---
title: 'Canon C50 vs Sony FX3 - Codecs Breakdown (H.264, H.265 & RAW)'
source: 'https://youtube.com/watch?v=szHpbNwwDSo'
video_id: 'szHpbNwwDSo'
date: 2026-07-28
duration_sec: 585
---

# Canon C50 vs Sony FX3 - Codecs Breakdown (H.264, H.265 & RAW)

> Source: [Canon C50 vs Sony FX3 - Codecs Breakdown (H.264, H.265 & RAW)](https://youtube.com/watch?v=szHpbNwwDSo)

## Summary

This video compares the video codecs available on the Canon C50 and Sony FX3 cameras, covering H.264, H.265, and RAW formats. It details the strengths and limitations of each codec for professional video work.

### Key Points

- **Sony FX3 Codecs Overview** [00:40] — Three codecs: XAVC HS (H.265), XAVC S (H.264 long GOP), XAVC SI (H.264 all-I).
- **XAVC HS Limitations** [01:00] — Only 4K UHD, no FHD or DCI 4K. PAL: 50/100 fps, no 25 fps. NTSC: 24/60/120 fps, no 30 fps.
- **XAVC S Features** [02:02] — UHD 4K and FHD, 4:2:2 10-bit or 4:2:0 8-bit. PAL: 25/50/100 fps; NTSC: 24/30/60/120 fps.
- **XAVC SI Details** [02:49] — All-I H.264, industry standard. Supports 4K UHD, DCI 4K, FHD. DCI 4K locked to 24 fps, 4:2:2 10-bit only.
- **Canon C50 Codecs Overview** [04:00] — Four internal codecs: XF AVC S, XF HEVC S, XF AVC, and Cinema Raw Light.
- **XF AVC S Details** [04:11] — H.264, MP4 container. DCI 4K, UHD, DCI 2K, FHD. 4:2:2 10-bit (long GOP or all-I) or 4:2:0 8-bit (long GOP only). All-I bitrates: 500, 375, 250 Mbps.
- **XF HEVC S Details** [05:14] — H.265, long GOP, 10-bit only (4:2:2 or 4:2:0). DCI 4K, UHD, DCI 2K, FHD. Supports open gate 7K at up to 30 fps.
- **XF AVC (MXF) Details** [06:33] — Similar to XF AVC S but uses MXF container. Broadcast-friendly, supports interlace. No thumbnails without software.
- **Cinema Raw Light Details** [07:21] — 12-bit raw, .CRM container. 7K 60 fps in full frame (LT/ST). Three flavors: LT, ST, HQ. More noise but greater grading flexibility.

### Conclusion

Both cameras offer robust codec options, but the Canon C50 provides more flexibility with HEVC, MXF, and internal raw recording, making it superior for high-end production.

