Canon EOS Rebel T5i Review – Same As It Ever Was

The Canon EOS 700D / Rebel T5i is the newest member of the company’s ‘Rebel’ line, which is designed for beginning photographers. After more than two decades of consistent success in both its film and digital incarnations, these compact single-lens reflex cameras (SLRs) have undergone significant development and enhancement to the point where Canon’s greatest challenge appears to be locating new ways to differentiate its updated models.

If you compare the newly released EOS 700D / Rebel T5i to its predecessor, the EOS 650D, you will see that the alterations are so subtle that they are hardly worth mentioning.

Key characteristics

  • APS-C ‘Hybrid CMOS’ sensor with 18 megapixels
  • Live View and Video using phase detection autofocus derived from the image sensor
  • Autofocus that is continuous while in video mode, including subject tracking.
  • 14-bit DIGIC 5 processor
  • Standardization at ISO 100-12800; expansion to 25600
  • Continuous filming at 5 frames per second
  • 9-point autofocus system, all sensors of the cross-type, and an F2.8 sensor in the center (from 60D)
  • 63 zone iFCL metering
  • Recording video in 1080p at 30 frames per second with stereo microphones integrated in
  • 1.04-millimeter dot 3:2 touch-sensitive variable-angle LCD with ClearView II (capacitive type, multi-touch support)

The EOS 600D / Rebel T3i is identical to the Canon 700D in terms of its headline characteristics, which include an 18MP CMOS sensor, a 9-point AF sensor, and a 3:2 flip-out 1.04m dot screen. When you look a little closer, though, you’ll notice that enhancements have been made in each of these areas, with an eye both to more experienced users who want SLR performance and to compact camera upgraders who want an interface that feels familiar to them.

In today’s market, an entry-level DSLR needs to provide more than simply great picture quality in order to attract compact camera upgraders. This is primarily due to the advent of big sensor mirrorless models, which have become increasingly popular. In this day and age of YouTube, having quick and simple access to the power of capturing video is an absolute must.

In addition, those who are far more accustomed to producing images on an LCD screen rather than through a viewfinder will find the performance of the live view to be of significant concern. If the camera does not provide consumers with a way to a more classic DSLR-like experience, it will be difficult for them to resist the lure of a physically smaller mirrorless camera. Of course, the camera should nevertheless provide users a road to a more traditional DSLR-like experience.

The EOS 650D was Canon’s attempt to face these problems front-on, and it featured improvements to its live view as well as its video capabilities. These improvements have been carried over into the EOS 700D. The ability to provide continuous autofocus tracking while the video is being recorded is one of the most notable of these capabilities.

This is made feasible by the ‘Hybrid CMOS’ sensor that Canon uses in its cameras. This sensor incorporates pixels that are specifically dedicated to phase detection autofocus. These are utilized by the Hybrid AF system in order to rapidly position the lens to about the proper distance, after which the contrast-detection AF is utilized in order to fine-tune the focus.

In comparison to Canon models that just utilize CDAF for focusing, this ought to result in a more rapid and accurate focusing experience when shooting in live view and video. On the page of the EOS 650D review devoted to autofocus performance, you’ll find a more in-depth discussion of this technology as well as examples of its application.

In addition, the EOS 700D comes equipped with a touchscreen. This is of the capacitive kind, which is sensitive to contact, as opposed to the resistive type, which is sensitive to pressure, and its behavior is comparable to that of a standard smartphone. The screen may be used to select the point of focus in Live View and Movie modes, as well as (optionally) release the shutter.

Additionally, it allows multi-touch and gestures, much like the iPhone. The back screen has been rebuilt so that there is no air gap between the display and the cover glass. This is being done in an effort to lessen the amount of glare and reflections that are caused by the screen. In addition to that, it has a covering that prevents fingerprints and smudges in an effort to mitigate the negative effects of its newly acquired sensitivity to touch.

Lenses

EF-S 18-55mm f/3.5-5.6 IS STM lens from Canon

Along with the Canon EOS 700D, the EF-S 18-55mm F3.5-5.6 IS STM kit lens was also introduced. In light of the fact that the camera itself does not provide anything that sets it apart from the EOS 650D, the primary selling point of the EOS 700D is the availability of a new stepper-motor-driven 18-55mm STM lens as an optional accessory.

The lens has a closer focusing distance of 0.25 meters, up to four stops of image stabilization, a circular aperture with seven blades, and improved movie focusing. Additionally, the lens has a closer focusing distance. When the lens is focused utilizing an internal design, the length of the lens does not change. However, as you can see by using our lens comparison tool, the lens’s optical performance is practically on par with that of its EF-S 18-55mm f/3.5-5.6 IS II cousin that does not include the STM.

Videographers are particularly interested in lenses with the STM designation because they have the potential to have quieter autofocus as well as better AF speed. Those who are accustomed to using virtually any camcorder are accustomed to autofocus that is smooth and relatively precise, but the autofocus on the typical SLR is sluggish (indeed previous Rebels only focused when prompted by the user).

