15 Best Video Camera Stabilizers for Filmmakers in 2021

1.1 CAMERA STABILIZER ESSENTIALS

What does a camera stabilizer do?

You keep hearing about camera stabilizers and how they can improve your footage, but you’re hungry for more information about how they work with specific camera types – or how to balance them.

Our list will give you essential information on the best video stabilizers  for filmmakers by featuring helpful videos from industry professionals. We’re going to show you how to balance, charge, or assemble each stabilizer in addition to our entries for each stabilizer.

You want to move your camera, but you don’t want your camera to move.

But before you whip out that money clip (yes... you own a money clip) you’ll need to consider a few things that will make your life much easier.

1.2 CAMERA STABILIZER COMPLETE GUIDE

Handheld Stabilizers

A handheld stabilizer is a stabilizer that doesn’t use a vest or 3-Axis gimbal to create extra stability. These are normally the less expensive options that rely heavily on the operator.

The stabilizer in the picture above is actually created for heavier cameras when compared to the other Glidecam handheld stabilizers.

Always check the weight capacity.

1.3 CAMERA STABILIZER COMPLETE GUIDE

3-Axis Gimbals

A 3-axis gimbal is a camera stabilizer that makes automatic adjustments based on gravity in order to give stable footage. Motorized options help make adjustments, but require charge time and batteries.

As mentioned before, some of the most popular stabilizer options are battery-powered motorized 3-axis gimbals, such as the DJI Ronin M.

These stabilizers can take 15 minutes to mount and balance, with some of the more advanced stabilizers boasting an electronic auto-balance feature.

You can also adjust the motor stiffness in some stabilizers, allowing more control over your operation. This is particularly helpful when switching to a different camera.

There are non-motorized 3-axis gimbal stabilizers, such as the SNOW stabilizer. No need for batteries, and organically precise.

1.4 CAMERA STABILIZER COMPLETE GUIDE

Vest Stabilizer Systems

A vest system is a stabilizer that combines a vest attachment, springs, iso-elastic arms, multi-axis gimbal, and weighted sled.

The most well-known versions of this being the Tiffen Steadicam.

The more detailed you are with your shot list, the more you can create accurate schedules and discuss important creative choices with your team.

Share it with your team and collaborate for success.

2.1 HOW TO CHOOSE A STABILIZER

How much do you want to spend?

Budget isn't the only determining factor for gear, but often it has the loudest voice. Fortunately, there are some fantastic options for just about every budget, and by the end of this article, you may find that the best option for you is actually cheaper than you thought.

Now, if you’re a camera-op looking to move into the world of vest-supported systems, you may find yourself holding the same price tag you’d find at a Honda dealership.

Either way, don’t be deterred.

If you want stable footage, there are options for you.

2.4 HOW TO CHOOSE A STABILIZER

What is your subject matter?

You know that new romance mini-series your mom keeps asking you to watch? That production has different needs than, say, a skate video.

Which one are you preparing for?

No matter which of these you plan to film, you’ll want the ability to capture stable footage.

But each of these projects requires a different type of stabilizing system, and you’ll want to have the correct one for you on your next project.

2.5 HOW TO CHOOSE A STABILIZER

Do you want to deal with electronics?

Some of the options in this article have battery-powered motors that make guided adjustments while you operate your stabilizer.

This means batteries; most likely rechargeable lithium ion or alkaline.

Other stabilizers do not require motorized assistance and let gravity do most of the work.

There is no direct correlation between price and electronics, as some of the more expensive stabilizers require no power source.

This can be a major selling point for stabilizers that require no downtime to charge on set.

2.6 HOW TO CHOOSE A STABILIZER

Is the stabilizer too advanced?

Your level of experience matters, because stabilizers often require the user to balance the stabilizer before it can effectively be used in the field.

The best way to learn about stabilizers is through a hands-on approach paired with YouTube videos. It may take a few attempts to correctly balance your stabilizer, but I encourage anyone who wants to learn to jump in. This video will show you how you can get a dynamic tracking shot in your next project.

Use your new stabilizer to achieve one of these great shots, and keep in mind how some tracking shots actually gain some extra feeling by actually being a bit less stable.

Pros: Works with DSLR and mirrorless cameras up to 6.6 lbs (Canon EOS Mk III-1D w/ lens comes in around 5lbs).

Give you stable footage without the use of a battery; works with many quick release plates.

Cons: Still on the relatively low end of handheld stabilizers, and is more operator dependent than some of the more expensive options.

