The following list is based on the findings of our reviews, where we put some of the best mirrorless cameras and best action cameras through their paces. Our full camera testing process includes assessing video capability, and as such this list only includes cameras that have impressed our team with the quality of their video and ease of use. We’ve included plenty of cheap and user-friendly options as well as the high-end stuff, so anyone looking for their first vlogging camera will find something here.

For more beginner vlogging tips, take a read of our guide to making a video for YouTube. We also have a handy guide to how to get started with vlogging.

• Best vlogging camera overall: DJI Osmo Pocket 3 – Buy now
• Best compact for vlogging: Sony ZV-1 Mark II – Buy now
• Best hybrid stills and video camera for enthusiasts: Fujifilm X-M5 – Buy now
• Best mid-range 4K camera: Sony ZV-E10 II – Buy now
• Best 4K Micro Four Thirds camera: Panasonic Lumix GH7 – Buy now
• Best cheap vlogging camera: Canon PowerShot V10 – Buy now
• Best for action and adventure: DJI Osmo Action 5 Pro – Buy now
• Best full-frame video camera for 4K: Panasonic Lumix S5 II – Buy now
• Best 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

For the best deals on vlogging cameras for YouTube and TikTok, our ‘Buy now’ buttons are set up to automatically take you to the best prices from trusted retailers. There’s also a list of other retailers below each camera, so you can find the right deal for you.

Best vlogging camera overall: DJI Osmo Pocket 3

Specifications at a glance:

DJI’s ‘Pocket’ cameras have carved out quite a niche to secure their enduring popularity in the vlogging community. The essentially unchanged formula is a small, 4K-capable camera and fixed lens, attached to a motorised 3-axis gimbal for super-smooth stable shooting. For run-and-gun filmmakers and vloggers, this is a much more cost-effective option than it would be to buy a standalone camera and a handheld gimbal. This remains true even though the DJI Osmo Pocket 3 is notably more expensive than the previous Pocket 2.

This hike does come with improvements, though. Most significantly perhaps is the larger sensor. Previous Pocket cameras used a 1/1.7-inch type sensor, while here we get a larger 1-inch sensor; the type generally found in premium compact cameras. This is great for video quality, particularly in low-light shooting situations (the Osmo Pocket 3 has a dedicated Low Light Video mode). The other major improvement is the much larger and clearer LCD screen. The tiny screen on the Pocket 2 was often more an annoyance than anything. This one can also be easily rotated to facilitate vertical shooting.

Indeed, shooting in vertical mode is generally a very smooth process on the Osmo Pocket 3, reflecting the fact that more and more people consume content this way (much as many people wish they weren’t – including our editor). It offers 3-axis motorised stabilisation, but the resolution and video quality of the Osmo Pocket 3 isn’t quite up to that of many of the interchangeable-lens cameras on our list. However, the convenience and shooting versatility it offers put it in a league all of its own.

Read our DJI Osmo Pocket 3 review.

Best portable vlogging camera: Sony ZV-1 Mark II

Specifications at a glance:

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 is a big step up from 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, making it 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 facilitate a shift in 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 when 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.

Read our full Sony ZV-1 Mark II review

Best hybrid stills and video camera for enthusiasts: Fujifilm X-M5

Specifications at a glance:

The miniature Fujifilm X-M5 has shaken up the vlogging camera market, offering high-end features like 6.2K open-gate video (meaning it uses the full width of the sensor), optical stabilisation and intelligent subject-recognition autofocus, all in a pocket-sized body that costs just $799 / £799. 

Making use of Fujifilm’s 26.1MP X-Trans 4 sensor, the X-M5 produces video of gorgeous quality. You can make use of Fujifilm’s famous Film Simulations for shooting video – they’re not quite full-on LUTs, but they look great. Having 7-stop effective in-body image stabilisation (IBIS) in a camera at this price point is also brilliant, particularly if you haven’t been able to budget for a gimbal. 

The X-M5 is not perfect for all situations – those who also want to use it for stills will miss the viewfinder that can be found on the larger and more expensive Fujifilm X-S20, and its tiny body can feel quite unbalanced when used with large lenses. But otherwise, the sheer value for money offered here is exceptional, making the X-M5 an outstanding choice for vloggers. 

Read our full Fujifilm X-M5 review

Best mid-range 4K vlogging camera: Sony ZV-E10 II

Specifications at a glance:

The original Sony ZV-E10 was the first mirrorless member of Sony’s vlogger-focused ZV line-up, allowing for the use of E-mount lenses. In July 2024, Sony released its successor; the ZV-E10 II. The good news is that it borrows its APS-C sensor from cine specialist, the Sony FX30. This enabled a slew of filmmaker-focused features for the new model. The bad news? You’ve guessed it – the ZV-E10 II costs much more than the original ZV-E10 – is it worth it?

The ZV-E10 II can capture 4K 4:2:2 10-bit All-Intra footage at 60fps, oversampled from 5.6K (or drop to 30fps to oversample from 6K). The footage looks brilliant, with 10-bit colour depth, and you can zhuzh it up as you like with Sony Picture Profile settings like S-Cinetone. More significantly though, the ZV-E10 II now has a LUT import feature, allowing you to import colour profiles as you see fit and apply them to your footage. As we said in our first-look review, this is a brilliant feature in particular for up-and-coming filmmakers who want to experiment with different looks and emulate the styles of their heroes.

Video autofocus is as excellent as we’ve come to expect from Sony – make sure to pair the camera with one of the best Sony lenses (it can be bought with an upgraded version of the serviceable PZ 16-50mm f/3.5-5.6 kit lens) to take full advantage of it. The improved battery also means better recording times than the original ZV-E10, while also necessitating a larger handgrip that adds a bit to the bulk, but makes the camera much more comfortable to hold. An acceptable trade-off, in our view.

This is an excellent mid-range vlogging camera for those who can afford it. For others, the original ZV-E10 represents excellent value for money.

Read our Sony ZV-E10 II review.

Best Micro Four Thirds 4K camera: Panasonic Lumix GH7

Specifications at a glance:

The Panasonic Lumix GH7 is the latest in the firm’s long-running line of video-centric Micro Four Thirds cameras. Fifteen years after releasing the original GH1 – the first ever mirrorless model capable of recording video – the GH7 finally gains the update that users have been requesting for ages: phase detection autofocus. This has had a transformational effect on the firm’s other recent cameras, so its inclusion in the GH7 is genuinely exciting and should make it one of the best Panasonic cameras yet.

The sensor includes Panasonic’s Dynamic Range Boost, which employs parallel readouts to deliver a promised dynamic range of 13 stops in both stills and video. This goes some way to alleviating one of the perceived disadvantages of the Micro Four Thirds sensor. However, this feature isn’t active when shooting at 60fps or faster, or at shutter speeds slower than 1/15sec.

For video, the GH7 offers a vast range of options in resolution, frame rate, aspect ratio, colour depth, encoding schemes and file formats. You can shoot anything from ‘open gate’ 4:3 aspect ratio 5.8K at 30fps, though 17:9 5.7K at 60fps and C4K at 120fps, to 16:9 Full HD at 240fps. If there’s any option in between you want to use, it’s sure to be available – Panasonic’s spec sheet lists no fewer than 160 possible combinations.

Read our review of the Panasonic GH7.

Best cheap vlogging camera: Canon PowerShot V10

Specifications at a glance:

The Canon PowerShot V10 immediately catches the eye. Shaped differently to a conventional camera, it’s currently something quite unique; 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, the record button falls right under the 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.

The experiment of the Canon PowerShot V10 is a partial success. Its custom form for hand-held vlogging certainly makes more sense 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, it is seriously limited for use 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 not perfect, the Canon PowerShot V10 is a noble and interesting attempt, and is well worth investigating if you don’t want 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.

Read our Canon PowerShot V10 review.

Best vlogging camera for action and adventure: DJI Osmo Action 5 Pro

Specifications at a glance:

While GoPro is undoubtedly the more famous name in action cameras, the DJI Osmo Action 5 Pro is for our money the best pick for action-packed vlogging. It’s ruggedly waterproof, it records brilliant-looking 4K, it runs for up to 240 minutes, it captures 10-bit D-Log footage, it boasts that brilliant Rocksteady stabilisation – it’s a comprehensively featured camera for action and extreme sports.

It’s a significant jump over the previous Osmo Action 4, as our reviewer discovered when testing footage from the two cameras side by side. Some might wish that DJI could have included 5.7K video, but in truth 4K is plenty for most vlogging purposes. It lacks the modular lens system of the later GoPro Hero cameras, though a cynic might observe that these mostly seem to exist to provide consumers with more opportunities to give GoPro money.

The stabilisation is good as mentioned, though not a patch on the gimbal stabilisation offered by the DJI Pocket 3 – that’s the camera to pick is smooth movement is a higher priority for you than a waterproof build. However, for adventurous shooting opportunities like surfing, skydiving, mountain biking and the like, the DJI Osmo Action 5 Pro is top of the pile right now.

Read our full review of the DJI Osmo Action 5 Pro.

Best full frame video camera for 4K: Panasonic Lumix S5 II

Specifications at a glance:

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 cast away into the annals of history. 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 Sony et al climb vertiginously in price, Panasonic is being canny in keeping this model below the $2000 / $2000 mark. It makes for a hugely compelling option for vloggers and videographers with a budget, but not the funds commanded by the likes of the Sony A7S III or the Sony A1.

As we noted in our review, the flexibility and versatility offered by the Lumix S5 II for video 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.

Read our full Panasonic Lumix S5 II review

Best filmmaking camera: Blackmagic Pocket Cinema 4K

Specifications at a glance:

The Blackmagic Pocket Cinema 4K could be a great first camera for aspiring filmmakers. While affordable, it has many advanced features prioritising image quality above all 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, at affordable prices. However, 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 for filmmakers, 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.

It may seem overkill to have such a powerful camera for shooting YouTube, yet 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.

Best vlogging camera for beginner YouTubers: Nikon Z30

Specifications at a glance:

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 $750 / £840. 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 2025.

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 lacks 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.

Read our full Nikon Z30 review.

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

Specifications at a glance:

The OM System OM-5 is essentially a refresh of the Olympus OM-D E-M5 Mark III; which was an excellent camera already. It’s a Micro Four Thirds model that uses a somewhat smaller sensor size than APS-C cameras, yet is very popular in the video community. It is also used in Panasonic’s highly regarded Lumix G cameras, like the Lumix GH6, and the new GH7.

