Introduction
The Canon FS200 is available in three colors: Misty Silver, Sunrise Red, and Evening Blue.
Product Tour
The Canon FS200 comes with a 37x optical zoom lens that can be expanded to 41x using the Advanced Zoom setting (which shouldn't result in a loss of image quality). The lens has an automatic cover, which is actually something of a rarity for cheap standard definition models. Many SD cams have a manual lens cover switch instead of an automatic cover that opens and closes when the camcorder is turned on and off. The 1/6-inch CCD sensor on the FS200 is average for a camcorder of its class.
Color & Noise Performance
The Canon FS200 had good color accuracy in our bright light test, but we are accustomed to seeing these kind of results with standard definition camcorders. The FS200 managed a color error of 3.45 and a saturation level of 82.35%. (More on how we test color.)
One of the benefits of the FS200 is the fact that it includes a variety of color modes called Image Effects. These modes each allow the camcorder to produce a slightly different color effect. For example, Vivid mode boosts color saturation. There is no custom option for these Image Effects, so you only get the three presets shown below—Neutral, Soft Skin, and Vivid.
All of the standard definition camcorders shown below did very well in this test, with the JVC GZ-MG670 coming out on top (2.55 color error). None of them had a bad color score and each produced a saturation level between 80% - 90%. However, when you look at the comparison images below you can definitely see some strong differences in color reproduction. The Samsung SMX-F34 has completely different color tones than the rest of the camcorders. Notice how yellow the colors are on the left side of its image. The rest of the camcorders have similar color tones to each other.
If you want a better look at the color differences between the Samsung and the other models, check out the close-up comparisons below. When looking at these colors, remember that much of what determines 'good color reproduction' is based on personal preference. Some may like the Samsung's colors more than the other models, while others may find the Canon, JVC, or Panasonic to be preferable.
The noise levels on the Canon FS200 weren't bad for a standard definition camcorder, but there were other models we tested that had better numbers. The camcorder averaged 0.87% noise, which is more noise than we measured on the JVC GZ-MG670 and Samsung SMX-F34. (More on how we test noise.)
In the crops above you can see that these camcorders don't capture a very sharp image—particularly if you're accustomed to HD video. High definition video has three times more detail than standard definition, so there is no sense in comparing the two. Let's be clear—if you want the best image quality, you shouldn't be shopping for a standard definition camcorder.
Motion & Sharpness Performance
Low Light Performance
**Low Light Sensitivity***(4.96)*
The Canon FS200 did fairly well in our low light sensitivity test. The camcorder needed 13 lux of light to peak at 50 IRE on our waveform monitor. This is roughly the same amount of light required by the Samsung SMX-F34 to reach the same levels, while the Panasonic SDR-S26 had a much worse low light sensitivity. The champ out of this set, however, was the JVC GZ-MG670, which needed just 8 lux of light to reach 50 IRE. (More on how we test low light sensitivity.)
We often see better scores with SD camcorders in this test than we do on HD models (even high-end HD models). This is because the HD camcorders are often overloaded with pixels, which means less light is capable of hitting their sensors (even though the sensors are usually quite large). The sensors on SD camcorders, on the other hand, are far less populated with pixels. This allows their sensors to soak up more light and produce better sensitivity scores.
The FS200 showed a significant drop in color accuracy and saturation when we turned the lights down for our low light testing. The camcorder registered a color error of 6.27 and a saturation level of 56.94% in this test. While these numbers aren't terrible, they are worse than average for a standard definition camcorder. (More on how we test low light color.)
While the Canon FS200 may not have had the best color accuracy or saturation level in low light, its image actually looked a lot better than the Panasonic SDR-S26. The Panasonic's low light image was very blurred, washed-out, and soft. The other three camcorders in this set looked a whole lot better, and the JVC GZ-MG670 had the best color accuracy numbers of the set (just like it did in our bright light testing).
The Canon FS200 had very low noise levels in our low light testing with 0.835%. In fact, this noise percentage is lower than what the camcorder earned in our bright light test. The Canon also beat out each of its comparison models in this test, although the JVC GZ-MG670 wasn't far behind. (More on how we test low light noise.)
