The development and innovation in professional video/film cameras is experiencing an ongoing towards the newest. This allows various kinds of users to have capture equipment of a high technical and creative level in a very short period of time.

*This is included in the April issue of TM BROADCAST. You can access the full magazine here.

The different camera manufacturers have entered into intense competition when looking for solutions of a high level and at very affordable prices. Canon Inc., a Japanese company (1937) based in Tokyo, has long been a world reference for the products it offers, both to the amateur and professional audiovisual sectors (Broadcast/Cinema).

We must highlight its product series called EOS CINEMA, a range in which the maker has been presenting a camera model to the audiovisual market year after year: EOS C300 (2011); EOS C500 (2012); EOS C700 (2017); EOS C300 Mark III (2020); EOS R5C (2022), among others. Surely some of them are already well known by our readers and camera operators who work in the sector, since they offer very successful solutions to the needs of their customers.

At present, it could not be otherwise, as Canon continues in this vein to present yet a new model: The EOS C80, which has been available since November 2024.

It has taken us some time to get our hands on this model, but we must point out that it has given us a very good feeling since we took it out of its carryng case. It is compact and fully self-contained (i.e. allows media recording and playback without any extra accessories).

In principle, it reminds you of a photo camera but, as you look at it in more detail and get acquainted with its performance, it gradually seduces you to carry out work in video Broadcast (single-camera-multi-camera), filmmaker work or for the field of cinema.

The Canon EOS C80 has a fairly ergonomic camera body thanks to its integrated handle and strap, the possibility of placing a top handle (with shoe and microphone holder) and also to a very successful design in the placement of the menu buttons, control dials and/or the addition of a new navigation mini-joystick (on the back).

With dimensions of approximately 6.3 x 5.4 x 4.5 inches (160 x 138 x 116 mm) and a main body weight of approximately 1.3 kg, we have been pleasantly surprised by the good use of all areas and parts in the camera body, so its size is fully justified.

Let’s take a closer look at some of the camera’s external options:

• POWER switch. Located at the top, the function of ON CAMERA, OFF and lock controls are found.
• REC/SHOT button: Also at the top (above the handle).
• CAMERA/MEDIA button: When the camera is on, pressing this button toggles the camera between CAMERA mode and MEDIA mode.
• SLOT/SELECT button: Allows us to choose between the two card slots (A-B) found in this camera. We can work with several types of cards: SD, SDHC and SDXC; with UHS (Ultra-High Speed) speed class: U3; and Video Speed Class: V30, V60 and V90.
• Measuring tape hook and focal plane mark.
• Shortcut buttons (+/-) to ND filter: One of the three ND density levels can be selected and if the extended ND range is activated, then one of the five density levels can be selected. In short, this model has a wide range of ND filters, which allows better control of exposure adaptable to different lighting conditions: from ND not activated to ND10 stops.
• Customizable access buttons: A total of 13 buttons where 73 functions can be assigned. From the most basic ones: WB, Customizable White Balance, Peaking, Waveform Monitor-WFM, Zebra, DISP, AF Lock, AUTO IRIS, AUDIO STATUS…; to the most precise: autofocus frame, tracking modes, ISO/Gain mode, optical IS stabilization; IP transmission, on-screen markers, card slot selection, REC button…
• Control dials. The camera body incorporates two: one on the front and one on the back. Also a new navigation mini-joystick on the back.
• Audio Area: When opening the LCD monitor, this area is uncovered: Input 1/Input 2 switch -LINE/mic/mic 48V-; audio input level selector CH1 and C2 and a Manual or AUTO audio selector.
• Connectivity Area: Located mainly on the left side of the camera body we can find a complete range of connections:
  • BNC connector with SDI Video output: HD: SMPTE 292; 3G: SMPTE 424, SMPTE 425; 6G: SMPTE ST 2081; 12G: SMPTE ST 2082. Audio: SMPTE ST 299-1, SMPTE ST 299-2.
  • Mini-XLR 3 connectors for audio input 1 and 2.
  • 3.5mm stereo minijack connector for mic (condenser microphones)/LINE (line devices) input.
  • USB Type-C™ terminal equivalent to SuperSpeed USB (USB 3.1 Gen 1) for UVC video output.
  • 2.5mm submini stereo minijack remote terminal (for RC-V100 remote controller connection or remote controls available).
  • HDMI connector video/audio/TC output.
  • Headset terminal under a 3.5mm stereo minijack.

