2026 Camera Pick (C50/R6 mk3, FX3/FX2, ZR)

[Django]

Hey everyone,

You know me. I’ve been agonizing over my next camera the entire year of 2025. Countless threads, rental tests, ecosystem debates… I've got a shortlist but I’m still somewhat undecided in February 2026.

Now a proper ongoing gig has landed: high-end lifestyle / product / mini-doc content for a well-known outlet. All solo run&gun: fast stories, Reels, interviews, close-up product detail, lifestyle vignettes, multi-platform deliverables (horizontal main cuts + vertical social + still assets). No crew, just me moving fast in boutiques, ateliers and interiors.

Current shortlist :

Canon EOS C50 (€3,500 ) Pros that keep winning me over after testing:

7K open-gate 3:2 + simultaneous 16:9 / 9:16 dual record to different cards = massive time-saver for vertical/horizontal from one take.

Dual zoom rockers (body + XLR handle) smooth variable-speed creeps and fast punch-ins on primes felt magical.

Built-in fan = no thermal anxiety on longer takes. Cine OS: frame guides for every ratio, false color/waveforms/zebras, shutter angle, base ISO switches.

Gyro data + Gyroflow covers stabilization so well that lack of IBIS isn’t a big issue. C-Log2 grading is easy and beautiful, plus Wide DR mode (I’ve missed that since my C100/C200 days).

Pro mini cine cam body look perception is important in my field; you can charge more with something that screams serious filmmaker.

Cons: Body+lens investment hurts minimum RF 24/1.8 Macro IS STM (~€500) + RF 45/1.2 STM (€500) = €4500 total. Closed RF glass. EIS only (electronic), so very dynamic handheld shots rely on technique or light post-stab.

Canon EOS R6 Mark III (€2,899) Pros: IBIS for aggressive handheld run-and-gun. Built-in EVF (huge for bright interiors/outdoors). Mechanical shutter + flash sync for occasional stills. 7K open-gate 3:2 for post-cropping multi-ratio. Same C-Log2 grading ease and fast hybrid menu/dial switching.

Cons: No simultaneous multi-format dual recording all multi-ratio work is post-crop only. No 7K downsampled digital zoom (FHD only). No built-in fan thermal limits in demanding long takes (30–60 min in 4K/7K high-bitrate). No XLR handle or mounting points out of box. Consumer-looking body doesn't have the pro mini cine cam vibe.

Sony FX3 (€3,500 ) I already have Zeiss Batis primes, so zero lens spend. IBIS, low-light is proven, and it’s the safe solo workhorse everyone knows.

But in 2026 it feels dated: Still capped at 4K internal (no 6K/7K future-proofing). No open-gate all multi-ratio work is post-crop from 4K (quality hit). No RAW for high-end stuff. No EVF. 12MP stills. Spending serious money on a 5-year-old body feels like questionable investment math, especially considering an FX3 mk2 will drop later this year.

Sony FX2 (€2,500) Despite its controversial usage of the old A7IV sensor, it's a real nice body thanks to its unique tilt EVF that I absolutely love. Also a proper hybrid. Its already gone down in price a little bit but like the above FX3 it feels silly investing in a cam with outdated tech and specs.

Nikon ZR €2,200. Cheapest option. I could adapt my Sony glass. Internal R3D RAW is appealing for high-end grading. Big, beautiful display is the main draw.

Main cons: R3D RAW means huge files. H.265 codec applies quite heavy noise reduction that turns into “mush”. No open-gate. Basic controls. No EVF, no mech shutter. Ecosystem still feels young for run-and-gun reliability on a high-profile gig

I’m leaning hard toward the C50 right now. The open-gate + simultaneous dual-ratio recording + rocker zoom control feel tailor made for the exact multi-platform content I’ll be shooting. C-Log2 grading is easy and beautiful, Wide DR mode brings back what I loved on my old C100/C200 days, and Gyroflow + EIS covers stabilization perfectly for my style. Cine menu and exposure tools also feel like a step up for product polish. RAW and anamorphic support for potential high-end stuff. The handling with the excellent top handle makes it feel like an evolved FX3.

It's a hefty investment although I should recoup fast once I start getting paid.

Yes I'm purposely omitting Lumix, a forum favourite I know but I just don't gel with either bodies or lens choice.

Appreciate any real-world takes from people who may have used above gear and/or deliver this kind of content. Thanks in advance.

[eatstoomuchjam]

What are you using now?  Do you already have lenses?

