Best camera & camcorder viewfinders according to redditors
We found 92 Reddit comments discussing the best camera & camcorder viewfinders. We ranked the 38 resulting products by number of redditors who mentioned them. Here are the top 20.
We found 92 Reddit comments discussing the best camera & camcorder viewfinders. We ranked the 38 resulting products by number of redditors who mentioned them. Here are the top 20.
Here's the gear list:
Alzo DSLR Cage : http://www.amazon.com/Transformer-Handle-Extenders-Multifunctional-Bracket/dp/B005IY3MBC/ref=sr_1_1?ie=UTF8&qid=1396632671&sr=8-1&keywords=alzo+rig
Tascam DR-40 : http://www.amazon.com/DR-40-4-Track-Portable-Digital-Recorder/dp/B005NACC6M/ref=sr_1_2?ie=UTF8&qid=1396632990&sr=8-2&keywords=tascam+dr-40
Sony UWP-V6 : http://www.amazon.com/Sony-UWPV6-Microphone-Transmitter-Operating/dp/B001EYPZAQ/ref=sr_1_1?ie=UTF8&qid=1396633014&sr=8-1&keywords=sony+uwp+lav
Azden SGM-2X : http://www.amazon.com/AZDEN-SGM-2X-Professional-Shotgun-Microphone/dp/B000CMU0S8/ref=sr_1_1?ie=UTF8&qid=1396633044&sr=8-1&keywords=azden+sgm-2x
Kamerar QV-1 : http://www.amazon.com/AUTHENTIC-KAMERAR-VIEWFINDER-FINDER-CANON/dp/B00EA71PVM/ref=sr_1_1?ie=UTF8&qid=1396633077&sr=8-1&keywords=kamerar+qv-1
Opteka CXS-25 : http://www.amazon.com/Opteka-CXS-25-Universal-Aluminum-Camera/dp/B00A4EAJAI/ref=sr_1_24?ie=UTF8&qid=1396633138&sr=8-24&keywords=opteka
Manfrotto QR : http://www.amazon.com/Manfrotto-577-Connect-Adapter-Mounting/dp/B00009XV3M/ref=sr_1_1?ie=UTF8&qid=1396633187&sr=8-1&keywords=manfrotto+QR
Plus rods from somewhere on Amazon.
I can beat that. I got this one from a brand called "CLEARI" for $9 altogether. 2 weeks in using it and it's perfect!
here it is
It's this one from PNC.
The prism housings on (many) bodies with pop-up flashes aren't big enough to support the same kind of porthole-style viewfinder they put on bodies that don't have them.
I bought one of these for my D750 to see if it would at least get me halfway there, because I don't like the clip-on cover they supply with the camera. It did, but the rubber part was forever getting brushed against things and slipping off the plastic mount. I left it off and found that the plastic part was a decent-enough substitute. I may put a coat of Plasti-Dip on the rear (eye-facing) edge to make it a bit softer.
Your method is good, I know several photographers that do that. The reason behind it is that some cameras don't have many cross type auto focus points and the center point is always cross type.
I do weddings and other events, and have lost the habit of shooting with the auto focus points. I've ran into lens that I've rented that weren't calibrated and my first full frame was a 6D (known for only having 9 focus points in total). I now shot live mode with a LCD magnifier. In my opinion, it's easier to get the shots focus than to wait on the lens to focus.
Believe it or not, I had an extra Tarion TR- V2 magnifier that I was going to gift away. I pitched the idea of having a gift exchange over at /r/weddingphotography twice and no one responded.
/u/eligoscreps - if you're a filmmaker and don't need a still photo camera, I recommend a real cinema camera.
Sadly, the cameras recommended here are still cameras that have been modified to record video.
Some do a better job than others, but for $1500, all you're going to get is a compromise still/video camera that shoots RAW stills, but records video to an amateur 256 color 8-bit compressed codec.
For short films, it might be better to get a camera with a professional level RAW video codec and more color space than you can get from a still camera - such as the 1080/60p RAW Blackmagic Micro Cinema Camera.