This stabilizer expects you to use standard SLR and Mirrorless cameras, so if your camera is on the lighter side you may need to replace the weights with something even lighter.

Pros: This stabilizer is one of the best for the price. Many similar stabilizers range $250 - $700 and can have frustrating designs.

The P06 is relatively sturdy for how light it is, and can support up to 6.2 lbs. Once balanced, the stabilizer performs really well.

This is a good compact stabilizer that requires no batteries, and it is considered “easy” to balance. This has a decent QR plate, though you can always upgrade.

Cons: None really. A similar stabilizer, The Glidecam HD-Pro, comes in at $500. If you are looking for a stabilizer that is comparable to the HD-Pro, but for a third of the price, Eureka.

Pros: This stabilizer can support up to 10 lbs (some lighter cinema cameras), but there is a similar version of this product from Glidecam (HD-Pro - $500) that can balance cameras with lower weights, like your standard mirrorless or DSLR.

For the price, this stabilizer works really well.

It is light and easy to move from location to location. Because there are no electronics, you can use it in high moisture areas like the beach.

Cons: If you’re looking for a DSLR or Mirrorless Rig that falls in this price range, you may want to consider going down to the CAME-TV P06 or up to the Glidecam HD-Pro.

Pros: This stabilizer is one of the best non-motorized options, and is considered to be the DSLR and Mirrorless standard when it comes to handheld (No Battery) stabilizers.

Not only does this stabilizer not require batteries, but if the operator is skilled enough the HD-Pro can get smoother footage than most of the more expensive motorized options.

There are number markings on the QR plate that remind you where you last had your camera set, which shaves off time when balancing your stabilizer.

This stabilizer is very versatile, and can be used in any situation you may want. You can use this with Mirrorless, DSLR, and some lighter cinema cameras.

This stabilizer is more than capable of capturing professional video, and really is one of the best on the market. Period.

Cons: None.

Pros: This stabilizer has 360 degree rotation on all three axes, and can support up to 7lbs. It also has a long battery life, and a follow focus, and 1-year warranty.

You can connect with bluetooth and adjust settings with your phone, though there have been some complaints about the ZY play app (especially with Android).

This stabilizer also comes with an attachable lens support for long lenses. You can pull it out of the box, and begin using it for weddings, real estate, or professional filmmaking.

This stabilizer has multiple modes including a “lock mode” useful for capturing Real Estate.

This Crane 2 (without the follow focus) is less expensive than the Ronin S, and has very similar performance ratings. You can adjust settings to make it even better, but this will take some research based around your camera.

Cons: Updating the firmware can actually cause more harm than good. This stabilizer isn’t particularly beefy, and if you add a monitor and mic to your setup, you’re definitely going to go over the weight limit, which can stress the motors and ruin your gimbal.

Pros: Supports up to 8 lbs. Trigger controlled. Buttons to switch for quick access. This stabilizer has additional functions via your smartphone (Android/iOS).

Some believe this to be a more versatile and quieter version of the DJI Ronin-M. The stabilizer balances very quickly, and has multiple modes allowing you to lock, low-hang, or barrell roll your camera while you operate.

The bulky construction adds weight, but gives the Ronin S more stability and protects the internal components better than other options.

Cons: Settings will often be reset when you put this stabilizer back in the case. The DJI firmware has not always been as easy to use as many would like.

Also, download the PDF file of the manual off the DJI website, and check out our article on the best DJI Ronin-S footage.

Pros: Supports up to 8 lbs. Extra lens support. You can add monitors, mics, LED lights. It can handle your standard mirrorless and DSLR cameras, or the lighter cinema cameras like BM Ursa, C100, C300. Not as good with the Sony FS700.

This stabilizer is heavy, but that keeps footage more stable. You can hold the Ronin-M out of a moving car (be safe please) and get some really fantastic steady footage.

The Ronin-M has so many great functions and possibilities, but it really is one of those stabilizers that teters on the edge of “professional.” You can get professional shots, and you can get them for under $1000 – which is really fantastic.

But you have to research, practice, and be a bit patient if this is one of your first stabilization stabilizers, and even if it isn’t your first, it can take some time to learn.

There are a lot of accessories available, and you can do things with the Ronin-M that you cannot do with the Ronin-S. The battery runs well, and can be plugged in easily.

Cons: DJI has a poor track record when it comes to customer service, and many users who have experienced difficulties with their stabilizer end up demoralized. The stabilizer is heavier than a lot of comparable options, and the electronic components add some anxiety.