Autofocus on a single-lens reflex camera (SLR) often relies on contrast detection because the phase-detect sensor cannot be used in Live View or video modes. This leaves the camera to struggle with focusing. And because non-STM lenses aren’t built for this focusing mechanism or for this purpose, the results were frequently jerky shifts in focus, and the sound of the focus motor could be heard on the soundtrack of the movie.

It was even known for older Rebels to pick up exposure while you were filming them, even if you begged them to focus.

There is also an option to purchase the 700D in a combination with the EF-S 18-135mm f/3.5-5.6 IS STM, which provides a wider zoom range but comes at a higher cost. The EF 40mm F2.8 pancake lens is the only other SLR lens that Canon offers that is equipped with an STM motor.

All of them are made to make the most of the Hybrid AF technology that can be found in the EOS 650D, 700D, and 100D. These cameras include silent autofocus, which is beneficial while taking video, and full-time manual focus capabilities.

Body And design

The Canon EOS 700D retains nearly all of the same physical characteristics as its predecessor, the Canon EOS 600D. This is not at all a negative aspect, as it provides you with a completely articulating LCD screen as well as a practical set of external controls that provide you access to the primary shooting features.

The body is constructed of plastic, but it still has a very sturdy feel to it, and there is no flexing or creaking to be heard. Additionally, the somewhat wider grip that was inherited from the 600D is an obvious upgrade over earlier models in the range.

The ‘upmarket’ body finish doesn’t make much of a difference in handling (it’s still plastic), but our best bet is that some customers will prefer it over the slightly glossier finish of the EOS 650D.

In spite of the fact that it is an entry-level model, the 700D has a generous number of control points, giving up very little in this area even when compared to Canon’s more costly EOS 60D. In addition, there is a complete selection of connections, such as ports for USB and HDMI, sockets for a cable release and an external microphone, and a receiver for an infrared remote control device.

The top of the camera.

The primary controls for the EOS 700D are located on the top of the camera. The mode dial is surrounded by the power switch, which features an extra position for movie recording. This allows you to easily switch to video recording mode regardless of the exposure mode you are currently using.

Your index finger can operate the control dial as well as the ISO button, both of which are located just beneath the shutter release. Just in front of the hot shoe, you can also see the stereo microphone that’s attached to the camera. Oh! Additionally, in contrast to the EOS 650D, the mode dial on the 700D may now be continually rotated, which is a welcome improvement.

LCD display with articulating touchscreen

The swivel-and-tilt screen of the EOS 700D is very similar to the swivel-and-tilt screen on the EOS 600D and the EOS 60D. This screen enables a broad range of movement and, in contrast to tilt-only displays, may still be used to take still photographs in portrait format at waist level or overhead. This is fantastic for live view and working off of a tripod, in addition to being beneficial for video filming.

Touch control is available on the screen of the 700D. You may make adjustments to the shooting settings, scroll through and zoom image playback, acquire focus in live view, and (optionally) release the shutter if you so like all with the help of icons that are large and conveniently placed. Touch controls may even be used to browse the entirety of the menu system.

This is without a doubt one of the most innovative and ambitious uses of a touchscreen that we have seen from any camera maker.

In addition to providing onscreen capabilities for almost every external control, the 700D enables you to utilize the touchscreen interface in seamless conjunction with the camera’s physical knobs and buttons.

You also have the option of turning off the touchscreen control entirely, which would cause the 700D to operate in a manner that is nearly equal to that of the 600D. Touchscreen control is turned on by default.

The workings and the controls

Controls at the very top of the camera

The control layout of the EOS 700D is quite similar to that of the EOS 600D, with the exception of a few minute modifications that have proven to be extremely beneficial. Directly beneath the button that triggers the shutter is the main control dial. This dial may be used to directly modify the major exposure setting (program shift, shutter speed, or aperture), as well as additional settings when used in conjunction with the other buttons.

Pressing the ISO button, followed by rotating the dial to alter the value, which is shown in the optical viewfinder, is all that is required to operate the camera while holding it up to your eye. The ISO button is very well-positioned for this type of operation.

The mode dial is surrounded by the primary power switch of the device. The camera may be placed into movie mode by swiping the switch beyond the ON position until the movie camera symbol appears. The mode dial may be turned freely because it lacks the fixed stop that is typically present on Rebel-series devices.

The EOS 700D’s scene modes are now grouped together under the single ‘SCN’ option, which results in a mode dial that is less congested than the one available on the EOS 650D. These scene modes include the multiple exposure-based Hand Held Night Scene and Backlit HDR choices.

Controls in the Rear

The rear of the camera has a configuration that is typical of Canon cameras, with the majority of the buttons being grouped together so that they can be used with your right hand. Both the auto exposure lock and the repositioning of the active focus point are controlled by the two buttons that are located on the shoulder of the camera. These buttons allow you to zoom in and out of the image when you are in playback mode.

