(Part 2) Best camera flash shoe mounts according to redditors
We found 288 Reddit comments discussing the best camera flash shoe mounts. We ranked the 89 resulting products by number of redditors who mentioned them. Here are the products ranked 21-40. You can also go back to the previous section.
27. Sony ADPMAA Shoe Adaptor for Mi Shoe, (Black)
2 mentions
Sony ADP-MAA Multi-Interface Shoe Adapter
Hi /u/ButteryDankness - I will try to answer your questions and then make a recommendation.
> Is this actually true?
Yes, DSLRs generally have noisy preamps.
> Is there any way to get around this?
Yes, with an external preamp or recorder. The most affordable option is something like [this setup] (https://photos.google.com/share/AF1QipMDvb0xbkGpOvq6wJcd0chGbWC_Fpj7KKESJ2cj69vSPd12cuGBP8_ZfkoRnlWdUQ/photo/AF1QipOHKeyIf7heugShBrYyrivyYQ5OYcw3-2inF2UR?key=WTNZd3EyUUk0a0luYWZYS0NnSDNXT1dYMEV4ZGh3) mounted on my GH4 - with a recorder, shotgun mic, 8" cold shoe extension and a line level to mic level attenuation cable plugged into the camera.
With a $200 budget, I recommend:
This setup will allow you to mount the mic and the recorder on top of your camera, record a high quality track externally to sync with your video in post - and record a backup track to your camera.
That said, the best thing you can do to improve your audio is take the VideoMicro off the camera, put it on a [Rode Micro Boompole Pro] (https://www.amazon.com/Rode-Micro-Boompole-Ultra-Lightweight-Modular/dp/B015ZXVACI//ref=as_li_ss_tl?ie=UTF8&linkCode=ll1&tag=battleforthew-20) and keep it within 2 or 3 feet of your subject, as seen in [this Rode product video] (https://youtu.be/dfoopvFcY1E).
Hope this is helpful and good luck with finding the right audio solution for your needs!
Hi /u/sanityrepresent - I built a rig around the pistol grip handheld setup seen here: https://lh6.googleusercontent.com/-f3hbYYV_y8o/VHDp77GMxoI/AAAAAAAAJF8/xnHRvNcCm5o/w724-h543-no/P1020575.JPG
By adding a couple of rails, a cold shoe extender and a shoulder pad, I was able to provide mounting points for a mic, a ring light and, when I can afford it, a rail mounted battery pack.
Here's what the rig looks like: https://lh3.googleusercontent.com/-K2Z7iz5-bRw/VHqL3cK9OrI/AAAAAAAAJH4/OYrYg70RQ0E/w724-h543-no/P1020685.JPG
Here's the parts list:
With the latest firmware upgrades and this rig, the BMPCC is a real joy to shoot with. And when I want to go back to putting the camera in a jacket pocket, I can.
Good luck!
https://www.reddit.com/r/RealEstatePhotography
https://www.flickr.com/groups/photographyforrealestate/
http://photographyforrealestate.net/
That's enough material for a lifetime.
A hotshoe bubble will help you keep your verticals vertical, until you need to put a wireless trigger in the hotshoe, then you're on your own. And a wireless trigger helps, get the flash off camera use it in combination with bracketing. Take a shot metered for the windows too and mask them in. A circular polarizer will cut glare on polished stone countertops and glass shower doors.
I use SJCAM SJ5000X Elite. They're action cams not dash cams per se but have a dashcam auto-on feature and can record in 4k with good low light visibility. Good value, had mine for about 2.5 years trouble free. I fix it to the windscreen using a "Steelie" (or clone) adhesive/magnetic phone mount + magnet side glued flash hotshoe/tripod adapter (I cut the thread shorter) to screw into the camera mount. Powered by USB cable routed to the cigarette lighter. Easily removeable and can be easily turned to face the action for example if you're parked and something happens to the side of the vehicle. I think GPS and such is pointless in a dashcam, I also switch the microphone off because I swear a lot at other drivers! We only really need video evidence and really mostly to protect against malicious false claims when there usually isn't any other independent witness. (edit: They also have gyro stabilisation and can record at 2k)
https://www.amazon.com/dp/B074Z6QHR4
https://www.amazon.com/dp/B00BAQKRHY
https://www.amazon.com/dp/B07F19K6SN
The peice that holds the mic onto the camera is called a hot shoe. Unfortunatly, that is a proprietary hot shoe that Sony and Minolta use. The only way to properly attach the mic to that camera would be to buy an adapter such as this (although that's a hot shoe adapter, you just need a cold shoe, but I doubt anyone makes that).
