If you want the flexibility to switch between still images and videos without investing in yet another expensive piece of equipment, you have options in DSLR and mirrorless bodies and their associated array of lens choices.
What’s best is most easily determined by how and what you like to shoot. We can’t ignore brand loyalty, either, because as we all know, the Canon versus Nikon debate will never be settled to everyone’s satisfaction.
What is the best DSLR or mirrorless to use in making videos or films? The good news for you as a photog is you have myriad choices today, and even more appearing on the horizon monthly. We’d love to recommend a wider array of brands, but as you’ll see in the comparison details, you should not skimp on certain features or run the risk of having outdated gear before you even begin.
Here’s Photophique’s comparison of the best DSLR and mirrorless options for videography or filmmaking. Take your pick, because there really isn’t a bad decision to be made. Find the brand and unique features you love the best, and you’re well on your way to making award-worthy moving pictures your audiences will love.
7 Best DSLR or Mirrorless for Videos
Best Overall: Sony A7R III
- Camera Type: Mirrorless
- Sensor Size: Full frame
- Sensor Resolution: 42.4 MP
- Lens Mount: Sony E
- Image Stabilization: Yes
- Weight: 1.45 lbs.
It’s hard to find anything to criticize on this Sony A7R. As the latest entry in a long line of pro mirrorless cameras, it has a nearly limitless selection of A7 compatible lenses.
There are over a hundred native options, plus third-party offerings. There is also cross-use of other major lens brands with adaptors means you probably have a lens or two that will already work.
Don’t be turned off by the native ISO range (100-32000) and think this isn’t a good low light choice. That ISO can be boosted to 50-102400 to give you even more flexibility. The lack of an anti-alias low-pass filter produces better sharpness and detail in your films, offset with some risk of moire (but that can be used artistically too).
Other features include a tilting LCD touchscreen to make adjusting settings a breeze. The electronic viewfinder is high resolution and covers 100% of your image. It records video at three levels of fps, the highest being 30p fps.
Some users note that this Sony feels too small in their hands (akin to a point-and-shoot), and that the buttons are too small for comfort. Outdoor enthusiasts love that it is weather-sealed and note that the silent shooting makes for great quiet moments in their films. The dual card slot helps manage the video file load, making this the best all-around camera for the videographer in the field.
Best Nikon for Low Light: Nikon Z6
- Camera Type: Mirrorless
- Sensor Size: Full frame
- Sensor Resolution: 24.5 MP
- Lens Mount: Nikon Z
- Image Stabilization: Yes
- Weight: 1.49 lbs.
We know this isn’t the latest and greatest in the Nikon Z line, with the Z7 taking that top billing. However, the Z6 offers a wider ISO range (native 100-51200) making it great across low and high light settings without sacrificing the video to graininess and noise. The sacrifice comes in sensor resolution (Z7 at 46 MP compared to this 25 MP); all other features are equivalent for your video or still needs.
If you work outdoors in uncertain weather conditions, this Z6 body is environmentally sealed. It has the articulating screen we love for making movies on a tripod or other stabilizer. With 273 focus points, a touchscreen to select the ones you want to use and an electronic viewfinder, this camera offers plenty of flexibility and choices.
Other neat features include remote control via a smartphone app, a great feature if you’re working alone. The external mic and headphone ports let you pick up better sound and hear what you’re capturing in real time. Image stabilization (IS) gives you more control if you’re worried about wind or are working on unstable surfaces.
Besides the sensor size, the list of what’s not to love includes the limited number of Nikon Z lenses, five as of this writing, which narrows your use. They range from wide angle to standard with prime and zoom. The battery life is short, so prepare yourself with charged spares when you head out for your videography or YouTube vlog camera work.
Best Nikon for Video Plus Stills: Nikon D850
- Camera Type: DSLR
- Sensor Size: Full frame
- Sensor Resolution: 45.7 MP
- Lens Mount: Nikon F
- Image Stabilization: No
- Weight: 2.24 lbs.
Yes, it’s heavy and large, but it has so much going for it, you’ll easily overlook that part. This semi-pro DSLR makes the jump between types of shooting with a high res sensor and long battery life above and beyond the crowd. You will want to consider a tripod or other stabilization system for longer shoots as this body does not have IS.
D850 compatible lenses will never be a problem, as this Nikon F mount includes over 300 options, plus third-party additions. Over 50 of those native Nikon lenses offer IS, so you can compensate for that lack in the body itself. Environmental sealing gives you options in the weather too.