In the crops above you can see how much less detail the Panasonic SDR-S26 captured compared to the other camcorders. The Canon FS200 has a slightly darker image than the JVC GZ-MG670 and Samsung SMX-F34, but its image is just as sharp. The Panasonic is really the odd one out here when it comes to low light performance (as accentuated by its very poor low light sensitivity score).
Compression & Media
The Canon FS200 records standard definition video using MPEG-2 compression. MPEG-2 is the common compression system for standard definition camcorders and most editing programs are compatible with it. The problem is, Canon makes things a bit of a nuisance by saving the video files using an .MOD file extension. This means the videos captured by the FS200 must be imported or converted using special software before the clips can be viewed with a regular media player on a computer (a similar process must be performed with HD camcorders that record using AVCHD compression). The software provided with the Canon FS200 can import your videos for viewing on a computer—we go over this more in the Editing section later on this page.
The standard definition video recorded by the Canon FS200 is captured at a 720 x 480 resolution. The video can be displayed at a 16:9 or 4:3 aspect ratio, although the camcorder's LCD screen is widescreen (16:9 aspect ratio). The camcorder has three recording quality options—XP, SP, and LP—each of which uses a different bitrate (XP is the highest quality setting).
Part of the reason the Canon FS200 is so compact is that it contains no internal memory or hard drive. All video is recorded to removable SD/SDHC memory cards, which are inserted in a slot on the base of the camcorder (next to the battery pack). This card-only recording can be convenient for transferring files, but it does mean you have to remember to bring along SD/SDHC cards whenever you plan on shooting video.
Since standard definition video doesn't require the massive amount of storage space that HD video needs, a decently-sized memory card should provide you with an adequate record time. The table below lists the approximate record time available for various memory card sizes and video qualities on the FS200. According to Canon, once a video clip reaches 4GB in size, the clip is then divided and saved as smaller scenes (there shouldn't be any breaks in continuity, however).
The FS200 comes with the same editing software as Canon's HD camcorders. The camcorder is packaged with four separate installation discs—two for the ImageMixer 3 SE video software, one with instruction manuals and music data, and one more featuring Canon's Digital Video Solution Disk. This is far too many discs to provide with a camcorder and it just makes the installation process more daunting and confusing.
The most useful and important feature of the provided software is a video transfer utility that is part of ImageMixer 3 SE. This program allows you to copy videos shot with the Canon FS200 to a computer, and, thankfully it performs this task quite well. Since the MPEG-2 clips are saved as .MOD files you must use some sort of program or transfer utility to make them playable on a regular media player (the files can't simply be dragged and dropped). The Image Mixer 3 SE software does not work with Macs, but iMovie is fully capable of importing any footage shot with the FS200.
Using the ImageMixer software to edit your videos can be a bit tricky, but at least the program has a timeline setup that is reminiscent of popular editing programs like Final Cut, iMovie, and Adobe Premiere. The editing options with ImageMixer are far more limited than these other programs, however, although you can make cuts, arrange clips, add audio, and create text or titles. The standard definition MPEG-2 clips taken with he FS200 should be no problem for a computer to handle (as long as it isn't a very old model). This is one of the benefits of standard definition video over high definition.
On the Digital Video Solution Disk are two image organization programs (one for Windows and one for Mac). These programs do not allow you to import or edit videos and are solely meant for organization (they are a lot like Apple's iPhoto program). Don't be fooled when you see some of Canon's provided software works with Macs—it is only the ImageBrowser program that is capable of running on a Mac OS. The ImageMixer 3 SE video software works on Windows only.
Manual Controls
The Canon FS200 has a dedicated auto mode called Dual Shot mode (represented on the control dial as a green icon with a camcorder and a camera). In this mode you can shoot video and take photos, although you cannot do both at the same time. Dual Shot mode also locks you out of the camcorder's menu system so you can't fiddle with any of the FS200's settings or controls. It is essentially a replica of Sony's Easy mode and other simplified auto modes featured on other camcorders.
For the most part, the camcorder does a pretty decent job in auto mode, but we noticed a few problems. Autofocus worked quickly, but we noticed the image popping in and out of focus at times—particularly when there are multiple objects within the frame. It wasn't awful, and this problem was rare, but it did occur a few times during our testing. The camcorder's auto exposure was better and it worked well to provide smooth transitions between light levels. Sometimes the exposure shift was a bit choppy, but in most situations the camcorder handled the exposure levels very well. The camcorder has a backlight feature that can be turned on manually to help deal with difficult exposure situations as well.
