No problem. :)

Ok, so flash is pretty easy. My setup might be a bit outdated, but here is what I use currently:

• Flashes
  
• Transceivers
  
• Controller
  
  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):
  
  
• Flashbender
  
  
• Baby Softbox
  
  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'm very happy with my Godox gear so far. I also considered Yongnuo, but I like Godox' wireless system is a lot better. In fact, I think right now they have one of the best wireless systems on the market.

Basic setup:

A hot-shoe TTL flash is a great place to start. I'd suggest the TT350N for that; it's small and convenient to carry. It's strong enough to light up a dark room, and to overpower ambient lights. If you use it as a bounce flash, you don't really need any other accessories.

I use the TT350 for all the bounce photography. Bounce is very simple and convenient. Its small size is very handy here, because it doesn't throw off the camera balance or really get in the way.

I personally bought the V860II-N as my first speedlight. I realized it was a beast when it arrived; way more flash than I needed on my hot-shoe. Here's a size comparison: http://imgur.com/a/jFpvM

I'm glad I have it though; it's great in multi-point lighting and it's nice to have a more powerful option should I need it.

Off-camera setup:

The next step up from there is to move the flash off-camera. For that, you'll need a stand, a head, and a light modifier.

You can use a tripod, but a light stand is a lot simpler to setup and break-down. To mount a light to the stand, you'll need and either a hot-shoe adapter or the flash foot. The simplest and cheapest modifier is a photography umbrella. You'll need a mount to attach an umbrella to the stand, though most hot-shoe adapters will also hold the umbrella.

I use the Godox S mount adapter and a soft-box. The benefit of the adapter is that it can use other Bowens mount light modifiers if I want to try them in the future. It also holds an umbrella.

You'll also need a way to trigger the flash. You can use your on-board flash for this, but I went with the Godox X1 trigger. This is a radio trigger, and does TTL. It cost $40. A very nice thing about the X1 trigger is that it can control the speedlights remotely; I can change power and other settings from my camera, which cuts down a lot of back-and-forth. It's also a lot more reliable and convenient than using an optical trigger.

Multi-point setup:

The next step after that is multi-point lighting. If you already have a speedlight, radio trigger, etc. All you really need are more flash heads. The nice thing about multi-point lighting is that they don't all need to be the same speedlight. Usually, you use different power levels and modifiers anyway. In my case, I have a big powerful speedlight, and a small portable speedlight. When I'm out and about, I can grab whichever is best for the job.

You can use manual (non-TTL) flashes for multi-point lighting. This is best if you don't intend to use ambient as a light source or don't mind fiddling to balance ambient with the flash. A lot of Godox's manual flashes still have built in wireless support, which makes them a good inexpensive solution.

The sky is the limit:

From there, there's a whole world of lighting. Strobes powerful enough to make the sun look dim, lighting modifiers, etc.

Quick edit: A number of companies resell Godox' products. Flashpoint is the most prolific, but there's also Bolt, Neewer, and a couple others.

> im not filming full length films but short scenes and sketches.

You've gotten some good advice here, but it sounds like you already have a camera and want to upgrade to something that will give you better image quality and will last for a few years?

If so, here are the two best video capable cameras in your price range (in my view) [Referral Links]:

1. The [<$800 Blackmagic Pocket Cinema Camera] (http://www.amazon.com/gp/product/B00CWLSHUK/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00CWLSHUK&linkCode=as2&tag=battleforthew-20) and
   
   
2. The [similarly priced Panasonic GH3] (http://www.amazon.com/gp/product/B009B0WREM/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B009B0WREM&linkCode=as2&tag=battleforthew-20).
   
   I own both of these cameras, and both produce awesome video images - but each has its advantages and disadvantages.
   
   If you really want to learn cinematography - and you don't need a still camera, I recommend the Blackmagic Pocket Cinema Camera. It is the least expensive interchangeable lens camera you can buy that records to RAW or 10-bit ProRes with 13+ stops of dynamic range - straight out of the box. Like Pro cinema cameras, it sets the shutter in degrees rather than fractions of a second and has a built-in headphone jack so you can monitor your audio track (only one other interchangeable lens camera below $1000 has a built-in headphone jack - the Panasonic GH3).
   
   With a [$10 cold shoe] (http://www.amazon.com/gp/product/B00HJFBUCQ/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00HJFBUCQ&linkCode=as2&tag=battleforthew-20), a [$24 pistol grip w trigger] (http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=2&pub=5575034783&toolid=10001&campid=5337235943&customid=&icep_item=221603818145&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg), a [$159 LCD viewfinder] (http://www.adorama.com/LCDVFBM.html?KBID=66297), a [$70 external battery adapter] (http://www.amazon.com/gp/product/B00LPJ1FJ0/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00LPJ1FJ0&linkCode=as2&tag=battleforthew-20), a couple of [$10 batteries] (http://www.amazon.com/gp/product/B0007Q9PWQ/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B0007Q9PWQ&linkCode=as2&tag=battleforthew-20) and a [$17.50 dual battery charger] (http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=2&pub=5575034783&toolid=10001&campid=5337235943&customid=&icep_item=321347920244&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg) [Referral Links] - you'll have the best cinema camera in its class.
   
   Here's what my setup looks like, ready to shoot: https://lh6.googleusercontent.com/-f3hbYYV_y8o/VHDp77GMxoI/AAAAAAAAJF8/xnHRvNcCm5o/w724-h543-no/P1020575.JPG
   
   Here is what this little powerhouse cinema camera can do:
   
   Narrative
   
   http://vimeo.com/89563847
   
   http://vimeo.com/94798326
   
   http://vimeo.com/101576471
   
   Documentary
   
   http://vimeo.com/83284391
   
   Music Video
   
   http://vimeo.com/88103618
   
   Travel/Low Light
   
   http://vimeo.com/79531723
   
   There are lots more examples in the [Pocket Cinema Camera group] (https://vimeo.com/groups/pocketcamera) I moderate over on Vimeo.
   
