Best overall		DJI RS3 Pro		SEE IT
Best small		DJI Pocket 2		SEE IT
Best for DSLRs		Zhiyun Weebill 2		SEE IT

Gimbals hold your camera steady so you can shoot buttery-smooth, cinema-ready footage while on the move. Gimbals are a type of hand-held support system that stabilizes your camera on three axes—tilt, pan, and roll. Once you’ve attached your camera to the gimbal’s main arm, computer-controlled, brushless motors make lightning-fast, minute adjustments every time you move. This prevents the dreaded shaky-cam that often plagues so many hand-held shots. 

Camera operators use gimbals when following a character as they move through a scene. Sometimes they’re used to achieve smooth point-of-view shots. You’ll find them on stage with bands when recording live concerts. Gimbals can be mounted on jibs, built into drones, and are often attached to cars. The ways of using them are limited only by your imagination.

Gimbals come in various styles and sizes for use with different types of cameras. Smaller gimbals work well with DSLRs and mirrorless cameras, and more robust models can support cinema cameras. There are also gimbals designed to hold smartphones and even pocket-size gimbals with their own 4K cameras built right in. When they were first introduced, motorized gimbals cost thousands and thousands of dollars. As a result, only productions with a decent budget took advantage of them. But today, these smooth-movers have become ubiquitous, and the best gimbals are available to content creators at almost any budget and skill level.

• Best overall: DJI RS3 Pro
• Best small: DJI Pocket 2
• Best for DSLRs: Zhiyun Weebill 2
• Best for smartphones: Zhiyun Smooth 5
• Best budget: DJI Ronin-SC

How we selected the best gimbals

When compiling our list of the best gimbals, we relied on our own experience as professional filmmakers and content creators, as well as the opinions of our industry peers. We also read online reviews from users who’ve purchased the different rigs to get a variety of thoughts on their pros and cons. Industry and gear-review sites and blogs were also consulted, as were manufacturer’s spec sheets. We started out evaluating a list of 14 favorite gimbals across different usage categories and narrowed them down to the top eight and then the final five. We prioritized load capacity and weight and also considered build quality, battery life, camera compatibility, additional features relating to time and motionlapse shooting and object tracking, and quality of the apps.

The best gimbals: Reviews & Recommendations

Best overall: DJI RS3 Pro

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Why it made the cut: Full of professional features, this Hollywood-ready gimbal is light enough for all-day shooting but can support midsize cinema cameras.

Key features 

• Weight: 2.5 pounds
• Load capacity: 9.9 pounds
• Battery life: 12 hours max

Pros

• High load capacity
• Large, full-color OLED touchscreen interface
• Extensive ports and accessory points
• Fine-tuning knob on tilt axis

Cons

• Expensive

DJI has a long reputation for developing powerful, easy-to-use gimbals. Its 2018 Ronin S was a ground-breaking, full-featured unit designed for DSLRs, and the RS 2 built upon its success. The RS 3 Pro pushes functionality even further, increasing load capacity to a whopping 9.9 pounds. It can accommodate midsize cinema cameras like the Sony FX6 or RED Komodo, and it’s more than enough to handle a Canon C70 video camera or a large DSLR, even with heavier lenses. Despite this level of power, the gimbal’s carbon-fiber body weighs a paltry 2.5 pounds.

The DJI RS 3 Pro features 360-degree movement on all axes, and you can quickly switch between modes: Pan Follow, Pan and Tilt Follow, and FPV (First Person View). A 1.8-inch OLED touchscreen accesses the gimbal’s controls and parameters, making setup quick and easy. Mounting and adjusting a camera on the gimbal is relatively painless, thanks in part to a fine-tuning knob on the tilt axis and a lower, more stable base plate.

Compatible cameras can be paired through Bluetooth with the RS 3 Pro for wireless start/stop recording straight from the gimbal’s handle. Previously paired cameras automatically reconnect. However, not all cameras are compatible with wireless pairing, so check DJI’s website first. In some cases, like with Blackmagic’s Pocket 6K Pro, the camera and gimbal connect via USB.

DJI manufactures a wealth of accessories, including remote controls and focus units, LIDAR autofocusing, and long-range wireless video and audio transmitters. These are sold separately and don’t come cheap, but they offer an upgrade path if your filmmaking ambitions—and hopefully your budgets—increase. 

While the RS 3 Pro is an excellent gimbal, it’s not necessary for everyone. For example, if you never plan on shooting with a cinema camera, you likely don’t need a rig that can heft 9.9 pounds. In that case, it’s an expensive investment when other rigs offer many excellent features—but with lower payloads—for less money. 

Best small: DJI Pocket 2

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Why it made the cut: With its built-in 4K camera, this pocket-size gimbal system provides stable footage in the smallest possible package. 

Key features 

• Weight: 4.1 ounces
• Load capacity: N/A
• Battery life: 140 minutes max

Pros

• Attached 4K camera
• Multiple shoot modes
• 140-minute operating time per full charge
• Literally fits in a pocket

Cons

• Can’t change camera
• Can’t swap in extra batteries

In many ways, it’s almost more accurate to call this a camera with an attached gimbal rather than a gimbal with an attached camera. But no matter how you slice it, DJI’s Pocket 2 is a fun and functional kit for anyone who wants to shoot stable videos. The camera packs a 1/1.7-inch CMOS sensor and a fast, f/1.8 lens with a 20mm equivalent field of view. It shoots in 4K DCI—3840 x 2160—as well as 2.7K and full HD, all at 24/25/30/48/50/60 frames-per-second. In addition, you can shoot slow-motion video in HD resolution up to 240fps. All that fits in a small package, making it especially ideal for those who want to make videos of their travels.

Different shooting modes include HDR video for a wider dynamic range, timelapse, motionlapse, and hyperlapse. The unit includes two built-in microphones and records everything to microSD cards. Also, the Pocket 2 has a tracking mode to follow people’s faces, and a selfie mode does the same after flipping the camera around to face the operator. These modes make it an excellent tool for vloggers. And at only 4.1 ounces and 4.9 inches tall, it’s easy to take this camera and gimbal system wherever you roam. 

The DJI app for both Android and iOS transfers footage from the Pocket 2 to your phone via either a wifi connection or a USB cable and then provides editing and upload tools. It makes getting videos up on social media or blogs quick and painless. And the editing software provides a fair amount of room for creativity. The wifi unit is available separately and clips unobtrusively to the bottom of the gimbal’s handle.

The Pocket 2 is an excellent piece of gear for what it does. If there’s any downside, it’s that what it does is all it does. The footage is nice, and DJI makes some accessories like an external microphone and the aforementioned wifi unit. But there’s no upgrade path to a better sensor or different lens. For some people, this is exactly the type of tool they’re looking for. Others will find it fun as a secondary shooter but might want to look for a separate gimbal and camera that each provides more professional features.

Best for DSLRs: Zhiyun Weebill 2

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Why it made the cut: This feature-rich gimbal is designed to support heavier DSLRs and lenses, and its large load capacity outperforms similarly priced rigs. 

Key features

• Weight: 3.15 pounds
• Load capacity: 7.3 pounds
• Battery life: 9 hours max

Pros

• 2.88-inch flip-out color touchscreen
• Compact design
• Affordably priced

Cons

• Shorter battery life
• Can’t support mid-size cinema cameras

Zhiyun’s Weebill is a mid-tier gimbal designed for use with DSLRs and mirrorless cameras. With a load capacity of 7.7 pounds, you can use even your heavier lenses and not worry about shaky shots. The Weebill 2 sports a more compact design than other units with comparable specs, but its size doesn’t mean the motors aren’t powerful enough to keep up.

The Weebill 2’s large, 2.88-inch color screen provides access to settings, shot monitoring, and select functions like panorama, timelapse, and motion lapse. The included focus-control wheel operates electronic focus, aperture, and ISO when paired with compatible cameras and lenses. You can also utilize the optional Zhiyun lens motors and focus systems. In addition, the Zhiyun 2’s ergonomically designed sling grip makes controlling the gimbal easier, whether shooting high, low, or anywhere in between.

A smartphone app for Android or iOS accesses features like balance check, modes, and remote camera triggering for compatible units. Unfortunately, the Weebill 2’s biggest drawback is the somewhat paltry 9-hour run-time. That’s much lower than the battery life of similar gimbals from competitors like DJI and Moza.

Best for smartphones: Zhiyun Smooth 5

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Why it made the cut: This compact, lightweight gimbal works with both Apple and Android smartphones and includes a handy fill-light for picture-perfect selfie videos.

Key features

• Weight: 21.7 ounces
• Load capacity: N/A
• Battery life: 15 hours max

Pros

• Compact design
• Magnetic fill light
• Intuitive controls
• Long battery life

Cons

• Some app features require a subscription
• Only available in black

Zhiyun and DJI go head-to-head for control over the mid-level gimbal market. But when it comes to rigs designed for smartphones, Zhiyun’s Smooth 5 sets the high bar. At a compact 12 by 6.6 inches when closed and weighing only 21.7 ounces, it easily fits in a small bag, glove compartment, or bike saddle until needed. 

Despite its small size, its powerful motor smoothly moves even the chunkiest smartphones. Plus, the 15-hour battery life will likely last longer than your phone. And just in case you need to keep filming after the battery dies, a smartbank can power the gimbal via its USB C port.