Without having used it, the C50 seems like a great choice from what you have listed.  If lack of IBIS is a big problem, you could also pair it with a used Canon body (now or in the future) which has decent IBIS for those handheld shots (or your current body if you have one, if it has IBIS).  There's a reason that my R5 comes with me on every shoot.  Need a quick handheld shot?  Just grab it from the bag.  Wanna have someone go pick up some b-roll?  R5.  Suction cupping it to the windshield?  R5.

Plus the second body with decent AF can be really useful for grabbing a second angle, if wanted.  Just set it up, make sure to hit record, and let it do its thing.

[Django]

23 minutes ago, eatstoomuchjam said:

What are you using now?  Do you already have lenses?

Without having used it, the C50 seems like a great choice from what you have listed.  If lack of IBIS is a big problem, you could also pair it with a used Canon body (now or in the future) which has decent IBIS for those handheld shots (or your current body if you have one, if it has IBIS).  There's a reason that my R5 comes with me on every shoot.  Need a quick handheld shot?  Just grab it from the bag.  Wanna have someone go pick up some b-roll?  R5.  Suction cupping it to the windshield?  R5.

Plus the second body with decent AF can be really useful for grabbing a second angle, if wanted.  Just set it up, make sure to hit record, and let it do its thing.

I've been mainly Canon/Sony shooter these last years but only have an FS7 left (which I'd sell but has depreciated so much I'd rather keep for gigs demanding a big cam with NDs etc). Lens wise I've just sold my remaining EF glass and as stated still got my Zeiss Batis (E-mount) set. Also have manual Leica M glass.

I guess the FS7+Batis and no EF is what is making me hesitate jump back into Canon. Its going to be an investment.

If only Sony had an FX3 mk2 with global shutter, open gate and tilt EVF I'd be going that route. But that isn't the case and I now have to make a rather quick decision. 

That is where ZR feels like good middle ground: e-mount adaptability, 6K, tons of codecs, FX type body. Affordable. But that soft NR ridden h265 makes me pause. R3D RAW file sizes is also just not doable for fast turnovers.

Plus no open gate on neither Sony/Nikon is a real bummer. Like I said I'm going to have to deliver both 16:9 & 9:16. Having the option of either OG or dual format recording on C50 is mega clutch. The 4X digi zoom option is also killer, it would turn the 24mm f1.8 into a parafocal 24-96mm f1.8 zoom lens! Having tried it, its butter smooth using the rocker lever with various speed velocities.

Gyroflow support is also a BIG plus for C50. Free open source and tests I've seen shows it being better than any type of other stabilisation done before wether mechanical or digital!

If I do go the C50 route, I do plan on getting a second R body for IBIS but also mech shutter stills for flash photography. All in all the upfront investment is what is giving me second thoughts but since its for paid work I'm telling myself its worth to swallow the cost..

 

[FHDcrew]

5 hours ago, Django said:

Pros: IBIS for aggressive handheld run-and-gun.

Something interesting about canon bodies with IBIS is that I find with a good walking workflow and adobe’s warp stabilizer the results rival gyroflow. Especially on wide lenses I can very consistently get beautifully stable resultS across multiple canon bodies with IBIS. For some reason adobe’s warp stabilizer absolutely thrives at stabilizing the type of footage coming out of these camera bodies with a good workflow. I’ve been able to get amazing results on an original canon r6, r5 and r7. For best results put DIS on Standard and then use warp stabilizer to carry it the rest of the way. 1-3% on warp stabilizer smooths out the jittery IBIS motion. 5% looks like a steadicam. 10% is near gimbal level. 50% is insane. 
 

so in some ways the r6 iii with this workflow could be more useful. The IBIS helps in this workflow meaning you in a lot of situations can keep your shutter at 1/50 and stabilize. Gyroflow without IBIS you really have to shoot at 1/200 or above. 

[FHDcrew]

Just now, FHDcrew said:

Something interesting about canon bodies with IBIS is that I find with a good walking workflow and adobe’s warp stabilizer the results rival gyroflow. Especially on wide lenses I can very consistently get beautifully stable resultS across multiple canon bodies with IBIS. For some reason adobe’s warp stabilizer absolutely thrives at stabilizing the type of footage coming out of these camera bodies with a good workflow. I’ve been able to get amazing results on an original canon r6, r5 and r7. For best results put DIS on Standard and then use warp stabilizer to carry it the rest of the way. 1-3% on warp stabilizer smooths out the jittery IBIS motion. 5% looks like a steadicam. 10% is near gimbal level. 50% is insane. 
 

so in some ways the r6 iii with this workflow could be more useful. The IBIS helps in this workflow meaning you in a lot of situations can keep your shutter at 1/50 and stabilize. Gyroflow without IBIS you really have to shoot at 1/200 or above. 