Here is a ~$1530 setup built around the BMMCC [Referral Links]:
With this setup, you can get the mic close to your talent, as seen [here] (https://youtu.be/dfoopvFcY1E) and produce image quality like this in 1024 color 10-bit ProRes and 4096 color 12-bit losslessly compressed CinemaDNG RAW:
Narrative
Docs
Music Video
TV commercials and promos
Slow Motion
The BMMCC captures so much information at 1080p, that it still looks clean when blown up to 4K:
There are many more examples in the [Pocket/Micro Cinema Camera group] (https://vimeo.com/groups/pocketcamera) I moderate over on Vimeo.
Although Blackmagic cameras have a steeper learning curve than consumer cameras, and color grading in post is pretty much mandatory - in my view, they are the best pure filmmakers' cameras in this price range and well worth the money.
If you decide to go with the BMMCC, you might want to subscribe over at r/bmpcc and r/Blackmagicdesign - lots of knowledgeable folks there who can help you get the most out of your new camera.
Hope this is helpful and good luck with finding the right setup for your needs!
Spent about 30 minutes trying to figure out that eyepiece setup. Kinda makes me wanna buy an LCD BacPac now!
The eyepiece should be replaceable with something like a 3rd party eye cup which might help. You'll just need to get one that's compatible with the DSLR that she uses.
Let me know if you're still looking to purchase a BMPCC. I purchased two units for a shoot and ended up just using one. I'm keeping the camera I used, since I love it so much and can sell you the second one, which is brand-new and factory sealed.
With that said, here are my 2 cents regarding the BMPCC.
While the camera body itself will fall into your $2,300 budget, be ready to spend some extra money on additional items (i.e.: extra batteries, sd cards, lenses, nd filter, cage/rig., speed booster, sun shade/monitor/viewfinder, etc.)
I. BATTERIES: These things eat up batteries. A fully charged battery can last anywhere from 30-50 minutes, depending on your camera settings and whether or not you leave the camera on standby or turn it on/off between takes. So, if you're planning on a full day's shoot, and have no access to run the camera off the AC adapter, be sure to have plenty of batteries on hand. Luckily, the batteries run about $10-$15 each, depending on the brand. Your other option is utilizing a battery pack solution, like the one seen here: BMPCC Battery Pack Solution. This is just one of very many examples out there, for a battery pack option.
II. SD CARDS: While the camera produces a great image and 13 stops of dynamic range, it comes at a cost of taking up a good amount of card and hard drive space, especially if you plan on filming RAW. On a 64GB card you will get around 16 minutes of runtime in RAW. So, depending on your filming situation, you need to have enough cards on hand, just like the batteries. If RAW isn't necessary for your shoots, then you can always use their ProRes options, which will take up less card space and give you more recording time, on different card speeds. Just be sure to check their website to see compatible cards, you can't just throw in any SD card. I've been using SanDisk's 64GB SDXC Memory Card Extreme Pro Class 10 UHS-I 95 MB/s, and haven't experienced any issues [i.e.: dropped frames in ProRes/RAW] thus far. This particular card can run anywhere from $90+ each, which can add up quickly. Just like the battery pack solution, you can purchase an external recorder, such as the Atmos Ninja 2.
III. AUDIO: The on-board microphone is unusable for production. It should basically be used as a reference point. The best way would be to get separate audio through an audio recorder and microphone, then sync in post.
IV. LENSES/FILTERS/BOOSTER: The camera utilizes a Micro-4/3 mount. If you already own Canon or Nikon lenses from your DSLR, just purchase an adapter. There's also a crop factor of 2.88x on the camera, a Speed Booster, such as the one from Metabones, reduces the crop factor to 1.75x and gives about an extra stop on the aperture.
Other optional accessories: ND Filters
V. LIGHTING/NOISE/ASA: From my experience, the camera loves light and doesn't do too well in low-light situations compared to DSLR's. You can apply noise reduction in post, but be aware with low-lit scenes.
VI. SUNSHADE/EXT. MONITOR/LCDVF: If you're planning to film outside in the sun, the LCD screen on the BMPCC is extremely hard to see. A sunshade (i.e.: LCD4Video), external monitor (i.e.: smallHD) or an LCD viewfinder (i.e.: Zacuto, Kinotehnik) is a must.