Zhiyun sells this unit in a combo configuration that includes an intelligently-designed magnetic fill light that quickly pops into place above the phone. It works well when shooting with other people but really excels when used for selfie videos—it’s perfect for vloggers and live streamers. The kit also includes a small fold-out tripod that doubles as a handle extension, wrist-strap, and stylish, protective carrying case.

The Smooth 5 connects with your phone to control focus and focal length via a thumb wheel. In addition, a SmartFollow function centers moving subjects with the push of a button. Unfortunately, the available app for iOS and Android doesn’t have the most elegant interface, and a few functions are locked behind a subscription service. However, the app isn’t necessary to use the gimbal. 

The rig only comes in black, which won’t bother many, but some might miss the greys and whites offered in earlier iterations of the Smooth 5 or competing products like DJI’s OM5. Personally, I think the black has a slick, timeless look to it!

Best budget: DJI Ronin-SC

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Why it made the cut: This budget-friendly gimbal is designed for mirrorless cameras and maintains DJI’s reputation for quality stabilization and image control. 

Key features

• Weight: 2.43 pounds
• Load capacity: 4.85 pounds
• Battery life: 11 hours max

Pros

• Compact and lightweight
• Superb build quality
• Low price

Cons

• Lower load capacity
• Balancing requires care

If you want DJI functionality but don’t have the budget for the RS3 or 3 Pro, the Ronin-SC has your ticket to a smooth ride at a more affordable price. While load capacity is limited to only 4.85 pounds, the trade-off is a nimble, easy-to-use gimbal that weighs less than 2.5 pounds. It works wonders with mirrorless cameras and action cams. And it will even support smaller-bodied cinema cameras like the powerful Sony FX3. 

Content creators will find most of the typical DJI functions in place, including an ability to sync with supported cameras’ record and electronic focus controls, tools for timelapse and motionlapse, 360-degree panning and rolling, and object tracking. And DJI’s intuitively-designed app for iOS and Android smartphones provides access to calibration controls, settings, and virtual operation via Bluetooth connection.

Because the motors on the Ronin-SC aren’t as powerful as those found on beefier rigs, you’ll need to take greater care when balancing your camera. They just don’t have the force to compensate as efficiently for oddly-positioned loads. Making the motors work harder costs you battery power at the very least but could even lead to damage. But the Ronin-SC’s biggest drawback is that it can’t grow with you if you decide to upgrade to a heavier camera. If that happens, you might find yourself spending money on a more powerful gimbal, too.

Things to consider before buying the best gimbals

Gimbals are generally easy to set up and use, but there are some things to know if you want to make a smart purchase and get the most out of your new equipment. 

Three axes, plus one more

Gimbals help control a camera’s movement along three axes: tilt, pan, and roll. Tilt, as the name suggests, refers to the rotational up-and-down movement of a camera. Tilt up to see skyward, tilt down to check out people’s feet. Pan describes a camera’s side-to-side swivel—it’s like turning your head left and right. And roll is when the camera rotates upside down, like a plane doing a barrel roll (or traveling to the Upside Down in Stranger Things). 

Gimbals smooth out footage by using small, quiet motors to counteract the minute movements along these axes. The best part: You don’t have to do much at all. Just hold the gimbal and take the camera wherever you need it. The computer-controlled motors do all the work, automatically compensating for any unintentional movement. 

But watch out, there’s movement along a fourth axis that most gimbals can’t compensate for on their own: Up and down, or bounce, which comes from walking. There are two ways to fight this movement. The first is with the inclusion of a harness with a counter-balanced arm attached to it. The whole gimbal, camera and all, mounts on the front of the arm, which resists the up-and-down motion (and also takes up a lot of the rig’s weight). Unfortunately, this is an expensive, somewhat cumbersome solution that’s not always suitable. Imagine taking a rig like that on vacation! 

The second way to reduce bounce is to learn the “ninja-walk”—a steady, deliberate style of movement where the operator almost glides across the ground while at the same time reacting to up-and-down movement by carefully moving their arm. It looks a little weird and takes some practice to get right, but you’ll be thrilled with the results once you do. 

Load capacity and size

Not every gimbal accommodates every camera, and your rig’s load capacity and size dictate your options. Load capacity is the maximum weight the gimbal’s motors can successfully move when compensating for shakiness. If a camera’s too heavy, the unit simply can’t deliver enough torque. 

Size becomes an issue when a camera is so big that it interferes with the free movement of the gimbal’s arms. They always need to move freely for the gimbal to do its job. 

The good news is that many cameras today are relatively small and light. Even cinema cameras like the C300 Mk III or Sony FX6 can fit on reasonably-priced gimbals—especially if you strip those cameras down. And DSLRs, or smaller cinema cams like Canon’s EOS C70 or the Blackmagic Pocket 6K Pro, aren’t any problem for many of the better rigs. 

However, before making a purchase, confirm the gimbal’s load capacity and size limitations. Forcing it to support too much weight can lead to burned-out motors and expensive fixes. 

Stay balanced

For a gimbal to work efficiently and in order to avoid putting undue strain on the motors, you need to balance your camera properly. This is all about achieving equilibrium where the camera holds its position no matter how you move it. The camera exerts no pressure in one or another direction, and the motors don’t have to work nearly as hard to compensate for unwanted movement. 

Thankfully, balancing isn’t too hard, but it does take some practice and familiarity with the rig. Be sure to follow the gimbal’s instructions on how to balance your camera. You’ll also want to get in the habit of balancing it every time you mount your camera on the gimbal. You should do this even if you don’t think anything in the setup has changed. Not only will it make your footage smoother, but it’ll also help extend the rig’s life. 

Functionality

Many gimbals offer advanced controls to fine-tune how the rig reacts to your movement—after all, you don’t want it compensating if you intend to suddenly jerk the camera to the left for a shot. Some gimbals also provide a degree of programmable motion. If you set one of these units down or mount it to a tripod, you can set it to move the camera along its three axes based on pre-defined parameters. Programmed motion is great for things like time-lapse shooting. 

Some gimbals have thumb-pads for panning or tilting the camera. Others let you control that function from a smartphone app via Bluetooth. All gimbals have some sort of centering function, so if you do take manual control of those movements, it’s a cinch to reset the camera’s position when you’re done.  

Power

All the gimbals on our list use rechargeable batteries, many of which you can charge via USB. For longer shoots, gimbals designed for professional use can draw power from large, V-mount or Gold-Mount batteries—the same kind that can power cinema cameras for hours. Some gimbals also draw power from small, lightweight, portable power banks to increase their run-time. But keep in mind that some of these power options can add a pound or more to the gimbal, making the rig into something painful on the back and shoulders after a couple of hours of use.

Keep things in focus

When shooting with a gimbal, you want to reduce all contact with the camera in order for the gimbal’s motors to do their job. But unless your camera has accurate and reliable autofocus, how are you supposed to keep your subject sharp? 

Many gimbals can accommodate small, motorized follow-focus units that turn the lens’s focus ring whenever you rotate a knob mounted on the gimbal’s handle. These follow-focus units are usually sold separately. But, they’re worthwhile investments if you don’t have a camera with reliable autofocus and your budget allows it. Other gimbals include technology that connects to supported cameras via Bluetooth and let the operators control focus and other functions from the gimbal’s handle.

Practice, practice, practice!

Gimbals do a lot of work for you, but they take practice. So don’t expect perfectly smooth shots right out the gate. Instead, work with your camera rig regularly, practice moving across different types of terrain and at different speeds, and before you know it, you’ll be capturing thrilling footage yourself.

FAQs

Final thoughts on shopping for the best gimbals

• Best overall: DJI RS3 Pro
• Best small: DJI Pocket 2
• Best for DSLRs: Zhiyun Weebill 2
• Best for smartphones: Zhiyun Smooth 5
• Best budget: DJI Ronin-SC

Two companies currently dominate the motorized gimbal industry: DJI and Zhiyun, which is reflected in the list of our five favorites. The simple truth is, with very rare exceptions, if you’re in the market for a good, motorized gimbal, you’re likely ending up with something made by one of those two companies. The top spot on our list went to the DJI RC3 Pro due to its impressive load capacity, powerful features, expandability, and reasonable price. It’s simply hard to beat if you need that kind of power. 

But for the many people who don’t shoot with heavy cinema cameras or work on bigger productions, the Zhiyun Weebill 2 or the smaller DJI Ronin-SC provide less expensive, lighter options that don’t sacrifice much in terms of features. Rather, the most significant differences lie in load capacity, so let your camera help guide any decisions you make regarding which rig is right for you. In the end, the best gimbal will be the one that helps you get the smooth shots you want.  

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best gimbals in 2023 appeared first on Popular Photography.

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Best manual		Neewer Carbon Fiber Camera Track Slider		SEE IT	A versatile, professional, manual slider
Best motorized		Neewer Motorized Camera Slider		SEE IT	Like having a second camera operator
Best compact		Zeapon Micro 2 Plus		SEE IT	Compact design delivers great moves

Camera sliders help you create smooth, dynamic shots that add interest and energy to your videos. They provide a stable base along which the camera can slide (hence the name) in a smooth, controlled way. They’re quick and easy to set up, fun to use, and the results make even small projects look like they have much bigger budgets.

A slider is a foundational filmmaking tool. With it, you can create smooth dolly shots that shift a viewer’s perspective, simulate jib movements for added impact, or create dramatic reveals. Sliders are also great for giving life to static shots, whether you’re filming interviews or highlighting products. They’re wonderful when shooting b-roll. The way you use a slider really is limited only by your imagination. 

