Django

As I commented above, that is the RF cinema line mount system. Its on C70/C80/C400 so not at all a Super35 exclusive. It's there to reinforce the mount for heavy cine glass weight and modularity/repair. What it does indicate to me is that IBIS is highly unlikely. That type of screw down rigidity doesn't have floating sensors in mind. Could be wrong but that's my feeling.

I think such a compact form factor would benefit greatly from IBIS to eliminate micro jitters on handheld shots, but gimbal shooters probably don’t want it to mitigate wobble effect on wide lenses. Not a deal breaker for me personally but I’d be disappointed if they omit it. Sony shill tubers will have a field day pointing that out as a miss if that’s the case.

You mean you don't want IBIS? I have a feeling its going to be absent. That zoom rocker is interesting too. Wonder if that will allow digital zoom a la Sony clear image zoom.

Its looking pretty good, very cool they kept the lock screw mount from the rest of the C line. Guess we know for sure it does stills. Looking more & more like a R5C II in a FX type body. Lots of vents: front, side & rear.. Now all we need is the specs!

Downsampling 7K to 6K isn’t crazy just a bit more pixels than 6K itself, easily handled by a modern DIGIC processor plus cooling. The FX2 does 7K to 4K downsampling in similar form factor and has like 13 hours of recording time. Canon doesn’t mess around with their cinema line; that’s the whole point of going that route vs their hybrid cameras. I doubt heat management will be an issue. Battery life wise I'd assume it uses the new R5ii batteries that pretty much remedied the R5C battery life issues.

R5C as its name and form factor suggest is a true hybrid. Not sure C50 is. Could be wrong of course but I have a feeling the stills side is going to be very limited, not to cannibalise R line.. or they could go the FX2 route which definitely cannibalises A7IV.

Don't forget the A7SIII/FX3 is actually a 48MP quad-bayer sensor binned to 12MP for increased low light and low rolling shutter. Canon could be up to a similar trick here.

How is this marketed as a hybrid when its C line and the teaser today show it on sticks with a top handle on a film set? For all we know this won't even do stills like all the other Cxx/Cxxx. That would be ultimate cripple hammer lol. This is clearly an FX3 competitor and the FX3 isn't much of a hybrid. It can take stills but it's cumbersome compared to the A7Siii. The absence of an EVF and possibly mech shutter will damper most serious photogs. Another thing to consider is the absence of IBIS, that would be a big mistake imo but Canon took it off the R5C and no C line camera has it. Also just saw the teaser on Instagram, it adds "Open your World" another hint towards open gate!

R5II is still mainly a photography camera with its 45MP, ergonomics and eye-AF control EVF. It has great video specs but no fan, line skipped 4K60p.. I'd imagine the C50 would have limited stills, maybe e-shutter only, no EVF, cine OS.. not to cannibalise R5ii.

pretty sure its fixed.. a la FX3.

Multi aspect ratio delivery is increasingly common so open gate would be a god send not to mention it opens up anamorphic for higher end cine duties. Of course its detachable..

Open Gate alone is a major game changer. 6K RAW / 32MP stills make it a serious upgrade for hybrid duties. Now stuff like triple-base ISO / DGO sensor & NDs would make it epic but I still doubt that'll happen. That said if you're happy with FX3 or locked into Sony, see this as more pressure on them to up the ante on FX3 II.

Considering the rumored specs there is no way it was going to be R50V size! The XLR top handle aligns with the leaked info: Compact Box-Style Design: Aluminium alloy body construction, weather-sealed; active cooling fan for unlimited recording; weight ~650g (body only); RF mount with EF adapter support. TBA: Optional electronic viewfinder (EVF) attachment (5.76M-dot OLED); 3.2-inch vari-angle touchscreen LCD (2.1M-dot). Ports and Storage: Dual card slots (CFexpress Type B + SD UHS-II); full-size HDMI 2.1; USB-C 3.2; XLR audio inputs via optional top handle; Wi-Fi 6E, Bluetooth 5.3; Ethernet via adapter.

What if it's an e-ND like FS5? That would make it very light. The FX2 adds an oversized EVF to the FX body and manages 594g. I think it's doable but I also think those specs are a little ambitious and probably erroneous.

Seems to be a lot of confusion, the blurred body in the German YT video is NOT the C50. In fact its not even a Canon, author debunked that, furthermore the adapter used on that blurred camera is a PL to L mount so definitely not CaNikon... which leads to Panny.. or some other alliance product!