This does require a good technique ofc meaning good crouched heel toe walk, holding the camera a bit loose and even using a neck strap helps. But when I shoot this way with canon IBIS + DIS Standard and then use warp stabilizer, the results are excellent and very consistent.  

[Django]

43 minutes ago, FHDcrew said:

Something interesting about canon bodies with IBIS is that I find with a good walking workflow and adobe’s warp stabilizer the results rival gyroflow. Especially on wide lenses I can very consistently get beautifully stable resultS across multiple canon bodies with IBIS. For some reason adobe’s warp stabilizer absolutely thrives at stabilizing the type of footage coming out of these camera bodies with a good workflow. I’ve been able to get amazing results on an original canon r6, r5 and r7. For best results put DIS on Standard and then use warp stabilizer to carry it the rest of the way. 1-3% on warp stabilizer smooths out the jittery IBIS motion. 5% looks like a steadicam. 10% is near gimbal level. 50% is insane. 
 

so in some ways the r6 iii with this workflow could be more useful. The IBIS helps in this workflow meaning you in a lot of situations can keep your shutter at 1/50 and stabilize. Gyroflow without IBIS you really have to shoot at 1/200 or above. 

Interesting, I'm usually not a fan of post stabilisation as it often crops a lot and you get weirdness depending on the shot. Gyroflow seems so much smarter thanks to gyro data. Of course IBIS on the R6 mk3 would actually be enough in most case scenarios so sure I agree IBIS is a plus vs no IBIS on C50, however I feel GF somewhat alleviates the lack of IBIS, and I'm gaining a whole lotta reliability with the C50 fan etc. The top handle on the C50 is really really nice and helps keeping the cam steady, especially with body contact point. 

I was actually all set on the R6 mk3 as it checks just about every box on a hybrid.. and then I tried the C50 and it immediately reminded me of my C100/C200 days, except in a so much lighter package with so many more specs. Now the C50 feels like the 5D mk3 after I upgraded to the C100. Still great but photo centric body and UI. I still have about a week to make my mind so keep the feedback coming!

[FHDcrew]

2 hours ago, Django said:

Interesting, I'm usually not a fan of post stabilisation as it often crops a lot and you get weirdness depending on the shot.

I completely understand. What I can say is for some reason solid handheld technique + Canon IBIS + Canon DIS + ADOBE warp stabilizer is very consistent and stable. Worth a try. But I do get it, gyroflow is great too and uses real motion data. I’ve done a ton of filming on canon bodies though and this technique works really well. It’s not 100% perfect but I’d call it 95% perfect with a bit of tweaking. 

[FHDcrew]

Also it needs to be warp stabilizer; any of the stabilization algorithms in Davinci resolve don’t do as well and end up making the result worse. Warp stabilizer set to substance warp is quite good however. I actually am currently paying for just after efffects alone and have some scripts that let me quickly render a single clip in Davinci resolve, apply warp stabilizer in AE, render and import quickly back to Davinci. 

[eatstoomuchjam]

6 hours ago, Django said:

Lens wise I've just sold my remaining EF glass and as stated still got my Zeiss Batis (E-mount) set. Also have manual Leica M glass.

Pity about the EF stuff.  I'm planning to keep mine for as long as possible and I'm still adding more on occasion.  Adapts to everything, autofocus feels native on RF bodies.  Plus most of the lenses were designed before it was assumed that the camera would fix defects with a profile.

The M mount glass will look brilliant on any system you mentioned, though.

6 hours ago, Django said:

If only Sony had an FX3 mk2 with global shutter

Isn't the FX3's RS only like 8ms already?  Usually that's enough even for fast action to look good.

6 hours ago, Django said:

Gyroflow support is also a BIG plus for C50. Free open source and tests I've seen shows it being better than any type of other stabilisation done before wether mechanical or digital!

Just keep in mind that gyroflow-style solutions usually require fast shutter speeds.

[Django]

1 hour ago, eatstoomuchjam said:

Pity about the EF stuff.  I'm planning to keep mine for as long as possible and I'm still adding more on occasion.  Adapts to everything, autofocus feels native on RF bodies.  Plus most of the lenses were designed before it was assumed that the camera would fix defects with a profile.

I hear you, they are great lenses, especially L series and it was actually hard selling them.. but if I go back to Canon it will be the affordable RF STM series (mostly have IS) and who knows maybe I'll venture back to EF for the more exotic ones like tilt shift etc.