Sliders are small platforms for cameras that smoothly roll along a pair of rails or a central track. Travel distances can range from as long as a few feet, to a few inches. While cameras can mount directly to sliders, you can also use tripod or ball-heads for added positioning. Sliders are controlled either manually by an operator who literally pushes or pulls the camera as necessary, or by motors whose movements are easily programmed for automated use. Some also include motorized mounts for the cameras that turn as they slide, helping to keep the subject centered in the shot while shifting the viewer’s point of view. (This is ideal for interviews or vlogging.) The functionality is limited only by your budget and production needs. 

There are a lot of companies making sliders at the moment, and finding the right one for your project can involve slogging through endless online listings. To help you find the best camera slider, we’ve compiled helpful tips and a list of the best camera sliders. 

• Best manual: Neewer Carbon Fiber Camera Track Slider
• Best motorized: Neewer Motorized Camera Slider
• Best compact: Zeapon Micro 2 Plus Slider
• Best for travel: Smartta SliderMini 2
• Best cheap: ANNSM Mini Table Top Camera Slider

Things to Consider Before Buying the Best Camera Slider

Length and Travel Distance

Sliders typically range from about 9 inches to about 4 feet, and the right distance depends on how you plan to use it. You can create wonderful reveals and dolly moves with a long slider, or position it at an angle for dramatic, simulated jib shots. You can even track characters for short distances. But smaller sliders have their advantages, too—you’d be surprised how much energy moving the camera only a few inches can add to a shot. And smaller sliders fit into tighter spaces, they’re often faster to set up, and they’re much easier to take when traveling. Many content creators own more than one slider, but if that’s not within your budget, consider the types of projects you work on most when choosing a slider’s length.

Motors and Controllers

As mentioned previously, some sliders are controlled manually, some by a programmable motor. Manual controlled sliders are what you’re most likely to find on film and TV sets because they provide the most control and versatility. It’s easy to follow your creative muse when you don’t need to take time out to program in new movements. Manual sliders also generally cost less if budget’s a concern. 

On the other hand, motorized sliders move the camera for you, freeing you up to run a second camera, work a remote-control focus unit, conduct interviews, deliver you commentary on-camera, or any of the other million things you could do on set. Because they’re programmable, motorized sliders can repeat their movements exactly, as many times as you need them to. They can also be set up to take time-lapse photos with precision positioning.

Materials

Most of the best sliders today use either aluminum or carbon fiber rails and or tracks. They balance strength, smoothness, and weight nicely. Carbon fiber is usually a little lighter, but aluminum often provides smoother rolling. Either will usually suit your needs.

Load Capacity

Not every slider is designed for use with every camera. Some smaller, light-weight sliders can’t support more than a DSLR; heavier, rigged out cinema cameras might slow up their motors or cause them to sag or bow. Load capacity is also much greater when the tripod is set up horizontally, especially on motorized units. If you’ve positioned the slider at an angle or even vertically, don’t expect it to lift as great a weight. Pay close attention to the manufacturer’s specs so you don’t risk causing damage to the slider or, even worse, your camera or lenses. That said, most sliders will accommodate DSLRs and smaller or stripped-down cinema cameras. 

Feet and Mounting

Sliders can mount on tripods for creative positioning, or they can sit right on a flat surface. Mounting points usually include some at the center, as well as at both ends for added support (with the use of either two tripods or a pair of small light stands). Many sliders also have mounting points allowing them to be positioned vertically for especially dramatic movements. 

Most of the better sliders also have adjustable feet that fold up with the unit’s not in use. These are only a couple inches tall, and they’re designed to keep the slider level and stable when not on a tripod—even on uneven ground. Some less expensive sliders’ feet can’t be adjusted though, and in those cases you’ll need to find a way to shim them or limit your use to flat tables or floors. And every once in a while you’ll encounter smaller, travel sliders with no feet at all. They work best when mounted, but again, with some creative shimming, you can use them on most surfaces.

When mounting longer sliders on tripods, its important to remember end supports. Otherwise, not only could the far sides of the slider bow down as the camera reaches them, but the whole set up could tip over! Be sure to factor in supports when pricing out your slider. Safety first!

Practice Makes Perfect

Sliders look easy to use, and to a certain extent, there’s not much to it. But when using it, you want your moves to be precise and smooth—especially in the beginning and end. Take the time to practice using your slider before you start shooting. Get a feel for how the camera moves when mounted to the carriage, develop muscle memory when choreographing complex moves. The end results will be worth the time you take to get them right, and you, your clients, and your fans will notice the difference!

Best manual: Neewer Carbon Fiber Camera Track Slider

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Why it made the cut: This versatile, lightweight, manually-driven slider is easily positioned to deliver dynamic movement whether you’re using a DSLR, cinema camera, or your phone.

Specs:

• Travel Length: 31 inches
• Load Capacity: 17.5 pounds 
• Rail/Track Material: Carbon Fiber

Pros

• Lightweight carbon fiber
• Adjustable feet
• Can be mounted horizontally or vertically

Cons

• Extra support needed when mounted on a tripod

This motorless slider from Neewer has a travel distance long enough for many creative moves, but not so long that you’ll find it cumbersome to transport or set up. The carriage rolls smoothly along the carbon fiber rails, and attachment points at both ends and the center offer a wide range of creative positioning—you can even set it up vertically. The adjustable legs fold in and out, and extend an additional half-inch to handle placement on rough surfaces. However, if you’re mounting it on a tripod, you’ll need some sort of support system at either end to prevent bowing or tipping. 

Cameras can mount directly to the carriage via a standard ¼-20 screw, and an included 3/8 adapter lets you also attach ball-heads or fluid heads of your choosing for even greater control. The high load capacity on this slider means you won’t have any trouble using even moderate size cinema cameras like a Sony FX9 or similar. That said, if you’re using the slider at an angle, prepare for a bit of a workout if your camera is on the heavier side—try to get the shot on the first take!

Best motorized: Neewer Motorized Camera Slider

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Why it made the cut: With multiple shooting modes and a strong, quiet motor, this slider is the next best thing to having an assistant. 

Specs: 

• Travel Length: 31.5 inches
• Load Capacity: 11 pounds horizontally, 5.5 pounds at a 45-degree angle
• Rail/Track Material: Carbon Fiber

Pros

• Three automated shooting modes
• Intuitive remote control
• Impressive load capacity

Cons

• No vertical positioning
• End supports required for elevated shooting

This motorized slider is designed for DSLRs and lighter cinema camera rigs. A 31.5-inch travel distance offers many creative opportunities, and you can mount it at a 45-degree angle for even more interesting shots. This slider can’t go full vertical, however; the motor and drive belt simply can’t accommodate it, and it lacks the mounting points. Besides delivering basic moves, two additional modes let you track stationary objects (when shooting interviews, recording a vlog, or creating product videos), or create 120-degree panoramas. You can also program the slider for time-lapse photography sessions. 

Carbon fiber rails are lightweight and allow the carriage to roll smoothly, and the strong drive-belt prevents jitters. The legs are adjustable. The slider includes a ball-head, and it’s easy to replace with whatever type of head you prefer. Neewer’s slider mounts easily to tripods or stands, but like all longer sliders, you’ll need supports to keep the rig stable and safe. 

Best compact: Zeapon Micro 2 Plus Slider

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Why it made the cut: Innovative mechanical design gives this manual slider a travel distance that’s longer than its actual size, making it an almost magically compact option.

Specs:

• Travel Length: 22 inches
• Load Capacity: 17 pounds horizontally, 9.9 pounds at other angles 
• Rail/Track Material: Aluminum

Pros

• Expanding track
• Small and portable
• Excellent load capacity

Cons

• Can’t mount vertically
• Travel distance still a bit short

Zeapon’s cleverly designed slider actually expands as you move the camera, nearly doubling its length from 34.7cm to 56cm. When closed, the slider easily fits into a backpack or kit bag for traveling, while still providing creative opportunities when in use. Gear gets heavy, but at less than three pounds, the Micro 2 Plus won’t tire you out, and the slider sets up quickly. Four adjustable legs keep the unit level, and you can attach it to a tripod for positioning at different heights or angles. However, it can’t mount vertically using end attachments. The slider features fluid-damping technology for smoother motion, and a magnetic locking mechanism holds the rail system closed when not in use. 

Best for travel: Smartta SliderMini 2

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Why it made the cut: A tiny, battery-powered, motorized slider that fits in a fanny-pack is perfect for adding movement to videos when traveling.

Specs:

• Travel Length: 8 inches
• Load Capacity: 33 pounds horizontally, 2.76 pounds vertically
• Rail/Track Material: Aluminum

Pros

• Less than 11 inches long
• App-based control
• Battery-powered

Cons

• Very short travel distance
• No adjustable feet

Smartta’s tiny slider won’t out-perform larger units, with their higher weight capacities and longer travel distances. But try throwing one of those sliders in a backpack when you go for a hike! You can set up this motorized slider on the top of a peak, in front of a historic building, at a picturesque tourist location, on the table at a family reunion, or anywhere else inspiration strikes.