Elsewhere in the camera body are: A BNC connector for Time Code input/output, an Ethernet terminal (RJ45 connector, compatible with 1000BASE-T with CAT5e cables, shielded twisted pair -STP-) and the DC IN power terminal (24 V DC).

• Menu Area: Placed in the central rear part and comprising a button giving direct access to the menu, a navigation dial (SET) and a cancel button.
• Other: Power battery compartment (models BP-A30N and BP-A60N, BP-A30 and BP-A60), mounting ring for RF lenses (with their respective lens contacts), holes for tripod screws (1/4″) -on the side- and tripod screws 1/4″ and 3/8″ together with tripod anti-rotation pin -on the base of the camera body-, double slot for storage/recording cards, tally (green/red), top mount with 1/4″ screw, multifunction shoe and air ventilation inlet (side)/outlet (on the base).

And we must highlight the 3.5-inch LCD touch monitor that has an approximate screen resolution of 2.76 million dots (1280 x RGB x 720) with touch selection functions of the focus point and touch user interface for shoot settings.

But not only will the outside allows us to respond to different work, handling and/or setup methods, but inside the Canon EOS C80 we discover great features and technological innovations in order to become a very successful solution for different environments (filmmaker, video Broadcast, TV  and multi-camera live events, advertising, cinema…).

First of all, we have a CMOS sensor (with rolling shutter) under a BSI Stacked Full-Frame construction architecture (36.0 x 19.0 mm -40.7 mm diagonally-) 6K (actual: 26.67 Megapixels -6202 x 4300-; effective: 19.05 Megapixels -6008 x 3170-). The decision to include a stacked BSI (Back Side Illuminated) sensor offers us several advantages: better light capture, less noise at high ISOs, better performance with low lighting, sharper images and better colors, much faster data reading, improved autofocus, correct rolling shutter performance and lower error levels in slow motion recordings. Quite a success in this model to position itself in the audiovisual field with broadcast and cinematographic quality.

Secondly, the EOS C80 has a triple-base ISO (800/3 .200/12.800), which allows an optimization in very different light conditions at capture time. Our checks have given us a good result with a base of 800 and 3,200, obtaining very clean images, thus allowing a greater dynamic range and greater colour fidelity.

In this sense, the combination of the type of sensor, the triple-base ISO responses and the possibility of working with some logarithmic tonal curve, together with signal processing parameters, means that the dynamic range of this camera can be placed in 16 steps (Canon Log 2: 1600% at ISO 800) and 14 steps (Canon Log 3: 1600% at ISO 800).

On the other hand, Canon is not oblivious to optics when it comes to obtaining high quality images, so the EOS C80 comes with an RF mount system, which makes unmatched optical performance possible, working with real-time lens metadata and highly responsive AF/IS systems. In addition, by using a Canon mount adapter we can add EF, EF Cinema and PL type lenses (compatibility with Cooke/i Technology™ and with anamorphic lenses (x2.0/x1.8/x1.3).

Another of the innovations featured by this camera is the Dual Pixel CMOS AF II (second generation) with AI, an autofocus technology that uses each pixel of the sensor to focus and capture images at the same time. Together with the EOS iTR AFX algorithm that uses “deep learning”, we get a faster and more up-to-date autofocus, smooth focus transitions when switching from one object to another, extremely accurate and responsive face, eye, head, body and animal tracking of the entire sensor.

All these novelties and good ideas by Canon are materialized in a resulting 12-bit Cinema RAW Light image in 6K (6,000 x 3,164 pixels from 1 to 29.97 fps -553 to 639 Mb/s VBR)
and 4,368 x 2,304 pixels (from 1 to 29.97 fps -678 Mb/s VBR).

Worth highlighting is the fact that this camera can offer: 6K at 30 fps in Cinema RAW Light LT; 4K DCI and UHD up to 120 fps in Super35 mode and 2K up to 180 fps for slow motion effects.