For reference:
Hot Shoe: Has connections that can trigger a flash.
Cold Shoe: No connections, just for mounting (like the mount on that microphone.)
here's a link to the mic mount bracket: https://www.amazon.com/SMALLRIG-Adapter-Relocation-Plate-A6100/dp/B07RMX2BS7
Not an expert either, but I'll give suggestions anyhow.
Camera: I currently have a T2i, it does everything I'd ever want when it comes to that "line" of Canons. The T3i and T4i don't seem that worth it for an upgrade to me. The hardware is the same, and I don't NEED a swivel screen, or touch screen. You may be different, so keep that in mind. That all being said, the T3i body is a good deal.
Lens - I don't personally use this, but I've heard nothing but good from it. Not much more to say I guess. If you want a zoom lens for more versatility during these shows, but it's all relative. I get by at the moment with a nifty 50mm.
Memory Card- I have the 16 gig version of this, and it's been reliable so far.
Audio Recorder- This is where there may be controversy. Most, if not all, people on this subreddit, suggest the Zoom recorder. Its more expensive, so it's up to you. Based on reviews, they are basically the same.
Microphone- Not sure if you WANT this. It depends on what "live audio" you want to record. If its a loud concert, getting audio to sound good will be extremely difficult. The loud volumes, and usually boosted lows, don't make for the best sounding live recording. Recording off a mic isn't the best in any live situation in a venue anyway. If this is the only thing you'd use a mic for, then I may hold back if I were you, if you know you can get a direct line-in to your Tascam recorder. That is the best solution. If not, the mic is great and I recommend it.
Rig Setup- Might want to make a PVC stabilizer, but try and make it look as classy as possible, to look professional (Is that possible with PVC?) If you want to record your Mic audio to your recorder, you'll need this and this to let the DSLR hold both at the same time. You'll need a couple quarter inch converters too. Maybe an XLR as well, if you want to get direct audio feed from whatever the venue is playing.
I think I typed enough. And I probably forgot about something. Anyway, try and make sense of my wall of text, hope it helps.
Edit: Forgot to say, this'll add up to about $1450 if I did my math right. Not including shipping and stuff.
No problem. :)
Ok, so flash is pretty easy. My setup might be a bit outdated, but here is what I use currently:
I have 3 of those flashes, they're really pretty great if you aren't too snobby about brands. I believe Yongnuo has flashes now with the transmitter built into them, but I have never used those and the only time I've seen them in action it didn't go super well. I'm sure they're fine, I just can't recommend them.
So basically you put the controller on your camera. You put each flash you want to use off camera on the transceivers. The controller lets you adjust each flash's settings remotely and triggers them. It's awesome.
If you generally don't know what you're doing with flash for the reception, it's generally best to bounce the light off the ceiling. Point the flashes roughly upward and fire away. At receptions with a defined dance floor you can get pretty great results by placing them in a couple of the corners. Your light might come back kinda yellow. If you don't want to worry about using gels on your flashes then just keep an eye out for it and adjust the white balance in Lightroom after the fact.
Aside from flashes you will want some modifiers to place on them. When I was starting out the two that I used are these (these aren't the exact ones, but they're close):
So there are probably better modifiers to use, but these are cheap and they work pretty well at diffusing/directing light. The softbox is great for portraits and I frequently would use the flash bender to direct light gently over a wide area, like when the toasts are going on or the bridal party is entering the room or the dance floor. When used correctly you should get pretty great lighting and avoid hard shadows.