It holds and moves a whopping 33 pounds when horizontal, so sticking most cameras on it won’t be any trouble. However, when using the slider at an angle, weight is limited to 2.76 pounds before the motor gives out, so it’s really best for use with DSLRs or mirrorless cameras, camcorders, smaller cinema cameras like the Canon EOS C70 or Blackmagic Pocket 6K, or smart phones.The app-based control, which is available for both iOS and Android, supports time-lapse, stop-motion, loop, and curve modes, and features a library of presets (that can also be customized). The slider includes shutter-release cables compatible with a wider variety of cameras for time-lapse photography (check to make sure your camera’s covered). The rig is powered by a USB-rechargeable 1500mAh internal battery. This little wonder’s biggest downside is the lack of feet, adjustable or otherwise. This means that unless you’ve got it on a tripod, you’ll need to get creative with shimming to keep it stable on uneven ground as the camera moves. Maybe consider including a few popsicle sticks or pieces of cardboard in the bag with it.   

Best cheap: ANNSM Mini Table Top Camera Slider

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Why it made the cut: This no-frills slider provides smooth camera movements for beginners or people who want to keep their budgets tight.  

Specs:

• Travel Length: 16 inches
• Load Capacity: 11 pounds
• Rail/Track Material: Carbon Fiber

Pros

• Inexpensive
• Solidly built
• Portable

Cons

• Short travel distance
• Feet aren’t adjustable
• Can’t handle heavier cameras

You get what you pay for with film equipment, and this inexpensive slider doesn’t do much more than move your camera from one side to another. However, if that’s all you want, you can’t go wrong with this solidly-constructed, light-weight unit. The carbon fiber rails provide a smooth rolling surface for the carriage, and have soft rubber bumpers at each end for gentler stops. Mounting points at the center and both end-caps allow the slider to be positioned at a variety of angles (including vertically) using a tripod. It’d be nice if the feet were adjustable, but at this price, you can afford to pick up some small shims to help level things out.

FAQs

Final Thoughts

It’s a common assumption that longer sliders are better—after all, you can’t go wrong with more movement. But after exploring these basic filmmaking tools, it’s pretty clear that sometimes all you need to create drama and energy is a small amount of movement. Factors like portability, price, and overall functionality play an important role in establishing the top-contenders. Length plays a practical role, but it’s not the only consideration.  

Our favorite slider was the manually-controlled Neewer Carbon Fiber Camera Track Slider because, in the end, it’s about the creative opportunities a slider provides a creator. Motorized sliders are powerful tools in certain situations, but there’s no beating the spontaneity and control provided by a manual unit. We were also impressed by the little Zeapon Micro 2 Plus slider—also a manual unit. The clever design provided a nice travel distance while maintain a compact and portable size. If you don’t need the length of our favorite motorized slider, also by Neewer, the Zeapon is an excellent choice.

Methodology

To compile our list of five of the best camera sliders, we first narrowed the field down to 10 units. To cut the selections further, we relied on our own experience as filmmakers and content creators who’ve used these and other sliders on innumerable top-tier shoots. We also consulted other professionals in the field, and read through industry web sites and review pages. We read the manufacturer’s spec sheets, and examined reviews left by buyers to get a variety of perspectives on what people liked and didn’t like about these sliders. There was no one key criteria in determining our favorite sliders, and we took into account travel distance, construction, load-bearing capabilities, mounting options, weight, overall versatility, and price. If a slider was motorized, we also looked at the different modes and functions provided by that motor and any control mechanisms.

The post The best camera sliders for 2023 appeared first on Popular Photography.

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Best 4K		Canon C300 Mk III		SEE IT	Powerful, professional features with a price to match
Best Full-Frame		Sony FX6		SEE IT	A full-frame sensor creates gorgeous images
Best Affordable		Blackmagic Pocket 6K Pro		SEE IT	Low priced camera delivers high-end specs

Cinema cameras deliver high-quality footage and provide advanced features not commonly found on the kind of camcorder you’d use to shoot your family reunion. (Unless you’re Stanley Kubrick, perhaps.) Generally, digital cinema cameras feature interchangeable lens mounts, Super35 or full-frame sensors, resolutions that start at 4K, high dynamic range, an in-camera log gamma setting, and decent low-light performance. They also shoot in relatively uncompressed file formats (including Apple ProRes HQ, MXF, and different flavors of raw), and can do so at higher frame rates for smooth slow-motion footage. Other common features that might not be exclusive to cinema cameras include balanced audio inputs, ND filters, and HDMI or SDI video outs. All this is in the service of capturing footage that looks fantastic on TV or the big screen.

But these cameras aren’t for everyone. They’re expensive, for one thing—with a couple exceptions, over-the-counter cinema cameras cost anywhere from $5,000 to $12,000 dollars for just the bodies. More than that, the cameras require a certain amount of experience to use correctly. These cameras reward people who understand the fundamentals of cameras and shooting. Which isn’t to say you need to be a professional director of photography to use one. But taking the time to practice and learn and really understand how these cameras work will prevent a fair amount of frustration. 

Given the level of investment required, buying a cinema camera can be a daunting task. It’s important to do your research, and to that end, we’ve put together a list of what we feel are the best cinema cameras to help you on your way to your first Oscar nomination.

• Best 4K: Canon C300 Mk III
• Best full-frame: Sony FX6
• Best small: Canon EOS C70
• Best affordable: Blackmagic Pocket Cinema Camera 6K Pro
• Best compact: Panasonic AU-EVA1

How we picked the best cinema cameras

When evaluating the best cinema cameras, I looked to my own experience as a professional cinematographer and cameraman, and also consulted closely with colleagues. I read industry web sites for reviews and real-world evaluations, and checked in on buyer feedback for a more wide-ranging look at people’s impressions of these cameras. Spec sheets and white-papers rounded out the research. 

I selected five favorite cameras from four companies out of a field of 10 (made by seven different manufacturers). I focused foremost on the quality of the footage, and how well it achieved my artistic goals. Beyond that, I dug into specs: image resolution, dynamic range, shooting format, frame rate, cost, size, lens mount, recording media, and overall ergonomics. These factors play a big part in how I choose a camera for myself.

The best cinema cameras: Reviews & Recommendations

Best 4K: Canon C300 MK III

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Why it made the cut: The C300 MK III’s wide dynamic range and dual native ISO work with Canon’s legendary color science to deliver a gorgeous 4K image under a variety of shooting conditions.

Specs

• Resolution: 4K
• Sensor size: 26.2 x 13.8 (Super35)
• Lens Mount: EF or PL

Pros

• 16 stops of dynamic range
• 4K up to 120 fps, and 2K up to 180 fps
• 10- and 12-bit Cinema RAW Light at 4K

Cons

• Much more expensive than other cameras on this list

Canon’s earlier C300 Mk II was a workhorse on commercial and documentary shoots. The newest iteration of the camera adds dual native ISO and 16 stops of dynamic range, making a great camera even better. It records up to 120 fps at 4K, or 180 fps at 2K (using a cropped sensor). The C300 Mk III has fantastic low-light capabilities, and the powerful auto-focus and mechanical image stabilization makes it ideal for run-and-gun work. The camera records internal 4K Cinema RAW Light and high-quality MXF at 4:2:2, and card slots include two CFexpress for footage, and a single SDXC for photos and other data. You can even record low-res proxy files while shooting for a much faster post-production workflow. The C300 includes a 4.3-inch display, dual XLR audio inputs, and a lens mount that can be switched between EF or PL. In fact, the modular design lets the camera strip down easily for use on a gimbel, crane, or other shooting situations. Unfortunately, all this power comes with a hefty price-tag, and many of the features can be found, in various combinations, on cameras that cost less. But it’s tough to match the power, image quality, and flexibility of this cinema camera.

Best full-frame: Sony FX6

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Why it made the cut: Sony packs many professional features into this (relatively) affordable, light-weight, full-frame cinema camera, making it an industry workhorse—and one of our top picks.

Specs

• Resolution: 4K 
• Sensor size: Full Frame
• Lens Mount: Sony FE 

Pros

• 10-bit internal 4:2:2 recording
• Variable ND filters
• Compact, light-weight size
• Cheaper than most full-frame cinema cameras

Cons

• No internal Raw recording
• Requires an adapter for non-Sony lenses

The Sony FX6’s full-frame sensor delivers gorgeous footage with tight depth-of-field and beautiful bokeh, and it’s proven itself in many professional applications. It features the same 10.2MP CMOS Exmor R sensor as the mirrorless A7S III, but tweaked to improve low-light performance. The 15 stops of dynamic range open up lots of creative opportunities for filmmakers, and the camera’s speedy auto-focus (when using Sony lenses) and lightweight design make it excellent for run-and-gun. The FX6 shoots up to 120 fps in 4K UHD, and up to 240 fps in HD, and it can send 4K 16-bit raw footage to external recorders. Mounting points throughout the FX6’s body accommodate external monitors, wireless audio receivers, and various handle configurations without the need for a cage. While internal raw would be nice, lightweight external monitors with built-in recorders aren’t too expensive an investment and perform wonderfully. It also tops out at only 4K compared to the 6K resolutions found on some other full-frame cameras, but most content creators won’t find that problematic—remember, the digital cameras that shot the Star Wars prequels were only 2K, so you’re already one with the force! 

Best small: Canon EOS C70

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Why it made the cut: Professional features found on bigger cameras burst from the compact and lightweight C70, making this cinema camera as flexible as it is unobtrusive. 

