The quality of photo and video in smartphones has accelerated beyond belief. Their sensors have reached the 200MP mark, and there is now more choice than ever. With computational processing power in today’s flagship phones second to none, it’s no surprise that many professional content creators now depend on smartphones to get the job done. A corresponding ecosystem of excellent accessories has sprung up to help.

For those serious about producing high-quality stills and video, one of the best investments you can make is a solid tripod – and there are plenty out there for smartphone users. From miniature sets of legs that can be quickly deployed on a tabletop, to flexible mounts that can be wrapped around branches and poles for an unusual perspective.

Alternatively, there are also mounts that can be used to clamp a smartphone securely on a standard, full-size photo or video tripod, as well as stabilising gimbals that help create smooth footage on the move – ideal for run-and-gun vlogging.

Below, we round up our picks for the best smartphone accessories for photography, but first, let’s take a close look at these different types of accessories you can buy for your camera phone. If you’re still looking for your ideal phone for photos and videos, check out our guides to the best camera phones for photography and the best budget camera phones.

Here’s a quick glance at the best smartphone tripods and mounts in this article: 

• Best gimbal for smartphones: DJI Osmo Mobile 6 – buy now
• Best smartphone tripod: Benro Tablepod Flex Kit – buy now
• Best smartphone mini tripod: Manfrotto Pixi EVO 2 mini tripod – buy now
• Best smartphone quick-release plate: Benro ArcaSmart 70 – buy now
• DJI OM 5 – buy now
• Zhiyun Smooth 5S – buy now
• JOBY Smart Stabilizer – buy now
• Best smartphone slider: JOBY Swing Phone Mount – buy now
• Zhiyun Smooth Q4 – buy now
• Mini smartphone tripod: Manfrotto Pixi Mini Tripod – buy now
• Flexible smartphone tripod: GorillaPod Stand PRO – buy now
• Smartphone LED light: JOBY Beamo Mini LED light  – buy now

What are some accessories you can buy for your smartphone?

Mini tripods – best for long exposures and video

Just as when using a mirrorless camera to capture long exposures, there are times when a tripod is equally advantageous to shooting with a smartphone. Now, because they weigh much less than bigger cameras, mini tripods are an excellent solution to provide stability and keep your smartphone still, while remaining small, portable and convenient.

Along with being important when shooting long exposures, mini tripods can be used to hold the camera while capturing selfies or group pictures. And they are essential for capturing time lapse video footage where it’s critical the smartphone stays still.

Stabilisers – why would you need one?

A stabiliser (or “gimbals” as they are also known) are powerful and very useful accessories that bring a host of big benefits to smartphone users shooting stills or video. Most come with built-in extension rods to capture wider fields of view or shoot stills from an aerial viewpoint.

However, it’s moving video footage that really benefits from a gimbal as most offer a three-axis system to correct for any pitch, tilt or yaw, enabling you to move around while still capturing smooth footage. Most gimbals also pair up with a companion app to unlock further features and functions such as follow focus and tracking.

Lights – what are they for?

Any smartphone photographer who has shot in low light conditions will tell you that darkness can compromise image quality. The solution is to invest in a light, but with smartphone photography, you want to keep your kit lightweight and convenient. The trick is to source small, power LED lights that can illuminate your subject with flattering light without creating a heavy payload. While this is predominantly a list of tripods and mounts, we also recommended a solid, affordable smartphone LED light that will give you a little illumination at a pinch.

Read on as we count off the best camera phone tripods and mounts you can buy right now.

Best phone tripods and mounts

Best gimbal for smartphones: DJI Osmo Mobile 6

At a glance:

• Type: Gimbal / selfie stick
• Price: $149 / £135

Most photographers will be familiar with DJI for its range of industry-leading drones, but the brand also makes amazing accessories for smartphones. The Osmo Mobile 6 is the latest to be available to smartphone photographers. Best described as a handheld stabiliser gimbal, it folds down to a portable, travel-friendly package that can be opened up and used when the right photo moment presents itself.

Featuring a built -in extension rod to increase the distance between user and smartphone when capturing wider selfie shots, there’s a lot of tech built-in to this three-axis stabiliser – take the DJI’s Active Track 5.0 technology, which allows you to follow a subject around for smoother video footage. For all this, the Osmo Mobile 6 tips the scales at just 309g.

Pros:

• Packed with high tech features
• Lightweight package

Cons:

• More expensive than rivals

Best smartphone tripod: Benro Tablepod Flex Kit

This kit includes both rigid and flexible legs, as well as a phone clamp and a neoprene carry case. Photo credit: Andy Westlake

At a glance:

• Type: Mini / flexible tripod
• Price: $159 / £120

To be prepared for a range of situations, the Benro Tablepod Flex Kit is a great way to cover your bases. It’s effectively two tripods in one, featuring both rigid carbon fibre legs and flexible Gorilla-pod style legs that can be manipulated to rest on uneven surfaces, or grip protruding objects like branches or poles. Both sets of legs can be used simultaneously: the flexible legs holding extra accessories like lights, while the rigid legs support the whole setup. Alternatively, you can reconfigure the kit to turn it into a selfie stick.

While this kit is one of the more expensive accessories for a smartphone, we concluded in our review that it justifies its asking price. The bendy legs are a little fiddly to use in practice, but once you get used to their quirks you effectively have a little portable studio setup on your hands. The lightweight but sturdy carbon fibre legs are easy to carry everywhere with you, for shooting at a moment’s notice.

Pros:

• Incredibly versatile
• Light but strong carbon fibre
• Kit includes phone clamp

Cons:

• Relatively pricey
• Flexible legs can be fiddly

Read our Benro Tablepod Flex Kit review.

Best smartphone mini tripod: Manfrotto Pixi EVO 2 mini tripod

The Manfrotto Pixi EVO 2 mini tripod is an affordable option

At a glance:

• Type: Mini tripod
• Price: $33 / £42

While photographers using mirrorless cameras need to cart around big, heavier tripods, smartphone photographers can do things the easier way. The EVO 2 is one of the best mini tripods around to pair with your phone device. Capable of supporting up to a whopping 2.5kg, the mini tripod offers two different leg angles to give stability on uneven ground.

With a choice of three colour combinations, the aluminium build is lightweight yet robust and the EVO 2 even offers the ability to tilt the device a full 90 degrees, so smartphone photographers have the choice to shoot in landscape or portrait modes.

Pros:

• Rugged design
• Two leg angle options

Cons:

• Additional phone clamp needed.

Best smartphone quick-release plate: Benro ArcaSmart 70

Mount your smartphone to your regular tripod – and add accessories like an LED light. Photo credit: Andy Westlake

At a glance:

• Type: Arca-swiss compatible clamp
• Price: $62 / £37

If you already have a decent amount of photography kit but find yourself increasingly using your smartphone for serious shooting, this clever gadget from Benro could allow you to use it for a bargain. It’s a smartphone clamp attached to a mounting plate that’s compatible with standard Arca Swiss tripod heads – essentially, it lets you use your phone on one of the standard best tripods for photography – which you may already have.

Additional accessories such as LED lights can also be affixed to the top of the clamp via the cold shoe. If you already own a perfectly good Gitzo for your camera, this device is a cost-effective adaptor that will allow you to use it with your smartphone, too. In our review, we found it to be beautifully made and highly effective for its intended function – with the quick-release functionality making it possible to quickly swap between phone and camera if so desired.

Pros:

• Excellent build quality
• Broad phone compatibility (up to 85mm wide)
• Cold shoe attachment

Cons:

• Pricey for what it is
• Fairly niche use case

Read our full Benro ArcaSmart 70 review.

DJI OM 5

DJI OM 5

At a glance:

• Type: Selfie stick / gimbal
• Price: $129 / £95

Now that it has been superseded by the Osmo Mobile 6, the OM 5 (note the different way DJI names its smartphone gimbals) is now a much more budget-friendly route into smartphone supports.

Offering a three-axis stabilising gimbal to allow capture of smooth video footage or sharp long exposure stills, the OM 5 features an innovative magnetic design, enabling the smartphone to be clipped in and out of the gimbal at lightning speed – important if you are racing to capture a special movement.

Despite a 215mm extension rod that turns the gimbal into a selfie stick, the OM 5 folds down to just 174.7×74.6×37mm – perfect for those who are travelling and have limited space for equipment. Thanks to a USB-C charging port, it takes just 1.5 hours to charge to full and offers an operating time of 6.4 hours.

Pros:

• Useful extension rod
• More affordable than newer models

Cons:

• Magnetic design may not suit all

Read our DJI OM 5 Smartphone Gimbal review.

Zhiyun Smooth 5S

Zhiyun Smooth 5S. Image: Zhiyun

At a glance:

• Type: Gimbal / selfie stick
• Price: $169 / £154

If you are looking for a bells and whistles accessory for your smartphone photography, this could well be it. The Smooth 5s is a three-axis smartphone gimbal that takes things to a new level.

Not only does it keep a smartphone steady when shooting stills and video, but it also features a powerful built-in 650 Lux luminance LED light to illuminate subjects close to the gimbal. Along with the built in light, the 5S can also accommodate two more additional lights, essentially enabling creators to film single-crewed.

Other features include an integrated joystick to help you manoeuvre the smartphone at your leisure, and dials and mode buttons to quickly access different features. The 5S has a number of built-in creative modes so you can get creative; including a panorama option that will move the camera automatically to shoot multiple frames before merging them together.

Pros:

• Innovative LED lights
• Built-in creative modes

Cons:

• May be overkill for some users

JOBY Smart Stabilizer

JOBY Smart Stabilizer

At a glance:

• Type: Gimbal / selfie stick
• Price: $138 / £85

JOBY is better known for its range of mini tripods, but did you know the brand also makes a gimbal for smartphones too? Priced at the entry-level point of the market, the JOBY gimbal comes with a mini tripod, carry bag and features a telescopic handle that extends out to 7 inches to help provide wider-angle compositions.

The battery lasts up to 10 hours and you can even charge up your smartphone from the gimbal using the included cable, allowing you to continue with your smartphone photography. Weighing 428g, more features can be unlocked by accessing the free Smart Stabilizer app, including focus tracking options.

Pros:

• Affordably priced
• Companion app

Cons:

• Heavier than rivals

Best smartphone slider: JOBY Swing Phone Mount

JOBY Swing Phone Mount

At a glance:

• Type: Smartphone slider
• Price: $139 / £139

Here’s a clever accessory that will appeal to smartphone content creators who wish to capture professional-looking time-lapses, videos and B-roll. Designed in partnership with Syrp, the device connects via the JOBY motion app and can be programmed to move, adding motion to your time-lapse creations.

A battery life of up to three hours, the Swing mount offers a linear travel distance of 38cm and can support a payload of 600g, which should cover all but the heaviest of smartphones. Other features include a built-in bubble level to ensure straight horizons, and there’s also a Ballhead 1K and GripTight phone mount accessory bubbled into the package.

Pros:

• Innovative design
• Companion app

Cons:

• Limited appeal or stills shooters

Zhiyun Smooth Q4

The Zhiyun SMOOTH-Q4 COMBO kit with its light

At a glance:

• Type: Gimbal / selfie stick
• Price: $99 / £85

Smartphone gimbals don’t need to be big or bulky. The Q4 is one of the smallest packages on the market. Tipping the scales at just 370g and measuring just 181x107x56mm, this is a gimbal you can fold down and carry around in your jacket pocket. Despite being small, the Q4 offers a max operating time of 15 hours – more than enough for most photographers who are heading into the city to capture some fun content.

The design is far more simplified than the more pro Zhiyun Smooth 5S but the Q4 does boast a 215mm extension rod to shoot from a wider angle and a multi-functional control wheel enables quick operation and switching between modes.

Pros:

• Folding design
• Long battery life

Cons:

• No built-in LED

Zhiyun Smooth Q4

Mini smartphone tripod: Manfrotto Pixi Mini Tripod

Manfrotto Pixi Mini Tripod with Smartphone clamp

At a glance:

• Type: Mini tripod
• Price: $39 / £48

When you need a tripod to keep things steady, but are restricted to travelling light, the Pixi Mini from Manfrotto be your solution. Small enough to fit in the pocket of your jeans and highly affordable, the lightweight build of this mini tripod disguises a robust build that will stand up to standard knocks and bumps.

The Pixi Mini features a push-button mechanism that enables the small ballhead to be manoeuvred to whichever composition you need. And there’s a 1/4 thread to pair up with the phone clamp attachment to hold your smartphone in place. Weighing just 170g, this mini tripod can hold up to a whopping 1kg – in case you need to start adding to the rig with accessories such as lights.

Pros:

• Tiny design for portability
• Robust and lightweight

Cons:

• No extension rod for wider angles

Flexible smartphone tripod: GorillaPod Stand PRO

GorillaPod Stand PRO

At a glance:

• Type: Flexible tripod
• Price: From $45 / £64

If there’s a more versatile support for smartphone photography out there than the GorillaPod then I don’t think we will find it. This innovative tripod features malleable legs that can be flexed into positions to make use of supports you didn’t think would be possible. Wrap the lens around a tree, a fence post or even the frame of a bike – the possibilities are endless.

Built with premium ABS plastic and stainless steel and weighing 244g to keep it light and portable, the GorillaPod PRO measures just 5.5×7.5x31cm and is best described as the swiss army knife of smartphone supports. There are bigger versions of the GorillaPod available but this model hits the sweet spot on both price and design for smartphone photography.

Pros:

• Innovative design
• Affordable price-point

Cons:

• Some may not like the design

Smartphone LED light: JOBY Beamo Mini LED light

JOBY Beamo Mini LED light

At a glance:

• Type: LED light
• Price: $53 / £60

As the saying goes; let there be light, and the solution to this is to invest in a Beamo Mini length for your smartphone photography. Designed to minimise flaws and produce flattering skin tones, the lights feature not one but two cold shoe mounts so they can be added to smartphone rigs and they even have a magnetic backing.

The great thing about these flights is their robust build; in fact they are both waterproof and rugged so you should have no qualms about using them in harsh weather conditions. At full power, the light offers 1000 lumens and power can be ramped up in five steps. JOBY offers these clever lights as single items, two-light kits and bundled with its mini tripods.

Pros:

• Waterproof and rugged design
• Bright output

Cons:

• Better suited to smartphone rigs

Text by Matty Graham, with contributions from Jon Stapley.

Related articles:

• Best camera phone accessories for photography and video in
• The ultimate guide to tripods
• Best camera phones for photography
• Best smartphones for video
• Best used smartphones to buy

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post Best phone tripod for iPhones and smartphones in 2024 appeared first on Amateur Photographer.

Pretty much every digital camera that is released nowadays will offer some video capability as well as photography. If you have a camera and a lens, you can start recording footage today, and while it won’t look or sound much like the polished content you tend to see from big YouTube channels, it will at least be something. While we’ll get into the nitty-gritty of how to go about shooting video in a moment, the first and best tip we can give you is to simply start making stuff. The bar to entry has never been lower when it comes to video, and spending an afternoon shooting test footage to figure out how your camera works will cost you nothing but time.

Whether you’re using a DSLR, a smartphone, a mirrorless camera or a compact, you’ll likely have the bones of what you need to start shooting great YouTube videos. So, let’s dive in and take a closer look at how to make a Youtube video with your camera. If you’re still looking for the right kit, don’t forget to check our our guides to the best cameras for video and the best lenses for video. Or, if you’re sticking with the smartphone, we have a dedicated explainer on how to record the best videos on an iPhone.

How to make a video with your camera:

As we said up top, the first step to take is to simply get to know your camera! The majority of cameras now feature a dedicated video mode on the main mode dial on the camera, though some give a switch between stills and video operation. When you activate the dedicated video mode, the screen will present corresponding options, with the aspect ratio and scene correctly framed.

Once in video mode, you’ll look at the options available, and make choices about resolution, frame rates, and more. We go through these in detail below…

Video Resolution

Defined as the level of detail and clarity in a video image, video resolution is the first key setting. It is typically expressed as a combination of two numbers – the horizontal pixel x the vertical pixel count (1920×1080) or 4K (3840×2160).

Most common video resolutions include:

• SD (Standard Definition): 720×480 pixels for NTSC or 720×576 pixels for PAL
• HD (High Definition): 1280×720 pixels (720p)
• Full HD: 1920×1080 pixels (1080p) (16:9)
• 4K UHD (Ultra High Definition): 3840×2160 pixels (2160p) (16:9)
• 4K CINE / DCI: 4120×2160 pixels (17:9)
• 5.7K: 5744×3024 (17:9)
• 6K: 6144×3456
• 8K: 7680×4320

Cameras from the past few years are capable of at least 4k video. This is the video menu from the Nikon Z8. Image credit: Will Cheung

Most cameras offer at least Full HD recording (1920×1080 pixels) and with an aspect ratio of 16:9. This gives good enough quality for the majority of recordings and productions on YouTube. Even some of the biggest YouTube stars stick with Full HD resolution – MrBeast, we’re looking at you.

Luckily YouTube doesn’t really mind too much about whether you record in Full HD or 4K video resolution, but cares more about the content and presentation of your video – more on this later!

A note on video recording and resolution – after you’ve recorded your footage, you’ll need to edit your videos. If you have an “average” PC or laptop, then editing 4K or higher resolution can be a very slow process. Indeed, depending on how old your computer is, footage shot at these resolutions may be even be next to impossible to edit, with the software stuttering and freezing every time you try to work with your clips.

If you’re just starting out, and don’t have a high-spec computer, then it is worth starting with Full HD video while you get to grips with everything. This will speed up your workflow, and still provide you with a great-looking end result. Once you’re more confident, and providing you have a system that can handle it, working with higher resolution video recorded at 4K (and above) can be useful if you want to crop into the footage and reframe the shot while maintaining Full HD quality, giving yourself more options in the edit.

Nb. Check your camera make and model, and check online reviews to see what video features your camera has.

Here we’re looking at the Canon EOS R7 video screen, with on-screen audio levels displayed.

Frame Rates – What frame rate should I use?

Understanding frame rates is crucial for capturing, editing, and delivering video content effectively. In the past, when you’ve seen a camera’s video resolution spec listed, you’ve likely seen it as something like 4K 30p or Full HD 60p. In those cases, “30p” and “60p” refer to the frame rate, meaning 30 and 60 frames per second, respectively.

The most common standard frame rates for video are:

• 24 fps This frame rate is often used in film production and provides a cinematic look.
• 25 fps Commonly used in PAL broadcast systems.
• 30 fps Commonly used in NTSC broadcast systems and digital video.
• 60 fps Frequently used in video games, sports broadcasting, and high-motion content.
• 120 fps and higher Used in high-speed recording and slow-motion playback.

You’ll need to decide what frame rate to use, depending on what kind of video you are recording. For most videos, 25fps (frame per second) is a perfect choice. Almost all cameras will offer 25fps video, whilst others will offer this, as well as 24fps, or faster speed such as 50/60fps. To slow down your footage, using a faster frame rate like 50/60fps can be useful, as you’ll be able to playback the footage at half the speed. For this though, the higher the frame rate you can use, the better, so don’t be afraid to push it higher to 120fps and beyond if that’s something your camera offers. Often higher frame rates will only be available at lower resolutions, so bear that in mind too.

How to make a video – Stabilisation is key!

One of the keys to recording decent footage is its stability. Worse than that, unstable footage looks awful and is a turn-off. If your camera doesn’t have a very good in-body image stabilisation (IBIS) system, then we’d recommend the use of a tripod, monopod, or a gimbal so that you can record smooth and steady footage.

With a tripod shaky footage is avoided, and you have a grounding for a professional look. It’ll also make it easier to move the camera position when needed, especially if you have an easy to use tripod head. Look out for a video head if you’re going to be buying a new tripod and/or head. Among the many brands to consider include 3Legged Thing, Benro, Gitzo, Manfrotto and Vanguard. Check out out ultimate guide to tripods for a rundown of key things to consider, and some suggestions of the best models on the market right now.