The button that is located next to the viewfinder really serves two duties. If you are taking still images, hitting this button will turn the camera into Live View mode, allowing you to compose your shots on the back screen. However, if the mode switch on the back of the camera is set to the movie setting, pressing this button will start and stop the camera’s video recording.

On the other side of the finder is a button labeled “Menu,” and immediately to its right is a button labeled “Info,” which allows the user to toggle between several representations of the information displayed on the screen.

Alongside the LCD, there is a button in the shape of a little triangle that adjusts the exposure compensation. Below this button is a button labeled ‘Q’ that enables the Quick Control panel, which can now be navigated via touch.

You can see the touch buttons that are displayed on the screen during live view in the image that is located above. A 4-way controller provides immediate access to the drive mode, the white balance mode, the autofocus mode, and the Picture Style mode. In the middle of the controller is a button that may be used to confirm the settings. The playback and delete buttons may be found underneath.

Front Controls

There are just two controls on the front of the camera, and they are both on the same side of the lens throat. The flash button is used to pop up the built-in unit, and below it is the depth of field preview button, which stops down the lens to show the effect of the aperture on the final image. This is a function that is particularly useful in live view, with its bright clear image, because it allows the photographer to see how the aperture affects the final image.

The buttons only control the functions that are listed on them, and they cannot be manually reassigned to any other purpose. This is to be expected with an entry-level single-lens reflex camera, which offers very little in the way of customizing options.

The only time this is not the case is when you are using the live view mode, at which point the four-way controller is rededicated to shifting the autofocus point, and its other capabilities are relocated to the Quick Control menu. This behavior has been around for quite some time, and with earlier iterations of the Rebel, we’ve noticed that for certain newly acquired equipment, this lack of consistency can be perplexing.

Users may be more likely to search for these settings via the touchscreen in the first place due to the camera’s extensive touchscreen functionality.

The performance of autofocus

For a very long time, Canon’s single-lens reflex cameras have had a solid reputation for having exceptionally quick phase-detection focusing while shooting via the viewfinder. The EOS 650D is a continuation of that illustrious legacy.

Focusing is reassuringly quick in a broad variety of lighting circumstances thanks to a 9-point cross-type autofocus array that was inherited from the EOS 60D. It is possible to have focus hunting while taking pictures of things with very low contrast, though.

And while shooting in extremely low light, we found ourselves yearning for a dedicated autofocus illuminator, such as the one featured on entry-level competitors like the Nikon D3200.

When using the 700D, you need to pop up the flash in order to get help focusing. The phase-detection autofocus of the 700D, on the other hand, is almost flawless in its overall performance.

The widespread implementation of live view and video modes as standard camera capabilities, on the other hand, has brought to light the subpar focusing performance of DSLRs (in comparison to that of the top mirrorless models) when utilizing contrast-detection AF in live view.

When shooting in live view mode, the ‘Hybrid CMOS AF’ technology of the 700D uses both phase-detection and contrast-detection focusing techniques to gain focus.

Hybrid autofocus technology

Because the 700D incorporates an on-imager phase-detection system, its autofocus system is able to make advantage of the company’s considerable expertise of phase-detection subject tracking even when shooting in live view. This allows the autofocus system to more accurately follow moving subjects.

It also means that the camera will always know in which direction to begin searching for focus if you are focusing the lens on an area that is close to the center of the image (see the graphic below for more information).

Systems that rely only on contrast detection have a chance of getting this incorrect, which can cause the camera to refocus all the way out of focus before coming back again, which results in a video that abruptly dips out of focus completely before recovering from the effect.

In the live view mode, the phase-detection system is utilized for the purpose of determining the current location of the subject, after which the contrast-detection system takes over to fine-tune the focus.

Even though this does not completely eliminate what is known as ‘focus wobble’ as the camera confirms focus, in theory, it should considerably reduce focus hunting thanks to the combination of two different autofocus technologies. This is true at least for subjects that are located near the center of the scene.

This hybrid autofocus technology may be used with any lens that is compatible with the EF mount. The hybrid AF system allows you to take full advantage of Canon’s STM lenses, such as the EF-S 18-55mm f/3.5-5.6 IS STM and the EF-S 18-135mm f/3.5-5.6 IS STM kit zooms, which were designed for more efficient contrast-detect AF performance. However, it should be noted that in order to get the most out of the hybrid AF system, you must use Canon’s STM lenses.

Naturally, the question that arises is “Does it work?” The good news is that we have observed a discernible improvement in the operation of the autofocus when shooting in live view. When using an STM lens with the focus initially set to infinity and then using AF to acquire focus on a foreground high-contrast subject, the EOS 700D, along with the EOS 650D, is able to lock focus in roughly half the time that it takes the EOS 600D.