VII. STABILIZATION: With the 2.88x crop factor, the camera's sensor and it's body's shape and size, going handheld isn't recommended, even though you can use an IS lens and apply stabilization in post. Be prepared to use a tripod/monopod/stabilized rig./etc.
VIII: POST-PRODUCTION [WORKFLOW, COLOR CORRECTION]: With it's flat profile in film mode, be prepared to invest time with color correction to achieve the look you want. LUTS are very helpful as a starting point in this situation and Davinci Resolve Lite is a great program to learn, plus it's free.
IX. SETBACKS & ISSUES: Many people have had issues with the camera, straight out of the box, mainly with hot pixels, which I experienced with my first order and was fine with my second. Whether it's a firmware issue or a bad batch, just be aware that this camera isn't 100% with it's current version. From what I understand, basically all units will have hot/stuck pixels when the settings are at its highest ISO and shutter angle, but you should probably not be filming in those settings to begin with.
X. FINAL THOUGHTS: This little camera produces a stunning image with the appropriate filming and color correction applied. It's small body makes it easy for me to be less noticeable when trying to film discreetly, as opposed to my geared up DSLR setup. Of course adding attachments to the BMPCC will add bulk, but for my light setup, this isn't the case. With the free DaVinci Resolve Lite software and its low price point, it's an awesome camera in my opinion.
Hope that helps.
lincthesink had some good comments, here's what I'd like to add on to them:
1 - You shouldn't really be depending solely on your LCD monitor to judge exposure of the scene. So many factors are in play here (the light hitting the monitor itself, the general light conditions of the scene, etc.) and can cause the apparent exposure on the LCD screen to vary. What you should be doing is base your exposure judgements on a histogram or waveform display that should be overlaid on top of your screen. You can then check if anything is "clipping" in the scene (peaks going beyond the right or left extremes) and adjust accordingly. I believe the 60D has this feature natively, but you should download the Magic Lantern firmware for your camera anyway. It has tons of videography tools that are of great help - you can customize your waveform display settings, you can turn on "zebras" (which highlight underexposed/overexposed areas in the way lincthesink is talking about), you can turn on focus peaking, and much more.
2 - I haven't had much experience with this problem firsthand, but my guess would be that your actors/scenes are on a different plane than where the tripod is set up, so even though your camera's "levels" are accurate for the tripod plane, the plane your actors are on might be crooked. This is a fairly simple fix in post-production though, at the cost of some video quality (rotate the image and zoom in as necessary).
3 - Nailing focus is one of the most difficult things about shooting on DSLR, especially if you're going for that cinematic shallow depth of field look. If you preset your focus with the digital zoom and you shoot on a tripod, the image will always remain in sharp focus as long as there is no movement in the scene. Because I'm guessing most of your scenes contain movement (otherwise, it would be a boring film!), you often need to compensate for the movement by adjusting focus during the shoot - this is called "pulling focus" and is such a difficult job that it is a highly paid role all by itself on a full film set.
On DSLRs, you can maximize the chances that your shot will be in focus by: 1) stopping down the aperture. The smaller the aperture, the greater the amount of the scene that will be in focus. This is often the most practical solution to solving focus issues, but it requires that you have a lot of light to shine on the scene (to make up for the loss of light entering the lens). 2) using a wide-angle lens. The smaller the focal length, the greater the amount of the scene that will be in focus. This is why GoPro footage usually always has all of the scene in sharp focus - their fisheye lens combined with a narrow aperture ensures that everything will be in focus. 3) pulling focus during the shot. This is the solution that most filmmakers tend to use, as oftentimes you will want to use a close-up lens with a wide open aperture for artistic effects, or because there's not enough light in the scene to justify stopping down. However, physically putting your hand on the focus ring and turning it to adjust the focus tends to shake the camera too much and is generally not ideal. Thus, it's best to invest in a "follow focus", which is basically a gear that attaches to the focus ring that allows for external control of the focus (typically by a knob). You can get simple ones for as cheap as $3.50, but the more "legit" ones typically start at around $50.
