How many fps canon t2i

File Sizes: The Movie Crop function aims to solve a problem faced by consumers, namely that expensive telephoto lenses generally carry hefty price tags that place them far out of reach of the casual amateur. Ordinarily, the Canon T2i's movies are recorded using data from across the image sensor area.

With Movie Crop mode enabled, however, the T2i instead crops only the centermost pixels from its sensor data for recording, and discards the rest. The feature is only available when recording at VGA x pixel resolution, and yields an effective 7x magnification. There's no free lunch, of course. While magnifying your subject to bring you close to the action, the Movie Crop mode also magnifies image defects. Since lens defects are generally most prominent towards the corners, the crop mode avoids the worst of these issues by using the sweet spot at the center of the lens.

The effects of focus errors, diffraction limiting, and high ISO noise can prove another matter entirely. Videos shot in the VGA Crop mode are decidedly soft compared to the standard VGA mode, and can quickly get noisy if ambient lighting isn't ideal.

For the T2i's target market, though, such defects will likely prove relatively acceptable, when compared to the cost of obtaining a lens of equivalent focal lengths.

Many video-capable SLRs only offer automatic exposure in their movie modes, but the Canon Rebel T2i gives you a choice of either automatic or manual exposure modes. In Auto mode, the camera adjusts the shutter speed and aperture as needed for a correct exposure, keeping things simple. Auto exposure mode is the default when you first place the Mode dial in the Movie position, and Manual mode is accessed from the Movie Exposure option in Movie Menu 2.

In Manual mode, simultaneous control of both the shutter speed, aperture, and optionally the ISO sensitivity is possible. This is great news -- the ability to control depth of field or freeze action is very useful, giving you significantly more creative control over your videos. Given the slow default shutter times of most video-capable digital SLRs, the T2i included, a higher shutter speed to freeze fast motion is almost a necessity for good-quality video of anything moving.

Note, though, that although you can control shutter speed, this doesn't prevent the so-called "Jello effect", more properly known as rolling shutter artifacts.

Like other digital SLRs, the progressive manner in which the Canon T2i clocks data off its sensor means that sudden camera or subject movements can cause distortion, although this is less of an issue for the T2i than in some cameras. External Mic. The Rebel T2i's Mic jack resides on the camera's left side under a rubber panel, alongside the camera's other various connectors.

The Canon Rebel T2i's video mode is accessed via a dedicated position on the camera's mode dial. Setting adjustments in movie mode are made via two dedicated Movie menus, which are only available when the camera is in Movie mode. Still images can be captured in Movie mode, interrupting the movie for about 1 second, by pressing the Shutter button. Autoexposure is used, unless manual exposure is chosen. Flash is not supported. You can save the trimmed movie to a new file if there is space on the card , or choose to overwrite the original.

Movies can be played back at normal speed, or in slow-motion, with adjustable playback frame rate. There are "VCR" like controls for advancing to the next or last frame, or playing from the previous or first frame. As compared to the video from other cameras we've tested, we found the Canon Rebel T2i's video to be relatively immune to motion-induced compression artifacts that we've seen when recording in AVCHD mode as noted, the T2i uses the broader H.

Its rolling shutter artifacts also don't seem quite as pronounced on some cameras, although they're still very evident when you pan the camera quickly while recording. Essentially every video capable digital SLR currently on the market exhibits motion-related distortions called rolling shutter artifacts.

These are caused because the image data is captured and then read off the chip sequentially by rows, rather being captured all at once. The effect on moving objects is similar to that of a focal plane shutter in an SLR, but more pronounced, because the video frame is read out much more slowly than the slit of a focal plane shutter moves across the sensor. For a camera that scans video frames vertically as all do that we're aware of , rolling shutter artifacts will be most noticeable for subjects that are moving rapidly side to side, or when the camera itself is being panned horizontally.

Verticals in the scene will appear tilted to the right or left, depending on the direction of camera motion. As an example, consider the case of a camera being panned from left to right, with a flagpole or other vertical object in the middle of the scene when recording for a particular frame begins: If the top of the object was centered horizontally when the first line of the video frame is acquired, by the time the last line of the frame has been captured, the bottom of the object will have shifted to somewhere left of center: As a result, the vertical object would appear to be leaning to the right.

The visual impact of rolling shutter artifacts on the Canon Rebel T2i seemed a bit less noticeable than in some other recent digital SLRs, but as noted, it's still a factor. The Canon T2i's video exposure system operates either in a normal programmed-exposure mode, where the camera selects aperture, shutter speed, and ISO, or you can select Manual exposure mode via a menu option.

