Best Steadicam for DSLR: 5 of the Best Steadicams Out There

Best Steadicam for DSLR: 5 of the Best Steadicams Out There

So you want to use a steadicam? If your video or film projects needs a little extra stabilization, then you’ve come to the right place. This is our list of the best steadicams and we’ll cover what we believe is the best steadicam for DSLR.

The simplest way to look at a steadicam is as a kind of floating tripod that carries a camera, enabling you to get gliding, flowing shots that add production dynamism to your project. It’s not uncommon to find the steadicam listed under an alternative spelling – Steadycam.

Developed by Garrett Brown in the 1970s, the steadicam was originally a kind of wrap-around contraption for the body. In more modern times, the term “steadicam” has come to be used for any kind of stabilization gear that allows you to get those flowing, gliding shots that you couldn’t perform with a standard setup (like a tripod) – especially tracking shots.

What is a Steadicam?

The Steadicam consists of very complex mount and camera stabilization systems that mount and enable you to use your camera in a different way.

By mechanically isolating the operator’s movement , the camera installed adapts to the movements harmoniously, which enables shake-free and smooth shots. This functionality is particularly important if you want to shoot footage that is characterized by a lot of movement, such as event video setups and sports events, for example.

While, in the traditional tripod setup, you’re tied to a tripod at a specific location where it’s placed, the Steadcam lets you move freely wherever you want to take advantage of a shot.

Best Steadicam for DSLR

Here are some of our favorite steadicams and why we find them so awesome. As we mentioned earlier, the modern definition of the steadicam includes glidecams and gimbals. As people refer to these interchangeably these days, we’ve included these in the list, too.

  • Supports focal length and shutter control with camera control cable (sold separately).
  • Quick response, smooth movements, efficient energy consumption.
  • Powerful 360 ° torques made possible by 3rd generation electric motor.
  • The 5-way joystick provides easy operation in all directions.
  • 1/4 thread on the floor for various accessories such as tripods or sliders.
  • Fine-tune the PC via USB cable (incl.) .
  • A quiet engine for trouble-free audio/video recording.
  • Unlimited 360 ° rotation on all 3 axes.

The iGlide II is the most advanced and sophisticated small stabilization system Glidecam has ever launched. It was designed for very light and compact cameras up to 1.4 kilograms – so perfect for DSLRs.

The iGlide II is the perfect companion for filmmakers who often shoot with small, lightweight cameras. It’s also the perfect size for easy storage.

The iGlide II has not only adopted all the proven features of its predecessor, iGlide, but has also undergone several adjustments to provide greater flexibility.

The older iGlide is designed for cameras up to 500 grams in weight, the successor model iGlide II can easily stabilize cameras weighing up to 1.4 kilograms, three times the weight of its predecessor.

Glidecam iGlide II Handheld Video Camera Stabilizer

  • This Item Includes: Glidecam iGlide II Handheld Stabilizer for Up to 3lbs Cameras – 8 Large and 4…
  • Dynamic Camera Balance Platform (Camera Mounting Platform)
  • Adjustable convergence, precision, three-axis Gimbal
  • No-tools Telescoping Center Post
  • Adjustable, inertial-control Base Platform

  • Stabilizer for video DSLR cameras, as well as camcorders, to stabilize camera shots and pans. For stable and quiet filming through easy, fast and effective balancing and stabilization.
  • Three sturdy feet, each with three divisible weights of 34g, 44g and 146g each for exact counterweight adjustment, can also be used as a small tripod (extract from 28cm to 40cm).
  • Foam coated, comfortable handle.
  • Very light and compact with a maximum load capacity of approx. 3 kg.
  • Includes a practical carrying bag with hip belt.

Walimex Pro 19738 Aptaris Universal Cage for Compact Mirrorless Cameras Like Canon EOS (Black)

  • The Aptaris Universal Cage for Compact Mirror less Cameras from Walimex Pro is specifically designed…
  • Features over two inches of height adjustment allowing you to use it with a variety of available…
  • The cage protects your camera while providing multiple attachment points for accessories such as a…
  • Though designed to be minimal in size, the cage features multiple 1/4″-20 threaded mounting holes…
  • Made from anodized aluminum for a smooth, corrosion resistant finish

Freehand camera shots without blurring. Quiet, professional shots like on TV?

All this is possible thanks to the latest suspended tripod: a complex mounting system for portable film and television cameras.

By decoupling the uneasiness of the free-moving cameraman from the camera, the stabilizer allows shake-free images. This renders you free to get some awesome, smooth shots no matter what kind of project you’re working on.

The TARION comes in at a very competitive price point. It’s a great piece of stabilization kit that has proved popular also with a lot of the people we’ve worked with over the years.

  • Material: carbon fiber & aluminum alloy.
  • Max. Pull-out height: approx. 60cm
  • Min. Extension height: approx. 38cm
  • Weight capacity: approx. 3Kg
  • Net weight: approx. 2.26kg (including additional weights).


TARION S60T Handheld Stabilizer 24inch/60cm with Quick Release Plate 1/4″ and 3/8″ Screw for DSLR Cameras Video Camcorder

  • Tarion S60T Stabilizer applied for camcorders, with video function dslr cameras and DV, it can take…
  • Allows high and low angle shooting, high precision bearings and low friction joints, quick release…
  • The quick release plate with mark can record dynamic equilibrium leveling of different equipment….
  • Carbon fiber construction provides durable build-quality. Sponge covered the grip, make you feel…
  • 5.Steadicam has three axis gimal with the yaw axis,pitch axis and roll aixs,Stretch adjustment…

  • Bidirectional base plate with fine adjustment system that can be freely adjusted to any direction.
  • The quick release plate with scale can record the dynamic balance for different devices.
  • The knob can disconnect the quick release plate from the base pull.
  • Super smooth movement.