The OM-5 is not designed specifically for video – its video features can pretty much be matched by cheaper alternatives. The difference is that it has an electronic viewfinder and fully articulating rear screen, along with some very powerful stills photography features that make it perfect for those who need to produce both still photographs and video with the same kit; perhaps swapping from one minute to the next.

The in-body image stabilisation 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 colour 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.

Read our full OM System OM-5 review

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

Specifications at a glance:

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-$1,000 / £1,00 camera.

It’s lightweight, it’s easy to use, and there are a fair few smart features that should endear it 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 make it easy to flip 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). The one that will most affect vloggers 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.

Read our Canon EOS R10 review.

Additional budget and beginner vlogging cameras to consider

The team at AP tests and reviews 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 camera for beginners: Panasonic Lumix G100 with 12-32mm lens

Specifications at a glance:

Panasonic designed the Panasonic Lumix G100 (read our review here) with vlogging specifically in mind. Consequently, it has a 3-inch 1.8M-dot vari-angle touchscreen that can be flipped around to face forward 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.

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 budget vlog camera: Canon PowerShot G7 X Mark III

Specifications at a glance:

The Canon 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 Canon PowerShot G7X 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.

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 enables 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.

Fujifilm X-S10 with 18-55mm lens

Specifications at a glance:

Even though it’s an older camera, the mirrorless Fujifilm X-S10 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 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.

Subsequent cameras like the X-M5 featured above are unquestionably the better option for video, with 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 you could save 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.

Frequently asked questions

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

FAQ: What resolution do I need?

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.

FAQ: What frame rate should I use?

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.

FAQ: What kind of stabilisation do I need?

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.

FAQ: Do I need a microphone for better audio?

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.

FAQ: What about the screen?

If you are planning on filming yourself, you will need to look for a camera that has a screen that can be turned 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. If you find the screen on the camera too small, then you can look at external camera screens or alternatively some phones like the Sony Xperia Pro can be used as external monitor.

FAQ: 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 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.

FAQ: What about 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, or take a look at: Does sensor size matter for video?

FAQ: What lens do I need for video?

Depending on your vlogging and video needs and of course your budget, you either look for a zoom lens that will cover everything, or a variety of fast primes and zoom lenses that you can swap between. If you are shooting solely video content you might consider swapping for cine lenses. However, whether you really need a cine lens to shoot video, is another question.

It should go without saying that a fast aperture lens will allow you to capture beautiful shallow depth of field shots and a cinematic style.

Some important points to keep in mind are: the size focus ring for better grip and more nuanced focus control, a de-clicked aperture ring to balance exposure more easily, IS-lenses with built in stabilisation, advanced coating to deal with high contrast scenes, and a fast and quiet motor to be able to keep up with movement.

Read our detailed tips on what makes a good lens for video in our guide to the best lenses for video.

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 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 vlogging tips and how to get started

Follow AP on Facebook, Instagram, YouTube and TikTok.

The post Best vlogging camera in 2025: top video cameras for YouTube and TikTok appeared first on Amateur Photographer.

This list covers the best video editing programs that I, my colleague Jon Stapley and the rest of the AP team have tested. I have included professional industry-standard software, like Adobe Premiere Pro and Blackmagic Resolve Studio, but I have also added lots of free and beginner-friendly programs too, some of which can even run entirely inside your internet browser. Whether your video editing needs are simple or complex, there should be a great program here for you.

At the bottom of this post is a quick explainer of the key things to look out for when picking the best video editing software. For a closer analysis of how the top picks compare, read our breakdown of DaVinci Resolve vs Adobe Premiere Pro: which is the best video editing software – and check out our guides on 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

Here’s our quick list of the best video editing programs to download, along with links that go 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 social media: Adobe Premiere Rush – visit website
• Best free video editing software for beginners: ACDSee Luxea Free Video Editor – visit website
• Best free video editing software for TikTok: CapCut Desktop – visit website
• Best browser-based video editing software: Canva – visit website
• Best free video editing software for Windows: Microsoft Clipchamp – visit website

Best paid-for video editing software in 2025:

• Best video editing software for beginners: Adobe Premiere Elements – visit website
• Best video editing software with AI tools: CyberLink PowerDirector – visit website
• Best video editing software for professionals: 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; our guide to the best video-editing software in 2025…

Best free video editing software in 2025

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

Best free video editing software for filmmakers: DaVinci Resolve 20

DaVinci Resolve was one of the best-kept secrets of video editing software, yet more and more people are 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.

The latest version is DaVinci Resolve 20, which offers a redesigned user interface. While there’s always going to be a certain level of intimidation that comes with a complex video-editing interface, I think that Resolve 20 explains enough that most users could wade in and at the very least cut a video together. More complex tools like video stabilisation are clearly labelled and easy to activate, with real-time results. If you’re up for learning to use keyframes, you can also quite easily create simulated camera movements like pans zooms in high-resolution footage, by simply cropping in.

While I’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.

DaVinci Resolve is a more complex tool than you need for cutting together quick clips like holiday highlights or simple videos for social media. If, however, you are an aspiring filmmaker, you will need a comprehensive and well-featured video editing tool, and Resolve fits the bill. Making a film can drain one’s resources, which only enhances the appeal of DaVinci Resolve as a solution. Sure, it’s not as immediately easy to use as something like Microsoft Clipchamp. But if you put even a little time into learning how it works, Resolve is so, so much better.

Best free video editing software for Mac: Apple iMovie

Apple iMovie doesn’t get a lot of respect from ‘serious’ filmmakers, but I think 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.

I think if you own a Mac, iMovie is a brilliant way to test the waters and get a feel for the basics of video editing. It’s certainly a lot less intimidating than downloading DaVinci Resolve, and if your projects are more like holiday videos than feature films, it’s a more straightforward choice. 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.

Best free video editing software for social media: Adobe Premiere Rush

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: 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. Having tested it out, I think 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 synchronisation across devices, and more. There is a Premiere Rush plan, but it also comes with a Premiere Pro or an Adobe All Apps subscription.

Best free video editing software for beginners: ACDSee Luxea Free Video Editor

Luxea Free Video Editor is a very effective 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 the one drawback is 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, and the company is also currently offering $29.95 for a Lifetime Licence (with the caveat that upgrades need paying for with this package).

Luxea is not a serious professional tool. While it offers some advanced features like unlimited timeline tracks, serious editors will likely outgrow it and gravitate towards the greater power offered by the likes of Davinci Resolve. But for Windows users bemoaning the lack of a free iMovie-style program for their platform, Luxea could be the ideal alternative. It’s certainly an effective, no-cost way to get started with figuring out your way around an editing timeline.

Best free video editing software for TikTok: CapCut Desktop

CapCut is a free video editing tool owned by ByteDance — the Chinese tech company better known for being behind video-sharing app TikTok. As such, CapCut syncs rather well with TikTok and is an ideal free choice if you’re looking to create video for the platform. Free to download for Windows and Mac, the desktop version offers more advanced functionality than the popular mobile app version that features in our best video editing apps for phones guide.

It’s replete with automated tools designed to make editing smoother and easier, and as such, it’s a good free choice for beginners. I found the auto-transcription functionality to be particularly effective, so if you need to do a lot of captioning for your videos, or find which bits you can cut, it could be a real timesaver. As is very common these days, the makers desperately want you to know that the software is stuffed with AI features, including the ability to generate video wholesale.

CapCut also makes it easy to export video in a variety of aspect ratios for sharing to different platforms, and even has hardware support for modern graphics cards, speeding up the export process. It also has TikTok’s filters and other effects built in, making it the best choice if you want to efficiently create video in TikTok’s ‘house style’, without needing to edit on your phone. There is a Pro version available for a subscription price that adds a few extra features, but the basic free version has the majority of functionality most editors need.

Best browser-based video editing software: Canva

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, and add titles, intros and outros that produce basic but perfectly serviceable videos for YouTube, websites or other social channels. If you’re someone who already works in the Canva ecosystem, as many people do who make content for social media, then it could make the most sense for Canva to also be your video editor of choice.

Canva uses the same basic non-linear editing (NLE) principles as other video editors, meaning you can work on any clip in the timeline at any time, rather than having to work sequentially. However, it does have some of 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 $120 / £100 a year, it’s not cheap.

Best free video editing software for Windows: Microsoft Clipchamp

Microsoft Clipchamp is essentially the Windows version of Apple’s iMovie. It comes pre-installed on your Windows machine, and it’s designed to be a no-frills video editor so simple and intuitive that even your most tech-averse colleague could probably figure out how to cut something together on it. A simple, intuitive, drag-and-drop interface is rendered in calming white, with no intimidating panels full of confusing colour wheels or anything like that. “No expertise required” is the slogan on the website, and I can say that this is indeed the case.

When I (Jon) first opened Clipchamp, I was given the option to either cut together a video myself, or have AI generate one from my clips. In the spirit of journalistic inquiry, I handed the AI some footage and sat back to see what it would come up with. I’m not going to mince words here: what it came up with was absolute tripe. It placed a nonsense purple graphic next to the first clip, put a pointless black box around the second, and decided to mirror-flip the third clip back and forth in a manner seemingly designed to give me nausea. It is impossible to imagine a functioning human being to whom the resulting video would have appealed. Avoid.

When I chose to cut the clips together myself, everything went much better. I was able to use the built-in library of royalty-free music to slap on a soundtrack for my clips. There were no advanced features like DaVinci Resolve’s stabilisation (not that I’d expect there to be), but assembling and trimming clips on the timeline was the picture of ease, and I had a workable finished video within minutes. If your video editing needs err more on the side of efficiency than artistry, Clipchamp could very easily be your best bet. A premium version is available for a monthly or annual fee, giving you the ability to export in 4K UHD, among other things. However, as this list attests, if you have video editing budget, there are better ways to spend it.

Best paid-for video editing software in 2025

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

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. It’s a handy choice for anyone who wants to get a feel for the industry-standard software without signing away their life to an Adobe subscription.

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 which 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. It’s worth trying the trial before paying for this, to make sure it works properly on your computer.

Best video editing software with AI tools: CyberLink PowerDirector

PowerDirector delivers a lot of power at a 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. Its array of audio options also mean it could be an effective choice for podcast editors, especially if the podcast has a video component (as many do).