I could write a whole other post just about the process of pulling focus, but there are basically two ways to do it: by eye, or by pre-marking the scene. If you want to pull focus by eye, I'd suggest investing in an external monitor for your DSLR or at the very least a viewfinder extender. This will allow you to see the image and judge focus much more clearly. You'll want to turn on focus peaking in Magic Lantern, which will highlight the in-focus areas with brightly colored dots. Then, as the scene progresses, you can adjust the focus nearer or farther away as your subjects move. This method is very hit-and-miss, but if you take time to develop this skill you will eventually get better at it. The second method is to first "block" your scene - have all your subjects move to where they will be moving, practice all the camera movements, etc. At certain points in the scene you will use a tape measure (or other distance measuring device) to measure the distance between the subject and your lens and write it down, making a marking on your lens or follow focus device so you know where to turn to at that point. When all this is done, during the actual shoot, you'll rely on these focus markings and measurements to operate the focus rather than looking at the scene. This has the potential to be much more spot-on than just doing it by eye, but it requires a lot more prep work and is typically a stand-alone job apart from the main camera operator (as it's difficult to move a camera and operate a follow focus at the same time!)
Hope this helps!
It's hard to tell in that pic but it doesn't look like an eyecup attachment it looks like an LCD Loupe.
I use one depending on how bright it is outside. The problem with mine is that once it is attached I can't tilt the LCD screen up or down which i do a lot especially trying to get very low angled shots where I don't want to lay on the ground. If I attach it and then decide I want a low angled shot I have to detach it and it just interrupts my shooting rhythm.
I've lost three eyepieces for my D750 while either putting it back in its bag or on hiking around.
What I replaced it with is this Hoodman replacement eyepiece that clips into place and is much more secure (cant just slide off).
I did have to grind down the rubber outer ring as it was fairly large (designed for glasses) but after switching it is definitely much more secure.
https://www.amazon.ca/Hoodman-H-EyeN22S-HoodEYE-Nikon-Square/dp/B001UGNKQE
I do photography, been doing it for about a year and a half but still don't feel comfortable enough to try and go the next step (buying a somewhat more serious equipment and start charging for photoshoots), my photos are not yet at an acceptable level!
Link to a public facebook album of photos I took while studying abroad in south america (has one or two NSFW photos of bodypainting)
Link to items:
Wireless remote shutter So i can take some nice selfies (not really!)
Eye cup because I lost mine while hiking in chile
Some extra protection never hurt anybody
Basically everything else I'd want camera related is above 150 dollars each :P so I chose inexpensive accesories to show things related to my hobby/passion :)
EDIT : An album with some select pictures
Personally, I'd rather get a used M43 body that has a viewfinder than try to sell all of what you already have. Film may be cheaper up front, but all of that development, hoping you got at least a couple of keepers out of a whole roll of film. At least with digital - especially while being a beginner, it doesn't really cost anything to take bad pictures...
Oh, what about something like this thing to get over that screen being hard to see? https://www.amazon.com/Neewer-Foldable-Viewfinder-Magnification-Panasonic/dp/B004TDXMHM
Let me play devil's advocate for a minute on the idea that "You sure picked a tough camera to learn on". I actually think the BMPCC is one of the easier cameras to get great images out of, due to it's massive dynamic range. If you're shooting outdoors, or anywhere there's decent light, with a native Micro Four Thirds lens like the Panny 14-42 you recommended, it's hard to screw it up. All you really need to do is use the iris and focus buttons. The iris button will stop down until nothing's over 100%, and although the focus button can hunt around quite a bit, it will usually get there. Besides, the focus peaking is pretty good for manual focus.
Forget about shooting raw at first. Shoot film gamma to ProRes LT or higher, 180 degree shutter, ISO 800. If you're "in the film industry", you'll probably be aware that all footage needs some basic color grading at a minimum. This is especially true for the Pocket. Use the Three Way Color Corrector in your editor, crank the saturation and contrast WAAAAY up, add a sharpening filter, and I think you'll be surprised at how fantastic the footage looks from this little cam.
