So, I've using the same tripods and heads for the last 4 years and they are starting to show their age. Bumps and bangs along the way all take their toll.

I'm reluctant to take the 'good' / 'expensive' tripods we use for corporates along to weddings because of the heavy wear and tear weddings seem to provide, plus they are heavier and take longer to set up and don't go quite as high.

We've been running with some Velbon DV-7000 legs with Manfrotto 503HDV heads. we discarded the Velbon heads almost immediately because they were pretty crap.

The main reason for choosing the Velbon legs at the time was two fold, they have a centre spreader, so you can pick them up with one hand and move them without them collapsing and they also go to about 6 feet high, which is useful in lots of situations, although not as high as our "big bertha" Manfrotto we take with us that goes to 8.5 feet and is our high unattended camera for ceremonies and speeches, but it's heavy as hell and would be useless as a walk about system.

Anyway, one of the Velbon leg clips has broken, so we're down to 3 fully working and one sorta kinda but only goes to half way.

If you were in the market to buy new tripods and heads *for weddings*, bearing in mind I like them to go to 6 feet or so high, what would you be looking at?

Well, these are the things I tend to look for in legs:

-- Carbon fibre. Not only does carbon fibre disperse vibrations faster, but the weight does make a big difference when you're lugging it around all day at a wedding. Plus, you'll be happy you got carbon fibre if ever you need to take your tripods on a plane.

-- With some exceptions, I don't like tripods with a centre column, because you can't level them as easily. Makes a difference if you're shooting outdoor weddings.

Other than that, it's mainly down to minimum and maximum height and budget. Having a mid-height spreader doesn't faze me either way. Having a floor-height spreader can be an annoyance in some situations. Having feet with removable "shoes" so that you can slot them into dollies is sometimes an advantage.

Manfrotto heads like 501, 503 aren't that smooth compared to others, but they're smooth enough. They're mostly what I use.

Many times I wished the level bubble could light up when you press it, for adjusting level in darkness, which is a feature some of the pricier tripods have, but it's never really bugged me that much.

With heads, main thing, I think, is that all your heads are compatible, so you can whack any camera on any stabilizer, but this doesn't mean the brand of the heads has to match (can use quick release plate instead).

If you have $2,700 to spend, one set of legs I'd recommend you'd look at is: Sachtler HOT-POD 10 Carbon Fiber Hot-Pod Tripod 5385/10 B&H (http://www.bhphotovideo.com/c/product/227384-REG/) . Lots of advantages to this tripod. Extends very high, and very fast... quite possibly the fastest-to-adjust-height tripod on earth. Perfect for adjusting height if you're using the tripod with a slider. But the head can also be independently leveled, unlike most centre-column designs.

The original Hot Pod has been a and still is a staple of the news community. Mostly under the O'Connor name and now Sachtler.
Frankly I've been using a set of Manfrotto 515 legs most recently with a 504 head and it holds up quite well with my JVC-HM700 which is loaded with a 95W V-lok battery, an AT1800 dual channel receiver in a bracket and BEC cup, hyper caroid or shotgun depending and a CN160 light with a Sony type 970 battery to power it. It is at the top end of weight for that head and would prefer to have the 509 but at this point I'm not changing anything so I go with what I got.
I've used the legs for a lot of years with 501 and 503 heads and the 504 head is now about 3 years old I think. I like it a lot especially with a rig that's a little less weight than the one I've been using. It works fines just at the far end of the Fuji 17X lens it can get a little wonky for a moment until it settles downs and that's not always the case.
Anyway for the money, I think it works well. Hell, a couple of the big AV companies around here have gone to the 515 legs with the 509 heads for a lot of their rental work and the work where they're doing a show and running say JVC HD 250s. Bigger cameras like the Sony DXC series (30 or 50) and they run Cartonis or Vitens.

I've been using my Sachtler Caddy since 1995. I've never had it serviced or adjusted, but it still works flawlessly even though it looks beaten up and scratched. Absolutely smooth pans and tilts are a must in video, with no sticky starts and stops. I would look into Sachtler SB6 or 8. I don't like Manfrotto, it feels like a toy.

Weifeng/Fancier is without a doubt the best bang for your buck online. Their heads perhaps more robust than their leg systems. But ceratainly, if you are aware they may recieve some rough and tumble, Weifeng/Fancier will certainly give you decent quality at a price that wont make you break down in tears if it ever gets damaged or stolen.

Fancier Tripod FC-02H on Vimeo
The best fluid head tripod for £130 - Fancier 717 (E-Image / Weifeng) (NitsanTV Ep1) - YouTube

My Vinten heads and legs are now ancient - and 100% as good as they were when new. Price wise, they have been well worth the premium I paid. Good engineering costs, but lasts. Why not consider a second hand quality product, than a brand new compromised one. The cheap Manfrotto and Vinten clones are really just not up to it.

