCI 4:2:2 10-bit over HDMI.

	LCD MONITOR	SDI OUT	HDMI OUT
Peaking/ False Color*/ Zebra*/ Waveform/ B&W Image	Yes	Yes**	Yes**
Anamorphic/ Magnification*/ Marker	Yes	Yes	Yes
Color Bar	Yes	Yes	Yes
Test Tone/ Rec Command	No	Yes	Yes
Audio	No	Yes	Yes
Timecode	No	Yes	Yes
View Assist	Yes	Yes	Yes

*•[Zebra: SDI] cannot be displayed in the following situations.

• When [Sensor Mode] is set to [Full frame] or [Super 35mm (Crop)], the frame rate for Slow & Fast Motion Recording exceeds 60P. [SDI Output Signal] is 3840×2160 or higher, and [Peaking] is enabled.
• Magnification cannot be displayed in the following situations.
• When [Sensor Mode] is set to [Full frame] or [Super 35mm (Crop)]. and the frame rate for Slow & Fast

Motion Recording exceeds 60P.

• False Color cannot be displayed in the following situations.
• When [Sensor Mode] is set to [Full frame) or [Super 35mm (Crop)], the frame rate for Slow & Fast Motion Recording exceeds 60P. and [SDI Output Signal] is 3840×2160 or higher

** Not displayed when [OSD Output: SDI OUT]. or [OSD Output: HDMI] is set to [Off (Clean)] or [Off] (however. B&W image display is possible).

What about heat?

After the controversy surrounding the EOS R5 and R6, the last thing Canon needs is to release another camera that has overheating issues.

The C80 isn’t a mirrorless hybrid so it doesn’t need to be completely weather sealed and therefore not have any way of dissipating heat.

The C80 has an air inlet on the left-hand side of the camera and two outlets, one on the right side, and one on the bottom of the camera. This way air gets pushed across both the main board as well as the sensor board to alleviate the heat.

The C80 has its ventilation and electrical systems separated to protect the sensor from water, sand, dust, etc.

The camera doesn’t have any recording time limits and it shouldn’t overheat in any mode.

Dual Pixel CMOS AF II

The EOS C80 utilizes the same Dual Pixel CMOS AF II (DAF) Technology that is found in cameras like the R3 and C400.

How does DPAF work? Two independent image signals can then be detected at each photosite. By implementing phase-difference AF, smooth focusing is accomplished using Canon RF lenses with much higher speed and accuracy than was possible with previous technologies.

An improved Dual Pixel CMOS AF II system features 1053 automatic AF points, which cover the entire sensor area, for faster, more responsive, and more precise focusing performance. This upgraded phase-detection focusing system also has enhanced subject detection and tracking, with the ability to intelligently recognize eyes, faces, heads (including helmets), animals, and vehicles and tracking will automatically lock onto these subjects and maintain sharp focus.

The C80 has rapid one-touch AF (with a push-button) and continuous AF over 100% of the image area. This is up from the 80% of the C300 mark III. 100% image coverage with the AF on the C80 is possible because of the back illuminated stacked sensor.

To further fine-tune AF performance, the camera has the ability to set the AF tracking speed and response.

DPAF also allows you to use the Dual Pixel Focus Guide. The Dual Pixel Focus Guide presents the user with a rectangle in the center of the EVF or monitor. The rectangle turns green when the subject is in focus. If the subject is out of focus the box will turn grey and the arrows will indicate which way to adjust the lens to regain focus.

A focus pre-set feature allows separate predetermined focus points to be selected, and when the SET button is pushed, the lens will move the focus from one mark to the other.

Electronic Image Stabilization (EIS)

Just like the C500 Mark II, C300 Mark III, and C400, the C80 features Electronic Image Stabilization (EIS). The system provides five-axis correction when coupled to a lens that has no internal image stabilization When operating with a lens that does have internal IS, the lens manages the Yaw and Pitch compensation while the camera deals with the Roll and Horizontal/Vertical (X/Y) movements. Central to the EIS system is the creation of an active image frame that is smaller than the sensor itself. The essence of the correction strategy is to move that frame under software control in a manner that counters the image shift created by the external vibrations and restores the image to its central position.

A gyroscopic sensor mounted within the body of the camera reports on angular rates along reference axes. This data is reported to the Digic DV7 processor that make high-speed calculations that in turn create the appropriate instruction to reposition the selected active image area.