The native ISO range is 64-25600, giving you plenty of freedom in high light but less in low light. The lack of an anti-alias low-pass filter renders sharper images with greater detail, though it increases the risk of moire occurring. Nikon notes that the high sensor res offsets that risk.
Its 153 focus points help you find your target zone and the touchscreen LCD lets you set it easily. Filmmakers like the two storage slots on this body, along with the articulating screen and set of ports for additional equipment. The company redesigned many features for the D850 model, and users comment that every change seems worth it.
Best Nikon Handheld: Nikon D500
- Camera Type: DSLR
- Sensor Size: APS-C
- Sensor Resolution: 20.9 MP
- Lens Mount: Nikon F
- Image Stabilization: No
- Weight: 1.90 lbs.
Considered a semi-pro offering, the smaller sensor size on this Nikon but big features offset the heavier weight for handheld work. Users love the very long battery life. Image stabilization, which it lacks, would make it an even better option for on the go video work.
Whether you’re shooting with a gimbal to follow the action or on a tripod, you’ll appreciate the high res LCD display which serves as an articulating touchscreen. The 153 focus points and subject tracking keep your framing focused where you want it as you move. The native ISO range of 100-51200 can be expanded to 50-1640000 (not a typo) for extreme low light situations.
The D500 has both mic and headphone external ports. Environmental sealing allows you more flexibility outdoors. Two storage slots expand your overall capacity for long filming periods.
Users love the lens selection, over 300 to choose from plus third-party options. The lack of an anti-alias low-pass filter increases sharpness and detailing in your videos with the offset of a greater potential for moire. With fast autofocusing, you’ll find this Nikon body to be an effective tool in many of your videography and action settings.
Best Canon for Low Light: Canon EOS 1D X II
- Camera Type: DSLR
- Sensor Size: Full frame
- Sensor Resolution: 20.2 MP
- Lens Mount: Canon EF
- Image Stabilization: No
- Weight: 3.73 lbs.
Dig out your tripod and get ready for truly extended range low light work. This Canon captures your videos and films with a native ISO range of 100-51200, expanding to 50-409600 (not a misprint). If you shoot outdoors, or if you’re a wedding photographer who gets trapped in the rain every now and then, it’s also weather-sealed for your image protection.
It squeezes in a little more resolution in its 4K too, 4096×2160 (as opposed to 3840×2160 for everyone else). One of the two storage slots is a high-speed Fast Slot to record your high vid res in real time speed. The LCD touchscreen display is higher resolution as well.
While this camera has so much going for it, it’s not without some drawbacks. The LCD is not articulating, making it a little harder to use on a lower height tripod. You’ll want that stability for low light work because the body is heavy (no one will mistake this for a lightweight hidden camera) and its lacks image stabilization.
You’ll never run out of lens options, though, with over 270 to choose from on the EF mount. Many of these include IS, helping you steady your imaging. If you’re looking for a Canon body to shoot indoor video action, the 1D X II is a valuable addition to your photog gear bag.
Best Canon for Video Plus Stills: Canon R
- Camera Type: Mirrorless
- Sensor Size: Full frame
- Sensor Resolution: 30.3 MP
- Lens Mount: Canon RF
- Image Stabilization: No
- Weight: 1.46 lbs.
With a built-in electronic viewfinder and full articulating plus selfie screen, this pro mirrorless Canon was the first entry to a growing mirrorless market to maximize benefits for both video and still photography. The 5655 (not a typo) focus points are almost too much – but not really. It also has an exceptionally high video recording rate, above any other camera on our list.
The RF lens mount represents a completely reengineered effort to build lenses on Canon’s part, meaning the optical technology and innovation in your glass keeps up with the features of your body.
The ten native Canon EOS R lenses for this mount class might not seem like enough, but they span the wide angle to medium tele range and include both prime and zoom with appropriate apertures. More are being added on a regular basis as the popularity of this and other Canon mirrorless bodies grows.
For video file transfer, the camera comes with built-in Wi-Fi, and it also connects via Bluetooth to the Canon smartphone app. Transfer speeds will be based on the network you’re working through. The battery life is average, so invest in some spares and keep them charged for longer film shoots.
