SmallRig AD-120 and AD-Pro8 Tripod Review: Strong and Nimble Tools

After a decade building many of the most popular video cages and accessories in the world, SmallRig is releasing two new intriguing professional video tripods, the SmallRig AD-120 and AD-Pro8. Both tripods feature carbon fiber legs, with strong, easy-to-use adjustments that let you lock and unlock both stages of the legs with only one knob.

These tripods kits really stand thanks to two different heads, the DH12 and PH8, which show a notable evolution from what’s come before by bringing high-end features to filmmakers of all budget levels. Since the legs on these two models are virtually identical, let’s start there.

FreeSpeed Carbon Fiber Legs

The key factors for good tripod legs are strength, adjustability, and reliability. SmallRig’s two-section legs easily check all three boxes, with a sturdy carbon fiber build, easy flip locks that control both stages, and an impressive height range that can cover nearly all types of shots. SmallRig dubs their system “FreeSpeed” and promises “one-touch leg adjustment.” I’d call it more “one pull or push,” as the leg locks have a fair bit of resistance, especially when you’re first using them. I’m glad they can’t easily come loose, but it’s certainly not as simple as the flip lever locks on a flowtech, and the silicone material used for the locks has a bit of a plastic feel that might not hold up over years of heavy field work.

The same dichotomy exists with the feet—the default wide, flat feet can be detached to reveal built-in metal spikes underneath. This is a nice step up from the small removable rubber feet on many past sets of SmallRig legs, but the material of the flat feet feels a little bit cheap in comparison to the strong carbon fiber used for the main shafts of the legs. Those core carbon fiber legs have a 0.6” diameter to achieve a nice balance of strength and size.

Mid-level and ground level spreaders are included to give you the best of both worlds. They easily snap in and out of place and can be condensed for storage. The ground spreader will help you get an impressive 22.8” minimum height, while swapping it for the mid-level spreader helps the legs stay stable at their maximum 77” height. Those figures should satisfy the needs of almost any shooting situation. At the top of the legs is a detachable 75mm bowl base with a nice tie-down for leveling adjustments.

The AD-120’s DH12 Head

Now let’s get into these fluid heads. The DH12, the lower priced varietal, still manages to hit the same 17.6 lb load capacity, 360° panning, and +90/-60° tilting abilities. Both heads also feature a six-step counterbalance system adjustable from a nob on the operator-side of the head. The difference comes in their damping system, aka the adjustability of panning and tilting speeds. The DH12 features a step-less damping system with separate anti-slip knobs for panning and tilting, the pan knob is on the bottom of the head and the tilt knob is on the right side. Though not as customizable as the stepped system on the PH8, this stepless set-up is standard for tripods under the thousand-dollar mark and does an admirable job handling builds of different weights and dimensions. Unless your camera is incredibly front or back heavy, you should be able to tune the damping system to get your desired movement speeds. There are locking knobs for pan and tilt that are totally separate from the damping tilt adjustment knob and dumping pan adjustment ring, for an extra layer of control.

The adjustable counterbalance system is a feature that’s still rare on many prosumer tripods and should work well throughout the AD-120’s payload range. The only possible negative here is that it can’t be turned completely off, so users with super small rigs might run into trouble, but that’s a rare case. Even though both tripods include phone holders, the sticks themselves are overkill for any smartphone or compact mirrorless users.

Another nice quality of life feature is the Manfrotto Touch-&-Go quick release plate system that allows you to easily snap your rig on and off the DH12 via the top of the head, as opposed to sliding it out via the back, though this traditional slide method also works. The head’s compatible with standard Manfrotto 501PL-type quick release plates like the one that’s included, but you can also flip a switch on the head to make it work with DJI RS series plates if you’re frequently moving between the tripod and a gimbal. The pan bar is also adjustable, extending anywhere from 13.8 to 20.9” and attaching to either side of the head via stainless steel rosette mounts.

The AD-Pro8’s PH8 Head

In many ways, the PH8 head is hard to distinguish from the DH12. Same counterbalance, same snap-on quick release plate system, same locking knobs, bubble level, and pan bar. So why does a stepped pan and tilt drag system make such a difference? Pan and tilt drag provides resistance as you move the head, preventing any jerking movements, especially at the start and end of the movement. This is essential for smooth shots, as having a little jump in speed at the beginning or end of a camera move can look amateurish, and cinematographers often have an exact speed in mind for each pan and tilt – whether it’s a fast whip or a slow crawl. The step-less system on the DH12 head can approximate what you want, but the stepped system on the PH8 can really dial it in, with numbers on the pan and tilt adjustment rings so you know exactly how much resistance the head is giving you. This also allows repeatability, which is incredibly important for matching shots together and creating a unified visual aesthetic, versus the more “this seems like the same speed” workflow that a stepless system requires.

It’s hard to deny that both tripods are quality products, capable of handling small and medium-sized buildouts of cinema and mirrorless cameras. So the question then becomes who exactly are they best suited for? With both coming in at over $500 list price and weighing almost 13 lb, they’re not the tripods for your standard vloggers and on-the-go content creators. But their 17.6 lb load capacity and mixed material quality will preclude them from many higher end production environments. I think both tripods are great options for prosumers and beginner professionals, people in the first five or ten years of their filmmaking careers who need reliable sticks but can’t shell out thousands of dollars for a Sachtler or Miller. The AD-120 is perfect if you’re using standard lenses, while shooters who see themselves buying or renting heavy cinema lenses should consider shelling out the extra dough for the AD-Pro8. The 4-step damping system on the PH8 head will help them get the precise pans and tilts that are tough to pull off with front heavy rigs. Considering all that these tripods can do, both sit at very reasonable price points and have a lot of features to recommend.

For more information about the AD-120 and AD-Pro8 tripods, including additional features, specs, and highlights, be sure to check out the detailed product pages. Or drop us a line below, and we’ll do our best to answer all your comments and questions.