Best professional video editing software: Adobe Premiere Pro

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 ones including clever AI-driven search tool and an expanded Generative Extend tool alongside features like automatic transcripts, captioning and 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 / £21.98 per month or as part of Adobe’s All Apps plan at a huge $59.99 / £56.98 a month.

Best subscription-free video editing software: DaVinci Resolve Studio

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 (vastly improving rendering speeds), lens corrections (useful given that raw footage won’t be corrected), noise reduction and some more advanced effects.

Also, in the latest version, DaVinci Resolve 20, the Studio version gives you access to a suite of AI-powered tools. These include AI Dialogue Matcher, which can match the tone, level and room environment of dialogue from completely different sources to make them sound consistent. There’s also AI Multicam SmartSwitch, which can intelligently switch between multi-camera angles according to who’s speaking in a scene. Each new version gets additional features and tools, and there are advanced audio processing options, including options to improve voices.

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 is 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!

Best professional video editing software for Mac: Apple Final Cut Pro 11

In a way, you could think of Final Cut Pro like ‘iMovie Pro’ in that it uses the same clean and streamlined approach and is typical of how 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. Another tool, Transcribe to Captions, will automatically generate closed captions, while Compound clips let you group related video and audio clips into a single entity for easier organisation.

With the latest update, Final Cut Pro gained a new feature called adjustment clips, which will allow you to add effects and colour corrections to multiple footage in the same time.

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.

How to choose 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 examine 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.

FAQ: Will my computer be able to run a video editing software?

There is nothing more infuriating than downloading software just to find out your computer is not powerful enough to run it, or end up constantly crashing. To avoid unpleasant surprises like this, check the minimum system requirements for the software you are planning to download. The most important factors are processing power, graphics card and RAM. However, note that if you are only editing short videos and use basic software, you will likely get away with using a less powerful PC or laptop.

The central processing unit (CPU) or processor is the heart of your computer, most video editing software will require a processor with at least four cores with 2GHz to run. But higher resolution video files and large projects put more strain on your CPU, so you will need more processing power for 4K and 8K videos. An Intel i5 or higher processor is a good place to start.

A decent graphics card (GPU) is a must as it speeds up video rendering and improves the overall editing performance. An NVIDIA RTX 3050 or GeForce GTX 1660 Super graphics card is a good start for basic HD video editing.

As for RAM, the more the better, but as a general rule of thumb, calculate with a minimum of 8GB RAM for HD video and 16GB RAM for 4K editing. For professional use and rendering very large files, you may need 32GB or even 64GB.

The storage available on your computer will also have an impact on how effortlessly software runs on it. Try to have around 500GB of free space if you are editing large projects, and save your video files on a separate drive or purchase an external hard drive with at least 1TB capacity.

What to do next – get started with video editing

As you can see, video editing is a complex subject, and there’s a lot to discuss. If you’re a newbie in the world of video editing and are looking for your next steps, I would recommend choosing one of the programs on our list, downloading it (or signing up for a free trial if you choose a paid tool) and trying it out. While my top recommendation is Blackmagic DaVinci Resolve, this may be a little overwhelming for new editors. If you’re on a Mac, you don’t need to download anything – just open up iMovie. If you’re on a PC, then consider giving ACDSee Luxea Free Video Editor a try. Once you get a feel for how an editing timeline works, you can consider whether you want to upgrade to more advanced tools – though if your video editing needs are quite straightforward, you may not need to!

Text by Rod Lawton, with contributions from Jon Stapley and AP Staff.

Further reading:

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

Follow AP on Facebook, Instagram, YouTube and TikTok.

The post The best video editing software in 2025: these are programs literally anyone can use appeared first on Amateur Photographer.

DaVinci Resolve and Adobe Premiere Pro are the main choices in the video-editing market, and they’re widely used by content creators and videographers. This side-by-side comparison of the two competing platforms will help you determine which software to use for your video editing.

When they were initially launched, DaVinci Resolve and Premiere Pro had different specialities – DaVinci Resolve primarily being a tool for colour correction while Premier Pro was a NLE (non-linear editing) platform for editing videos. They have both evolved into fully comprehensive and competing one-stop-shops for video editing with various tools and features, including support for vertical (portrait-shaped) video.

What is a non-linear editing (NLE) program?

Non-linear editing means placing audio and video files on multiple tracks to create a desired sequence. The files can be placed side-by-side, overlapped, overlaid and used simultaneously in the same sequence to create a story.

Adobe Premiere, launched in 1991, was one of the first non-linear editing systems and worked exclusively on MacOS. Premiere Pro, was released in 2003 with more professional features and, now that it’s part of Adobe Creative Cloud, is constantly updated each year.

DaVinci Resolve was released in 2004 by da Vinci Systems and acquired by Blackmagic Design in 2009. It worked with programs like Premiere Pro and Final Cut Pro, offering more colour-grading capabilities. Since then, DaVinci Resolve has been converted into a non-linear editing platform with features that can be compared with those in Premiere Pro.

You can also check out more video editing software including free tools here. 

What are the main differences between DaVinci Resolve and Premiere Pro?

Making the choice of which video editing software to use can be difficult if you don’t know much about the functionality of either program. This side-by-side comparison will help you make the right decision based on how and what you intend to produce.

DaVinci Resolve vs Premiere Pro: price and availability

One of the first things to consider is availability and affordability. If you are a beginner or just a creative on a budget, you might be considering the cheapest option available.

DaVinci Resolve takes the lead as they offer a free version packed with a variety of features that can be used to produce a great video. The paid version, DaVinci Resolve Studio, includes more tools and a collaborative workflow that a more seasoned video editor would require, as well as improved hardware acceleration giving quicker rendering, if your computer has the required hardware.

The paid version can be bought outright for $355 / £245 (incl. VAT) or you can get it for free with a Blackmagic Design purchase (Ts&Cs apply).

Premiere Pro on the other hand is only available through a subscription, as just the software itself ($20.99/£21.98 per month) or as part of the Adobe Creative Cloud bundle ($52.99/ £56.98 per month). This can be quite an expense if you are a beginner with video editing.

DaVinci Resolve vs Premiere Pro: user interface and workflow

From an entry-level perspective, Premiere Pro is considered to be more user-friendly by many and easier to grasp. Its interface is a structured as a timeline with layers, similar to Photoshop, where pictures, video and audio files can be placed and moved around.

Premiere Pro has three main tabs in the top left corner – Import, Edit and Export – and a range of workspaces for different functions (Vertical, Learning, Assembly, Editing, Colour, Effects, Audio, Captions and Graphics, Review, Libraries, Text Based Editing). It is quite simple to navigate and use.

DaVinci Resolve can seem slightly intimidating for beginners. It has its advantages, especially in colour grading and visual effects. The interface is divided into multiple tabs at the bottom with different functions – Media (all the files), Cut, Edit, Fusion (for motion graphics), Colour, Fairlight (audio), and Deliver.

If you think of these different tabs as the stages you go through when editing a video, it starts to become clearer, as you start with your media files, and once you’ve gone through each tab, you then deliver (export) the video.

DaVinci Resolve vs Premiere Pro: audio editing and mixing

Fairlight is DaVinci Resolve’s in-built audio editing platform, and offers robust editing capabilities with features such as automation, clip trimming, keyframes and audio effects (including the ability to improve voice quality, and remove background noise).

It supports multiple channels of audio (I got up to 64 tracks before getting bored with adding more tracks), and you can nest audio tracks together, as well as use multi-channel tracks, and Adaptive tracks that can also contain up to 24 tracks within. DaVinci Resolve v18.5, and onwards, also includes an AI-based audio classification, making the editing process faster.

Premiere Pro’s Audio workspace also provides essential editing tools with audio effects and plugs. It supports multiple channels of audio (as many as your computer can support), allowing for complex audio mixing options, with Adaptive tracks, as well as multi-channel track support (such as 2.1, 5.1, 7.1). The bonus feature for Adobe Creative Cloud subscribers is seamless integration with Audition, Adobe software that is solely dedicated to audio editing and mixing.

DaVinci Resolve vs Premiere Pro: video effects and colour grading

When it comes to motion graphics, video effects and colour grading, DaVinci Resolve outshines Premiere Pro. As mentioned earlier, DaVinci Resolve was initially just a colour correction and grading tool that integrated with Premiere Pro. Because of this, it offers a wide range of tools for visual effects, colour correction and colour grading.

Experienced videographers who are looking to achieve professional type compositing and colour grading are better off with DaVinci Resolve.

Premiere Pro offers some colour editing tools and limited graphic templates, as more extensive tools for video effects can be found in another Adobe application – After Effects. This means you either have to be subscribed to After Effects as well or Adobe Creative Cloud to be able to make motion effects.

Which video editing software is better – DaVinci Resolve or Premiere Pro?

Ultimately, the choice between the two video editing software depends on your specific needs, preferences, existing software, and your budget.

Professional videographers looking to advance their colour correction and colour grading skills will love DaVinci Resolve. It is packed with features that will enhance your work from basic editing to professionally graded content.

DaVinci Resolve is also miles ahead in integrating AI features that make the editing process quicker and more effective. Blackmagic Design announced DaVinci Resolve 18.5 earlier this year, an update featuring 4 new AI tools for transcribing, classifying audio, adding virtual lighting to a scene and generating subtitles quickly. Since then, v18.6 has been released; a slight update to 18.5.

There is a free version of DaVinci Resolve available which supports video editing up to 4K and 60fps, but in order to access more editing tools and features, as well as higher resolution video, you would need to purchase DaVinci Resolve Studio.

For content creators and videography beginners looking to make quick edits, Premiere Pro is the better option. It’s easy to navigate and capable of producing high-quality content. A subscription to Premiere Pro also gives access to Premiere Rush, a video editing app that you can use on your smartphone or tablet/iPad and edit on the go.

Adobe is just starting to catch up with integrating AI into its applications. Premiere Pro’s text-based editing and automated colour-tone mapping are recent updates that have switched up the editing process. A 7-day trial of Premiere Pro is available to try here.

Further Reading

• How to use LUTs for colour-grading videos 
• How to get better videos by shooting in log
• Full HD vs 4K vs 8K video which is best

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The post DaVinci Resolve vs Premiere Pro: which is the best video editing software? appeared first on Amateur Photographer.