Of course, the drawback with a tripod is that the camera has to remain still. If you want to introduce motion into your footage but keep that smooth stability, a handheld gimbal is a great option for stable video shooting. The Zhiyun WEEBILL 3, shown below works really well and is good value at $299 / £295. We have more options listed in our guide to the best accessories for video.

The Zhiyun WEEBILL 3 gimbal in use

Maintain your focus

Along with stable footage, ensuring your video is correctly focused (and the main subject is in focus, and stays in focus) is another key factor in making good quality footage.

Some cameras have very good autofocus (AF) systems that work well while recording video. Specs are different for every camera, but the best thing to do is to simply test out filming different subjects, stationary and moving, and seeing how well your camera copes. Does it quickly lock focus on the subject you want it to find? Is it able to maintain that focus when the subject moves?

If your camera isn’t the best when it comes to video autofocusing,  then you might want to consider fixing focus on your subject when you start recording, which will keep them sharp as long as your subject doesn’t move. It can also be worth checking your camera’s autofocus settings, as you may be able to activate different modes to improve video autofocus in different situations.

Alternatively, use manual focus and adjust when needed. Some cameras let you fix focus, and then adjust while recording, using the touchscreen – just be careful if using this feature that the camera doesn’t pick up the noise of you touching the screen.

Digital cameras have advanced AF systems and more recent models have face-, eye- or subject-settings, perfect for making videos. Image credit: Will Cheung

Many cameras have face, eye and subject-detect autofocus functionality. The effectiveness of such features vary but they are generally very accurate and tenacious, capable of keeping track of the subject as it moves around in the frame. If that subject is you and you are working within a few metres of the camera, eye-detect AF can do a great job and the latest systems can acquire focus remarkably quickly.

Forward-facing monitor

The Nikon Z30 is a vlogging camera with a flip-out screen. Photo credit: Tim Coleman.

If you are filming yourself, a camera with a forward facing monitor will be hugely helpful – we’d go so far as to say essential. Being able to constantly monitor your framing, focus and exposure while you’re shooting is a must; you don’t want to have to redo a huge chunk of footage because you didn’t notice until too late that the camera was focusing on the background. Vlogging cameras like the Nikon Z30 and the Sony ZV-E10 all have forward-facing monitors.

If you have a camera that doesn’t offer a front-facing screen, you can always invest in an optional monitor that is plugged into the camera’s HDMI output. This can be positioned to face forward so you know you are in shot – and in focus.

Exposure in video

There are other settings that can affect how your video looks, including the aperture, the ISO speed used (lower is generally better), and the shutter speed. Almost everything you learnt in our guide to exposure regarding aperture, ISO speed and shutter speeds applies to video recording. We’ve gone through shutter speed below, as this is something to be aware of.

Shutter speed

As a general rule, ensure your shutter speed is twice the frame rate (fps), so if you’re recording at 25fps, the shutter speed should be 1/50 of a second. However, as with photography, the faster the shutter speed, the less light there is, so keep this in mind – particularly when recording video in low-light.

What shutter speed do I need for different frame rates?

• 24fps – the shutter speed should be 1/48s
• 25fps – the shutter speed should be 1/50s
• 50fps – the shutter speed should be 1/100s
• 60fps – the shutter speed should be 1/120s

Audio quality is important!

You’ve probably heard this before and it’s true – a good video is 50% visual and 50% audio. The audio quality can make or break your content. If you’re lucky, your camera will have a great set of built-in microphones that sound amazing. In most cases, however, it is advisable to use an external mic or audio recorder.

In fact, there have been videos published on YouTube, using low-quality cameras – but because the content was good, and the audio quality high, they attracted hundreds of thousands of views notwithstanding.

On-board microphones are generally limited when it comes to quality audio. Shooting outdoors, they are also susceptible to wind noise, while the whirrs and clicks of camera handling can also be picked up. Some of the latest vlogging-oriented cameras are better and can be fitted with a furry windshield, sometimes referred to as a ‘wind muff’ or a ‘dead cat’.

Cameras that can shoot video usually have a mini jack socket for plugging in an external microphone, which is definitely the best way to go, especially when shooting videos outdoors. Many will also allow you to connect a microphone wirelessly, commonly via a Bluetooth connection.

Tiny wireless microphones such as the Joby Wavo Air ($250 / £189) are perfect for location work. A set that includes one receiver and two transmitters means you’re prepared for interview situations too. Image credit: Will Cheung

There are different types of microphone that are suitable but a good practical option are the very small wireless microphones such as the Joby Wavo Air (shown above), Hollyland LARK M1 ($129 / £130) or the Rode Wireless GO II ($299 / £259). Really small, impressive working range, long run times and capable of crisp audio, these microphones are a good investment for YouTubers. Rode, and Joby, Hollyland, Rode and Sennhieser offer microphones for home studio and on-camera use.

Unlike when taking a photo – you can’t just use Photoshop to fix it later – and trying to fix audio problems later can be a real nightmare. For this reason, it’s also recommended that you use headphones (or earphones) to check the audio quality, and this is where a headphone socket on your camera is essential.

Headphone sockets are becoming a common sight on more recent digital cameras and if you’re a keen video shooter, it’s an important feature. Recommended headphones include the closed-back, over ear Rode NTH-100 at $149 / £99.

If you do need to fix audio problems later, than the latest video editing software has made some real progress recently in adding useful audio processing features, including voice processing. See our guide to the best video editing software.

The Rode VideoMic Go II hotshoe mic weighs just 89g and. comes complete with a shock-proof mount

If you want to master audio on your video, have a look at our guide to best value audio options for video. 

On the subject of audio, you might have the voice of angel, but a track of background music can enhance things immensely, adding atmosphere and mood to your masterpiece. Once you get a good following you may want to pay and subscribe to a music streaming service but to start, try royalty free music. Providers to check out include Artist, Free Stock Music.com and YouTube’s Audio Library.

Light it up

Clearly, it depends on the situation and if you are shooting outdoors, can usually rely on the stuff provided by the sun. Indoors and in low light, a continuous LED light can make a huge difference and you don’t have to spend a fortune to get a decent unit; and lights can be mains or battery-powered.

If you have the budget go for a LED light with colour temperature control. This means you can adjust the output to match the colour of the ambient lighting.

The Rotolight NEO 3 can be hot-shoe mounted and offers impressive output for its size. It’s also very versatile with colour control and doubles up as a flash unit with a compatible trigger. Image credit: Rotolight

Smaller lights can be mounted on the camera hot-shoe while bigger ones will need a lighting stand. This is more cost and of course extra kit to lug around, so it does depend on what you are shooting and the content of your footage. Many YouTubers use their home as their studio so at least you can control lighting and a couple of lights fitted with diffusers can give a flattering, consistent light.

Continuous lights from Aputure, Godox, Kenro, NanLite and Rotolight are among the many brands to consider.

How do I record entertaining videos?

That’s the million-dollar question, of course, and can be the difference between 20 views or 2000 views. But one thing we would say is that if you’re passionate about something, then this is a great start.  Record what you know, and be inspired by other people’s videos to see what works and what doesn’t work.

Start by thinking about your viewer. Most people are time-poor and many may have very short attention spans. Furthermore, with the huge quantity of fresh content uploaded onto sites such as YouTube every day, you need to work hard to engage viewers and hang on to them.

Professional movie makers have story boards and of course we’re not prescribing such professionalism – but put yourself in the position of your potential viewer and try to keep things moving by having a shooting plan for your videos. Keep content targeted and a mix of outdoor and indoor locations can work well too.

It is always a good idea to record more video footage than you need. By recording additional clips, known as B-Roll (What is B-roll footage? – Adobe) you can use these to cover up any mistakes made in key footage (known as A-Roll). But remember, you are not producing a full length feature film and the most effective YouTube videos last up to 20-25 minutes.

It is challenging to make watchable videos and have viewers coming back for more, but rule number one: don’t bore the viewer by spending too much on fluffy footage and keep content relevant. Image credit: Will Cheung

The opening segment of your videos needs to keep the viewer interested. So many YouTube photography videos go downhill rapidly after the first few seconds. Many have tedious, drawn out intros that waste much time scene-setting. This is a typical intro from a landscape YouTuber. It starts with footage of the photographer driving to the location, getting out of the car, putting on their boots, having a cuppa while moaning about the early start but looking forward to the fantastic light they are going to shoot. Then follows a painstakingly dull commentary on the contents of their camera bag – notably, their packed lunch – before describing what they are going to shoot. Next comes footage of the photographer walking from the parked car, before you see them arriving at a gate or stile, negotiating it and walking into the distance with a few close ups of their boots splashing through puddles. That’s repeated a few times before they finally arrive at the location, and the purpose of the video. What a yawn!

If you were bored reading that, then we have made our point. Yes, viewers can scroll through irrelevant stuff, but are likely to have moved on to videos with a more lively and targetted approach.

The maxim emerging from this is to keep intros short, snappy and engaging. A little scene setting is fine but don’t drag it out; and remember the purpose of the video.

Of course, as a photographer your viewers will be expecting to see some of your decent shots. Don’t keep your wonderful stills to the end of the video because they might have switched off by then, but use them throughout. It’ll keep the viewer engaged and because your pictures will be awesome (won’t they?) there’s something to keep your audience on the hook.

Editing video 

Once you’ve recorded your video, you’ll then have a number of video files (normally ending in .mp4, or .mov). Use the software on your computer to bring those video files together and edit them to create one video file, which you can then upload to YouTube, and others like Vimeo, TikTok, Instagram etc.

Making cuts in DaVinci Resolve 18

How do I edit videos for YouTube?

To edit footage, you’ll need to use some video editing software on your computer. These let you put several different video files (or clips) together, cut out any unwanted scenes or mistakes, as well as add different titles and effects to the video, as needed.

Here are some of the most popular video editing packages available:

• Davinci Resolve – FREE
• Adobe Premiere Elements – $99 / £86.56
• Adobe Premiere Pro – $20.99 / £26.49 per month
• Apple Mac: iMovie – FREE
• Windows: Photo – includes a FREE video editor

We’d recommend trying the free software that comes with your computer to begin with, as this can often do a reasonable job, and keeps things simple for beginners. Once you’ve got the hang of editing video files into one file, and find you want to do more with your video, then Davinci Resolve is an excellent choice, particularly as it’s free, and offers advanced controls.

See our complete guide to video editing software!

Think about creating a catchy title and amazing Thumbnail!

Titles: This is where you’re creativity can shine, and is essential to capture the clicks and views of YouTube viewers. Try working on making your title SHORT, snappy, and to the point. If it’s too long, people won’t be able to read the full title, and will not know what the video is about. You’ll also need to work on short, captivating text for your thumbnail. A good sell is to promise the viewer something. It might be on the lines of ‘Take your sharpest-ever shots’ or ‘Photoshop’s secret feature unveiled.’ Of course, you need to try to deliver whatever you promise.

YouTube Thumbnails need to be catchy and to the point

Thumbnails are probably one of the most important things on YouTube: They can either make or break your video, and are the first thing people see when looking at videos on YouTube. Many people don’t even read the title, but instead click the most interesting and captivating thumbnail available. This is where your many years of Photoshop skills will come in useful.

You’ll also need to be aware of thumbnails often showing much smaller on screen, depending on the device used.

How to upload your video to YouTube

Once you’ve completed your video, it’s time to share it! Go to YouTube.com, and look for the upload icon in the top-right of the screen:

Find the + upload video button on YouTube (top right)

Click Upload video, and you’ll be presented with the following screen, where you can drag and drop your video file. Once you’ve done this, YouTube will start uploading the video, and you can fill in the title, and upload your thumbnail. Once the upload is completed you can click the publish button and your video will be live on YouTube! (Once processed).

Drag your video file onto here to upload your video to YouTube

Whether you share your video with YouTube, Facebook, Vimeo, Instagram or TikTok, make sure you get the best results by sharing it with your friends, and ask anyone interested for feedback on what they thought. You’ll also be able to get feedback from people who watch the video from reading the comments.

Advanced editing: Using LUTs for colour-grading videos

Look Up Tables (LUTs) offer a flexible and efficient way to achieve consistent and stylized colour-grading results in editing. They are commonly used to enhance visual aesthetics, create specific moods, and achieve desired looks in various media production workflows. Using LUTs for your video editing will greatly improve the look and feel of your videos, taking them from basic to professional. You can read more on how to use LUTs effectively for your videography here.

Sony offers free LUTs on their website 

Have a look at our videography section for more great hints, tips, and how-to articles, plus have a look at our guide to vlogging. Find the best cameras for video, vlogging and YouTube.

Related reading

• Does sensor size matter for video?
• How to get better videos by shooting in Log

This article is part of the AP Improve Your Photography Series – in partnership with MPB. You’ll find a whole range of further articles in this series.

Lead Photo by Vanilla Bear Films on Unsplash.

Follow AP on Facebook, Twitter, Instagram, and YouTube.

The post How to make great videos for YouTube with your camera appeared first on Amateur Photographer.

Whether it’s being able to use an optical zoom lens, take advantage of in-body stabilisation, produce great-looking footage in low light or whatever else, a dedicated vlogging camera is definitely the way to go if you’re thinking seriously about video, and improving your video output for YouTube.

While smartphones definitely have their place (see our rundown of the best smartphones for video), our firm opinion having reviewed many cameras and smartphones is that the form factor, ergonomics, video options and overall quality of cameras often make them the better choice for the serious creator. Check out our guide to making a video for YouTube where we run through this in more detail.

The following list is based on the findings of our reviews, where we put these models through their paces.

We have also added some extra, budget-friendly and beginner friendly, options to the bottom of this article, and beneath that we have a primer section explaining the key specs to look for when choosing the best vlogging camera – start there if you’re unsure about what the names and numbers mean, and you can also see our guide to how to get started with vlogging. But for now – let’s get to the best cameras for vlogging and the best cameras for YouTube.

Get straight to the point with our quick list of the best vlogging cameras for video and YouTube:

• Best vlogging camera overall: Sony ZV-1 Mark II – buy now
• Best hybrid stills and video camera for enthusiasts: Fujifilm X-S20 – buy now
• Best cheap vlogging camera: Canon PowerShot V10 – buy now
• Best camera for vlogging on the go: DJI Pocket 2 – buy now
• Best for action and adventure: GoPro HERO11 Black – buy now
• Best video camera for 4K: Panasonic Lumix S5 II – buy now
• Best for camera for filmmaking: Blackmagic Pocket Cinema 4K – buy now
• Best video camera for beginner YouTubers: Nikon Z30 – buy now
• Best weather sealed compact mirrorless camera: Olympus OM System OM-5 – buy now
• Best Canon APS-C camera: Canon EOS R10 – buy now
• Best cheap 4K camera: Sony ZV-E10 – buy now

Want to know more? Read on as we run through the full specs of every camera on our list…

Best vlogging camera overall: Sony ZV-1 Mark II

The Sony ZV-1 Mark II is a great little vlogging camera with an ultra-wide lens perfect for ‘selfie’ vlogging. Credit: Andy Westlake

At a glance:

• 18-50mm equivalent f/1.8-4 lens
• 4K 30p or Full HD 120p video recording
• ISO 125-12,800 (ISO 80-12,800 extended)
• 24 fps continuous shooting
• 3in fully articulated touchscreen
• Price: $898 / £869

Based on the popular Sony RX100 series of cameras, the original Sony ZV-1 was aimed squarely at vloggers. The 1” size 20.1 million-pixel sensor offers a big step up from those currently shooting with a smartphone, while keeping the camera small and light enough to carry everywhere. The 24-70mm f/1.8-2.8 (equivalent) lens may not have been as wide as some would like for handheld vlogging, though, and that’s one of the key new features in this brand new Sony ZV-1 Mark II.

The ZV-1 Mark II is clearly aimed at video more than stills photography. There’s no mode dial, meaning it is a little more fiddly to switch between the various video and photography modes. That said, the simplified operation makes it a good entry point. Modes such as Product Showcase and Background Defocus make it easy for those wanting to shift focus to present a product to the camera or blur a background.

Audio-wise, the camera has a three-capsule microphone and comes with a wind jammer. The ZV-1 Mark II offers good stereo sound recording straight out of the box, particularly if you are recording whilst speaking to the camera. There is a 3.5mm mic input on the side with a hot shoe on the top, and with a side-mounted screen mounting, a mic doesn’t get in the way of viewing the image. It is worth noting that there is no headphone jack for monitoring the audio, as there would be on a more advanced camera.

With 4K video at 30fps, HD video at up to 120fps, High Frame Rate mode capable of up to an incredible 1000fps, Time-lapse recording, a built-in ND filter, Wi-Fi/Bluetooth control and vertical video for recording to Instagram and TikTok, there is plenty here to get you started in video. When you get more advanced, the camera also has the S-Log Picture Profiles that will help match footage with more professional Sony video cameras.

The 18-50mm equivalent wide-angle zoom on this camera is perhaps its key feature, making it much better than the original for filming yourself handheld at arm’s length while keeping in the background too. It also has a very useful touchscreen interface, another improvement on the original.

Pros:

• Built-in 3-capsule microphone
• Ultra-wide zoom
• Touchscreen control

Cons:

• No headphone jack
• Controls slightly over-simplified

Read our full Sony ZV-1 Mark II review

Best hybrid stills and video camera for enthusiasts: Fujifilm X-S20

Fujifilm X-S20 being used by Joshua Waller.

At a glance:

• 26.1MP APS-C X-Trans CMOS 4 (BSI) sensor
• 7-stop in-body image stabilisation (IBIS)
• Up to 6.2K/30P, 4K/60p, 1080/240p video
• ISO 160 – 12,800 (standard), ISO 80 – ISO 51,200 (extended)
• Price: $1,299 / £1,249 body only

The original Fujifilm X-S10 was an interesting design shift for Fujifilm, swapping its trademark exposure dials for a more conventional mode dial and control layout to appeal to a wider market. It’s a compact and powerful camera that’s still on sale and still well worth buying – but its replacement, the Fujifilm X-S20 really raises the bar and, while more expensive, we think it’s easily worth the extra. For what it does, it’s actually very good value.

The Fujifilm X-S20 uses Fujifilm’s existing 26MP X-Trans sensor but hooks it up to a faster processor and a faster UHS-II card slot to bring substantial improvements to the video capabilities – not to mention a huge increase in buffer capacity for burst mode shooting. And while the X-S20 looks practically identical to its predecessor, its slightly larger grip houses a bigger battery with an extremely impressive 750-shot capacity. That’s practically DSLR territory.

There is so much to like about this camera as a video too, including 4K capture up to 60p and advanced ‘open gate’ 6K shooting for more advanced filmmakers. Fujifilm has also improved the in-body stabilisation to offer up to 7 stops of shake compensation. To get IBIS at all in a camera this compact is pretty remarkable. In fact the X-S20 is a bit of a wolf in sheep’s clothing. It might look like a ‘beginner’ camera – it is one of the cheapest in the current Fujifilm range – but it’s very far from that. Not only is it a very good stills camera backed up by a good lens range, it’s also a powerful video camera that can go toe-to-toe with many more expensive rivals.

Pros:

• Excellent stills camera
• Terrific video features for the money
• EVF and IBIS built in

Cons:

• EVF somewhat small
• Not weather sealed

Read our full Fujifilm X-S20 review

Best cheap vlogging camera: Canon PowerShot V10

The Canon PowerShot V10 is designed for one-handed vlogging operation. Photo credit: Andy Westlake

At a glance:

• 20MP 1-inch type sensor
• 19mm equivalent f/2.8 lens
• Up to Full HD 60p, 4K 30p video
• Digital image stabilisation
• $429 (camera only) / £459 (vlogging kit)

The Canon PowerShot V10 immediately catches the eye. Shaped quite differently to a conventional camera, it’s currently something quite unique – and is an interesting innovation from Canon. Working on the assumption that conventional vlogging cameras are not particularly easy to hold in a front-facing orientation, even with flip-down or flip-around screens, the V10 fits in the palm of one hand, with a 19mm equivalent lens that makes it easy for the user to film themselves.