1 hour ago, eatstoomuchjam said:

Isn't the FX3's RS only like 8ms already?  Usually that's enough even for fast action to look good.

Sure it is. Just wishful thinking they put the A9iii GS sensor.

1 hour ago, eatstoomuchjam said:

Just keep in mind that gyroflow-style solutions usually require fast shutter speeds.

Gotcha, I'm trying to test it out but it looks like the C50 test footage mxf files I got don't have the meta data in them 😞

[ArashM]

Good convo so far, I shoot on Lumix FF, Fuji XH2S and stills on Canon. Have had a lot of Sony's in the past (actually think the FX30 is a fantastic overlooks body if you don't need super High ISO)

Bought a ZR on a whim, - to my taste- the H265 is unusable, and the RED code files are massive. There are way too many quality of life issues (like extracting the CFB card once there is a cage on the body) that really ruin it for me!

For what you have listed I think the C50 is great or look for a used FX3, still a solid camera today.

[kye]

20 hours ago, Django said:

Hey everyone,

You know me. I’ve been agonizing over my next camera the entire year of 2025. Countless threads, rental tests, ecosystem debates… I've got a shortlist but I’m still somewhat undecided in February 2026.

Now a proper ongoing gig has landed: high-end lifestyle / product / mini-doc content for a well-known outlet. All solo run&gun: fast stories, Reels, interviews, close-up product detail, lifestyle vignettes, multi-platform deliverables (horizontal main cuts + vertical social + still assets). No crew, just me moving fast in boutiques, ateliers and interiors.

Current shortlist :

Canon EOS C50 (€3,500 ) Pros that keep winning me over after testing:

7K open-gate 3:2 + simultaneous 16:9 / 9:16 dual record to different cards = massive time-saver for vertical/horizontal from one take.

Dual zoom rockers (body + XLR handle) smooth variable-speed creeps and fast punch-ins on primes felt magical.

Built-in fan = no thermal anxiety on longer takes. Cine OS: frame guides for every ratio, false color/waveforms/zebras, shutter angle, base ISO switches.

Gyro data + Gyroflow covers stabilization so well that lack of IBIS isn’t a big issue. C-Log2 grading is easy and beautiful, plus Wide DR mode (I’ve missed that since my C100/C200 days).

Pro mini cine cam body look perception is important in my field; you can charge more with something that screams serious filmmaker.

Cons: Body+lens investment hurts minimum RF 24/1.8 Macro IS STM (~€500) + RF 45/1.2 STM (€500) = €4500 total. Closed RF glass. EIS only (electronic), so very dynamic handheld shots rely on technique or light post-stab.

Canon EOS R6 Mark III (€2,899) Pros: IBIS for aggressive handheld run-and-gun. Built-in EVF (huge for bright interiors/outdoors). Mechanical shutter + flash sync for occasional stills. 7K open-gate 3:2 for post-cropping multi-ratio. Same C-Log2 grading ease and fast hybrid menu/dial switching.

Cons: No simultaneous multi-format dual recording all multi-ratio work is post-crop only. No 7K downsampled digital zoom (FHD only). No built-in fan thermal limits in demanding long takes (30–60 min in 4K/7K high-bitrate). No XLR handle or mounting points out of box. Consumer-looking body doesn't have the pro mini cine cam vibe.

Sony FX3 (€3,500 ) I already have Zeiss Batis primes, so zero lens spend. IBIS, low-light is proven, and it’s the safe solo workhorse everyone knows.

But in 2026 it feels dated: Still capped at 4K internal (no 6K/7K future-proofing). No open-gate all multi-ratio work is post-crop from 4K (quality hit). No RAW for high-end stuff. No EVF. 12MP stills. Spending serious money on a 5-year-old body feels like questionable investment math, especially considering an FX3 mk2 will drop later this year.

Sony FX2 (€2,500) Despite its controversial usage of the old A7IV sensor, it's a real nice body thanks to its unique tilt EVF that I absolutely love. Also a proper hybrid. Its already gone down in price a little bit but like the above FX3 it feels silly investing in a cam with outdated tech and specs.

Nikon ZR €2,200. Cheapest option. I could adapt my Sony glass. Internal R3D RAW is appealing for high-end grading. Big, beautiful display is the main draw.