These days, our phones contain a device capable of shooting video pretty much everywhere. We encounter video frequently – be it Zoom calls, TikToks, YouTube or streaming TV shot on expensive cine cameras.

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 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.

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 models that have been around a while.

With budget being a potential barrier 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: now more affordable than ever, but does that make it a good option? 

That’s not to say that today’s medium-format gear is cheap – 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 $4,700 / £2,700, 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. Many pro image creators use Micro Four Thirds, for example, with no complaints.

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 most widely used, plus it’s supported by lens makers.

Sensor size: lens options

The sensor size of your camera dictates which lenses you can use. Different camera systems have different lens mounts, of course. In some cases, even within the same system, there are certain lenses that are only usable on smaller sensor cameras. Sony E-mount is an example, 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 to 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 and easy to use – most of us don’t go anywhere without them.

If you’re 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 a portable solution and highly capable. In most cases, these have the ability to shoot wide, macro and telephoto, with powerful computational photography and in-body processing skills. The latest smartphone 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-wide-angle standard lens.

A popular bridge camera is the Nikon Coolpix 950, which sells at $800 / £849. It has a 83x range optical zoom giving the 35mm equivalent focal length range of 24-2000mm and 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 severely impacts fine detail and looks unsightly.

Fixed lens compacts have larger sensors, 1in (13.2×8.8mm) or APS-C, for superior picture quality. Popular examples include the $1,565 / £1,049 Sony RX100 VII, which has a stacked 1in sensor and a 20 megapixel resolution, while the $1,998 / £1,484 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: 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 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 is Panasonic Lumix, a well-respected name in the video community. The 25.2 megapixel Lumix GH6 from Panasonic sells for $1,150 /£1,400 and is one of the best hybrid cameras around with an awesome array of recording options that include CINE 4K/60p, 5.7K/60p and raw formats via HDMI to an external drive.

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.

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 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.

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 $5,399 / £1,699.

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, i.e., it gives less of a telephoto effect. The Fujifilm GFX 100S costs $5999 / £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.

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.

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 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.

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.

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

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But keep in mind that used cameras give you far greater value for money, even ones that are just a few years old, and if budget is an issue, this is absolutely where you should be looking. We’ve included insights from our reviews of these cameras by our technical team, and at the bottom, have also added some top budget-friendly accessories to help you complete your kit.

Best budget cameras for video – our quick list

Looking for the best deal on budget video cameras? Not only will you find the best budget video cameras, but also some of the best deals, as our ‘Buy now’ buttons are setup to automatically take you to the best prices from trusted retailers. You’ll also find a list of other retailers below each camera, so you can find the right deal for you.

• Panasonic Lumix GH5 – Buy now
• Fujifilm X-T3 – Buy now
• Blackmagic Pocket Cinema Camera 4K – Buy now
• Nikon Z6 – Buy now
• Sony A7S II – Buy now
• DJI Pocket 2 – Buy now
• Canon EOS R – Buy now
• GoPro HERO (2024) – Buy now

Panasonic Lumix GH5

• Price: Approx £500
• Sensor: 20.3-million-pixel Four Thirds
• Video Resolution: Up to 4K (4096×2160) 60fps
• Audio: 2x 3.5mm headphone and Mic
• HDMI: Full size – 10-bit 4:2:2 output
• Stabilisation: In-camera and Optical

Launched in 2017, the Panasonic Lumix GH5 is still a superb choice if you want to get started. It’s capable of capturing video at up to an impressive 400Mbps in 4:2:2 10bit at ALL-Intra compression quality – meaning that every frame is a keyframe, which is about the best quality you can get short of raw capture.

It has an articulated screen, all the inputs and outputs you need, including a full-size HDMI socket, and it can even shoot anamorphic footage. However, perhaps the best reason for buying a GH5 is the lenses. There are hundreds of lenses available for the Micro Four Thirds mount. The only downside is that the autofocus can be a little slow with a tendency to hunt.

Read our full Panasonic Lumix GH5 review

Fujifilm X-T3

• Price: Approx £630
• Sensor: 26.1-million-pixel X-Trans APS-C
• Video Resolution: Up to 4K (4096×2160) 60p 
• Audio: 2x 3.5mm headphone and Mic
• HDMI: Micro size – 10-bit 4:2:2 output

The X-T3 was Fujifilm’s best camera for video when it was released, partly due to the fact it can record 4K 60fps 10-bit 4:2:0 internally or 4:2:2 over HDMI. Everyone loves the Fujifilm Film Simulation picture styles and these can be used for video, including the Eterna simulation, which is specifically designed for video.

The phase detection autofocus works well compared to the contrast detection systems of the time. The downsides are that the screen is tilting and doesn’t face forward, and there is no in-camera stabilisation, so it is not as ideal for vlogging. If you do want to use a monitor to record yourself then you need to take care as it has a less sturdy Micro HDMI socket.

Read our full Fujifilm X-T3 review

Blackmagic Pocket Cinema Camera 4K

• Price: Approx £860
• Sensor: Four Thirds
• Video Resolution: Up to 4K (4096×2160) 60p, 12-bit
• Audio: 2x 3.5mm headphone and Mic, Mini-XLR
• HDMI: Full Size – 10-bit 4:2:2

Although it is far from pocketable, the 4K version of the BMPCC is a tiny cinematic video powerhouse. It can shoot Blackmagic Raw 12-bit footage at a compressed rate of as little as 3:1 which means it is recording footage at an incredible 136MB/s (or 1140Mbp/s). If you don’t need that quality then there are Apple ProRes 10-bit options. To save needing hundreds of memory cards the BMPCC 4K can record to a suitable SSD via USB-C. In summary, the footage looks incredible for its size and price. The Micro Four Thirds mount means there are lots of lens choices, and it has a beautifully large 5in screen and a simple-to-use operating system. It’s a great choice for budding filmmakers

Downsides are that there is no internal stabilisation and the autofocus is barely usable; this is not a camera for vlogging!

Nikon Z6

• Sensor: 24.5-million-pixel Full Frame
• Price: Approx £680
• Video Resolution: up to 4K 30fps 144Mbps
• Audio: 2x 3.5mm headphone and Mic
• HDMI: Mini – 4:2:2 – 10-bit 

Along with the Nikon Z7, the Z6 was Nikon’s first serious attempt to appeal to video users. The internal video recording and features were quite standard for the time, with 4K 30fps 8-bit internal recording. However, via the Mini HDMI socket, it can record 4K 10-bit footage to an Atomos Ninja V (something the Sony A7S II cannot do). The footage could also be saved on the Ninja V in ProRes raw format, making the Z6 a solid camera for those looking for good image quality. 

The phase detection autofocus works well in video capture, usually staying locked onto subjects. However, the lack of a front-facing screen makes it tricky for vlogging, unless paired with an Atomos Ninja V or similar external recorder (see our accessory roundup below). The good news is that the releases of multiple successors to this camera, the Z6 II and Z6 III, mean that its price has continued to come down. However, one thing to bear in mind is that it lacks an SD card slot – you have to instead use CFexpress Type B or XQD, though for future-proofing yourself you should definitely choose CFexpress. Nikon initially bet on the wrong side in the card wars, and XQD looks destined to go the way of Betamax.

Read our Nikon Z6 review to learn more

Sony A7S II

• Price: Approx £730
• Sensor: 12-million-pixel Full Frame
• Video Resolution: Up to 4K 30fps (3840×2160) 4:2:0
• Audio: 2x 3.5mm headphone and Mic
• HDMI: Full Size – 4:2:2 8-bit output

The key to the popularity of the A7S II is the 12-million-pixel sensor which combines a good dynamic range with the ability to produce great-looking footage in low light. It has a maximum expanded sensitivity of ISO 409,600. 

Its 4K capture looks a little dated, as it can only capture 8-bit footage, either internally or externally, at 30fps. It also only has a tilting screen, rather than front-facing. That said, with built-in stabilisation, full-size HDMI socket and good AF, it marks an excellent introduction to shooting video with the full-frame Sony E-mount cameras. Not to mention there is a good range of Sony and third-party lenses available. 

Read our full Sony A7S II review

DJI Pocket 2

• Price: Approx £250-270
• Sensor: 64-million-pixel 1/1.7in
• Video Resolution: 4K 60fps (3840×2160) 100Mbps
• Audio: Mic input via optional adapter
• HDMI: N/A

A curveball option that certainly won’t be for everyone. The DJI Pocket 2 takes a small smartphone sensor and combines it
with a 3-axis gimbal stabiliser with a small screen. The stabilisation helps to keep everything steady whilst moving, or you can put the camera on a tripod, via a third-party mount, and use tracking to have it follow you whilst you move. 

It is limited in terms of video quality, and it can be fiddly to use, although it can also plug directly into your smartphone for a
larger screen. However, it is truly pocketable, and the smooth footage and active tracking make it great for vlogging or recording your family or photographic adventures. While the Osmo Pocket 3 has since been released, the Pocket 2 is still widely available and is a good choice for the budget-conscious.

Find out more in our DJI Pocket 2 vs DJI OM 5 comparison

Canon EOS R

• Price: Approx £950
• Sensor: 30.4-million-pixel Full Frame
• Video Resolution: Up to 4K (4096×2160) 8-bit 4:2:2
• Audio: 2x 3.5mm headphone and Mic
• HDMI: Mini – 10-bit 4:2:2 

It was Canon’s first camera to use the new RF, with much of the technology borrowed from the EOS 5D Mark IV, including the sensor. However, it has some video improvements. Notably, Canon’s Dual Pixel AF works in 4K capture, and the HDMI output is 10-bit 4:2:2.

As you would expect the handling from the camera is great, and there are all the inputs and outputs you need. However, there are some flaws with the camera when shooting video; There is a 1.8x crop when shooting video and no sensor-based stabilisation. There is digital stabilisation, but increases the sensor crop for 4K video – so grabbing a wideangle lens is essential. Thankfully, an RF to EF mount is available and you can even use many EF-S (APS-C) lenses as more affordable video options.

Read our Canon EOS R review

GoPro HERO (2024)

• Price: £179
• Sensor: 12-million-pixel 1/2.3in
• Video Resolution: Up to 4K (4096×2160) 30p
• Audio: Built-in mic only
• HDMI: No

As well as its flagship Hero 13 Black, GoPro also released an ultra-budget version of its HERO series of action cameras in 2024. The new camera, confusingly just called ‘HERO’ is absolutely tiny, and records at a maximum resolution / frame rate of 4K 30p, and also lacks the flexible aspect ratio options of the high-end GoPros. While this may not be sufficient for professional content creators, for a lot of users, it’s going to be just fine.