The FS200's auto white balance wasn't bad, but we recommend using a manual white balance when possible. Sometimes we noticed the auto white balance taking a few seconds to calibrate the color tones correctly, although once it did this the colors generally looked accurate.
Low Light Modes
The only low light modes offered on the Canon FS200 are an auto slow shutter feature and the Night scene mode. Both of these options simply allow the camcorder to use shutter speeds slower than 1/60 of a second (which is generally the slowest shutter you can use before you start seeing motion trails and choppy footage). The auto slow shutter lets the camcorder use a 1/30 of a second shutter speed, while the Night scene mode allows the camcorder to drop to even lower shutter speeds.
The FS200 also has a small video light on the front of the camcorder. The range for this light isn't very good—about two feet—but it will allow you to shoot video in total darkness as long as your subject is really close to the camcorder. Be forewarned, however, using the video light will quickly drain your battery life.
Scene Modes
There are a variety of scene modes available on the FS200: Portrait, Sports, Night, Snow, Beach, Sunset, Spotlight, and Fireworks.
The Canon FS200 has a nice, fat zoom slider on the top of the camcorder. The slider is easily accessible via your index finger when you grip the camcorder and you can control the zoom speed variably based on how hard you push the slider. You can also set the slider to one of three constant zoom speeds in the camcorder's menu.
Canon includes alternate zoom buttons on the base of the LCD panel, but we don't recommend using them. The buttons are difficult to push and aren't comfortable to use, although they may be convenient if you're holding the camcorder in an unusual manner. These buttons are always set to constant zoom speed 3.
The Canon FS200 has a 37x optical zoom lens, which is actually on the low-end for a standard definition camcorder. The Sony DCR-SX60 has a 60x optical zoom, while the Panasonic SDR-S26 offers a staggering 70x optical zoom. Still, the optical zoom on the Canon FS200 is quite substantial, and we doubt you'll need much more than 37x magnification for most of your shooting.
The Canon FS200's zoom can be bumped up to 41x using the advanced zoom setting. This feature increases the zoom digitally, but shouldn't result in a loss of image quality like you get with digital zoom. Advanced zoom takes advantage of the camcorder's unused pixels in order to increase the zoom. Samsung has a similar feature called Intelli-Zoom.
If the optical and advanced zoom features aren't enough for you, then you can always use the FS200's 2000x digital zoom. Yes, you read that correctly, the camcorder has a 2000x digital zoom. We're not sure why you'd ever need to magnify your image 2000 times, but Canon clearly thinks it is a necessary feature (or an attractive marketing tag). Remember, however, using the digital zoom will definitely deteriorate the video image—take our advice and stick with the optical and advanced zoom options on the Canon FS200.
Manual focus is available on the FS200, but the way it is implemented isn't very good. All focus adjustment is made using the joystick on the LCD panel, and the manual focus setting is located in the joystick guide menu. The good part about this focus setup is that you can adjust focus on the fly while you are recording. The bad part is that the joystick isn't very precise (not like a dial or ring), it makes noise when you use it, and Canon doesn't list any numerical values on the LCD while you're setting the focus. The only thing that displays on the LCD are two small icons and arrows—one representing closer focus and one representing more distant focus.
Like focus, exposure can also be set manually on the Canon FS200 using the navigation joystick. The camcorder offers 23 EV increments for exposure adjustment (from -11 to +11), but the range of increments available depends on the lighting conditions you are shooting in. Exposure adjustment works a bit better with the joystick than focus, although the clicking noise made by the joystick is still rather loud (and the onboard microphone is likely to pick up this noise).
The Canon FS200 does not offer manual aperture control. Canon's HD camcorders do have an aperture-priority setting, but no such thing is found on the FS200. If you want aperture control, check out the Panasonic SDR-S26.
The Canon FS200 has a good range of shutter speed controls that are available in shutter-priority mode (called Tv). The shutter speed options that can be set manually in video mode are: 1/8, 1/15, 1/30, 1/60, 1/100, 1/250, 1/500, 1/1000, and 1/2000. Two very slow shutters are also available in photo mode only (1/2 and 1/4 of a second). Shutter speed is set using the joystick and the option is found in the function menu (it cannot be adjusted while recording).