How does a Steadicam work?

The Steadicam is thus a floating tripod for optimal shots without jittering and jerking. But how does this technique work, which helps to counteract unwanted movement and shake?

Paramount for the positive effect is the construction of the Steadicam. The emphasis is placed on the fact that the center of gravity of the construction lies in the handle, which is normally located between the camera and the counter mass.

The camera is usually attached to the end of a vertical rod of the tripod. The secret that guards against movement is achieved by the fact that both the weight of the camera and the weight of the Steadicam, and additionally mounted balance weight, can be adjusted so that all components have the same inertia.

In addition, there is usually above the handle of the Steadicam a so-called gimbal suspension, which mechanically decouples the camera from the operator. This construction means that the movements of the cameraman do not affect the camera, including any kind of human-aided movement.

So the cameraman can move his hand without worrying about the shooting results. In addition, the steadicam’s construction does not produce any torque on the wrist that could be quite painful.

The aforementioned original design of the steadicam (designed to be worn on the body), promised even more effective properties because the cameraman does not have to carry them by hand, but the whole weight is held by the body. So the camera movements by hand are even less important for the position of the camera.

Advantages & Purposes of a Steadicam

The biggest advantage of the Steadicam, of course, is the mode of action for which it was constructed. By isolating the inertia and mass of the camera enables it to become independent of the movements of the cameraman, leading to smooth, shake-free footage. Blurring and jerking belong in the past!

As a result, such a Steadycam setup is ideal is you find yourself doing a lot of tracking or following shots in your filmmaking. This is especially useful in event and sports coverage.

Filming scenarios in which the subject does not remain in place, such as when filming a concert, for example.

Also, imagine filming at a soccer game. There, you cannot hold the camera in a position because the ball is constantly changing sides, the teams are moving over 100 meters from one to the other penalty area, so easy tracking of the action is required. This applies whether you’re shooting a narrative project or a documentary piece.

With the Steadicam, you can easily zoom in and follow the ball throughout a passage of play in the game without those jerky, terrible the shots.

The Steadicam, therefore, is suitable for everyone. Both professionals and beginners can use the technology for themselves and be inspired by the smooth, professional results. Getting smooth tracking shots adds production value to your project.

In this day and age of fancy camerawork (even on the most basic of YouTube videos), this kind of production quality is almost assumed.

What types of Steadicams are there?

The Steadicams are available in different versions. You can get compact tripods as well as hinged variants, which then usually better transport. In addition, there are variants that can be held in the hand or worn on the shoulder.

As well as the standard steadycams for DSLRs and camcorders, there are lots in existence for smartphones and GoPros, too.

Above all, the Steadicams differ with respect to their application, use-case or the persons by whom they are used.

Professional, Hollywood-type Steadicam systems are usually much heavier and often worn on the body with a shoulder strap or vest. They are primarily intended for very heavy film cameras.

How heavy is the camera?

Of great importance is the payload of a Steadicam. This speaks to how heavy the camera should be, which should be used with a Steadicam. There are, for example, variants that can carry a camera weight of 0.9 to 2.7 kilograms.

Other models may even carry a weight of five kilograms, in which case a vest or shoulder strap should be used for non-fatiguing and overuse. Not unimportant for a comfortable wearing is of course also the weight of the Steadicam. In this case, for an optimal comparison, care should always be taken that you’re not overburdening yourself or the steadicam.

Best Steadicam For DSLR – In Conclusion

As with any camera gear purchase, choosing the right steadicam for you is best achieved by asking a number of key questions.

  • What do you need to use the steadicam for? Use case is of paramount importance.
  • What kind of project are you working on?
  • How sturdy do you need the steadicam to be?
  • And what kind of camera will you be using with it?

Price point is always a consideration no matter what you’re buying. The steadicams we’ve featured here all come in at very competitive price points.

Weight / Durability will always be a factor. Some of these models are heavier than others. Some will only take a small amount of weight. So consider the camera you’re going to be using with your steadicam. And always look into the specs and details with a high degree of focus.

Travel is also important. If you’re like most filmmakers, you travel for work a lot. Therefore, it’s important to consider the weight and travel-ability of any camera gear that you guy. Purchasing when of the smaller steadicams is probably going to be more beneficial for you in the long run.

We hope you’ve found this detailed guide to the best steadicam for DSLR useful. We’re covered a number of the best steadicams here and we’re explained that nowadays most people consider the terms steadicam, glidecam and gimbal to be interchangeable.

Have we missed out your favorite steadicam? Let us know in the comments below.

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Published at Fri, 28 Sep 2018 09:42:12 +0000

IBC 2018: FUJINON 4K HDR Zoom Series Expands with Two New 46x Zooms

IBC 2018: FUJINON 4K HDR Zoom Series Expands with Two New 46x Zooms

During IBC2018, the Optical Devices Division of FUJIFILM introduced the latest in its Premier UA Series of UHD 2/3” lenses – the UA46x9.5B and UA46x13.5B. The worldwide introduction signals the continued expansion of the company’s 4K HDR lens range. FUJIFILM Optical Devices Europe will exhibit in Hall 12, Stand B20 during the show, which runs this week, from September 14-18 at the RAI Amsterdam.