The EIS system does not work when recording CinemaRAW Light. 

EIS should not be confused with IBIS, they are not the same. 

Automatically obtains focal length
When a lens that supports data transmission is attached, focal length data is automatically received through the digital contacts for shooting with optimized Electronic IS.

Electronic IS with non-electrical contact lenses
Shooting with Electronic IS is possible even when a lens that does not support data transmission is attached by simply manually inputting the focal length. It is also compatible with anamorphic lenses.

Focal Length can be saved 
You can select the focal length during shooting to optimize the electronic IS effect.

This system should certainly benefit anyone shooting handheld, especially with longer focal length lenses. The 5-axis stabilization also works in conjunction with Canon RF mount lenses that have stabilization. As they work together you don’t have to choose one or the other.

False Color

Just like the C70, the C80 has a false color mode.

Above you can see what it looks like.

Rotatable & Articulating LCD Screen

Just like the C70, the C80 uses a rotatable and articulating LCD screen. The screen on the C80 is the same 3.5″ 2.76 million dots touchscreen LCD Monitor that can be found on the C400. It doesn’t come with any sort of loupe. Canon told me that the LCD Monitor has a brightness of around 1000 nits. One of the biggest issues I had with the C70 was that the monitor wasn’t nearly bright enough and it was virtually unusable outdoors.

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There is no EFV. Even though the camera is designed to have a form factor that resembles a mirrorless or DSLR, the lack of any EVF will force you to either use the LCD screen or attach an external EVF or monitor.

As the LCD screen folds back into the body of the C80 it covers the audio controls. If you aren’t using the camera with the screen folded out you can’t access the audio controls. Canon has added a locking switch so that the screen won’t pop out accidentally.

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The only trouble with small form factor cameras that don’t have an EFV is that a lot of shooters just end up hand-holding the camera in front of their chest. This may be fine if you are very tall, but if you are not, you end up getting shots where you are always looking up at talent instead of being at eye level.

Inputs, outputs & connections

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The trouble with using a mirrorless hybrid for professional video work is that most of them lack professional connections and the inputs and outputs that are required for a camera to be used in those environments.

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While the C80 doesn’t have everything that you would find on a mid-tier digital cinema camera Canon has packed in quite a few inputs and outputs for a camera of this size, including SDI, which is certainly a welcome addition.

Here is what you get:

• 2x 3 pin mini XLR
• 3.5mm mic input
• Headphone jack
• USB Type-C
• Remote terminal
• HDMI output (Type-A)
• SDI Out (3G/6G/12G)
• Timecode in/out
• Multi-Shoe Interface

No, it doesn’t have full-sized XLR inputs, but neither does the C400. It would be very hard to have full-sized XLR inputs in a camera of this size.

Having a proper BNC Timecode IN port is also a big deal if you plan on using the C80 in conjunction with other digital cinema cameras. It allows you to timecode sync the C80 in multi-camera productions.

The Timecode In port is located in a rather unusual place on the bottom of the front hand grip just below the media card slots.

According to Canon, the USB-C port can be used for wired or wireless transfer of video data with a 3rd party adapter. Unlike the USB-C port on the C400, it cannot be used for a viewfinder.

Audio

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Audio features are decent on the C80, but arguably not as good as you may find on some mid-tier digital cinema cameras.

The two Mini XLR terminals can provide +48-volt phantom power for attaching professional microphones. Canon doesn’t include any Mini XLR cables with the camera. There is also a 3.5mm microphone input allowing the connection of a variety of different microphones.

Canon has also included two built-in scratch mics on the camera and you can also use the Multi-Shoe Interface. The EOS C80 has 4 channel audio input selection and recording.

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You can record two tracks from the internal in-built microphones, or Multi-Shoe Interface, and two tracks via the Mini XLR inputs.

You can also utilize the 3.5mm microphone input and the Mini XLRs at the same time.

On the back of the camera, you will find audio control dials. These allow you to independently change the levels for channels 1 and 2 as well as switch between Mic/Mic +48/Line. You can either choose to set either channel to auto or manual.

Touch Control

The touch interface allows easy access for making changes to the camera settings. The whole idea is so users can hold the camera with one hand and make changes with the other.

Some of the things you can do are:

• Quickly access menus for recording settings such as file format and resolution with a single touch.
• Change the amount of ND being used
• Move from screen to screen quickly by swiping between pages.
• Intuitively set parameters with touch and swipe to change settings, such as ISO/Gain, color temperature, or aperture.
• Peaking, zebra display, and other screen display settings can be brought up all at once with one button.