Anyways, how I shot those photos. You're generally right. I love shots like that (probably too much), and so I do them all the time. The general idea is the same for all of them, soft light in front and a bright light in the back. Using the specific equipment I listed above, my usual MO is to put a bare flash behind them, typically on the ground (using these)or on a stand as low as possible to the ground. Point it at the couple and slightly upward (photo 1 is the exception, it was pointed essentially straight up to make the gazebo light up like that).
Set up a flash in front of them. In most of those photos I used the flashbender modifier on the flash pointing at the couple to direct but diffuse the light. It helps it look a bit more natural. Generally you want to position it in a way that the shadows aren't too distracting, so do it slightly off to the side to get more natural lighting. Obviously I messed up in a few of mine but it is what it is and most people don't even notice. We're always our own harshest critic.
Next is the settings. This is honestly the toughest part in my opinion. You need to expose for the background you want and then use the flashes to achieve the lighting you want on the subjects. I don't know how to describe this, but the easiest way is with photo #6 on my website. I exposed the photo for the city behind the couple and got the look I wanted, THEN I added flashes and whatnot. General rule of thumb is the light behind the couple should be one step brighter than the light in front. That way you get the glowing backlight effect.
Thanks for the compliments on the photos! I hope this helps. I'm sorry if I did a bad job of explaining things, just ask me to clarify anything you don't understand.
EDIT: All this being said you don't NEED off camera flash. I've shot entire receptions using on-camera flash. The most important thing to remember is you just want to diffuse the light in some way. When you're using flash on camera you typically achieve this by bouncing it at the ceiling. Practice this at home, it usually works pretty well!
I think you can find some hot shoe replacements online, but you'd have to find one specific to your mount / flash.
I too am uncomfortable with the plastic shoe, but I have heard some people suggest a more sturdy mount could damage the hot shoe on your camera... so if you're going to have a failure point, the flash is much preferable.
Next time, try to balance your tripod. The photos are good, but the tilted horizons are jarring.
If your tripod doesn't have a spirit level, you can buy one of these
Really, filming quality comes down to about 50% lighting, 40% audio, and 10% camera. If you've got a good light setup (which it sounds like you have), and audio isn't too important to what you're filming other than ambient sound, then you don't need to break the bank on a cinema-quality camera. If your lighting is good enough, you could shoot on a mobile phone and it'll look better than what the average person can shoot on a DSLR. Have a read up on 3-point lighting to get a feel for how to light your set.
I'd suggest having a look at the Sony AX53 4k camcorder which you should be able to get for way less than $1k leaving you money left over for media and anything else you need.
A light attached to the camera is generally referred to as a 'top light' and there are plenty of options. More often than not, they attach by a standard cold-shoe which is the same as the flash mount on top of your 60D.
However, some manufactures (including the sony I recommended) have their own propriatory smaller cold-shoe mounts that will require an adapter.
Some camcorders don't have a cold-shoe at all, so watch out for that if you look at different options!
I'm personally a fan of these Rotolites for use as toplights, they run on AA batteries or mains power, have adjustable colour temperature
However, given what you're shooting, I think that you'd probably get on quite well with a ring light, which mounts between the camera and tripod. Ring lights are often used in beauty and fashion as they give very smooth and even results on skin, wheras a toplight may give you weird shadows if used in close-ups and tend to cause issues with reflections.
I have an Olympus E-M10 and a recently-acquired Yongnuo 560 IV. I'm looking to try out an off-camera flash solution with these, and decided to start with wired to make things easier.
The E-M10 doesn't have a PC port, so I bought this little hotshoe adapter. It's labelled for Canon, but I figured that was probably just for TTL support. I also have a few-foot PC sync cord I picked up from Amazon.
The flash fires when mounted directly on the camera. It also fires when mounted on top of the hotshoe adapter. However, it does not fire when attached via the pc cord. To be specific, I've got E-M10 -> hotshoe adapter -> pc cord -> flash.
This morning I had a thought and tried it with the flash in various modes (S1, S2), but that didn't help.
Is there something wrong with my process? Something wrong with my gear? I don't have any friends in the area who have off-camera flash equipment, so it'd difficult to swap out components to see if one of them is at fault.