It’s waterproof, as usual, and also happily comes sporting what is arguably GoPro’s best feature for video creators – that silky-smooth Hypersmooth stabilisation, which makes moving footage look so much more professional. For POV action shooting on a budget, look no further. 

Best budget video kit: accessories and extras

Putting together a budget video kit isn’t just about the camera. Shooting video is an accessory-heavy discipline – more so than photography – and there’s a lot of kit that will make your life easier, from stabilising gimbals to light-modifying filters. It’s possible to spend a lot of money on all this stuff, but it isn’t mandatory, and there are bargains to be found if you know where to look. Here are our recommendations for putting together a video kit on a budget.

Sigma 18-35mm f/1.8 DC HSM Art lens

• Price: Around £700

This lens from Sigma became an instant favourite amongst videographers by providing an almost perfect focal length zoom for many video productions. The lens is still in production, so used prices can vary hugely depending on the condition and lens mount. 

It is an APS-C format lens, available in several DSLR mounts. However, the Canon EF mount is most popular, with many videographers using it with a lens adapter to mount the lens on Micro Four Thirds, Sony E (APS-C) or Fujifilm X-mount cameras. If you are using such a camera, grab this lens and a suitable adapter.

Benro KH25P Video Tripod

• Price: Around £150

If you are after a good-quality video tripod to get started, look no further than the Benro KH25P aluminium tripod and head. Weighing 3.41kg and coming with a travel case, it is lightweight enough to shoot outside but heavy enough to remain stable. Its sturdy legs can be raised in two sections to a maximum shooting height of 156cm, and the leg braces can be locked to keep everything secure. A basic, but very usable, pan and tilt video head is included.

iFootage Cobra 3 monopod

• Price: From £100

Another favourite amongst videographers, the iFootage Cobra 3 monopod is perfect for went you want some stability, but a tripod is overkill. The three-section monopod comes in carbon fibre or aluminium versions, has large flip locks, and may even come with the excellent iFootage video head. However, the beauty is that it has a built-in quick-release system, and the monopod legs can even be used as a table-top tripod. And, if you are brave enough, and using a light enough camera, it is great for recording yourself.

DJI Mini 2

• Price: Around £300

Drones have created so many more opportunities for videographers, and they are great fun to fly responsibly. The DJI Mini 2 can capture 4K footage and fold down so that it can be easily taken on your adventures. It weighs under 249g, meaning in many countries it can be flown with only an operator ID and passing a basic responsibility course (but please check local rules before flying). It has a flight time of around 20mins. Overall, the DJI Mini 2 is an easy-to-use drone, with lots of safety features in the DJI app to make sure you stay safe.

Zoom H1n external recorder

• Price: Around £50

An external recorder, such as the affordable Zoom H1n, can be used to record ambient sounds to add depth to your videos, or just use it as an interview mic. Or you can use it as a backup mic and recorder, just in case something happens to your in-camera audio. There is a built-in 3.5mm mic socket if you want to use a specialist mic for a task, and there is a 3.5mm headphone socket to monitor. With recording quality up to 24-bit 96kHz it can add some audio finesse to your videos.

DJI Ronin SC

• Price: Around £150

Between lens, sensor and digital stabilisation, getting steady footage is a lot easier than it was. However, if you are walking or moving around, a 3-axis gimbal stabiliser such as the Ronin SC can make a huge difference. The Ronin SC has motors powerful enough for a mirrorless camera or small DSLR, and it includes a small tripod that allows you to easily set and balance your camera, or use it with the DJI app and use ActiveTrack you track a subject, or yourself, as they move around the scene.

Mount adapter

• Price: From £20

Mount adapters can be so cheap that you can buy one new or source a used one for less than £20 – however, it is worth buying from a named brand. With almost everyone shooting on mirrorless cameras, a mount adapter will allow you to use older SLR lenses on a mirrorless camera, and there are almost limitless combinations of adapters and lenses to choose from. 

Whilst some adapters can autofocus, generally they aren’t that great. Besides, half the fun is using vintage manual focus lenses and getting a look you can’t get with a modern lens.

Rode Wireless GO Mic kit

• Price: Around £100

Another piece of kit that became an instant classic and shaped how we record sound. The kit consists of a microphone and receiver which wirelessly pair together. The microphone has a 3.5mm socket for an additional mic to be mounted if you want to upgrade the audio, but for an on-the-go mic kit for vlogging and interviews, it is small, easy to use thanks to USB-C charging and small LCD screens, and most of all produces great sound quality.

Atomos Ninja V

• Price: Around £400

Recording to an Atomos Ninja V can help you get the most from an older camera. The Ninja V allows for 4K recording to the highest quality ProRes formats, and it can take advantage of the 10-bit HDMI out of some cameras. You can preview LUTS on log footage, or even bake them directly in. On some cameras, there’s an option to save footage in a raw format. Not to mention the 5in screen is streets ahead of a camera screen if you want to film yourself.

X-Rite ColorChecker Passport Video

• Price: Around £100

If you are just starting, it is unlikely that you will be shooting raw footage. Getting the colour correct in-camera is important, as there can be a lot less flexibility when it comes to editing colour in the video before the image quality starts to break down. The X-Rite ColorChecker Passport Video has a white balance card, focus checker and a colour palette, giving you everything you need to make sure the colours that you get in-camera are as good as you can get. 

Generic Variable ND filter

• Price: From £20

When shooting video, your shutter speed remains fixed whilst you are shooting. Similarly, your aperture should remain fixed; changing the aperture if the light changes mid-shot will also change the depth of field. Setting the camera to use Auto-ISO is a good option, but may cause noise and dynamic range to change in the middle of shooting. A Variable ND gets around this by allowing you to manually change the light entering the lens, whilst all the other exposure settings remain the same.

Generic camera cage

• Price: From £20

A camera cage is a frame that fits around your camera and offers many more mounting points for adding accessories. There is a wide variety of different cages, from a half-cage to a full cage with additional handles. A cage allows you to customise your camera to suit your needs. Use it to mount accessories, from lights, microphones, handles, power supplies, and monitors; a cage can make your video set-up personal to you.

Honourable mentions

We simply don’t have enough room to cover every single camera, but there are a few that we thought deserved at least a mention…

Blackmagic Pocket Cinema Camera

The Blackmagic Pocket Cinema Camera (Around £650) is a tiny Full HD powerhouse featuring a Super 16 size sensor and Micro Four Thirds lens mount. It is simple to use and although the autofocus is awful, the quality of the footage it creates is incredible for its size and price. Expect to pay around £600-650 body only.

Sony ZV-1

The Sony ZV-1 (Around £450) was Sony’s first dedicated vlogging camera and was based on the RX100 range. With a 1-inch sensor, mic socket, face-detection AF, SteadyShot and Sony Picture Profiles, it is a truly pocketable vlogging camera. Expect to pay around £400-450.

Canon EOS 5D Mark IV

From the dynasty of cameras that kickstarted the video revolution with the 5D Mark II, the Canon EOS 5D Mark IV DSLR (Around £1,000) shoots 4K video and is a great option for those who won’t let their Canon EF system lens go. 

Sony A7S

And finally the original Sony A7S (£550). With a 12-million-pixel full-frame sensor, it is about the cheapest full-frame camera for video that you can get and is still one of the best at shooting in low light. Although it can only record Full HD in camera, it can record 4K via HDMI. 

How to choose a budget video camera

Resolution

Full HD 1920×1080 resolution cameras are common, but today there is no excuse to be shooting at this lower resolution. You can easily pick up a used camera that shoots in 3840×2160, or even 4096×2160, which is 4K or what’s known as Cinema 4K resolution. 

Other things to look out for are the bit depth. All cameras should record in 8-bit, but you will find some that will capture 4K footage in 10-bit either in-camera or via HDMI, which offers more detailed colour. 

Image styles

Just as photographers can shoot a variety of different image colour styles, such as standard, portrait or landscape, filmmakers also have these options. Some cameras will have one or two dedicated video styles, as well as the ability to record in a log mode. 

Log footage is very flat and low in contrast, allowing you to add your colour style. However, the image can be tricky to adjust without adding banding or image noise, so many people will look for a good built-in cinematic video style.

Autofocus

One area that has received huge advancements is autofocus during video. Older cameras may be prone to hunting for focus randomly or drifting in and out. Others may not have face tracking or eye tracking available. Depending on what you are planning to shoot, check the autofocus features to make sure it meets your demands. If you plan on filming yourself, or your family, then at the very least having face detection AF is a must.

Body style

Whilst most of the cameras we have listed are mirrorless, there are two different styles: the rangefinder and the SLR style. It’s personal preference but the body style will affect how you hold and use the camera and the type of screen that will be used. 

Lenses

Rather than talk about specific lenses think more about what lenses are available for the system. Older mirrorless systems such as the Sony E mount or Micro Four Thirds have a huge number of proprietary and third-party lenses available and it is easy to pick up a bargain. There will be fewer options with a new camera system. 

Connectivity

You will want to grow your camera kit by adding different audio components or even an external screen. A 3.5mm external microphone socket is essential, and a 3.5mm headphone socket is also beneficial because it allows you to monitor the sound as it is recorded.

Also, an HDMI socket is useful if you wish to add an external monitor or recorder. Be warned that many cameras will have Micro HDMI sockets which can be prone to breaking or loose connections. When buying always check the HDMI socket on a camera, or at least ask if it is working. Cameras with a Mini HDMI or better still a full-size HDMI socket offer a more secure and reliable connection.

Screen

If you plan to get in front of the camera you will want an articulated screen that flips round to the front. However, if you are more of a documentary filmmaker, or have no wish to be front and centre, then just a tilting screen should be okay. 

Related reading:

• Best vlogging camera for video and YouTube
• The best lenses for video
• Best video editing software
• How to get outstanding audio in your videos
• How to use LUTs for colour grading video

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The post Best cameras and accessories for video – on a budget appeared first on Amateur Photographer.

Choosing the right one for you will mostly depend on what kind of video creator you are and where you plan on publishing your videos. Many like CapCut and Canva, have social media friendly features that make them stand out to TikTok and Instagram content creators. Others like KineMaster are geared towards more professional video editing. It’s also worth considering if you’ll do cross-platform video editing, in which case Adobe Premiere Rush would be one to consider.