BTW, the Pocket's screen is practically useless in sunlight, so at the minimum get a cheap $20 hood, and then eventually you'll want to graduate to a nice $200 loupe so you can really see what you're shooting.
I bought one of my Micro Four Thirds lenses used from KEH, and I can recommend them highly. Right now, you can pick up that Panny 14-42mm lens in excellent condition for around $90.
Sooner or later, you may want a zoom lens that is faster and doesn't change exposure when you zoom (like the 14-45, which is f3.5 at the wide end, and f5.6 at the telephoto end). If you want to go all out with a single lens that will work in the widest variety of situations, you might end up with the Panny 12-35mm at a constant f2.8. But it's a bit pricey. Ask around if anyone you know has an old Bolex 16mm camera. Many of those old C-mount prime lenses are very, very good, are a good size fit for the pocket, and mount with a simple, cheap adapter.
I look at the Pocket a lot like a digital version of a Bolex. It's the closest you can get to shooting Super-16mm film, and you can even use the same old lenses - hah! Except, instead of burning through expensive film and processing, you wipe the SD card and start again. I say learn the right way, and make owning the Pocket your own personal film school.
Get a t2i on eBay or amazon for cheap. I see good condition bodies go for under 300 all the time. Get an 18-55 lens with it too if you think you'd like one. After all, they're cheap as dirt and have IS.
Get a vintage Nikon 50mm f1.8 and get an adapter. I own 2 Nikon 50mm f1.8s and the Canon 50mm f1.8, and I prefer my Nikons. The glass is better. But if you want to buy only modern lenses, the Canon 50mm is not bad by any means. I love both.
Don't forget a tripod. This one seems to be pretty good for the price for DSLRs. Stabilization, lighting, and audio are the three main overlooked things that will make you seem unprofessional.
For audio, look into getting a used Rode Videomic. They can run you anywhere from 50 to 100. It all depends on whether you're willing to wait or not. Another option, depending on your uses, would be a Zoom h1. Just find out what would be best for you.
An LCD Viewfinder is super handy, especially if you plan on doing handheld shots and don't wear glasses. But if you do wear glasses, I'd still highly recommend one. I use this one. They'll run you around 50$, but you can also get generic ones for, like, 15$ and up.
These are just recommendations. Do some research, find a kit that works for you, and good luck.
I personally do not. I have a viewfinder, similar to but not as nice as this one on a 15mm rod system that fits comfortably against my eye. It's far from a perfect solution, but given the functionality and savings I can live with the imperfection.
Keep in mind too that these are brand new. One word. Warranty.
If the interference is light around the back of the camera, not the light coming through the viewfinder, you might add an eyecup to the viewfinder. It improves the seal around your eye. There are a great many by various manufacturers -- see this example -- but do adequate research to make sure what you buy fits your camera, or purchase in a physical camera store. Almost any eyecup will interfere with a swinging viewscreen, but the eyecup is easy enough to apply or remove as you need it or
need to swing the viewscreen.
Ceari makes a third party version of this mod, that fits nicely as well, for $9.
Adorama has better prices than amazon apparently, I just wanted to link the parts.
I bought a D90 as my first DSLR last June. I am very happy with it but Nikon reams you for software and cables, etc. I have seen D90's on craigslist with very low actuation's for $600 or even lower just recently. Do not buy the kit lens. Spend some extra money and buy a quality main lens like the 18-105 you mentioned. I have the 18-70. I think the 35mm f1.8 is a better fit for a crop sensor as a prime. Buy a battery grip for a more ergonomic feel (at least for me anyway). Get a good tripod with arca style mounting plate (no plastic). You will find it impossible to shoot video and focus smoothly, if at all, fair warning. Start a savings plan now to buy more lenses. Think about that slingshot some more and how it won't hold a lot once you want more...
Have lots of fun.
EDIT: Also, whatever you get I can't recommend this enough > http://www.amazon.com/Hoodman-H-EyeN22S-HoodEYE-Nikon-Square/dp/B001UGNKQE/ref=sr_1_1?s=photo&ie=UTF8&qid=1279559271&sr=1-1 Use a nail file to sand down the bottom flange for best fit...