Users favor handheld work with this R body, though it lacks IS. Film is captured effectively with little graininess or noise across the full native ISO range of 100-40000. Ranked as a step above and beyond in terms of out of the box usability and performance, reviewers say the ergonomic handling of the R is exceptional for any filmmaking or still imaging you plan to tackle.
Best Canon Handheld/Best Budget: Canon EOS M50
- Camera Type: Mirrorless
- Sensor Size: APS-C
- Sensor Resolution: 24.1 MP
- Lens Mount: Canon EF-M/EF-S/EF
- Image Stabilization: No
- Weight: .86 lbs.
Proving that bigger, more expensive and pro level are not always better, this entry level mirrorless offers the range and flexibility you’ll need for handheld video work. If the body included image stabilization, it would be just about perfect. The native ISO range of 100-25600 means it will capture high quality films across a wide range of lighting options.
While the APS-C sensor is smaller than full frame, it does an effective job of recording your action while preserving the cinematic background blur you want in films. Built-in slow-motion recording gives you great filmmaking techniques without the artistic struggle. Remember to adjust the effective focal length by a factor of 1.6 to understand how your choices of lenses will shoot.
This body has an external microphone port but not one for a headset. If you’re chasing the action, however, you probably won’t be as worried about listening in at the same time. The articulating touchscreen allows you to make settings changes on the fly.
Reviewers note the video color quality is exceptional with this body. They wish it had a longer battery life, so make sure you order extras. With an endless supply of lens options across the Canon line, you’ll be creative in ways impossible with a heavier, bulkier body.
The Complete DSLR or Mirrorless for Videos Buyer’s Guide
What You Should Know about Selecting a Still Camera for Videos
Not all DSLRs or mirrorless bodies shine in a filmmaking venture. Some lack the video resolution and speed to handle action, and others won’t work well in low light. You can’t throw any old (or new) still camera with video capability into the filmmaking realm and expect superb results.
The factors we list here should be on your mind when you select a DSLR or mirrorless for videography. There are less expansive bodies that will do an okay job at a lower vid resolution or perform in daylight but not indoors, but that’s not what audiences have come to expect from documentarians, film producers, or social media influencers. The future is 4K, and that’s where we’re leading you in our comparison.
Video Resolution
This is the most important aspect of shooting good (and by good we mean across different projection formats) videos. The highest video resolution available in DSLRs and mirrorless cameras today is known as 4K, Ultra High Definition, Ultra HD, or UHD. This level of video quality allows your film to appear crisp and clear on a large screen, something lower resolution videos struggle to achieve.
The reason 4K is so sharp is pixels. It has twice as many pixels (points where image is captured) horizontally and four times as much overall as a 1080p HD video. With this comes greater detail and the intense edges in your view.
While video resolution alone won’t make a good film, it can break a great one. For this reason, we only include 4K DSLR and mirrorless bodies on our list. If you’re only shooting for broadcast on mobile devices, you can get by with a lower resolution – but why risk it when the competition is using 4K?
Sensor Resolution
Hand in hand with the video res, you want good sensor resolution too. Sensor res is how many pixels the sensor can capture, measured as megapixels or MP. The highest today is 51 MP, though it’s said most people won’t notice the difference at any point above 20 MP.
You’ll hear people complain that their 4K videos on a low sensor resolution camera don’t appear as clear, and this is the reason. More pixels captured means even greater detail, sharpness and clarity. However, the computer, television or other device used to play the video also must have that resolution capability to make the viewing as you intend it.
Autofocusing
You’ll want a camera with fast autofocusing (AF) if you want to keep the videos crisp. Imagine panning to follow your subject but the AF won’t keep up. Your subject will fall out of focus, then back in, and back out again. That kind of effect distracts your audience.
Speed alone is not enough, though. Some AF systems have so many focus points, the electronics can become confused and continue to jerk from setting to setting to find the subject. If your camera has subject tracking in its AF system, you stand a better chance of avoiding this disaster.
A final point about AF is noise. If you use the microphone built into your camera body, it will pick up an overly loud or whirring focusing effort. Vibration from the AF can also cause camera shake, another unwelcome effect.