While it does shoot stills, this is a video camera first and foremost. It sits comfortably in the hand, with the record button falling right under your thumb, and can record in Full HD 60p or up to 4K 30p – though as we found in our testing, the latter comes with some pretty brutal time limits due to overheating. The V10 weighs just 211g, and has a front-facing screen for easy monitoring – though anyone who’s used to recording on a modern iPhone or Samsung phone will probably find it jarringly small.

Is the Canon PowerShot V10 a successful experiment? In some ways, yes, in others not so much. The form factor undeniably makes a lot more sense for hand-held vlogging than a conventional camera shape, which is awkward to hold in a backwards orientation. However, the stabilisation is digital, not optical, and while this will do for dealing with normal hand-held camera shake, you’ll quickly discover its limitations if you attempt to use the camera while walking. There are also a few operational oddities (why is it so fiddly to change frame rates?) that will likely be ironed out either in firmware updates or in the next model that comes along – assuming one does.

While it’s not perfect, the Canon PowerShot V10 is a noble and interesting experiment, and is well worth investigating if you don’t like the idea of trying to film yourself with a conventionally shaped camera. Hopefully there’s enough take-up to warrant Canon producing a PowerShot V20, as this is a promising idea that could use some refinement.

Pros:

• Design makes one-handed operation a breeze
• Lightweight, portable and affordable
• Wide lens is perfectly pitched for vlogging

Cons:

• Significant recording limits in 4K
• Digital stabilisation only

Read our Canon PowerShot V30 review.

Best portable vlogging camera: DJI Pocket 2

The DJI Pocket 2 in use. Photo credit: Jessica Miller

At a glance:

• 1/1.7” CMOS sensor
• ISO 100-6400 (movie mode)
• 3-axis motorised stabilisation
• Up to 4K 30fps
• Price: $349 / £339

The DJI Pocket 2 has a feature that makes it stand out from every other camera on this list, and that is the fact it has a built-in 3-axis stabiliser. DJI has essentially removed the camera and 3-axis stabilisation from one of its drones and added a handle and tiny screen. The combination is a camera that produces super steady footage and can easily fit in any pocket.

While the tiny built-in screen isn’t great for composing and reviewing footage, you can attach a smartphone via a port on the side and then use the DJI app to control the gimbal and change settings more easily.

The camera only has a 1/1.7” sensor, similar to those used in smartphone cameras, so some dynamic range is lost, and there will be a little noise. That said, some of the tricks that the Pocket 2 can perform more than make up for these deficiencies. For example, you can actively track a subject in a scene, with the Pocket automatically using its motors to pan and tilt the camera. This is great when talking to the camera whilst demonstrating something, and you’ll never have to worry about disappearing out of the frame.

The DJI Pocket 2 can record footage in Full HD, 2.7k or 4K at 60fps, and a slow motion mode allows for Full HD 120 or 240fps to be captured. A time-lapse motion mode is also available that utilises the camera’s ability to pan and tilt.

Audio-wise, there is an internal microphone, but external recording is made possible via an adapter that can be plugged into the USB-C port on the bottom of the camera. Videographers can purchase different accessories to increase the uses of the Pocket 2, including a wifi remote control that allows operation remotely via a smartphone. Third-party filters are also available.

Pros:

• Powerful built-in stabiliser
• Extremely portable form factor
• USB-C plug-in mic option

Cons:

• Smaller sensor
• Tiny LCD screen not too useful

Read our DJI Pocket 2 review.

Best vlogging camera for action and adventure: GoPro HERO11 Black

The new GoPro HERO11 Black looks the same, but features significant internal upgrades. Photo credit: GoPro

At a glance:

• 27-million-pixel sensor
• ISO 100-6400 (video)
• Hyper smooth 5.0 stabilisation
• Up to 5.6k 60fps, 4K 120fps, 2.7K 240fps
• Price: $349 / £349

Tougher than tough, with a wide field of view and wearable form factor – we’re guessing you know what a GoPro is. The Hero 11 Black of course looks much the same as all previous models in the world-famous series of action cameras, but inside it’s a different story. This upgraded camera sports a new larger image sensor with an 8:7 aspect ratio, improving the dynamic range and quality of video captured. It also makes it easier to crop into footage shot at high resolutions in order to meet different aspect ratio requirements, meaning if you want to shoot vertical video for TikTok or Instagram, you’re covered.

There’s a pleasing number of upgrades across the board compared the the Hero 10. The excellent HyperSmooth stabilisation is now on version 5.0, dramatically improving the smoothness of moving footage. It can also now be locked to the horizon, helping you keep your shots straight and forgo the need to correct them in editing. New Night effects offer improved night-time shooting capabilities, and a long-lasting Enduro battery lets you shoot for longer.

As is ever the case with GoPro, the Hero 11 Black is certainly on the pricey side for an action camera. We’ve gone for the mainline version as we think it’s going to be the best pick for most vloggers – if you have less to spend, the Hero 11 Black Mini does away with the front-facing screen, and if you have more, the Hero 11 Black Creator Edition adds an additional battery grip and other accessories.

Pros:

• Very impressive stabilisation
• Class-leading toughness
• Larger imaging sensor than other action cameras

Cons:

• Quite expensive

Best video camera for 4K: Panasonic Lumix S5 II

The Panasonic Lumix S5 II, complete at long last with phase-detection autofocus. Photo credit: Andy Westlake

At a glance:

• 24.2MP full-frame sensor
• ISO 100-51,200 (standard)
• C4K 60p video recording
• 5-axis in-body stabilisation
• Price:$1,997 / £1,799 body only

Starting 2023 with a bang, Panasonic unveiled an updated full-frame mirrorless camera we’d long been waiting for – a Lumix model with phase-detection autofocus. That’s right, the trusted but dated contrast-detect Depth from Defocus system was finally being cast away into the annals of history, and the Lumix S5 II is all the better for it. It’s so much faster than previous Lumix S cameras, in both video and stills.

While full-frame cameras from the likes of Sony are climbing vertiginously in price, Panasonic is being canny in keeping this model below the £2K/$2K mark. It makes for a hugely compelling option for vloggers and videographers with a budget, but not the high prices commanded by the likes of the Sony A7S III or the Sony A1.

As we noted in our review, the level of video flexibility and versatility offered by the Lumix S5 II is simply staggering, and thanks to a clever built-in fan mechanism, it can effectively record indefinitely without overheating (which feels like a response to the much-publicised heating travails of the Canon EOS R5). You’re really only limited by card space or battery power, which is great for a hard day of intense recording.

The aforementioned autofocus system also benefits from the must-have feature in all new cameras – subject-detection that can recognise humans and animals and lock onto them. The in-body stabilisation is rated up to five stops of compensation, and the Lumix S5 II can output 6K 30p video in addition to its suite of 4K options.

Without a doubt, this is a highly capable vloggers’ and videographers’ camera, ideal for shooting in pristine 4K.

Pros:

• Smart, fast autofocus system
• Excellent video quality and options
• Integrated cooling fan

Cons:

• Default setup under-uses control dials
• Metering errs towards underexposure

Read our full Panasonic Lumix S5 II review

Best for tutorials and filmmaking: Blackmagic Pocket Cinema 4K

For serious filmmakers, the Blackmagic Pocket Cinema 4K is an excellent choice.

At a glance:

• Four Thirds Sensor
• ISO 100-25,600 (movie mode)
• Up to 4K 60fps, Full HD 120fps
• Anamorphic shooting
• Price: $1,295 / £1,189 body only

If you are an aspiring filmmaker, then the Blackmagic Pocket Cinema 4K may be a great camera to start shooting. It is very affordable for a camera with many advanced features prioritising image quality above everything else.

It features a Four Thirds size sensor that has an impressive 13-EV of dynamic range so that you can capture lots of highlight and shadow detail. It can also save footage in ProRes or Blackmagic Raw 2.0 formats, meaning a considerable amount of colour detail is captured to enable image editing in post-production.

The Pocket Cinema 4K can record footage in 4K DCI (4096 x 2160) at 60fps or the even wider 4K 2.4:1 format (4096 x 1720) at 70fps. The camera can also shoot 2.8k anamorphic footage at 80fps. Those that want slow-motion footage can shoot at 120fps in Full HD resolution.

The Micro Four Thirds lens mount means that there is a vast amount of quality lenses, new and used, lenses at affordable prices. It is worth noting though that there is no sensor or digital stabilisation. The Pocket Cinema 4K relies on any optical lens stabilisation, so it is better suited to being on a tripod or gimbal than being used handheld. Autofocus isn’t the fastest, so it suits a more static environment where you can manually focus a lens on a subject.

The Pocket Cinema 4K features a substantial 5-inch touchscreen perfect for navigating menus, focusing precisely, composing your shot and reviewing your footage.

As a fully-fledged cinema camera, the Pocket Cinema 4K has all of the inputs and outputs you would expect and some you might not. There are slots for CFast or SD cards to be used for storage, and you can even record directly to an SSD via the USB 3.1 port. For audio, there’s a 3.5mm mic input and a Mini XLR input for professional microphones that require phantom power. It also allows you to monitor the audio via a 3.5mm headphone jack.

Although it may seem overkill to have such a powerful camera for shooting YouTube, for its price, it offers the best image quality for those recording reviews or demonstrations. It is also the perfect entry point for anyone that wants to begin a career in filmmaking.

Pros:

• Very impressive dynamic range
• Mini XLR input
• ProRes and Blackmagic RAW formats

Cons:

• A more expensive option
• Some may prefer a larger sensor

Best vlogging camera for beginner YouTubers: Nikon Z30

Lightweight and agile, the Nikon Z30 is pitched at solo vloggers. Photo credit: Tim Coleman.

At a glance:

• 20.99-million-pixel APS-C CMOS Sensor
• ISO 100-25,600 (movie mode)
• 3” 1.04-million dot Vari-Angle touchscreen
• Up to 4K 30fps, Full HD 120fps
• Price: $607 / £699 body only

The Nikon Z30 is a small, affordably priced entry point to Nikon’s Z system. Designed and marketed as a vlogging camera, it has a great basic set of features. It does lack a few headline features – for instance, there is no sensor-based stabilisation, although Nikon does have optically stabilised lenses. A good one is the NIKKOR Z DX 16-50mm f/3.5-6.3 VR, which is available in a kit with the Z30 for around £830. There is also eVR, or Electronic Vibration Reduction, which is Nikon’s form of digital stabilisation for video. For more, check out our picks of the best Z-mount lenses for Nikon in 2023.

All the features you expect for getting started with vlogging are present, including a vari-angle screen for recording yourself, and a microphone socket. There is no headphone socket for monitoring audio. Still, there are other great features, including a recording time of up to 125 minutes (battery-dependent). The camera uses the entire width of the 20.99-million pixel sensor to shoot 4K without any crop.

Although it may lack some of the more advanced features and recording options of other cameras in this line-up, its price makes it a significant step up for those shooting with a smartphone or compact camera.

Pros:

• Long recording times
• Useful vari-angle screen
• Lightweight, but high-quality

Cons:

• No viewfinder
• No headphone socket

Read our full Nikon Z30 review.

Best weather sealed compact mirrorless camera: OM System OM-5

The OM System OM-5 in use. Photo credit: Joshua Waller

At a glance:

• 20.4MP Four Thirds sensor
• ISO 200-6400 (extended: L64-25600)
• 30fps shooting
• 4K 30p video, 120p full HD
• Price: $1,200 / £1,199 body only

The OM System OM-5 is essentially a refresh of the Olympus OM-D E-M5 Mark III, but it’s none the worse for that as its predecessor was an excellent camera already. It’s a Micro Four Thirds camera that uses a somewhat smaller sensor size than APS-C cameras but with is very popular in the video community and also used by Panasonic’s highly regarded Lumix G cameras, like the Lumix GH6.

The OM-5 is not designed specifically for video, and you can pretty much match its video features with cheaper alternatives. The difference is that it has an electronic viewfinder as well as the fully articulating rear screen and some very powerful stills photography features that make it perfect for ‘hybrid’ shooters – content creators who need to produce both still photographs and video with the same kit and often swapping from one minute to the next.

The in-body image stabilization is about as good as it gets, and while the video capture tops out at 4K 30p, you can shoot at up to 120p in full HD resolution. The E-M5 also comes with a built-in log profile for those who need to carry out some more advanced color grading later on.

Perhaps the key characteristics of the OM-5 for vlogging are its small size, its robust weather-proof construction and the wide choice of both zoom and prime lenses available, which are typically smaller and lighter than those for APS-C or full frame cameras.

Pros:

• EVF and vari-angle screen
• Excellent lens choice
• Superb stabilization

Cons:

• More expensive than budget vlogging cameras
• Not the most advanced for video

Read our full OM System OM-5 review

Best Canon APS-C camera for vlogging: Canon EOS R10

The Canon EOS R10 is a tempting gateway into the EOS R series. Photo credit: Andy Westlake

At a glance:

• 24.2MP APS-C sensor
• ISO 100-51,200
• 23fps shooting
• 4K 30p video
• 2.36m-dot EVF
• 3in vari-angle LCD
• Price: $899 / £979 body only

If you’re making your first step up to mirrorless from a smartphone, the Canon EOS R10 is one of the smartest choices you can make. As we found out when we subjected the camera to a full test and review, the EOS R10 is impressively feature-packed for a sub-£1000 camera.

It’s lightweight, it’s easy to use, and there are a fair few smart features that should ensure it appeals to vloggers. A small but welcome thing – the video record button is prominently situated in just the right place on the top plate where it’s easy to press while pointing the camera back towards yourself at arm’s length. The 3in, 1.04m-dot fully articulated touchscreen has a side-hinged design that means you can easily flip it forward to face yourself.

There have been some cutbacks to make the camera as small and affordable as it is (compared to the rest of the EOS R series, at least). Probably the one that’s going to affect vloggers most is the lack of in-body image stabilisation, which means you’re reliant on lens-based IS (which can’t correct for roll around the lens axis) or Digital IS (which incurs a 1.1x or 1.4x crop on your footage). Neither solution is ideal. Other than this small niggle though, the EOS R10 is a well-priced and well-balanced vlogging option.

Pros:

• Compact size and light weight make it easy to carry
• Excellent control layout and handling, especially given the small size
• Subject detection autofocus works very well

Cons:

• Viewfinder is disappointingly small
• No in-body image stabilisation
• Limited native APS-C RF-S lens range

Read our Canon EOS R10 review

Best cheap 4K vlogging camera: Sony ZV-E10

The Sony ZV-E10 takes cues from the A6000 series. Photo credit: Richard Sibley.

At a glance:

• 24.2-million-pixel APS-C Exmor CMOS sensor
• ISO 100-32,000 (movie mode)
• 3” articulated touchscreen
• Sony E Mount
• Up to 125min battery life
• Lens stabilisation + digital stabilisation and optional post-production stabilisation
• Up to 4K 30fps, Full HD 120fps
• Price: $698 / £699 body only

Following Sony’s ZV-1 is the ZV-E10, which borrows from various other cameras in Sony’s line-up. It has much in common with the basic vlogging and video features of the previously mentioned ZV-1, such as the 3-inch articulated touchscreen and features such as Product Showcase mode.

The biggest difference is that the ZV-E10 is a mirrorless camera and uses the Sony E-mount rather than having a fixed zoom lens, like the ZV-1. This mount opens up the vast catalogue of Sony E-mount lenses available from Sony and third-party manufacturers. In this regard, the camera has much in common with the Sony Alpha 6000 series cameras, including the 24.2-million pixel sensor, which has been a mainstay in Sony’s APS-C line-up for a few years.

With 4K recording up to 30fps, Full HD at 120fps and a bitrate limit of 100mb/s, the ZV-E10 isn’t the most advanced on this list, with the Nikon Z30 and Canon EOS M50 Mark II being its closest rivals. Still, like those other cameras, what it lacks in high-end features it makes up for in price.

The ZV-E10 uses the entire width of the sensor to produce its 4K image; the footage is not cropped in this mode (unless you are using digital stabilisation), and the camera actually has a 6K image and samples this down to the 4K video that you see from the camera. The result of this down sampling should result in more detail and better colour.

As mentioned, there is a huge variety of lenses to choose from. Getting the camera as a kit with the 16-50mm f/3.5-5.6 zoom lens will cost around £770. Check out our picks of the best Sony E-mount lenses in 2023 for more options.

Externally the camera is like a large Sony ZV-1, with the layout being very straightforward and unintimidating for those who use a ‘real’ camera for the first time. Like other cameras in this price range, the body is polycarbonate, a.k.a. plastic, making it light and affordable. However, it may not be one for those who are more heavy-handed with their cameras.

Like the ZV-1, audio is handled well in-camera, with a microphone array on top that can be covered with a supplied wind jammer. The microphone socket can be used to provide external audio. And, of course, there is a headphone socket so you can listen to the audio to check everything sounds great.

As you would expect for a Sony video camera, there is the ability to shoot in S-Log3. While perhaps this isn’t one for beginners, it is there when you want to evolve your filmmaking. However, maybe the best feature is Sony’s AF system which is about the best on the market. It provides fast and reliable focusing, particularly for faces, which is crucial when vlogging or shooting for YouTube.

Pros:

• Exceptionally good video autofocus
• S-Log3 profile
• Solid built-in mic setup

Cons:

• Plasticky build doesn’t feel as durable
• Array of options may be intimidating to beginners

Read our full Sony ZV-E10 review.

Additional budget and beginner vlogging cameras to consider

The team at AP test and review loads of vlogging cameras – more than we could comfortably fit into this guide! If you’re on a budget, or a beginner, here are a few extra wallet-friendly and beginner friendly options that our review team think are particularly worth your consideration.

Best vlogging cameras for beginners:

Panasonic Lumix G100 ($498 / £569 with 12-32mm lens)

Panasonic designed the Panasonic Lumix G100 (read our review here) with vlogging specifically in mind. Consequently, it has a 3inch 1.8M-dot vari-angle touchscreen that can be flipped around to face forwards and OZO Audio tracking by Nokia. The latter can work in tandem with the camera’s face-detection system to track a subject around the frame and decide which of the three internal microphones to use. The microphones can also be set to Auto, Surround, Front or Back depending upon where the most important sounds are coming from. It works well provided that there’s no wind around but there’s also a 3.5mm mic port.

The Panasonic Lumix G100 in hand. Photo credit: Richard Sibley

Other nice features include a Rec Frame Marker, that shows the framing for different aspect ratios to help you to compose footage for a variety of platforms including Instagram stories; in-body stabilisation; and V-Log L that produces low-contrast, low-saturation footage.

As well as making the footage more gradable, it’s easier to match it to video from other cameras. There’s a slight crop applied to 4K footage on top of the 2x focal length magnification factor caused by the G100’s Four Thirds type sensor. That means that the 12-32mm lens actually looks a little longer than the 24-64mm effective length that it is for stills photography. However, it’s just about okay for handheld vlogging, especially if you mount the camera on Panasonic’s optional DMW-SHGR1 Shooting Grip. Angela Nicholson.

Best vlog camera: Canon PowerShot G7 X Mark III ($749 / £699)

The PowerShot G7 X Mark II was a surprise success amongst Youtubers, so for the Mark III version, Canon made vlogging a key focus. Consequently, the G7 X Mark III can shoot 4K (3840 x 2160) video at 29.97/25fps without cropping. That means when you get the full width of the 24-100mm (equivalent) stabilised lens, which is important if you’re holding the camera at arm’s length and pointing it towards yourself.

The pocket-sized Canon PowerShot G7 X Mark III is popular with YouTubers.

Further good news is that the maximum aperture range is f/1.8-2.8, which enables some blurring of the background when you shoot wide open. Handily, there’s also a 3-stop ND filter built-in that helps you to use the widest apertures in bright conditions. A collection of autofocus modes enable you to get the subject sharp. Significantly, these include Face Select and Track which works well in video mode, putting a box around your face when spotting you. You can see this as the 3in 1,040,000-dot touchscreen tilts up through 180° making it visible from in front of the camera.

There’s no viewfinder though. As usual, there’s Wi-Fi and Bluetooth connectivity onboard, but uniquely, the G7 X Mark III can live-stream direct to your YouTube channel. To do this, you need to create a free image.canon account, then input the relevant information and tap the connection details into your camera.

