Vloggers and cinematographers after the steadiest handheld footage need a gimbal, a powered stabilization system that delivers Steadicam-quality results, but without nearly as much fuss. The Zhiyun Crane 2S ($599) pairs well with SLRs and mirrorless cameras to net pro-grade handheld footage. It’s not as compact as some others, like our Editors’ Choice winner, the $499 DJI RSC 2, but we found it a bit easier to balance, especially if you’re using a heavier, full-frame camera system.
Gimbal Stabilization
There are all types of stabilization platforms for cameras. Tripods, monopods, Steadicams, shoulder braces, and mounting plates like the Platypod are all designed to keep your camera as stable as possible. Photographers use them for sharp, blur-free results, purposeful compositions, and long-exposure work, while videographers simply want to remove some jitters and jumps.
Powered gimbals have become exceedingly popular options for cinematography. Silent, brushless motors keep your camera level and steady, even as the camera moves. Using one lets you get some types of shots that you can’t get with a camera alone, even one with a stabilized sensor.
The Crane 2S is Zhiyun’s midrange solution for SLRs and mirrorless cameras. It sits below the Crane 3 family in pricing and payload support—the Crane 3 can handle a 14.3-pound rig, while the 2S is limited to around 7 pounds. That’s plenty for a larger mirrorless camera, even one with a full-frame sensor.
The design is very straightforward. The Crane 2S sports a cylindrical body with a tripod socket at the bottom and mounting platforms at the top. Folding tripod feet are included, along with mounting plates, hex wrenches, cables, and everything you need to get your camera mounted and balanced.
The Crane 2S measures around 17.7 by 8.3 by 4.7 inches (HWD) and weighs about 4.1 pounds. It’s certainly got some heft, so expect to give your muscles a workout when using a heavier camera and lens with it.
Zhiyun also has a smaller option for lighter cameras, the $400 Weebill-S, good if you use an APS-C or Micro Four Thirds system. Looking at other brands, the DJI RSC 2 can handle nearly as much weight as the Crane 2S, is about a pound lighter, and folds down into a smaller size, a plus for travel.
Finding Your Balance
You get everything you need to mount your camera with the Crane 2S. The gimbal ships in oversized box—one that seems a bit too big for the device itself. Zhiyun has opted to flat pack everything in a carrying case. It’s not pro-grade, but the material is a sturdy foam, tougher than styrofoam and without any flaking. Still, it’s worthwhile to invest in a better case, especially if you plan on traveling with the Crane.
To get it going, you’ll need to charge the removable batteries. A wall charger is included, and Zhiyun recommends you use it the first time you replenish the batteries. They install in the bottom of the handle, and can be recharged right in the device itself using any USB-C power adapter.
Battery life is extraordinary—up to eighteen hours—but can vary based on the weight of your camera, how you use the gimbal, and how well you have balance set. The motors are most efficient when the camera is perfectly positioned.
Next, add the mounting plate to the bottom of your camera—you’ll need to use a flathead screwdriver, or one of the included hex keys, to tighten it. It’s not as convenient as a thumbscrew (don’t forget your toolkit for location work), but the plates stay securely in place, without the wiggle we noted when using the mounting plates DJI includes with its RSC 2.
A second, longer plate, attaches to the small one that’s now on your camera. It’s marked with an arrow to ensure that it’s positioned properly. It also has a mounting point at its front so you can add an arm to better support a heavy lens.
The Crane 2S is one of the first gimbals we’ve tested, and the first I’ve tried to balance. I paired it with two cameras, the Sony a7S III and the 12-24mm F2.8 GM lens, a typical full-frame mirrorless body and one of the heavier wide angle zooms you can buy, and the slim Sigma fp L with the 14-24mm F2.8 DG DN Art zoom.
Both were decidedly easy to balance. It’s a three-step process, and one that’s pretty intuitive. To start, slide the mounting plate into position and note the measurement scale on its side. When the gimbal arm is unlocked, a camera that’s positioned too far forward will tilt downward, while one that’s too far back will tilt its lens upward.