I selected a variety of apps below, so whether you’re a pro social media creator or a beginner looking for a free tool, you’ll find the one best suited to your needs. All the apps on this list are available on both Android and Apple iOS, so that isn’t really much of an issue to consider unless you’re planning on going for iMovie, which is Apple device exclusive. Most of these apps are free, though many do have a paid ‘Pro’ version that affords you more tools and features, as well as the ability to remove small watermarks.

Then there’s social media platforms like Instagram and TikTok which have their own editing tools from within the apps, which are more basic but will do the job for shorter videos meant for social media.

Best video editing apps in 2025

Adobe Premiere Rush

• Pricing: Free with Adobe account or $9.99/£9.98 a month
• Platforms: Apple iOS and Android

Adobe Premiere Rush is the mobile version of Adobe’s Premiere Pro video editing software. It has many tools from Premiere Pro that are useful to beginner and intermediate video editors. For example, you have several audio and video tracks, a selection of motion graphic templates to choose from, presets and manual colour correction.

Additionally, when finished with your edits, you can export your video to any social channel directly from the app, as well as the desktop version of the app and Adobe Premiere Pro for further edits. Adobe Premiere Rush is among the most complete apps for video editing on this list, all without being overly complicated for beginners. It is available to download for free (with an Adobe account) or as part of the Adobe Express plan.

CapCut

• Pricing: Free or $9.99 / £10.99 for standard $19.99 / £21.99 for Pro
• Platforms: Apple iOS and Android

Those who mostly edit on their phones and publish on social media will find CapCut mostly meets their needs. It is a particularly good option for content creators, especially TikTokers. It provides everything from basic video editing tools to more specialised features like video templates, a text-to-speech feature and access to trending TikTok sounds. This is no surprise, as CapCut is owned by TikTok creator ByteDance.

The app can be downloaded for free on Android and iOS. It also has a desktop version and you can subscribe to CapCut Pro for extra features.

Apple iMovie

• Pricing: Free
• Platforms: Apple iOS

Apple’s iMovie is a good entry-level option for those just starting out in video editing who own an Apple device, as it is easy-to-use while including a variety of title and transition options to choose from, a green screen effect, as well as stabilisation and volume adjustments.

The downside is that it is not as feature-rich as others on this list and there are better options if you’re a professional video editor. While this app is Apple-exclusive and is already pre-installed on Macs and other iOS devices, unlike the other apps on this list it is 100% free.

Canva

• Pricing: Free or $14.99 / £12.99 a month
• Platforms: Apple iOS and Android

Canva is an all-in-one type of app for graphic design that is also a photo editor and video editor. As such, it is a great option for businesses and professionals who create both photo and video content for social media.

One thing to keep in mind though is that despite having very much the same video editing tools as other apps on this list, Canva does look different and uses different terms, which can get some getting used to. The paid version, Canva Pro includes extra tools such as social media scheduling, branding, premium templates, AI editing tools and more.

KineMaster

• Pricing: Free or $8.99 / £5.99 a month
• Platforms: Apple iOS and Android.

One for intermediate and advanced video editors, KineMaster brings a wide range of high-end features such as the ability to edit using layers and audio mixing. All packed into a horizontal timeline that looks like a game console.

This app also allows for purposeful frame-by-frame trimming of video clips and audio that is particularly handy when you’re editing video on a phone. A pesky downside is that on the free version, there is a small watermark that cannot be removed.

InShot

• Pricing: Free or $3.99 / £3.99 a month
• Platforms: Apple iOS and Android.

Like CapCut and Canva, InShot is a very social friendly video editor, including a similar music library, the ability to add stickers, GIFs, creative video effects, and doodles to overlay on your videos. It is easy to use and comes with quite a lot of features besides the basics geared at those looking to quickly make videos for social media.

Unfortunately, the free version does come with a watermark. You can pay a small monthly fee to remove it, and it also comes with paid transitions (including TikTok transitions), effects, stickers and more. Plus no ads. There’s also a one-off purchase available for more advanced features.

Filmora

• Pricing: Free or $6.99 a month / £6.99 a month
• Platforms: Apple iOS and Android.

The thing that makes Filmora stand out despite not having advanced features such as multi-track editing or 4K support that other apps like Kinemaster have, is that it is easy to use and beginner video editors can use to quickly put together quality short videos with the help of tools specifically for making a video in a few steps like preset templates, its large library of themed effects and transitions, as well as AI tools like AI Smart CutOut.

The Filmora free app does have a watermark that can be deleted if you have the paid version of the app, which also lets you export at a resolution higher than 720p, up to 4K.

Social media video editing tools

Instagram and TikTok

Instagram and TikTok both allow you to edit your video before posting. They mostly do the job and are extremely convenient. Especially if you want to use it to add in Instagram or TikTok’s own audio and effects and once that’s done, publish the finished product onto either of these social media platforms.

One thing to keep in mind is that though both give you access to specific Instagram and TikTok effects directly on the app, TikTok does offer more tools, effects and filters than Instagram, which is currently limited to Instagram’s existing filter library.

Are you a content creator or video maker? Enter our new Creator of the Year competition for the chance to win £2,000 to spend at Fujifilm!

Related content:

• How to make YouTube videos with your camera worth watching
• How to record the best videos on an iPhone
• How to start monetising your video content
• Best smartphones for video

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The post I pick the Best Video Editing Apps for Phones in 2025 appeared first on Amateur Photographer.

We make a point of looking at video capability as well as photographic whenever we review a lens or a camera, and each of these lenses has been assessed for its video-centric features. You can scroll to the bottom of this page for more detail on our criteria for selecting the lenses for this guide. 

Our list includes options for all the major mounts, so whatever kind of setup you have, there should be a great video lens here for you. If you’re still building your video setup, 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 for making your sound as good as it can be, check out our run-down of the best-value audio accessories for video.

The best lenses for video: our quick list

Looking for the best deal on lenses for video? Not only will you find the best lenses for video, but you’ll also find some of the best deals as our ‘Buy now’ buttons are set to automatically take you to the best prices, from trusted retailers, plus you’ll also find a list of other retailers below each lens, so you can find the right deal for you.

Here’s a quick glance at the best video lenses featured in this article, with links to the best current prices:

• 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
• Sony FE-mount: Sony FE 24-50mm F2.8 G – 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 11mm F1.8 – Buy now
• Fujifilm X-mount: Fujinon XF 10-24mm F4 R OIS WR – Buy now
• Multiple mounts: Viltrox AF 35mm F1.7 – 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

Canon RF 50mm F1.8 STM

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: $199 / £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.

Read our Canon RF 50mm F1.8 STM Review

Nikkor Z 17-28mm f/2.8

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: $1,197 / £1,129

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.

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

Sony FE 24-105mm F4 G OSS

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: $1,098 / £929

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.

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

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

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: $357 / £379

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 zooming 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 not to produce any noise that will be caught on video, realistically. 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 succeeds pretty well.

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.

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: $1,798 / £1,799

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.

Sony FE 24-50mm F2.8 G

At a glance:

• Mount: Sony FE
• Focal length: 24-50mm
• Lens construction: 16 elements in 13 groups
• Max aperture: f/2.8
• Closest focusing distance: 19-30cm
• Price: $1,098 / £1,149

One of the major advantages of Sony’s E-mount lens ranges, compared to other full-frame systems, is that it’s simply been going a lot longer. This means that the basics of the kinds of lenses most users are looking for have long been covered, and more niche options have started to appear. Case in point, this standard zoom lens for full-frame and APS-C cameras, which covers a fairly narrow zoom range of 24-50mm (or 36-70mm on APS-C). Photographers might not be too impressed by such a limited range, but for video shooters, it’s pretty perfect.

As such, the lens has been well-optimised for video. Its aperture ring offers a clickless mode that enables smooth exposure transitions; the barrel has an AF/MF switch for fast swapping between focusing modes; and the autofocusing system performs brilliantly for video, as we discovered in our testing. Switch on Sony’s famous Face Detection mode and the system will keep track of faces in the frame uncannily well – useful for keeping track of your key subjects. The Focus Breathing Correction prevents zoom creep when changing the focal distance; it incurs a minimal crop, but nothing anyone’s going to be bothered by

Optical performance is predictably excellent. The lens is somewhat reliant on corrections for curvilinear distortion and barrel distortion, but these corrections work well and you’re never realistically going to have any reason to turn them off. The constant f/2.8 aperture also allows you to open up wide to create shallow depth of field. Overall, this travel-friendly lens is an ideal companion for Sony-using video shooters.

Read our review of the Sony FE 24-50mm F2.8 G

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

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: $1,399 / £1,199

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.

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

Panasonic Lumix S 18mm F1.8

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: $898 / £799

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.

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

Sony E 11mm F1.8

At a glance:

• Mount: Sony E (APS-C)
• Focal length: 11mm (equivalent: 16.5mm)
• Lens construction: 12 elements in 11 groups
• Max aperture: f/1.8
• Closest focusing distance: 15cm (12cm in manual focus)
• Price: $499 / £499

Sony’s APS-C mirrorless range offers plenty to tempt video shooters, including dedicated vlogging cameras like the ZV-E10 II. A good lens to pair with these cameras is the Sony E 11mm F1.8 prime, a fairly straightforward lens that’s lightweight, reliable and delivers one of the widest angles of view you can get on the Sony APS-C system.

It’s clearly marketed towards vloggers. We tested it out with the original ZV-E10 and found it balanced well, weighing just 181g. It’s plastic, but the mount is metal and it feels reasonably robust. Having a physical AF/MF switch is a nice touch, and the manual focusing ring is pleasant to use, with smooth movement. Autofocus, meanwhile, is swift and near-silent – just what you want.

We found sharpness levels to be consistently very good – best as usual when you stop down. Opening the lens up wide to take advantage of the F1.8 aperture also results in very attractive imagery, with lovely round bokeh. There’s a little vignetting, but not enough to be a serious worry. This is a dependable, affordable little lens that’s a much better choice than a kit zoom for vlogging on Sony’s mirrorless APS-C range.

Read our full Sony E 11mm F1.8 review

Fujinon XF 10-24mm F4 R OIS WR

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 / £869

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.