The Premier UA Series is designed specifically for UHD broadcast applications. The UA46x9.5B sports a class-leading 46x zoom ratio and a wide angle from 9.5~437mm (19~874mm w/2x) with an F2.0 aperture. The “Tele” version UA46x13.5B lens also features a class-leading 46x zoom ratio and a telephoto reach from 13.5~621mm (27~1242mm w/2x) with an F2.8 aperture. Both lenses have a total weight of 5.7kg/12.56lbs and length of approximately 345.8mm.


“We remain firmly committed to the development of our 4K HDR lens range,” said Yuji Igarashi, General Manager of the Electronic Imaging Division & Optical Devices Division at FUJIFILM North America Corporation. “We’re excited about the possibilities this lens series and HDR production overall creates for our customers. Extremely high precision optics and mobility are required for this level of enhanced, high quality filming. We’re well suited to address such requirements. Our high-contrast, high-quality lenses are ideal for HDR. Given the color science expertise of Fujifilm with its motion picture and photographic film history, the FUJINON lenses are not only 4K but also produce brilliant, bright, eye-popping HDR images.”

Like the others in the series, the UA46x zooms employ the latest High Transmittance Electron Beam Coating (HT-EBC), resulting in richer colors and greatly improved blue response and transmittance. They feature 4K Ultra HD and HDR optical performance from center to corner throughout the zoom range while suppressing image distortion, due to a multi-group zoom system.

A newly designed OS-TECH image stabilizer provides the most advanced image stabilization for a lens in this class and makes the new UA46x zooms ideal for sports, wildlife, and documentary production. Versions of the lens will be available for studio, wildlife, remote-control and gyro-stabilized productions.

Also enhanced with a fresh design is the Digital Full Servo Drive Unit, which now features 16-bit encoding for highly accurate local or remote operation of the zoom, focus or iris. The drive unit offers a “Virtual Connector,” which outputs the lens’ positional data.

Availability for the UA46x9.5B and UA46x13.5 is planned for late 2018.

The new zooms are two of the latest additions to the family of FUJINON 4K UA 2/3” lenses. In addition to these two lenses, the new 4K UA70x8.7BESM field lens will also be debuted at IBC 2018. Other handheld zooms in this line up include: the UA14x4.5, UA18x5.5, UA13x4.5 and UA22x8, UA24x7.8 lenses. The UA27x6.5 studio lens and field lenses, the UA80x9 and UA107x8.4, round out the series.

IBC 2018 marks the official introduction of the FUJINON UA46x9.5B and UA46x13.5B zooms. A prototype version of the UA46x9.5B was shown at NAB 2018 in April.

Published at Mon, 24 Sep 2018 03:36:15 +0000

[UPDATED] ORB Release Date!

[UPDATED] ORB Release Date!

    Juan Pablo

    3 days ago

    No, it does not. Under render settings it just accepts Motion Blur.
    However DoF would be great, like, in a paid version of the plugin or smth.


    5 days ago

    I guess will be able to enjoy that plug-in in 19.09.2018 🙂

    Jonathan Lovelace

    5 days ago

    Wow that’s so weird


    5 days ago

    I cannot wait another second for this amazing plug-in (but I will)! Andrew, you are honestly the best, these plug-ins are amazing! Paid or not, I’m pretty sure we all appreciate it immensely. ????


    5 days ago

    It�s stll 18.09.2018 for Andrew Kramer and the folks at Video Copilot. Patience.


    5 days ago

    As Video Copilot is based in Los Angeles, CA, it’s still morning on the 18th. Have patience. It’ll be available soon.


    5 days ago

    Bluecatz – do you really believe in it? 😀 I mean – seriously?

    a guy

    5 days ago

    how do u know?

    5 days ago

    Because it’s his M.O. to deliver great stuff…
    and you don’t rush great stuff.
    As for “Greedo”, the cat is out of the smuggler’s bag.

    5 days ago

    Im with you LWA! It aint like dude dosent have a history of give out dopeness for free like its his civic duty or something. Let the man live, I’m sure he’ll give you his blood and sweat here soon.

    Kevin Anderson

    22 hours ago

    Greedo: A Star Wars Story! That could totally work. I’m seeing a film noir re: a 2 bit gangster who’s always trying but never catches a break. A real late 40s crime drama. After years of trying, Greedo’s finally makin’ it. He’s got some money coming in. He got his girl back and, baby, after this one job, we’re getting off this dusty rock and we’re gonna be big.
    Last shot is him walking into the cantina.

Published at Mon, 17 Sep 2018 15:59:03 +0000

How To Make a Vimeo Staff Pick Short Film

How To Make a Vimeo Staff Pick Short Film

One of the latest Vimeo Staff Pick videos is docu-drama Drug Runner. This film blends documentary and fiction with the true story of a fifteen-year-old drug dealer.

Portrayed as a short, this story is full of beautiful framing and colour – surprising for the subject matter – that pulls the viewer into the life of a character that should be a villain, but ultimately is just a child trying to look out for his mother in a way that he understands.

The creator of this short is Charlotte Regan, a London writer and director, with support from production company, Bold Content Video.

Charlotte has a knack for writing and directing films that show authentic snapshots of life that people may not usually think about. Her style is gritty and reflects the culture in which she was raised.

Born in Hackney and growing up in a housing estate with her mum and gran, Charlotte directed over 200 music promos before moving on to her first short.

In her young career, Charlotte has won the BFI Future Film Award, the BFI New Talent Award, a Cannes Lions YDA Award, and now, two Vimeo Staff Picks.

Watch Charlotte’s second Vimeo Staff Pick, Drug Runner, below, and read on to learn how such a beautiful short film was made.


