What to Consider When Buying a Video Tripod

Tripods are tricky pieces of gear because they often work well for years or even decades before wear and tear gets to be too much and they simply can't do the job anymore. Maybe they're struggling to get a steady pan, the setup shakes every time a heavy breeze blows, or the camera's continually a couple of degrees off balance, all telltale signs it's time for an upgrade. Replacing them can be daunting, with popular options ranging from $100 to $100,000. Below I'll present my top five features to consider when deciding which legs are worth the investment. Let's assume you're strictly considering video tripod systems with a fluid head for silky-smooth pans and tilts. Sure, you can nitpick over brands, material, and color, but these are five factors I think will truly make or break your shooting experience.

1. Load Capacity

The first listed feature for many tripods might seem cut and dried, but there is nuance to the stat that can make the difference between a breezy shoot and a total headache. It's incredibly important to consider not just the stand-alone weight of your camera, but the weight of it once you add the largest lens you own, plus all your accessories, plus some headroom.

Sure, your mirrorless camera weighs only a couple of pounds, but what about once you add a super telephoto lens, V-Mount battery, monitor, follow focus, and external viewfinder? Suddenly you're closer to nine pounds, and you'll honestly get a much smoother shot with tripods that claim to handle double that amount. This is so you're not straining the fluidity and maxing out the counterbalance when you go for more angled shots. Sure, a tripod might be marketed as able to handle ten pounds, but if you put more than seven on it, expect to find the panning and tilting of the fluid head to be a little jerkier and more difficult.

Another way to approach load capacity is by thinking less about your setup now and more about what you might grow into. As previously mentioned, a good tripod can work for at least a decade, sustaining you through future upgrades and kit build-outs. A low budget option might work well for where you're at now, but as soon as you replace your camera or buy a new zoom lens, you could regret not spending a bit more upfront for a set of legs with a higher load capacity.

2. Maximum and Minimum Heights

How are you going to be using the tripod? Are you shooting events and trying to get over people heads? Look for a maximum height of 70" or more, maybe with an adjustable center column to give you an extra boost. Shooting macro video of bugs and plants? I'd focus more on minimum height, picking a tripod with legs that extend fully to get it down to a foot or less.

Again, weight might be a deciding factor. Tripods with low minimum heights typically have smaller load capacities, so shooters with heavy-duty rigs might need a separate Hi-Hat for low-to-the-ground shots. If you're able to find a tripod that can get both as high and as low as you need, you've found your Swiss Army Knife. If not, it might be worth buying or renting a different tripod for special shoots. If you only shoot one event a year, it's silly to drop serious money on a giant set of legs for it.

What's most important is looking at how high and low a tripod can go before you invest in it, so you can feel confident it'll work for your specific needs. Think back to shoots you've done in the past and ones you're planning―what are your favorite shots to get? If they're low to the ground and looking up, focus on minimum height. High and looking down? Zero in on the maximum height. Our search parameters can help narrow your options.

3. Flat Head vs. Half-Ball Head

This difference is a frequent stumbling block when photographers start shooting video. Although your photo tripod might work decently well for static shots, pain will come when you encounter uneven terrain and must individually adjust each leg to get a good center of balance for the camera. A leveling base can help as a half-measure, but the real solution is switching from a flat base head to one with a 75, 100, or 150mm half ball at the bottom that fits into an equivalently sized bowl on your tripod legs. That way, you'll be able to loosen the head with the tiedown and make micro-adjustments to keep it level. You'll know what I mean if you've ever turned a small knob (the tiedown) under a fluid head and adjusted its angle on the legs so that a bubble level on the head is perfectly centered. As your camera rigs get larger and more unwieldy, leveling them out leg by leg simply isn't safe, and a fluid head with a half ball on the bottom becomes essential.

There's typically an increase in price and weight that comes with a half-ball system, so tripods with a flat base still might make the most sense for pared down travel shoots, but most videographers will find themselves using a 75mm half ball system when possible, with 100/150mm half ball tripods typically reserved for super heavy buildouts with high-end cameras. There are a ton of great fluid heads that come with a flat base, but users typically pair them with a ball adapter for compatibility with video-centric legs.

4. Counterbalance and Variable Drag Controls

Many videographers want a setup in which they can take their hands off the camera while moving it around and the fluid head will keep its position, not lean forward or back (even with loose pan and tilt locks). The way to accomplish this is with a stepped counterbalance system that can be set to different strengths, depending on the weight of the rig. This feature is a saving grace for situations where you forget to tighten the locks before letting go of the camera, as well as shots where you switch from movement to static (or vice versa) and don't want to risk shaking the camera by messing with locks. Less expensive tripods with a fixed, non-adjustable counterbalance can accomplish these shots at times, but results will be hit or miss.

Same thing with variable pan and tilt drag―not totally essential but a high priority for many as they scale up their equipment. Sometimes you want a whip pan, sometimes you want a slow crawl. Depending on your hands to do all the work for pan and tilt speed isn't sustainable for precise, repeated movements. Being able to increase or decrease the drag on your tripod will instantly boost your ability to get meticulous camera moves that feel straight from the big screen. The larger your rig gets, the less you'll be able to depend on non-stepped drag systems that you change simply by loosening or tightening locks. These are liable to slip, vary in speed, and, overall, give you a more difficult experience while operating.

5. Locks, Spreaders, and Plates

Now we get to the real nitty gritty, with three features that often go overlooked but can be key in the long term. Tripods typically feature either twist locks or flip/lever locks. Some people love flip locks because you can easily tell if they're tight. Others can't stand them because they're liable to get pulled out or damaged in difficult conditions. Some people love twist locks because they're good for tight spaces and fast adjustments. Others twist them too hard and wear them down quickly. I'm a flip-lock person, because my brain still wants to turn twist locks in the wrong direction. I've become a big fan recently of the single lever lock system pioneered by Sachtler on its flowtech legs and now adopted by manufacturers like SmallRig and Sirui. With this feature, one lever controls both stages of the legs, so you can totally collapse or extend each leg with a single lock instead of two or three.

Spreaders are the branching y-shaped pieces that connect the three legs, and they come in ground and mid-level varieties. Ground spreaders are almost exclusively useful for studio environments with perfectly flat surfaces. Mid-level spreaders come in handy for uneven terrain or anywhere your three legs might not be totally even, and as such, are a more popular, versatile choice. Spreaders aren't essential, and many can be removed, but they will give you extra stability with heavier rigs.

Finally, the type of quick-release plate you want your tripod to use will likely come down to what type of other accessories between which you move your camera. If you often switch from a tripod to a harness or clip, a small Arca Swiss type plate might be the best choice. If you alternate between tripod and gimbal, a Manfrotto-style plate could be the way, since they're typically larger and compatible with more gimbals. If you use a shoulder rig, a VCT-style plate might make the most sense. Figure out what other accessories you'll be mounting your camera on, look up what style plate they use, and buy a tripod that accepts the same if you want easy pop and go. Worst-case scenario: an adapter baseplate can be added on top.

There's no perfect tripod for everyone, and the best way to decide which is right for you is to take these five points into consideration while weighing your favorite types of shots to get, what environments you see yourself shooting in, and what style rigs you envision building out. Video tripods are stronger and more affordable than ever, so no matter what features you decide are important, you should be able to find multiple options that check your boxes and give you an ideal shooting experience.

What features are most essential to you when picking a tripod? Let us know in the Comments section.