Get one of these: AFVO Aluminium Triple Hot Shoe Mount
https://www.amazon.com/dp/B07KXTS8FY?ref=ppx_pop_mob_ap_share
If you want to attach it to the camera you want to get something like this to screw into the back of the H1. http://www.amazon.com/Marshall-V-LCD-MT-Monitor-Camcorder-Monitors/dp/B000CNPK3M/ref=sr_1_6?ie=UTF8&qid=1371523426&sr=8-6&keywords=hotshoe+screw+mount
That will allow you to screw it into the 60D hotshoe, but what if you want to put a light or a shotgun mic on there as well? BOOM, one of these bad boys will help - http://www.amazon.com/ePhoto-Vbracket-Bracket-Microphones-Monitors/dp/B004XMOMK0/ref=sr_1_5?ie=UTF8&qid=1371523528&sr=8-5&keywords=dslr+hot+shoe+bracket
BUT - honestly, how I shoot is I have a RODE videomic on the camera getting the audio of the interview and just set the levels for the person being interviewed, after you hit record there's a hold switch so they can't accidentally bump anything. Flip that on and let them put it in their pocket. So you'll have audio with the shotgun mic and with the zoom H1. If either fails, the other will be suitable enough in a pinch. No shotgun? Just recording off cam? That works too, but the idea then is to just use the H1 audio and the audio off the camera is just to help sync.
I think so (they just use a standard camera mount) but I added these so they could be adjusted back and forth.
Yep, I do. It's not as expensive as those from Elgato, and if you do a bit of hacking to it, it works like a champ.
I took a tripod light stand (https://amzn.to/2K5ape1), cut the top off and mounted it to the light mount. Then I took the mic stand, picked up a couple of conduit and pipe Hangers (https://www.homedepot.com/p/0-ACC-Conduit-and-Pipe-Hangers-5-Pack-26780/100130865) and screwed them into the wall.
Now I can lower/raise the light and rotate as needed. Then I took a hot shoe (https://www.amazon.com/gp/product/B00AKT96GU/ref=oh_aui_search_asin_title?ie=UTF8&psc=1) and mounted it to the top so I can add my webcam.
Works great.
Get an L-Bracket.
You need this adapter, but I can't guarantee that flash will work with that old body one it's connected. https://www.amazon.com/Sony-ADPMAA-Shoe-Adaptor-Black/dp/B0097DFTDY
PC sync missing sucks I used to attach a pocket wizard for my kickers that way (One flash on camera one behind the DJ) but I switched to phottix stratos which I've come to prefer because I can turn individual lights on and off. I did have to buy a hotshoe with a pc port on it (http://www.amazon.com/Pixel-Flash-Adapter-Extra-Flashguns/dp/B00554PCDG) to fire my old pack lights. I really miss the remote control port because that thing worked so much better then those IR remotes.
Dedicated AF button missing is a shame but AE-L/AF-L can be reconfigured. ( The 2 front buttons (Fn and Preview) can still be reconfigured just like always really easy to push if your holding the camera like a normal person if you shooting one handed it takes a bit of finger yoga because the grip is so deep. Also over the D700 the record button controlling ISO is very nice and I like how fast you can click into liveview (I use it for make sure I'm nailing focus) I like the new auto-focus selector it doesn't get knocked as often to another setting I'm usually in AF-C singlepoint unless I want the autofocus laser.
The d750 is a huge upgrade from the D600 (which I shoot with all season) The arguement that got me to buy. Is the D750 is $2,300 the d810 is $3,300 dollars more and the D700 was $2999 when it came out. So maybe it's not the best camera ever but it's also not priced as the best camera ever and at the end of the day I am economically motivated in the decisions and its a hell of a lot of bang for your buck.
If you don't need the contacts on the hot shoe and just need to mount a mic you can use this adapter by smallrig:
https://www.amazon.com/Microphone-Extension-Bracket-Relocation-Expansion/dp/B07S83RJ5J
The AF is quite good on Sony cameras. The IBIS on my a7iii doesn't do too much when on for video so I wouldn't worry about the lack of it.