Then, provided that you have a decent Wi-Fi signal (or a hotspot from your network-connected smartphone), you’re free to stream. All of this would count for nothing if the PowerShot G7 X Mark III didn’t produce high-quality results but thanks to its 20.1MP 1in type stacked CMOS sensor, it delivers excellent stills and video. It has a sensitivity range of ISO 125-25,600, but ideally, keep to ISO 3200 or lower. Angela Nicholson.

Fujfiilm X-S10 ($1299 / £1299 with 18-55mm lens)

Even though Fujifilm has now released the X-S20 featured above in our round-up, the mirrorless Fujifilm X-S10 (read our review here) is still widely available, and makes for a great choice for anyone looking for a slightly more budget-friendly route into vlogging on the Fujifilm X system. The X-S10 can be bought in certain territories as part of a ‘vlogger kit’, bundled with an XC 15-45mm lens, an SD card, a GorillaPod flexible tripod and a RØDE shotgun mic – all of which will set you up nicely to get started with vlogging.

The Fujifilm X-S10 with its fully articulating screen. Photo credit: Andy Westlake

The X-S10 is one of the more affordable Fujifilm cameras, but it still packs in plenty of vlogger-friendly features like a fully articulating rear screen, a pretty respectable IBIS system that provides up to 5.5 stops of compensation, a 3.5mm mic slot and the ability to plug in monitoring headphones via the USB-C connection. It shoots 4K 30p video that looks excellent straight out of camera, benefiting from Fujifilm’s excellent colour science.

The sequel camera, the X-S20, is unquestionably the better option for video. It offers 6.2K 30p for a starter, as well as longer recording times and AI-powered subject-detection autofocus. However, all this inevitably comes at a cost, and the X-S20 accordingly has a price hike of around $200/£200 if you’re buying new – and you could probably save even more cash getting a second-hand X-S10. Either way, you’re getting a mirrorless camera that’ll produce punchy and vibrant footage, and the X-S10 is definitely worth considering as an introduction to vlogging on the X system. Jon Stapley.

How to choose the best vlogging camera

Here are the key specs to think about when selecting your camera for vlogging, videography, and YouTube.

Resolution

The Nikon Z9 records video in 8K. Photo credit: Andy Westlake.

One of the first things to look for is video resolution. Nearly every camera on the market should be shooting at 4K resolution. 4K televisions and screens are commonplace, and we are starting to see cameras that will shoot in 8K or higher. If you are beginning to vlog or shoot for YouTube, however, there is currently no real need for you to be shooting in 8K; it is complete overkill.

Do you even need 4K for social media? Probably not, since a lot of social video is shared at full HD 1920 x 1080 resolution. However, shooting in 4K does allow you to crop for any social media platform and will give you editing flexibility later.

Frame rate

Frame rate is how many images, or frames of video, the camera can record in a second. The more frames, the smoother the footage, and it also allows you to slow the footage down without it looking jerky. Hollywood movies are typically shot at a frame rate of 24fps, whilst PAL TV is 25fps with the US NTSC format at 30fps. Higher frame rates are a multiplier of these, so you will commonly find 50fps and 60fps and 100 and 120fps.

By recording at 120fps and then creating a video that is shown at 30fps, you will have a 4x slow-motion effect. So, if you are interested in shooting slow-motion footage, the higher the frame rate, the greater the slow-motion effect. For an excellent slow-motion effect, look for at least 120fps.

Stabilization

If you are shooting cooking or craft tutorials, you can use a tripod. For more on how to choose the best tripod for you, check out our ultimate guide to tripods as well as our picks for the best tripods to buy. However, if you are using the camera handheld for vlogging or filmmaking on a family holiday, un-stabilised video can look shaky and almost unwatchable.

Lens or sensor-based stabilisation will help keep the footage looking steady. Some cameras will also use digital stabilisation. Digital stabilisation crops into the frame and shifts the recorded area to smooth camera movements. A combination of all three types of stabilisation can keep handheld footage free of all but the most dramatic of movements.

For cameras that don’t have stabilisation, a motorised three-axis stabiliser, also known as a gimbal, is a great way to create smooth footage.

Audio

The Sony A7C with a microphone. Photo credit: Andy Westlake.

People often say that poor footage can be forgivable, but poor audio can make a video unwatchable. For the most part, this is true. While you’ll be hard-pushed to find a camera that doesn’t have built-in microphones for recording audio, these will only be fine in ideal conditions, such as in a quiet environment.

For the best possible audio, using an external microphone is a must. Make sure your camera has a microphone input socket, which will usually be a 3.5mm socket on the side of the camera. This socket will allow you to add a microphone, which will usually be held on an accessory shoe on top of the camera. However, be aware that this may block or hinder the use of a front-facing screen.

Screen

If you are planning on filming yourself, you will need to look for a camera that has a screen that can be swivelled so that it faces you whilst you are recording. Generally, these come in two types – articulated from the side or flipping up from the top. Both have their advantages.

Top-facing screens look more natural if you look at the screen rather than the front of the lens. However, if you want to mount a light or microphone to a hot-shoe, it may prevent you from using the screen. Side-facing screens will leave the camera’s top free for mounting microphones and accessories. Still, if you find yourself presenting to the screen, it can look unnatural as your eye-line will always look off to the side. In summary, remember to talk to the lens, not the screen!

For those who aren’t filming themselves, a simple tilting articulation helps shoot at different angles, making your videos look more dynamic.

Power and battery

Shooting a video can drain a battery very quickly. While battery life shouldn’t be a deciding factor when buying a camera, it is worth noting so that you can plan to purchase an additional battery, or two or three, if you are out shooting video all day.

Something else is to look for charging. Most cameras will charge through a microUSB or USB-C connection, with many of these also able to be powered by USB whilst still recording. A simple £20 USB power bank could give you hours more recording by either keeping the battery charging when not in use or by being able to power your camera, though be aware that some cameras need newer USB Type C PD (power delivery) which is found only on newer/better power banks.

Sensor size

As in photography, the sensor is probably the defining feature of a video camera. As a (very) general rule, the larger the sensor, the better the image quality will be. A full-frame sensor will have a greater dynamic range, lower noise levels and better image quality at higher ISO sensitivities than a smaller sensor of the exact resolution.

So, shooting with a camera with a full-frame sensor will produce better results than shooting with the smaller sensor of a smartphone. The downside is a larger sensor will mean a bigger camera and larger lenses, which may not be ideal if you want something small for vlogging. See our guide to APS-C vs full-frame sensors for more on the differences between the two.

Text by Richard Sibley, with contributions from Jon Stapley, Angela Nicholson.

Finished with our guide to the best cameras for video? Don’t miss our essential run-through of the best lenses for video. We’ve also got in-depth guides to shooting video, including 9 common video problems and how to fix them, as well as our no-nonsense guide to how to get outstanding audio in your videos.

Further reading:

• Best smartphones for video
• Best accessories for video
• Best camera phone accessories for photography and video
• Best external camera screens

Follow AP on Facebook, Twitter, Instagram, and YouTube.

The post Best vlogging camera for video and YouTube in 2024 appeared first on Amateur Photographer.

Our picks are based on the experiences of our review team, and we’ve made sure to include options across the spectrum of price and functionality. So, in this list you’ll find a few pretty basic tools that are free to use if you just need to put out a basic, short video, and you’ll also find more advanced software that is used to edit and assemble feature films. For a closer analysis of how some of the top picks compare compare, take a read of our breakdown of DaVinci Resolve vs Adobe Premiere Pro: which is the best video editing software.

At the bottom of this post, we’ve put together a quick explainer of the key things we look for when picking the best video editing software. Read on to see our picks, and the reasons we chose each program – and check out our guides to how to make great video recordings with your camera and the best cameras for vlogging and videography for more advice on improving your video and filmmaking.

Best video editing software: our quick list

Need to cut to the chase? Here’s our quick list of the best video editing programs to download, along with links to take you straight to where you need to go…

Best free video editing programs:

• Best free video editing software for filmmakers: DaVinci Resolve – visit website
• Best free video editing software for Mac: Apple iMovie – visit website
• Best free video editing software for Instagram: Adobe Premiere Rush – visit website
• Best mid-range video editing software: ACDSee Luxea Free Video Editor – visit website
• Best browser-based video editing software: Canva – visit website

Best paid-for video editing software in 2024:

• Best video editing software for beginners: Adobe Premiere Elements – visit website
• Best video editing software with AI tools: CyberLink PowerDirector – visit website
• Best professional video editing software: Adobe Premiere Pro – visit website
• Best subscription-free video editing software: DaVinci Resolve Studio – visit website
• Best professional video editing software for Mac: Apple Final Cut Pro – visit website

Read on to learn more about the pros and cons of each program to figure out which is right for you, as we take you through our guide to the best video-editing software in 2024…

Best free video editing software in 2024

These are programs that can get you started in video editing at no cost, with some ‘freemium’ tools offering an upgrade path to more features as a paid upgrade to a full version or, more likely, via a subscription.

Best free video editing software for filmmakers: DaVinci Resolve

Image credit: Blackmagic

• Pricing: Free (DaVinci Resolve Studio is the paid version and costs $295 / £245 – scroll down for more)
• Platforms: Mac and PC
• User level: Intermediate/Professional
• Website: www.blackmagicdesign.com

DaVinci Resolve was one of the best-kept secrets of video editing software, yet more and more people are now adopting it. This is a free version of the professional DaVinci Resolve Studio program that has almost all the features and is entirely free. There are no watermarks, time limits or other restrictions beyond a maximum export resolution of 4K UHD, and 60p frame rate. While we’ve mostly focused on desktop-based programs for this guide, it’s worth noting that there’s also an iPad version, which works pretty well if you have a tablet powerful enough to handle it (an iPad Pro is a good bet), and is also free to download and use.

No other free video editor can even approach DaVinci Resolve’s power, though it does present a steep learning curve. New users will need to spend some time with the training videos to properly get to grips with what it can do. Each new version gets additional features and tools, and there are advanced audio processing options, including options to improve voices.

If you’re an aspiring filmmaker, you need a comprehensive and well-featured video editing tool. You also may have a budget of exactly nothing, given how expensive every aspect of making a film can be. If that’s the case, then DaVinci Resolve is definitely the answer you’ve been looking for. The main thing that DaVinci Resolve requires from you, more so than other programs, is time and patience. Invest some time in learning how to use it – YouTube tutorials can be amazingly helpful – and you’ll have all the tools you need to take your projects from raw footage to final cut. And you won’t have spent a single penny!

Pros:

• Amazing level of functionality for free software
• Can export at high resolutions
• Suite of colour-grading options

Cons:

• Tricky to use at first

Best free video editing software for Mac: Apple iMovie

Image credit: Apple

• Pricing: Free
• Platforms: Mac and iOS
• User level: Beginner/Intermediate
• Website: www.apple.com

Apple iMovie doesn’t get a lot of respect from ‘serious’ filmmakers, but it should. Though it only supports one video track and a couple of audio tracks, you can add a wide range of titles, captions and motion graphics effects. And, as well as recording voiceovers, you can tune the audio with preset EQ effects.

There are basic but effective colour grading tools – iMovie even offers image stabilisation, which is rare outside of mid-range or professional video editors. iMovie is easy to use, completely free without restriction and comes as standard with Macs and iOS devices. As you might expect, there’s no Windows version, though.

Pros:

• Simple to pick up and use
• Pre-installed on Apple devices
• Image stabilisation tool

Cons:

• Limited video/audio tracks
• No Windows version

Best free video editing software for Instagram: Adobe Premiere Rush

Image credit: Rod Lawton/Adobe

• Pricing: Free/$9.99 / £21.98 a month
• Platforms: Mac and PC/mobile
• User level: Beginner
• Website: www.adobe.com

Premiere Rush is a kind of lightweight video editor designed for quick YouTube or social videos rather than serious filmmaking. Nevertheless, it has the tools that beginners and intermediate users should need: with up to three additional video tracks, three additional audio tracks, and a large selection of ready-to-go motion graphics templates and other design resources. It’s a good choice if you need a basic, free editing package for producing content for Instagram or a similar social media platform, as realistically you’re only going to need to create short clips with a few tracks.

You can start with a free plan – all you need is an Adobe ID – and upgrade to a premium plan if you want more cloud storage, more assets, project synchronization across devices, and more. There is a Premiere Rush plan, but it also comes with a Premiere Pro or an Adobe All Apps subscription.

Pros:

• Great for quick clips
• Useful bank of visual assets

Cons:

• A fair few paywalled features
• A bit simple for complex projects

Best mid-range video editing software: ACDSee Luxea Free Video Editor

Image credit: ACDSee

• Pricing: Free (with branding)
• Platforms: PC
• User level: Beginner/intermediate
• Website: www.acdsee.com

Luxea Free Video Editor is a very effective mid-range editor from a company best known for its photo editing software. It offers unlimited tracks, screen capture, free content packs and more. Best of all, it’s free – though there is one drawback, in that the free version adds a branded intro and outro to exported movies.

Luxea Free Video Editor can get you going but for much more control and no watermarked intro/outro, it’s worth considering Luxea Pro Video Editor 7 which costs $49.99 a year or $54.95 for a Lifetime Licence until 6th December.

Luxea does not offer as much support for beginners as some programs, and it’s not a serious professional tool either. But for Windows users bemoaning the lack of a free iMovie-style program for their platform, Luxea could be the ideal alternative.

Pros:

• Unlimited tracks
• Good suite of editing tools
• Useful content packs

Cons:

• Free version adds branded intro and outro
• Quite complex for beginners, a bit simple for pros
• Windows only

Best browser-based video editing software: Canva

Image credit: Rod Lawton

• Pricing: Free. Canva Pro costs $119.99/ £99.99 per year
• Platforms: Mac and PC, mobile, web
• User level: Beginner
• Website: www.canva.com

Canva is not only a video editor. It’s really a tool for creating business or social media visuals of all kinds, with a wide range of ready-to go templates and assets for quickly building dynamic and professional-looking content. You can combine, trim and re-order multiple video clips in the timeline, add titles, intros and outros that produce basic but perfectly serviceable videos for YouTube, websites or other social channels.

Although it uses the same basic non-linear editing (NLE) principles as other video editors, Canva uses its own jargon and editing processes, so it can take a little while to work out what it does and how to make it do it. The free Canva plan will get you started, but Canva Pro adds premium templates, a huge stock asset library, social media scheduling, branding, AI editing tools and more – though at $119.99 / £99.99 a year, it’s not cheap.

Pros:

• Lots of useful visual assets
• Works in browser
• Engineered well for social media creation

Cons:

• A little idiosyncratic to use
• Not the best for long-form work

Best paid-for video editing software in 2024

These are some of the top paid-for video editing programs right now. Video editing skills take a long time to master, and while pro software costs the most, it can save you time (and therefore money) in the long run and can prove a valuable professional qualification.

Best video editing software for beginners: Adobe Premiere Elements

Image credit: Rod Lawton

• Pricing: $99 / £86.56
• Platforms: Mac and PC
• User level: Beginner/Intermediate
• Website: www.adobe.com

Adobe Premiere Elements is to Adobe Premiere what Photoshop Elements is to Photoshop. It takes many of the features of Adobe’s professional video editing software and re-packages them as a simpler video editor for beginners and intermediate users who don’t need professional features.

More significant for many will be the fact that it exists outside the Adobe Creative Cloud ecosystem so it’s subscription-free and can be purchased with a single one-off payment. Having said that, there’s a version update every year and an upgrade fee that goes with it.

The editing interface follows the usual format, with a timeline/track display at the bottom with preview and content panels above. As with Photoshop Elements, there are Quick, Guided and Expert modes and, as with Elements, these are a great way to get started with learning about video editing, though some may find the ‘family feel’ tedious. There is a 30-day free trial but, annoyingly, it’s watermarked.

Pros:

• Can be purchased as a standalone download
• Well laid-out editing interface
• Modes for beginners and experts

Cons:

• Free trial watermarks videos
• Updates cost a fee

Best video editing software with AI tools: CyberLink PowerDirector

Image credit: CyberLink

• Pricing: Power Director 2024 Ultimate $19.99 / £109.99 perpetual, or Power Director 365 at A now discounted at £44.99 /  a year
• Platforms: Mac and PC, mobile
• User level: Intermediate/Professional
• Website: www.cyberlink.com

PowerDirector delivers a lot of power at relatively modest cost. It includes some unexpected tools and innovations such as AI Sky Replacement (yes, in video), AI motion tracking and tools for designing masks, titles/motion graphics and picture-in-picture effects.

You get green screen effects, customisable intros/outros and Adobe-style speech-to-text transcription. The audio tools are impressive too, with AI speech enhancement and wind noise removal, a ‘Vocal Transformer’ and Audio Ducking for narration or voiceovers. PowerDirector is not really a professional editing tool in the same vein as Premiere Pro, Final Cut or DaVinci Resolve, but it could be a great choice for enthusiasts and keen experimenters.

Pros:

• Impressive AI-powered tools
• Pleasing array of audio options

Cons:

• Relatively high up-front cost (though it works out as good value)
• Lacking some professional tools

Best professional video editing software: Adobe Premiere Pro

Image credit: Adobe

• Pricing: From $20.99 / £26.49 a month
• Platforms: Mac and PC
• User level: Professional
• Website: www.adobe.com

For many professional filmmakers and editors, Adobe Premiere Pro is simply the go-to video editing tool, in the same way that Lightroom and Photoshop are for photographers. It’s one of three pro-level video editors fighting it out at the top end of the market, and while a lot of users still balk at the whole concept of software subscriptions, it does mean that Premiere Pro gets regular updates as part of your subscription, the latest including clever AI-driven tools like automatic transcripts and captioning, automatic reframing for different social channels and more.

Premiere Pro might be a gold standard for pro video editors, but at a cost. It’s only available as a single app subscription at $20.99 / £26.49 per month or as part of Adobe’s All Apps plan at a huge $54.99 / £61.99 a month.

Pros:

• One of the best editors you can get
• New AI-powered features

Cons:

• Expensive
• Ongoing cost

Best subscription-free video editing software: DaVinci Resolve Studio

Image credit: Blackmagic

• Pricing: $295 / £245
• Platforms: Mac and PC
• User level: Professional
• Website: www.blackmagicdesign.com

The free version of DaVinci Resolve is so good that you might not even need the professional version. But what this brings is the ability to work beyond 4K UHD resolution and a 60p frame rate, support for multiple GPUs and GPU processing – lens corrections (useful given that raw footage won’t be corrected), noise reduction and some more advanced effects.

This does mean paying a hefty $295 / £245 for a license or it may not, because if you buy a Blackmagic controller or camera, a Davinci Resolve Studio license is included. Resolve has its own particular way of working, and its Fusion (effects) and Fairlight (audio) panels don’t have the most obvious names, but this a very powerful professional video editor that’s also a pretty good deal, especially since you might not even have to pay for it. If you do pay for it, you get free upgrades for life!

Pros:

• Support for lens corrections and high resolutions
• Advanced visual effects
• Comes bundled with many Blackmagic products

Cons:

• Hefty charge to upgrade (though when you do, it’s yours for life)

Best professional video editing software for Mac: Apple Final Cut Pro

Image credit: Apple

• Pricing: $299.99 / £299.99 outright purchase
• Platforms: Mac, iPad
• User level: Professional
• Website: www.apple.com

In a way, you could think of Final Cut Pro as like ‘iMovie Pro’ in that it uses the same clean and streamlined approach and is typical of the way Apple ‘rethinks’ regular software tools. Its magnetic trackless interface takes a little getting used to at first – it uses ‘lanes’ for multiple audio/video content – but the in situ timeline editing tools are excellent. With AI-powered motion tracking you can match the movement of titles, for example, to subjects in the scene, and with Compound clips you can group related video and audio clips into a single entity for easier organization.