   Although it has a steeper learning curve than a consumer camera, and color grading in post is pretty much mandatory - this is absolutely the best filmmakers' camera in this price range.
   
   Second choice:
   
   If you want something that is a little easier to use, the GH3 might be a better choice. With its built-in electronic viewfinder that continues to work while you're shooting video, 1080/60p frame rate for slow motion, up to 72mbps recording and all metal splash resistant body - this is a great video/still camera for the price.
   
   Here is what the GH3 can do:
   
   Narrative
   
   http://vimeo.com/49420579
   
   http://vimeo.com/59543338
   
   Music Video
   
   http://vimeo.com/53834993
   
   http://vimeo.com/96861718
   
   Documentary
   
   http://vimeo.com/66940018
   
   http://vimeo.com/54076272
   
   There are many more examples on Andrew Reid's GH3 channel over on Vimeo: https://vimeo.com/groups/gh3
   
   And, unlike the BMPCC, it can produce still photography results like these: https://www.flickr.com/groups/gh3/pool/
   
   Hope this is helpful and good luck with your filmmaking career!

>Should I just buy whatever is basic/cheapest? Or should I rather buy something that's pretty solid that can continue helping me when I advance?

Depends on your budget, and what you plan to do. But generally speaking, going super-cheap tends not to work out all that well. I'd recommend avoiding any sub-$100 flashes for your first speedlight. See this stackexchange Q&A on what flash features to look for and why you might want them.

>Basic lighting stand - I'd like one that's pretty sturdy. Would an amazon basic one suffice? or should I go for something else.

With lighting stands, as with tripods, you're going to be concerned with how much weight they can hold, how high they go, and how stable they are. Be aware, that lighting stands can be used for multiple purposes, not just holding the light (e.g., background stands). And in the future, you may want to dump something bigger than a speedlight onto one. Not saying you want to start with a C-stand, but a monolight probably needs something more substantial than a compact 7' lightstand that's perfectly fine for a speedlight.

Also, typical lighting, if you're, say, trying to duplicate something similar to sunlight, may have to be higher than your subjects. That's why a 6' lightstand may not be sufficient.

I'd also say look at whether or not the stand is air cushioned. But I've slammed my speedlights down on my fingers enough for that to be an issue. :)

>Bowen's Mount

The mount is a bayonet mount for modifiers on studio strobes. Speedlights typically have to be paired with a bracket in order to use a bowens mount modifier.

>Bowens mount softbox - what size should I go for?

Depends on what/how you plan to shoot.

>speed light - Probably most important part of the kit. Do I need one with TTL or high speed sync? I'd like it to just be able to take simple portraits.

This is just me, but everybody skips over learning on-camera flash bouncing when they read the Strobist, without realizing that when Hobby began that blog in 2006, he was aiming it towards other professional photojournalists who'd already hit the limits of on-camera bouncing and knew how to use TTL and speedlights.

So, I would recommend that you put aside thoughts of stands, modifiers, and triggers for now, get a Godox TT685 or V860II that matches your camera brand (so, in your case, $110 TT685-C or $180 V860II-C; both are quite a bit less expensive than a Canon 600EX II-RT), and learn to do on-camera flash, bouncing with TTL and M (Neil van Niekerk's Tangents is awesome for this). It won't take long, but you'll get a sense of how your camera metering works with flash; the elements of flash exposure, and how to balance the flash against the ambient. And more importantly, to pay attention to the quality, intensity, direction, and color of the light, as well as basic ways to control those four factors.

Getting flash exposure, TTL, HSS, etc. under your belt before you start taking a flash off-camera and onto a stand will make learning off-camera flash a whole lot easier than trying to figure out everything all at once.

Also, it's cheaper, faster, and easier to get started if all you have to buy/learn to use is the speedlight. And even after you're doing five-light setups, it's still going to come in handy for event/social shooting, chasing kids around the house, or travelling light. Off-camera flash means packing up a lighting bag to go with your camera bag, and can be a serious hassle.

>Wireless Trigger- Do these come with the speed light?

Some speedlights have radio triggering built in, others don't. Some can be used as transmitters or receivers; some can only be receivers. And some don't have any radio triggering at all, and will require you find add-on units to attach either via a sync port (which a speedlight might or might not have) or the flash foot.

The Godox speedlights I recommended have radio transceivers built-in, and do "dumb" optical slaving. And in the Canon/Nikon/Sony versions, they also do "smart" optical slave or master. And they have sync ports. So you have a lot of choices on how to trigger it. And the Godox system has a lot of expansion options if you decide not to shoot Canon any more, or to expand to bigger lights than speedlights.

The V860II uses a li-on rechargeable battery pack instead of 4xAA batteries. The pack has roughly 3x the capacity of a set of AAs, so if you plan on all-day shooting and need to take, say, a thousand flash images at a time (say, you're shooting a wedding all day long), then they can be awesome. As a hobbyist, I've only ever needed to swap out AAs once on a shoot, so i'm okay with the TT685-C instead.

>US based, so I can order from amazon or just B&H.

B&H sells them as Godox. Adorama (who also are a seller on Amazon) sells them as "Flashpoint R2 TTL" flashes. Both B&H and Adorama will cover the unit for the warranty period; other retailers may not.

[edited for typos and to add in monolight considerations on lightstands].

Well, If filmmaking and video is your goal with these cameras I wouldn't recommend either.

If you're just starting and serious about video production here's a pretty effective starter kit that's just a tad over your $400 budget.