With the Ronin-M you have to take the bad with the good. Watch some examples of shots people have gotten with this stabilizer - it isn’t a fluke. You can get shots that 10-20 years ago may have required an entire grip and camera department to achieve.

Pros: The next 2 models on the list are basically dead even, and having to rank one higher than the other was not a decision we made lightly. A few years ago, Freefly designed one of the great advancements in stabilizers in the MōVI Pro.

And by “great advancements” I mean a clumsy, buggy mess that people put up with anyway because they could see the potential product that was to come. Since that initial release, Freefly has done a pretty great job of updating and improving their flagship stabilizer.

But before they had made all of these improvements, DJI saw an opening and pounced on it with their Ronin-2. DJI saw how great the MōVI Pro operated, and they created a truly comparable stabilizer for about the same price.

They took it a step further and added bulkier batteries with more charge (more weight), a rig that could support twice as much weight (30 lbs = more weight on operator), and some really useful quick access buttons to adjust settings.

The DJI Ronin-2 hasn’t been out as long as the MōVI Pro, and has its own growing pains to go through (they are rapidly improving), but this is a seriously amazing stabilizer that doesn't require as much skill as a traditional vest supported system.

Cons: Really heavy in comparison. It is twice the operating weight of a MōVI Pro, which can take a toll on the operator. Lack of certain specific functionality (See MōVI Pro).

Will require extra purchases and accessories to operate in a truly professional manner.

Pros: 3-axis motorized gimbal with support up to 15 lbs. Remote control capabilities, and MōVI ring pro handle for extra stability. The battery can power both the stabilizer and your camera. Comes with 2 batteries.

How does this stabilizer compare to the Ronin-2?

Freefly has had more time to smooth the edges with the MōVI Pro because it was released before the DJI Ronin-2. The Ronin-2 can support more weight than the MōVI Pro, and for many that would be the end of the discussion.

Cameras are getting lighter, though, and that extra support also means extra weight that you may not need. When you get into the higher end models, you end up actually wanting to shave off every pound rather than adding weight for more stable footage.

The MōVI Pro has one function that sets it above the Ronin-2, and that is what Freefly calls the “Mimic Mode”. This is where the controller can actually lock the stabilizer system onto a tripod, and then control the stabilizer remotely. This is a very cool and unique feature (for now).

Cons: The battery life is not as long as the Ronin-2, but it is easier to change. The settings aren’t as easy to change as the Ronin-2, and DJI has tried to work backward from the industry needs, oftentimes making the MōVI Pro design seem a bit clumsy by comparison.

Will require extra purchases and accessories to operate in a truly professional manner.

Pros: This stabilizer is very similar to the Glidecam HD-Pro, and can support up to 12 lbs. The vest size is adjustable, and can expand for almost any size.

The vest allows you to hold this stabilizer for a very long time, and you can be in the field without getting too tired too quickly. This stabilizer acts like the traditional steady cams used in the film industry, but comes in at a fraction of the cost.

Does not require batteries, and can be used in situations that the motorized stabilizers cannot. Comes with a nice hard case, sturdy build, QR plate.

This stabilizer is the DNA 6002, which was created for 7 lbs to 12 lbs.

If you have a lighter camera than this, consider the identical DNA 6001, which supports cameras between 2.5 lbs and 7 lbs (mirrorless, DSLR)

Cons: Requires some practice and skill to balance and operate. This is the case with any non-motorized stabilizer, and I suggest further research to help you understand the balancing process of any model you choose to move forward with.

Pros: This stabilizer is an inexpensive version of the traditional Tiffen Steadicam, and for the price point it is a nice option. Similar stabilizers can go for $2,500 all the way up to $10,000, so keep that in mind when considering the CAME-TV Pro.

This stabilizer can hold a lot more weight (5 lbs - 33 lbs) than most of the options listed above, and can be used with basically any setup try.

We’ve gone over this a few times before, but everytime you eliminate the need for a battery to run the stabilizer, you have one less concern.

However, with a stabilizer like this you will most likely be attaching a camera battery on a V-plate - so many of the fun situations you can get into with your handheld options will not be as easy with this stabilizer.

This is the bottom tier of professional vest stabilizers, and that really is the best way to describe it. The vest allows you to carry more weight, which means nice heavy cameras, presumably better lenses, and possibly more professional footage.

Because this stabilizer is mechanical, you’ll need to practice with it before you go on set, but you will not need batteries to operate.

If you are someone trying to get into the world of steadicam operation, but you don’t have tons of money, this is a good starting point. 

