Set the camera to the PAL video system and you can film 1080p in 50p or 25p (in normal or light compression), 720p in 50p or 25p Light, or VGA in 25p (in normal or light compression). Set the video system to NTSC and you can film 1080p in 60p, 30p or 24p (with 30p available in normal or light compression), 720p in 60p or 30p Light, or VGA in 30p (in normal or light compression).

As an EOS DSLR, the 200D / SL2 features a standard EF lens mount with native compatibility with the entire Canon EF lens catalogue, including EF-S models designed for its smaller APS-C sensor. This is the key benefit of the EOS 200D / Rebel SL2 over rival formats, especially youthful mirrorless ones: native access to over 80 lenses from the enormous Canon catalogue without the need for an adapter or compromised AF performance. I should also add that some of the budget lenses are much more affordable than mirrorless alternatives, in particular models like the EF 50mm f1.8. See my Canon lens guide for the lenses I recommend.Auto Lighting Optimizer performs in-camera processing to even out the contrast and correct brightness. There are 4 different settings - Off, Low, Standard and Strong. Off The Canon EOS 200D has 2 different JPEG file quality settings available, including Fine and Normal, with Fine being the higher quality option. Here are two 100% crops which show the quality of the two options. Fine (5.87Mb) (100% Crop) Canon wants you to make the most of the camera, so helps you explore the options in each mode with a handy on-screen guided interface. It’s all operated by touch, but to prevent unwanted adjustments, you’ll first need to enter the Q menu either by pressing the SET button on the rear, or by tapping the Q icon on-screen; try tapping anywhere else on-screen and you’ll be instructed to tap the Q icon first. Once you’ve entered the Q menu, the screen is split into an upper and lower section. In the upper section you’ll see the more graphical options like sliders to adjust the key settings, while in the lower half you can tap a number of smaller panels to adjust things like the drive and AF modes. Essentially a more extreme version of the well-established Picture Styles, Creative Filters offers 10 options, all of which can be interactively tweaked to suit your taste. Grainy B/W Turning to metering and exposure, this is looked after by a 63-zone dual-layer metering sensor. Exposure can be refined using the exposure-compensation system, which offers 1/3 stop or 1/2 stop increment adjustment over a +/-5EV range.

Semi-transparent LCD in viewfinder that can overlay grids, different AF points, an electronic level, and moreIn front of the mode dial there is also a new display button beside the ISO button to switch the screen off when it’s not being used and preserve battery life. Both the ISO and DISP buttons are fairly spongy, though, and need to be depressed quite a way before they do anything. Ahead of these you get a knurled scroll dial and the shutter button, which is no longer surrounded by the same rubberised material as the EOS 100D’s handgrip. Strictly comparing the SL2 and D3400 you'll see that they each have their own strengths and weaknesses. While there are 'little things' like the type of LCD, viewfinder size and wireless functionality, live view autofocus is the main differentiator. It's simply no contest there with the SL2's AF system blowing away the D3400 in live view and movie mode.