[Camera: Canon Vixia HF R400] (http://www.amazon.com/Canon-VIXIA-R400-Advanced-Camcorder/dp/B00AWZFJ22/ref=sr_1_1?ie=UTF8&qid=1395594961&sr=8-1&keywords=canon+vixia+hf+r400)
This is a decent starter camera. It's got a decent range of focal lengths, optical stabilization, microphone input, progressive frame-rates and most of all designed with video in mind. You'll need a SD Card

I noticed the cameras you picked resembles DSLRs but keep in mind that these in particular are not and with fixed lenses which defeats the purpose of having DSLR for video. Trust me, learn how to be effective with a camcorder first! Then, when your skill requires more artistic control you can upgrade.

Audio:
[Microphone:] (http://www.amazon.com/Audio-Technica-ATR-6550-Condenser-Shotgun-Microphone/dp/B002GYPS3M/ref=sr_1_1?ie=UTF8&qid=1395595673&sr=8-1&keywords=shotgun+microphone)
Having clean audio is probably the most important part filmmaking! The key is to get the mic as close to your subject as possible and away from your camera. You'll need a cable. If you need to mount it to your camera use this [bracket.] (http://www.amazon.com/Heavy-Photography-Bracket-Standard-Mounts/dp/B005Z4ROIW/ref=sr_1_1?ie=UTF8&qid=1395595189&sr=8-1&keywords=flash+bracket) This bracket will also help keep the camera stabilized when you go handheld.

Keep in mind this won't deliver perfect audio but it will be a MASSIVE improvement to the on board microphone and learning how to record with decent audio in mind is your first step into becoming a pro.

[Lighting:] (http://www.amazon.com/Bayco-SL-300-Clamp-Aluminum-Reflector/dp/B007RKKEHA/ref=sr_1_17?ie=UTF8&qid=1395595354&sr=8-17&keywords=can+lights)
Lighting is EXTREMELY important. A couple of these can lights will not only help with your image quality but put in you in the right direction for learning how to properly light your scene. You could start with daylight equivalent CFL bulbs.

[Tripod:] (http://www.amazon.com/AmazonBasics-60-Inch-Lightweight-Tripod-Bag/dp/B005KP473Q/ref=sr_1_3?ie=UTF8&qid=1395595413&sr=8-3&keywords=tripod)
You NEED a tripod. This one is cheap and cheerful. Looping the ends of a couple rubber brands around the pan handle and the other end around your finger will help deliver some smoother pans!

Total: $425/£258

Some things to keep in mind:

• These are far from pro tools but if all used in conjuncture you can deliver a much more effective production than just merely using a camera on a tripod.
  
  
• Build a crew of friends. Although you can "one man band" it I don't recommend it because one of coolest things about film is that it's almost always a group effort towards an artistic goal!
  
  
• Most importantly, the equipment are just tools. They don't tell the story; you do! Your film/video is only as powerful as the story you want to tell!
  
  Best of luck to you!
  
  edit: formatting
  

Hi /u/sanityrepresent - I own the BMPCC , and with the right setup, it can be a good, inexpensive first camera. But first you have to fix the few things that make it a challenge to shoot with out of the box, e.g. the tight crop, the "iPhone-like" ergonomics, the dim LCD and the short battery life.

Crop

You absolutely need a wide angle lens to shoot indoors with this camera. I have an old Olympus 11-22mm f2.8-3.5 with a Panasonic DMC-MA1 adapter that gives me a full frame equivalent 32-63mm. But it was expensive. If I was starting again from scratch, and couldn't afford a Speed Booster, I would get a [used Nikon mount Tokina 11-16mm f2.8 for about $400] (http://rover.ebay.com/rover/1/711-53200-19255-0/1?ff3=4&pub=5575034783&toolid=10001&campid=5337235943&customid=&mpre=http%3A%2F%2Fwww.ebay.com%2Fsch%2FLenses-%2F3323%2Fi.html%3F_from%3DR40%26_nkw%3Dtokina%2B11-16mm%2Bnikon%26rt%3Dnc%26LH_BIN%3D1) and an [inexpensive Nikon G to micro 4/3 adapter] (http://www.amazon.com/gp/product/B003TROEBM/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B003TROEBM&linkCode=as2&tag=battleforthew-20) (this is the adapter I use for my Nikon lenses).

Ergonomics

Yes, you can buy or build a shoulder mount - but that can be expensive and/or time consuming. I built my own for less than $200 and I love it ([here] (https://lh3.googleusercontent.com/-QW78g2jQbeU/U2mZ-aV32NI/AAAAAAAAIzg/E4d9v8aCmME/w963-h543-no/P1080600.JPG)'s a photo - I'll post the parts list if you like), but it turns out I don't use it much.

Instead, I use a [$24 pistol grip with a trigger] (http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=2&pub=5575034783&toolid=10001&campid=5337235943&customid=&icep_item=221603818145&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg) - just like my old Super 8 cameras from 40 years ago. With the right stance, it works great to keep the camera steady and is a lot less hassle than my rig.

You will also need a [$10 cold shoe] (http://www.amazon.com/gp/product/B00HJFBUCQ/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00HJFBUCQ&linkCode=as2&tag=battleforthew-20) if you want to mount a mic, light or recorder on top of the camera.

LCD

It is very difficult to see the LCD outdoors (or even indoors, in a brightly lit room). The best solution for this problem is an LCD Viewfinder. I bought a Kinotehnik LCDVF BM ([$118 at B&H] (http://www.bhphotovideo.com/c/product/1013082-REG/kinotehnik_lcdvfbm_blackmagic_pocket_2ea_mounting_plates_soft.html), [$159 at Adorama] (http://www.adorama.com/LCDVFBM.html?KBID=66297)).