Specs

• Resolution: 4K
• Sensor size: Super35
• Lens Mount: RF

Pros

• 120 fps at 4K UHD
• 16 stops of dynamic range
• Small and light

Cons

• EF Lenses require adapter

The Canon C70 takes many of the features that make the C300 Mk III such a great camera and fits them into a small body that’s perfect for travel shoots or situations where you’d prefer keeping a low profile. (It also costs about half!) It shoots up to 4K DCI footage, and has a whopping 16 stops of dynamic range. Files are 10-bit XF-AVC. It’s not raw, but it still looks great and provides lots of room to stretch and twist during post-production. And with a recent firmware update, the camera now supports raw recording. A wide ISO range makes this an excellent camera for low-light situations, and Canon’s highly accurate autofocus makes run-and-gun shoots much easier. Footage is recorded to dual SD/SDHC/SDXC slots. 

The RF lens mount has a decent selection of lenses, and their smaller size helps keep the camera compact. You can easily adapt it to use with EF glass using one of Canon’s adapters—if you don’t mind some extra bulk. (It’s too bad Canon didn’t include a basic adapter with the camera given the prevalence of EF lenses in many shooters’ kits.) The C70 has a pair of mini XLR audio inputs and +48 V phantom power for sound recording, and also accepts a stereo TRS connector.

Best affordable: Blackmagic Pocket 6K Pro

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Why it made the cut: Internal 6K raw, built-in ND filters, top-tier color science, and a compact size to match it’s compact price makes this an affordable powerhouse of a camera.  

Specs

• Resolution: Up to 6K
• Sensor size: Super35
• Lens Mount: EF 

Pros

• Up to 6K internal raw recording
• 13 stops of dynamic range
• Built-in ND filters
• Dual native ISO

Cons

• Limited auto-focus
• Awkward ergonomics

Blackmagic has a reputation for delivering high-quality cameras for seemingly impossibly low prices, and the 6K Pro—which builds on the original 6K—builds on this promise. It has a Super35 sensor that shoots 6K raw internally, or up to 4K in ProRes 4:2:2 HQ, and records to either a CFast card or a less-expensive external SSD connected via USB-C. It features dual native ISO at 400 and 3200, making it a solid (if not stellar) performer in low light. While 13 stops of dynamic range is a little lower than the other cameras on our list, it’s still enough to deliver rich, cinematic footage. The camera’s 5-inch, rear-mounted, tiltable screen is bigger than the ones found on most cameras, and it makes framing shots a pleasure. Conveniently located buttons provide quick access to important features like focus-assist and exposure zebras, while other settings are accessible through an easy-to-use touch-screen menu. The camera can shoot 60 fps at 4K, or 120 fps at HD resolutions; it’s not top-of-the-line, but it still looks nice and smooth. The camera lacks image stabilization, and the touch-implemented auto-focus is only useful with immobile objects—don’t expect anything like Canon’s face-tracking system when shooting run-and-gun. The camera’s formfactor almost demands additional rigging to accommodate a top handle and external battery (needed because the internal battery doesn’t last anywhere near long enough). This can increase the price, but even with a larger battery system in place, it’s still much less expensive than cameras that can’t deliver anywhere near this level of performance. Read our full review of the Blackmagic 6K Pro here.

Best compact: Panasonic AU-EVA1

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Why it made the cut: The compact size of the EVA1 hides a powerful set of features, making this an excellent choice for shooters who want a traditional formfactor without too much bulk. 

Specs

List 3 key specs/dimensions readers use when evaluating this kind of product. Examples include:

• Resolution: 4K
• Sensor size: Super35
• Lens Mount: EF

Pros

• Dual native ISOs
• Weighs just 2.65 pounds without lens or accessories
• External 10-bit raw up to 5.7K

Cons

• High amount of screen glare
• Auto focus could be better

Panasonic’s EVA1 uses a 5.7K CMOS sensor to create oversampled 4K footage that’s pin-sharp with excellent color fidelity. When using an external recorder, like the Atomos Shogun, you can capture 10-bit raw at 5.7K. Dual native ISOs at 800 and 2500 help the camera perform better when the lights are dim. The EVA1 features traditional video-camera style, but at an almost shockingly small size. Stripped down, it’s easy to mount the Panasonic on a gimbel or crane, and it’s an excellent option for situations where you don’t want to draw too much attention to the camera. One nice feature: The 3.5-inch monitor doesn’t just swivel, you can completely reposition it. On the other hand, the screen is extremely reflective and seeing it clearly requires a hood when shooting in bright sulight. It would be nice if the EVA1 included an electronic viewfinder for those situations, and it might be worth investing in one from a third party. 

Things to consider before buying the best cinema cameras

In order to navigate the world of cinema cameras, it’s important to understand some key concepts, specs, and tech that goes into making them such powerful tools.

Resolution

Resolution is measured in pixel count, and it describes the amount of detail a camera’s image sensor can capture. The more detail, the sharper the image and the easier it is to blow up to a large size before quality begins to degrade. High-definition footage is 1920 pixels wide by 1080 pixels high, and is usually the lowest resolution you’ll find in a cinema camera. 4K is twice the resolution of HD, and comes in two flavors: 4K DCI (4096 x 2160) and 4K UHD (3840 x 2160). Most cinema cameras can shoot in both, with 4K UHD maintaining the 16:9 aspect ratios commonly found on 4K TVs. All cinema cameras can shoot in 4K. From there, you might also find cameras shooting in 6K, 8K, or even 12K. Having a higher resolution doesn’t necessarily mean the camera is better, only that it can pack more detail into an image. But the quality of that image depends on so many other factors. Resolution is important, but don’t consider it in a vacuum.

Sensor size

Cinema cameras usually use full-frame or cropped Super35 sensor sizes. Sometimes you’ll also find smaller Super16 sensors on cameras that use micro4/3 lens mounts, but these are less common. Super35 sensors are most common, and look fantastic, but as the price on full-framed sensors continues to drop, more and more cameras are taking advantage of their ability to capture more light and deliver tighter depth-of-field.

Raw video

Raw video is video that’s captured directly from the sensor without any sort of processing by the camera. There are no color or contrast curves applied to the footage, and usually no (or very little) compression. This provides the best image possible, but it requires a lot of post-production work to bring out all that quality. On the flip side, things like white balance and exposure can be easily manipulated in post to fix problems in the footage. Many of the more expensive cameras can shoot raw internally, and even more can send a raw signal out of the camera to be recorded by external devices. The biggest downside to shooting raw is that the files are sometimes larger than those of other formats, and they require adding a few extra steps to the post-production workflow.

Dynamic range

Dynamic range is the contrast ratio between the darkest and brightest tones that a camera can capture in a single exposure. In other words, in a single shot, how dark can something get before sinking into inky blackness, and how light can something else be before it blows out and turns white with no details. It’s measured in stops. Think of it this way: The human eye has a dynamic range of about 21 stops. When you step into a room on a sunny day, you can see the trees outside the window, the couch and chair in the middle of the room, and the dog resting in the shadows under a desk all at the same time. Your eye doesn’t need to expose for one end of the scene or the other. Image sensors, though, aren’t as good as the human eye, and you’ll need to set exposure to “see” the tree outside or the dog in the shadows—but you won’t be able to see both without manipulating the lighting.  

The sensors found on inexpensive camcorders have dynamic ranges of about 6 or 7 stops, which conforms to the rec.709 TV standard. iPhones actually do a little better, coming in around 9 stops. Cinema cameras, on the other hand, have dynamic ranges between 13 and 16 stops, which is remarkably close to that of the human eye. (Film also had a similar dynamic range, for the old-school among you.) 

Having a higher dynamic range is never a bad thing, but just like resolution, it’s not the only factor contributing to image quality. A camera with a 13-stop dynamic range can still produce footage that’s as nice as one with a range of 16 stops—but the filmmaker will need to be more deliberate about exposure and lighting. 

Log gamma settings

Log gamma profiles are shooting settings found on cinema cameras that allow them to capture the widest dynamic range. If you’re looking for the best image quality, this is what you’ll set your camera to when you shoot. Be warned: Log profiles look washed out when viewed on a camera’s monitor unless LUTs are applied to the monitor. (LUTs, or Look-Up Tables, are like presets that take log footage and give it a certain look when viewed through monitors. These don’t affect the footage directly, just how we see it, and can be used to give a sense of what the shots will look like after they’ve been color graded.) Log settings are proprietary from camera manufacturer to camera manufacturer—Sony has SLog3, Canon has CLog, Blackmagic calls their log setting “cinema mode,” and so on. Be sure to read your camera’s manual to get the shooting settings right!

Frame-rate

Cinema cameras shoot in many different frame-rates, from the standard 29.97 and 23.98, to much higher ones that deliver lush slow-motion footage. The maximum frame-rate is often dependent on the camera’s resolution, but 4K at 60 or 120 fps isn’t uncommon these days.

Lenses

Cinema cameras use interchangeable lenses using a variety of mounts. Many accommodate PL or Canon’s EF mounts, Sony’s cameras use their E mount system, and some cameras use the micro 4/3 system. Adaptors can often help you use glass with one type of mount on a camera with another—check and see what’s available before assuming any glass you might already own works with a particular camera. Most cinema cameras sell without lenses, so don’t forget to budget for them.

Audio

Most cinema cameras have two, balanced XLR inputs (though some, like Blackmagic’s line of Pocket Cinema cameras, use mini-XLRs), and they can record high bit-rate, professional-quality audio. They also usually feature +48V phantom power for mics needing it.

Customization

Cinema cameras are designed to be customized to various degrees by a camera operator. Many situations call for the addition of rails, handles, matte-boxes, focus wheels, external monitors, different battery systems, or any number of other bits of “gack,” as a cameraman friend of mine calls it. Cinema cameras usually have industry standard 4/20 mounting points for some of this equipment, or are can be put in cages designed to protect the camera and provide places to attach accessories.