Vertical Video Shooting

Canon has thought about who may be using this camera and the increased demand for creating content that will be viewed on mobile devices, so it isn’t a huge surprise that they have added a vertical video shooting mode.

Even the onscreen displays will be displayed correctly when you are shooting in a 9:16 aspect ratio. Canon told me that metadata will be inserted inside of the recording when you are shooting vertical video so NLE systems will automatically know that you were shooting in that aspect ratio.

What is nice to see is that Canon hasn’t just thought about putting a vertical video mode in the camera, but they have also thought about how people may use the camera to achieve that. A tripod hole has been placed on the side of the camera- grip allowing you to easily attach a tripod without a special accessory. Most of the input/output terminals are placed on the other side of the tripod hole so that cables do not get in the way.

Batteries

The camera takes Canon BPA batteries and you can use the BPA30-N Battery Pack and the BPA60-N Battery Pack that were introduced with the C400. You can also use the BP-A30/BP-A60 batteries. The C80 has a very low power draw so it is a camera you can shoot with for long periods of time on a single battery.

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These long run times mean you only have to carry around a few batteries to get you through a whole day of shooting. You also don’t want to be spending a lot of money on batteries either. A single BPA60-N Battery Pack battery retails for $469 USD.

The BP-A30/BP-A60 batteries are the same batteries that can be used on the C200, C200B, C300 Mark II, C300 Mark III, and the C500 Mark II. This allows you to utilize existing batteries you may already have and swap them between camera systems. If you are traveling with say C400 and a C80 you can use the same charger and exact same batteries. that is something that shouldn’t be overlooked.

Virtual Production Ready

The EOS C400 is virtual production ready out of the box and because it has an RF mount, significantly more metadata and information can be passed from the lens to the camera. The RF mount has four more contact pins than an EF mount.

You can utilize a single cable to output data from the camera that can be utilized in virtual production environments.

There will be a Canon plug-in for Unreal Engine, and an EOS VR plug-in for Adobe Premiere.

Data Transfer

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Canon will have a new file transfer app where you will be able to transfer videos and still images to a smartphone wirelessly.

Who is this aimed at?

Just like the C70, I think the C80 is being aimed at video shooters who want to step up from a mirrorless hybrid, but don’t have enough money to purchase a more expensive digital cinema camera. It sort of slots in between the R5C and the C400. It is also going to be a good camera for those shooters who like using smaller-sized compact cameras but also want features such as built-in ND filters, SDI, and better onboard audio.

For Canon fans who don’t have enough money to buy a C400, but want something that is a bit more video-orientated than an EOS R5 II or R5C, the C80 makes sense.

In some ways, the C80 is also a bit of a threat to the C400. Canon has been very aggressive lately with its releases and they have definitely started to cannibalize their own offerings to a certain extent.

The camera is also going to be a great choice for owners of Canon Cinema EOS cameras who want a good B camera but don’t want to have to deal with the compromises a mirrorless or DSLR camera comes with, although you could also make a case that the R5 C already fills that role.

What are the main differences between the C70 & C80?

So what are the main differences between the C70 and C80? Well, hopefully, this table that I made below will give you those answers.