There are two white balance presets on the FS200—Daylight and Tungsten—as well as an auto and manual setting. The manual setting works very well and it is easy to use (it's the same system found on all Canon camcorders). You just point the camcorder at a white or neutral target, select the manual white balance option, and press the joystick button. We recommend using a manual white balance whenever you can, although the FS200's auto white balance setting should work well under most lighting conditions (particularly outdoors).
Manual gain control is rarely offered on consumer camcorders, although some high-end models are beginning to include the feature. So, the fact that the FS200 has no manual gain settings shouldn't really be considered a knock against the camcorder. Panasonic does include manual gain control on most of its camcorders (like the SDR-S26), but you must have the aperture opened fully before you can set the gain.
**Color & Image Controls***(4.5)*
**Other Manual Controls***(1.5)*
Still Features
Other than having the ability to take photos, the FS200 doesn't really have any special still features. There's no built-in flash, no ISO control, no face detection, and no continuous shooting mode. The camcorder does have two size options for taking still images—1024 x 768 or 640 x 480—as well as three quality settings: Super Fine, Fine, and Normal. The Canon FS200 also has a 10-second self-timer, as well as the ability to adjust exposure, shutter speed, and all the manual controls that are available in video mode.
Judging by the camcorder's unimpressive list of still features, we recommend only using the FS200 to snap photos if you have no other options. The still image quality simply isn't nearly as good as what is available on HD camcorders, and you're better off using even a cheap dedicated still camera for all of your photography needs. In fact, many new cell phones are probably capable of taking better still photos than the Canon FS200.
Even though most standard definition camcorders don't offer much in the way of still features, they often do quite well in our still color accuracy testing. The Canon FS200 produced a color error of 4.18 and a saturation level of 101.1% in this test, which are rather good scores. The thing is, all the camcorders in this set did very well in this test. This doesn't mean the camcorders take great photos—it just means they capture still images with good color accuracy. (More on how we test still color.)
As you can see below, the Canon FS200 actually captures one of the better still images out of these four standard definition camcorders. The Samsung SMX-F34 produced a soft, washed-out photo, while the Panasonic SDR-S26 has some discoloration in its image. The JVC GZ-MG670 didn't produce a bad still photo, although its colors were a bit faded as well.
The Canon FS200 averaged 1.18% noise in our still image testing. This isn't a very good noise score, and it is a higher noise percentage than the camcorder managed in both our low light and bright light video testing. We aren't really surprised by this poor performance, however, as we didn't expect any of these standard definition camcorders to have good still image capabilities. The JVC GZ-MG670, however, did very well in our still noise test—averaging just 0.47% noise. (More on how we test still noise.)
Our still sharpness test is the best measure of how good the quality of a camcorder's still images actually is. Since all the standard definition camcorders we measured in this set took very low-resolution photos, we weren't expecting any of them to do very well with this test. The Canon FS200 had one of the better scores—it measured a horizontal sharpness of 533 lw/ph with 1.8% undersharpening and a vertical sharpness of 446 lw/ph with 2% oversharpening. The JVC GZ-MG670 had a similar performance, while the Samsung SMX-F34 had slightly lower sharpness numbers. The Panasonic SDR-S26 was the worst of the set by quite a bit. (More on how we test still sharpness.)
Basically any cheap digital camera will get you much better still images than these standard definition camcorders. Most digital cameras these days capture 10-megapixel photos or better, which is over ten times the amount of pixels the Canon FS200 has in its still photos.
Handling & Use
The Canon FS200 is pretty simple to use, although its dedicated auto mode isn't as obvious to locate as it could be. We wish Canon would put a big 'auto' button somewhere on the camcorder, rather than call the auto mode 'Dual Shot' and label it with a nondescript green icon. Still, even though it may not be simple to find, the Dual Shot mode is certainly easy to use.
One of the best things about the FS200 is the fact that it doesn't have too many buttons. This makes the camcorder look quite simple for first-time users and they won't be daunted by an overabundance of controls. The camcorder handles fairly simply overall and its menus are easy to understand, although their design feels very outdated. We like the way the navigation joystick handles, but it isn't the best for setting manual controls—it is simply no match for a lens ring or control dial. It is easy to use, however, so beginners should take comfort in that fact.