DSLR or Mirrorless for Video | Best For | Image Stabilization | Weight |
Sony A7R II | Best Overall | Yes | 1.45 lbs. |
Nikon Z6 | Best Nikon for Low Light | Yes | 1.49 lbs. |
Nikon D850 | Best Nikon for Video Plus Stills | No | 2.24 lbs. |
Nikon D500 | Best Nikon Handheld | No | 1.90 lbs. |
Canon EOS 1D X II | Best Canon for Low Light | No | 3.73 lbs. |
Canon R | Best Canon for Video Plus Stills | No | 1.46 lbs. |
Canon EOS M50 | Best Canon Handheld/Best Budget | No | .86 lbs. |
Image Stabilization
When you’re panning or zooming, you generally need to touch the camera buttons or the touchscreen on the back. You’re also breathing, perhaps with excitement, and your body shakes. Plus, you might be moving.
Those movements, plus any vibration from the mechanics of the camera, translate into noise in your video. Some of this can be overcome by using a tripod or by employing a gimbal or shoulder rig, but if you’re moving with your subject and shooting handheld, you run the risk of a jiggle or a shifting horizon. Image stabilization (IS) in the camera body (plus/or in the lens) can overcome that.
If you do not have IS in the camera body or in the lens, consider using a gimbal or tripod to steady your framing. You can read comparisons of gimbals here, and for tripods, visit here.
Low Light Shooting
If you shoot a lot of your videos or films indoors under natural or low light settings, you’ll want to think about the native ISO range of your camera body. The lower number equates to a lesser amount of light capture, with the offset being less graininess to the image.
High ISO numbers let in more light and are great for low light work, but the video image may appear noisy (could be a cool effect, depending on how you plan to use your video).
Some camera bodies have extended ISO ranges, with the extension provided by the magic of electronic enhancement. In most cases, using that extended range guarantees graininess. Cameras have sweet spots (light sensitivity versus graininess trade-off) in their native ISO ranges that differ based on brand and model, so it pays to experiment and find them in yours before an important video shoot.
Battery Life
People usually think about battery life in terms of how many still images the camera can capture before a replacement or recharge. However, it also affects how long your camera can record videos, a factor that is important for long-period shooting.
If you plan on keeping the camera running for many long segments, you might need a system that has an auxiliary battery pack or to buy a lot of extra batteries.
File Storage
Videos equate to large file size, and 4K videos are even larger. A one-hour video requires 40GB of storage space on the average sensor resolution camera. That would mean three videos would fill the memory card on one of the most popular card’s sizes, 128GB.
You also need to address the speed of the card. The 128GB card we mentioned comes in a recording speed appropriate for images and another for videos. The video version needs to be much faster to record the number of frames per second (fps) the camera is capable of.
Don’t forget your computer or image storage service in the storage equation too. And the speed with which your connection from the camera to the computer can transfer, and the graphics card you’ll use to view it on your video editing monitor in post production. Those are discussions for another blogger.
Frames-Per-Second
Abbreviated as fps, this specification refers to how many frames the video will record in a second. The higher the fps, the smoother a video will tend to look. The movement that happens between the frames isn’t evident.
Some cameras allow you to set the fps, but the majority are fixed. The highest available is 60fps, though 30fps is the norm on a variety of bodies. This will allow you to take more creative liberties in post production work as well.
Note that some cameras come with a setting to grab a single image from the video stream. You can also achieve this in post production. For this reason, we do not deem it to be significant enough to use as a point of comparison here.
Other Features
We mentioned that camera mics aren’t always adequate in terms of picking up softer tones or voices in a scene. For this reason, we like to see a mic jack on the camera. Ditto for a headphone port to add a headset and listen closely to what you’re filming, to retake a scene if the overall noise level is unacceptable.
We’ve also become fans of articulating screens, for the simple reason that they are easier to watch when you have the camera body on a tripod. In addition, these are often touchscreen, allowing you to change the focus subject with a fingertip or adjust settings on the fly. This isn’t a must, but you’ll come to depend on this feature with any lengthy shoot.
Newer Not Always Better
Selecting a DSLR or mirrorless for video or filmmaking requires examining specifications closely. Sometimes in the interest of making one part of a camera’s performance better, a manufacturer sacrifices others. We like to take the latest model in a line and go back a generation to compare what’s changed and if, for our purposes, the changes are for the better.
FAQs about DSLRs and Mirrorless Cameras for Videos
There’s a lot of forgiveness available in post production to improve your videos after the shooting is done. You need a good film to begin with, applying the usual framing and lighting techniques you already know about. Here are a few FAQs about the creative side of filmmaking with a DSLR or mirrorless.