## Transcript

[music]
>> Continuing our side-by-side look of the
Canon C50 and FX3, it's now [music] time
to shift our focus to video codecs
because having a variety of different
video codecs and formats [music]
is the backbone of what makes
video-focused cameras like these the
right choice as a professional tool for
video work, whether it be for broadcast
work, documentary, narrative short
films, content creation, long-form or
short-form, having access to the right
codecs and formats makes all the
difference in giving you the
flexibility, performance, and quality
you need. [music] With that in mind, we
wanted to take a look at the codecs on
offer on the Canon C50 and FX3. Let's
start with the Sony FX3A. There are
three codecs available. Sony's XAVC HS,
which is their H.265 HEVC format. Then
there's their XAVC S, their long GOP
H.264 format. And then there's their
XAVC SI, which is their industry
standard intra frame all I H.264 base
codec.
Let's start with XAVC HS. As stated,
this is Sony's implementation of their
H.265 HEVC format. And when using this
format on the FX3A, you only have the
option to shoot in 4K UHD
>> [music]
>> with no FHD option and no DCI 4K. It's
also available only in 10-bit with two
options of either 4:2:0 or 4:2:2 color
space. There's some other limitations
here with Sony's XAVC HS. When shooting
in PAL mode, you only have 50 and 100
FPS with no 25 FPS option. If you happen
to be in an NTSC region, then the option
is 24, 60, and 120 FPS, but there's
still no 30 FPS option, so just
something to consider. Overall, HEVC as
a format is very efficient when it comes
to the quality you can capture with
minimal storage space taken up, and with
the correct supported computer and
hardware, playback and editing with it
works great. Now let's look at XAVC S.
This is Sony's H.264 long GOP format.
You can record this in both UHD 4K and
FHD, but again, no DCI 4K. You get the
choice of 4:2:2 10-bit and 4:2:0 8-bit.
This also applies the same in 1080p.
This format sits as a nice in-between
choice. It's not as high quality as
their XAVC SI, and it's not as efficient
as their H.265 base XAVC HS, but you can
access all the frame rates when in PAL
at 25, 50, and 100, and also in NTSC,
which is 24, 30, 60, and 120 FPS when
shooting in 4K UHD and FHD, and it will
work better on older computers than
compared to the XAVC
HS. Last is XAVC SI. This is Sony's
high-performance, high-quality all I
H.264 format, and it's widely regarded
as the industry standard when it comes
to broadcast and commercial work, which
says a lot about the quality and
performance that is associated with
Sony's XAVC SI as a codec. You can
choose between 4K UHD, DCI 4K, and FHD.
So, for those that need that DCI 4K 17:9
aspect ratio, this is the codec and
format to use on the FX3A. Do note in
the DCI 4K mode, you are locked to 24
FPS only, and the camera does do a
system reboot. For the recording
setting, you are locked down to just one
option of 4:2:2 10-bit with no 8-bit
option or 4:2:0. Even down to the
bitrate, that is also locked down to
match the frame rate and resolution that
you're using, so it shows the intent of
the codec for acquisition to be as high
quality as possible. This is the largest
option in terms of sizes, but the
performance is very smooth when working
in post-production. Now with the Sony
FX3A covered, let's move over to the
Canon C50's internal codecs and formats.
There's a lot happening here with the
Canon C50 with four internal codecs
available, including a raw video format.
Let's first start with XF AVC S. This is
Canon's H.264 AVC codec, which is based
around an MP4 container file. It's
available in DCI 4K, 4K UHD, DCI 2K, and
FHD. The color space option available is
4:2:2 10-bit and 4:2:0 10-bit. Now in
the 4:2:2 10-bit mode, you have the
option to select between long GOP or all
I compression. For the 4:2:0 8-bit, this
is purely long GOP only. A nice added
extra flexibility and touch is that when
recording in the 4K UHD or DCI modes,
the all I compression gives you three
bitrates to choose from at 500, 375, and
250 megabits per second. This is great
to see because usually when recording in
all I, there isn't an option to scale
the bitrate to manage your storage for
longer record times if it's something
you need, so the flexibility here is a
nice touch to give you control over your
file sizes at the same time as giving
you the post-production benefits of an
all I codec.
Next is XF HEVC S.
This is Canon's professional H.265
codec. With this format, it only shoots
in 10-bit color with the option of 4:2:2
and 4:2:0 sampling, so no 8-bit option
here. For the Canon C50, this is a long
GOP compression technique being used,
and in fact, for us here at ProAV, this
is now our most widely and regularly
used codec for recording when making
these videos. We almost exclusively use
XF HEVC S on our Canon C80 and C50 cuz
it gives us all the quality we need for
relatively simple videos like this while
being very friendly on storage. On the
Canon C50, the XF HEVC S can be recorded
in DCI 4K, UHD, DCI 2K, and FHD, so very
flexible options here.
Now because the C50 supports open gate
full sensor 3:2 recording, you can tap
into the full 7K resolution of the
sensor whilst still using XF HEVC S,
using it either in 4:2:2 10-bit or 4:2:0
10-bit, which is great. You will be
limited to a max frame rate of up to 30
FPS, but this is still impressive
nonetheless. With modern chipsets in
computers being so efficient in how they
handle HEVC, using it has been such a
benefit to our workflow. Now let's look
at XF AVC. Now it may sound like we've
been here before, and it does sound very
similar to the XF AVC S, but regular XF
AVC uses a .MXF container rather than a
.MP4 container. You still get the same
option of long GOP and all I compression
with resolutions of DCI 4K, 4K UHD, DCI
2K, and FHD. Now the .MXF container or
wrapper was designed specifically to
give you easier playback and editing
performance in post-production and other
benefits such as being able to use
interlace scan formats rather than
progressive. So, this is more broadcast
friendly, but it does still mean that
you can't see thumbnails and quick
playback for your video clips without
bringing it into some post-production
software. Last, but by far not the
least, top of the food chain is raw.
Yes, with the Canon C50, you have
internal raw recording using Canon's
Cinema Raw Light codec. This is a 12-bit
raw format which uses a .CRM container
and allows you to shoot the maximum
resolution of the sensor mode that
you're in. For example, in full frame
3:2 open gate and full frame, you get
the maximum 7K resolution of the C50
sensor. When you go down to Super 35 mm
and Super 16 mm, then it goes down in
resolution to 5K and 2.5K, respectively.
Raw comes in three flavors: LT, ST, and
HQ. When you shoot in LT and ST, this is
when the C50 has the option of 7K 60
[music] FPS in full frame mode. This is
a major benefit of shooting internal raw
on the C50 because [music] this is the
only way to get the full resolution and
frame rate of the sensor together. 7K 60
FPS is not available on the other more
compressed codecs we've already looked
at. The performance of Cinema Raw Light
in post-production can be more
demanding, and you will get slightly
more noise in your image straight out of
camera because there is no noise
reduction in the camera being done to
this codec at that time, but raw formats
like these are all about enabling you to
get the best possible image quality in
your grading suite with control over
things like your white balance, ISO, log
format, sharpness, tint, and more. As
long as minimal compression is a thing,
which is designed for performance in
your grading suite. So, that's codecs on
both the FX3A and the Canon C50. For a
lot of people and the work that they'll
be doing, both these cameras will
definitely have you covered when it
comes to the codecs you need for
acquisition during capturing and
recording, post-production in the
intermediate [music] reprocess, and also
for final delivery for the platforms you
need for your work [music] to be seen.
That said, it's clear to see the added
options that are available here on the
Canon C50 [music] from very modern
codecs like HEVC up to the top internal
raw codec, which truly unlocks the
maximum recording capability of the C50.
If you want to buy any of these cameras
yourself, [music] then head over to
ProAV, and we'll be more than happy to
help. Like, subscribe, and turn on the
notification. Thanks for watching, and
we will see you next [music] time.