We take Canon's entry-level memory card camcorder for a spin. Does it treat us to a joyride, or are we forced to endure some rickety roads? Read the full Canon FS200 review to find out.
Review summary of the Canon FS200:
 |
|
Gallery » |
 Three camcorders diverged in a market and we took the cheapest one. The Canon FS200 is part of Canon's 2009 standard-definition memory camcorder lineup, but take heed to our review. There are three considerable price gaps rooted between the Canon FS22, FS21 and FS200, the FS200 being the most financially amenable option. However, the FS200's basic imager couldn't match the quality of the FS22. The FS200 could only record to SD/SDHC cards also, while the FS22 had an additional 32GB of internal memory and the FS21 rocks 16GB of internal memory. Hence the price differentiations. If you're going to remain within the fleeting limbo layer of the standard-definition realm, we're not sure the Canon FS200 is the best option. We can get over the fact that the FS200 is devoid of internal memory, but its subpar image quality and menial features just turned us off. At $330, the FS200 is an attractive little camcorder, but we think the $500 Canon FS21 is the best deal of the FS trilogy, even though $500 for a standard-definition camcorder in 2009 seems preposterous. The Sony DCR-SR47 was even more disappointing, so options are slim in this genre. We recommend playing with the Panasonic SDR-H20 before settling on an FS model. Release: April 2009. Price: $330.
Pros: Highly compact chassis. Easy to use. Great menus.
Cons: Unimpressive video quality. Skimps on features. Records to memory cards only.
| Poor |
Mediocre |
63%
GOOD |
Very good |
Excellent |
|
|
|
Full Canon FS200 Review:
|
Design - Good
Standard-definition camcorders are gradually being ushered to the back of the set like movie extras while high-definition takes the limelight. So, it's no surprise that the Canon FS200 is a super consumer machine, not offering much in the ways of advanced control like we used to see when MiniDV and standard-definition were all the rage. The SDHC-fueled FS200 is exceedingly compact and portable and we had no problem tossing the little munchkin in a coat pocket. Construction is fairly cheap, relying on mostly plastic parts. However, it's quite a looker with its glossy red wine sparkle coat and pimped out chrome components. The camcorder also comes in Sapphire Blue and Moonstone Silver, so it was obvious that Canon targeted entry-level consumers with this model.
Despite its whittled architectural attributes, we liked the Canon FS200's overall design. The oversized Zoom toggle provided plenty of gripping ground and shifted smoothly so as not to hinder our operation with choppy movement. We also liked the large Photo button and ergonomically shaped right hand grip complete with cushy felt hand strap. The massive center-mounted Mode dial in back was a nice touch as well, and it was a bold choice for Canon to mount such large external controls on such a diminutive camcorder body. The Canon FS200 looks like a lens barrel that just so happens to have an LCD tacked onto its side.
As far as advanced external controls and features, the camcorder came up short, just like its big brother, the Canon FS22. Long gone are the days when a standard-definition camcorder offered a lens ring or Aperture Priority button, as those features have been migrated onto high-definition models like the Panasonic HDC-HS300 and JVC GZ-HD7. We were not too keen on the fixed battery bay because it axed the ability to upgrade to a larger pack, though the bottom-mounted microphone remained out of finger reach for recording safety.
Interface and Menus - Mediocre
Shooters who crave more control behind the captain's wheel will be disappointed with the Canon FS200 due to its lack of controls. The LCD-mounted joystick was the only form of navigation on the camcorder and there was no viewfinder in sight. We just got a strip of Camera/Playback options along the bottom of the LCD panel and a pair of buttons embedded in the LCD bay that have nothing to do with advanced manual functionality. We liked the attempt at a video light, but its execution was highly anticlimactic with a bluish emission of weak light that made our videos look like they were filmed on the moon. The FS200's 2.7-inch 123,000-pixel display did not grant us with the best picture, though its display was sharp.
Menus were the best in its class, relying on Canon's tried and true x-axis/y-axis structure, which made selecting and executing manual controls a breeze. The Function menu came to our aid numerous times and we also liked the Joystick menu, which allowed us to make quick adjustments on the fly. Canon has the best menu systems in the camcorder world, so navigation was never an issue. Playback mode was easy to access and tool around in, thanks to the LCD Joystick. The Canon FS200 employed one of the most user-friendly interfaces we've seen on camcorders in the class.
Shooting Features - Mediocre
The Canon FS200 brought a basic set of manual controls to the table, certainly nothing to impress a semi-advanced shooter. We liked the fact that it offered a Shutter Priority mode that allowed us to descend to a 1/8-second speed, though anything shot below a 1/15-second speed looked like a cheesy dream sequence from a B movie. The camcorder skimped on the White Balance, offering Auto, Manual and two presets. White Balance was spot on for the mist part, but certain low light environments required a manual tweak now and again. Exposure Compensation was an old standby that was nice to have as a quick solution to a few EV notch woes, though Backlight Compensation just boosted the overall exposure and blew all of the whites out of the 255 range. Manual Focus functioned quite well, but due to the lack of a Focus Assist feature and mediocre quality of the LCD picture, we had trouble attaining a proper focus and relied on the FS200's Auto focus instead.
We used the Canon FS200's color filters occasionally, which included Vivid for those environments that required a little more punch in the hues. Of course it was equipped with more Digital Effects than anything, for what entry-level SD camcorder would be caught dead without a whole slew of the consumer-friendly filters? Art was still our favorite, but we could choose from Black and White, Sepia and Mosaic as well. The Digital Effects menu also included two fades for those who don't do post and run straight to YouTube instead. Pre-Record went off without a hitch, capturing the first three seconds of video before the Rcord button was pressed. The Video Snapshot mode was the epitome of lame, combining short segments of clips in a montage format to cheesy Midi versions of classic music. But hey, everyone's doing the Video Snapshot mode these days, and based on the current state of film and music, it's no wonder something of this prepackaged, gimmicky nature is so popular.