The thing that is most difficult about the FS200 is the fact that you need to import video files using special software before you can play them on a computer. You can use Canon's provided software to do this, but the point is you have to do some kind of importing (just like you need to do with AVCHD footage on HD camcorders). The MPEG-2 files are saved in .MOD containers, which means you can't simply 'drag and drop' the clips from a memory card and into your computer's media player. The importing process is fairly quick and painless, but it does mean you have to install and learn new software before you can get your videos onto a computer.
The Canon FS200 is a small camcorder with a comfortable, rounded shape that should fit well in most people's palms. The camcorder may be too small for some hands, but we found its right-side to feel comfortable and smooth. We also really liked the FS200's hand-strap with its padded design and soft lining—a much better strap than the flimsy offering on the JVC GZ-MG670.
We feel the Canon FS200 is the most stylish of the standard definition camcorders we tested in this set. It doesn't appear boxy or stout like the models from JVC, Panasonic, Sony, and Samsung. Plus, its rounded top and thin design make it one of the more portable SD models on the market (except for ultracompact budget cams like the Flip). We like the FS200's grip, button placement, microphone position, and durability as well. The bottom-loading battery and memory card slot is a bit annoying, particularly if you plan on using the FS200 on a tripod, but there's really nowhere else to put a battery pack on a camcorder as small as the FS200.
The LCD on the FS200 isn't very remarkable, but it gets the job done. None of these small SD cams offer electronic viewfinders, and most HD camcorders don't include this feature as well. The FS200's navigation joystick is well made, but it can be frustrating to use for certain tasks. It makes noise when you push it and it isn't very precise for making manual adjustments. Still, it is better than Sony's touchscreen and JVC's Laser Touch system. Also, the joystick and d-pad featured on the Panasonic SDR-S26 and Samsung SMX-F34 are awful compared to Canon's.
The Canon FS200 is equipped with a digital image stabilization system (DIS), which can result in degraded image quality when used. Unfortunately, the DIS also didn't work very well to stabilize the camcorder's recorded image, although it wasn't as bad as some of the digital stabilization systems featured on other standard def cams. (More on how we test stabilization.)
In our low shake test, the FS200's digital stabilization reduced the shake by only 10%. When we cranked things up in our high shake test, the camcorder reduced slightly less of the shake, just 6%. Neither of these results is very good, but at least Canon's stabilization system was able to do something to reduce shake. The DIS featured on the Samsung SMX-F34 did nothing to improve the shakiness of its video, while the Sony DCR-SX60 managed nearly identical results to the FS200.
One thing we should point out here is the impressive stabilization performance by the Panasonic SDR-S26—the only one of these camcorders to include optical image stabilization (OIS). So, not only does the S26 offer better stabilization results, but using its OIS also shouldn't degrade the image quality like a digital stabilization system can. As for the cams that offer DIS, the JVC GZ-MG670 appeared to do the best job reducing shake (JVC as a whole usually has good digital stabilization systems on its camcorders).
Most standard definition camcorders are very light and compact, although none of these traditionally-shaped models are as portable as an ultracompact cam like the Flip. The Canon FS200 can probably fit in your pocket, but it won't be very comfortable due to its thick, round body design. Still, the camcorder is a heck of a lot smaller than your average HD model. The Panasonic SDR-S26 and Sony DCR-SX60 are roughly the same size as the Canon FS200, while the JVC GZ-MG670 and Samsung SMX-F34 are a bit bulkier. Overall, we're impressed with the FS200's size. It is small enough to be considered very portable, but its body is large enough to offer comfortable handling and a decent grip.
Remember, the Canon FS200 lacks any internal memory, so you have to bring SD/SDHC memory cards along with you wherever you take the camcorder. This may be only a minor nuisance for some, but it does limit the camcorder's portability overall.
The Canon FS200's provided battery just wouldn't quit during our battery life test. The camcorder lasted 3 hours, 17 minutes, 27 seconds in our test (197 minutes), which is a downright impressive performance. While some of the other standard definition cams we've tested have had very good battery life results, none of them even come close to the Canon FS200. The Samsung SMX-F34 had the next best results in this test, lasting just over two-and-a-half hours. (More on how we test battery life.)