DSLR or Mirrorless for Video | Camera Type | Sensor Size | Sensor Resolution |
Sony A7R II | Mirrorless | Full frame | 42.4 MP |
Nikon Z6 | Mirrorless | Full frame | 24.5 MP |
Nikon D850 | DSLR | Full frame | 45.7 MP |
Nikon D500 | DSLR | APS-C | 20.9 MP |
Canon EOS 1D X II | DSLR | Full frame | 20.2 MP |
Canon R | Mirrorless | Full frame | 30.3 MP |
Canon EOS M50 | Mirrorless | APS-C | 24.1 MP |
Can 4K video appear too sharp?
This is an interesting debate that’s arisen with the advent of 4K. A super-sharp film can become so precise, it no longer looks like reality to the human eye. Most of us do not have vision as highly tuned as our cameras, as it turns out.
In some cases, you might want a super-sharp 4K, such as shooting news stories or research footage. For human interest, though, things can be softer, and if you’re working on a documentary or fictional film, you want the audience to feel like they’re next to the subject. That means making the crispness more like human vision.
Luckily, there are several screening and adjustment software tools you can apply in post production to achieve that softer look. Interestingly, the higher quality of 4K helps to make those adjusted videos look better too, since there is more detail to lose. This applies to adjusting a still image captured from a video too.
What are the video quality risks with a lower resolution sensor?
The answer to this is mixed. Higher resolution sensors capture more detail because they have more pixels, translating into larger electronic files of those videos. However, they also have less light per pixel, requiring optical adjustments in the camera and lens that amplify what’s coming in so the sensor can record it.
This kind of adjustment can create noise and reduce sharp edges in the resulting video. On the other side of this, though, your video will only record as fast as the camera overall can work. While all of the cameras in our comparison have exceptionally high recording rates, if the format through which they’re being played isn’t also high, the affect is nil.
DSLR or Mirrorless for Video | Camera Type | Sensor Size | Sensor Resolution | Lens Mount | Image Stabilization |
Nikon D500 | DSLR | APS-C | 20.9 MP | Nikon F | No |
Canon EOS M50 | Mirrorless | APS-C | 24.1 MP | Canon EF-M/EF-S/EF | No |
How can I compensate for a smaller sized sensor?
A crop sensor camera works well for 4K video and films if you adjust your distance and lens selection accordingly too. For example, your 50mm lens on an APS-C camera shoots at what appears to be 80mm in final form. That brings your subject closer to the camera, perhaps not the effect you’d always like.
Yes, you can back up, and you can also select a different lens to achieve the same focal distance. Think of using a 35mm camera to achieve a 50mm feel or take advantage of the altered effective range and make things usually too far come in close. It can work for you if you plan ahead.
Mirrorless for Video | Best For | Sensor Size | Sensor Resolution | Lens Mount | Image Stabilization |
Sony A7R II | Best Overall | Full frame | 42.4 MP | Sony E | Yes |
Nikon Z6 | Best Nikon for Low Light | Full frame | 24.5 MP | Nikon Z | Yes |
Canon R | Best Canon for Video Plus Stills | Full frame | 30.3 MP | Canon RF | No |
Canon EOS M50 | Best Canon Handheld/Best Budget | APS-C | 24.1 MP | Canon EF-M/EF-S/EF | No |
What’s better, mirrorless or DSLR for videos?
It used to be a given that DSLR were going to be better for videos, simply because they were the more popular camera style, had the most robust features overall, and had more lenses available.
Things have changed, though, with the rapidly growing number and variety of mirrorless cameras and wide ranges of lenses and features as good or better than DSLRs. That rapid growth also comes with more innovation to set mirrorless models apart.
Mirrorless cameras are lighter in weight, generally smaller and easier to handle, and because they lack a mirror, shoot faster. Upgraded autofocusing systems added in recent years put them on par with DSLRs. The range of lenses has also improved and expanded.
DSLR for Video | Best For | Sensor Size | Sensor Resolution | Lens Mount | Image Stabilization |
Nikon D850 | Best Nikon for Video Plus Stills | Full frame | 45.7 MP | Nikon F | No |
Nikon D500 | Best Nikon Handheld | APS-C | 20.9 MP | Nikon F | No |
Canon EOS 1D X II | Best Canon for Low Light | Full frame | 20.2 MP | Canon EF | No |
DSLRs enjoy a longer battery life, a critical issue if you’re shooting long scenes or unscripted slices of life. Image stabilization is more readily available. It’s generally been believed that DSLRs do a better job on a wider range of still imaging, though that gap is closing quickly too.