	CANON C80	CANON C70
Sensor	Full Frame (26.7 Megapixel) Back Illuminated Stacked CMOS sensor	26.2 x 13.8 mm (Super35)
WEIGHT	2.86 lb / 1.3 kg	2.58 lb / 1.17 kg
MOUNT	Canon RF	Canon RF
BUILT-IN ND	Yes	Yes
HDMI	HDMI 2.0	HDMI 2.0
SDI	Yes	No
TIMECODE	Yes	Yes
EVF	No	No
AUDIO	2 x 3-Pin XLR Mic Level (+48 V Phantom Power) Input 1 x 1/8″ / 3.5 mm Stereo Mic Level Input 1 x 1/8″ / 3.5 mm Stereo Headphone Output	2 x 3-Pin XLR Mic Level (+48 V Phantom Power) Input 1 x 1/8″ / 3.5 mm Stereo Mic Level Input 1 x 1/8″ / 3.5 mm Stereo Headphone Output
INTERNAL RECORDING	Cinema Raw Light 12-bit 6000 x 3164 (Full Frame) 4368 x 2304 (cropped) XF-AVC 4:2:2 10-Bit 4K (4096 x 2160) 23.98/24/25/29.97/50/59.94  UHD (3840 x 2160) 23.98/24/25/29.97/50/ 59.94 2K (2049 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 HD (1920 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 XF-AVC 4:2:0 8-Bit 2K (2048 x 1080) 23.98/24/25/29.97/50/59.94 (24 to 35 Mb/s)  XF-HEVC S 4:2:2 10-Bit 4K (4096 x 2160) 23.98/24/25/29.97/50/59.94/ UHD 119.98p (S35 crop) UHD (3840 x 2160) 23.98/24/25/29.97/50/ 59.94/ UHD 119.98p (S35 crop) 2K 2049 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 HD (1920 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 XF-AVC S 4:2:2 10-Bit 4K (4096 x 2160) 23.98/24/25/29.97/50/59.94  UHD (3840 x 2160) 23.98/24/25/29.97/50/ 59.94 2K 2049 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 HD (1920 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 XF-AVC 4:2:0 8-Bit 2K (2048 x 1080) 23.98/24/25/29.97/50/59.94 (24 to 35 Mb/s)	Cinema Raw LT/ST 12-Bit 4K (4096 x 2160) 23.98/24/25/29.97/50 /59.94  Cinema Raw LT/ST/HQ 12-Bit 2K (2049 x 1080) Super16mm Cropped 23.98/24/25/29.97/50/ 59.94 XF-AVC H.264 Intra 4:2:2 10bit 4096 x 2160 up to 29.97 3840 x 2160 up to 29.97 2048 x 1080 up to 59.94 1920 x 1080 up to 59.94 XF-AVC H.264 Long GOP 4:2:2 10bit 4096 x 2160 up to 59.94 3840 x 2160 up to 59.94 2048 x 1080 up to 59.94 1920 x 1080 up to 59.94 XF-AVC HFR (Special Rec) H.264 Long GOP 4:2:2 10bit XF-AVC H.264 Long GOP 4:2:2 10bit 4096 x 2160 up to 119.88/120P 3840 x 2160 up to 119.88/120P 2048 x 1080 up to 1920 x 1080 up to 179.82/180P MP4 H.265 and MP4 H.264 recording modes are also available
Auto Focus	Dual Pixel CMOS AF II	Dual Pixel CMOS AF
Recording Media	2 x SDXC Card Slots	2x SDXC Card Slots

On paper, the C70 appears to be a better option than the C200 if you don’t need internal RAW recording or an SDI out. Just what this means for the future of the C200 is unclear. According to Canon, at this stage, the C200 will continue to be sold, and they are looking into a possible price reduction.

The C80 offers some decent upgrades over its predecessor.

What are the main differences between the C400 & C80?

• 6K 60p in Canon RAW Lite
• Super16 Crop Mode
• Additional SDI Out
• Removable Grip
• Genlock
• Sync
• CFExpress Type B Card
• Lens Port

Above you can see the key advantages the C400 has over the C80.

Even though there are some differences there are a lot of similarities. Below is a comparison between the two cameras:

	Canon C400	CANON C80
Sensor	Full Frame (26.7 Megapixel) Back Illuminated Stacked CMOS sensor	Full Frame (26.7 Megapixel) Back Illuminated Stacked CMOS sensor
Dynamic Range (Claimed)	16 stops	16 stops
Internal RAW Recording	Cinema Raw Light 10/12-bit 6000 x 3164 (Full Frame) 4368 x 2304 up to 100p (S35 sensor crop) 4096 x 2160 up to 120p (S35 sensor crop) 2048 x 1080 up 180p (S16 sensor crop)	Cinema Raw Light 12-bit 6000 x 3164 (Full Frame) 4368 x 2304 (cropped)
Internal Recording	XF-AVC 4:2:2 10-Bit 4K (4096 x 2160) 23.98/24/25/29.97/50/59.94/ 100/119.98 UHD (3840 x 2160) 23.98/24/25/29.97/50/ 59.94/100/119.98 2K 2049 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98/180 HD (1920 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98/180 XF-AVC 4:2:0 8-Bit 2K (2048 x 1080) 23.98/24/25/29.97/50/59.94 (24 to 35 Mb/s)  XF-HEVC S 4:2:2 10-Bit 4K (4096 x 2160) 23.98/24/25/29.97/50/59.94/ UHD 119.98p UHD (3840 x 2160) 23.98/24/25/29.97/50/ 59.94/ UHD 119.98p 2K 2049 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98/180 HD (1920 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98/180 XF-AVC S 4:2:2 10-Bit 4K (4096 x 2160) 23.98/24/25/29.97/50/59.94  UHD (3840 x 2160) 23.98/24/25/29.97/50/ 59.94 2K (2049 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 HD (1920 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 XF-AVC 4:2:0 8-Bit 2K (2048 x 1080) 23.98/24/25/29.97/50/59.94 (24 to 35 Mb/s)	XF-AVC 4:2:2 10-Bit 4K (4096 x 2160) 23.98/24/25/29.97/50/59.94 100/119.98 UHD (3840 x 2160) 23.98/24/25/29.97/50/ 59.94/120 2K 2049 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 HD (1920 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 XF-AVC 4:2:0 8-Bit 2K (2048 x 1080) 23.98/24/25/29.97/50/59.94 100/119.98/180 (24 to 35 Mb/s)  XF-HEVC S 4:2:2 10-Bit 4K (4096 x 2160) 23.98/24/25/29.97/50/59.94/ UHD 119.98p UHD (3840 x 2160) 23.98/24/25/29.97/50/ 59.94/ UHD 119.98p 2K 2049 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98/180 HD (1920 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98/180 XF-AVC S 4:2:2 10-Bit 4K (4096 x 2160) 23.98/24/25/29.97/50/59.94  UHD (3840 x 2160) 23.98/24/25/29.97/50/ 59.94 2K (2049 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 HD (1920 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 XF-AVC 4:2:0 8-Bit 2K (2048 x 1080) 23.98/24/25/29.97/50/59.94 (24 to 35 Mb/s)
Auto Focus	Dual Pixel CMOS AF II	Dual Pixel CMOS AF II
Image stabilization	EIS	EIS
Lens Mount	RF Mount	RF Mount
Internal ND	Electronically-controlled ND filter system, which supports 2/4/6 and an extended 8/10 stops	Electronically-controlled ND filter system, which supports 2/4/6 and an extended 8/10 stops
Timecode & Genlock	Timecode:Yes Genlock: Yes	Timecode:Yes Genlock: No
SDI	Yes (two)	Yes (one)
Media	1x CFExpress Type B 1x SD	2x SD

What do you get?

A C80 package comes with the following:

• C80 camera body
• Mic Holder
• Mic holder adapter
• Handle
• Tape measure hook
• Grip belt
• Shoulder strap
• One BP-A30 battery
• Body cap
• Battery charger CG-A20
• AC adapter CA-CP200 L

Price & Availability

The C80 is going to retail for $5,499 USD. It is scheduled to start shipping in November.

As a comparison, the C70 retailed for $5,495 USD when it was first announced. It is now available for $4,495 USD.

This is perhaps a fair price given its capabilities. At $5,499 USD it is $2,500 less than the C400.

Yes, it does offer quite a lot of features and a good range of recording options, but at this price, it does put it in direct competition with other digital cinema cameras that are more affordable.

Competition

As the C80 isn’t a mirrorless hybrid, so its direct competition is likely to come from other smaller digital cinema cameras such as the Sony FX6 and perhaps some of the offerings from Blackmagic Design and Z CAM. That’s not to say that people looking at cameras such as the Canon EOS R5 II, R5 C, and the Sony FX3 won’t have a look at this camera as well, but the price difference may be too much for some to consider.

So does that price compare to other digital cinema cameras? Below is what similar competing cameras retail for:

	PRICE
Canon C80	$5,499 USD
Canon C70	$5,499 USD
Canon R5 C	$3,599 USD
Canon EOS C400	$7,999 USD
Canon C300 Mark III	$7,999 USD
Canon C500 Mark II	$9,999 USD
Z CAM E2-S6 Super 35 6K Cinema Camera (EF Mount)	$2,199 USD
Z CAM E2-F6 Full-Frame 6K Cinema Camera (EF Mount)	$2,999 USD
Z CAM E2-F8 Full-Frame 8K Cinema Camera (EF Mount)	$5,995 USD
Panasonic EVA1	$6,820 USD
Blackmagic Design PYXIS 6K	$2,995 USD
Blackmagic Design Pocket Cinema Camera 6K G2	$1,995 USD
Sony FX6	$5,998 USD
Sony FX3	$3,898 USD
Sony FX9	$10,999 USD
Kinefinity TERRA 4K	$1,999 USD
Kinefinity MAVO 6K	$4,999 USD
Kinefinity MAVO LF	$7,999 USD
Kinefinity MAVO EDGE 6K	$9,999 USD
RED KOMODO	$4,995 USD
RED KOMODO-X	$6,995 USD

All of the above cameras offer a wide array of different features and capabilities. Canon also told me that the C80 isn’t a replacement for the C70 and that it will stay in their line-up.