FAQs

Final thoughts on the best cinema cameras

When looking at cinema cameras, it’s important to first ask yourself what kind of projects you’ll be doing. The camera that’s best for commercial work might not be best for run-and-gun documentaries. That said, all good cinema cameras deliver a base level of quality that’s going to elevate whatever you shoot. That’s why it’s not always easy to say which is best. That said, I’m a big fan of the Canon C300 Mk III. Canon’s always impressed me with its color science, and the auto-focus is fantastic when trying to capture real life while on the move. I also really enjoy Blackmagic’s line of Pocket cameras, particularly the 6K pro. It’s affordable and powerful, and I’ve used it myself on many documentary features and series. With a little bit of rigging, they’re versatile tools that support your creativity.

The post The best cinema cameras for 2023 appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Best for indie filmmakers		Sony PXW-FS7 XDCAM Super 35 Camera System		SEE IT	A powerful video camera with a Super 35 sensor.
Best DSLR that’s also a video camera		Canon EOS-1D X Mark III		SEE IT	A well-rounded camera for excellent stills and 4K video.
Best fixed-lens camera		Panasonic AG-CX350 4K Camcorder		SEE IT	A fixed-lens option with powerful zoom capabilities.

Video is arguably one of the most important media formats of our time—with nearly every content creator, influencer, photographer, or artist dabbling in creating their own movies. And luckily, with the advent of video becoming so popular across social media, cameras have become smaller, lighter, and more feature-rich, with the standard quality now hovering around 4K. Along with these incredible updates to the latest in video tech, prices have dropped precipitously, fueling the growth of vlogging, indie-filmmaking, and citizen journalism, not to mention making it easy to put top-quality gear into the hands of home-movie enthusiasts, documentarians, students, community groups, businesses, YouTubers, sports teams, your grandmother, and anyone else who wants to capture memories or tell stories. So read on while we demystify some of the ins and outs of today’s cameras. We’ve got suggestions for the best video cameras for gear backed up by hands-on experience, because the less time you spend scratching your head, the more you can spend bringing your projects to life.

• Best video camera for indie filmmakers: Sony PXW-FS7 XDCAM Super 35 Camera System
• Best DSLR that’s also a video camera: Canon EOS-1D X Mark III DSLR
• Best video camera for vloggers: Canon VIXIA HF G50 4K30P Camcorder
• Best fixed-lens camera: Panasonic AG-CX350 4K Camcorder
• Best video camera for tight budgets: Sony – HDRCX405 HD Video Recording Handycam Camcorder

What’s inside your video equipment makes all the difference

Video camera technology is designed to capture the best image possible under a variety of conditions. Understanding what’s inside your equipment will help you find the best camera for your needs, so let’s take a look under the camera’s hood. 

Sensors: The digital video camera’s eye

The digital video camera’s sensor captures light to create an image. Manufacturers use different size sensors. Here are some of the most common from biggest to smallest. Full-frame is found on many DSLRs and some newer professional cameras. APS-C (also known as Super-35) is used by many professional and prosumer cameras and are about 15 percent smaller. Micro Four Thirds is a high-quality sensor mostly found on mirrorless cameras that’s about half the size of a full-frame sensor. 1-inch sensors are found on many all-in-one camcorders. Then, you get down into a range of sensors that are about 1/2.3 to 1/2.55 inches and are used in budget-priced compact digital video cameras, and cameras on most people’s phones. Today, all sensors produce solid images, but smaller sensors “crop” the image much like you’d do in Photoshop. The resolution doesn’t change—smaller sensors can still shoot 4K, for example—you’ll just see less of the frame.

Resolution

Not long ago, high-definition cameras were all the rage, producing images that are 1920 pixels wide by 1080 pixels tall—often described as 1080p. Today, 4K video, which captures 3840 pixels by 2160, has become the norm on everything from your phone’s camera to professional models used in Hollywood. (3840 x 2160 is known as UHD 4K and matches the resolution of 4K televisions; many 4K video cameras also shoot 4096 by 2160, which is 256 pixels wider.) You can also find prosumer and professional cameras that can capture 6K and 8K footage, and recently released cameras go as high as 12K. 

Do you need the highest resolution possible? Not necessarily. HD is enough for most hobbyists. If you have greater filmmaking ambitions, or you’re producing content for a YouTube channel, you’ll likely want to shoot in 4K. Even if you deliver your final product in HD, you can use the extra pixels to safely create artificial zooms without losing resolution. 

Bit Depth

Bit-depth determines a camera’s color accuracy. Today’s 4K video cameras come in both 8-bit and 10-bit flavors. Eight-bit 4K captures 16.7 million colors, while 10-bit goes up to 1.07 billion. The long and short of it: A camera shooting in 10-bit 4K will deliver a more color-accurate image than one shooting in eight-bit. On top of that, the larger color space makes color-correcting the footage easier—and that’s important if you’re playing around with creative styles or you just need to fix something that wasn’t properly exposed. Many consumer cameras, and even some professional cameras, shoot with 8-bit color depth, so don’t be put off if that’s what your budget allows. You’ll still get beautiful footage that can be used in many different applications. 

Lenses

Whether you’re a hobbyist or a professional, your video camera options include those with fixed lenses and those with interchangeable ones. Both are feature-rich and produce excellent results. Often, fixed-lens cameras are less complicated to use thanks to their all-in-one design. They can also save you money in the long run because you won’t have to buy separate lenses. On the flip side, cameras with interchangeable lenses, including DSLRs and mirrorless cameras, provide more creative flexibility and often use better glass. There’s a reason Hollywood movies use cameras with interchangeable glass. But these cameras are often more expensive. 

Extra features

The best video cameras are more than just sensors and lenses, and when shopping for a model that suits your needs, there are some other features worth thinking about. Most video cameras have microphone inputs, either ⅛-inch or balanced XLR. Many of the higher-end models—but not DSLRs—have built-in Neutral Density Filters, also known as NDs, that can drop in front of the sensor to help cut the light. In-body stabilization is handy for keeping shaking to a minimum. Finally, many cameras shoot beautiful slow-motion footage, and if that’s a creative option that interests you, look for ones that can shoot at 60, 120, or 240 frames per second. 

Finding the best video camera for you 

There’s an old adage that says the best camera is the one you’ve got on you, and to a certain extent, that’s true. But if I’ve learned anything over the years as a cameraman, producer, and director on documentaries and docu-series, it’s that there’s no one-size-fits-all camera; it’s important, whenever possible, to find the one that fits your unique needs as a creator. Having the right camera for you and whatever you’re shooting will allow you even greater creative flexibility and success. So why settle for what’s in your pocket?

Best for indie filmmakers: Sony PXW-FS7 XDCAM Super 35 Camera System

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Why it made the cut: The Sony PXW-FS7 XDCAM has a Super 35mm sensor capable of 14 stops dynamic range in S-Log3 and lots of frame rate options, giving you more control.

Specs:

• Sensor: Super 35mm Single-Chip Exmor CMOS
• Max recording resolution: 4096 X 2160
• Dimensions: 6.14 x 9.41 x 9.72 inches
• Weight: 9.9 lb

Pros:

• Large super 35mm sensor
• Wide range of frame rate options
• Good ergonomics

Cons:

• Clunky menu design

Sony’s indie workhorse features a Super 35 sensor and shoots 10-bit 4K at a variety of frame rates, including 24, 30, 60, 120, and 180 fps for lush slow motion. Its E-mount works with Sony’s line of lenses, and with adapters, it can take advantage of a wide range of popular photo- and cinema glass. Two XLR audio inputs deliver 48v phantom power, and a built-in ND filter cuts up to six stops of light to aid in exposure.

Best DSLR that’s also a video camera: Canon EOS-1D X Mark III DSLR

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Why it made the cut: For those who want the flexibility of shooting pro-quality stills along with excellent 4K video, the Canon EOS-1D X Mark III is a reliable choice.

Specs:

• Sensor: 36 x 24 mm (Full-Frame) CMOS
• Max recording resolution: 5472 x 2886
• Dimensions: 6.22 x 6.6 x 3.25 inches
• Weight: 3.17 lb (body with battery and memory)

Pros:

• Excellent autofocus
• Robust and durable build quality
• Easy to switch between stills and video
• Accepts fast CFExpress cards

Cons:

• Could use more customization options

The third update to Canon’s venerable 5D series of full-frame cameras shoots 10-bit 4K at up to 60 fps. It features a 191-point autofocus system that can track a subject’s head and face using deep learning technology, and the legendary Canon color science looks gorgeous. An EF mount accepts still- and cinema lenses from Canon as well as other top manufacturers. Small and lightweight, it’s perfect for people who want the flexibility of shooting fantastic photos and rich video without carrying extra equipment.

Best for vloggers: Canon VIXIA HF G50

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Why it made the cut: Canon’s VIXIA HF G50 is an affordable and compact camcorder with great video quality.

Specs:

• Sensor: 1/2.3″-Type CMOS Sensor
• Max recording resolution: 3840 x 2160
• Dimensions: 4.5 x 3.3 x 9.1 inches
• Weight: 1.91 lb (body with battery and memory)

Pros:

• Compact and lightweight
• Dual SD card slots
• Good stabilization
• Built-in ND filters

Cons:

• Light on features

The HF G50 records 8-bit 4K footage at 30 fps and HD at up to 60 fps for versatility. It features dual SD card slots that can record in Relay mode, which automatically switches over to the second card to capture longer events, and Dual Record mode, which essentially backs up your files to the second card in real time. The camera includes a standard 3.5mm mic input for improved audio, and tools for focus and exposure assistance. The G50 can also be used as a high-end web camera, which is perfect for vloggers and YouTubers who like to broadcast live.