The narrative of “The Kid” stemmed from the real-life experience of one of Charlotte’s friends.

She felt this was a story that was never told: the reasons behind a person getting involved with drug dealing, but without painting the character as a villain. Her goal was to emphasize this was an every-day kid.

Charlotte developed the concept through three primary interviews with the real-life Kid (whose name is withheld to protect his privacy).

Rather than recording him and trying to cut that audio as a voice-over, Charlotte decided to record it on her phone as a reference, and bring on a voice-actor later.

Only some sections of the conversations made it to the script – Charlotte had to sift through 6+ hours of recordings to develop a cohesive voice-over.

The script was then interpreted by the voice-actor Alfie Stewart and child-actor Mitchell Brown. Charlotte spoke very highly of both; Alfie is an intuitive actor and she intentionally did not send the recordings to him for the purpose of allowing him to have his own take on how the script should be said.

Charlotte had worked with Mitchell previously. He is a rarity amongst young actors, having natural, subtle instincts when it comes to acting. He is also enthusiastic about tryings things a different way – always eager to be learning more, so he is open to direction.

One thing Charlotte wanted to play with was the line between documentary and fiction. By taking the original testimony, writing it into a cohesive script, and then allowing it to be interpreted by the actors, much of the authenticity could very well have been lost.

Charlotte’s goal was not to put out this short film and say, this is 100% literal: whist she is close enough to her real-life subject to be honest, even in people’s own minds, stories grow and change over time.

The intention was to show the subject’s world and mentality. While some aspects are exaggerated in production, no doubt the real-life Kid exaggerated some things in his interview. As with all documentaries, there will always be influence.


Production was primarily completed on a chilly day in mid-December on a housing estate in East London.

The cinematography being one of the highlights of Drug Runner, kit and crew were important. The director of photography, Arran Green, captured the young dealer’s world, both mentally and physically, with his shooting style.

One of the things that was particularly important to Charlotte was capturing the housing estate in a beautiful, vibrant way. She wanted to avoid the mainstream portrayal of a gloomy, gray city-scape, and show how the estate feels to the people that grow up in it.

Her intention was to make the short as a whole very colourful, but especially when The Kid is first falling into this drug-dealing world and loving the life: a youthful view of this dangerous world.

Charlotte and Arran together achieved the look using an Alexa Mini as the main camera, and a Black Magic for B-Cam. Charlotte selected the Alexa Mini due to convenience in terms of size, and both she and Arran liked how the picture looked once it was graded.

Much of the colour was achieved in post-production (which will be discussed below), but ultimately the vibrance was very much planned.

Most of the cutaways were filmed the day before by a micro-crew–since the project was very budget-conscious, most of the filming was done by Charlotte and Arran.

A steadicam was utilitized to achieve a good portion of the moving shots by operator Charlie Rizek. Charlotte filmed the short how she wanted it to look: much of the colour was brought out in the grade, true, but she intentionally lit the set with a lot of colour, so having the correct setup was crucial.

Author’s note: It is important to point out that although some top-of-the-line kit was used (the versatility of the Alexa Mini and Black Magic), the true aesthetic comes from Charlotte and Arran’s vision–one shouldn’t be discouraged from making something they are inspired by simply because they don’t have access to a RED.


Post-production was a collaborative process, as always. Charlotte conducted the edit herself. Usually, she finds that the film completely changes in the edit, but in this case, it followed the storyboard almost to the T.

Since the short was filmed in a very literal style, following the script of the voice-over, the piece was designed as a visual essay.

The edit began very matter-of-fact, giving people a clear insight into The Kid’s mindset. After that, it was a matter of knowing when to let the film breathe and when to cut more quickly.

Achieving picture lock was a challenge. One strategy Charlotte uses to keep a fresh perspective is watching the film with other people. Even if it’s just her friend or nan, she watches how they respond.

Even if it took ages to edit a certain bit, if more than one person has commented on a segment, it needs to be changed or cut.

Her view is, even if it took 5 hours to shoot, if it doesn’t add to the narrative or doesn’t make sense, cut it.

Colourist, John Layton, then took over for the colour grade. Having previously lit for the colour palette Charlotte envisioned, it was still quite a job matching up the footage from the Alexa Mini and Black Magic. John changed small elements here and there to make sure it felt like a cohesive piece.

Sound Design played another big part in Drug Runner. Sound Designer, Michael Ling, has worked with Charlotte on every one of her narrative projects, and they fully understand each other’s style.

It is this understanding that resulted in amazing sound. Ling purposely learns as much as he can about the story, and only includes sounds that add to the narrative.

Advice to New Filmmakers

One of the biggest setbacks for Charlotte was simply deciding to make it. A 15-year-old cocaine dealer is a strange topic for most people, and hardly something that (in Charlotte’s mind) people would be jumping to see.

Ultimately, she decided to trust in her own idea and invest in a team that believed in it.

Finding a team you trust is crucial, as Charlotte believes everything in film production is a collaborative process, thus teamwork is imperative.

Drug Runner is an amazing instance where a filmmaker had an idea and followed their gut instinct to make something great.

Determined to create something authentic and meaningful, Charlotte set out to make a docu-drama that truly reflected the life it portrayed.

The poignancy and relevance of the film is tangible in the final moments of the film, where The Kid expresses he has no regrets: “The people buying from me were adults who had made their own choices. If it weren’t me, it’d only be some other kid.”

This article was authored by Dana Lockwood of Bold Content Video.