Unfortunately, the Canon FS200 has an enclosed battery compartment, which means you cannot upgrade to larger battery packs. Still, the 3+ hour performance put on with the camcorder's provided battery should be plenty of time for an average day of shooting video. The FS200 also has an interesting feature called quick charge that enables you to get more out of your battery pack. According to Canon, if you charge the battery for 20 minutes (while it is inside the camcorder), you should get 60 minutes of record time from the battery. We didn't overtly test this feature, but we did notice the camcorder lasting for quite a while after limited charges.
There's nothing special about the LCD featured on the Canon FS200. The screen is 2.7-inches in size (the standard for a consumer camcorder), and it offers a disappointing 123,000-pixel resolution. There is no doubt these are lackluster specs for an LCD, but you can expect to find similar screens on the competition. All the models we've used as comparisons throughout this review—the Panasonic SDR-S26, Samsung SMX-F34, and JVC GZ-MG670—include 2.7-inch LCDs. None of them have impressive pixel counts on the screens either.
You can set the brightness of the LCD manually with 45 increments of control. Canon even includes a little greyscale box at the bottom of the screen so you can calibrate the brightness levels to your liking. There's also an LCD dimmer setting that lowers the backlight level on the screen to conserve battery life.
Since the trend for standard definition camcorders is to make them small and compact, it shouldn't be a surprise to see the FS200 lacking an electronic viewfinder. In fact, none of the new standard definition models released by the major manufacturers this year included a viewfinder.
Canon did not give the FS200 a menu overhaul like it did with its new HD camcorders in 2009. This means the menus on the FS200 feel a bit dated and they aren't much different than last year's models. Still, the menu setup isn't terrible, and the FS200 does have some better organization than last year's Canon FS100.
Options on the FS200 are still spread out into three different menus: the Function Menu, the Main Menu, and the Joystick Menu. The Function Menu is probably the one you'll use the most and it is accessed by pressing the 'FUNC.' button on the LCD panel. The Function Menu, which is available in both still and video mode, houses options for setting the white balance, shutter speed, image effects, digital effects, and video quality. You can also access the Main Menu from the Function Menu (the last option on the left column). All menu navigation on the FS200 is performed using the joystick on the LCD panel.
The Main Menu feels the most outdated on the FS200. It has cheesy little icons, an awkward color scheme, and the all-caps text simply isn't eye-catching. The Main Menu is organized into five submenus—Camera Setup, Memory Operations, Display Setup, System Setup, and Date/Time Setup. The menu is fairly simple to navigate despite the fact that it doesn't look very stylish or attractive.
The last menu on the FS200 is the Joystick Menu and it is the only menu that can be accessed during video recording. To open the Joystick Menu you must press up or down on the navigation joystick. This opens a small list of options on the right side of the LCD: video light, digital effect activation, pre record, backlight, exposure, and focus. This menu is meant to be readily accessible so you can adjust things like focus or exposure on the fly, but it can be confusing to use. Everything is selected and controlled using the navigation joystick, which can be frustrating and difficult. This drop-down menu system is much better, however, than the directional Joystick Guide featured on last year's Canons.
Our main gripe with Canon's menu setup is the fact that all the options are spread out into three separate menus. This can make it difficult to find the specific control you are looking for, particularly if you don't have much experience with the camcorder. We are happy to see Canon did at least some renovation to the FS200's Joystick Menu and it is much improved over last year's FS100, FS11, and FS10.
Playback & Connectivity
To switch to playback mode on the FS200 you simply press the playback button on the base of the LCD panel. From there, playing your clips is as simple as selecting them with the navigation joystick and using the simple VCR controls on the LCD panel (play/pause and stop). The more advanced VCR controls, like fast forward and rewind, are only accessible by using the navigation joystick, which isn't a very good system. You also must use the joystick to control the playback volume coming out of the built-in speaker. We wish Canon had included more dedicated VCR buttons rather than giving so much control to the imprecise joystick.
As far as playback features go, the FS200 has most of your basics. You can divide or delete clips, add footage to playlists, and there's even a playback zoom feature for still photos. Once clips are set to a playlist you can import music files to play in the background (one of the Canon's provided CDs comes with some music files). This type of background music feature has become a staple for any camcorder that records to non-linear media.
The Canon FS200 has your basic connectivity features, but it also includes a 3.5mm external microphone port, which is quite rare to find on a standard definition camcorder. Taking a peak inside the FS200's LCD cavity you'll find the bulk of the camcorder's ports—the USB terminal, external mic port, and AV-output. The AV-out port can also function as a headphone jack, but you have to go into the camcorder's menu system to designate the port's control. These ports are all unprotected, although when the LCD panel is closed they aren't really exposed to the elements.