With the pistol grip and the LCD Viewfinder, this camera becomes a joy rather than a pain to handle. Here is a pic of my setup: https://lh6.googleusercontent.com/-f3hbYYV_y8o/VHDp77GMxoI/AAAAAAAAJF8/xnHRvNcCm5o/w724-h543-no/P1020575.JPG


Battery

I started out by buying a bunch of spare batteries, but that was unmanageable, so I am getting a [$70 belt clip adapter for my Sony camcorder batteries] (http://www.amazon.com/gp/product/B00LPJ1FJ0/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00LPJ1FJ0&linkCode=as2&tag=battleforthew-20). If you don't have any of these batteries laying around, you can [buy them for $10] (http://www.amazon.com/gp/product/B0007Q9PWQ/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B0007Q9PWQ&linkCode=as2&tag=battleforthew-20). They have twice the capacity of Blackmagic batteries and cost less. I would get at least two of them plus a [$17.50 dual battery charger] (http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=2&pub=5575034783&toolid=10001&campid=5337235943&customid=&icep_item=321347920244&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg) (I have one of these for my Sony batteries and they work great).

With this setup, you will have an easy to shoot with, affordable, RAW/10-bit ProRes Super 16 camera with 13+ stops of dynamic range for about $1675 all in.

Good luck!

HCR

I agree with the Godox route. Buy the Flashpoint branded ones from Adorama as they come with a warranty. I had one stopped (partially my fault, continuous excessive use of HSS) working and Adorama replaced it, no questions asked. Make sure they have "R2" in the name as that denotes their compatibility with the XPro trigger (which is fantastic by the way).

I had eight of the Yongnuo 600's last August, only two of them are working now and there's no way to get a warranty on them.

The Flashpoint Li-on R2 TTL is the "flagship" speedlight. It has a huge lithium-ion battery that rated for 650 full power pops. They recycle super quickly and don't start misfiring when the battery starts running low. They're also easier to charge and keep track of compared to dozens of Eneloops. When I had the Yongnuos, I would have to replace the OCF's batteries once during the reception, and my main on camera flash about twice. Now I can go 2-3 full weddings on one battery, I never had to replace one during a shoot. These can be used on camera as a master, or as an optical/radio slave. They can also control larger monolights (like the very cool AD200/Evolv 200).

There's also a non TTL version of the same speedlight but still with the benefits of the lithium ion battery.

Start off your investment off right instead of buying sub par equipment just to replace them later.

I also recommend these speedlight mounts. The normal speedlight mounts with the umbrella holder are fine but they're not super secure and you're putting all your trust on the speedlight's feet - I've had plenty of lights break and fall off stands that way. These clamp on to a large surface area of the flash and will keep it safe, it's also very easy to tell if your speedlight is secured on. The front is a bowens mount so you can literally put any bowens mount modifier on it. And if you get a bigger light like an AD200 or an AD360, these fit beautifully on it.

I've never heard of the light stands you mentioned, but the Amazon reviews look good and plentiful so you should be fine.

I bought something similar to those light stands, but didn't like them....they "cut" into your roomscale zone, and they can not be as sturdy as you really want them to be (the lighthouses shouldn't move even the slightest bit).

I kept them for when i take my vive somewhere else and use as a portable solution. After some research, I use these now and love them...

https://www.amazon.com/gp/product/B00F3B4YPS/ref=oh_aui_detailpage_o03_s01?ie=UTF8&psc=1

and for actually holding the lighthouse onto the pole...

https://www.amazon.com/gp/product/B00CSMCPKQ/ref=oh_aui_detailpage_o03_s00?ie=UTF8&psc=1

those are totally metal, and worth the slight extra price compared to plastic ones (but you could probably save a little money with the plastic ones).

those poles are great and easy to move too!

hope it helps, and you made the right choice w/ vive, it's the superior HMD by far.

The cheap video lighting kits are a bit under powered. They're useful for learning tools (mine came with 2 reflector umbrellas and 2 translucent umbrellas, but they're not 100% effective, and might end up bouncing light from around the room into your shot more than just from the surface of the umbrella. Additionally, one light behind one umbrella doesn't really overpower ambient window light the way I imagined it would. I was brand new to it so maybe they work well to fill in shadow, but i think a rig with multiple bulbs will be more effective at providing the controlled, directional light you may be looking for.

I ended up getting a pair of speedlight mounts to use them as off camera flash stands & modifiers which was fun; but since the umbrellas aren't huge, the height of the actual speed light is significantly off center so it's mainly the top half of the umbrella that's providing the most illumination. It's much better than a bare strobe, but I feel like it's not really using the full potential of the entire umbrella's surface to diffuse light. Something like this S-type bracket will hold a speedlight in the center of an octobox or another modifier, and that seems much more effective for strobe photography. It's not much more expensive, so it still pairs well with the light stands from the cheap video lighting kit as an upgrade.

Even as a not super effective intro kit, it's a decent baseline to get you shooting and practicing and figuring out what you'll need to find your shooting style. Kind of like how it's helpful to start with a kit lens before spending hundreds or thousands on a pro level camera/lens combo just to discover that I don't know shit about photography and expensive equipment is a budget overkill.

https://www.amazon.com/gp/product/B01I09WHLW x 2 - Speedlights - $56

https://www.amazon.com/Neewer-Wireless-Speedlite-Receiver-Universal/dp/B00A47U22U - Wireless Trigger - $19

https://www.amazon.com/CowboyStudio-Photography-Light-Stands-Cases/dp/B001WB02Z4 - Light Stands - $29

https://www.amazon.com/Neewer-Professional-Universal-Speedlite-Umbrella/dp/B00JJJR7PY - x2 - Cold Shoe - $22

https://www.amazon.com/gp/product/B0132I34K4 - Octobox - $23

https://www.amazon.com/Fotodiox-Premium-Shoot-Through-Translucent-Umbrella/dp/B005ODKMOC - Shoot though umbrella - $14

https://www.amazon.com/Neewer-43-inch-Collapsible-Multi-Disc-Reflector/dp/B002ZIMEMW - 5 in 1 reflector - $20

That brings you for a full starting light setup that can be used for headshots and starting boudoir for $183. And you even have flexablity in there to use a 1 light setup with reflector or use 2 lights. You would want a few sandbags to keep the gear stable, but I am not including those in the price.