Dana is a Missourian-transplanted-to London, where “ope!” quickly turned to “sorry!” Graduating with a Film Production degree from Missouri State University, she began her career in radio broadcasting, but ultimately moved to the UK in pursuit of opportunities in the film industry. She works as a Junior Producer at Bold Content Video.

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Published at Tue, 18 Sep 2018 17:13:24 +0000

The Best Mics for YouTube : 4 of the Best YouTube Microphones On The Market

The Best Mics for YouTube : 4 of the Best YouTube Microphones On The Market

Sound one of the key aspects you need to balance the equation when it comes to filming those mouth opening YouTube videos. Like we’ve said before, poor sound is often more noticeable than poor video quality. That’s why we’ve put together this list where we look at the best mics for YouTube videos.

Fortunately, the advancement in technology has done a lot for the area of audio. As well as now being able to easily get our hands on cameras that shoot brilliant 1080p HD and 4K video quality, for a very reasonable price we can now get solid audio options for YouTube videos.

Microphones for YouTube videos come in all different shapes and sizes to get that sound quality you have been fantasizing about. We’re going to cover a range of affordable price points in this list, and what you choose depends largely on the kind of YouTube videos you are aiming at.

Selecting the best YouTube microphone comes with a frequently asked question which is: What kind of YouTube videos? This is definitely the most important question that must be discussed before reaching for a vlogging microphone.

We’ll discuss the answer to this question throughout the article and we’ll start by outlining some of the classifications for the various YouTube microphones out there. After all, don’t you get a little confused you see all the jargon when searching for the best YouTube microphone?

The best mics for YouTube can be classified into one of the following categories:

USB microphones

Most people require a standard USB plug-in microphone, especially when getting started with their YouTube videos.

They are known to be one of the most popular microphones for more than half of the video types in the YouTube video world. They’re great for anything you’ll be filming at or near a computer. This covers things like:

  • podcasts,
  • vlogging,
  • gaming walkthroughs,
  • face-to-camera monologues
  • and more.

Camera microphones

Those filming outside with their camera or even indoors without a computer nearby may need to use the microphone on their camera.

We won’t be covering these here, as we’re just covering standalone microphones in this article. However, I mentioned this aspect of audio recording here for the sake of clarity.

Lavalier microphones

These are the little clip-on mics you’ve heard about on TV interviews, etc. More common in non-intrusive interviews, seminars and performances, this are really handy mics that can easily be hidden from the audience’s eyes.

Although they aren’t as common, you may be interested in filming some videos outside where the microphone can’t be seen (perhaps YouTube public pranks and such).

The best microphones for YouTube videos

Let’s look at our favorite mics for helping you make great YouTube videos.

USB microphones are nothing new, but the Samson Go Mic is probably the smallest and handiest on the market.

The body is made of metal which measures just 70.5 x 43.5 x 23mm in size, it employs a pair of back-to-back, cardioid, 10mm, back-electret capsules, so it can be switched between cardioid and omni patterns.

Also novel is the combined mount and mic storage clip, which incorporates a swivel joint to let you set the mic at the required angle.

When not in use, the mic folds back into the clip, and the whole thing goes into a zip-up storage pouch that’s no larger than the kind that would fit a pair of earbuds.

Usefully, the mount has a standard European mic thread, so that it can be screwed onto a mic stand if necessary.

Connection is via a miniature USB cable. And for monitoring there’s a 3.5mm stereo mini-jack headphone output on the side of the mic.

A three-position slide switch selects between the cardioid and omni patterns, and when in the center position it gives a cardioid pattern with a 10dB pad.

The mic is a USB class-compliant device, so it needs no drivers. Once selected from within my DAW software (in our test case, Logic 8), the mic becomes the source and appears as a stereo input, with both channels carrying the same signal.

For mono tracks, selecting either of the two inputs provides the necessary mono signal. Monitoring is in stereo and is simply the DAW output, so there’s no direct ‘zero latency’ monitoring option. The headphone output on the mic gave subjectively the same sound quality as my Mac’s own headphone output.

By way of recording performance, the mic has a fairly flat response, running from 80Hz to 18kHz in cardioid mode, and from 20Hz to 20kHz in omni mode. Used with fairly close sources, no significant background noise was evident.

Samson Go Mic Portable USB Condenser Microphone

  • Portable USB condenser microphone
  • Plug and Play Mac and PC compatible, no drivers required
  • Custom compact design that clips to a laptop or sits on a desk
  • Perfect for recording music, podcasting and field recording
  • Ideal for voice recognition software, iChat, VoIP and web casting

This absolute classic that everyone knows and loves is a multi-pattern microphone that plugs straight into your computer.

Blue’s USB offering comes in their now-familiar Ball format blue, red and black varieties, the Snowball has a resin casing with wire-mesh grilles at front and rear. A threaded stand-adaptor is set into the base and a neat table-top tripod stand comes with the microphone, along with a USB cable for connection to a computer.

Besides a USB port, the mic’s only means of connection, there’s a three-position switch at the rear which is used to switch between two cardioid-pattern modes (one with a -10dB pad and one without) and an omnidirectional mode.

Overall, the frequency response extends from 40Hz to 18kHz (at -6dB, judging from the response curves given on the Blue website), with a presence peak at 3kHz in cardioid mode and at around 10kHz in omni mode. A red light on the mic shows that it is active and all necessary power comes from the computer’s USB bus power supply.

The converter’s built into the microphone, which has a capacitor capsule, are fixed at 16-bit/44.1kHz and the mic can be used with computers running Windows XP or Mac OS X without the need to install additional drivers. Inside the host software, the mic shows up as two identical input sources, rather than as a single mono source.