Flipping around to the right side of the camcorder you'll find a small DC-input port that is protected by a tough, round, piece of flexible plastic. This port is well placed for the most part, although it is slightly in the way when you grip the camcorder. This is only a problem, however, if you plan on doing hand-held shooting with the FS200 *while *it is connected to DC power.
There's a few more connectivity features located on the bottom of the FS200. Opening up the camcorder's battery compartment you'll find the SD/SDHC memory card slot (just behind where the battery pack fits). The thick, plastic door that covers this compartment protects both the battery and memory card slot very well, but it does mean you have to take the camcorder off of your tripod whenever you want to swap out cards or batteries (that is, if you're using the camcorder on a tripod in the first place). We're also not crazy about the enclosed battery compartment, as it means you can't purchase larger battery packs for the camcorder. The FS200 did have a stellar battery life performance with its provided battery pack, however, so this problem is diffused by that fact.
Audio & Other Features
The Canon FS200 has more audio features than most standard definition camcorders—if only because it includes a 3.5mm external microphone input and a headphone jack (shared with the AV-out port). None of the other three comparison models we used throughout this review offer these ports. The external mic input can be very useful, although the majority of videographers are likely to never even notice it (particularly novice users). Still, it is wonderful to see Canon including the port.
In addition to its audio ports, the Canon FS200 can also display audio levels on its LCD—although the levels cannot be adjusted. You can also turn on the camcorder's wind screen feature to block out the noise associated with rustling wind. The camcorder's built-in mic is well-placed at the front of the camcorder, just below the lens. This built-in mic records Dolby Digital 2-channel audio.
Video Light
The video light on the Canon FS200 has a very limited range (about two feet in total darkness) and using it will drain your battery, but it is a good feature to have. We just wish Canon had made the light a bit brighter to make it more effective.
Pre Record
This can be a useful feature, but, as with the video light, using it can quickly drain your camcorder's battery life. With Pre Record engaged, the FS200 stores three seconds of video in an internal buffer before you hit the record button. This means, once you press the record button the camcorder has already captured three seconds of footage. This is great for shooting sports or fast-paced scenes where it is easy to miss part of the action because you're not quick enough to start recording.
Video Snap
This feature appears on all of Canon's new camcorders for 2009 (except for the tape-based HV40). What it does is allow you to shoot 4-second video clips with the FS200, and then you can add music to these clips during playback. Canon touts this feature as capturing 'video snapshots' because each clip is four seconds in length. The thing is, you can add music to any of your videos during playback on the FS200, so all the Video Snap feature really does is let you take even-length four second clips.
*Fader and Digital Effects
*The Canon FS200 has a fader, a wipe, and a number of digital effects (Black and White, Sepia, Art, and Mosaic) available in the Function Menu. The effects can be turned on and off while shooting using the Joystick Menu.
JVC GZ-MG670 Comparison
The JVC GZ-MG670 is a more expensive camcorder than the Canon FS200, but you're mainly paying for the 80GB internal hard drive located inside the MG670. If you think about it, buying three 32GB SDHC cards will probably cost you close to $200, so the JVC's price difference isn't as extreme when you take media costs into account. In addition to having an 80GB internal hard drive, the JVC GZ-MG670 can also record to MicroSD memory cards.
The price difference aside, there's a lot we like about the GZ-MG670 over the Canon FS200. The JVC outperformed the Canon in nearly every one of our tests, it produced a sharper image, had better motion rendering, and its digital image stabilization worked more effectively. The MG670 also has another fascinating trick up it's sleeve—1080p HD upconversion via an HDMI output. Now, the GZ-MG670 is a standard definition camcorder by all means, but when you connect the camcorder to an HDTV via its HDMI output the video gets upconverted to 1080p. This may be one of the reasons the GZ-MG670's footage looked so much better in our motion test. Instead of sending the video signal out to a television via low-quality AV cables, the signal was carried on HDMI.