Now for a background setup

https://www.amazon.com/dp/B00E6GRHBO/ref=psdc_3444601_t1_B00MTF6ZVC

Is a good basic stand but hard to fit under your budget with the above lighting gear.

https://www.amazon.com/Neewer-Studio-Collapsible-Backdrop-1-8x2-8m/dp/B00UWL02PU is also an okay starting backdrop, Grey can be turned into white or black. I will warn you that you will need a fabric steamer to get the lines out, but that is pretty much the same however you go with cloth. Another more expensive choice is to go with seamless paper, I love working with paper, but it is an ongoing expense to use it.

Now if you are going to make this her studio all the time, they make http://www.homedepot.com/p/EUCATILE-32-sq-ft-96-in-x-48-in-Hardboard-Thrifty-White-Tile-Board-HDDPTW48/205995949 that you can use to make a great background. Or to me the better option if you are going to use a room as a full time studio, paint the walls, put down hardwood or laminate, and you have a great studio setup.

Sure, it's pretty straight forward.


I used this L Bracket
to mount this
Gimbal. For lighting up my dark house/living room, this
LED Light works great. It's very bright.

To mount my old iPhone 4s as a monitor, I used a couple of these and a cheap iPhone case.

This produces very stable videos that turn out great for indoor parties, Christmas morning, etc. The WG gimbal mounts easily on my moutain bike or helmet as well, it's very flexible.

Assuming that there's a single presenter, I'd want to use at least two microphones for this setup. First off, I'd stick a wireless lapel on the presenter, and I'd also set up a shotgun like the NTG2 either on a mic stand in front of or a high c-stand above the talent. The lapel will get isolated vocal from the presenter, and the shotgun will get backup vocal, but more importantly some noise when they're working.

I wouldn't advise using a 6D for recording audio. Canon DSLRs have noisey preamps, no proper gain control without Magic Lantern, and most importantly no headphone jack so you can monitor what's being recorded. If hiring something with pro XLR inputs like a C100 or C300 instead is out of the question, then this H6 will work perfectly. You could get an inexpensive hot shoe to 1/4" adapter and mount the recorder to your camera so that you've got all your recorders in one place (hopefully there's somewhere in NZ that does them!)

Syncing is easy, pluraleyes makes it a lot eaisier. To help the editor out, use a clapperboard (or just clap) at the start or end of each take as a reference point, and try to make sure that you have exactly the same number of clips on both the camera and audio (i.e. turn and cut at the same times), even if that means recording audio when it's not needed.

I thought i'd share what I just came up with.

I am moving to Germany at the end of the month for about two years, and I will be doing a LOT of traveling during this time. To preserve memories and share my experiences I decided to upgrade and change around my camera bag. I sold my d3300 and lenses and wanted a setup for something portable and not cumbersome that I can take in any situation without being annoying.

My activities I want to capture:

• snowboarding
  
• Wakeboarding
  
• Motorcycling
  
• City adventure
  
• Hiking
  
• etc
  
  Here is what I put together:
  
  

  
  

• $450 GoPro Hero6
  
• $550 on Ebay - Sony RX100 MkIII for stills and some video
  
• $99 Zhiyun Smooth q to fly both the gopro, RX100, and my galaxy s8
  
• $27 leg bag to carry it all conveniently
  
• $70 high speed 128gb sd card for gopro
  
• $20 plate to mount gopro to gimbal
  
• $20 mount set for gopro with high ratings and lots of pieces
  
• splurged here... $50 mount for the motorcycle
  
• $25 two extra batteries and charger with 3 ports for GP
  
• $14 charger plus two extra batteries for the rx100
  
• $9 case for the rx100 so I can cram it in and out of leg bag without fear of harming the camera
  
• $14 grip for front of rx100 so it's easier to shoot with one hand
  
• $40 Boya BY-MM1 Micro Shotgun Mic
  
• $9 mount to attach boya mic to gimbal
  
  Grand total: $1377
  
  You can prob get the gopro plate for less but this one moves it the furthest away forward from the gimbal so it's less likely to get in the shot when shooting in superview or whatever gopro calls it these days.
  
  Also you can get a mkIV or higher as some have stated here if you want to shoot in 4k gimbal stablilized with all three cameras (s8 or equivalent phone included)
  
  I know i'm going to get flamed because it's not a sony mirrorless for what I paid, but for me being able to have all of these on me at any time is really helpful. Also you don't always have to carry anything but the gimbal and your cellphone in order to capture good video, which you will always have on you.
  
  Also I was hesitant to save the money on the Boya Mic over the RODE but the sound quality from it is very good.
  
  And one last note, I got the mkIII because I will be using the rx100 90% of the time for stills and very rarely for video. Really the only video with the rx100 will be low light and night video because of the large image sensor for it's form factor.

The kit lens is good. I still use it in certain situations because it is versatile and it's not the end of the world if it gets broken. You're probably going to want something that's better in low light though.

I HIGHLY recommend getting the Panasonic 25mm f/1.7. It's a fantastic little lens and it's not too pricey as far as lenses go.

You're definitely going to want a tripod that is heavier duty than that, as well as a fluid head. And get yourself some kind of stabilizing solution for when you go handheld, even if it's just a cheap handle or something like that.