There’s no denying that a bus-powered USB mic is a very neat solution to recording audio into a laptop or domestic computer system, and this one produces subjectively high-quality results. Providing you use it close enough to the source to get a healthy recording level, by which I mean a signal peaking at -15dB or higher.

In my view, the omni mode is best thought of as offering a different tonal flavor to the cardioid modes. The pickup pattern is not truly omnidirectional and I wouldn’t consider the mic to be well suited to recording round-table discussions in this mode, but used appropriately th sound quality is fine and the background noise acceptably low.

If you’re going to use this mic for Podcasting, it will produce the best results if you speak into it from around six inches away, and you can choose omni or cardioid mode depending on which tonality suits your voice best.

For loud instruments, the pad is a sensible and welcome addition, but because there is no variable gain control you’ll sometimes have to use the mic’s distance from the source as a gain control instead. And this may mean compromising on placement.


Blue Snowball iCE Condenser Microphone, Cardioid – Black

  • Custom condenser capsule offers crystal clear audio for Skype, Messages and FaceTime
  • Record vocals, create podcasts, and add narration to your home movies
  • Add crystal clear audio to recordings for YouTube. Frequency Response: 40 -18 kHz
  • Easy plug and play directly to your Mac or PC-no drivers to install
  • Snowball iCE is a USB 2.0 device (USB 3.0 compatible as per USB 3.0 backward compatibility…

Compatible with PC and Mac and ready to use when and where you need it. A triple capsule array allows for recording in stereo or your choice of 3 unique settings (cardioid, omnidirectional and bidirectional), giving you recording capabilities usually reserved for multiple microphones.

Analog-to-digital converter sends incredible audio fidelity directly to your computer.

Built-in headphone amplifier provides zero-latency monitoring.

Simple dial control quickly changes headphone volume, pattern selection or switch to mute all from your microphone.

Blue Yeti USB Microphone – Blackout Edition – 2070

  • Tri-capsule array – 3 condenser capsules can record almost any situation;Power Required/Consumption:…
  • Multiple pattern selection – cardioid, bidirectional, omnidirectional & stereo. Microphone…
  • Gain control, mute button, zero-latency headphone output. Dimensions (extended in stand) : 4.72 x…
  • Perfect for vocals, musical instruments, podcasting, voiceovers, interviews, field recordings,…
  • Compatible with Windows 10, Windows 8 (including 8.1), Windows 7, Windows Vista, Windows XP (Home…

This time-tested offering from Apogee is another one of the best microphones for YouTube if you’re at or near a desk and a USB mic is what you’re after.

It will deliver excellent quality of sound very similar to what you expect in the studio (we’ve heard quite a few musicians use this for some vocals or acoustic recording).

It connects to Windows and Mac devices as well as any smart device with a 3.5mm connector, which will enable easy recording of some high-quality external sound for those videos regardless of what you’re using.

You can get away with using it with cameras as well, perhaps just not outdoors. For technical specs, it is equipped with cardioid polar pattern and an easy USB connection for great plug-n-play ease of us.

You have up to 96 kHz/24-bit HD recording, ‘PureDIGITAL connection’, and combines a microphone, microphone preamp and an A/D converter into one device.

What also qualifies this microphone as one of the best mics for YouTube is its versatility for different types of voices and uses.

Apogee MiC 96k Professional Quality Microphone for iPad, iPhone, and Mac

  • Studio quality cardioid condenser microphone
  • Designed for vocal and acoustic instrument recording. Also great for recording interviews, podcasts,…
  • Up to 96 kHz/24-bit HD recording
  • Works with iPhone, iPad, iPod touch, and Mac. Lightning and Mac USB cables included.
  • Powered by connection to iPad, iPhone or Mac (no batteries or external power required).iOS Device…

Best Mics for YouTube – A Conclusion

As with any kind of gear purchasing decision, you need to look at a number of factors when it comes to buy your YouTube microphone. The main ones are:

  1. Use case
  2. Price
  3. Durability
  4. Travel / Weight options

Use case is of prime importance. If you want to look like most YouTubers and do a face-to-camera production, then having a USB mic clearly in front of you is standard. People expect to see that from YouTubers, as we’ve had years of getting primed for that look. If you use a clip-on lav mic in this situation (for example) it might look a little off.

Equally, if you’re out and about and not in front of your computer when using your mic, then the lav mic option might be a better bet.

Price is a big consideration. You don’t want to go with something that’s going to break your budget when you’re just starting out as a YouTube influencer. Instead, start small and then scale up as you start making more money with your YouTube business.

Durability and travel / weight go hand in hand. If you’re shooting a lot of stuff on the go, and travelling a lot, then a light microphone that breaks down easily for packing is the way to go. You also don’t want to be hauling something really heavy around if you’re walking a lot with your gear and moving from location to location.

We hope this article on the best microphone for YouTube videos has been helpful to you. We’ve tried to cover all the bases here and feature our favorite YouTube mics for a range of budgets and use cases.

Have we missed out your favorite YouTube mic? Let us know in the comments just below.

You Should Try:

Published at Thu, 20 Sep 2018 14:04:21 +0000

IBC 2018: Specs for two new Fujinon UA 4K series lenses

IBC 2018: Specs for two new Fujinon UA 4K series lenses

FUJIFILM has announced two new models in their UA Series of 4K broadcast lenses, the FUJINON UA46x13.5BERD (UA46x13.5) and FUJINON UA70x8.7BESM (UA70x8.7) with the UA46x13.5 boasting two world firsts.