Final Cut Pro is Mac only, of course, and it comes with a pretty stiff one-off license fee. But the cost of ownership over time should prove comparable with Premiere Pro (around $20.99 / £26.49 a month) and Davinci Resolve Studio. Final Cut Pro is a very clever, very powerful professional video editor that every Mac owner should check out – especially since there’s a generous 90-day trial.

Pros:

• Excellent streamlined interface
• Great features for organising clips
• Powerful editing capability

Cons:

• Mac only
• Fairly expensive to license (though again, it’s probably worth it for serious users)

What we look for in the best video editing software

Video editing is a discipline with lots of different moving parts to it, and a good video editing program needs to be able to do more than just put a few clips in order. When we pick the best video editing software, we look at how straightforward and intuitive it is to use the program to perform a number of different video editing tasks, as well as examining the feature-set and interface more broadly. Here, in brief, are the key things we look for a good video editing program to be able to do:

• Cutting, trimming and assembling clips: finished videos/movies will usually be made of a series of clips you assemble in a ’sequence’ or ‘timeline’.
• Audio editing: at the very least you should be able to adjust the volume of your video, but ideally you should be able to add audio tracks or voiceovers and some programs will offer EQ (equalization) settings too.
• Transitions: you can cut straight from one clip to another, but most filmmakers like to use transitions to smooth the, er, transition. You don’t need a thousand flashy effects, just the basics like ‘wipes’ or ‘dissolves’.
• Titles: your movies will usually need titles, perhaps end credits and often captions at different points in the video.
• Tracks: imported video will consist of a video and an audio track combined. More advanced video editors will let you add and combine additional audio and video tracks.
• Grading and effects: colour grading tools are useful for fixing exposure or colour errors, giving all your clips a similar ‘look’. More advanced programs may offer special effects or custom ‘LUTs’ for a specific movie look.
• Codecs and formats: this is harder to pin down because there are so many permutations of video formats, bit depths and colour depths that the only way to be sure a program can work with your specific camera, shooting formats and projects is to check the trial version before you buy. We always recommend this for any software.

Text by Rod Lawton, with contributions from Jon Stapley.

Further reading

• Best cameras for vlogging and video recording
• How to start monetising your video
• How to make a great video recording with your camera
• Guide to video editing
• Best external camera screens

Follow AP on Facebook, Twitter, Instagram, and YouTube.

The post Best video editing software in 2024: free and paid-for tools appeared first on Amateur Photographer.

What are the best settings for recording videos on an iPhone?

Before you start shooting, take time to understand the camera settings on your iPhone.

Taking great videos begins with having the correct settings. Photo credit: Musa Bwanali

Video Resolution

Most iPhones can shoot in 720p, 1080p or 4K resolution. Depending on which platform you intend to use for sharing your video, always select the highest resolution available. This ensures maximum detail and clarity in your footage. Go to the phone’s camera settings to adjust the resolution. Keep in mind that higher-resolution videos will occupy more storage space, so keep an eye on your storage capacity.

Instagram does not display 4K footage so the best setting for shooting reels is 1080p HD at 60fps. This will allow for high-quality videos when you publish them, and will also save space on your device.

Choose the right frame rate for the video you intend to shoot. Photo credit: Musa Bwanali

Frame Rate

The frame rate will depend on your specific needs. The standard frame rate for most videos is 24 or 30 frames per second (fps), which provides a smooth and natural look. However, if you plan to capture fast-moving subjects or want to achieve a slow-motion effect, consider higher frame rates, such as 60 or 120 fps.

HDR (High Dynamic Range)

Enable HDR mode in your iPhone’s camera settings. HDR captures a wider range of colours and details, resulting in more balanced exposure, especially in high-contrast scenes. This setting can enhance the overall image quality of your videos.

Grid Overlay

Use the grid overlay to frame and compose your shots. The grid divides the frame into nine equal parts, following the rule of thirds. Aligning your subject with the grid lines can create visually pleasing and well-composed shots. To enable the grid feature, open your settings, scroll down to ‘camera‘ and switch on the ‘Grid‘.

These settings should provide a useful starting point. From there, adjust them according to subject and location to achieve the desired effect.

How to take video like a pro with an iPhone

The rear camera has a better resolution and video quality. Photo credit: Musa Bwanali

With the right cameraphone settings enabled, it’s time to look at how to capture the best iPhone videos.

1. Always use the back camera. Rear cameras have better quality and better filming capabilities than selfie/front-facing ones.
2. Clean the lens. Before you press that red button, make sure the camera lens is clean. We leave smudges when we hold our phones, which can affect the clarity of the video. Wipe the lens gently with a soft cloth.
3. Use the grid overlay to align your shots and use the rule of thirds to guide you with placing the subject in the best and most flattering frame of the screen.
4. Get the best light. Always try to shoot in well-lit areas and adjust the exposure and focus by tapping the screen of your phone. This allows you to control the brightness and ensure that the subject is in focus. Experiment with different areas of the frame to find the right balance of light.

The grid overlay is a great guide for applying the rule of thirds in your composition and framing. Photo credit: Musa Bwanali

How to go from basic to professional videos on an iPhone

To level up your iPhone videography skills, you will need to invest in a few accessories and put in the time:

1. Stabilize your videos to get those smooth, professional-looking shots. Invest in a tripod or smartphone stabilizer like a gimbal. A gimbal will also allow you to achieve cinematic camera movements.
2. Use an external microphone. The iPhone built-in microphone is decent but an external microphone will elevate the quality of your video.
3. Edit your videos. Use video editing apps to trim clips, adjust colours and add transitions to enhance video quality. This takes time and practice but is highly rewarding when done right.
4. Practice, practice, practice. Videography is a fun and dynamic art that takes time to hone as a skill. Keep experimenting with settings, lighting techniques and ideas for recording videos.

Filming is not solely dependent on your equipment but also on your creativity and storytelling abilities.

Record videos in natural light or as close to a light source as possible (for example a window). Photo credit: Musa Bwanali

If you’re keen to develop your smartphone video skills, you may also want to read:

• Video your life like a Wes Anderson film
• Best smartphones for video
• Best phone camera accessories for photography and video

Follow AP on Facebook, Twitter, Instagram, and YouTube.

The post How to record the best videos on an iPhone appeared first on Amateur Photographer.

At AP, we take videography as seriously as we do photography, and whenever we review a lens we look at its capability for video as well as stills. While there’s a lot of crossover between the two categories – both videographers and photographers generally want excellent sharpness, after all – there are a number of features that are particularly important to video shooters. These include silent autofocus, minimal focus breathing and built-in optical stabilisation, among other things. For a full rundown, you can scroll to the bottom of this page where we’ve put together a quick explainer.

We’ve included zooms and primes for a range of different lens mounts, and have made sure to offer suggestions for a range of budgets. If you’re still searching for the right camera for your video making, check out our guide to the best cameras for video and vlogging. We also have a practical guide to how to shoot video for YouTube with your camera, and if it’s sound you’re worried about, check out our run-down of the best-value audio accessories for video.

The best lenses for video: our quick list

Want to cut to the chase? Here’s a quick glance at the best video lenses featured in this article: 

• Canon RF-mount: Canon RF 50mm F1.8 STM – buy now
• Nikon Z-mount: Nikkor Z 17-28mm f/2.8 – buy now
• Sony FE-mount: Sony FE 24-105mm F4 G OSS – buy now
• Nikon Z-mount (DX): Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR – buy now
• Micro Four Thirds: Panasonic 10-25mm f1.7 Leica DG Vario-Summilux ASPH Lens – buy now
• Micro Four Thirds: Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro – buy now
• L-mount: Panasonic Lumix S 18mm F1.8 – buy now
• Sony E-mount: Sony E PZ 10-20mm F4 G – buy now
• Fujifilm X-mount: Fujinon XF 10-24mm F4 R OIS WR – buy now
• Multiple mounts: Samyang 85mm T1.5 VDSLR AS IF UMC II – buy now
• Sony FE, L-mount: Sigma 85mm F1.4 DG DN Art – buy now
• Fujifilm X-mount: Fujinon XF 18-120mm F4 LM PZ WR – buy now

Read on to learn more about the best video lenses to buy, and don’t forget to check out our guide to the best cameras for video, vlogging and videography.

Canon RF 50mm F1.8 STM

The Canon RF 50mm F1.8 STM is small enough to take anywhere. Photo credit: Michael Topham.

At a glance:

• Mount: Canon RF
• Focal length: 50mm
• Lens construction: six elements in five groups
• Max aperture: f/1.8
• Closest focusing distance: 30cm
• Price: $159 / £199

Canon’s ‘nifty fifty’ lenses have been highly acclaimed for years by photographers using the brand’s DSLRs to shoot stills and video, but with Canon’s introducing a full-frame mirrorless range with cameras like the EOS R6 and EOS RP, a new version was needed. The result is the RF 50mm f/1.8 STM – a lens that balances price, size and a fast maximum aperture beautifully to produce a must-own optic for Canon video shooters.

Measuring 69.2×40.5mm and tipping the scales at only 160g, this lens will balance nicely with cameras like the EOS R6 when paired with a gimbal like the Ronin-SC. The 50mm will give a natural perspective close to that of the human eye and the lens features Canon’s STM motor technology for fast autofocus that will be quiet and won’t pick up on your audio track.

The RF 50mm enables videographers to capture frame-filling footage of smaller subjects thanks to a closest focusing distance of 30cm and features Canon’s Super Spectra Coating to enhance quality. The 50mm lens is also great for talking head video.

Pros:

• Tremendous value for money
• Knurled focus ring offers secure grip
• Super compact

Cons:

• No AF/MF switch
• Focusing isn’t completely silent

Read our Canon RF 50mm F1.8 STM Review

Nikkor Z 17-28mm f/2.8

The Nikkor Z 17-28mm f/2.8 is cheaper and lighter than many similar f/2.8 zooms. Photo credit: Angela Nicholson

At a glance: 

• Mount: Nikon Z
• Focal length: 17-28mm
• Lens construction: 13 elements in 11 groups
• Max aperture: f/2.8
• Closest focusing distance: 19-26cm
• Price: $1,196 / £1,079

The Nikon Z system now includes plenty of cameras with impressive video spec, from the mighty Nikon Z9 and its 8K 30p recording capabilities, to the affordable and vlogger-friendly Nikon Z30. There’s no shortage of excellent Z-mount lenses to choose from when it comes to crafting a video setup, but we’ve opted for the well-balanced Nikkor Z 17-28mm f/2.8. More affordable than you’d expect a zoom with a constant f/2.8 aperture to be, the lens is weather-sealed with a robust construction. There aren’t many on-body controls to speak of, though the focus ring can be assigned to control a preferred function when autofocus is engaged.

While the Z 17-28mm doesn’t have Nikon’s premium S-Line designation, we found it to be a very respectable performer nonetheless. Sharpness is consistent throughout the aperture range as well as the whole of the zoom. Focusing is very quick and practically silent. Flare is controlled-for very nicely too, so you shouldn’t have too many problems shooting into the light. It’s a lens that mostly just works, and keeps out of the user’s way.

The only real issue that might give some video shooters pause is the lack of built-in image stabilisation. If you’re using a full-frame Nikon Z camera, this won’t be a problem as you’ll have the camera’s built-in IBIS. The APS-C models, including the vlogger-focused Z30, lack stabilisation, meaning you’ll likely need to invest in a gimbal.

Pros:

• Good price and balance for an f/2.8 lens
• Image quality excellent throughout zoom

Cons:

• No built-in stabilisation
• Paucity of on-body physical controls

Read our Nikon Nikkor Z 17-28mm f/2.8 review.

Sony FE 24-105mm F4 G OSS

Relatively small and lightweight, the Sony FE 24-105mm F4 G OSS lens balances nicely. Photo credit: Andy Westlake

At a glance: 

• Mount: Sony FE
• Focal length: 24-105mm
• Lens construction: 17 elements in 14 groups
• Max aperture: f/4
• Closest focusing distance: 38cm
• Price: $1,268 / £999

This stalwart, do-everything zoom for full-frame Sony cameras has been around since 2017, and it’s still an excellent choice for Sony shooters looking to capture video. The broad, flexible zoom range running all the way from a wide 24mm to a telephoto 105mm means you’re covered for the vast majority of shooting situations you’re likely to encounter, while the constant f/4 aperture means you’re never forced to stop down when zooming in. It’s also impressively lightweight, at 663g, is much more affordable than professional zooms, and has optical stabilisation.

All very well, but how does it perform? Well, we first published our review of this lens in 2017, and have revisited it a few times since then – and we’ve always come away impressed. Optically, this lens is still an absolute stunner, delivering excellent sharpness all the way through its zoom range, from corner to corner. The kind of compromise you normally have to put up with when picking a 24-105mm instead of, say, a 24-70mm just isn’t evident here, and it’s very hard to imagine a Sony user who wouldn’t be happy with the performance of this lens.

The autofocus is fast, reliable and – crucially – silent, so you won’t have your video’s sound compromised by whirring motors. Switch to manual focus and you’ll also find an excellent experience, with a smoothly rotating focus-by-wire ring. Both this and the zoom ring rotate smoothly and have rubberised coverings that grip well. One thing worth being aware of for video users is that the zoom ring is on the small side, which can make it a bit trickier to pull off smooth zoom transitions while recording. This isn’t a ruinous issue – and practice definitely makes perfect. It’s just something to be aware of.

Proof, if proof were needed, that great design has real staying power, this seven-year-old zoom lens represents fantastic value for Sony FE-mount users. For an all-in-one lens to capture great video content in a range of situations, it’s hard to think of a better option than this.

Pros:

• Exceptional quality throughout zoom range
• Lightweight build
• Optical stabilisation

Cons:

• Zoom ring is a little small

Read our full Sony FE 24-105mm F4 G OSS review.

Nikon Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR

Nikon Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR Lens. Photo credit: Amy Davies

NIKON Z 6_2 · f/8 · 1/60s · 70mm · ISO1250

At a glance: 

• Mount: Nikon Z (DX)
• Focal length: 18-42mm (equivalent)
• Lens construction: 12 elements in 11 groups
• Max aperture: f/3.5-5.6
• Closest focusing distance: 19cm
• Price: $356 / £329

If you’re using one of Nikon’s APS-C mirrorless cameras for video, like in particular the vlogger-friendly Nikon Z30, then it’s a good idea to get hold of some of the few DX-format lenses the firm has available. This is because they are more affordable than their full-frame counterparts, and designed with the smaller sensor format in mind. The Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR is touted specifically as the vlogging lens for DX-format Z-mount cameras, and as such, should be a priority to pick up if you’re shooting video on a Z30, Z50 or a Z fc.

In testing, we appreciated the lightweight design of this lens, which makes it excellent for run-and-gun vlogging. The power zoom design means it stays balanced when you zoom in and out – useful when the lens is mounted on a gimbal. We found the focusing to be consistently fast, only starting to struggle when light levels got seriously low, and quiet enough that it’s not realistically going to produce any noise that will be caught on video. The focus transitions while recording video are pleasingly smooth, and the built-in stabilisation is effective. This is a lens that’s clearly been designed to try and make vlogging as easy as possible, and it succeeds pretty well.

Pros:

• Optimal feature-set for vlogging
• Built-in stabilisation
• Power zoom and silent autofocus

Cons:

• No on-body control buttons

Read our Nikon Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR lens review.

Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH.

Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH.

At a glance: 

• Mount: Micro Four Thirds
• Focal length: 20-50mm (equivalent)
• Lens construction: 17 elements in 12 groups
• Max aperture: f/1.7
• Closest focusing distance: 15cm (AF), 12cm (MF)
• Price: $1,497 / £1,699

An enduringly popular Micro Four Thirds lens, the Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH covers a useful equivalent focal range of 20-50mm equivalent. With a constant aperture of f/1.7, it’s a highly capable lens in low light, and Panasonic has also stuffed it with plenty of features to appeal specifically to video shooters.

These include a mechanism to minimise focus breathing – changes in focal length that occur when an object is brought sharply into focus. It also has stepless aperture control, and a micro-step drive system in the aperture control that keeps exposure adjustments smooth when the brightness of a scene changes. Focusing is silent, too, thanks to the inner focus drive system.

Even though it’s on the pricey side, this has proved a favourite lens among Micro Four Thirds vloggers. So much so that Panasonic later introduced something of a spiritual successor, the Panasonic Leica DG Vario-Summilux 25-50mm f/1.7, for those who want a tighter focal length.

Pros:

• Well optimised for video
• Fast maximum aperture
• Quick, silent focusing

Cons:

• On the expensive side

Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro

Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro. Photo credit: Andy Westlake

At a glance:

• Mount: Micro Four Thirds
• Focal length: 24-200mm (equivalent)
• Lens construction: 17 elements in 11 groups
• Max aperture: f/4
• Closest focusing distance: 15cm
• Price: $1000 / £900

This superzoom for Micro Four Thirds cameras has a claim to being one of the best lenses of its type ever made. Over the generous equivalent focal range of 24-200mm, it maintains sharpness impressively well, making it genuinely useful right the way through that range. If you’re a run-and-gun vlogger or filmmaker who wants to be able to shoot at different perspectives without constantly swapping lenses, the Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro is something of a godsend. Plus, at a little over 500g, it’s not so prohibitively heavy that you won’t be able to carry around for a day-long shoot (one of the benefits of Micro Four Thirds).

The optical stabilisation on this lens also merits particular praise – it’s amazingly effective, especially when paired with Olympus or OM System cameras that allow for Sync IS to further boost the system up to 7.5 stops of compensation. It makes the far end of the telephoto zoom much more useable hand-held than it would be otherwise, further strengthening this lens as a proposition for vloggers.

We gave this lens the full five stars in our review. It’s undeniably an expensive proposition for a superzoom, but it stands head and shoulders above similar lenses for other systems.

Pros:

• Excellent sharpness throughout zoom range
• Very effective optical stabilisation
• Well constructed but not too heavy

Cons:

• Expensive for a superzoom (but worth it in our opinion)
• Stabilisation needs to be paired with specific cameras for full efficacy

Read our Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro review.

Panasonic Lumix S 18mm F1.8

The Panasonic Lumix S 18mm F1.8 is a lightweight full-frame lens. Photo credit: Jon Devo.

At a glance:

• Mount: L-mount
• Focal length: 18mm
• Lens construction: 13 elements in 12 groups
• Max aperture: f/1.8
• Closest focusing distance: 18cm
• Price: $897 / £749

Another wide-angle, fast-aperture prime, but this time it’s for the L-mount, and is engineered to work well with Panasonic’s Lumix S full-frame mirrorless cameras. The Panasonic Lumix S 18mm F1.8 is something of a unique prospect in the L-mount family. Similar alternatives exist, particularly from Sigma, but they tend to be much more expensive and considerably heavier, like the superb but weighty Sigma 20mm f/1.4 DG HSM | A.

With a focal length of 18mm and an aperture of f/1.8, the Lumix S lens is well-suited for general day-to-day vlogging. It delivers plenty of sharpness where you want it, and silky bokeh in the defocused areas of an image. It has also been designed with videographers in mind and there are plenty of clever, useful features to this effect. For instance, the lens includes a mechanism that suppresses focus breathing, meaning it can automatically rack focus smoothly, without appearing to zoom in or out.

It feels like a natural companion for the lighter members of the Lumix S family: the Lumix S5 or Lumix S5 II. But it’ll pair well with any member of the range, and deliver a fast and silent video-shooting experience.

Pros:

• Compact and lightweight
• Excellent optical quality
• No lens breathing

Cons:

• Some comatic aberrations at f/1.8

Read our Panasonic Lumix S 18mm F1.8 review.

Sony E PZ 10-20mm F4 G

The Sony E PZ 10-20mm F4 G pairs well with APS-C bodies., Photo credit: Andy Westlake

At a glance:

• Mount: Sony E (APS-C)
• Focal length: 10-20mm
• Lens construction: 11 elements in 8 groups
• Max aperture: f/4
• Closest focusing distance: 13-17cm
• Price: $648 / £699

Sony’s ‘PZ’ designation means lenses that have a powered zoom design, rather than a mechanical one. This makes any lens with this feature extra well-suited to video as it enables a raft of features that are useful for videographers. The Sony E PZ 10-20mm F4 G can therefore hold focus on a subject when zooming, with the composition remaining appropriately centred. The zooming and focusing action is all entirely internal, meaning the lens stays balanced, making it handy for shooting on a gimbal.