So I recently purchased a new flash trigger/remote to use with my flashes both with my digital camera and also my Mamiya RB67. I know that the mamiya doesn't have a hotshoe, but it has a pc sync port on it. Soon after receiving it, I see that the transmitter does NOT have a 3.5mm plug on it, which is a pretty big bummer. So after a little research it seems like my best bet is to go from the PC sync port in the lens, into a hot shoe adapter like this, then the hot shoe adapter with the transmitter attached. I just want to confirm that this will work before I order a hot shoe adapter and learn that it won't work for whatever reason. Thoughts?

Yep, I've used setups where the mic is on the NATO rail or in a cold shoe mounted directly to the cage.

First, balancing the handle on the rig is important for it to be effective, so I would position it in the center.

A 100mm NATO rail will give you enough room to mount the handle in the center and a cold shoe NATO clamp for the mic off to the side.

However, my preference is to mount a low-profile cold shoe to the side of the cage (e.g. the vertical 15mm rod) for the mic. This is especially useful when using something like Beachtek's MCC-2 adapter, as it puts the level controls in an easy to reach position, rather than way forward on top of the cage.

Here's an example of this type of setup with View Factor's Contineo cage.

Haha you're welcome. It is an excellent system.

> I should be able to put these things on my tripods as lightstands, right?

Not so much tripods, although you can probably find something for that too. Usually people use dedicated light stands. There is a nifty adapter godox makes that allows you to clamp in a speedlight and attach Bowens type modifers (the same as their strobes) such as octoboxes and softboxes. There is a hole in there too so you can attach a umbrella.

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

Thanks for linking the Harbor Freight poles. They are half the price of the ones I've seen used elsewhere. I chose to get these clamps because they have better reviews and should be able to fit on smaller poles. With luck I'll be able to clamp to the silver top part of the bar hopefully making it sturdier and lower profile for transport.

Speedlite holders: https://www.amazon.com/gp/product/B00JS3MINC

I own a couple of these and they are fantastic!

Gels: https://www.amazon.com/gp/product/B00URG1C2C

No need to go with the expensive Rogue set. I love these by Selens.

Lighting gear bag:

https://www.amazon.com/gp/product/B00LEE7J0U

This has been put through a bit of use and has held up great so far.


Lighting stands

https://www.amazon.com/gp/product/B00L4YR0BS/

Speedlites

https://www.amazon.com/gp/product/B010XCEABO/

I recently got a Godox V860ii and am looking into getting an off camera flash setup for it.

What are the benefits of using a S-Type Bracket vs just using swivel mount? One is almost twice the cost of the other, and I'm willing to invest, but is there any other benefit besides the Bowen mount system for the link of the one I put below? Thanks!

Bowens S Mount: https://www.amazon.com/Godox-Bracket-Speedlite-Softbox-Honeycomb/dp/B00JS3MINC/ref=sr_1_2?keywords=s+bracket&qid=1565634775&s=electronics&sr=1-2

Swivel Mount: https://www.amazon.com/gp/product/B072JRNNTG/ref=ox_sc_act_title_1?smid=AM5WHBW8CZ8MA&psc=1

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.

Here's the set up I use and like it very much. I looked at the light stands too, but didn't want the feet on the stand protruding into my play space. They have worked great and have had no issue. You may be able to find shorter ones, but I have high ceilings and had to go with these.

http://www.amazon.com/FastCap-Support-System-144-Inches-3HAND5/dp/B000067S12?ie=UTF8&psc=1&redirect=true&ref_=oh_aui_detailpage_o01_s01

http://www.amazon.com/Smallrig%C2%AE-Clamp-Mount-Ball-Adapter/dp/B00CSMCPKQ?ie=UTF8&psc=1&redirect=true&ref_=oh_aui_detailpage_o02_s00

You can get shorter ones from Harbor Freight for a lot cheaper. They just weren't long enough for my ceilings. The one from Amazon is much sturdier too.

http://www.harborfreight.com/2-in-1-support-cargo-bar-66172.html

hey dude! i have a gopro hero 3 silver. I use it for recording live sets. The zoom h1 mic is pretty good for the price, and you can find it cheaper used. it's external so you'll have to sync the audio and video, but it's worth it.


i use this housing
http://www.amazon.com/gp/product/B00J8CFZUG?psc=1&redirect=true&ref_=oh_aui_detailpage_o02_s00

and use this on top of it to mount the zoom h1
http://www.amazon.com/gp/product/B005005EEM?psc=1&redirect=true&ref_=oh_aui_detailpage_o01_s00

the zoom sits directly on top!
Imgur

That's a good point.

I have shelfs where I want to mount my base stations. I'm thinking I could actually use [this]
(http://www.amazon.com/Smallrig®-Clamp-Mount-Ball-Adapter/dp/B00CSMCPKQ/ref=pd_sim_421_6?ie=UTF8&dpID=41K7sL65EaL&dpSrc=sims&preST=_AC_UL160_SR160%2C160_&refRID=0RNY6YR417R9S7FAKHS1) to mount them.

P.S. I really need to take a minute to figure out how to properly link on Reddit :)
EDIT - Figured it out :)

If that's a 1/4" threading on the Vive Tracker, you could just buy a wide collar or harness, punch a hole in it, and screw something like this (Amazon Link) into it to attach the Tracker. Might want to shorten it a bit though.
The ideal way of integrating it would be an overlay that works in every VR application, similar to chaperone.


There's a chance that your pet will not like having a relatively heavy object attached to it though, and will try to remove it.

It would make more sense and be safer to put the pet in a different room though.

I got one of each to give myself some flexibility, both have worked great so far.

Smallrig® Cool Ballhead Arm V4

Smallrig® Clamp Mount V1

I am trying to setup a very beginner's studio in my basement. I have a 25 feet by 20 feet space (no windows) that I plan to use. Would this equipment work for me?