Best fixed-lens: Panasonic AG-CX350 4K Camcorder

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Why it made the cut: Panasonic’s camcorder offers a quality fixed-lens with 20x zoom for those wanting versatility without a full lens arsenal.

Specs:

• Sensor: 1″-Type MOS Sensor
• Max recording resolution: 3840 x 2160
• Dimensions: 7.1 x 6.8 x 12.2 inches
• Weight: 4.19 lb

Pros:

• Excellent stabilization system
• Wide zoom range for versatility
• Lightweight

Cons:

• No log/V-Log recording capability

This fixed-lens camera features 10-bit UHD 4K and HD recording, at up to 60 fps and 120 fps respectively. The built-in lens can zoom from 24.5mm (full-frame equivalent) to 490mm, making it excellent for sporting events, news gathering, lectures, or other non-fiction situations. Dual XLR audio with 48v phantom power connects to professional microphones, while internal ND filters provide two, four, or six stops of light reduction.

Best for tight budgets: Sony – HDRCX405 HD Video Recording Handycam

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Why it made the cut: This budget pick doesn’t skimp on features with offerings like face detection, solid image stabilization, and easy-to-use controls.

Specs:

• Sensor: 1/5.8″-Type CMOS Sensor
• Max recording resolution: 1920 x 1080
• Dimensions: 2.1 x 2.3 x 5.0 inches
• Weight: 6.7 oz (body only)

Pros:

• Good image stabilization
• Very lightweight
• Easy to use
• Affordable

Cons:

• Slow autofocus
• No external mic port

Sony’s entry-level handycam features 1080p HD recording and a 60x zoom to get in tight on the action. Face detection optical image stabilization make it much easier for even novice videographers to capture satisfying footage. At this price, don’t expect the highest-quality images or much control over the camera’s functionality—this is not a tool for filmmakers. But as something small to use on a vacation, or to introduce kids to the fun of making videos, it’s ideal.

FAQs

It’s a wrap on shopping for the best digital video camera

I’ve been working professionally for a long time and I’ve rarely met a camera that couldn’t do what I needed it to do, and these days, advances in technology make that even more true. However, like any tool, each video camera has its strengths and weaknesses, and it’s worth the time to investigate the technology when figuring out the best video camera for accomplishing your creative goals. Are you a vlogger? Journalist? Feature-filmmaker? There’s a camera out there for you and if you take the time to learn to use it right, your projects will get the red-carpet treatment. 

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High-quality audio is critical to making videos people want to watch. You can always edit around a bad shot, but if the person on screen is indecipherable, your audience isn’t going to stick around to see how your opus ends. The built-in microphones found on DSLRs and smartphones pump out pathetic sound, but you also don’t need to have a Michael Bay budget to get into good gear. The Sennheiser MKE 400 Mobile Kit delivers satisfying sound at an affordable price, making it an excellent entry point into the world of better audio. So read on and to find out how this Sennheiser microphone will elevate your audio and help your projects sing.   

So, what is the Sennheiser MKE 400 Mobile Kit?

Sennheiser’s MKE 400 Mobile Kit contains an updated MKE 400 shotgun microphone (which was first released way back in 2008), a metal clamp with integrated cold-shoe that holds your phone and the mic, a desk-top tripod that doubles as a handle, a fuzzy windscreen for blustery days, and two locking 3.5mm cables—one to attach to a DSLR, mirrorless camera, or field recorder; and the other to connect the mic to a smartphone. For a relatively affordable retail price of $229.95, the MKE 400 transports beginners away from their built-in phone or camera microphone and into the world of more professional sound recording. At only 3 ounces, the mic’s also a compact, lightweight option for vloggers or journalists in the field who want to use their phones to broadcast live, or who want a feature-rich mic that won’t bust their budget. 

The Sennheiser MKE 400 mic’s narrow, supercardioid polar pattern picks up audio from whatever direction it’s facing while rejecting sound from off to the side. This makes it excellent for recording interview subjects or speakers.

The Sennheiser MKE 400’s design

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I’ve worked with a lot of microphones over the years, and I was immediately struck by the 5-inch, 3.2-ounce Sennheiser MKE 400’s compact size. It never got in the way when I attached it to either my iPhone 12 Mini, using the included clamp, or my $2,500 Blackmagic Pocket 6K Pro cinema camera (which has a similar design profile as a DSLR). I like to keep my rigs lean and I was happy that the microphone didn’t add any uncomfortable bulk or get in the way of my having a solid grip on the camera. 

The barrel-like metal housing with its integrated windscreen and internal shock mount gives the shotgun microphone a clean and professional look while protecting the capsule from damage in the field. Shock mounts help prevent handling noise from spoiling your sound by floating the microphone in its holder using thick, rubber bands. Often, they’re located on the outside where they’re more susceptible to wear—I like the added protection provided by Sennheiser’s design. 

On the right of the microphone’s battery compartment are the 3.5mm headphone jack and volume rocker button. Switches for the three-step input volume, and an included 80Hz cut-off, are positioned next to the on/off button on the mic’s left side, and I had no problem reaching them when out on shoots. The 80Hz cut-off decreases low-frequency response, which helps reduce sounds like crowd noise, traffic, and other rumbles that might muddy up your recording. 

I did find the input volume switch a bit too easy to slide, and twice when shooting I accidentally knocked it, cutting the mic’s volume. Thankfully, I wasn’t recording anything with critical audio, but it’s definitely something to watch out for.  

Curiously, Sennheiser placed the 3.5mm output jack at the front of the Sennheiser MKE 400, and I had to be careful about accidentally letting the cable fall in front of the lens on my iPhone 12 Mini. The cable’s a nice shade of blue, no doubt, but it’s not something I want cluttering up my video frame.

The microphone’s jack has threads to screw and lock the cable in place, which I love. Sennheiser smartly included a TRRS cable for use with phones—so you can make calls with the mic plugged in—but I was disappointed that the company didn’t provide an adapter for modern iPhones, which no longer have 3.5mm inputs. At the very least, I’d love to see some sort of locking mechanism for third-party adapters; the Lightning port on the phone doesn’t provide the tightest grip, making it a point of potential failure in the audio chain. 

Sennheiser included what might be the absolute best phone holder I’ve ever used—and I have a box with literally half-a-dozen holders that failed me over the years. Made from aluminum, the unit features not only a cold-shoe connector for holding the mic, but also industry-standard 1/4-20 threaded holes for mounting to tripods, monopods, and all sorts of external arms and plates. It also has a spring-loaded clamp that locks securely into place. This holder is rugged and clearly designed with professionals in mind. 

The included desk-top tripod comes from Manfrotto, a leader in the field, and the fuzzy windscreen for outdoor use is a nice extra that did a good job cutting wind noise when I shot outdoors.

Sound quality

I’m a jerk. On a recent interview shoot, I decided to pit the more humble Sennheiser MKE 400 shotgun microphone against Sennheiser’s flagship boom microphone, the $1,200 MKH 50P48. This supercardioid microphone is used industrywide by recording engineers in TV and film and costs about four times as much as the MKE 400. I knew it wasn’t a fair fight, but putting the Sennheiser microphones side-by-side is a great way to really hear what the budget shotgun does well and where it falls short. 

Sennheiser says the frequency response of the MKE 400 is 50Hz to 20,000Hz, but that doesn’t really tell us how the mic sounds. In my real-world test, I found the Sennheiser MKE 400 to be thinner sounding than the more nuanced MKH 50—not at all surprising. However, I was very happy with how clearly the MKE captured natural-sounding dialogue from the person being interviewed. The directional mic also did an excellent job of rejecting some of the room noise (like a distant air-conditioning unit I couldn’t turn off) and the sounds of traffic from outside the building. 

I also mounted the mic to the video camera I use for hand-held shooting—this time without the high-end competition—and spent a day filming in my neighborhood. I spoke to people on streets busy with traffic and pedestrian crowds and found the microphone did an excellent job of keeping the subject’s voice separate from the natural sound around us. It doesn’t completely isolate it (no mic will do that), but the conversation seems to hang above the ambient noise instead of getting lost in it. A robust mid-range combined with the 80Hz low-cut does a good job of increasing clarity without becoming harsh or tinny sounding.

Finally, even though I’m not a vlogger, I pretended by attaching the microphone to my phone facing myself, and then I walked the neighborhood again while giving a tour to my nonexistent audience. From only a few feet away, the microphone picked me up loud and clear. I had to set the input volume to its lowest level (-20dB), which also helped prevent background noise from seeping in. So, as vlogging equipment the Sennheiser MKE 400 was great. However, once done, I promptly erased the narration; it was terrible, and I’m never going to have a career as a host on a TV travel show.

The rest of the specs

The Sennheiser MKE 400 runs on two AAA batteries, which Sennheiser claims will last 100 hours—this is actually a downgrade from the original 2008 model of the MKE 400, which the company estimated would last 300 hours on a single AAA battery. 