Focus breathing is also minimal, which means that there will be little to no change in angle of view from the minimum focus distance up to the infinity focus setting. The minimum focus distance also stays pretty much the same, from 13cm at the wide end to 17cm at the tele end. A zoom lever on the side of the lens enables proportional action, which allows zoom speed and intensity during video to be fine-tuned very precisely.

In our testing, we found this lens to optically perform very well throughout its zoom and aperture ranges. It’s hugely intuitive to use, thanks to extra features like the Linear Response MF, a manual focus control that makes it easy to make precise adjustments to the focusing. The only real strike against the lens is its lack of built-in stabilisation – it’ll pair best with Sony bodies that have stabilisation built in, like the Alpha 6500 and Alpha 6600.

Pros:

• In-depth zoom control
• Well balanced
• Intuitive manual focusing

Cons:

• No stabilisation
• Cheaper Sony options are available

Read our full Sony E PZ 10-20mm F4 G review

Fujinon XF 10-24mm F4 R OIS WR

The Fujinon XF 10-24mm F4 R OIS WR is a redesigned version of a popular lens. Photo credit: Michael Topham

At a glance:

• Mounts: Fujifilm X
• Focal length: 10-24mm
• Lens construction: 14 elements in 10 groups
• Max aperture: f/4
• Closest focusing distance: 24cm
• Price: $999 / £949

Fujifilm users who want to shoot video have a narrower lens selection than those who use other brands. However, the XF 10-24mm F4 R OIS WR is a lens that comes recommended by Fujifilm as one of the best X-mount lenses for video, and it considerably impressed us in our review. It’s durable and weather-resistant, which is useful for on-location shoots, and its sharpness impresses throughout the zoom range.

The manual focusing experience – an important consideration for video – is first-rate on the XF 10-24mm F4 R OIS WR. The ring is finely grooved, with a fluid feel, and you can take precise manual focus control by rolling your thumb over it at any time.

A lightweight lens, the XF 10-24mm F4 R OIS WR provides an equivalent focal length of 15-36mm when mounted to one of the X-series APS-C mirrorless cameras. It’s a highly credible all-purpose lens for video, and any Fujifilm user with an inclination towards video should think about giving it some space in their kit bag.

Pros:

• Hardy, moisture-resistant build
• Effective optical stabilisation
• Lightweight

Cons:

• Some low-frequency clicking of diaphragm blades (under certain conditions)
• On the pricier side

Read our Fujinon XF 10-24mm F4 R OIS WR review

Samyang 85mm T1.5 VDSLR AS IF UMC II

Samyang 85mm T1.5 VDSLR AS IF UMC II

At a glance:

• Mounts: Nikon F, Canon EF, Pentax K, Sony E, Sony A, Fujifilm X, Micro Four Thirds
• Focal length: 85mm
• Lens construction: 9 elements in 7 groups
• Max aperture: T/1.5
• Closest focusing distance: 110cm
• Price: $269 / £279

A purpose-built cine lens from less than £300? You’d better believe it and if you are starting to take video seriously, it could well be worth taking a good look at this Samyang optic. Available for Nikon F, Canon EF, Pentax K, Sony E, Sony A, Fujifilm X and Micro Four Thirds mounts, the Samyang 85mm is a manual focus optic that features 9 elements in 7 groups including an aspherical element.

The lens features an aperture (A) ring, although on a cine lens the aperture is prefixed with T instead (for example T/1.5) and there’s also a wide geared focusing ring, that will allow videographers to pair this up with a follow focus system, enabling precise adjustments to the focus setting.

Sporting a dust-proof design, the lens also offers Samyang’s Ultra Multi Coating (UMC) technology for better image quality and to provide protection from flare. Other features include an 8-bladed aperture to make the most of the bokeh created from that fast T/1.5 maximum aperture and a 72mm filter thread.

Pros:

• Loads of mount options
• Geared focus ring
• Dust-proof design

Cons:

• Manual focus only
• No optical stabilisation

Sigma 85mm F1.4 DG DN Art

The Sigma 85mm F1.4 DG DN Art mid-test by our reviewer. Photo credit: Michael Topham

At a glance:

• Mounts: L-mount, Sony FE
• Focal length: 85mm
• Lens construction: 15 elements in 11 groups
• Max aperture: f/1.4
• Closest focusing distance: 85cm
• Price: $1,199 / £999

The exceptional optical performance of Sigma’s Art series has been well-known for a while now, but what you may not be aware of is that the Art series shares a lot in common with the construction of Sigma’s Cine lenses, making them perfect for filming video without the additional price-tag.

The 85mm F1.4 DG DN Art gives videographers a lens that can capture tighter scenes and the maximum f/1.4 aperture will create an incredibly shallow depth-of-field that’ll bring a cinematic feel and a higher production value to your movies.

The 85mm f/1.4 Art lens packs in no less than five Special Low Dispersion (SLD) elements to deliver that optical quality but there’s far more to this lens than the glass because the lens also features a de-clicked aperture ring, enabling users to change aperture and balance exposure levels during a live take.

The AF system employs a stepping motor, which is optimised for both phase and contrast detection. Despite these pro features, the 85mm isn’t a lump and weighs in at 630g while offering a familiar filter thread of 77mm, which allows users to add ND filters to further control exposure levels.

Boasting dust and splash resistance, the 85mm f/1.4 Art also features an oil-repellent coating and the build features a mix of aluminium and TSC (Thermally Stable Composite) to keep the construction strong, yet light.

Pros:

• Sophisticated optical path
• De-clicked aperture ring
• Bright maximum aperture

Cons:

• Fixed focal length will limit real-world video use
• No focus distance marks on the barrel

Read our Sigma 85mm F1.4 DG DN Art Review

Fujinon XF 18-120mm F4 LM PZ WR

The Fujinon XF 18-120mm. Photo credit: Amy Davies.

At a glance:

• Mounts: Fujifilm X
• Focal length: 27-183mm (equivalent)
• Lens construction: 15 elements in 12 groups
• Max aperture: f/4
• Closest focusing distance: 60cm
• Price: $899 / £899

An impressively wide-ranging all-in-one zoom, the Fujinon XF 18-120mm F4 LM PZ WR is a great idea on paper, a one-size-fits-all lens to take everywhere. How does it measure up in the real world? Well, in our review we were overall quite impressed. The lens is not without its problems, but it does deliver something unique in the X-mount range and will suit vloggers and video shooters who want to be prepared for all eventualities.

Weighing under 500g, the XF 18-120mm lens slots into a kit bag without causing much fuss. The aforementioned zoom range is hugely useful; some video users might wish for a little more width at the short end, but it’s still a commendable achievement. One unfortunate thing to note for video use is that the zoom mechanism is quite noisy, as is the autofocus. In most cases, it won’t be an issue, but if you’re shooting somewhere with very little ambient noise, odds are it’ll be picked up.

This power zoom lens isn’t the sharpest, but it does a good job in the optimal settings – zoom in a little and stop down to around f/5.6.

Pros:

• Very flexible zoom range
• Lightweight
• Weather-resistant

Cons:

• Noisy operation
• Not the sharpest

Read our full Fujinon XF 18-120mm F4 LM PZ WR review

What makes a good lens for video?

A big, wide-focus ring

There’ll be times when you’re filling scenes with a shallow depth-of-field when you’ll want to take more control over the focusing system and switch to manual focus (MF).

In these scenarios, you want to have as much physical control over the lens as possible.

Thus the lenses to avoid are ones that have impossibly thin focus rings that are very unergonomic and hard to get precise control over.

Instead, look out for optics with a big, wide focus ring that you can get a good grip of.

Better still, focus rings with a pronounced rubberised texture will further aid your hold and prevent your digits from slipping off the focus ring.

A de-clicked aperture ring

An aperture control ring enables users to change the aperture setting via the ring on the lens, rather than needing to fiddle about with the camera body’s dials or menus.

This is important because when you are capturing footage, you’ll be using a set shutter speed, such as 1/100sec.

So, in order to balance an exposure level, you’ll want to adjust the aperture instead (although you can also use ISO and ND filters to balance exposure too).

Some aperture rings are ‘clicked’, which means you feel a physical click or step as you turn the ring.

It’s more advantageous for a video-friendly lens to have a de-clicked aperture ring, that will turn freely without resistance, allowing you to balance the exposure more easily.

Most camera bodies now have in-body stabilisation systems.

Stabilisation

Shaky footage is no good to anybody and while there are other options to stabilise footage – namely in-body image stabilisation (IBIS) within a camera body or the use of a gimbal so the videographer can move around while keeping the camera steady – using a lens with Image Stabilisation technology adds to your ability to keep things steady.

Most IS-enabled lenses offer the user the ability to switch the stabilisation off and on, giving the user even more control.

For the ultimate in stabilisation, pairing an IS lens with a camera body with IBIS will extend the compensation limits.

Lightweight dimensions

Big, heavy lenses are OK for video as long as you are happy to lock off the camera on a tripod, but this usually delivers static and uneventful, uninspiring footage.

If you are going to capture motion by using the camera on a gimbal, or other device, then you want to reduce the load on the gimbal motors… this means using a lightweight and compact lens.

Pancake optics are ideal – for example, Sony’s 16mm f/2.8 not only measures just 62×22.5mm but also tips the scales at a mere 67g, making it a gimbal-friendly choice for videographers on a budget.

Advanced coating

When shooting video, you’ll more than likely want to shoot a lot of ‘contre-jour’ (literally shooting ‘against the day’) shots when you shoot into the light to capture backlit subjects.

These high-contrast lighting situations can flummox inferior lenses and produce huge amounts of flare and specular highlights.

When looking for a lens that you can use for stills and video, make sure it has a decent level of coating to protect against these issues.

Most modern cameras offer a wide array of video-shooting features

A fast maximum aperture

For those beautiful, shallow-depth-of-field shots that add a heavy layer of cinematic style to your footage, you’ll need a lens that offers a fast maximum aperture.

Regular kit lenses often have a variable aperture so at best, you may be able to use f/3.5, but if you zoom in, you’re more likely to have a maximum aperture of f/5.6, which won’t give you the shallow depth-of-field you’re looking for.

Instead, look for lenses that have a maximum aperture of f/2.8 or faster.

A standard to mid-telephoto focal length

One common mistake many photographers make when moving into video for the first time is to select a lens that’s too wide.

Of course, there will be times when a wider angle view will suit the scene, but going too wide all the time can leave subjects in the frame looking too small and lost.

A standard or mid-telephoto focal length, such as 50mm, is a great place to start as this focal length is similar to the natural perspective of the human eye.

A fast motor

Picking a lens with the right motor system is crucial when selecting a video-friendly optic.

Sluggish motor systems will not only struggle to keep up with a moving subject in the frame, but they will also create ‘lens hum’, which can be picked up on your microphone and ruin your audio.

By contrast, a lens with a fast, modern motor system will be quiet, fast and accurate… thus leading to more usable footage.

Practice makes perfect with videography.

Familiar filter thread size

ND filters can prove useful when shooting videos as well as stills.

With your shutter speed locked in at 1/50sec or 1/100sec, it can be easy to overexpose a frame, particularly if you wish to employ a fast aperture like f/1.4 to create a shallow depth-of-field.

A video-friendly lens with a familiar filter thread size (such as 67mm, 72mm or 77mm) will mean you probably already have a ND filter (whether it be a screw-on or via a filter holder) that you can use to balance your exposure level.

Text by Matty Graham, with contributions from Jon Stapley.

Further reading

• How to record great quality videos with your camera
• Find the best cameras for video, vlogging and YouTube
• Best video editing software, including free tools
• Best external camera screens

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post The best lenses for video in 2024 appeared first on Amateur Photographer.

Great video footage without great audio… is not great video!

Picture credit: Sennheiser

The best-value audio accessories for video – your need-to-know guide

Microphone essentials

A huge range of microphones exists to suit all situations. Top end broadcast-level kit is expensive, but our focus here is on products that suit enthusiast creators and vloggers without breaking the bank.

The lavalier mic (this is a Sennheiser unit) is tiny and discrete. For wireless use, it can be plugged into a dual mic like the Rode Wireless Go II which has its own integral mic. Picture credit: Sennheiser and Røde

For convenience and discretion, the lavalier or ‘lav’ mic is tough to beat. A small device that clips onto the speaker’s lapel (or thereabouts), it’s then plugged directly into the camera or computer – or a transmitter elsewhere about the person.

Wireless mics for use with phones and tablets are available. Wired mics need a cable with the correct connection to suit the recording device. Most cameras have a 3.5mm mini-jack socket for microphones and headphones, and connecting cables come with different endings. For a mobile phone you will need a TRRS mini-jack cable. TRRS stands for “Tip-Ring-Ring-Sleeve”: these are the four conductors in the cable. Cameras take the TRS (Tip-Ring-Sleeve) jack.

A look at the jack pin shows the difference:

A popular device is the dual lav mic eg the Røde Wireless GO II and Joby Wavo Air. In this type, the microphone and transmitter are combined as one unit. Although a little bigger – so more obvious in-shot – they are versatile and can accept an external lav mic. This gives the option of working it either way. The signal from the mic/transmitter is sent wirelessly to the receiver, which is plugged into the device or camera.

The working range of such devices can be considerable – from 50m upwards – so they’re perfect when the speaker is moving around, and for long distance commentaries. For crisp, clear results, position the lav mic within a handspan (9 inches or approx.) of the mouth (and certainly no more than 12 inches); also, make sure it is free of clothing for a clean signal and to avoid rustling noise.

The full-frame Sony ZV-E1 costs £2300 and is aimed at vloggers, shown here fitted with its dedicated furry windshield to help keep wind noise down.

The full-frame Sony ZV-E1 costs £2,179 / $2,198 and is aimed at vloggers. Shown here fitted with its dedicated furry windshield to reduce wind noise. Picture credit; Sony

Shotgun mics and windshields

Speaking of unwanted external sounds, even the gentlest breeze can render outdoor video recordings unusable. To minimize this, the mic is best covered with a windshield, muff or ‘dead cat’ made from open cell foam or synthetic fur. The windshield might be part of the mic’s integral design made from metal or plastic. Many mics combine smart design with an extra physical shield to the same effect.

The lav mic is popular for shooting on location and for interviews, but the keen video shooter has other options besides. The shotgun mic is a long thin microphone that can be mounted on-camera, or used off-camera on a stand, or with a boom arm. Such mics have a unidirectional pick-up pattern, making them most sensitive in one direction, ie front of the mic, although they are sensitive to the sides and behind too.

When a shotgun mic is used on the camera’s hot-shoe, the speaker needs to be centrally positioned in the frame for the best results. Its narrow pick-up region will cause a noticeable drop in signal if the speaker drifts off axis.

Different scenarios need different mics for the best results. For vlogging indoors an on-camera mic like the Røde VideoMic is a good option, while a lavalier wireless set-up would suit location shooting. Picture credit: Røde

Desktop mics

For adding a voice-over, streaming and for podcasting, you need a desktop mic in addition to a shooting mic. You may already have a suitable one for home use or working that you can utilise.

Microphone pick-up, or polar patterns determine how much of the signal is picked up from different directions. These vary, so will require some research depending on the nature of your video priorities. For on-camera vlogging, I find a cardioid or super-cardioid is good. Adding commentary from behind the camera can be well-served by a bi-directional mic with front and rear sensitivity. For general shooting, a sub-cardioid mic with a wider front focus works well.

Mics are very sensitive to sound generated by vibration. This can be averted by holding it in place with stretchy elastic absorbers in a shock mount to absorb the vibration. This is optimal whether on-camera, or on a stand or desk. I find that these can slip out of position, so it’s worth checking that absorbers are correctly fitted and gripping the mic properly before you start recording. Some mics come supplied with a dedicated shock-mount. Third-party options are available from brands including Rycote, Smallrig and Røde.

A pair of quality headphones to monitor audio while shooting and for editing afterwards will soon pay for themselves. The Røde NTH-100 are shown here. Picture credit: Røde

Headphones

The Nikon Z6 II has both microphone and headphone 3.5mm ports, alongside HDMI and USB-C ports. A camera with an on-board headphone port is the most convenient solution for most people; models with this feature include the Canon EOS R6 Mark II, Fujifilm X-H2S, Nikon Z6 and Panasonic Lumix S5 II.

A suitable pair of headphones need not cost a fortune. Audio quality needs to be just good enough to check recordings and what the mic is picking up. Comfort is not critical, given that they are for occasional rather than constant use on location. They could come in for some wear and tear on location, so I would resist expensive headphones there. Our advice is to buy a decent, good value pair for location use and invest in a higher-quality pair for home studio use.

Read on for our pick of the best value audio accessories for video

1. Hollyland Lark M1 wireless microphone

At a glance

• Pricing: M1 Solo: $89 / £90
• M1 Duo: $109 / £164
• User level: beginner to intermediate
• Website: www.hollyland.com

The Hollyland Lark M1 is a truly compact wireless mic system available in two variants: the Solo with one transmitter and one receiver, and the Duo (above) which consists of one receiver and two transmitters. The transmitter has an integral mic while the duo kit comes with a matching charging case.

The Lark M1 system uses the 2.4Ghz bandwidth and features Adaptive Frequency Hopping (AFG) and HearClear noise cancelling to filter out annoying ambient sounds. Fully charged, units have an eight-hour life and a working range of up to 650feet/200m. Charging is via USB-C. The charging case of the Duo does the job in 1.5 hours and can recharge the TX/RX units twice.

2. Joby Wavo Air

At a glance

• Pricing: $250 / £189
• User level: beginner to intermediate
• Website: www.joby.com

Joby’s Wavo Air kit comes with all the essentials for a versatile, high quality wireless mic system. The outfit includes one receiver and two transmitters with integral mics with windshields. If you prefer wired lav mics, two of these are supplied too, complete with foam windshields. TRS-TRS and TRS-TRSS cables are also provided for camera and smartphone use. All three units are USB-C rechargeable and once fully charged will deliver up to six hours of working life. The Wavo Air system is easy to use and pair instantly when powered up. The result is excellent audio clarity that is up to 50m working range.

3. Røde VideoMic NTG

At a glance

Pricing: $229 / £199
User level: beginner to intermediate
Website: Rode.com

The VideoMic NTG is a versatile shotgun mic that will deliver an impressive performance where and whenever you need it. On-camera, its highly directional pick-up pattern delivers a natural, transparent sound. This is enhanced by an innovative tube design featuring acoustic perforations along the length of the mic. For recording voice-overs and podcasts the VideoMic NTG is a highly capable USB mic too. In USB mode, the 3.5mm jack doubles as a headphone output for auto-monitoring.

A range of supporting features help you optimise audio in all situations. There’s a high-pass filter, high frequency boost to enhance detail and an infinitely variable gain control to tailor output to your devices. The 3.5mm output port is auto-sensing which means no fuss when you change from using your camera to a smart device. The mic comes with a shock-mount.

4. Røde Wireless GO II

At a glance

• Pricing: $225 / £259
• User level: beginner to intermediate
• Website: Rode.com

Incredibly compact and versatile, the Røde Wireless GO II outfit comes with a dual channel receiver and two transmitters. Series IV 2.4GHz digital transmission and 128-bit encryption produce clean, stable audio even in challenging RF environments with a 200mm line of sight operating range. It is also universally compatible with cameras, mobile devices and computers.

The system also has on-board recording with up to 40 hours of internal memory so if your device’s recording gets corrupted, you have a back-up. The on-board rechargeable lithium-ion battery give up to seven hours of working life.

With its pro-level sound quality, user friendly nature and incredibly versatility, this is an excellent mic system and it’s supported by a desktop and mobile companion app which helps you enjoy its full potential without fuss.