Manual exposure mode is entirely manual, in that you're responsible for setting all three exposure parameters; there's no option for shutter or aperture priority. It turns out that this was a very deliberate choice by Canon, as the motion blur from the slow shutter speed makes for much smoother-looking video on playback.

While detail in rapidly moving subjects is indeed blurred, that blurring helps merge the image from one frame into the next, giving the impression of more continuous motion. Given that powerful telephoto lenses are priced out of the reach of most amateurs, I think the crop mode is a genuinely useful feature for the Rebel T2i's target market. One minor issue I encountered in my movie shooting with the Canon T2i related to its microphone placement, and my own grip on the camera.

I generally shoot two-handed for stability, but tend to change my grip slightly when shooting video with a DSLR. Ordinarily, my left hand grips the lens barrel, but given that I lack the smoothness to adjust focus or zoom to my satisfaction during video shooting, I've grown accustomed to moving my left hand away from the lens during video capture. Instead, I hold the left end of the camera body. My issue was that in doing so, I occasionally brushed my middle finger across the microphone, or even accidentally covered it altogether, disrupting my movie audio.

Once I was aware of this, it was easy enough to consciously make myself grip the body in a more traditional style, but a different microphone placement could resolve the issue altogether. It seems to me that beneath the pentamirror prism would be an ideal location which wouldn't likely be bumped or covered.

VGA video crop. The Canon T2i's video crop mode gets you much closer to the action, at the expense of image sharpness and noise. Panning at this speed took all my concentration, so before filming, I prefocused on the bridge support at the six second point in the video, using the camera's contrast detect AF.

The resulting video is a bit soft, but probably acceptable to many consumers -- certainly when compared to the expense of a similarly powerful telephoto lens. Another feature of the Canon T2i that I welcomed was its modest increase in burst shooting rate. The difference between the T1i's 3. My reflexes are perhaps not the best, and so when shooting unpredictable subjects such as children and pets, I frequently take advantage of a camera's burst capabilities, quickly firing several shots when I think the moment right.

Every little bit helps with this approach, and the only real downside of the increased burst speed is that it is accompanied by a significant reduction in burst depth. Raw shooters such as myself are likely to find the six-shot buffer rather limiting, however. I occasionally found myself wishing for the T1i's somewhat more useful nine-shot capability as I waited for their buffer to empty. I should note that the burst depth in both Raw and JPEG modes does vary with subject detail, and so in some scenes you may find more or less shots are available.

All things considered, the Canon T2i is a very enjoyable camera to use, with impressive image quality and a generous range of features for a consumer DSLR. As noted, I'm largely a stills shooter who just occasionally dips into video to document family outings, but were I more of a videographer, the Canon T2i's depth of control over video shooting would likely have me beside myself with excitement. The Canon T2i's megapixel sensor is an improvement on the megapixel T1i, with sharper detail and less noise overall at ISO 1, Pretty impressive.

The red leaf fabric still gives the T2i trouble, though. Up against the Nikon D, the Canon T2i out-resolves its megapixel competitor in most situations, and there's less shadow chroma noise. The Nikon still does better with the red leaf swatch, though, thanks to its better-controlled anti-noise suppression.

The Pentax K7 isn't known for its superior high-ISO performance, but it's closer in resolution than most, and still does a fair job against the T2i. The Canon T2i's sensor out-resolves the K7, though, while maintaining better detail overall. The T2i does so well, it's only fair to put it up against the full-frame Nikon D While the resolution doesn't make it a match, it's easy to see the advantage of larger pixels over more pixels, especially when looking a the red swatch. The D gets less detail in the Mosaic area, sure, but when it comes to red leaf swatch, the D has more to true detail to work with, rendering the fabric more accurately than any other camera in this lineup.

Detail comparison. An ISO 1, comparison is only so helpful. A camera's ISO performance is also of value, as is a higher ISO, so I've pitted the same set of cameras against each other in the high-contrast detail department at and 3, The Canon T2i produces the most crisp image from this area of the Still Life shot, but it is also employing a lot of sharpening, which leaves halos around the letters in this picture.

Contrast is also more prominent in the T2i. The others do well, but the Canon T2i truly wins the day. Also consider that this test is not independent of lens quality, focus errors, and other variables, so again take this mostly as a comparison of what each camera was able to do with the best standardized optics we can muster. The Canon T2i retail package contains the following items:. Once again, Canon has raised the bar at the consumer level, providing even more still-image resolution, and a high-def video mode with full control over exposure, resolution and frame rate, plus the ability to use autofocus during videos.