For testing MF focus, I've found those DSLR video loupes to just be the shit. I use matte acetate (thicker than scotch tape though) - but I have a 575 HMI par, so that's not really an issue (that thing's like 2500 watts of tungsten!) this is the loupe I have, but my living is mostly corporate video - you can get one for pretty cheap these days.
So I am not sure what you necessarily mean by the issues with the viewfinder, but I wear glasses and so shoot with an aftermarket viewfinder attachment. I don't usually take more then a burst of 5 or so photos at once before reviewing them though.
So in pict 1 I just had a lamp with the shade off of it in a room with it as the only light source. I then had my subject placed beside it only lighting up one side of her face. This is heavily prococessed though in terms of amping up the whites/highlights and bringing down the blacks/shadows. Shot this with the Nikkor 35mm F/1.8. Not necessarily an original photo in terms of execution and idea but I was inspired by the cover art off Adele's single "Hello".
The 2nd photo was shot with a Nikkor 85mm F/1.8.
Also, just an FYI but you can see all the technical specs of the shots on Flickr below each photo.
I dont think I could stretch to an actual zfinder as well as the rig, would this work? http://www.amazon.co.uk/Foldable-Viewfinder-Magnification-Magnifier-screen/dp/B004TDXMHM/ref=pd_vtp_ph_1
Yes, as long as you can see the LCD it is straightforward and accurate.
Indoors, it's not a problem. Outdoors, you absolutely need an [LCD viewfinder sunhood] (http://www.amazon.com/gp/product/B00FW69CWY/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00FW69CWY&linkCode=as2&tag=battleforthew-20) or a [Z-finder] (http://www.adorama.com/ZCZFINDBM.html?KBID=66297).
I'd drop it on an EVA-1, a zacuto gractical eye as it's missing an EVF, good tripod like this one, and a shogun inferno to take advantage of RAW recording down the line. You could even buy two cameras with your budget, or maybe a nice gimbal solution. EVA-1 is producing a much richer image than the FS7 from what I can see thus far.
I bought this
and it isn't going to work.
In case you want to save $30
https://www.amazon.com/gp/aw/d/B016F01M0K/ref=yo_ii_img?ie=UTF8&psc=1
Own a LCDVF, love it and it's a great value for < 1/2 the price. I think I paid $120 shipped from Amazon.
This one looks even nicer
Here it is. Has anyone tried one of these?: http://www.amazon.com/Neewer%C2%AE-2-8x-Screen-Viewfinder-Extender/dp/B0084LFED0/ref=sr_1_1?ie=UTF8&amp;qid=1408030569&amp;sr=8-1&amp;keywords=Neewer%C2%AE+2.8x
I have a Lilliput. I used it for a while but it sits in a box now. It serves me no purpose because though it is much larger, the resolution is significantly lower than my camera screens. It offers zero improvement to my ability to focus, and in fact it is often detrimental. Of far more practicality is one of these if you're not going to spring for a full HD monitor.
I want to say one of these could help but it might actually make things worse. The eyepieces on the D500, D8XX line and D5 etc are much better imho but that doesn't really help you since they won't fit on the D610.
Favorite thing ever was when I went to Orlando for my birthday, mine is on July 20^th, we went to Sea World and I got a purple pearl bracelet! Eye cover for my camera
I hope you had fun at Laser tag, I've never done that!
If you do end up getting the t4i or t5i, you might be interested in a shoulder rig and something similar to this viewfinder loupe thing
There's an option for that https://www.amazon.com/Ricoh-External-Viewfinder-Digital-Cameras/dp/B000BFVI6O
This knockoff viewfinder works with a z-finder frame which attaches to a gorilla plate
Not 100% sure it works with the 60D but it's what I'm considering for mine (The z-finder 2.5 works with the 60D so this setup should be fine). I currently have a LCDVF with the magnetic sticky bit stuck to the screen and hate not being able to swivel the screen back around to close it.
I used one of these folding sunhoods: https://www.amazon.com/dp/B00FW69CWY/, it helped a little, maybe not as much as an enclosed loupe. But then, you're not gonna have many opportunities to get your eyeball right on the camera while you're using the stabilizer.