Yeah that count be a concern. Easiest way to mount it on the camera is with a hot shoe ball mount. That will go into the mount on top of the camera, then you can screw it into the bottom of the zoom h1.
https://www.amazon.com/SmallRig-Ballhead-Multi-function-Double-Monitors/dp/B00DA38C3G
I'm taking it to a meta work shop, maybe they will find a way to get rid of the stripped screw and I will be able to buy another one.
I've seen this [metal replacement hot shoe mount for Videomic] (http://www.amazon.com/Campro-Metal-Replacement-Shoe-Video/dp/B005OOEQJS) but it's out of stock.
Do you know what type of a screw is that because there are some tripod-screw to hot-shoe parts out there...
I just want to know some ways how can I fix what I've done.
to not just come to him and say I'm sorry I broke it, I want to give him at least 2 possible ways to fix it...
>... I'm sort of used to 1/60th being the flash sync speed so I stupidly thought 1/200 was High Speed Sync. LOL. I found a good explanation of HSS online.
Yeah, sync speeds have gone up since film days. :) Mostly, HSS is useful if you want to do thin DoF with daytime fill flash, or if you need to freeze fast action without being able to kill the ambient. The former you can still do with ND filters, but the latter really requires HSS.
>I was hoping I could have the receiver on camera rather than having it dangling it's weight from the connecting cord. But I secured it to the tripod using a couple Velcro cinch straps to take the weight of the receiver off of the triggering cable and hence the camera's shutter port.
Ball bungees can be useful for this, too. :)
>I did a shot prior to changing the XPro and flashes to another channel, but everything seemed to work with all 5 units set to channel 1.
I'm surprised. Usually there needs to be a small delay between the shutter remote working and the flash going off. If everything triggers at the same time, due to propagation, there's usually a sync issue. But if it's working, then it's working.
[re: wide angle diffusion panel]
>DOH! Thank you! I didn't realize it was an "active" panel. It was just slightly out, so pushing it in fully solved the problem.
We've all been there. That's how we know what the problem is. :D Your turn to help the next newbie.
>Now I just have to find the second little hotshoe stand. LOL.
Just in case, replacements aren't hard to find.
>Thank you,
You're welcome!
https://www.amazon.com/Neewer-Mini-Adapter-Camera-Cradle/dp/B00AKT96GU
something like this?
And here's the hotshoe adapter. Why don't sony use the standard hotshoe plate anyway?
Lighting looks great!
The one thing that I can't tell is if the photo was taken slightly askew. It seems like the right side of the bowl is more in focus than the left, which would explain why the grains and such on the left hand side seem to be tilted. I purchased a 3-axis bubble level like this one and it has made straightening my planes so much easier than eyeballing it.
edit: fixed a sentence
Ah. I thought you were referencing an NTG-2 or NTG-3. Unfortunately I have no experience with the Video Mic. The good news is it looks like all that needs repair/replacement is the hot shoe mount, which you can buy separately here (granted, it's made by a third party, but it's also a lot cheaper than a new videomic!).
Best of luck figuring out how to fix it!
E-Mount cameras have had three different hotshoe mounts.
It is probably an old Minolta-Sony Hotshoe if it wont attach to your camera. You need an adapter. I have one I use with my old Minolta flash and it works no problem. No clue on third party flashes though.
Though I thought the Godox had a multi interface shoe by default...
My guess is a Neewer Cold Shoe Extension
Most cameras have a built in virtual-horizon you can use to at least get level. Or better yet, get one of these hot-shoe mounted bubble-levels and you can really square things up.
Use live-view on your camera if you can. it will help you visualize the final product.
Just try to keep the vertical lines vertical by having the sensor exactly parallel with them. If the sensor is not parallel with the vertical elements then they will appear to lean towards or away from the viewer. In other words if the camera is pointed up or down even slightly, then the upright elements will lean forwards or backwards.
This type of alignment is easier on large format film cameras with lots of movements. Or you can buy an incredibly expensive PC (perspective correcting) lens so you can adjust the perspective in-camera quite easily.