The ability to buy the 700D with an STM version of the EF-S 18-55mm kit zoom pays benefits in terms of both faster-focusing speed and quieter operation in comparison to the optic that was bundled with the EOS 650D. As we mentioned earlier, the greatest benefit is realized when using Canon’s STM lenses.

However, we are sorry to report that even with an STM lens installed, the autofocus performance in live view mode is still a substantial step below that of the best mirrorless cameras now available on the market. This is disappointing news for us.

Even though the 700D has a hybrid autofocus system, it still takes a significant amount of time for the camera to acquire focus in live view mode (and consequently video mode) when compared to through-the-viewfinder shooting, which employs conventional phase-detection AF. Although Canon’s approach is a step forward, this is a positive development.

In our assessment of the Canon EOS 650D, we provide a side-by-side comparison of the performance of Canon’s Hybrid AF versus that of a mirrorless AF system that is held in high esteem.

Accuracy and tracking of the autofocus system

The conventional phase-detection autofocus that comes standard on the EOS 700D is lightning-quick and very precise. The camera is able to correctly lock focus on all except the subjects with the lowest contrast even when the lighting conditions are poor.

The EOS 700D is capable of shooting at a continuous rate of 5 frames per second, and as we may have anticipated, Canon’s phase-detection AF is pretty effective at maintaining focus on moving subjects.

During our use of the camera in the real world with the brand new 18-135 STM lens, we took photographs of runners and cyclists heading towards the camera at quite quick intervals.

Even under tough backlighting lighting settings, we were able to produce acceptably crisp results in approximately half the total number of exposures by capturing continuous bursts of images.

This kind of performance is ideal for people that participate in leisure shooting activities, like soccer mothers and others.

Battery capacity

The LP-E8 lithium-ion battery that powers the EOS 650D and 600D is also utilized by the EOS 700D. It has a capacity of 1120 mAh, which, according to Canon, is sufficient for roughly 440 shots (based on the CIPA standard), or around 1 hour and 40 minutes of time spent filming a video.

It should come as no surprise that the battery life is heavily influenced by the shooting conditions and operating routines, such as the usage of live view against the use of the viewfinder. However, the shooting experience we have had with the camera on a day-to-day basis is quite consistent with Canon’s specifications.

Even while a capacity of fewer than 500 images is on the lower end of what you would anticipate from an entry-level DSLR, it is still plenty to get you through a whole day of shooting. During the course of our hunting expeditions, we typically discovered that it was important to give the battery a charge every night in order to guarantee that it would have sufficient capacity the following day.

However, if you plan on shooting for many days in a row, you should have an extra battery with you. Another possible alternative is the optional BG-E8 battery grip, which comes with a higher price tag, takes up substantially more space, and can hold two battery packs at the same time. Additionally, it is able to accommodate AA batteries.

Examining the Image’s Quality

Flash

When utilizing the flash with Auto ISO enabled, Canon has made an interesting decision to purposely put the sensitivity level at ISO 400 by default.

When shooting in P mode, the camera simply refuses to utilize a sensitivity lower than ISO 400. This means that in bright settings in which you may wish to use fill light for a portrait, you might easily wind up with the camera selecting an aperture of f/16 or f/22 as the optimal setting for the camera.

As shooting in Av mode, the camera will automatically switch to lower ISO levels when the lighting conditions improve. However, the ISO 400 level is still the one that is most commonly chosen. When using any of the shooting modes that allow for the use of the flash, we frequently ran into the peculiar occurrence in which the camera would select a higher ISO when the flash was switched on, despite the fact that it was directed at the exact same scene as when the flash was turned off.

Shadow noise

When comparing cameras that use the same sensor size (in this example, APS-C), but provide various resolutions, the ability to properly handle shadow noise on a per-pixel level might be of importance. This is especially true when comparing cameras that utilize the same sensor size (in this case, APS-C). The sample that follows pits the lower-resolution Canon EOS 650D/700D against the higher-resolution Nikon D3200, which has 24 megapixels.

We began by shooting raw images at base ISO of our studio test scene, and then we processed those images in Adobe Camera Raw using an exposure adjustment of +3.0EV. After that, we have taken crops in the sections of our picture that are the darkest in order to evaluate the quantity of shadow noise produced by each camera. Take into consideration that these examples were captured with the 650D; yet, they are representative of the performance of the 700D.

When compared to the Nikon D3200, which manages to produce very clean output despite having a pixel count that is 33 percent higher than that of the Canon 650D/700D, it is clear that the Canon 650D/700D displays noticeably more chroma noise than the Nikon D3200. This can be seen by looking at the crops that are 100 percent.

Multi-Shot NR

The EOS 700D has an extra option in the NR menu that gives users the opportunity to take four consecutive pictures in a single burst (probably at a rate of 5 frames per second) and merge them into a single picture.