What are the main differences between the C80 & FX6?

Even though there are some differences between the cameras, they both have a lot of the same features and functionality. Below is a comparison between the two cameras:

	Sony FX6	CANON C80
Sensor	Full Frame 12.9 megapixel Back-illuminated CMOS Exmor R 4K sensor.	Full Frame (26.7 Megapixel) Back Illuminated Stacked CMOS sensor
Dynamic Range (Claimed)	15+ stops	16 stops
Base ISO	800 ISO	Base ISO 800 Base ISO 3200 Base ISO 12600
Gamma Curves	HDR-HLG, Rec709, S Cinetone, Sony S-Log 3, Standard	Canon Log 2, Canon Log 3, Canon 709, BT.709, Wide DR, PQ, HLG. BT.709 Standard
Internal RAW Recording	None External RAW Only Raw 16-Bit via SDI/BNC 4096 x 2160 at 23.98/24.00/25/29.97/50/59.94 fps 3840 x 2160 at 23.98/24.00/25/29.97/50/59.94 fps Raw 16-Bit via HDMI 4264 x 2408 at 23.98/25/29.97/50/59.94 fps 4240 x 2385 at 23.98/25/29.97/50/59.94 fps	Cinema Raw Light 12-bit 6000 x 3164 (Full Frame) 4368 x 2304 (cropped)
Internal Recording	XAVC Intra 422 10-bit (Class 300) 4K DCI (4096×2160) 24P/23.98/24/29.97/50/ 59.94P UHD (3840×2160) 24P/23.98/24/29.97/50/ 59.94P/100/120P XAVC Intra 422 10-bit (Class 100) FHD (1920×1080) 24P/23.98/24/29.97/50/ 59.94/100/120/200/ 240P XAVC Long GOP 420 8-bit UHD (3840×2160) 24P/23.98/24/29.97/50/ 59.94P/100/120P XAVC Long GOP 422 10-bit FHD (1920×1080) 24P/23.98/24/29.97/50/ 59.94/100/120/200/ 240P	XF-AVC 4:2:2 10-Bit 4K (4096 x 2160) 23.98/24/25/29.97/ 50/59.94  UHD (3840 x 2160) 23.98/24/25/29.97/50/ 59.94 2K 2049 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 HD (1920 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 XF-AVC 4:2:0 8-Bit 2K (2048 x 1080) 23.98/24/25/29.97/ 50/59.94 (24 to 35 Mb/s)  XF-HEVC S 4:2:2 10-Bit 4K (4096 x 2160) 23.98/24/25/29.97/ 50/59.94/ UHD 119.98p (S35 crop) UHD (3840 x 2160) 23.98/24/25/29.97/50/ 59.94/ UHD 119.98p (S35 crop) 2K 2049 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 HD (1920 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 XF-AVC S 4:2:2 10-Bit 4K (4096 x 2160) 23.98/24/25/29.97/ 50/59.94  UHD (3840 x 2160) 23.98/24/25/29.97/50/ 59.94 2K 2049 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 HD (1920 x 1080) 23.98/24/25/29.97/50/ 59.94/100/119.98 XF-AVC 4:2:0 8-Bit 2K (2048 x 1080) 23.98/24/25/29.97/ 50/59.94 (24 to 35 Mb/s)
Auto Focus	Fast Hybrid AF system	Dual Pixel CMOS AF II
Image stabilization	No	EIS
Lens Mount	E Mount	RF Mount
Internal ND	Electronic variable ND system 2-7 stops	Electronically-controlled ND filter system, which supports 2/4/6 and an extended 8/10 stops
Timecode & Genlock	Timecode:Yes Genlock: No	Timecode:Yes Genlock: No
SDI	1x BNC (12G-SDI) Output	1x BNC (12G-SDI) Output
HDMI	1x HDMI 1.0 Output	1x HDMI 2.0 Output
USB-C	1x USB-C (USB 3.2 / 3.1 Gen 1)	Yes
Media	Dual Slot: CFexpress Type A / SD	2x SD
Audio	4-Channel 24-Bit 48 kHz LPCM Audio 2x XLR 3-Pin Mic/Line (+48 V Phantom Power) Input on Included Handle 1x 1/8″ / 3.5 mm TRS Stereo Microphone Output	4-Channel 24-Bit 48 kHz LPCM Audio 2x Mini XLR -Pin Mic/Line (+48 V Phantom Power) 1x 1/8″ / 3.5 mm TRS Stereo Microphone Output
Power I/O	1x Barrel (19.5VDC) Input	1x Barrel (11.5 to 20VDC) Input
Wireless	2.4 / 5 GHz Wi-Fi 5 (802.11ac), NFC	Yes