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

Viltrox AF 35mm F1.7

At a glance:

• Mounts: Nikon Z, Sony E, Fujifilm X
• Focal length: 35mm (53mm equivalent)
• Lens construction: 11 elements in 9 groups
• Max aperture: F/1.7
• Closest focusing distance: 35cm
• Price: $179 / £179

Third-party lenses are always a great source of value for money – if you can live without the brand name, you can often pick up a much cheaper optic than you would get from your camera manufacturer, and still get something of quality. The Viltrox AF 35mm F1.7 is such a lens, available for multiple APS-C mirrorless mounts – Fujifilm X, Sony E and Nikon Z (no Canon RF version yet, sadly). At a price of less than £200 or $200, it’s a bargain of a lens, delivering snappy autofocus and solid image quality. If you’re a video shooter using one of these systems, it’s definitely one to consider, especially given its all-purpose equivalent focal length of 53mm.

In testing, we found the Viltrox lens performed consistently well across the board. The autofocus isn’t just fast, it’s also very quiet, which is great news for video, and the manual focus kicks in nicely when you need it. We tested the Fujifilm version, and found that it synergised very nicely with all the focusing aids that Fujifilm cameras offer.

There’s a little detectable focus breathing – not really enough to worry about, but enough to be worth keeping an eye on. As it’s cheap lens, there are inevitable compromises – no weather sealing, no built-in stabilisation. But for the price we could hardly expect such luxuries, and this is still definitely a lens to consider for blogging on a budget.

Sigma 85mm F1.4 DG DN Art

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: $1,099 / £979

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.

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

Fujinon XF 18-120mm F4 LM PZ WR

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 / £779

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.

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.

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.

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.

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.

Is 50mm a good lens for video?

Yes, it certainly can be! As you can see in this guide, we have included 50mm lenses. Providing a fairly naturalistic perspective, 50mm lenses offer a field of view roughly equivalent to that of the human eye. They also have the major advantage of being cheap to buy. Most of the major camera systems offer an affordable 50mm lens (or rough equivalent) in their stable, with a maximum aperture of around f/1.8 to help you produce shallow depth of field and make the most of available light.

A 50mm lens provides a narrower field of view than some vloggers prefer, with 35mm and 24mm lenses being commonly used to get plenty in the frame. Some also like using zoom for the versatility it offers. However, if you just need an affordable, capable lens that works, a 50mm is definitely a good choice.

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

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One of the challenges of moving into any different area of photography is that we usually need a pile of new equipment, and that is certainly the case when we begin shooting video. Let’s see how much…

You may not need a new camera, as most modern mirrorless models and many DSLRs shoot great quality footage, but microphones, gimbals, cages and filters all come into scope as tools to enhance your filming.

It is natural enough to question whether we can continue using our existing stills lenses or whether to invest in those designed specifically for filming. Cine lenses exist for a good reason surely, so what advantages do they have over the stills lenses we already own?

What is the difference between a cine lens and a stills lens?

Cine lenses look quite different to normal stills lenses. They tend to be bigger all over and have a wider filter thread around the front element. They also have rows of teeth on their aperture and focusing rings, with focus distances marked prominently on the barrel.

Cine lenses don’t use f/stops either; preferring T-stops (Transmission stops) which denote the amount of light that passes through the lens rather than just a mathematical figure that refers to the relationship between the physical diameter of the aperture and the focal length of the lens. So f-stops essentially measure only the theoretical aperture opening, and T-stops allow for precise control. This is especially important when you are switching between lenses and want to maintain consistent exposure in your footage.

You’ll also notice that they are all manual focus-only and that they don’t have electronic contacts on the mount to communicate with the camera. (Only high-end cameras with high-end lenses do this).

Cine lenses come in a limited range of mount options, as cinema cameras have historically used a standardised mount system. These days you’ll find most come in the PL mount or at least with a PL option, and users are expected to buy an adapter to fit the lenses onto non-PL cameras.

With mirrorless cameras this is easy as the distance between sensor and mount is short, allowing plenty of room for a PL adapter. As other camera systems have become popular for filming you’ll also find plenty of lenses in the Canon EF mount, Sony’s E mount, and plenty designed for Micro Four Thirds.

Lenses designed for full frame sensors are still relatively few as the full frame sensor is relatively new to digital film making. The most popular format has been Super-35mm, or S35, which quite neatly corresponds to the size of an APS-C sensor, so it works nicely with APS-C format cameras and full frame models that offer an APS-C crop for filming – which most do.

The benefits of using cine lenses for video

Plenty of people make great and successful films with regular stills lenses, but here are some of the benefits of using cine lenses.

They come in a set
You can buy or rent the whole set, but you can also just get the focal lengths that you need for your project. These sets are known as ‘matched’, which means they should all have the same look, produce the same colours and usually have their control rings in exactly the same places.

The idea of matched sets is that when you switch lenses during filming it only affects the angle of view of the shot, not the colour or the contrast. In stills photography, it’s fine to have a slightly different look from one shot to the next, but in a film such changes are unwelcome; as they fragment the footage. This looks bad and can distract a viewer from the narrative.

The matched positions of the aperture and focus rings make it easier to switch lenses when the rig around the camera has control systems designed to adjust focus and apertures. These motors or manual ‘follow focus’ systems won’t need to be repositioned when you switch lenses, as the rings they control are in the same place on every lens in the set. That makes life much easier.

T-stops
Cine lenses use T-stops which are a measure of Transmission – or how much light that aperture allows to pass to the sensor. F-numbers are just the answer when we divide the focal length of the lens by the physical diameter of an aperture – so they don’t tell us how much light is lost inside the lens.
F-stops are fine for stills photography as we don’t notice a slight difference in exposure from shot to shot when we change lenses; but in a movie, brightness changes in different shots of the same subject will really stand out. Using the T-stop system allows users to know that when they set T5.6 on two different lenses the brightness of the image will be the same from both.

Easier manual focus
If you are focusing manually there’s little doubt that using a cine lens will make life easier. You can manually focus a regular lens too of course, but a cine lens will have an oversized focusing scale and will very often have the focus mark on the side of the lens to make it easier to see when the camera is mounted high up. Prominent markings are also useful when we need to accurately pull focus from one part of the scene to another, repeatedly. Cine lenses tend to have a long ‘focus throw’ ‘- the degree of rotation required to get from infinity to the closest focus. This makes small and gradual focus changes easier to achieve and allows us more control over the speed of transitions and how consistent that speed is. Focusing manually offers a lot more creative control.

Clickless apertures
If you need to change the aperture during filming you don’t want the click sounds of the aperture ring to come out on the audiotrack, so cine lenses have clickless aperture rings. This also makes aperture shifts smoother, as there are no hard stops to create sudden jumps in exposure. Manufacturers launch more and more clickless lenses or add an option to de-click the aperture with a switch of a button.

A softer look
Modern stills lenses are usually designed to produce a sharp, contrasty and detailed image, as that is what stills photographers want. Those shooting fiction and looking for atmosphere though tend to look for a less-interrogating style, and value a flattering lens that doesn’t show too much detail.

Not all cine lenses are the same of course, but they are more likely to invite a little flare, to offer a slight glow and perhaps be happy to darken a little in the corners. Usually all the lenses in a set will have similar ‘fault’ characteristics.

The benefits of using modern stills lenses for shooting video

While there are many good reasons to use cine lenses, weigh these against sticking to what you have already. A still won’t cost anything extra, stills lenses tend to be quite a lot cheaper than professional cinema lenses, when you need another focal length. They are also often smaller and lighter, and take smaller filters – that also cost less.

Although you may want to try and focus manually, for filming, modern AF systems are excellent at tracking a moving subject, and some mirrorless cameras, such as the Panasonic Lumix series, can be programmed to transition focus automatically from one distance to another.

Touch screens, and automatic subject detection, also make keeping on the right subject much easier than before. You will also find many more zooms in the stills world than in the cine world, and these relatively compact lenses make working on a gimbal much more practical.

Using specialist lenses

Some particular looks and styles we see in cinema can’t be replicated with regular stills lenses. You will be able to find old stills lenses that flare and which have a nice soft look, and you can use soft focus or black mist filters to make a regular lens more ‘cinematic’. But the look of an anamorphics lens cannot be simulated as the effects are created optically.

A cylindrical element in the lens captures a view that’s wide on the horizontal axis but normal on the vertical axis, and then compresses that wide view to fit on a regular shape sensor.

The view is ‘de-squeezed’ in post-production to produce the letterbox shape image we associate with old westerns and a lot of modern day cinema. You can crop a regular image to the 2.4:1 aspect ratio, but it won’t have the same look as a shot taken with an anamorphic lens.

Cine vs stills lenses – think about the job at hand

As is often the case, the kit you ‘should’ use depends on the job at hand. For a holiday video, a video diary, nature or any form of informational video, shooting with your regular stills lenses will be absolutely fine – in many cases actually the best option.

If you are a lone ranger too, shooting with the benefits of a good AF system that you are familiar with will save time and effort, and allow you to concentrate on your composition and not trip over while walking around with the camera.

However, if your film needs a dose of atmosphere, romance, emotion, a dreamy feel – to dramatise real life in some way etc. – cine lenses will achieve the look you desire more easily and effectively.

They will help you to create a consistent characteristic from one focal length to another and allow changes of viewpoint that transition so smoothly that the audience will hardly notice. Regular stills lenses tend to produce a more factual and neutral look, while cine lenses tend to imbue scenes with more atmosphere, romance even; ultimately producing an image more beautiful.

I say ‘tend to’ because not all cine lenses and not all stills lenses are the same, and it’s pretty common to find old stills lenses rehoused in a cine body for their classic characteristics. Hopefully, we’ve cleared up the key differences between stills and cine lenses for shooting video, but do get in touch if you have any further questions – email ap.ed@kelsey.co.uk

Related reading:

• The best lenses for recording video
• Does sensor size matter for video?
• Best value editing software, including free tools
• Nikon Z8 interview: Nikon looking at introducing CINE lenses

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Adequate lighting and steady footage are crucial for producing professional-quality videos for YouTube, social media, or corporate uses. Thankfully, achieving high-quality results doesn’t require a large budget. This article examines affordable lighting options – LED ring lights compared to RGB LED panels – and key stabilisation methods using tripods, and gimbals. 