Because noise is a random occurrence, one of the benefits of taking numerous photos and then combining them into a single one is that it allows you to average out the noise in the image that is ultimately processed.

JPEG is the solely supported format for the Multi-Shot NR function. You are unable to pick it in any of the raw-enabled modes offered by the 700D. And once it is engaged, adjusting the mode dial to any of the standard shooting modes, recording a movie, utilizing the bulb setting, or shutting off the camera will return the NR setting back to its default, Standard setting. This occurs regardless of whether the camera is still powered on or not.

It takes some time to combine all of the individual pictures and then remove the noise by taking the average of all of them. Following the completion of the last exposure, the status will remain “busy” for approximately ten seconds. During this period, you will not be able to snap another picture, but you will be able to use the camera’s menu system.

We use the same low-light scene that we used to compare the EOS 650D/700D to two of its competitors on the high ISO comparison page of this review. Here, we compare the Multi-Shot NR setting on the 700D against both the default and the ‘high’ NR settings.

When compared to any of the single-shot NR settings, the Multi-Shot NR mode performs a very excellent job of reducing picture noise and artifacts while at the same time providing more fine-edged information than either of the single-shot NR options.

In cases when there is considerable camera shaking or subjects that are moving, Canon warns that the results of the noise reduction feature will be ‘less effective.’ This is something that you would expect to see with any multi-shot mode.

In order to investigate this further, we shot the situation, which may be found below. In the first picture, none of the items are moving about at all. In the next photograph, we activated the Elmo doll so that it would vibrate and rotate in a full circle during the course of the four exposures.

When the camera detects that the subject has moved between exposures, as you can see, there is a significant increase in the amount of noise. The fact that the following result is so close to being the same as the one you would receive if you used ‘NR Standard’ suggests that in situations when the camera gives up on its attempts to average out the noise, it reverts to the behavior associated with the default NR setting.

However, it is interesting to note that even when movement between exposures is detected, the Canon EOS 650D and EOS 700D still appear to attempt to average noise in portions of the picture that the camera determines to be stable enough.

You may notice a somewhat ghosted image along the mannequin’s edge farther down in this article. When compared to the camera’s normal noise reduction setting, the noise levels in this portion of the scene have been greatly cut down.

This hints that the multi-shot noise-averaging is not an all-or-nothing event; a really deft move on the author’s part.

Adjustments for the lens’s corrections

The Canon 700D has two built-in lens adjustments that are based on lens profile data that is kept in the camera itself. These corrections may be activated via the shooting menu. To download the most up-to-date lens data to the camera, you may make use of the EOS Utility that comes standard with Canon cameras.

Take note that neither of these adjustments is already incorporated into the raw files that are being sent. If you convert the raw file using Canon’s own DPP raw conversion software, the adjustments are saved as metadata with the raw file, so you may tweak them to suit your preferences.

However, third-party converters like ACR and DxO will not make use of this data, despite the fact that each of these programs has its own facilities for making these kinds of adjustments.

Vignetting

The purpose of the peripheral illumination control is to mitigate the impacts of corner vignetting. It is set to be active by default. The image below was captured with Canon’s brand new EF-S 18-135 f/3.5-5.6 IS STM lens with the aperture set to its widest possible setting. The scene was lighted uniformly throughout.

When compared to the sample that did not have the correction done, which you can see, allowing the lens correction results in more equal lighting and provides slightly over one-stop EV of improved brightness in the furthest corners.

Chromatic aberration and fringing may be seen here.

The chromatic aberration (CA) option works to reduce the amount of color fringing that occurs at borders with very high contrast. This function is not enabled by default since turning it on drastically reduces the number of images that can be captured in a single burst using the continuous shooting mode.

The image below, which depicts dark foliage in contrast to a brilliant sky, is an example of a common situation in which you could see color fringing. The 18-135mm STM lens was used, and the focal length was set at 18mm. As can be seen, the in-camera software correction performs an outstanding job of minimizing CA, and in some cases, it even gets rid of it entirely.

General Quality of the Image

The Canon EOS 700D, much like its predecessor, the EOS 600D, has extremely high image quality with the default settings, which generate JPEGs that are attractive to the eye. The camera creates photos that are adequately crisp without generating excessive edge halos; however, these characteristics may be be improved upon simply shooting in Raw format and editing the photographs manually.

Users of earlier versions in the Rebel series will be familiar with the color rendition and saturation of this camera, and the auto white balance feature produces colors that are typically appealing, if not perfectly correct, in a broad variety of lighting circumstances.

Most lighting conditions, with the exception of the most difficult ones, lend themselves to well-judged exposures. The dynamic range of the 650D is possibly a little lower than that of some of its DSLR competitors, as well as some impressive mirrorless models, such as the Olympus E-M5. Because of this, Highlight Tone Priority (HTP) needs to be enabled on bright sunny days in order to achieve results that are comparable.