5. Sennheiser MKE 400

At a glance

• Pricing: $200 / £169
• User level: beginner to intermediate
• Website: https://en-uk.sennheiser.com

Designed for vloggers and content creators, the Sennheiser MKE 400 is a compact, lightweight shotgun mic with a super-cardioid sensitivity pattern; so it’s most responsive to where it is pointing. It delivers audio with impressive clarity and a low-cut filter helps minimise wind noise and a three-step gain sensitivity switch lets you adjust the mics’ responsiveness for different situations. There’s also a built-in windshield and shock-mount to reduce camera-handling noise.

The MKE 400 suits use on DSLR and mirrorless cameras, but also comes supplied with locking 3.5mm TRS-TRS and TRS-TRRS coiled cables so you can apply the mic’s talents to your mobile devices too. Another plus point if your camera does not have a headphone port is that the MKE 400 has a 3.5mm headphone monitoring port. This allows direct audio checking, and sound levels can be adjusted with an integrated volume control.

6. Beyerdynamic DT 240 Pro headphones

Pricing: $70 / £69
User level: beginner to intermediate
Website: www.beyerdynamic.com

Attractively priced, these high-performing, compact and robust headphones are equally happy in the studio or out on location. They are friendly with most devices requiring little amplifier power for decent volume. This makes them perfect for use with laptops, smartphones and cameras.

User comfort rates highly too. The ergonomic headband and specially designed ear cups are comfortable for extended listening while eliminating sound leakage. Handily, the ear pads and cable are replaceable, so the product has a potentially long working life.

Sound quality, as you would expect from Beyerdynamic. is first rate. Clean well defined deep bass, smooth mid-tones and clear treble are produced. Offering good value, comfort and decent performance, the Beyerdynamic DT 240 Pro headphones are ideal for the vlogger and video maker.

7. Røde NTH-100 headphones

At a glance

• Pricing: $149 / £89
• User level: beginner to intermediate
• Website: Rode.com

Røde is a renowned brand for mics and relatively recently has branched out into headphones. The NTH-100 is an impressive pro over-ear headphones perfect for mixing, recording and podcasts. Their great sound is thanks to custom-matched 40mm dynamic drivers in over-ear closed-back ear-cups that give very good isolation from external sounds and no leakage.

Also, low impedance and high sensitivity make the NTH-100s easy to drive from any interface and mobile device. They aren’t especially compact, but are good value and sound great. The luxurious Alcantara cushions, coupled with Røde’s CoolTech gel, make them super comfortable for long periods of editing and daily listening.

8. Tascam Portacapture X8 recorder

At a glance

• Pricing: $399 / £410
• User level: Intermediate to advanced
• Website: www.tascam.eu

This a powerful highly featured, multi-track audio recorder suitable for all sorts of audio applications – and is designed to be easy to use. After start-up, the device shows the Launcher which lets you quickly pick the best settings for the situation with presets – voice, podcasts, music – you can start recording without having to dig deep into the Portcapture’s features. Alternatively, go fully manual and record up to six audio sources and a stereo mix.

Premium dual A/D converters with 32-bit floating point resolution enables wide dynamic range recordings, so can cope with very loud or deathly quiet sources. The levels can be edited without impacting the signal-to noise-ratio, so output quality remains high.

The unit comes with two high-quality condenser mics as standard, and these can be arranged in A-B or X-Y pick-up patterns. Adding the optional Bluetooth adapter gives you wireless control via the Portacapture Control app.

Further reading

• Best video and vlogging cameras
• How to make a great video recording with your camera
• Best accessories for video
• Best video-editing software, including free tools
• Common video problems and how to fix them
• How to get started with vlogging

Follow AP on Facebook, Twitter, Instagram, and YouTube.

The post Best value audio accessories for video appeared first on Amateur Photographer.

These days, we carry a device capable of shooting video pretty much everywhere, contained in our phones. And we encounter video most days – we log onto Zoom calls, idly watch TikToks, YouTube, consume streaming TV shot on expensive cine cameras etc.

There are so many different devices that can record video, and most of us don’t need to consider the little imaging sensors that sit inside them. For those actually in the business of shooting video though, it’s a question of real importance.

The tiny sensors inside smartphones can capture great-looking video (albeit usually with some computational help from the phone’s processor). Experienced videographers, however, understand the advantages of other camera formats for filming top-class footage. Full-frame, APS-C, Micro Four Thirds, medium format – these are all popular sensor formats. Indeed, many will use more than one, switching between them for different situations.

For more on video, check out our guides to the best cameras for recording video and vlogging, the best lenses for video, and the best video-editing software, including free tools.

Content creators have the option of several formats, from smart phones with sensors from 1/2.55in up to 1in, compacts with 1in sensors to 35mm full-frame and medium-format. Experienced photographers and videographers will very probably be using Micro Four Thirds (MFT), APS-C or 35mm full-frame formats for their movie work

Early on, digital compact cameras had small sensors and consumer-level DSLRs were APS-C format while full-frame and medium-format digital remained the preserve of pro photographers.

With time, full-frame cameras have become more affordable, especially for models that have been around a while. The Panasonic Lumix S5 body, for example, can be had for around $1250 / £1150 – a big saving from its launch price. The Sony A7 II, though it’s a good few years older than the S5, can be picked up for around $850 / £750, and that’s a tremendous price for a capable full-frame camera.

The Panasonic Lumix S5 is a capable photo/video hybrid and now even better value for money. Panasonic is represented in two formats, 35mm with its S-series and the G-series which is Micro Four Thirds

With budget being a potential barrier to entry to full-frame, the smaller APS-C and Micro Four Thirds formats offer a more cash-friendly route to serious video capture and with them comes the added benefits of less weight and bulk.

Another option is medium-format, which is now more affordable than ever, but does that make it a good option? 

The Fujifilm GFX 50S with battery grip. Photo credit: Fujifilm

That’s not to say that today’s medium-format gear is cheap because it isn’t, but thanks firstly to Pentax with its 645Z and then Fujifilm and Hasselblad, more photographers can enjoy its benefits. Fujifilm has probably been the most aggressive brand in this sector with a regular churn of new cameras and lenses. The Fujifilm GFX 50S II with standard 35-70mm zoom currently sells for $3500 / £3200, which is significantly less than some top-end full-frame cameras.

Sensor size – a refresher

Stills photographers and video creators have a wide choice of formats, from mobile phones and compact cameras up to full-frame and medium-format. If ultimate picture quality is a key consideration, the larger the image format the better. That said, it is remarkable what smaller formats are capable of and many pro image creators use, for example, Micro Four Thirds, with no complaints at all.

Just a nod to the world of CINE cameras, there’s a multitude of formats with Super 35 or S35 (24×18.6mm) being one of the mostly widely used and it’s supported by lens makers.

Sensor size: lens options

Format options. The larger the image format the bigger camera and lenses. From left to right: Micro Four Thirds, APS-C, 35mm full-frame and medium-format. Image credit: Will Cheung

The sensor size of your camera dictate which lenses you can use. Different camera systems have different lens mounts of course, but in some cases even within the same system, there are certain lenses that are only useable on smaller sensor cameras. Sony E-mount is an example here, as are Canon and Nikon’s DSLR and mirrorless ranges.

Larger sensors not only require larger camera bodies to house them, but also larger lenses to use with them, and this adds to the overall bulk of your setup. When shooting handheld all day, the weight of a medium format system will tell a lot more than would a Micro Four Thirds. The weight of the heavier system could exacerbate the effects of camera-shake, meaning you’ll need to rely more on your stabilisation system.

Of course, there are some lens-based advantages to using larger sensors. Video shooting tends to favour wider focal lengths, and these are more plentiful on full-frame systems because there’s no crop factor – i.e. a smaller image field that cuts into the effective focal length of the lens, narrowing the field of view.

Sensor size: Smartphones

Smartphones have small sensors, typically measuring 1/2.55in or 1cm across, and some higher-end models have 1/1.3in units. These are tiny in comparison with those found in mirrorless cameras. Consequently, stills image quality suffers from digital noise and quality falls off with print enlargements beyond A4. However, phones are really convenient – most of us don’t go anywhere without them – and easy to use too.

Apple iPhone 14 Pro Max has a host of imaging features including 4K HDR at 24fps and action mode for stable run-and-gun footage.

For video shooting for social use, models such as the Apple iPhone 14 Pro, Google Pixel 7 Pro, Samsung Galaxy S23 Ultra and Sony Xperia Pro 1 are highly capable for a portable solution. In most cases, these have the ability to shoot wide, macro and telephoto, with powerful computational photography and in-body processing skills. The latest smart phone is a compelling option.

Sensor size: Compact cameras

Thanks to the inexorable rise of the camera phone, compact cameras are not the force they once were, but many excellent models still circulate. There are two types of compact camera: the bridge-type version based around a powerful wide-ranging zoom lens and the classic compact with a fixed semi-wideangle standard lens.

A popular bridge camera is the Nikon Coolpix 950 which sells at $797 / £849. It has a 83x range optical zoom giving the 35mm equivalent focal length range of 24-2000mm and it is fitted with a 1/2.3in sensor (8.8×6.6mm) with a 16.7Mp resolution. A downside of such small sensors is the large amount of digital noise (grain) you get at high ISO settings, and fast speeds are needed to enable action-stopping shutter speeds with the longer telephoto settings. The high amount of digital noise has a severe impact on fine detail and looks unsightly.

The Nikon Coolpix P950 is a versatile bridge camera and has 4K/30p video capability

Fixed lens compacts have larger sensors, 1in (13.2×8.8mm) or APS-C, for superior picture quality. Popular examples include the $1300 / £1049 Sony RX100 VII which has a stacked 1in sensor and a 20 megapixel resolution while the $1400 / £1349 Fujifilm X100V has an X-Trans CMOS 4 APS-C sensor with a 26.1 megapixels.

Sensor size: Micro Four Thirds

Micro Four Thirds or MFT is the smallest interchangeable lens camera format. It measures just 17.3 x 13mm, giving the format a 2x crop factor, compared with 35mm full-frame. This crop factor has an incredibly useful benefit for long lenses: a 300mm lens used on a MFT camera gives the equivalent view of a 600mm lens on full-frame.

We did note higher levels of digital noise at faster ISO settings due to the smaller sensor. With the latest noise-reduction software available, it’s not an issue using high ISOs for stills.

The smaller sensor size gives other benefits too, with not only smaller cameras, but also smaller lenses. In-body image stabilisation is often more effective, as a smaller sensor is more easily moved than a larger one. The Olympus / OM-System range are widely considered to have some of the most effective stabilisation systems in the business, and their mirrorless cameras all use MFT sensors. This does have a trade-off though – the aforementioned crop factor of Micro Four Thirds may necessitate working more frequently at longer effective focal lengths. This exacerbates camera-shake, making effective stabilisation the more necessary.

As well as OM Digital Solutions (the name behind OM System, formerly known as Olympus Cameras), another brand that releases cameras in this format Panasonic Lumix, and this is a well-respected name in the video community. The 25.2 megapixel Lumix GH6 from Panasonic sells for $1698 /£1799 and is one of the best hybrid cameras around with an awesome array of recording options that includes CINE 4K/60p, 5.7K/60p and raw formats via HDMI to an external drive.

The Micro Four Thirds format is based on a 17.3x13mm sensor. This is the sensor of the OM Digital/Olympus OM-1. Image credit: Will Cheung

Sensor size: APS-C

The APS-C format came about with the Advanced Photo System. The APS system used 24mm wide film and you could shoot one of three formats – the whole 30.2×16.7mm frame was exposed regardless – to give prints of different ratios.

APS-C (Classic) gave a format of 25.1×16.7mm for 3:2 ratio images and that concept has stuck, although the size of the sensor does vary. Canon is typically 22.3×14.9mm, while Fujifilm is 23.5×15.6mm, Nikon 24x16mm, Pentax 23.5×15.6mm and Sony 23.6×15.6mm. In terms of crop factor, Canon APS-C cameras give 1.6x while Fujifilm, Nikon, Pentax and Sony are 1.5x, so a 100mm lens on an APS-C camera gives an equivalent 160mm or 150mm field-of-view on a full-frame camera.

Fujifilm is a leading player in this format with video. The flagship X-H2S is $2499 / £2499 body only and its stacked 26.1 megapixel sensor and super-fast X-Processor 5 enables video recording in 4K/60p, 4K/120p, 6.2K/30p and Full HD/240p with various file options including Apple ProRes support. Once again, the smaller sensor size enables highly effective in-body image stabilisation systems, with the X-H2S boasting an IBIS system that can provide up to seven stops of effective compensation.

This is the APS-C format sensor of the Fujifilm X-T2. Image credit: Will Cheung

Sensor size: full-frame (35mm)

Full-frame is the classic 36x24mm image size; it does vary very slightly depending on the brand (Nikon’s FX format is 35.9x24mm) and it’s supported by Canon, Leica, Nikon, Panasonic, Pentax and Sony camera brands and by almost every lens manufacturer.

The crop factor of the 35mm full-frame format is 1.0x. This format was chosen as the crop factor reference point because it was the universally popular format, and most photographers knew the view a 24mm, 50mm or 100mm lens produced. So, saying a 12mm lens on a MFT camera gives a view like 24mm on full-frame, most camera users could appreciate the look it gave. When it comes to choosing a full-frame camera for video, you are spoilt for choice.

This is the 35mm full-frame sensor from the Nikon Z8. Image credit: Will Cheung

One of our favourites for video is the Canon EOS R6 Mark II with 4K/60p, and highly capable AI-driven subject detect AF – it’s very good value too with the body selling at $2499 /£2779.

Sensor size: medium format

There are several formats that come under the medium-format banner, but for this feature let’s say it is 44x33mm, a format supported by Fujifilm, Hasselblad and Pentax. The upside of the larger format is its incredible-quality stills.

However, a bigger body is needed to house the sensor and you then need lenses to project a big enough image circle to cover the format and this means larger optics. Also, with models using 50 or 102 megapixel sensors, file sizes are large so a powerful computer and lots of storage are essential.

The 44x33mm format crop factor is 0.79x, so a 100mm lens on this camera type will look like a 79mm lens on full-frame, ie it gives less of a telephoto effect. The Fujifilm GFX 100S costs $5499 / £4779 and gives 102MP stills while for video you can capture in 40K/30p internally. Via the HDMI port there is also the option of 12-bit Raw. More recently, Fujifilm has announced the Fujifilm GFX100 II, which offers 8K video recording, though comes with a pretty wince-inducing price tag of $7499 / £6,999 body-only.

This is the 44x33mm 102-megapixel sensor of the Fujifilm GFX100S. Image credit: Will Cheung

Which sensor size for video?

There are many factors to be considered when it comes to deciding which camera format to use for video. The obvious solution is to use whatever you own, at least to start with. However, as is often the case in modern imaging, matters aren’t necessarily straightforward and the kit and your intentions with the final results are points to consider.

If your phone or camera has been with you for a few years, its video skills might be limited to Full HD, which is 1920×1080 pixels. That is good enough for many purposes, but you may want more pixels for better image quality and greater cropping power.

Most newer cameras offer at least 4K UHD or Cinema 4K so you get 3840×2160 or 4096×2160 pixel images respectively – many more pixels and four times the number in Full HD. Indeed, such is the rate of progress in the video world, the very latest high-end cameras such as the Canon EOS R5, the Nikon Z9 and Sony Alpha A1 can record full-frame 8K, which is 7680×4320 pixels and four times the number of pixels in 4K.

If you own an 8K resolution TV you can appreciate the quality as a viewer, but shooting 8K video is demanding and at a 30fps frame rate you are recording huge amounts of data. On a Canon EOS R5, for example, shooting 8K/30p means you are shooting the equivalent of 33-megapixel resolution stills at 30fps, so you will very quickly fill the memory card and during long recording sessions, heat build-up is a potential hazard.

The 8K capable cameras mentioned previously are top-end models costing upwards of four grand, but the hardware landscape is constantly evolving and the recently introduced Fujifilm X-S20 can shoot 6.2K/30p and it is competitively priced at $1300 / £1249 for the body only.

Lens appeal. These four optics are not direct focal length comparisons, but they are standard zooms for their respective formats to give you an idea of size differences. From left to right: Micro Four Thirds, APS-C, 35mm full-frame and medium-format. Image credit: Will Cheung

Having access to 8K and 6.2K is all very well, but you have to ask, do you need such high resolutions. Bigger files mean you can crop into footage without impacting too much on quality, but you might have to upgrade your computer and storage capacity to cope with all that data. 4K is probably the more practical proposition for most people and this resolution is on offer across the four camera formats discussed here.

When it comes to making a decision, you need to think about what you intend shooting and how the final footage will be used. If you plan to film wildlife, that means seriously long telephotos and that rules out medium-format where such lenses might not even be available – unless you buy a lens adaptor and fit a 35mm format lens and shoot cropped footage.

For family occasions, travel and vlogging, standard lenses will have the range to cover core opportunities and with IBIS (In-Body Image Stabilisation), face/eye/subject detect tracking AF shooting handheld is possible. Bear in mind, though, that shooting video is rarely done with the camera on its own. For quality sound, you need a camera-mounted microphone or a wireless system and if the light is challenging an LED light is handy, as too is a pair of headphones for sound monitoring. See our guide to the best-value audio solutions when recording video.

A monopod, tripod or gimbal are essential when you need stability. Most enthusiasts will be recording to the internal card, but there is the option of recording to an external memory device, complete with a hefty battery placed on the hot shoe and plugged into the camera’s HDMI port. See our guide to the best external camera screens for video.

The Atomos Ninja V+ sells for $600 / £629 and is compatible with almost any camera with an HDMI output. It’s a 5.2in touch screen monitor that can record up to 8K/30p ProRes Raw, and its bright output means you can see the image and menus even in sunshine.

The more kit you bolt onto the camera and have in the bag, the bulkier your outfit becomes. Basically, shoot video seriously and you’ll need a lot of kit and that takes up space in the bag and adds to your burden.

In this context, using a smaller format camera has more appeal because it is simply more user-friendly, which is important if you are shooting for pleasure. So, the practical side of shooting might determine which format you prefer to shoot while another factor is aesthetics.

You can throw the background out of focus with smaller formats using the right lens and aperture setting. Image credit: Will Cheung

In stills, keen photographers often talk about the ‘look’ of medium-format. This is not just a reference to the clarity and super-smooth tonality, but also the amount of depth-of-field and background blur that gives a 3-D feel to pictures taken on larger sensor cameras.

But what is the reality and is that a motivation to use medium-format? The fact is that you can achieve comparable pictorial effects across the formats by a combination of lens aperture and focal length.

As an example, with the camera position and subject constant, shooting on Micro Four Thirds with a 40mm lens set to f/4 gives the same depth-of-field as an 80mm lens used at f/8 on a 35mm full-frame camera. This is called equivalency. The long and the short of it is that there’s opportunity to use shallow depth-of-field with appropriate apertures and lenses with all four formats, but that potential is greater with the larger formats.

All that said, with the computational photography features available in high-end phones and some of the latest cameras, all manner of creative effects can be achieved in-camera without the need to switch lens or adjust lens aperture.

Putting the sensors to the test

To look into the quality difference of the different formats I shot some 4K test video with a quartet of interchangeable lens cameras, one of each format: the Micro Four Thirds OM System OM-1; the APS-C Fujifilm X-S10; the 35mm full-frame Canon EOS R5; and the medium-format resolution monster, the Fujifilm GFX 100S. Each camera was mounted in turn on a tripod and 4K footage was shot at the highest frame rate of each camera.

Playing the recordings on a 4K 27in monitor showed that they were all very good. There was some white-balance variations in the out-of-camera footage but that can be sorted in editing. Get granular and the very fine lines on the chart were more clearly defined as format size increased, but this is only noticeable by taking time and looking closely. In the real world you’re not shooting test charts, and the colour, tonality and resolution of all four formats was excellent at normal viewing subjects.

Micro Four Thirds, OM System OM-1

APS-C, Fujifilm X-S10

Full frame, Canon EOS R5

Medium format, Fujifilm GFX-100S

In summary: does sensor size matter for video?