Though it comes at a noticeably lower price, the Canon T2i handily trumps the competition from Nikon and others, and offers some timely features worth noticing. The Eye-Fi status display stands out as a great idea that seems rather obvious in hindsight, but technical achievements like the iFCL metering, which helps autofocus accuracy by detecting the type of light, are where the Canon T2i really impresses.

With its sensor derived from that of the prosumer EOS 7D, the Canon T2i shares excellent image quality, with plenty of detail, true-to-life color, and very good high ISO performance, especially when considering its high resolution. Photographers interested solely in stills will find the Canon T2i to be a very capable camera, but it's those looking for a video-capable DSLR who'll find it almost unrivaled for the price point. Image quality is impressive, though we did find the Canon T2i's megapixel sensor revealing more flaws in the mm IS kit lens, especially in terms of chromatic aberration, but corners were still sharper than we normally see from most kit lenses, so it's not all bad.

Resolution was incredible, and detail is clean. Even as ISO goes up, more detail is retained than we're used to seeing. That's impressive.

As with most digital SLRs on the market, shooting video with the Canon T2i isn't as easy as using a commercial camcorder, but with some effort the dedicated hobbyist can make some impressive videos. Overall, it's pretty tough to go wrong with the Canon T2i, which makes it a sure Dave's Pick.

T2i vs SD1 Merrill. T2i vs T6i. T2i vs K-3 II. T2i vs T6. T2i vs T6s. T2i vs A T2i vs D T2i vs T7i. T2i vs KP. T2i vs A77 II. T2i vs SL2. T2i vs K T2i vs 77D. T2i vs 80D. T2i vs 7D Mark II. T2i vs T7. Canon T2i Review Tweet Share. T2i Summary Externally, the Canon T2i looks very much like its predecessor, being almost identical in overall size but with softer, more gently rounded shoulders.

Imaging Resource rating 5. Buy the Canon T2i. Similar to the T2i but smaller lighter larger sensor cheaper But Sigma SD1 Merrill. Canon T6i. Pentax K-3 II. Canon T6. Canon T6s. Sony A We've been using Panasonic's new Lumix S 35mm F1. Panasonic has announced the Lumix S 35mm F1. Panasonic has released firmware version 1. The Hubble Space Telescope is in safe mode as engineers work to investigate what's wrong with the telescope's onboard instruments. This is the second time the venerable telescope has faced extended downtime after being offline for a month earlier this year.

Panasonic China has posted a pair of images to various Chinese social media sites that tease what appears to be a new lens launch. Gordon Laing is back at it again with another Retro Review. In this episode, Laing goes back 25 years to provide an in-depth overview of Nikon's unique Coolpix camera, which was half compact camera, half PDA. The adapter includes optics to help offset the crop factor of APS-C cameras. OM Digital Solutions — the company that's bought the Olympus imaging division — has just launched the M.

Zuiko Digital ED 20mm F1. Click through for a closer look. Chris and Jordan tease-out the differences. Submit a News Tip! Reading mode: Light Dark. Login Register. Best cameras and lenses. Video Video in DSLRs might be a relatively new phenomenon, but the technology and its implementation is proceeding in leaps and bounds.

Video specification The D offers progressive HD video capture at x pixels p at 30, 25 or 24 frames per second, or x pixels p at 60 or 50 frames per second available frame rates differ depending on whether you have the camera set to NTSC or PAL. Movie mode displays Movie setting menu You can choose between three output sizes.

The frame rate options in this screen capture are for the NTSC setting. Once recording has started, the red recording dot is displayed on the top right corner of the LCD. By half-pressing the shutter button during video recording you can display exposure information and ISO sensitivity. Additional information can be displayed by pressing the Info button.

Video samples all shot at xp, 25fps mode Sample video 1 Auto exposure, in low artificial light external mic x, 25 fps. MOV file. Tags: review , canon. Prev page Next page. We are retrieving offers for your location, please refresh the page to see the prices. View Comments 6. Comments All 6. Cameracist Mark 11? Is this post from teh future? All of Pentax's k mount lenses work on all Pentax dslrs.

I just sent them the camera back to Canon, waiting for explanations. You may also like. Rebel Forum FAQ. Latest sample galleries. Tamron mm F2. Panasonic S 35mm F1. DJI Mavic 3 Cine sample gallery. Nikon Z9 pre-production sample gallery. See more galleries ». Latest in-depth reviews. Read more reviews ».

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