The noise levels of the EOS 700D are somewhat greater than those of the EOS 600D, despite the fact that the 700D has the same number of pixel as its predecessor.

What the 700D does have going for it, though, is a new setting called MultiShot NR that gives a really helpful means of suppressing noise, even if it can only be used in scenarios that do not involve moving objects. This is the 700D’s most notable advantage. In addition to that, it has an extra sensitivity stop (ISO 25600) for use in particularly challenging conditions.

It shouldn’t come as much of a surprise to those who have used prior Rebel models (this is especially true for owners of the EOS 650D), which is something that, on balance, we believe to be a positive aspect of this camera.

The option to employ lens profiles within the camera to adjust for vignetting and chromatic aberration adds even more value to a camera line that has long been recognized for its consistent level of performance.

Video

Since the release of the revolutionary EOS 5D Mark II, Canon has, of course, included video recording capabilities in its DSLR cameras.

And similarly to its predecessor, the EOS 600D, the EOS 700D is capable of producing Full HD video with a resolution of 1920 by 1080 at a frame rate of 30 frames per second, has manual exposure control, and can perform fundamental in-camera editing functions such as trimming the beginning and end of clips. However, there are a few key distinctions between the two.

The 700D comes with a pair of built-in stereo microphones that can be found right in front of the flash hot shoe. In addition, an attenuator has been added to the manual audio settings. This attenuator can be used in instances when abrupt loud noises may cause clipping. You may also enable ‘Movie Servo’ continuous AF in video mode. However, the digital zoom feature that was included in the EOS 600D has been removed.

Video specification

The Canon 700D is capable of recording progressive high-definition video at either 1080p resolution and 30 or 25 frames per second or 720p resolution and 60 or 50 frames per second. The available frame rate is determined by whether the camera is set to NTSC or PAL video mode. 720p resolution and 60 or 50 frames per second can also be recorded. Regardless of the video system that you’ve chosen, the 1080p resolution also comes with 24 frames per second option.

The built-in microphones within the camera are capable of producing stereo audio, and there is also a 3.5mm connector available for the attachment of an external microphone. You have the ability to manually modify the sound recording levels, and the menu system provides you with the choice to use either an attenuator or a wind filter. Video

Since the release of the revolutionary EOS 5D Mark II, Canon has, of course, included video recording capabilities in its DSLR cameras. And similarly to its predecessor, the EOS 600D, the EOS 700D is capable of producing Full HD video with a resolution of 1920 by 1080 at a frame rate of 30 frames per second, has manual exposure control, and can perform fundamental in-camera editing functions such as trimming the beginning and end of video clips. However, there are a few key distinctions between the two.

The 700D comes with a pair of built-in stereo microphones that can be found right in front of the flash hot shoe. In addition, an attenuator has been added to the manual audio settings. This attenuator can be used in instances when abrupt loud noises may cause clipping. You may also enable ‘Movie Servo’ continuous AF in video mode. However, the digital zoom feature that was included in the EOS 600D has been removed.

Using movie mode

Movie mode has been included as a third setting on the power switch beginning with the Canon EOS 700D. (as opposed to occupying a mode dial position as on the EOS 600D). This means that it is always just one click away, regardless of the shooting mode you are in.

In addition to this, activating complete manual exposure control has been simplified. You may change the shutter speed, aperture, and ISO settings by simply setting the shooting mode dial to M while the camera is in movie mode.

You may have a reasonable expectation that turning the mode dial to A or S would allow you to change simply the aperture or shutter speed, but this is not the case. Because you can only modify those numbers when the mode dial is set to M, this means that you have to adjust both while monitoring the exposure indicator until you receive a metering reading that is considered to be “normal.”

Exposure adjustment is offered in P, A, and S modes. You are also able to make adjustments to the autofocus mode and the video quality setting while using any of the camera’s scene modes. Simply pushing the Record / Live View button, which is located to the right of the viewfinder, will start the recording of a video.

Before you begin recording, you may choose from one of three different autofocus modes: Face Detection (with subject tracking), FlexiZone-Single (user-specified AF point), or FlexiZone-Multi (user-defined AF points in several zones) (automated AF point selection).

When the ‘AF w/shutter button while filming’ setting is set to ‘On,’ you may force the camera to reacquire focus by pressing the shutter button halfway and then releasing it. This works regardless of any AF setting you’ve selected. You obviously also have the option to focus the camera manually.

The advantages of using the touchscreen that we found while capturing still images are also there when shooting videos. You may make quick adjustments to the settings using the Quick Control menu, and the autofocus point can be easily modified by tapping the screen.

The LCD screen of the camera can be flexible, which makes it much easier to take video from extremely low or high angles. Additionally, this feature makes it possible to set the screen in a more shady area for glare-free viewing.

In our assessment of the Canon EOS 600D, we mentioned that one of the camera’s weak points was its inability to focus properly while recording video. The EOS 700D has Canon’s ‘hybrid AF’ technology, which combines phase detection and contrast-detection AF technologies. Canon’s goal with this system is to overcome the shortcomings of its predecessor, the EOS 600D.

