Shoot Review — Velbon Videomate 500

One of the main things that differentiates a mediocre video from a professional one is the steadiness of the shots. The smoothness of the pans and the tightness of the tilts can make a world of difference.

Part of a family of solid, affordable tripods from Velbon, the Videomate 500 (also known as the 507) features a built-in bubble level, a quick-release plate, and a fluid head.

Therefore, a professional tripod can go a long way toward making your videos look better. Today, computer-assisted design and mass-production techniques have driven down prices to provide feature-rich tripods within everyone's budget. Velbon has been manufacturing professional photo and video tripods for more than 40 years and holds a number of design patents for innovation.

The Velbon Videomate 500 is a relatively lightweight, oil-filled fluid-head tripod with smooth pan and tilt. With a titanium finish, the tripod features a quick-release platform, geared elevator, bubble leveler, radial braces, and three-section legs that end in hard rubber feet with retractable, hard endpoints. Typical of the company's high-quality tripods, the 500, now called the 507, weighs in at a dainty 3.8lbs. (but carries a hefty five-year warranty). It is certainly lighter than other tripods I've used, and that creates both an upside and a downside.

The largest tradeoff with any lightweight tripod is that the lighter the tripod, the less stable it is. The problem with the smaller tripods is that the camera itself becomes the center of gravity, and that's much too high to be stable. But I've found a low-tech solution: simply tie a small brick or weight to the tripod's center column to make it much more stable. This is surprisingly effective. I shoot routinely in high winds near the ocean and employ the brick trick, and the traditional vibration issue isn't a big deal. While carbon-fiber or wooden tripods supposedly absorb more vibrations than tripods made of aluminum or steel, I'm not convinced it's enough to justify spending five times more than for the average metal one.

The upside of these lightweight tripods, of course, is their ease of transport.

Another factor that's frequently overlooked in tripod selection is the size and weight of the camera vs. the size of the tripod. A camera that's too large for its tripod means a weak platform that's prone to movement. A tripod that's too big for its camera results in sluggish response to user controls and extra equipment weight to carry. The Videomate 500 supports cameras up to 12lbs., while other Velbon tripods I've worked with can support twice that.

The Videomate 500 is simple but well built, with all the standard adjustments that you would expect from a professional tripod. The three legs each have three sections, with two tightening clamps on each leg. The patented shaft system has a center brace for maximum stability. The handle can be switched from side to side, or you can add a second handle for a more professional look. The unit's video head has adjustable drag that can be a little hesitant if you don't have the drag set loose enough.

The tripod also has a quick-release plate. With a flip of a lever and a push of a switch, you can remove the camera quickly. It's very handy if you don't have lots of time. I usually leave the quick-release plate on my camera. It adds about half a centimeter to the bottom of the camera, but it's made of metal, so I'm not worried about it getting damaged.

The Videomate 500 is also quite tall and can shoot over a crowd with the legs fully extended.

One of the features I like best about the Videomate 500 is the built-in bubble level. This allows you to ensure that your tripod is set up on level ground — or at least that the tripod and your video frame are square and level.

Ever wonder why some videos look so ho-hum? Perhaps it's because the tripod was set up at eye level and left that way. Try setting up your tripod at various angles. I shot some video standing on a milk crate and tilting down into a scene, and also tilting up into a shot from a very low angle. Both provided unique perspectives. Using a tripod is great, but that doesn't mean it always needs to be set up at eye level. Working with the Velbon and a Sony VX2000 mid-sized DV camera oriented at some unusual angles, I was able to achieve pans and tilts that looked just like those created with tripods costing upwards of $1,000.

I also enjoyed using the Dolly Pod DP-3D accessory ($149), which allows you to insert the Videomate's legs into a wheeled platform and accomplish pro-looking dolly moves.

I was able to find several outlets where both the Videomate 500 and 507 (essentially the same product) are available. Welcome to the world of low-cost, mass-market photo/video products, where the exact same product might have two different model names or numbers.

Having used several of Velbon's products, though, the bottom line is that the company makes good stuff. The Videomate 507 is a solid performer, and I've also used the higher-end Velbon PX-781 FN tripod with similarly positive results. I was so impressed I purchased one of each! No matter how steady your handheld shots are, at some point you'll need to invest in a professional camera support system. A Velbon tripod could be exactly the solution you need. Every good camera deserves a good tripod with a good head.

Company: Velbon

Tokyo; call U.S. distributor ToCAD at (973) 428-9800
www.velbon-tripod.com

Product: Videomate 500 tripod

Assets: Lightweight, secured legs; fluid head; level indicator; low cost.

Caveats: Heavier cameras (such as Betacam SP) reach the limits of weight tolerance; fluid head requires some familiarization.

Demographic: Shooters with smaller videocameras

Price: About $150 street