1. Julius Studio 10 foot wide backdrop stand
   
2. [Cowboy Studio 10x12 feet grey muslin cloth] (https://www.amazon.com/gp/product/B003VCW6G0/ref=ox_sc_sfl_title_4?ie=UTF8&psc=1&smid=ATVPDKIKX0DER) (Or for a small studio, should I go black or white instead?)
   
3. Neewer 37" beehive octagon softbox (will this work with my Yongnuo 560 speedlight?)
   
4. Neewer s-type holder with bowens mount (Does this fit the softbox?)
   
5. Impact air-cushioned light stand 8' (And this will fit the holder?)
   
   Would love to hear opinions on these, and also if I am buying stuff that will work with each other.
   
   Thank you!

I'd recommend mounting them both on a Y-Bracket if you need it cheap and light, with one of these to mount the zoom.

You can also take sound off camera really quick and easy if the opportunity arises.

One thing to know ... that body is one of the last Sony made with the old Minolta hot shoe, the connection if you use an external flash/speedlight. There are flashes that you can fit, or you can use standard speedlights as well via a simple adaptor. Here's an example of one, less than $10. That will come into play down the line if you expand into using different lighting options.

Maybe someone makes some accessory shoe mount to tripod thread adapter so that you can mount this on a tripod and then mount the camera upside down into the shoe thing? Lmao it feels weird just to type this so it probably does not exist?

EDIT: Well shit, apparently it exists it looks like it's made to support accessories though, and not an upside down camera, but I reckon it could help to just line up the shot while still having to hold the camera a bit.

A simple pic stand and flash bracket with a reversible umbrella and a YN660 transmitter would be the best way to get off camera versatile flash for cheap.

In the future, every Monday, Weds, and Friday we have an official questions thread reserved for these types of questions.

All I'm finding is this item which has a tripod 1/4 hole on the bottom and a flash shoe on top.

You can also get a base like this and attach a cold shoe mount to the top of it for the same thing.

Thanks, yes it's only there to hold it in place. I purchased this from Amazon: http://www.amazon.com/gp/aw/d/B003URJP5Q/ref=redir_mdp_mobile

Do you think that should work?

I own an a65 and use this


http://www.amazon.com/gp/product/B003URJP5Q/ref=oh_aui_detailpage_o04_s01?ie=UTF8&psc=1

I'm pretty sure the nex7 and a65 have the same Minolta shoe

I love these. They hold the flash in a much more sturdy manner than the umbrella brackets.

http://www.amazon.com/Godox-Bracket-Speedlite-Softbox-Honeycomb/dp/B00JS3MINC/ref=sr_1_4?ie=UTF8&qid=1457722832&sr=8-4&keywords=bowens+softbox+mount

Did you know Amazon will donate a portion of every purchase if you shop by going to smile.amazon.com instead? Over $50,000,000 has been raised for charity - all you need to do is change the URL!

Here are your smile-ified links:

https://smile.amazon.com/Neewer-centimeters-Octagonal-Speedlight-Photography/dp/B00PIM3I6I

https://smile.amazon.com/Fotodiox-Premium-Shoot-Through-Translucent-Umbrella

https://smile.amazon.com/Neewer-Professional-Universal-Speedlite-Umbrella/dp/B00JJJR7PY

https://smile.amazon.com/Neewer-centimeters-Portrait-Product-Photography/dp/B00L4YR0BS

https://smile.amazon.com/AmazonBasics-Electronic-Flash-DSLR-Cameras/dp/B01I09WHLW

https://smile.amazon.com/Neewer-Wireless-Speedlite-Receiver-Universal/dp/B00A47U22U/

---

^^i'm ^^a ^^friendly bot

A quick Google search confirms that it does—something like this perhaps? But that locks you into only ever being able to use it with Speedlights.

Wouldn't it be wiser to get a regular speedring and then add an optional speedlight bracket? Something like that, say. So if you wanted to use the softbox with a studio head eventually, you could.

I'd recommend something like this. I plan on getting one for each SL360 I have.

Like others, I've had the best success about doorway-height. Maybe about 6-8ft looking downwards. I have a pair of flash stands from doing photography, but you could pick up a cheap set of those that are at least 6ft

I also have mini clamps that I attach to the top of the door or to the stairs balusters when I'm downstairs:

• Clamps like this
  
• Or like this
  
  If you are really tight on space and cant use the flash stands, look into a pair of these, they are heavy-duty tension rods that go up to 12'.

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.

pics would help!


i use these little guys for a lot of things, including mounting my base stations, and i've never had any problems with them holding their grip.

Well the MKE 600 comes with a little clip that can slide into the top of most dslr and mirrorless cameras, and it also has a 1/4 inch thread. So if your mic stand has a 1/4 inch bolt on the end you don’t need to buy anything else. If you do want to buy something or need a different size thread (I️ actually think 3/4 inch is pretty standard on mic stands) then maybe look into something like this: https://www.amazon.com/gp/aw/d/B06XWQG27X/ref=mp_s_a_1_1?ie=UTF8&qid=1511589050&sr=8-1-spons&pi=AC_SX236_SY340_QL65&keywords=shock+mount+for+shotgun&psc=1

I️ found this by searching for shotgun mic shock mounts.

They make nicer shock mounts but this will get you going and making some videos.

Just a suggestion, use the Neewer Flash Bracket. It's way more manageable for holding the flash.

You can also just epoxy the dish to the bracket. If you don't want to sacrifice the flash bracket, attach a speedring adapter to the dish.

Good effort though, results are what matter.

Anyone ever use the Smallrig Canon C100 cage? I have been on the fence about getting a cage for C100. Or rather on larger cameras, do you recommend a cage?

​

For a run and gun style do the cages end up getting too bulky? Or do you just cut down on the camera as much as possible?

​

Thanks!