The UA46x13.5 is a portable 4K broadcast lens that offers the world’s highest zoom magnification*1 of 46x and world’s longest focal length*2 of 621mm. The UA70x8.7 is a box-type lens that covers most frequently-used focal lengths from 8.7mm on the wide-angle end to 610mm in telephoto. The UA46x13.5 will be released in May 2019, while the UA70x8.7 is scheduled to be released in November 2018.


With the introduction of the two new models, Fujifilm will meet the diversifying needs of broadcast production with an extensive lineup of eleven lenses in total.

Fujifilm launched the world’s first 4K-compatible broadcast lens in 2015. Since then, the company has rapidly expanded the lineup to lead the industry, catering to the needs for 4K video production, while also addressing demand for HD video of even greater image quality, thereby facilitating premium-quality video production.


 The UA46x13.5 offers the world’s highest*1 46x zoom among portable 4K broadcast lenses, covering the focal lengths from 13.5mm on the wide angle end to 621mm in telephoto, the world’s longest focal length*2. Take advantage of the impressive focal length range available on the telephoto end to produce powerful video, capturing even the facial expression of a distant athlete in high definition in live sports broadcast.

 The use of cutting-edge optical design technology reduces various chromatic aberrations, reproduces vivid colours and achieves high contrast to produce clear 4K video with rich tonal gradation in high dynamic range (HDR).

 The lens is equipped with Fujifilm’s proprietary image-stabilisation mechanism and drive unit to enable stable video recording and comfortable operability with minimal camera shake.


 The UA70x8.7 offers 70x zoom, covering the focal lengths from 8.7mm in wide angle and 610mm in telephoto.

 The floating focus system, which controls multiple lens groups according to the shooting distance, achieves high-resolution footage across the entire zoom range. It produces dynamic 4K video in various scenes, such as concert coverage or live broadcast, zooming from a wide view of the venue straight into an artist on stage.

The UA46x13.5 and UA70x8.7 also produces video of higher image quality even when mounted on an HD broadcast camera.

Fujifilm will premiere the US70x8.7 alongside its extensive lineup of 4K broadcast lenses at IBC 2018 from 14-18 September at the RAI Centre in Amsterdam.

*1 World’s largest zoom magnification among portable 4K broadcast lenses according to Fujifilm data as of September 13, 2018
 World’s longest focal length among portable 4K broadcast lenses according to Fujifilm data as of September 13, 2018 

Picture credit

The new the FUJINON UA46x13.5BERD (UA46x13.5) and FUJINON UA70x8.7BESM (UA70x8.7) lenses


Published at Wed, 19 Sep 2018 22:50:47 +0000

New Tutorial & ORB Plug-in Now Available!

New Tutorial & ORB Plug-in Now Available!

Here we go! Our new 3D ORB plug-in for After Effects is now available! This tutorial goes in-depth into many powerful features that will allow you to create amazing visuals!

Watch on Youtube!

Check out our sweet mini-site to download the plug-ins!

Check compatibility info and be sure to update your drivers if you have any issues running the plug-in.

Published at Wed, 19 Sep 2018 02:18:31 +0000

IBC 2018: Canon announces four new cinema products

IBC 2018: Canon announces four new cinema products

Canon Australia is excited to announce four new additions to its impressive cinematic product range:

·       The XF705 camcorder

·       Two new field zoom lenses for broadcast cameras – UHD-DIGISUPER 122 and UHD-DIGISUPER 111

·       The CJ25ex7.6B zoom lens

XF705 camcorder

Available December 2018

Key features:

·       Next-generation XF-HEVC format: offers 4K UHD 50P 4:2:2 10-bit recording to SD cards, with impressive image quality and superior levels of detail

·       1.0 type CMOS sensor and DIGIC DV6 processing: delivers improved noise performance, sensitivity and cinematic depth of field

·       Enhanced HDR capabilities: an advanced 12G-SDI interface and IP streaming

·       Advanced 12G-SDI interface: ability to stream 4K UHD HDR using the HEVC format via the network

·       Accurate and reliable Dual Pixel CMOS AF: fast autofocus with touch focus control, Face Detection AF and object tracking


Available early 2019

Key features of both:

·       Optical performance: exceeds 4K with focal lengths covering a broad range, high zoom ratios and superlative operability

·       Canon’s proprietary Air Sphere Coating: significantly reduces flaring and ghosting

Key features of UHD-DIGISUPER 122:

·       The world’s widest angle, longest focal length and highest zoomratio: 8.2 mm at the wide end and 1000 mm at the telephoto end—as well as the world’s highest zoom ratio1 of 122x

Key features UHD-DIGISUPER 111:

·       Higher zoom ratio than existing lenses: 111x zoom ratio and a focal length range of 8.3 mm to 925 mm

CJ25ex7.6B zoom lens Available January 2019

·       25x zoom ratio: Superb optical performance with focal length range from 7.6mm to 190mm

·       Lightweight body design: Weighs approximately 1.99kg for advanced maneuverability

Published at Tue, 18 Sep 2018 00:44:48 +0000

New Plug-in Trailer: ORB!

New Plug-in Trailer: ORB!

Today I’m excited to share with you our new plug-in ORB! My little side project turned into a much bigger one and hopefully this plug-in will help your take After Effects to the next level!

Available next week!

Watch on Youtube!

Like all Video Copilot plug-ins, this one has evolved! At first I was making a tutorial with CC sphere but it was taking too much work to get it be 3D-Aware! So we decided to make our own plug-in from scratch using similar to Element 3D except just focusing on making a 3D Sphere!