The use of phase-detection autofocus is one of the more obvious benefits of this hybrid approach. Phase detection AF will ensure that the lens begins its initial focus search in the correct direction (for objects that are in the central area of the frame), as opposed to racking all the way through its focus range before ‘locating’ the subject. This is one of the more obvious benefits.

The end result is definitely video footage that has a more pleasing appearance. The Movie Servo feature, which allows for continuous autofocus while recording video, is available on the 700D.

Despite the fact that the effects of these improvements show a discernible increase in comparison to the EOS 600D, the AF speed in video mode is still disappointingly poor. During the period that we have used the camera, we have not been able to dependably retain focus on things that are moving toward or away from the camera at a walking pace that is even considered to be moderate.

It is difficult to conceive of any circumstances in which continuous autofocus that is this sluggish would be of any use in terms of monitoring moving subjects, given the current state of affairs. As was the case with the EOS 600D, we continue to advise shooting video with the manual focus mode, or at the at least, pre-focusing the lens by pressing the half-shutter button before beginning to record audio or video.

The video snapshot option has also been given a relatively small but practical improvement. The video snapshot mode, similar to that of the EOS 600D, enables you to shoot extremely brief clips (lasting either 2, 4, or 8 seconds) and compile them into an album for sequential viewing.

You may also put some music in the background. The welcome ability to adjust the playing order of the album’s clips was added to the EOS 700D, providing you with an alternative to the chronological sequence that is normally used as the default.

You now have the ability to remove clips from albums as well. is still plainly a mode designed for those who use point-and-shoot cameras, but we are relieved that the seemingly arbitrary restriction that prevented us from changing the clip sequence has been removed.

By pushing the shutter button, you may also take still photographs while the camera is recording video. However, this results in a noticeable pause being left in the recorded video, and it also adds a mirror flip that can be clearly heard throughout the footage.

Movie mode displays

When the camera is in movie mode, the shooting menus expand to include two extra tabs that each have different movie-specific control settings.

Video quality

The video image quality of the 650D/700D is fairly good, with colors and contrast that are pleasant. This is consistent with the entry-level and mid-range Canon DSLRs that came before it. As you can see in the video examples that we’ve provided below, it performs quite well even at very high ISOs.

The exposure is typically accurate, and if you encounter more difficult lighting conditions, such as subjects that are heavily backlit, you have simple access to exposure correction, which may “lift” the film by brightening it. You are able to record video using any of the Picture Styles that are available on the camera.

When its APS-C sensor is paired with a relatively fast lens, the EOS 650D/700D gives the option for creative use of narrow depth of focus. This is something that will be a revelation to anyone who has been shooting video with their smartphone or small camera up until this point.

The 700d comes equipped with two microphones that can record in stereo. The manual control over the audio levels and the graphic sound meter make sound recording a pleasant enough experience to recommend it. The camera also comes equipped with a 3.5mm port that may be used to attach an external mic.

It is important to point out that the EF-S 18-135mm f/3.5-5.6 IS STM and the more reasonably priced EF-S 18-55mm f/3.5-5.6 IS STM kit zooms both features extremely quiet autofocus mechanisms. This is a definite plus for video shooters, regardless of whether they are using the built-in mics or an external unit that is mounted on the hot shoe.