As with all rumor mills take this with a grain of salt, instant-buy if this is verdict : Canon EOS C50 Sensor and Image Processing 32MP Full-Frame BSI CMOS Sensor: Adapted from R5-series tech but at a reduced 32MP resolution for better heat management and faster readouts in video modes. (~6936 x 4624 pixels in 3:2 aspect ratio for stills; supports Open Gate full-sensor readout for video). Features Dual Gain Output (DGO) for enhanced dynamic range (15+ stops), borrowed from C300/C70 technology. Analysis: With the help of the BSI CMOS sensor, the low-light performance of the camera improves, as well as heat management issues become much better due to the lower resolution sensor compared to the R5 Mark II with 45 megapixels. So, the lower resolution choice makes it an ideal sensor for cinema workflow, making it highly efficient for solo professionals. DIGIC Accelerator + DIGIC X: Dual-processor setup added with AI DIGIC Accelerator, the Canon 32MP sensor has fast sensor readout, despite being a non-stacked CMOS sensor, and reduced rolling shutter. Analysis: The image processor is responsible for the overall performance of the camera. Paired up with Canon’s homegrown AI image processor known as DIGIC Accelerator, it boosts the AF performance of the camera. The Accelerated Capture system reduces rolling shutter distortion, ensuring smooth footage during fast action. Advanced Dual Pixel Intelligent AF, powered by the DIGIC Accelerator, offers precise subject tracking. Canon EOS C50 Video Capabilities Resolution and Frame Rates: Canon C50 is available to capture 6K RAW at 60 FPS (full-sensor readout; oversampled from 7K / 32MP for high detail). 4K at 120 FPS (uncropped or minimal crop, 10-bit 4:2:2 internal). Additional modes include 4K 60 FPS oversampled (from 7K-equivalent downsample for superior quality, no line-skipping) and Full HD at 240 FPS. Analysis: The core video specifications actually outperform the Sony FX3 4K 120 limit in resolution flexibility, focusing more on cleaner capture by oversampling from 7K. The Canon C50 camera also has an active full cooling fan inside, so no recording limit. Codecs and Log Profiles: Canon RAW Light (LT/STD/HQ), Canon Log 2/3, HDR-PQ, XF-AVC, MP4 (H.265/H.264). Features internal ND filters (up to 10 stops), timecode I/O, proxy recording. Analysis: The above codecs, resolution, and frame rates all qualify for high-end production needs, and it will very easily make its space in top Netflix-recommended cameras. Canon EOS C50 Autofocus and Stabilisation Dual Pixel CMOS AF II: AI subject detection for people, animals, vehicles; up to 1,053 AF zones; face/eye tracking with registration for up to 10 subjects. Analysis: The need to track 3D moving subjects even in complex scenes makes it very ideal for documentary-style or event shooting. At the same time, with the AI enhancement, users will experience a major shift in autofocus performance compared to the Canon R5C. In-Body Image Stabilisation (IBIS): Up to 8 stops, with electronic IS coordination for video. Analysis: The Canon C50 allows you to shoot handheld videos due to the presence of its sensor-shift image stabilisation system. Further, you can also use gimbals or external stabilisers to enhance performance. Canon R5C and FX3 — neither of them had IBIS. Canon EOS C50 Build and Connectivity Compact Box-Style Design: Aluminium alloy body construction, weather-sealed; active cooling fan for unlimited recording; weight ~650g (body only); RF mount with EF adapter support. TBA: Optional electronic viewfinder (EVF) attachment (5.76M-dot OLED); 3.2-inch vari-angle touchscreen LCD (2.1M-dot). Analysis: The new Canon C50 is a rig-ready camera, a mix with the Sony FX3 design. You can easily mount several accessories on the mounting threads all around the body. Ports and Storage: Dual card slots (CFexpress Type B + SD UHS-II); full-size HDMI 2.1; USB-C 3.2; XLR audio inputs via optional top handle; Wi-Fi 6E, Bluetooth 5.3; Ethernet via adapter. Analysis: Lots of upgrades in the new C50 body — starting with a full-size HDMI port (HDMI 2.1) and timecode I/O support for multi-cam setups, positioning it above consumer hybrids. Battery & Power: LP-E6P battery (2+ hours of 4K recording); power delivery via USB-C; optional battery grip or V-mount compatibility. Other Features The Canon C50 will be Canon’s first cinema camera to offer Open Gate recording for flexible aspect ratios. Waveform/vectorscope monitoring will also be there, along with false color. A new feature is anamorphic de-squeeze functionality, and AI upscaling to 8K is proposed (not available in the initial version of the camera). Canon C50 Pricing [Expected] and Value Proposition Canon C50 Price: $3,499–$3,999 body only [Approx]. Analysis: At this level, the C50 enters the higher-end cinema EOS lineup, positioned below the C70 ($5,499). It offers more than the FX3 ($3,899), but the C70 was less popular due to its price point and limited Canon’s RF lens ecosystem (lenses start at $300+). Hopefully, this year, third-party makers will release a massive range of full-frame RF autofocus lenses. For indie filmmakers, the C50 represents excellent value for money—delivering 6K capabilities at half the cost of a RED Komodo ($5,995). However, if Canon opts for a higher tag (e.g., $4,799), it risks alienating budget-conscious creators. https://thenewcamera.com/canon-c50-rumored-specs-price-release-date-and-in-depth-analysis/

Could be.. I can't keep up with all these rumors!

Body & grip looks thinner, I think that's actually the Nikon ZR! In the comment section the Youtuber says: I'm sorry to tell you but what you captured there from my Video is not a Canon Camera at all. 😅

I dunno, couple weeks ago it was an APS-C sensor, yesterday it was the 45MP FF R5ii sensor, and today it's a 32MP FF sensor.. which Canon doesn't have AFAIK. Maybe it's the new rumoured sensor from R6iii or maybe its APSC. Also it apparently has open-gate which would be a game changer... stay tuned folks!