I left the shotgun mic on for four days straight, recording about 15 hours of audio in that time, and the two AAA batteries never ran out of juice. I did get a low-battery warning at about 96 hours. Audio quality was consistent throughout the entire run. That’s impressive. However, I wouldn’t recommend using the mic in this way. Best practices really dictate changing batteries before a shoot; why risk dropping audio at a crucial time just because you were too cheap to spend extra on batteries? Do yourself a favor and keep a couple of packs in your kit.  

The microphone features a convenient auto-on/auto-off function. When it’s attached to DSLRs and mirrorless cameras, it turns on and off when the camera does. It also worked well with my iPhone 12 Mini whether I used Apple’s native video app or my video app of choice, Filmic Pro. The on/off button itself needs to be held down for a couple of seconds to turn off the mic, which helps prevent accidental shut down.  

So, who should buy the Sennheiser MKE 400 Mobile Kit?

If you’re new to external camera microphones, the Sennheiser MKE 400 is a great choice for your first shotgun mic. It compares favorably in price and quality with similar mics by companies like the VideoMic by Rode (or RØDE, if you enjoy hunting for special characters), but when you throw in all the extras included with the mobile kit, there’s a lot of bang for the buck. This compact, durably built directional microphone is also an excellent choice for anyone who wants to keep their video kit compact. Journalists and documentary-makers will love the shotgun mic’s simple, all-in-one design and ability to pull voices out of crowds—it’s great for on-the-street interviews. And finally, its flexibility and portability will appeal to anyone needing vlogging equipment, especially folks who like to take their show on the road by streaming live from their phones.

The post Sennheiser MKE 400 Mobile Kit review: Bring clarity to your video’s sound appeared first on Popular Photography.

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I remember when my dad got his first video camera, and I also remember how anything—and I mean anything—became a potentially Oscar-worthy scene. He meticulously shot (and re-shot) my sister and me at the playground, on the ski slope, even just sitting around waiting for dinner like he was the director of photography on Saving Private Ryan. Annoying? A little, but today we have hours of memories to pore over so I guess it was worth it. If the dad in your life is equally attached to his video camera, finding the best, cool Father’s Day gifts just got a whole lot easier. There are endless gadgets, add-ons, and tools to help him shoot better video. We’ve compiled a list of cool gifts for dad.

• Cool Father’s Day gifts for shooting on the move: DJI Pocket 2 – Handheld 3-Axis Gimbal Stabilizer with 4K Camera
• Best gift for shooting in the dark: Pixel G1s RGB Video Light
• Cool Father’s Day gifts for better framing: Atomos Shinobi 5-inch HDMI 4K Monitor
• Best gift for capturing better audio: Rode VideoMic
• Cool Father’s Day gifts for making cinematic moves: Neewer Camera Slider
• Best gift for on-the-go shooters: Manfrotto Befree Camera Tripod kit
• Cool Father’s Day gifts for planning your shoot: Blank Storyboard Notebook
• Best gift for traveling with gear: Neewer 2-in-1 Wheeled Camera Backpack
• Cool Father’s Day gifts for ensuring accurate color: X-Rite ColorChecker Passport Photo 2
• Best gift for keeping equipment clean: Altura Photo Professional Camera Cleaning Kit

What to consider when shopping for cool Father’s Day gifts for videographers

Dads shoot video for all sorts of reasons (not just to bug their kids). They might have an ambitious project like a documentary that explores your family’s history. Or maybe they just want to record a child’s music recital. Maybe they like traveling and want to capture the atmosphere of a new city. Every shooter is unique, every shoot is unique, and when looking for dad gifts, it’s important to know what interests the dad who’ll be receiving it. 

Consider camera equipment that works across a range of situations, or that adds functionality to the gear your dad already has. Or help him improve as a videographer by giving him camera gear that lets him explore new techniques and experiences. In the end, if you shop with an eye toward improving his videography and helping him explore his creativity, you’re sure to make him smile.

Cool Father’s Day gifts for shooting on the move: DJI Pocket 2 – Handheld 3-Axis Gimbal Stabilizer with 4K Camera

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Moving cameras are staples of filmmaking, and they make any video look more slick and professional. They’re also a lot of fun to shoot with, whether you’re following someone through a scene, chasing your kid down a sports field, or just walking through a building and showing off the architecture. DJI’s handheld gimbal stabilizer combines a powerful 4K camera with a small, three-axis motorized gimbal that captures beautiful images while avoiding the dreaded “shaky-cam” look. The camera features a robust 1/1.7-inch sensor, and a wide, 20mm f/1.8 lens for sweeping shots even in low light.

Best gift for shooting in the dark: Pixel G1s RGB Video Light

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Dad can’t shoot what he can’t see, so an on-camera light is a handy addition to any camera kit. Pixel’s G1 is a small, lightweight LED panel that not only produces multiple temperatures of white light from 2500 Kelvin (warmer) to 8500 Kelvin (cool blue), it can also saturate subjects in a rainbow of pure color for fun video effects. The built-in, rechargeable 7.4v 3200mAh battery offers about 150 minutes of operation at 100 percent brightness.

Cool Father’s Day gifts for better framing: Atomos Shinobi 5-inch HDMI 4K Monitor

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Most cameras include monitors, but they’re often small or lack the ability to tilt or rotate. Atomos’ Shinobi touch-screen monitor is light enough to attach to a camera and provides a glorious 5-inch viewing field that supports 4K video via a convenient HDMI connection. The monitor includes software tools like peaking and magnification to help pull critical focus, and numerous scopes to keep track of exposure.

Cool Father’s Day gifts for capturing better audio: Rode VideoMic

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Most on-camera microphones are terrible. If the dad in your life is trying to shoot an award ceremony, music recital, or birthday greeting, he can up his game by adding a nice shotgun microphone to his camera. Rode’s VideoMic features a super-cardioid polar pattern that rejects audio from the sides for increased clarity, and includes an integrated shock-mount to avoid the sounds of bumps and other movement.

Cool Father’s Day gifts for making cinematic moves: Neewer Camera Slider

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Sixteen inches might not seem like a very long trip, but when shooting videos, it’s enough movement to shift perspective and add drama for a professional look. Neewer’s slider is a lightweight, portable way to give your camera—whether dad shoots on an iPhone or a DSLR—that cinematic glide. The camera mounts to a sliding plate that rides on carbon-fiber rods. Or, put a tripod head on the plate so dad can combine slides and tilts or pans for even more movement. The unit comes with a travel back and only weighs 33 ounces, making it perfect for shooting on-the-go.

Cool Father’s Day gifts for shooters on the go: Manfrotto Befree Camera Tripod kit

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Tripods are vital pieces of camera equipment, and they’ve been helping camera operators get locked-down shots since Lumiere’s days. At a compact 15.75 inches when closed, Manfrotto’s Befree tripod is perfect for traveling, hiking, or family gatherings where dad doesn’t want to bust out the full-size tripod. It features a three-way fluid head for maximum control and its fluid drag system helps ensure smooth camera movement.

Best gift for planning your shoots: Blank Storyboard Notebook

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If dad’s the kind of person who likes to plan out his shoots, nothing beats a storyboard notebook. Each of the 200 pages features nine, 16×9-spaces to sketch out a scene, with space underneath for notes on the shots. The convenient 8.5-inch by 11-inch pages can be easily removed and stored in a binder as production moves forward.

Cool Father’s Day gifts gift for traveling with gear: Neewer 2-in-1 Wheeled Camera Backpack

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A quality camera bag is a videographer’s best friend, helping to transport all that delicate, valuable equipment in safety and comfort. Neewer’s case holds two full DSLR bodies, plus lenses and any additional accessories. It converts from a backpack to a wheeled bag for convenience, and the internal, padded velcro dividers can be easily reconfigured to safely hold whatever type of camera your dad likes to use. 

Best gift for ensuring accurate color: X-Rite ColorChecker Passport Photo 2

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Most cameras include a white-balance function; by establishing what is and isn’t “white,” the camera can more accurately reproduce all the other colors. It’s not foolproof, though, and that’s where X-Rite’s ColorChecker comes in. The product includes an industry-standard color reference target, as well as grayscale cards that help in setting exposure. It all folds up in a protective case that slips easily into a camera bag so dad’s got it every time he shoots.

Cool Father’s Day gifts gift for keeping equipment clean: Altura Photo Professional Camera Cleaning Kit

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Specialty equipment requires specialty cleaning tools to maintain optical quality and great operation. Altura’s cleaning kit comes with a special lens solution that won’t ruin delicate optical coatings, lint-free wipes to remove smudges, swabs for getting into tight spaces, and a blower for removing pesky dust motes from the lens. The kit comes in a travel case so dad never has to use the corner of his T-shirt to wipe down a lens again.  

The final word on finding cool Father’s Day gifts for videographers

Videographers never run out of new gear to buy, which is why they’re so easy to shop for on Father’s Day. By keeping in mind your dad’s video interests, and thinking carefully about where and how he likes to shoot, you’ll never need to scramble for last-minute Father’s Day gifts again. Camera bags, video lights, microphones, camera monitors—they all make fantastic additions to your favorite director of photography’s kit bag. And by zeroing in on his hobbies, you’ll show you’ve really thought about what makes him happy. Does your dad also like to work up a sweat? Here’s another gift guide featuring tech gifts for your favorite fitness enthusiast.

Popular Photography wants to help you find the most useful and expert shopping recommendations for the best gift ideas. Searching for more unique gifts? Check out more gift guides here: more gifts for dads, photography gift guide, and practical gifts.

The post Cool Father’s Day gifts for videographers: Help dad transform everyday moments into cinematic gold appeared first on Popular Photography.

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