Hardware and Connectivity - Good
As to be expected, hardware has taken a serious hit in the standard-definition world, and sensors are now smaller than ever. The Canon FS200 harbors a 1/6-inch 680,000-pixel CCD, which is a small number of pixels crammed onto a small surface. So, we were not expecting a video performance to end all video performances. However, the FS200's video quality did manage to transcend the Sony DCR-SR47, but that was not a difficult task, given the DCR-SR47's puny sensor and lackluster video quality. No standard-definition camcorder is going to knock your socks off these days, but the Canon FS200 was one of the better performers.
The Canon FS200's 37x optical zoom was adequate for most long-range magnifications, but a 41x Advanced Zoom feature extended the range. The FS22 had a 48x Advanced Zoom, and we can see the logic in an 11x gain, but the FS200's 4x gain with sacrificed pixels along the borders of the frame just seemed a bit silly to us. Furthermore, the Advanced Zoom was difficult to control at such a high range and the screen was heavily pixilated. Attempting to control the Sony DCR-SR47's 60x optical zoom was like trying to wrangle a demonic steed to the ground and we can only imagine what the Panasonic SDR-H80's 70x optical zoom would be like to tame. Luckily, the FS200's Image Stabilization came to the rescue in most shooting environments.
Being the base FS model, the Canon FS200 records standard-definition MPEG-2 videos solely to SD/SDHC cards. The Canon FS21 offers 16GB of internal flash memory in addition to card recording and the Canon FS22 is the same, only it pumps it internal flash memory up to 32GB. The FS200's card-only recording is a price benefit, though high capacity cards will be required to store lots of footage. The Sony DCR-SR47's 60GB HDD has the FS200 trumped, but its video quality was not worth it at all. The FS200 is powered by a rechargeable Lithium Ion battery pack.
Despite the Canon FS200's basic interface, the camcorder still offers a decent handful of terminals and ports. USB, Mic, Headphone/AV and DC jacks are readily available, and the option to connect an external mic and monitor sound is a major plus, considering the Sony DCR-SR47 lacks that ability. The FS200 plays nicely with Windows, though our clips had to be converted on a Mac in order to edit. All in all, the FS200 is a great beginner camcorder.
Image Quality - Mediocre
The difference in pixel count made a slight difference when it came to overall video quality with the Canon FS200. The Canon FS22 was a decent performer, but it also had the support of double almost the pixel count. Therefore, we lost a little clarity and sharpness in favor of increased noise levels in most shooting environments. The FS200 certainly looked like an entry-level camcorder when we viewed our clips on our calibrated monitor. Colors were not as punchy and lines and edges lacked that fine detail we were able to attain in certain shooting environments with the FS22. The FS200 held its own in low light in terms of exposure, but noise was off the hook. Despite its flaws, the FS200 was definitely a better performer than the Sony DCR-SR47, hands down.
We used Sony Vegas to export 655 x 480 JPEG images straight from the timeline and opted not to resize in Photoshop in order to maintain as much image quality as possible. On the Mac side we would have had to convert the clips in order to work with them in widescreen format. We wish Canon's file formats were more universal, but in the end we were able to process clips without much quality loss.
Scene Test – Drugs
Detail Test – Multicolored Headgear
Motion Test – Subway Map
As evidenced in the first frame grab, the Canon FS200's video quality lagged slightly behind the FS22's, which provided more crisp detail. The image is not terrible, but it definitely could use more definition as well as punchier colors. Detail improved at close range, but the second frame grab exhibits the FS200's inability to hone in on minor intricacies like the threads in the hats. The FS22 would have given us a little boost in the detail department. The FS200's colors look good, but lines and edges are blurred along the patterns. We tested the FS200's Image Stabilization by shooting on a rickety 6 Train with the hangover shakes and the results were fairly impressive. Detail is still lost at sea, but the camcorder was darting to and fro like a rabbit on speed.
Color Test – SKEME
Color Test – Neon Cops
Depth Test – And It Is All For You
We struggled with colors at times, but the Canon FS200 performed adequately for the most part. The first frame grab exhibits the FS200's naturalistic color rendering in Vivid mode. Colors do not bleed and tones are not oversaturated. However, when we introduce radioactive neon green police smocks to the FS200's lens, we're jazz-handing it in Oversaturation: The Musical. This was one of those instances where the Neutral color filter would have come in handy. Detail is optimal in the last frame grab, but we lose depth within the second half of the frame. The Canon FS22 would have rendered this clip with more detail, though the small apertures on these compact SD models do not offer a lot of room for long-range shots.
Indoor Low Light Test – Old School Sound
Night Test – An Enchanted Evening
Outdoor Low Light Test – Giant Farm
When the lights went down, so did image quality, but there were a few low light environments where the FS200 excelled. The first frame grab displays the FS200's impressive exposure in a dimly lit room, but detail has been gobbled up by hoards of noise. Outside was a different story, as the second frame grab exhibited the most detail out of all of our low light clips. Colors look eerie, which is what we were going for in this Godfather-themed shot. The final frame grab displays the FS200's inherent difficulty in choosing the proper exposure for the given shooting environment. Detail is also tossed to the wind and colors are flat. It's not a total winner, that's for sure.
|
|
|
|
|
|
|
Archive