The problem is not buying good sticks (we have good sticks for corporate), but buying them 4 times over, since we're often shooting with 4 cameras. I would want all quick release plates to be the same (as they are now) so there's no question about if this camera will go on that tripod etc.

I can cary on with the current system. It would certainly be a lot cheaper and they do the job. I was just wondering what else was out there that went at least 6 feet high and wasn't going to break the bank if we had to buy 4 sets.

I use pro Miller tripods, I have three of them, all with great smooth fluid heads.
One of them is very old now and the legs are wood. The other two both have rubber flat feet that can be adjusted so the metal 'points' can dig in to the ground; both have mid height spreaders.
Though Millers are Australian made, the company do have a service tech in the UK thankfully.
Millers are great and though they are expensive, I'd never buy anything else....same with Rode for mics!

I have 3 fancier tripods too and they seem to be pretty good for the tiny price tag. None of mine have ever given me any issues and as already said they won't be a flood of tears if one does get damaged. I think I would be pretty worried looking after a Miller at a wedding when the tripod cost more than the camera! But they are beautiful units and smooth as silk ! The same factory that makes the Fancier also makes the E-717 tripods which are the same thing .... The twin of the Fancier is actually the Weifeng which is in Taiwan (probably all one and the same) and they make good gear!!

My first Weifeng is now 4 years old and still good!

Chris

I have 3 fancier tripods too and they seem to be pretty good for the tiny price tag.

Thanks Chris, but how high do these go? Most of the cheaper tripods only seem to go to about 5 feet. That extra height is sometimes really important...

Hi Dave

Because they all seem to have bowl mounts they lose out on the extra height you get with the crank style elevator shaft so these are limited to a max height of 1580mm!! I find the bowls an absolute necessity with video to level the camera quickly ..dunno how I ever lived without them!!

I seldom find I need to go any higher that the max anyway but obviously you shoot differently and need the height ?

Chris

I just got one of these 755XB w/ Bogen 701 HDV head to go along with my Bogen 3251/501 set that I've been using since 2000 for weddings.

Manfrotto 755XB MDeVe Aluminum Video Tripod Legs - 755XB B&H (http://www.bhphotovideo.com/c/product/504853-REG/755XB_VIDEO_TRIPOD_BLACK_ALUMINUM_)

The 3251 series was replaced by the 058B series and is a little more expensive and goes up to a little over 7' high. That's been handy a number of times.

Manfrotto 058B Aluminum Triaut Tripod 058B B&H Photo Video


My new 755 setup is 1/3 the size folded and 1/3 the weight, which I really appreciate. It's nowhere near as sturdy as the 058B, but it does a decent job.

I seldom find I need to go any higher that the max anyway but obviously you shoot differently and need the height ?

Chris

How about standing at the back of the room during speeches?

I find I need to raise the tripod higher than 5ft in order to see above all the heads, even when they are seated.

Hey Dave

I never do that! Our speeches are usually done from a lectern/podium so I set the main camera up in front of it about 20' away which more often than not puts me on the dance floor. I always make sure I'm in a clear spot and have an unrestricted view of the lectern. Also here during speeches people remain seated. I rare occasions they may be asked to stand by the MC for a bridal toast but normally guests relax and sit. I have one cam in front of the lectern locked onto the speaker giving their little talk and then I use the second camera for cutaways.

It sounds like in the UK you have to go to the back of the room and film over heads of people standing up?? If I'd have that situation I think I would be happier raising the entire tripod on a base (including me) as it's tough to run a camera that's 6' over you ...I'd rather raise myself and the camera 2' and keep the tripod at 4' ....I have a very neat aluminium painter's platform that I take to weddings (mainly for filming dancing) That raises me up (with the camera) high enough to shoot over the dancers so I can get a nice view so for standing speeches it would work well too!

How do to manage with the camera so elevated ..just framing and controls are tricky to see?

Chris

just got this and it seems to be a very solid solution:

Benro A2573FS6 S6 Video Head and AL Flip Lock Legs Kit A2573FS6 (http://www.bhphotovideo.com/bnh/controller/home?O=&sku=896849&Q=&is=REG&A=details)

the center column is shorter than the manfrotto so to get a very tall reach the legs have to be moved inward to gain height.

easy to setup, lightweight, lots of adjustments and very sturdy. compatible with the manfrotto 501pl quick release plate.

Hey Dave

I never do that! Our speeches are usually done from a lectern/podium so I set the main camera up in front of it about 20' away which more often than not puts me on the dance floor. I always make sure I'm in a clear spot and have an unrestricted view of the lectern. Also here during speeches people remain seated. I rare occasions they may be asked to stand by the MC for a bridal toast but normally guests relax and sit. I have one cam in front of the lectern locked onto the speaker giving their little talk and then I use the second camera for cutaways.

