Updated specs and pics for new Canon EOS M50 4K mirrorless

After breaking the original leak yesterday, Japanese rumor site Nokishita has updated specs and images for the new Canon M50 4K mirrorless:

EOS M50 SPECS:

• 24.1 Megapixels APS-C CMOS
• DIGIC 8
• Dual pixel CMOS AF with greatly improved performance
• AF area is enlarged by about 38% with corresponding lens (100% vertical × 88% wide in live view image display range)
• The selectable AF point is a corresponding lens with a maximum of 143 points (99 points for non-compatible lenses)
• Pupil detection AF
• Dual Sensing IS
• Silent mode
• DLO in camera
• RAW development in camera
• Video: 4K 25p / 24p, FHD 60p, HD 120p
• Frame cutout from 4K movie is possible
• 5 Axis Electronic Image Stabilizer · Combination IS
• Standard ISO: 100-25600 (extended ISO: 51200)
• Continuous: Up to 10 frames / sec (at servo AF: up to 7.4 frames / sec)
• EVF: 0.39 type 2.36 million dot Organic EL
• 3 type 104 million dots Vari angle touch panel liquid crystal
• Wi-Fi · Bluetooth · NFC installed
• Wireless remote controller BR-E1 compatible
• HDMI HDR output compatible
• Supports the next-generation CR3 RAW format and the new C-RAW compression format
• The C-RAW format is 40% smaller in file size than conventional RAW, and it corresponds to in - camera RAW development and digital lens optimizer
• Battery: LP-E 12
• Weight: 387 g black, 390 g white (including battery and memory card)
• Color: Black / White

The most interesting new headlines here for filmmakers, videographers and vloggers seem to be (subject to the vagaries of Google Translate):

• Confirmation of the fully articulated "Variable" angle LCD
• 5-axis IBIS with dual in-body and lens based stabilization (similar to Panasonic's dual-IS)
• 4K/24 & 25 fps, 1080/60 fps and 720/120 fps.

If these specs are accurate, and Canon can bring the price in at around $1000-$1500US, the EOS M50 could be real competition for the in-body stabilized crop sensor cameras from Panasonic and Sony.

With its 24.1 megapixel APS-C sensor, this camera should deliver better still image quality than the Panasonic G85 - plus 720/120p slow motion. It is almost certain to be better in low light.

Plus, it has the fully articulated LCD the Sony A6500 lacks.

Then there's possibly the biggest selling point of all - with the EOS M50, all you'll need is a relatively inexpensive EOS-M to EF adapter for full compatibility with Canon EF and EF-S glass.

No more costly Metabones Canon to Sony "smart" adapters or Canon to Panasonic Speed Boosters - and no more checking lists to make sure your lens and adapter are compatible.

It is probably too early to say for sure, but Canon may be back in the game as an option for serious entry-level filmmakers, videographers and vloggers - especially those with a significant investment in EOS glass.

Finally.

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Disclosure of Material Connection: Some of the links in the post above are “affiliate links.” This means if you click on the link and purchase the item, I will receive an affiliate commission. This costs you nothing extra. Regardless, I only recommend products or services I believe will add value to my readers. I am disclosing this in accordance with the Federal Trade Commission’s 16 CFR, Part 255: “Guides Concerning the Use of Endorsements and Testimonials in Advertising.”

$24,995 Sony PXW-Z450 or $3,495 URSA Broadcast - which is the best camera for your money?

Sony PXW-Z450 - $24,995

Blackmagic Design URSA Broadcast - $3,495

                              

VS.

Blackmagic Design has done it again - disrupted an existing market with a low priced, high quality professional camera with a very attractive feature set.

Just as they did with cinema cameras a few years ago, Blackmagic has taken a market where cameras have traditionally cost literally tens of thousands of dollars and introduced a comparable product for less than $10K.  Only this time, the price for the URSA Broadcast is an amazingly low $3,495 (press release here).

Basically, Blackmagic has taken the proven URSA Mini Pro platform and replaced its 4.6K Super 35 sensor with a new 2/3" UHD unit and given it a B4 mount with power to make it both ENG and studio friendly, as seen in the images Blackmagic is using to promote the camera:

URSA Broadcast in the field....

...and in the studio

Since the Broadcast shares the same body as the Mini Pro, it can use the same accessories, to include the shoulder mount kit, viewfinder and studio viewfinder.

But the Broadcast is the second entrant into the 4K shoulder mounted ENG camera marketplace.

Two years ago at NAB 2016, Sony introduced the world's first shoulder mounted 4K ENG camera with a 2/3" sensor and a B4 lens mount, the PXW-Z450.  I was at that show, and the Z450 was one of the stars of the Sony press event.  Sony was rightfully proud of this achievement and promoted this camera heavily, as seen here:

But the Z450 costs almost $25,000 - which limits its use to high end network television and production houses.

Until now, if production companies and freelancers wanted a 4K shoulder mounted pro camcorder on a budget, they had to adapt B4 lenses to a larger sensor camera with a 2x doubler to avoid vignetting.  

For some of these cameras, adapting ENG lenses also meant buying an external power source for the zoom.

As you might guess, all of this was a hassle and something news shooters and documentarians tended to avoid.

Now, almost two years later, Blackmagic has turned the world upside down with a camera that closely matches the Z450's specs for an almost unbelievable $21,500 less.

Here is Blackmagic CEO Grant Petty introducing the Blackmagic Design URSA Broadcast (long):

This camera has the same 2/3" sized sensor as the Z450 and a similar native, powered B4 mount.  It has the same maximum 4K/60p resolution and both cameras have a range of edit ready 10-bit codec options.

But the Broadcast has several features the Z450 lacks, in addition to price. It has dual SD card slots for some of its lower bit rate codecs - it has an interchangeable lens mount and it records to Blackmagic's losslessly compressed CinemaDNG RAW.

SD cards are lot less expensive than the Sony's SxS cards, the interchangeable lens mount provides more creative flexibility and for content producers who have the time to grade, the ability to record 12-bit RAW will deliver images with a wider color palette.

Of course, there's more to these two cameras than just a few headline features - and you get a lot of intangibles for your money with the Sony (to include their highly regarded pro support) - but for low budget broadcasters, cablecasters, webcasters and other live streamers - the URSA Broadcast will open up a whole new world of possibilities.

Personally, I plan to rent one at the earliest opportunity.  It will be perfect for a live stream project I have coming up - and I would like to see what it can do in a narrative setting.  By keeping the aperture open with the built-in ND filter and using longer focal lengths, I should be able to deliver acceptably shallow depth of field.

If anything here has helped you to make a buying decision, please click on the links above or the display ads below or in the margins.  It won't cost you anything extra, and it will help to keep these posts coming.

And please follow HCR here, on G+, on YouTube on Vimeo and on Twitter (button below) for the latest news on micro-budget video and cinema.

Follow @hybridcamrev

Disclosure of Material Connection: Some of the links in the post above are “affiliate links.” This means if you click on the link and purchase the item, I will receive an affiliate commission. This costs you nothing extra. Regardless, I only recommend products or services I believe will add value to my readers. I am disclosing this in accordance with the Federal Trade Commission’s 16 CFR, Part 255: “Guides Concerning the Use of Endorsements and Testimonials in Advertising.”