We definitely think the GZ-MG670 is the better product over the FS200, although you could get a low-end HD camcorder for roughly the same cost as the JVC. While the GZ-MG670 did impress us with its video performance, the camcorder was lackluster when it came to handling and design. It felt cheap, the hand strap was flimsy, and the Laser Touch Strip can be a pain to work with—then again, none of these standard definition camcorders offer lens rings or dials, so they are all pretty much in the same boat when it comes to precise control. For a cheaper option, JVC makes the GZ-MS120, which records solely to memory cards (it has two SD/SDHC card slots) and costs the same as the Canon FS200. Unfortunately, however, the GZ-MS120 does not have the HD upconversion feature.
Samsung SMX-F34 Comparison
For a standard definition camcorder, the Samsung SMX-F34 is rather large and clunky. It's body doesn't feel that sturdy and its buttons—particularly its navigation d-pad—aren't well constructed. Still, the camcorder is roughly $20 cheaper than the Canon FS200. We feel, however, that the Canon is a far superior product and is definitely worth the slightly higher cost.
In most of our performance testing the Samsung SMX-F34 scored near the bottom, although it did have decent numbers in our video sharpness test. We noticed some serious issues with the F34 in our motion test, with the camcorder producing a lot of artifacting, pixelation, and interference in our test footage. This is likely due to the low bitrate the Samsung uses to record video (5Mbps compared to 9Mbps on the Canon FS200).
One of the benefits of the Samsung SMX-F34 is the fact that it records video using the MPEG-4 codec and its files can simply be 'dragged and dropped' from a memory card onto a computer. There is no need for using a special software to import and convert the files into a viewable format. The Samsung also has a unique, rotating hand strap on its right side that provides you with a few different ways of holding the camcorder. We like the rotating hand strap idea, but we feel the system is better implemented and more comfortable on other models from Samsung, like the SC-HMX20 and the HMX-H106.
The Canon FS200 is the better choice between these two camcorders for a variety of reasons. It has better performance, stronger design, and it is more compact. There's really no reason to go with the Samsung here unless you're tempted by its MPEG-4 recording and unique hand strap design.
Panasonic SDR-S26 Comparison
The Panasonic SDR-S26 has a few things going for it that make it stand out in the standard definition market. The first is its 70x optical zoom, which is almost twice as long as the zoom on the Canon FS200 (37x). This is a ridiculous amount of optical zoom, however, and we can't really imagine why anyone would need to zoom in that much. Anyway, if you are a zoom fanatic, then the Panasonic SDR-S26 was designed for you.
In addition to its killer zoom ratio, the SDR-S26 also offers optical image stabilization. This system is advantageous over the rest of these SD models that all offer digital stabilization systems. Panasonic's optical system works better (it scored the highest in our testing), and it doesn't degrade your image quality like digital stabilization systems can. So, a good stabilization system combined with that 70x optical zoom does make the Panasonic S26 ideal forgetting a close-up of a far-away animal—or for spying on your neighbors.
Despite these two enticing features, the Panasonic SDR-S26 is a mediocre camcorder when it comes to video performance. It performed terribly in our low light sensitivity test, had the worst sharpness of the bunch (and the smallest image sensor), managed an abysmal battery life, and its image appeared fuzzy and bland in anything less than ideal lighting conditions. It is also a stout little camcorder that feels comfortable to hold, but doesn't look nearly as stylish as the Canon FS200. The Panasonic SDR-S26 is roughly $30 cheaper than the Canon, but the money you save is reflected by the camcorder's poor video quality.
You can go with the Panasonic if all you want is a camcorder that allows you to zoom to your heart's content, or if you are insistent of having optical image stabilization. If you are at all concerned about image quality or low light performance, however, we suggest you go with the Canon FS200, JVC GZ-MG670, or Sony DCR-SX60—all of them outperformed the Panasonic in our video testing by a significant margin.
Conclusion
Photo Gallery
Specs and Ratings
{{manufacturer_specs_table}}{{raw_scores_table}}
Meet the tester
Jeremy is the video expert of our imaging team and Reviewed.com's head of video production. Originally from Pennsylvania and upstate NY, he graduated from Bard college with a degree in film and electronic media. He has been living and working in New England since 2005.
Checking our work.
Our team is here for one purpose: to help you buy the best stuff and love what you own. Our writers, editors, and lab technicians obsess over the products we cover to make sure you're confident and satisfied. Have a different opinion about something we recommend? Email us and we'll compare notes.
Shoot us an email