The best Canon cameras for shooting video

Which are the best Canon cameras for video? Shooting video was traditionally only possible using a dedicated cine camera, but all EOS R System mirrorless cameras can shoot high-quality movies as well as top-notch stills. Consequently, more photographers are discovering how easy it is to enhance their storytelling with great video, while videographers are finding new ways to shoot more creative footage with mirrorless and compact cameras as B-cams.

Canon’s hybrid cameras are supported by a growing range of dedicated hybrid lenses that are optimised for both stills and video. These RF primes and zooms feature fast apertures, built-in focus breathing suppression and a manual iris ring for fine adjustments of the aperture while filming.

Here we look at the best Canon cameras to use for shooting different types of video, calling on the expertise of Mark Fensome, John Maurice and Aron Randhawa, product specialists at Canon Europe.

"There is a lot to think about when you're selecting a camera, but the first consideration should be how you intend to use the video," says Mark. "For instance, the 8K capabilities of the Canon EOS R5 C and EOS R5 Mark II complement high-end video production such as professional VR or movies requiring visual effects, but it's important to remember that this will affect your file storage and computer processing requirements. In fact, if you're only planning to produce short video clips for social media, 4K video may be more than enough. However, shooting in high resolution brings scope for cropping down to Full HD to create alternative framing in processing, which means you only need to shoot everything once.

With these points in mind, here are the best Canon hybrid cameras for video, whether you're a stills photographer looking to branch out into moving images, a filmmaker or videographer looking for a second camera, or new to shooting films.

The EOS R5 C has a three-way power switch to choose between photo/video mode. Video mode boasts a host of options not usually seen in mirrorless cameras: you can import your own LUTs; set your shutter angle to 180°; and take advantage of waveform monitors and false colour tools. A front tally lamp indicates recording and the timecode in/out terminal is particularly useful for synchronising multiple cameras at once. In addition, attaching TASCAM's CA-XLR2d Audio XLR Adapter to the Multi-function accessory shoe gives you XLR input options.

Travel filmmaker Kevin Clerc took the EOS R5 C on a shoot in Madeira, and says it felt ready to go straight out of the box. "I travel a lot, so I really appreciate how light and discreet the EOS R5 C is. But for me, the best feature is the switch to go between photo and video modes. Video mode unlocks different features, so you really feel as if you have two cameras in your hand. I now don't need another stills camera on time-lapse shoots.

"In-camera waveform has proven so reliable for accurate exposure and was particularly helpful on my travels when it wasn't possible to use an external monitor. I also use manual focus and having the option to mount Canon Cine lenses via the Canon Mount Adapter EF-EOS R has been an incredible experience."

In addition to the EOS R5 C, the Cinema EOS camera range features a growing number of RF mount cinema cameras, including the Canon EOS C70, EOS C80 and EOS C400. The synergy between these cinema cameras and next-generation hybrid cameras such as the EOS R5 Mark II and EOS R1 – with unified menus in the hybrid cameras that make cinema features and functions available in the same way as in the cinema cameras – means that it’s possible to use both types of camera seamlessly on a multi-cam shoot.

A durable, weather-sealed construction means the EOS R1 can withstand harsh environments. It has a large battery, which allows it to work in colder conditions and shoot for longer. Likewise, the camera’s heat-dissipating design means it can shoot for long periods of time in high temperatures without overheating. You can also power by USB to run the camera via a powerbank and charge remotely.

With its advanced Dual Pixel Intelligent AF autofocus capabilities, the Canon EOS R1 can not only detect and track vehicles and animals, but also faces and eyes, even behind masks, ensuring both stills and videos are always in sharp focus. Autofocus is possible down to -5.5EV for video, so you still get the same face tracking and vehicle tracking modes that you get in stills, even in dim, dark conditions.

“The big difference between the EOS R5 Mark II and EOS R1 is the resolution,” Mark says. “With the EOS R1, you can record 6K 60p RAW internally as well as oversampled 4K 60p, whereas the EOS R5 Mark II does 8K 30p in the MP4 codec – or you can go full 8K 60p RAW Light internally.

"Shooting in 8K gives lots of scope for post-capture cropping of video and stills," explains Mark. "Alternatively, you can use 4K HQ mode to create 4K footage with incredible detail."

There are some additional cinema camera level features in the EOS R5 Mark II. “You have a waveform monitor function, for example, which allows you to check the exposure levels horizontally across the screen,” adds Mark. “If you're setting up things a bit more artistically or coming from a video background, you’ll appreciate this function."

Other benefits for self-shooting filmmakers include false colour warnings which provide a clear indication of the exposure of a shot, and the gimbal-like stability offered by the trio of In-Body Image Stabilisation (IBIS), lens IS and Movie Digital IS working together to curb camera shake.

The EOS R6 Mark II can also shoot for longer. "There's no 30-minute clip limit and the camera stays cooler as a result of better heat efficiency," John explains. "These improvements open the camera up for longer format content, such as interviews and live events like weddings and music performances. It also has a five-second movie pre-recording function, which is really useful when you're filming unpredictable subjects.

"In addition to saving 4K 60p internally, the EOS R6 Mark II is capable of recording 6K in ProRes RAW to an Atomos Ninja V+ over HDMI while simultaneously recording a Full HD proxy in the camera," adds John. "There's also the option of using professional XLR microphones via an optional adapter on the camera's Multi-function shoe. So the EOS R6 Mark II is a really good option if you need a smaller camera on a multi-cam production. But equally, it gives flexibility and a flavour of high-end full-frame cinema cameras to independent filmmakers."

“It has the same codecs as the EOS R6 Mark II, and offers some of the same advanced movie recording technologies. You can enable false colour warnings and zebra settings, for example. There’s also the option to use 3 or 5 second pre-recording, plus digital focus breathing correction to minimise changes in the angle of view during a focus pull with a lens that’s compatible with this feature.”

This compact EOS R System camera can even be set to 4K/60p UHD Crop mode, which applies a 1.81x crop to the image. "This gives you extra reach while maintaining the same resolution, so it's essentially like adding an additional teleconverter," John points out. As well as offering cropped 4K, the EOS R7 can record standard 4K and 'Fine' 4K, which oversamples the 7K sensor output to produce more detailed clips. Full HD at up to 120p gives silky slow-motion playback of fast action.

The EOS R7 features the same sophisticated subject detection and tracking technology as the EOS R3 and EOS R6 Mark II, so it can keep track of animals and athletes on the move. It also inherits the combined three-way shake reduction of In-Body Image Stabilisation, lens IS and Movie Digital IS, which combats camera movements to deliver smooth footage – whether you're tracking a moving subject or filming a vlog handheld.