It sounds like in the UK you have to go to the back of the room and film over heads of people standing up?? If I'd have that situation I think I would be happier raising the entire tripod on a base (including me) as it's tough to run a camera that's 6' over you ...I'd rather raise myself and the camera 2' and keep the tripod at 4' ....I have a very neat aluminium painter's platform that I take to weddings (mainly for filming dancing) That raises me up (with the camera) high enough to shoot over the dancers so I can get a nice view so for standing speeches it would work well too!

How do to manage with the camera so elevated ..just framing and controls are tricky to see?

Chris

We rarely have a lectern for speeches, they are usually done from the top table (which is usually on the same level as anyone else) and yes, there's rarely room other than at the back. If you try to stand in the middle you only end up blocking the view of lots of people.

People are typicaly sat for the duration of the speeches, standing only for applause and/or toasts. For that we have an 8.5 foot tripod that still sees over their heads, but that's the wide unattended shot, and not all venues have room to accommodate it (though most do).

There would be no room to raise the entire tripod and us to, it's often a case of squeezing in between chairs as it is! I guess we all have different scenarios. I'd love to come watch weddings being filmed in different countries, it would certainly be fun to see all the differences in traditions.

I tried the fancier tripods & monopod but thought they were very average - didn't like them at all. I now have a couple of benro and love em

Benro A48F Classic Aluminum Monopod with S4 Head A48FBS4 B&H

Benro A2573FS6 S6 Video Head and AL Flip Lock Legs Kit A2573FS6

Hi Dave

I think I had just one wedding where people complained that my lights brolly was blocking their view otherwise I have no issue in blocking people even if they do speeches at the table. People just tend to move a little so they can see but I don't purposely block anyone's view.

Chris

Those Manfrotto 058B's look good because of the height they can reach.

But if you want better height potential you may be better off with heavy duty lightstands instead of tripods, so long as your cams are not too heavy.

I have three Cheetah C12 stands among my arsenal:

https://www.cheetahstand.com/Cheetah-Stand-C12-p/c12.htm

They all have Manfrotto 701 heads on them though I may swap out to a 503 for a heavy combo. They are man enough to fight off inattentive guests :- ) They are also much less intrusive than full-on tripods. They are easy to carry with tripod straps. You can shoulder several at the same time like rifles. I have the air-cushioned versions which I'm not sure if Cheetah do any more.

If you cams have stabilisation then you will be able to load lightstands with far greater weight and still get steady takes.

Pete

There is no point using a video head if you are not actually going to operate the camera. It's simpler, smaller, cheaper & more straightforward to use a locking ball head for static cameras particularly on top of a lighting stand.

Well I disagree. No surprise there :- )

A ball and socket head is a very poor choice partly because of the time it takes to level it, especially if reacting to unforeseen circumstances. A video head will be much more immediate; chances are one movement and you're done. Repeat that over several cams at the setting up stage and the advantage is significant. A video head will also enable you to swap between equipment of different weights in seconds and standardize your choice of plate. I don't find spirit levels in tripods all that accurate and using a three way spirit level in a hotshoe or suchlike all takes valuable time.

The one big advantage a ball has is leveling is easier on uneven ground. A lesser one would be its less intrusive than a video head if your equipment is in shots from other cams.

This ball head from Speedgraphic - the FLM CB18 is incredibly strong for its size. I have loads of then even though they are 10x the price of some ebay stuff:

FLM CB18 Ball Head - Ball Socket (http://www.speedgraphic.co.uk/ball__socket/flm_cb18_ball_head/4077_p.html)

A better alternative to the ball head if you don't want to go to video heads is the Manfrotto Quick Release 234RC head which was meant for monopods:

Monopod Quick Release Head 234RC - Tilt Heads | Manfrotto (http://www.manfrotto.co.uk/monopod-quick-release-head)

When its on a lightstand you don't get wonky horizons because it only tilts. You can pan by leaving one stage of the lightstand unlocked to swivel around its centre.

Sometimes the arm on video heads can come in useful for attaching some other lightweight accessory such as an audio recorder which can then swivel in the same direction as the cam should you wish to reframe for something impromptu.

Back to the original question, sometimes you don't need a tall tripod when something much shorter sitting on a pew or suchlike may do a better job. I have one of these Calumet Back Light Stands:

Calumet Backlight Stand (http://www.calumetphoto.co.uk/product/calumet-backlight-stand/MF6020/)

Its meant for heavy studio lights so its surprisingly sturdy. Its big advantages are its very small footprint, the ability to place each of the three feet at uneven angles, and the very low profile of the feet enabling them to be slipped underneath low furniture. If you use the shaft you can use its 1/4 x20 on one end or the 3/8 on the other.

In reality who is not going to recompose and reframe all the cams in the ceremony with the possible exception of a GoPro on a balcony, if movement between cams is allowed or practical or desirable? The manfrotto head I linked to is particularly useful when setting up a GoPro quickly. I no longer bother using the phone app for that.

Pete