LED Ring Lights: Soft and Even Lighting for Faces 

Due to their simplicity and affordability, LED ring lights have become a favourite among vloggers, beauty influencers, and streamers. They consist of a circular light source, often with adjustable brightness and colour temperature. Ikan’s Oryon kit, which comes with a stand, phone mount, and remote, is a steal for beginners. For more advanced users, Westcott’s Bi-Colour Ring light comes with a slew of accessories and two NP batteries for on-the-go shooters.  

Pros of LED Ring Lights: 

• Soft, Even Light: Ring lights create a flattering glow with minimal shadows, making them ideal for talking-head videos, makeup tutorials, and live streaming. 
• Great for Eye Catchlights: The circular light reflection in the eyes adds a professional touch. 

Cons of LED Ring Lights: 

• Limited Coverage: Best suited for close-up shots; not ideal for illuminating larger spaces or background elements. 
• Flat Lighting: Can sometimes make subjects appear two-dimensional without additional fill or backlights. 

RGB LED Panels: Creative and Versatile 

RGB LED panels provide a wider array of lighting options, enabling creators to tailor their colour palettes and atmospheres to suit various scenes. The market for LED lighting has become saturated with affordable yet quality options. Amaran’s compact and budget-friendly Ace 25c is a standout option that delivers impressive performance because of its size. For those looking to elevate their production quality, DMG’s Dash pocket light is a favourite among filmmakers due to its excellent colour accuracy and robust design. Additionally, you can enhance its effect with the Dot Diffuser for optimal eye lighting.  

Pros of RGB LED Panels: 

• Personalisable Colours: A complete RGB spectrum allows you to explore various shades and craft more engaging effects. 
• Multiple Placement Options: Can be mounted on tripods, walls, or handheld for on-the-fly situations. 

Cons of RGB LED Panels: 

• A Bit Pricier: Budget-quality options range from £50 to £150, while professional-grade panels typically cost more. 
• Additional Accessories Required: Think about employing diffusers, softboxes, or several panels to attain soft, even lighting. 

Up your image-game with stabilisation. 

Unsteady footage can ruin a perfectly lit and framed shot. Most affordable camera solutions rely on a combination of in-camera stabilisation, tripods, and gimbals. However, not all budget-friendly cameras offer in-body stabilisation, so here are a few tips to improve stability without breaking the bank. 

1. Tripods: The Backbone of Stability 

A good tripod is one of the most affordable and practical tools for achieving stable footage. Here’s what to look for when choosing one: 

Key Features to Consider: 

• Height & Adjustability: Select a model that reaches eye level for interviews and vlogging. 
• Fluid Head vs. Ball Head: Fluid heads excel at achieving smooth panning shots, whereas ball heads are more versatile for still photography. 
• Weight Capacity: It’s essential to ensure that it can safely support your camera setup. 
• Portability: While carbon fiber tripods are lightweight, they are more expensive compared to aluminum alternatives. 

Similar to LED lighting, a surge of affordable and feature-packed products has entered the market in recent years. Expanding beyond their camera-rigging roots, Smallrig has introduced the incredibly affordable AD-01 video tripod. For filmmakers on the go, iFootage offers the outstanding Gazelle TA6S legs paired with the K5S Komodo Fluid Head, easily adaptable to their superb Cobra 2 monopod system.

When you’re ready to elevate your setup, the Manfrotto MVK500M system is a popular choice on sets from this reputable brand, providing additional features like a mid-level spreader.  

2. Gimbals: Smooth Motion for Dynamic Shots 

Gimbals utilise brushless motors to ensure stability, producing ultra-smooth, cinematic footage. While few brands manufacture gimbals, one name stands out: DJI. Over the years, DJI’s user-friendly software has established them as a premier choice among content creators at all skill levels. For smartphone users, the Osmo Mobile SE is a quick and portable option, ideal for videographers on the go.

Then there’s DJI’s often-overlooked RS3 Mini, which, despite its compact size, can support a substantial setup, such as the Sony A7S III paired with a 24-70 f2.8 zoom lens, making it a remarkable all-rounder for content creation. Alternatively, you might consider the ingenious Osmo Pocket 3, which combines a camera and gimbal in one device. The Pocket 3 has gained immense popularity among content creators due to its surprisingly impressive image quality, all while being pocket-sized. 

Gimbal Benefits: 

• Fluid, Film-like Movement: Removes shakiness from handheld footage. 
• Creative Flexibility: Allows smooth pans, tilts, and follow shots. 
• Enhanced Walking Footage: Crucial for adventure and travel visuals. 

Conclusion: Lighting & Stabilization on a Budget 

Getting great lighting and steady footage can be budget-friendly! LED ring lights are fantastic for providing soft, even illumination in close-up shots, while RGB LED panels allow for a lot of creative flexibility in your cinematography. Plus, tools like in-camera stabilization, tripods, and gimbals can really enhance the quality of your videos without breaking the bank. 

When you incorporate these budget-friendly lighting and stabilization techniques, your content will look more polished and professional, no matter your budget. Whether you’re just starting out or you have years of experience behind the camera, putting your money into the right tools and methods can really elevate the quality of your videos! 

• Choose the right camera for video – Phone vs Vlogging camera Vs Hybrid camera
• Audio Essentials for Beginners in Video

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Oscar-winning documentary filmmaker Michael Moore once said, “I tell students that sound is more important than pictures. The audience will forgive you if an image is a little blurry, but not if they can’t hear or understand what’s going on. Sound carries the story.” So why is audio often such an oversight in the video kit purchasing process?

In the past, diving into audio could feel quite pricey, with equipment costing nearly as much as your camera. Today, though, manufacturers have made wonderful changes to cater to everyone, whether you’re just starting out or are an experienced pro. In this guide, we’re excited to help you explore the sometimes puzzling world of audio gear! 

Shotgun Mics

A shotgun microphone features a directional pickup pattern, which means its orientation affects what it records. Additionally, these microphones minimize sounds outside their designated area, making them perfect for isolating voices in loud settings or for capturing particular sounds against a backdrop of general noise. Now, let’s explore some budget-friendly on-camera shotgun microphones to identify the best option for you:

Australian manufacturer RØDE offers a range of on-camera microphones, including the compact and budget-friendly VideoMicro II, the impressive mid-range Videomic Go II which features a USB-C port for computer use—and the premium battery-operated broadcast-quality Videomic Pro +. 

Other alternatives consist of Deity’s V-Mic D4, comparable in size to RØDE’s Videomicro II but offered at a significantly lower price, and Sennheiser’s Videomic Pro rival, the MKE 400. Additionally, an honorable mention goes to Sony’s ECM-M1, a shotgun microphone that can connect directly to the hot shoes of newer camera models, eliminating the need for a cable. 

Pros:

• Highly portable and lightweight
• Perfect for vlogging due to their placement on the camera. 
• Improved quality over built-in microphones

Cons:

• Limited Range due to directional nature and lower power
• Can pick up camera noise, especially louder auto-focus motors
• Sensitive to wind – may require a windscreen or furry ‘dead cat’ outdoors

Wireless and Lavalier Mics

Lavalier mics, also known as lapel mics, are crafted specifically to capture the human voice by being clipped to clothing at mid-chest height. Their compact design allows for clear, hands-free sound capture, making them ideal for presentations, vlogging, and filmmaking. 

Audio is usually sent wirelessly from a transmitter (TX) to a receiver (RX) on the camera. Recent technological advancements have led to the development of body packs that function as both transmitters and recorders, often featuring high-quality built-in microphones. Their compact design and small size have made them popular among solo shooters and content creators, so let’s focus on these devices. 

DJI has recently ventured into the wireless microphone market, including a DJI Mic 2 TX pack in their Osmo Pocket 3 Creator Combo, alongside a more conventional TX/RX pack. The DJI Mic 2 features a built-in microphone, a charging case for the packs, and internal 32 Bit Float recording capabilities. This format resembles a camera’s raw mode, allowing the device to capture a wide range of audio information, which simplifies the recovery of clipped audio during post-production.

If the compact design of the Mic 2 feels too bulky for your needs, DJI has also introduced the ultra-discreet and budget-friendly DJI Mic Mini. This petite mic system is exceptionally small, but it does not offer internal recording or 32 Bit float modes. 

Pros:

• Consistent Audio Quality as attached at the same point throughout
• Easy to conceal for a professional look
• Fast setup and low footprint due to tiny size and minimal cabling 

Cons:

• Wireless interference issues can occur with wireless signals.
• Potential for clothing rustle duetopoor mic placement 
• Internal Battery dependence can be an issue on longer shoots

Audio Recorders

Audio recorders do what they say on the tin: they record audio. However, like their microphone counterparts, they come in various shapes, sizes, and price ranges. A good audio recorder can provide a series of confidence boosters on set. In-camera audio has improved over the years, but a dedicated recorder tends to offer more control and nuance in the capture process, as well as greater flexibility, especially regarding the number of microphones you can record simultaneously and the types of microphones you can attach. 

Zoom has been a key player in the budget audio market for many years, providing numerous options for aspiring sound recordists. Their newly announced ‘Essentials’ range features 32 Bit Float recording as mentioned earlier, with the ability to capture input from up to six microphones simultaneously, depending on the model you choose. The H4 essential serves as a solid entry-level option, featuring a built-in mic, 4 XLR audio inputs, and a compact, portable design. For those needing more microphone inputs, the H6 essential offers six inputs and a detachable mic capsule system, allowing you to easily change the built-in microphone type. 

Tascam is another industry stalwart. Their recently released FR-AV2 provides two XLR inputs and in-built timecode jamming to make syncing in editing a breeze. Timecode jamming is a feature normally only found in higher-end recorders, so this will be a desirable feature for some camera operators. 

Pros:

• Higher Audio Quality than built-in camera mics
• Multiple Inputs add better flexibility than most cameras
• Longer Recording Times due to independent SD cards 

Cons:

• Requires syncing in post over using internal camera audio
• Extra bulk in your kit bag. Problematic for vloggers
• An additional process on set. Can forget to press record 

Investing in high-quality audio gear can significantly enhance your content, whether it’s vlogging, filmmaking, or conducting interviews. Each type—shotgun microphones, lavalier mics, and audio recorders—offers unique advantages and drawbacks, making the best choice dependent on your shooting style and surroundings. By focusing on delivering clear, professional sound, you keep your audience engaged and your storytelling effective. Make thoughtful selections, and audio will no longer be a secondary consideration!

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