And that’s when things got out of control! Needless to say this plug-in has even more capabilities than demonstrated here and I look forward to showing you all the handy new features!

Published at Mon, 10 Sep 2018 22:47:32 +0000

Canon breaks new ground in lens design – world’s lightest 400mm f/2.8 and 600mm f/4 lenses and premium 32mm mirrorless

Canon breaks new ground in lens design – world’s lightest 400mm f/2.8 and 600mm f/4 lenses and premium 32mm mirrorless

Setting yet another historic milestone in lens design and marking a step change in optical quality, Canon Australia today launches the EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM – the world’s lightest professional super telephoto lenses in their class1,2. Additionally, Canon announces the EF-M 32mm f/1.4 STM – a premium 32mm mirrorless lens designed exclusively for the EOS M system.

Embracing the legacy of quality synonymous with the EOS system, yet compatible via adapters with the innovative new, EOS R System – the drastically lighter EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM radically enhance usability, giving photographers the confidence to consistently deliver superior images.  

World’s lightest 400mm f/2.8 and 600mm f/4 lenses

These two new telephoto lenses encompass a revolutionary combination of ultra-high performance and lightweight design. The EF 400mm f/2.8L IS III USM and the EF 600mm f/4L IS III USM are the world’s lightest 400mm f/2.81 and 600mm f/4 lenses 2, making them ideal for action and wildlife photography. Thanks to five-stop Image Stabilizer (IS) technology, their game-changing weight and the portable design, both lenses allow photographers to achieve professional performance with the confidence to shoot handheld, as camera shake, and subsequent blurring, are significantly reduced.

A blend of cutting-edge optical formulas have dramatically reduced the EF 400mm f/2.8L IS III USM’s weight to 2840g (previously 3850g), and EF 600mm f/4L IS III USM’s weight to 3050g (previously 3920g).  Sporting the familiar white finish that Canon L-series super telephoto lenses are renowned for, the coating acts as a thermal insulation coating to ensure the lenses operate consistently in all temperatures. The protective weather sealing guards against dust and moisture, while fluorine coating enables easy cleaning of the lens.

The fluorite lens elements virtually eliminate chromatic aberration, boosting resolution and contrast. The Air Sphere Coating (ASC) dramatically reduces flare and ghosting – ensuring a quality shot every time. The EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM both have a nine-bladed diaphragm, enabling the creation of eye-pleasing blurred backgrounds.

Superb for action and wildlife, the ring-type USM autofocus motor and high-speed CPU enables fast and quiet focusing. When shooting video, both lenses provide pull-focus effects with power focus controls and focus presets, which are excellent for creative shot making. Instant adjustments can be applied via the full-time manual focus control and focusing speed can be customised with electronically-controlled manual focus for extreme precision.

Shooting images in the style users choose is easy, as both lenses have fingertip controls on the barrel allowing focusing to be started, stopped or locked in an instant. Furthermore, two pre-programmed focusing positions can be recalled instantly with the twist of the pre-set ring. Controls for focusing mode, focusing range, focus pre-set recall and IS are all conveniently located for seamless control. Paying attention to the way photographers like to work and travel, Canon provides a new soft case with the EF 400mm f/2.8L IS III USM and the EF 600mm f/4L IS III USM to ensure straightforward transportation for the lenses. Hard cases and a new short hood are also available as optional extras.

EF-M 32mm f/1.4 STM

The EF-M 32mm f/1.4 STM is a premium EF-M lens designed to be fast, discreet and capable of delivering exceptional detail and clarity, making it perfect for elegant portraits, candid photography or natural looking compositions. Offering a 51mm equivalent focal length, the EF-M 32mm f/1.4 STM provides a natural perspective and a ‘normal’ field of view, close to the perspective of the eye. This helps to bring candid images to life, with realism and detail, as they look natural and spontaneous. A wide f/1.4 aperture allows high-quality images to be captured with excellent depth-of-field control or to shoot in challenging low-light conditions. Also ideal for creative portrait photography, the EF-M 32mm f/1.4 STM’s 7-blade circular aperture creates an attractive bokeh effect, blurring the background, which accentuates the subject in the foreground.

Incorporating an exceptional quality, glass-molded, aspheric lens, the EF-M 32mm f/1.4 STM has an even greater level of image detail and edge-to-edge quality. With 14 elements in 8 groups, this lens possesses the high level of performance required to guarantee stunning images, while its wide, tactile, focus ring enables precision focusing that generates the precise results every serious enthusiast craves. The EF-M 32mm f/1.4 STM’s Super Spectra Coating achieves startling clarity by preventing the photographic phenomena that can ruin images, such as ghosting and flare. A remarkable mix of premium craft, ergonomic design and weighing only 235g, it is easy to carry on the move for candidly capturing any moment.

The EF-M 32mm f/1.4 STM maintains the usual EF-M series diameter, for a svelte and comfortable feel when shooting, while the 0.25x magnification and highly-versatile 23cm-close focusing enable the user to get right in to capture detail. The EF-M 32mm f/1.4 STM autofocus has a quiet and smooth mechanism, which provides subtlety when capturing an image, or when capturing amazing footage with video.

Today – in conjunction with the pioneering EOS R System – Canon pushes the boundaries in lens design and optical quality to ensure that all photographers and filmmakers have access to the best tools possible to tell their stories.


       EF 400mm f/2.8L IS III USM                December 2018

       EF 600mm f/4L IS III USM                   2019

       EF-M 32mm f/1.4 STM                        October 2018

Pricing set at dealer discretion.

Published at Thu, 06 Sep 2018 04:30:45 +0000