​

https://www.amazon.com/SmallRig-Camera-Video-Canon-Clamp/dp/B01DOWRFMG/ref=sr_1_2?ie=UTF8&qid=1539716044&sr=8-2&keywords=c100+cage

1. Yes, focus will drift through the imaging session, either due to drop in temperature or orientation of the lens (some heavy lenses gradually slide down the rotating focuser part when pointing vertically up)
   
   
   
2. I use this to mount my mini guide scope. Not sure if it will work with bigger guide scopes as effectively.

I have the a6300, sigma 30mm f1.4 & crane v2. I love it!

You will need something to balance the camera on the crane correctly. Either a quickrelease plate or something like a hot shoe adapter on top of the camera https://www.amazon.com/Camera-Mount-Tripod-Screw-Adapter/dp/B018UJLIOE

Some things to consider tho, shutter speed is a problem. And if you want to shoot in 1080p the quality isnt really great. You can shoot in 4k and then render it to 1080p in post if you like.

I'd go for an AD200 Pro with their X-Pro wireless trigger. If you've got money left over, you could grab one of their smaller lights for fill / background lighting.

I use this mount to hold mine, which is infinitely quicker than the included mount. There's also a good variety of modifiers that come in Bowens mount.

It might be better to go with something nicer than those. $14 for cheap plastic crap is kind of absurd, plus they have pretty bad reviews. I got these, and they're only $5 more each.

These are nicer than the Grifti ones:

http://www.amazon.com/dp/B00CSMCPKQ

Food shoots I'm doing right now for an online delivery service require this setup:

-31" double diffused softbox

-Reflector (I use one with a handle so I can attach it to a weighted tripod and set it on a chair. Not the ideal setup currently, but it works.

-godox speedlight->bowens clamp mount

-white balance mini-reflector

-speedlight

-a7iii + Nikon 55mm 2.8 micro

-2x cloth napkins

-Moleskine notebook

-Extra speedlight

i could attach tripod to my bag and fit everything, though I prefer to just carry it. I use a tripod as a light stand because it folds up smaller.

all fits in my 30L

Use the Playmemories app to display live view on your smartphone. Then mount your phone on the hotshoe with this: https://www.amazon.com/dp/B071CFDBJ7/ref=cm_sw_r_cp_api_uVfUzb22XYZQ4

You can even mirror the live view on the phone to make framing easier.

I bought this light and put it on this bracket. The GoPro is attached with a tripod mount. I had to file part of the mounting piece on the light to make it fit on the bracket.

This is the only one I could find that would fit:

SMALLRIG Universal Microhone... https://www.amazon.com/dp/B06XWQG27X?ref=ppx_pop_mob_ap_share

L Bracket on the bottom, monitor plus microphone on that, done. Way cheaper than the handles and works quite well in my experience.

i mean they are pretty standard, but am getting this one https://www.amazon.com/gp/product/B018UJLIOE

Sorry, lightstand, bracket, umbrella - bracket is for putting speedlites and umbrellas on stands, rather than monolights or flash heads that go straight on a stand, and have their own holes for umbrellas.

one of these, with some washers first, or both of them. or buy a cheap hack saw.


https://www.amazon.com/HDE-Thread-Converter-Adapter-Camera/dp/B005005EEM/ref=sr_1_9?ie=UTF8&qid=1469062385&sr=8-9&keywords=Tripod+Screw+For+Flash+Hot+Shoe

$179 - 2 pack flash with trigger

Umbrellas you already own

$150 - Calumet backdrop stand kit

$26 - cowboy 2 pack studio light stands

$19 - Godox S bracket bowens mount flash mount

Total price for home studio = $393 + plus what ever you'll spend on a backdrop.

Here u go!
http://www.amazon.com/Smallrig%C2%AE-Clamp-Mount-Ball-Adapter/dp/B00CSMCPKQ?ie=UTF8&psc=1&redirect=true&ref_=oh_aui_detailpage_o01_s00

& the acutal pole from harbor freight

http://www.harborfreight.com/2-in-1-support-cargo-bar-66172.html

• Gaffers tape
  
  
• Shoot-Thru Umbrella + Holder
  
  
• Phone-to-tripod mount
  
  
• Rocketblower / lenspen / micro fiber cloths

Here you go.

This thing.

This is a little more secure but I've never had any issues with the regular umbrella brackets, either.

think i found it: https://www.amazon.com/Fancierstudio-Photography-Bracket-Standard-Mounts/dp/B005Z4ROIW/

My guess is a Neewer Cold Shoe Extension

then propably something along these lines.

​

Top Handle Attached L Grip

​

or this:

​

L Grip combined with a cold shoe mount on the handle

https://www.amazon.com/gp/aw/d/B005Z4ROIW/ref=mp_s_a_1_2?ie=UTF8&qid=1468212442&sr=8-2&pi=SY200_QL40&keywords=l+bracket+photography&dpPl=1&dpID=31gm5o%2Bw3QL&ref=plSrch

Is it this one? https://www.amazon.com/gp/product/B00HJFBUCQ/

I used tensions rod and clamp mount.

https://www.amazon.com/gp/product/B00JAAXH1A/ref=oh_aui_search_detailpage?ie=UTF8&psc=1

https://www.amazon.com/gp/product/B00OYQNHWY/ref=oh_aui_search_detailpage?ie=UTF8&psc=1

https://www.amazon.com/gp/aw/d/B071CFDBJ7/ref=ya_aw_oh_bia_dp?ie=UTF8&psc=1

What you could do is velcro the mic to a cheese plate and then screw this [hot/cold shoe adapter] (http://www.amazon.com/gp/product/B005005EEM/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B005005EEM&linkCode=as2&tag=ytvdsc-20&linkId=EJBXFHJO2J7YMKLX) into the cheese plate and then mount that to the mount on the camera.

Oops, my bad. This is the one I bought from Amazon