Cons: The biggest con with the CAME-TV Pro is that you could invest a bit more money and get truly time-tested brands like Steadicam or Glidecam. You’ll also need to order the QR plate, monitor, and Battery V-mount for your camera separately.

Pros: Supports 8 lbs - 10 lbs. This is a really nice vest stabilizer that seems to be built with DSLR and mirrorless cameras in mind while still being able to handle some cinema cameras. Steadicam is a proven brand, and the operation of the stabilizer is very smooth.

Any vest system created by Steadicam is going to be an updated version of what has been the industry standard since the 1970s. The 7” monitor allows you to frame your shots more effectively, but make sure you have the correct cables and adapters for your camera.

You can attach all sorts of accessories to this stabilizer, and your operator can handle the weight with relative ease. This may not be the case with non-vest stabilizers.

The best way to describe this stabilizer would be a super professional tool built for lower budget filmmaking. Paired with a decent DSLR or mirrorless camera could run you around $8000 - which is what some stabilizers cost alone.

If you have a true desire to buy gear that can be taken on a professional film set tomorrow, consider the next option on the list - the AERO 30.

Cons: Operator dependent. You may find yourself buying this stabilizer only to realize that you could have accomplished very similar results with the Glide Gear DNA for a lot less.

Any of the vest stabilizers will need to be more specifically paired with cameras for the battery plate on the back.

You can also solve this by buying several plates (extra $500 - $1000).

Pros: Supports up to 23 lbs. This is a professional vest stabilizer and will require a lot of practice to get used to. This system needs a heavier camera to even balance correctly, so don’t consider this option unless you’ve worked with vest stabilizers before.

Even if you just rent one for a day to try it out, it will give you an idea of how everything works. Once you get the hang of it, you will be able to film music videos, action films, musicals, or anything else you want to capture.

This stabilizer will never require a firmware update to work, and will never break down on you because of questionable craftsmanship. If you do have problems, Tiffen will fix it.

The Zephyr is one of the more expensive options, and it is a serious piece of filmmaking equipment. Many would rate this higher on the list, and I wouldn’t argue with them.

The only thing “holding it back” would be that it is an analog tool in a digital world.

Cons: Reserved for experienced professionals.

5.5 BEST VEST SYSTEM STABILIZERS

Basson Endless 3

Pros: Basson stabilizers are really fun to watch. If you ever get the chance to operate one, you’ll quickly begin to understand why so many engineers and scientists seem to be a common profession among comic book villains.

The Basson Endless 3 is the modern MacLaren of stabilizers. This thing has just about everything you could possibly imagine in a camera stabilizer.

The Basson Endless 3 has dual electronic auto stabilized motors for horizon and pitch as well as support for bigger cameras than its previous model.

The vests are super comfortable, and the design is very sleek.

Cons: Reserved for high-end cameras and ultra budget filmmaking.

6.1 CAMERA STABILIZER TIPS & TECHNIQUES

Level up your camera stabilizer skills

Here is a great comparison video for some of the middle-range stabilizers on this list: The DJI Ronin S vs. the Zhiyun Tech Crane 2.

This not only illustrates how similar stabilizers can be, but also how subject matter, camera choice, and personal preference should play into any filmmaker’s decision.

Perfect practice makes perfect, so it will help if you supplement your practice with some additional research and ask thoughtful questions on forums. These are opportunities that many of your predecessors did not have available to them, so take advantage.

6.3 CAMERA STABILIZER TIPS & TECHNIQUES

Pick a spot and follow it

When you are using these stabilizers, especially if you’re just starting out, you need to remember to frame your subject, and then pick a point of reference for the duration of your shot.

Example:

Your subject has a logo on their shirt that’s in the middle of your frame.

The idea is to keep that logo in the middle of your frame throughout the shot. You can’t watch everything as a camera operator, and on professional sets, you don’t need to because the video feed is being watched by the director on a monitor back at video village.

Your job, when you’re operating, is to keep that subject balanced in your frame. These reference points can really help your footage, and make you stand out as an operator.

6.4 CAMERA STABILIZER TIPS & TECHNIQUES

Tell a story with your shot

Story structure is not limited to writers and directors, and the best Cinematographers and camera operators understand that a shot needs to have a beginning, middle, and end.

Example:

The shot begins on a mug, moves up to the subject, and ends on a clock.

Your shots should have their own personal stories that lend to the film. Remember that your shot can always be improved with movement and framing that adds emotional context.

If your shots have a distinct beginning, middle, and end, they will give you more interesting content, and more options in your editing room.