Wiggle it back and forth and you’ll find the right spot. Once you’ve got it set so the camera doesn’t move at all, lock the plate in position and tilt the lens straight up. You’ll then repeat the process using the vertical axis. When that’s done properly, the camera should stay perfectly still at any degree of tilt.
And then you’ll repeat the process again, this time for the horizontal axis. It’s also marked with a ruler to give you some guidance. It’s enough to tell if it’s off—the horizon will list noticeably left or right if things are off-kilter.
Once that’s all done, a long press of the Record button powers up the system. The gimbal moves in a few different directions, and then it’s off to the races. It’s also possible to mount your camera vertically for 9:16 video capture—the balancing process is the same, you’ll just mount the camera in a different position.
There are a few different stabilization modes. The standard is Pan Follow (PF), which keeps the camera pointed in the same general direction unless you use the thumb pad to pan or tilt. The alternative is Point of View (POV), one where the camera moves along with the gimbal for first-person perspective shots.
Either is well suited for chest-level or low-angle work. You can sling the camera low to get close to the ground. The Crane 2S did a fine job of smoothing out my uneven, plodding footsteps, and even managed to net smooth footage when I was running along at top speed. You’ll need to take care when using an ultra-wide lens in this configuration—the arms that hold your camera can dip into the frame if you’re not careful.
You also get a 360-degree roll, Vortex, and the expected (but less used) Locking, Go, and Follow stabilization options. Vortex is worth noting—it spins the camera about on a 360-degree axis. It’s a disorienting visual, but that’s the point. You can use it with the camera pointed straight up at the sky or forward—you need to hold the Crane 2S parallel to the ground for the latter.
Built-In Controls and Loads of Add-On Options
The Crane 2S has a few buttons for camera control, Record being the most prominent. USB cables are included to connect your camera. Functionality varies from model to model, and you can check here for a chart breaking down what functions work with the most popular systems.
Other controls include an M button to swap the stabilization mode, a thumb pad for pan and tilt, and a directional pad to navigate through the menu system. There’s a small monochrome display to change settings on the gimbal itself. You can also change settings via your smartphone—the Crane works with the ZY Play app for remote control. It’s a free download for Android and iOS devices.
So you get the basics covered out of the box. If you’re an autofocus videographer, you’re all set. For more serious video work, you can add a follow focus motor—it works with the wheel on the side to set focus on manual lenses. You can also add a wireless video transmitter, and there’s a rear handle for easier low-angle work too.
Zhiyun bundles these accessories and sells the package as the Crane 2S Pro. It’s pricier at $849, but worth it for professional use. The bundle also includes a Dual Cam mount, one that lets you put a second camera on top of your main one. It’s a scenario that’s more edge case than mainstream, but if you’re in that niche, it’s worth considering.
Superb Stabilization and Swappable Batteries
The Zhiyun Crane 2S is a quality support system for SLRs and mirrorless cameras. The gimbal steadies and smoothes your video with more acumen than lens and image sensor stabilization can manage, giving you some freedom to experiment with creative angles while still working and enjoying freedom of motion.
It’s on the bulky side, and you’ll need to remember to pack a screwdriver or hex key if you’re going to set it up or break it down while on location. It’s not quite as tricky to balance as the smaller, folding DJI RSC 2, though, and the Crane 2S’s swappable batteries mean you can change them out when they’ve aged, while the RSC 2’s battery can’t be swapped out.
There’s plenty for cinematographers and vloggers to like here. The Crane 2S is suitable for the mirrorless cameras consumers and enthusiasts use, and has enough payload capacity to handle full-frame rigs and F2.8 zoom lenses.
Ultimately, we like the DJI RSC 2 just a little bit more. Its folding design and lower price make it our Editors’ Choice winner, and a must-have if you’re trying to pack a carry-on gear bag.