Canon EOS Rebel T5i Specifications

Body typeCompact SLR
Body materialStainless Steel and polycarbonate resin with glass fiber
Sensor
Max resolution5184 x 3456
Other resolutions5184 x 2912, 4608 x 3456,3456 x 3456, 3456 x 2304, 3456 x 1944, 3072 x 2304, 2592 x 1728, 2592 x 1456, 2304 x 1728, 2304 x 2304, 1920 x 1280, 1920 x 1080, 1728 x 1728, 1696 x 1280, 1280 x 1280, 720 x 480, 720 x 400, 640 x 480, 480 x 480
Image ratio w:h1:1, 4:3, 3:2, 16:9
Effective pixels18 megapixels
Sensor photo detectors19 megapixels
Sensor sizeAPS-C (22.3 x 14.9 mm)
Sensor typeCMOS
ProcessorDigic 5
Color spacesRGB, Adobe RGB
Color filter arrayRGB Color Filter Array
Image
Boosted ISO (maximum)25600
White balance presets6
Custom white balanceYes (1)
Image stabilizationNo
Uncompressed formatRAW
File formatJPEG: Fine, Normal (Exif 2.3 compliant)Design rule for Camera File system (2.0),RAW: 14bit RAWDigital Print Order Format [DPOF] Version 1.1 compliant
Optics & Focus
AutofocusContrast Detect (sensor)Phase DetectMulti-areaSelective single-pointSingleContinuousFace DetectionLive View
Autofocus assist lampby built-in flash
Digital zoomNo
Manual focusYes
Number of focus points9
Lens mountCanon EF/EF-S
Focal length multiplier1.6×
Screen / viewfinder
Articulated LCDFully articulated
Screen size3″
Screen dots1,040,000
Touch screenYes
Screen typeClear View II TFT LCD
Live viewYes
Viewfinder typeOptical (pentamirror)
Viewfinder coverage95%
Viewfinder magnification0.85× (0.53× 35mm equiv.)
Photography features
Minimum shutter speed30 sec
Maximum shutter speed1/4000 sec
Exposure modesProgram AEShutter priority AEAperture priority AEManual (Stills and Movie)Scene Intelligent Auto (Stills and Movie)No FlashCreative AutoPortraitLandscapeClose-upSportsSCN
Scene modesNight PortraitHandheld Night SceneHDR Backlight Control)
Built-in flashYes (Pop-up)
Flash range13.00 m
External flashYes (Hot-shoe, Wireless plus Sync connector)
Flash modesAuto, On, Off, Red-eye
Flash X sync speed1/200 sec
Drive modesSingleContinuousSelf timer (2s, 10s+remote, 10s + continuous shots 2-10)
Continuous drive5.0 fps
Metering modesMultiCenter-weightedSpotPartial
Exposure compensation±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing±2 (3 frames at 1/3 EV, 1/2 EV steps)
WB BracketingYes (3 frames in either blue/amber or magenta/green axis)
Videography features
Resolutions1920 x 1080 (30, 25, 24 fps), 1280 x 720 (60, 50 fps), 640 x 480 (30, 25 fps)
FormatH.264, Motion JPEG
MicrophoneStereo
SpeakerMono
Storage
Storage typesSD/SDHC/SDXC
Connectivity
USBUSB 2.0 (480 Mbit/sec)
HDMIYes (HDMI mini)
Microphone portYes
Headphone portNo
WirelessEye-Fi Connected
Remote controlYes (RC-6 connector)
Physical
BatteryBattery Pack
Battery descriptionLithium-Ion LP-E8 rechargeable battery & charger
Battery Life (CIPA)440
Weight (inc. batteries)580 g (1.28 lb / 20.46 oz)
Dimensions133 x 100 x 79 mm (5.24 x 3.94 x 3.11″)
Other features
Orientation sensorYes
Timelapse recordingYes (by USB cable and PC)
GPSOptional
GPS notesvia GPE2

Conclusion

With the EOS 700D, Canon continues its tradition of producing very high-quality images for both still photography and video recording. Additionally, Canon provides a well-executed touchscreen implementation, which helps to make this one of the more enjoyable beginner-friendly DSLRs currently available on the market.

Unfortunately, the autofocus performance while using live view is where the camera falls short. Even while Canon’s “hybrid” autofocus (AF) technology is an improvement over its contrast-detect predecessors from a few of years ago, it is still a long way behind what we’ve seen in other mirrorless models and what we’ve seen with Sony’s SLTs.

In addition, while we congratulate Canon for attempting continuous AF in movie mode, we are disappointed to see that it, too, is prone to more focus mistakes than we would have expected to see.

The 700D delivers a very substantial improvement in image quality as well as a pleasure to handle a camera that is wrapped in an interface that enables both touchscreen and external control operation. This camera is aimed at those who are upgrading from tiny cameras.

Its shooting speed of 5 frames per second makes it a suitable alternative for people who wish to film action sports or other types of leisure activities. And for those who are ready to take more direct control over the photography process, manual exposure settings (both for stills and video) in conjunction with a feature-rich raw converter that comes packed with the camera give you the flexibility to get the most out of your photographs.

The EOS 700D receives our silver medal because to its excellent image performance and user-friendliness when it comes to adjusting the shooting settings. However, the camera’s poor autofocus performance in live view prevents it from achieving our highest honor. In case you hadn’t figured it out before, owners of the EOS 650D or the Rebel T4i do not need to contemplate upgrading to a newer model.

Pros & cons

Good For
  • Comprehensive touchscreen interface that is intuitive and efficient
  • High image quality with a good balance between detail and noise reduction in JPEG output
  • Good subject-tracking AF in viewfinder shooting mode (compared to the mirrorless competition)
  • 5 fps with ample buffering in JPEG-only mode
  • The very responsive operation, with menu access available, even when the buffer is full
Need Improvement
  • Slow ‘hybrid AF’ performance in live view and video modes (compared to the mirrorless competition)
  • Slightly higher noise levels than its peers
  • Default dynamic range lags a bit behind its peers
  • Cannot configure common live view and movie mode options independently
  • Using flash with Auto ISO enabled results in ISO 400 even in bright light conditions
REVIEW OVERVIEW
Build quality
Ergonomics & handling
Features
Image quality
Low light / high ISO performance
Viewfinder / screen rating
Performance
Movie / video mode
Value

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