As you can see, the FX6 offers a lot of the same features as the C80, despite being released 4 years ago. Yes, it doesn’t offer 6K or internal RAW recording, but everything else is pretty similar.

Full Specifications

Thoughts

The C70 was popular for a reason, as it suited a lot of people’s needs because it bridged a gap between mirrorless and digital cinema cameras, and it offered a good compromise between the two. However, Canon also has the R5 C, which in some ways could be considered as a similar style camera to the C80.

By taking a lot of technology from the C400 and placing it in a more compact body, potential buyers can get a lot of the same functionality as a more expensive digital cinema camera without having to pay as much money. No, you won’t get all of the features found on a more expensive camera (or even some of the features in the cheaper EOS R5 II), but in my personal opinion, Canon has put enough of them into the C80 to give potential buyers of a C400 something to think about it. In saying that, the C400 has multiple video outputs and a few other features that will make it more suitable for certain levels of production.

Over the last 4-5 years we have seen that Canon aren’t afraid to cannibalize their own camera lineup. While it is always good to have lots of choices, bringing out too many camera models can end up frustrating your own customers, especially if they bought a more expensive camera that they now feel is being undervalued by a cheaper model.

Arguably, the C80 could be viewed as a better option than the Sony FX6, however, that camera was released back in 2020. The FX6 is probably due for an upgrade, but as it’s been so popular, I don’t think Sony has felt the urge to upgrade it. Also improving the FX6 would be difficult as Sony wouldn’t want it to step on the toes of the BURANO.

Canon now has the C80 and C400, while Sony has the FX3 and FX6. The advantage Sony has is that their cameras got to market early and they were widely adopted. Once you have someone locked into your lens ecosystem it is very hard to get them to change over to another brand. If you are an FX6 user you are unlikely to switch over to a Canon C80 or C400. If you are already in the Canon ecosystem then the C80 makes sense, and I think it is bound to tempt a lot of current C70 users.

If you are serious about video shooting and don’t need a true hybrid, at least to me, the C80 makes a lot more sense than the R5 II or an R5 C. It is only $1,900 USD more than an R5 C and you are getting a camera that comes with a lot more functionality for video shooting applications.

The C80 isn’t a camera that will suit everyone, but it does look like a good camera for events, news, and documentary use.

It will also make for a great B or C camera if you happen to be using a C300 Mark III, C400, or C500 Mark II, but in saying that, given its capabilities, it can absolutely also be used as an A camera.

The C80 could be used by so many people for such a wide array of applications that it is bound to appeal to quite a large audience. It is interesting to see Canon transitioning its new cameras to Back Illuminated Stacked sensors.

While it is far from perfect (no camera is), it will suit a lot of shooters’ needs. As I have mentioned numerous times before, almost every camera being released has very similar dynamic range and recording options. What you should be spending more time looking at is usability, total cost of entry, inputs/outputs, menu ease of use, and whether that camera will work for you.

Specifications are just specifications and they never tell you the true story about any camera. Usability is the number one thing I look for when deciding on a camera. I don’t care if a camera can shoot a certain number of frames per second at a certain resolution in RAW if that camera isn’t easy to use or doesn’t meet the requirements of how I like to work. I will always choose cameras that are easy to use and don’t get in the way of what I want to accomplish.

Don’t get blinded by marketing hype or specifications, high frame rates, or high resolution. Pick the camera that works best for you. At the end of the day, the only person you have to justify a camera purchase to is yourself (or your wife or husband if you have a joint bank account!). If the camera you already own or use or the camera you want to buy pays the bills and meets the requirements of the clients you work for then that is the right camera for you.

What do you think about the new C80? Let us know in the comments section below.