Definitely a C line camera!

Sony rumors claim from a "rock-solid" source it's the C50, a full frame FX3 killer with R5ii sensor. If true that would basically be the R5C mk2 in an FX type body. Also Nikon is supposed to drop Nikon ZR the following day. What a time to be alive!

Totally get the frustration, mixed feelings here too. But honestly, I’ve been directing AI content for agency work and even for music videos where the budget wouldn’t cover full CGI. It’s not about losing work, it’s about adapting. Most clients are abroad and on tight budgets, so outsourcing is just reality. Learning to guide AI creatively is how you stay ahead, not get replaced!

Fun topic! I'd be tempted to say phone & action cam for actual biking and a compact mirrorless for off-road filming/vlogging. Weight, battery life & weather sealing probably the most important factors. Overheating something you wanna avoid too. I'd be tempted to recommend Sony FX line (FX2/3/30). Why? Built-in fan (zero overheating), rugged and compact, big sensors, mounting points, pro audio, class leading AF, cine OS (LUT support, shutter angle etc) and the cameras are discrete. Model wise, the FX30 is most affordable, APS-C means smaller lenses. FX3 is most expensive, full frame and has that extreme low-light ability, minimal rolling shutter and is Netflix approved. Just released FX2 is the middle ground and the model I'm currently eyeing: Does both FF/APS-C, oversampled 4K & 33MP stills, AI AF & the unique tilt EVF (very handy for harsh exterior shooting). I saw the R5 was mentioned by OP, if he can swing it the R5ii is much better: less overheating, C-log2 and 4K SRAW (small RAW files). But it's fairly heavy vs lighter options! Also Canon has a super cheap great 28mm f2.8 pancake RF lens which could be your one and be done travel / v-log lens. Casey here actually does an awesome job comparing the R5ii / 28mm combo vs DJI Pocket3 for V-logging & street videography on skateboard:

Your checklist is a good start however everyone has their own perception of what defines "cinema". People have been chasing cinematic vibes long before DSLRs and mirrorless cameras were a thing. This forum has been part of that journey, evolving alongside gear and trends. Online, “cinematic” usually means widescreen bars, shallow depth of field, slow-mo coffee shots, and the latest LUT everyone’s hyped about. Anamorphic lenses are popping right now, which probably explains why a lot of camera bros are jumping ship to Lumix to chase that look. My point I guess is that there’s no single “cinema look.” Real cinema is about intention and personal choices. It’s the lighting/exposure that sets the mood, the colors that tell the story, natural dynamic range, and framing that pulls you in. The texture your gear adds, your lens choice, and how you pace things.. that’s what really gives something its look. That’s why directors like Lynch, Soderbergh, and Baker sometimes break code and ditch the big rigs for DV, iPhones, or 35mm. Not because they can’t get a polished image, but because they want immediacy, rawness, and the happy accidents you just don’t get with giant setups. Baker’s Anora used 35mm not for nostalgia, but for the discipline and energy it forces, kind of like his iPhone stuff on the reverse end of the spectrum. Whether those projects click with you visually is personal, but that doesn’t make them any less cinema. Sure, high-end productions lean on ARRI, RED, or Venice with top glass. But smaller cameras get their day too. The FX3 showed up in The Creator, F1 & Severance because of its low-light chops, portability, and multi-cam flexibility. When matched up right, it can hang with the big boys. Chasing the cinematic look is totally valid, especially if it fires up your creativity. Again, your checklist is legit, but remember it’s always evolving and should serve what you want to say. Sometimes the weird or unexpected choices end up making something fresh and your own.

Totally get the love for the “celluloid look”: 24p, grain, soft image, widescreen bars. It hits a vibe. But these are aesthetic codes we’ve absorbed over time, not fixed rules. They signal “cinema” because of decades of conditioning, but it’s just one visual language. Some of the most “video” looking content was shot on film. Sitcoms like Friends or Seinfeld used 35mm, but lit and cut for TV brightness and fluidity. Meanwhile, filmmakers like Lynch or Soderbergh have used DV or even iPhones and still delivered pure cinema. It’s not about format alone, but how it’s used. Same with frame rates. 24p stuck around because of early sound sync limitations, and we grew to love its motion blur and softness. 60p feels more “real,” which works for news or sports, but often feels uncanny in narrative. The Hobbit in 48p was a bold move, but many rejected it because it broke the cinematic illusion we’ve grown used to. New generations are wired differently. They grow up on 30p iPhone clips, 60p YouTube, 120Hz TikToks. What feels “cinematic” is shifting. Same with aspect ratios: 4:3, widescreen, vertical. Even black bars have become a kind of shorthand that says, “this is a movie.” Resolution plays a role too. Some DPs shoot in 8K then soften or downscale to avoid the overly digital crispness. Others embrace every pixel. You’ve got people using 35mm, 65mm, anamorphic, spherical, vintage lenses, weird sensors. There’s no single “cinematic” look. Just choices.