Main cons: R3D RAW means huge files. H.265 codec applies quite heavy noise reduction that turns into “mush”. No open-gate. Basic controls. No EVF, no mech shutter. Ecosystem still feels young for run-and-gun reliability on a high-profile gig

I’m leaning hard toward the C50 right now. The open-gate + simultaneous dual-ratio recording + rocker zoom control feel tailor made for the exact multi-platform content I’ll be shooting. C-Log2 grading is easy and beautiful, Wide DR mode brings back what I loved on my old C100/C200 days, and Gyroflow + EIS covers stabilization perfectly for my style. Cine menu and exposure tools also feel like a step up for product polish. RAW and anamorphic support for potential high-end stuff. The handling with the excellent top handle makes it feel like an evolved FX3.

It's a hefty investment although I should recoup fast once I start getting paid.

Yes I'm purposely omitting Lumix, a forum favourite I know but I just don't gel with either bodies or lens choice.

Appreciate any real-world takes from people who may have used above gear and/or deliver this kind of content. Thanks in advance.

Two thoughts from me.

If you close your eyes and imagine each scenario, how do each of them make you feel?
What is never really talked about is that if you feel like you're having to argue or strong-arm your equipment then you'll be in a bad mood, which isn't conducive to a happy set, getting good creative outputs, or just enjoying your life.  I think people dismiss this, but if you're directing the talent then this can really matter - people can tell if you're in a good mood or distracted or frustrated etc and people tend to take things personally so your frustrations with the rig can just as easily be interpreted by others that you're not happy with their efforts.
The odd little image technical niggle here or there won't make nearly as much difference as enjoying what you do vs not.

When it comes to IBIS vs Giroflow vs EIS etc, it's worth questioning if more stabilisation is better.  For the "very dynamic handheld shots" having a bit more camera motion might even be a good thing if it is the right kind of motion.  Big budget productions have chosen to run with shoulder-mounted large camera rigs and the camera shake was pleasing and added to the energy of the scene.  Small amounts of camera shake can be aesthetically awful if they're the artefacts from inadequate OIS + IBIS + EIS stabilisation, whereas much more significant amounts of camera shake can be aesthetically benign if coming from a heavier rig without IBIS or OIS.

If more stabilisation is better, maybe it would be better overall to have a physical solution that can be used for those shots?

Even if there aren't good options for those things, maybe the results would be better if those shots were just avoided somehow?  In todays age of social media and shorts etc, having large camera moves that are completely stable is basically a special effect, and maybe there are other special effects that can be done in post that are just as effective but are much easier to shoot?

[Django]

 

@kye

Thanks for the thoughtful take, two solid points.

On the first one: I don’t really have emotional attachment to camera bodies anymore. They’re just tools that either help me get the shot or get in the way. Lenses are the emotional part for me (the rendering, the character, the way they feel when I look through them), but the body is basically a computer with a mount and some buttons.

That said, ergonomics and UI matter hugely. If I’m constantly fighting menus, fumbling controls under pressure, or the grip feels wrong after 20 minutes, my mood tanks and it bleeds into the set. I’ve shot with cameras that technically should be fine but never clicked with my hands or brain. The day always feels harder and the results flatter. So if the C50’s cine OS with shutter angle, proper exposure tools and XLR top handle let me stay in flow instead of menu-diving or second-guessing, that’s worth a lot more than specs on paper.

Reliability is primal too. A body that fails on set (AF hunting in low light, overheating mid-interview, battery dying unexpectedly, corrupted file, flicker issues, or weird grading artifacts) is a disaster, especially solo. I’ve had shoots go sideways because of exactly that. So even if a camera is technically capable, if it can’t be trusted in the field for hours, it’s not a tool, it’s a liability.

On stabilization: I’m with you. I’m not chasing perfectly locked-down gimbal shots or overcooked EIS. I actually like natural camera movement, it feels alive and human. The stuff that kills the vibe for me is the micro-jitters and tiny breathing shakes on small-body cameras. Those little floating tremors look nervous and amateurish. Big intentional camera motion (shoulder rig sway, handheld energy) can be beautiful and add to the scene, but those small unintentional artifacts from inadequate stabilization are just distracting.

That’s why Gyroflow plus shooting with EIS off (or Standard only when needed) feels like the sweet spot. I get to keep the organic handheld character I like, but I can surgically remove the annoying micro-shake in post without turning everything into a locked-down special effect. If a shot is so dynamic that even that isn’t enough, I’ll reach for a gimbal or shoulder rig anyway. But for 80 to 90 percent of the lifestyle, interview and observational stuff I’m shooting, I’ll be on sticks with handheld B-roll. 

Appreciate the nudge. It’s always good to be reminded that mood, flow and reliability matter more than specs.