The short answer is probably not. Much of this is due to how we consume video. We watch videos for the experience, or to learn from the content, not to scrutinise technical quality. With stills, content is obviously important, but we are much more likely to dig into an image’s technical qualities.

Then there are the practical considerations. Medium-format is more affordable than ever, but it remains a significant investment and it’s bulky, and the depth of supporting lenses, particularly telephotos, isn’t there. That is not an issue with the smaller formats, and the quality of video output from these cameras is remarkably good and impressive enough for pro use. What’s more, their more compact stature makes shooting more enjoyable.

If you are setting up a video outfit from scratch and choosing between Micro Four Thirds, APS-C and full-frame, you’re unlikely to be disappointed whichever you decide on. You need to carefully check out the video spec of the cameras within your budget, as well as the lenses available. A great start would be a camera that can shoot uncropped 4K/50p or 60p, equipped with separate microphone and headphone ports, and fitted with a good in-body image stabilisation.

Going for a camera with more advanced recording options such as raw via HDMI might not seem worthwhile right now, but it offers future-proofing as your skills develop, and that is a good thing.

Further reading

The best cameras for video, vlogging and videography
The best lenses for recording video
Best video-editing software, including free tools
Best-value audio accessories for video
Best external camera screens for video

Follow AP on Facebook, Twitter, Instagram, and YouTube.

The post Does sensor size matter for video? appeared first on Amateur Photographer.

• To jump straight to the best cameras, see our guide to the best cameras for video and vlogging.

Vlogging is a term with a broad definition, but generally refers to the practice of posting short, self-shot videos online. These might document an activity, show off a location, or explain a point of view, for examples. A vlogger often talks directly to the camera throughout the video, and may also take it out and about, filming different places and subjects. While some vlogs are shot with a crew of multiple people, many are produced, shot and edited by people working independently and alone.

We’ll guide you through everything you need to get started, plus pick up a few of our great accessory choices as well, to make sure you have everything you need.

A good vlogging camera should make it easy for one person to get all the footage they need by themselves. Photo credit: Richard Sibley

How to choose the best cameras for vlogging:

• Easy-to-reach controls: a large easily accessible record button is helpful, and some cameras are compatible with a grip that has a few controls.
• Mic port: for the best audio quality use an external mic. If your camera has a mic port, usually a 3.5mm connection, you can record the audio directly onto the camera.
• Vari-angle or 180° screen: to see yourself when talking to camera, a vari-angle screen, or one that can be flipped 180° so it’s visible from in front of the camera, is ideal.
• Reliable Autofocusing: eye detection is fairly new to video. Face detection is the next best alternative. The key is that the camera keeps the focus on you when you’re talking to the camera.
• Stabilisation: If you’re going to handhold the camera it’s helpful if it or the lens has stabilisation built-in to take out some of the shake and wobble.

Guide to the different types of cameras for vlogging

The compact camera is where most people start, but there are a range of options from compact action cameras, to compact cameras for vlogging, as well as mirrorless cameras that let you change lenses when needed. Here we’ll go over the main options available:

GoPro Hero10 Black

Action cameras, such as the GoPro HERO range, which is down to just $249 / £249 for the GoPro Hero11 Black Mini. These are designed to withstand rough treatment, as well as being waterproof (although check each models specific abilities first).

Sony ZV-1 Mark II. Credit: Andy Westlake

Compact cameras, such as the Sony ZV-1, and ZV-1 Mark II, are easy to use compact cameras with features designed to make it easy for vloggers of all types to get up and running. There’s also a more budget option available in the form of the Sony ZV-1F, and Canon V10.

Nikon Z30. Photo credit: Tim Coleman.

Mirrorless cameras, such as the Nikon Z30, Sony ZV-E10, and Sony ZV-E1 have been specifically made for vloggers, with a screen that tilts forwards, as well as a wide range of compact and wide-angle lenses.

The Blackmagic Pocket Cinema Camera 6K G2 features an EF lens mount

CINE cameras, such as the Blackmagic Pocket Cinema 4K, are for more advanced users who prioritise control and manual operation, making these most suited to experts, or more advanced videography.

For more options, including the pros and cons of why we have chosen these cameras, have a look at our complete guide to the best cameras for vlogging and video.

Getting started with vlogging and video

Before creating a vlog you need knowledge of, and passion for your subject, and clarity about your key messages or aims. You might, for example, want to create a vlog about a local beauty spot and explain aspects such as how to find it, where to park, best times to visit and good shooting locations. By making these decisions you can think through (and write down) the shots that you need to capture so that you’ll be more organised when it comes to filming.

Think about the stories you want to tell before you start shooting.

Scripting your video

You also need to think about your script. Some people like to write a complete script while others prefer bullet points; however, when you’re starting out, I’d encourage you to write down everything that you want to say because this will help you ensure that you record enough footage. Time how long it takes you to read your script at a nice steady pace, and practice doing so.

Getting the key shots

When thinking about creating a video there are usually a few key shots that pop into one’s head. These become the main clips that tell the story, and will need to be supported by B-roll footage that help set the scene.

With our beauty spot video, a wide shot of the location would be part of the main footage, for instance, while close-ups of details such as leaves waving in the breeze, tumbling water in a stream and a squirrel gathering nuts make nice B-roll, helping the viewer to experience the location without actually visiting.

You will be in a lot of the main footage, talking to the camera. Many vloggers do this with the camera handheld, often mounted on a mini-tripod. With a full-size tripod, you can be a bit further away with more of the background visible.

A standard photographic tripod is fine to start with, but a fluid video head like the Manfrotto 500 ($200 / £149) is useful for making smooth tilt and pan movements. When you’re in front of the camera, look into the lens. The screen is useful for checking that you’ve nailed the composition, are standing in the right place and the camera has focused on you. However, once you start speaking, don’t look at it.

The GP-VPT2BT shooting grip with wireless remote commander, offering additional stability and comfort combined with cable-free connectivity.

Recording the audio

A shotgun mic fitted with a windshield that can be mounted in the camera’s hotshoe or other convenient point is ideal for capturing ambient sounds when you’re outside. Provided you’re close, it can also be used to record your speech, but it’s often best to use a lavalier or wireless clip mic connected to your camera.

The easiest way to get good footage of you speaking is to memorise short sections of your script and repeat them to your camera a bit at a time. You can use B-roll between the clips. Even if you plan to make the majority of the audio a voiceover, it’s worth recording it on location as you’ll capture the ambience of the place.

Editing and publishing your vlog

After you’ve downloaded all your files, watch through everything and make a note of the best footage and audio before importing the relevant clips into your video-editing software. There are lots of options for editing video but Adobe Premier Pro Elements makes a great starting point. Adobe Premiere and Apple’s Final Cut Pro X (Mac only) are both excellent step-ups used by many professionals.

As a general rule, tighter (i.e. shorter) vlogs are better received than long videos with little action. There are alternatives, but YouTube is the go-to platform for vlogs. After you’ve created an account you can create a channel to host your videos. Then it’s just a case of uploading your first video and following the steps to publish it. Once your channel is 30 days old and has at least 100 subscribers, you can set a custom URL. You need at least 1,000 subscribers to start making money from your channel.

Vlogging accessories

Manfrotto Pixi ($25 / £24)

This inexpensive mini tripod doubles as a comfortable grip to hold your camera at arm’s length and it locks tight enough to hold quite large SLRs and mirrorless cameras. When you’re not holding it, you can use the Pixi as a tripod and support your camera on a table or desk as you record your audio, looking into the lens.

The Manfrotto Pixi tripod is a great portable support for light cameras.

X-Rite ColorChecker Passport Video ($115 / £138)

It might seem expensive but the ColorChecker Passport Video can save you a heap of pain, especially if you’re shooting Log footage, as it enables you to set a consistent white balance whatever the lighting. Some video grading software such as DaVinci Resolve, Color Color Finale, 3D LUT Creator and CinemaGrade can even use a clip with the Passport in it to get colour spot-on.

The X-Rite ColorChecker Passport Video is hugely useful for colour grading.

PolarPro Peter McKinnon Variable ND Filter – 2-5 Stop ($249.99 / £249.99 for 67mm)

If you want to blur the background, you need to use a wide aperture. However, you can’t push the shutter speed up in video like you can with stills so you need a good-quality neutral density filter – this one is first rate and doesn’t introduce a colour cast or vignetting. A variable ND saves you having to swap filters throughout the day and allows subtle adjustments in exposure.

PolarPro Peter McKinnon Variable ND Filter – 2-5 Stop.

RØDE Videomic NTG ($249 / £199)

This shotgun mic has a built-in rechargeable battery that gives over 30 hours of life but only takes 2 hours to charge. It comes with a Rycote shock mount to mount it in your camera’s hotshoe or other convenient point. It connects to the camera via a 3.5mm cable but it can also connect to a computer via USB-C, making it nice and versatile.

RØDE Videomic NTG

RØDE Wireless Go II ($228 / £549)

This inexpensive, easy to use and great-sounding wireless mic kit links to your camera via a 3.5mm connection in the receiver. You can use it with a lavalier mic if you like, but the transmitter has a mic built in and there’s clip to attach it to your clothes. You can even connect the Videomic NTG to the transmitter to use it as a wireless boom mic.

The RØDE Wireless Go II has a 200m range and up to seven hours of battery life

Rotolight NEO 3 ($499 / £514 Starter kit, £494 NOW for Ultimate kit. )

Sometimes you need extra light and the Rotolight NEO 3 is a great LED solution that runs on mains power but can also run on AA batteries. It has simple control over the brightness and colour temperature, and comes supplied with a small selection of gel filters and diffusers as well as a hotshoe adapter. It can be handheld or mounted on a stand or tripod.

Rotolight’s award-winning NEO 3 LED light

Your guide: Angela Nicholson

Photographer and journalist Angela Nicholson is our former Technical Editor and the founder of SheClicks, a community for female photographers. She’s been testing camera gear since 2004 and is regularly behind and in front of the camera, shooting stills and video for a variety of platforms. 

Related articles:

• Best cameras for video, vlogging, and videography in 2023
• Best smartphones for video in 2023
• 17 Essential accessories for video
• Eight best filmmaking apps for your smartphone
• How to get outstanding audio in your videos

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post Best vlogging tips and how to get started appeared first on Amateur Photographer.

Using LUTs, or Look Up Tables, saves so much time when compared to colour grading manually – which requires a steep learning curve and plenty of practice. Be sure to check out our guides to the best cameras for video and vlogging and the best video-editing software while you’re here.

LUTs can transform the look of your footage

LUTs for video – the background

Video capture with DSLRs and Mirrorless cameras has been available for some time. Arguably, the Canon EOS 5D MKII, released in 2008, became the DSLR of choice for videographers. Back then, the ability to capture FHD (1920 x 1080p) at 30fps was a game-changer, but video functionality has come a long way since.

In recent years, many photographers have branched out into video thanks to the ability to capture up to 4K (3840x2160p) video at up to 60fps or higher. Thanks to modern cameras offering professional-level video specs, anyone can capture and create high-quality footage. LUTs are one tool that can help you to give your videos a professional-looking colour grading effect.

Check out these YouTube guides to see how LUTs can transform your video

But what exactly are LUTs for video?

If you’ve thought about shooting video with a DSLR or mirrorless camera, you’ve probably seen the term “LUT”. These Lookup Tables are essentially presets for video, used to apply colour space conversions alongside colour and tone effects to video footage, instantly. LUTs are mathematical formulas that tell the software how the input values of brightness, contrast, saturation and colours should be converted.

Of the various types of LUTs available, the most common – and those that will be relevant to most readers – are 3D LUTs that have a .cube file extension. 3D LUTs can convert RGB values alongside tonal information in a three-dimensional grid which essentially means that they can hold much more adjustment information than a 1D LUT, for example.

LUTs are incredibly useful for the sheer amount of time they save in achieving specific effects – including converting footage from one colour space to another and/or applying a specific look or effect to video. This could be mimicking a traditional film stock or applying a colour grading effect. Colour grading is an art form in itself, and LUTs make it possible to achieve cinematic colour effects quickly without the skills of a colour grading expert.

An example of a conversion LUT download page from Fujifilm

Where to find LUTs

Correction/conversion LUTs can often be found on the website of the manufacturer of the camera you’re using. These make flat Log/Cinelike footage look normal by converting it to a specific colour space, typically Rec. 709. Stylistic LUTs are used to apply colour and tonal effects to video. It’s even possible to find LUTs that mimic the colour grading of famous movies.

Stylistic LUTs can be purchased online and there are also hundreds, if not thousands of free LUTs available. Many filmmakers and colourists create paid-for and free LUTs. A quick internet search will reveal the options.

You can even load LUTs into photo-editing software including Photoshop and Affinity Photo, so you can enjoy their effects in both photos and videos. You can also create LUTs in video and photo editing software to save effects and apply them to other photos and videos in that software you use.

Flat versus Standard colour profiles

To capture the optimum video footage, with most scope for making adjustments and applying LUTs, you’ll need to shoot in flat Log or Cinelike colour profiles – provided your camera offers this function. These profiles offer greater latitude for making adjustments, kind of like a raw file in photography. File sizes are typically larger than video shot in Standard/Normal profiles though, and require more processing work at the editing stage – but don’t let that put you off.

Flat Profile, D-Log

Log profiles are available on many cameras with each manufacturer having its own version eg. S-Log for Sony, F-Log for Fujifilm and D-Log for DJI etc. Some cameras and drones may alternatively have a Cinelike flat profile, so look out for these options within the video section of your camera’s menu. Log and Cinelike profiles appear flat and washed out with lifted shadows and retained highlights, to utilise the dynamic range of the camera sensor and retain as much detail as possible.

A normal colour profile

This footage needs to be converted to Rec. 709, which is a colour space, and then corrected in video-editing software so it looks normal rather than washed out; with adjustments made to brightness, contrast and white balance before stylistic LUTs or manual colour grading are applied. The first step can be achieved with a conversion LUT from the camera manufacturer or a third party if available, or by setting up input and output colour spaces for transforming/converting colour in the video editing software.

Converting from F-Log to Rec. 709 using Color Space Transform in Davinci Resolve

Standard colour profiles

If you’re not comfortable shooting with a flat Log/Cinelike, or your camera doesn’t offer these profiles, many cameras have a ‘Neutral’ or similarly named Picture Style that can be selected. These afford the flattest video possible as a starting point for making creative adjustments. Alternatively, you can select any of the Picture Styles available for a straight-out-of-camera look.

Fujifilm Provia Picture Style

There is a downside to this approach compared to shooting with a flat Log or Raw video format. A Picture Style/standard colour profile is the video equivalent of shooting JPEGs, while Log and Raw formats are more closely aligned with shooting photos in raw – with much more control over processing. You can colour grade video shot in one of the Standard profiles, but this approach is much more limited than footage shot in a flat profile.

Fujifilm’s Eterna Cinema simulation, the flattest Fujifilm standard profile

With Standard colour profiles, it’s best to get factors such as exposure and white balance correct at the point of shooting. You can correct these in video editing software, but just like JPEGs there’s much less latitude for making adjustments so there’s only so far you can push adjustments before image degradation becomes a problem.

Fujifilm camera owners have a slight advantage in this area because they can select any one of the Film Simulations to be applied to video. More advanced users can also choose to capture in the flat F-Log colour profile, but the ability to apply Film Simulations is an easy way to achieve traditional film effects. Users of other camera systems can take advantage of Picture Styles with the ability to make adjustments to their parameters such as Sharpness, Contrast and Saturation etc.

How to apply LUTs and colour grade with the free DaVinci Resolve software

Applying LUTs in DaVinci Resolve

Applying LUTs is incredibly simple but it differs slightly depending on the video-editing software you’re using. In some software it may be as simple as using a dropdown menu, in others, LUTs can be applied to Layers and in others it will be to a Node. The software used here is DaVinci Resolve, which uses Nodes – these are essentially the same as Layers, but look more complicated.

Before applying a stylistic LUT to Log footage, it’s important to either apply a conversion LUT to convert the video to the Rec. 709 colour space or do this manually setting the Input and Output Color Space and Gamma. Once this has been done, the footage will immediately look punchier, but you also need to make additional adjustments to white balance, exposure and contrast to create a colour-corrected and neutral starting point before applying a stylistic LUT or manual colour grading.

Manually colour grading is a rewarding process, and even if you plan to apply a stylistic LUT to add a colour effect to your footage, this tutorial will help you to get there because other important steps need to be followed beforehand. We’ll be using DaVinci Resolve for the tutorial, but the process is similar to other video-editing software. Plus, there is a free version of DaVinci Resolve available’ despite missing features when compared to the full Studio version of the software, it remains a fantastic option for video editing and colour grading.

1. Apply the conversion LUT

If you have a conversion LUT to convert your Log/Cinelike footage to Rec. 709 from the camera manufacturer’s website you’ll need to install it and then apply it to the footage. Alternatively, set the Input and Output Color Space and Gamma manually. This will immediately improve the look of the footage and make it appear normal, but this is just a starting point for making further colour and tonal adjustments.

2. Colour correct footage

On another Node or Layer, make white balance and colour correction adjustments to neutralise the footage in terms of colour balance. Here, the white balance controls were used alongside a slight boost in saturation. If you’re unable to colour correct the footage with just the white balance controls, you can use the Shadow, Midtones and Highlights colour wheels for precise control of colour balance.

3. Make tonal adjustments

Create a new Node or Layer and make adjustments to brightness, contrast and shadow and highlight recovery if necessary. For this footage, curves were used to increase brightness and to adjust the white and black points to control contrast. At this stage, you may find that you need to go back to the previous Node/Layer to make fine-tuned adjustments to the colour balance. Once happy, create a new Node/Layer for the next step.

4. Apply stylistic LUT or colour grade
This is the point where you can either apply a stylistic LUT to the new Node/Layer and use Key Output Gain/Opacity to control the strength of the effect. Alternatively, you can apply a manual colour grade. The most basic tools for doing this are the colour wheels and These allow you to target colours to the Shadows, Midtones and Highlights. There’s much more control available, but these will get you started at a beginner level.

How to colour grade Normal/Standard footage in Photoshop

The original in Photoshop

The transition from stills photography to video can be daunting because there are many new skills to learn, and one of the most significant of these is learning how to use video editing software. There is no substitute for using dedicated video editing software, but when you’re getting started Photoshop can be an easy entry point to video editing for some photographers.

The downside is that what you can achieve is limited, and Photoshop can’t handle Log footage – video can only be imported when shot in Standard/Normal profiles. The advantage of using Photoshop, in the early days at least, is that you can work in a familiar software interface while taking advantage of Adjustment Layers to adjust brightness and contrast, apply colour effects and even colour grade your footage.

Colour graded in Photoshop

Colour-grading step by step

1. Apply Adjustment Layers
Open your video clip in Photoshop and Timeline Tab Group will open automatically if it’s not already visible. Controls are limited, but there’s just enough available to edit basic videos and use Adjustment Layers to apply colour and tone adjustments and effects. In this footage, two Color Lookup Adjustment Layers were used: Sienna Blue at 100% Opacity and Gold-Blue at 50% Opacity alongside a Curves adjustment.

2. Export and Render
Once you’ve applied LUTs or adjustment Layers in Photoshop and edited your footage, you can export the video. To do this go to File>Export>Render Video. The options available are self-explanatory, but you can set the Format which is set to H.264 by default, Size to adjust resolution if required, Frame Rate to maintain or adjust the output frame rate and Preset to take control of quality settings.

Top takeaway tip – reduce the opacity of stylistic LUTs for a better result

When using stylistic LUTs you’ll usually find that their strength is too high, so you’ll need to reduce their opacity to arrive at a more favourable result. Some LUTs may look best at 50%, while others need to be as low as 10%. Personal taste and experimentation will always play a role in how strong an effect needs to be, but with stylistic LUTs, less is often more.

Further reading
Best video-editing software including free tools
Best cameras for video, vlogging and videography
Best lenses for video
Best accessories for video
Best-value audio accessories for video

Follow AP on Facebook, Twitter, Instagram, and YouTube.

The post How to use LUTs for colour grading video appeared first on Amateur Photographer.