Are still frame images from videos as good as regular stills?
This is an area where 4K video and higher fps recording makes a difference. The more frames per second the camera will capture, the more likely you are to find the perfect shot to pull for a still image. If autofocusing keeps up with the fps speed, the images should be crisp and worthy of use as stills.
What isn’t good news about using a DSLR or mirrorless for videos or filmmaking?
Unfortunately, sometimes you select a still camera for videography purposes only to find it doesn’t exactly meet your still image needs. While there are many cameras offering 4K video with smaller sensor sizes (like Four Thirds), these don’t produce the best videos or films for professional camera (or aspiring pro) use.
That limits the range of cameras to the two Big Brands in DSLR and mirrorless production plus Sony, who was mirrorless before it was cool.
Selection Criteria for DSLRs for Videos
To be considered for our list, the DSLR or mirrorless camera body needs 4K resolution, a jack for an external microphone, and an adequate selection and range of interchangeable lenses. Niceties include an articulating LCD touchscreen and adjustable frames per second (fps) rate, but we have not eliminated bodies that do not meet these criteria. We explain our comparative criteria below.
DSLR or Mirrorless for Video | Best For | Camera Type | Sensor Size | Sensor Resolution | Lens Mount | Image Stabilization | Weight |
Sony A7R II | Best Overall | Mirrorless | Full frame | 42.4 MP | Sony E | Yes | 1.45 lbs. |
Nikon Z6 | Best Nikon for Low Light | Mirrorless | Full frame | 24.5 MP | Nikon Z | Yes | 1.49 lbs. |
Nikon D850 | Best Nikon for Video Plus Stills | DSLR | Full frame | 45.7 MP | Nikon F | No | 2.24 lbs. |
Nikon D500 | Best Nikon Handheld | DSLR | APS-C | 20.9 MP | Nikon F | No | 1.90 lbs. |
Canon EOS 1D X II | Best Canon for Low Light | DSLR | Full frame | 20.2 MP | Canon EF | No | 3.73 lbs. |
Canon R | Best Canon for Video Plus Stills | Mirrorless | Full frame | 30.3 MP | Canon RF | No | 1.46 lbs. |
Canon EOS M50 | Best Canon Handheld/Best Budget | Mirrorless | APS-C | 24.1 MP | Canon EF-M/EF-S/EF | No | .86 lbs. |
Camera Type
Some people prefer DSLR cameras because they find satisfaction in the heft, proven technology, and type of image making. Mirrorless cameras have risen through the ranks, though, and many are top contenders for best in their class in making videos and films based on features and not only popularity. If you prefer one over the other, we give you your choice here.
Sensor Size
Full frame sensors capture the image from edge to edge in full 35mm-sized format. Crop sensors (APS-C) have a smaller sensor and reduce that potential view by a third. The subject you’re shooting will appear closer too, since the APS-C effect on the lens extends the effective focal length by a factor of 1.6 times.
Larger sensors are generally preferred by pros because they tend to capture less image noise like indistinct edges or color lost in shadows. They also give your videos shallow depth of field that we tend to equate to a cinema experience.
That’s not to say smaller sensors like crops or Micro Four Thirds create lousy films, and if you’re creative, you can use that to your advantage as well.
Sensor Resolution
We’ve talked at length about sensor resolution earlier in this comparison. Suffice it to say we provide the MP numbers in case you’re wanting to buy the highest resolution possible. Recall that this means more file storage required too.
Lens Mount
Lenses are a large investment, and if you have a significant number in your gear bag already, you want to make sure they work with the camera you choose. Keep in mind that crop sensor cameras can often use a lens designed for a full frame (with the correct brand adapter) but the image capture will still be reduced by the crop sensor. Full frames won’t natively stop down to a crop sensor size.
Image Stabilization
IS in the body will help in low light and handheld shooting situations and will smooth out the quality of your video. If you cannot buy a camera with IS, it’s best to aim for lenses that have it. If that fails, consider the use of a stability system like a tripod or shoulder rig.
Weight
Heavier cameras are harder to handhold and pan than light ones. Conversely, light cameras might be more easily jiggled when you’re trying to stay still on a subject. Remember that lens weight needs to be added to determine your overall weight in hand.
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