The expression “60D file” is not a defined file type but a simple shorthand for media generated by the Canon EOS 60D, which produces CR2 RAW files, JPG images, and MOV videos rather than anything ending in .60D; when people use the phrase, they’re talking about the camera of origin because editing workflows rely heavily on camera-specific traits, and CR2 metadata lets software recognize the model and adjust for differences in sensor design, color output, noise levels, and dynamic range, so photographers commonly refer to these as “60D files” for quick communication.

Studios and production workflows frequently categorize project materials by the camera model rather than the extension, so a project folder might contain sections labeled 60D, 5D, or Sony A7S, even if all files inside are CR2, JPG, or MOV, and people naturally refer to each set as “the 60D files,” which boosts clarity when tackling multi-camera shoots; this habit is reinforced by clients and non-technical users who focus on the camera used, so when they say “the 60D files” or “the RAWs from the 60D,” they simply mean the original, high-quality footage from that camera, whose name offers clearer expectations about quality than any technical extension.

This habit emerged during the DSLR heyday, when camera models differed a lot and mixed-camera shooting was routine, requiring editors to know the source camera because color grading, noise cleanup, and lens profiles varied with each model; that’s why camera-based labeling became standard and lasted even though extensions didn’t change, and confusion only appears when someone expects a real .60D format, though a “60D file” is simply a typical image or video file tagged with Canon EOS 60D metadata, meaning the proper question is how to edit CR2, JPG, or MOV files from that camera.

People often say “60D file” instead of “CR2” because in practical workflows the camera identity guides editing decisions while “CR2” only tells you it’s Canon RAW and nothing about the sensor, and although CR2 is shared across models, each Canon camera has unique color science, dynamic range, noise performance, and highlight characteristics; calling something a “60D file” instantly signals editing behavior, suitable profiles, and expected strengths or weaknesses.

Another reason is that **editing tools reinforce thinking in terms of cameras**, with Lightroom, Capture One, and Photoshop assigning model-specific adjustments rather than treating all CR2 files equally, choosing customized color matrices, tone curves, and profiles for cameras like the Canon EOS 60D; the result is that a 60D CR2 is processed differently from a 5D or Rebel CR2 despite identical extensions, prompting users to adopt the same camera-focused language.

Workflow structure plays a big part because professional shoots commonly sort files by camera model rather than extension, particularly when multiple cameras are capturing footage, so a directory labeled “60D” might contain CR2, JPG, and MOV files, yet everyone refers to them as “the 60D files,” which improves clarity and speeds up collaboration across editing and delivery tasks; clients and non-technical stakeholders reinforce the practice because they know the gear more than formats, so when they request “the 60D files,” they just want the original high-quality captures, with the model name giving clearer expectations about quality and editability than any extension.

#keyword# Finally, this expression survives from long-standing DSLR workflow culture, where during the DSLR boom different camera bodies generated clearly unique looks even with identical RAW formats, so teams relied on camera identity to maintain uniformity, and camera-based labeling became common practice; that convention still holds, meaning “60D file” is just shorthand for “a Canon RAW image from a Canon EOS 60D,” even though the file itself is simply a CR2. If you have any issues relating to in which and how to use 60D file technical details, you can get hold of us at our own site. #links#