Not to forget that the combination of the image captured by its Full Frame 6K sensor together with a kit of professional optics and signal processing under the parameters of exposure adjustment/colorimetry, are pleasantly benefited by the recording modes offered by the EOS C80. The result is excellent camera “RAWs” for broadcast, transmission and/or post-production processes:

• Raw LT (Full Frame) 12bit (6,000×3,164); Super 35mm (cut) 12bit (4,368×2,304)
• Raw ST (Super 35mm (cut) 12 bit (4.368×2.304)
• XF-AVC YCC4:2:2 10-bit, intra-frame (4096×2160, 3840×2160, 2048×1080, 1920×1080)
• XF-AVC YCC4:2:2 10-bit, Long GOP (4096×2160, 3840×2160, 2048×1080, 1920×1080)
• XF-HEVC S YCC4:2:2 10-bit, Long GOP (4096×2160, 3840×2160, 2048×1080, 1920×1080)
• XF-HEVC S YCC4:2:0 10-bit, Long GOP (4096×2160, 3840×2160, 2048×1080, 1920×1080)
• XF-AVC S YCC4:2:2 10-bit, intra-frame (4096×2160, 3840×2160, 2048×1080, 1920×1080)
• XF-AVC S YCC4:2:2 10-bit, Long GOP (4096×2160, 3840×2160, 2048×1080, 1920×1080)
• XF-AVC S YCC4:2:0 8-bit, Long GOP (4096×2160, 3840×2160, 2048×1080, 1920×1080)
• Proxy: 4:2:0 10-bit, Long GOP (2048×1080, 1920×1080)
• Proxy: 4:2:0 8-bit, Long GOP (2048×1080, 1920×1080, 1280×720)
• JPEG still photo

In summary, we have professional recording formats with high recording speeds and with their respective metadata for different VFX and virtual production (VP) workflows.

These innovations and features provided by the EOS C80 allow us to fully enter a workflow streamlined and prepared for professional environments that require 6K/4K. Thus, by means of card recording we can film in 6K/4.3K (RAW – Cinema RAW Light), 4K (XF-AVC / XF-HEVC S / XF-AVC S);  6K with an external recorder using HDMI RAW or record in 4K connected to the camera’s the SDI OUT or HDMI OUT.

Also, we simultaneously get 2K proxy clips (XF-AVC / XF-HEVC S / XF-AVC S) on an SD slot B card.

The EOS C80 enables a workflow using ACES, the color coding system defined by the Academy of Motion Picture Arts and Sciences, either RAW data on an external recorder (HDMI RAW) or on internal SD card.

We must highlight the importance of this camera when working with logarithmic gamma curves and with the color spaces: Canon Log 2/C.Gamut, Canon Log 3/C.Gamut, Canon Log 3/BT.2020, Canon Log 3/BT.709, Canon 709/BT.709, BT.709 Wide DR/BT.709, BT.709 Standard/BT.709, PQ/BT.2020/ITU-R BT.2100, HLG/BT.2020//ITU-R BT.2100. Additionaly, the user LUT input and Look Files (compatible with 17-frame or 33-frame .cube files) that can be applied in the recording; and that in the CAMERA mode can be monitored on the LCD with the display assistance function.

In regard to the menus of the EOS C80, we must indicate that all users accustomed to the previous Canon models will remain very familiar with each of the tabs/submenus and parameters to be modified. We now explain the menu system for those who will find EOS series in their hands for the first time:

• Camera configuration: For example, Iris, Shutter (1/1 to 1/2000), ISO (100, 160, 200, 400, 640 , 800, 1,600, 2,500, 3,200, 6,400, 12,800, 25,600, 51,200, 102,400), Gain (-6 dB, -3 dB, -2 dB～42 dB, 45 dB, 48 dB, 51 dB, 54 dB), Shutter angle (11.25° to 360°, depending on frame rate per second), light measurement, AWB, continuous AF, AF tracking reason (people/animals), eye/face/head/body detection, Color Bars (SMPTE, EBU, ARIB), optical stabilization, among others.
• Custom Picture: Allows to choose between C1:Canon 709, C2:Canon Log 2, C3:Canon Log 3, C4:BT.709 Wide DR, C5:BT.709 Standard, C6:PQ, C7: HLG, C8:EOS Standard, C9:EOS Neutral and C10: User10 to C20: User20.
• Media/Recording Configuration: The choice of card slots (A/B), sensor mode (Full Frame/Super 35mm cut), system frequency (59.94 Hz, 50.00 Hz, 24.00 Hz), recording format, recording mode (Normal Recording, Slow and Fast Camera, S&F Clip/Audio -WAV-, Pre-recording -3 seconds-, Continuous Recording on Main A card and uninterrupted B card, Frame Recording, Recording Interval), Proxy Recording, Secondary Recording, Relay Recording, Double Slot Recording (A+B).Also, the metadata settings and HDMI settings (RAW and Time Code).
• Audio Configuration: Selection of the audio input in CH1/CH2 and CH3/CH4, recording level, Input limiter, configuration of the multifunctional shoe (shoe/wireless), tone (1 kHz: –12 dB, –18 dB, –20 dB, Off), configuration of headphones, speaker, monitor channels and HDMI OUT channels, among other parameters.
• Monitor Configuration: Brightness, Contrast, Color, Sharpness, LCD Embedded Display Luminance, B/W Image Output, and Detailed DISP Display/Setup on LCD, SDI, and HDMI, including the highlight function of the Display Assist, for recordings that have a Custom Picture applied.
• Assistance functions: Very important for enhanced control of the recording such as: focus guide, Peaking (LCD, SDI and HDMI), Color False, Zebra, WFM (LCD, SDI and HDMI), aspect ratio marker (4:3, 13:9, 14:9, 16:9, 1.375:1, 1.66:1, 1.75:1, 1.85:1, 1.90:1, 2.35:1, 2.39:1, 9:16, 4:5,[2:1, 1:1, Custom) and security area marker, among others.
• Network settings: They make reference to the activation and settings of the various connection modes: FTP Transfer, IP Transmission, Remote Browser, Canon App, XC Protocol, CV Protocol, Frame.io.
• Customizable buttons.
• System configuration: From time zone, date and time and language, to Remote terminal, SDI output signal (4096x2160P/3840x2160P, 2048x1080P/1920x1080P, 1920x1080P, 1920x1080P, 1920x1080i(PsF), 1280x720P), HDMI output signal (4096x2160P/3840x2160P, 1920x1080P, 1920x1080i, 1280x720P), Time Code mode (Preset/Regen), Time Code Run (REC Run/FreeRun), User Bit Type, functionality of the front and rear dial selector, button lock, response level of the touch screen; and also the settings of the tally (indicator lamp), mode and speed of the fan and the DC IN (V) warning, among others.
• Custom Menus (My Menu).

Canon remains a reference in the audiovisual sector, always looking for the greatest compatibility so that its products have the best place among professionals. It is compatible with various softwares: Cinema RAW Development, XF Utility, EOS VR Utility, camera’s remote app, RAW plugin for Avid Media Access and Final Cut Pro, XF plugin for Avid Media Access, EOS VR plugin for Adobe Premiere Pro, CV metadata plugin for Adobe After Effects, Live Link plugin for Unreal Engine, CV metadata extraction tool, MP4 Join Tool, HEVC Activator, and Frame.io Camera to Cloud.

We have had little time to test each and every one of the possibilities offered by the EOS C80, but we stress the point that Canon leaves a wide range of possibilities and configurations open for the different camera operators and cinematographers to find the best aesthetics, texture and color in their audiovisual productions.

Finally, we have to thank the Canon SPAIN staff for giving us the opportunity to get to know and work with the EOS C80, together with a case of four Canon CN-R lenses, with which we have been able to enjoy the process and obtain optimal visual results.

When a camera or any new equipment is launched, we tend to compare it with what is on the market, and we do not realize that each solution provided by manufacturers is designed for specific needs and environments. With the Canon EOS C80 the manufacturer is very aware of where the trends, technologies and types of audiovisual productions that exist today (from 2024) can go.

In short, the Canon C80 camera is a tool ready to work in many professional environments (cinema, TV, advertising, documentaries, live events…); but above all it allows achieving quality images with a cinematographic/Broadcast look both for work done by a single person (filmmakers or low budget), and with complex equipment: a second camera unit in high-level productions,  a multi-camera TV or Live production.

Canon makes it easier. EOS C80: standalone or in a team?