The Best Camera Gear to Film Rock Climbing
Camera Gear to Film Rock Climbing
The Gear I Use to Rock Climbing
Filming rock climbing isn’t just about hanging off a rope with a camera, it’s about knowing how to work with the environment and having gear that won’t let you down. As a climber and filmmaker, I’ve found a setup that lets me move quickly, stay safe, and still capture those quiet, intense moments that make climbing so special. In this post, I’ll share the camera gear I actually use out on the wall - from the bodies and lenses I trust to the little accessories that make a big difference when you’re suspended a few hundred feet in the air.
Primary Camera Body - Sony A7siii
My go-to camera for filming rock climbing is the Sony A7SIII. It’s been with me on freezing alpine starts, sun-baked desert towers, and shaded granite walls and it’s never let me down. The low-light performance is huge when you’re chasing golden hour on a summit or shooting in deep canyon shade. The 4K footage is tack-sharp and handles dynamic light really well, which matters when you’re filming on rock that constantly shifts in color and texture.
I’ve stuck with the A7SIII over the FX3 mostly because the FX3 has a fan, and I just don’t trust that in dusty or dirty climbing conditions. One chalky gust of wind and it feels like trouble. The A7SIII is more sealed up and a bit more rugged, which makes it a safer bet when the weather turns or I’m shooting from a hanging belay and can’t baby my gear. It’s compact, reliable, and lets me focus on the shot, not whether my camera’s going to survive the climb.
Secondary Camera Body - Sony A7iii or Sony A6700
When I’m filming a climbing shoot, I usually bring a second camera body, either the Sony A7III or the Sony A6700, depending on what kind of day I’m expecting. If I know I’ll have moments to pause and line up intentional stills (think: long belays, big vistas, or summit portraits), the A7III is my go-to. It’s a full-frame workhorse with beautiful image quality and dynamic range, which really helps bring out the texture of the rock or catch the light as it filters through canyon walls. It’s a little heavier, but when I know I can carve out the time and space for photography, it’s worth it.
If I’m shooting fast, run-and-gun style, especially on more technical terrain or when I’m juggling ropes and gear, I tend to reach for the Sony A6700. It’s lightweight, compact, and perfect for multi-pitch routes or alpine days where every ounce counts. As a video B-cam, it holds its own really well. The 4K footage is crisp, autofocus is reliable, and the smaller form factor means I can stash it quickly if things get sketchy. It’s saved me more than a few times when I’ve had to pull a camera out fast and grab a shot mid-pitch.
Most Used Lens (Documentary) - Sony 24-105mm f/4
When I’m out filming climbing, the Sony 24–105mm f/4 rarely leaves my camera. It’s kind of my default lens, versatile enough to go from wide shots of towering walls to tighter frames of chalked-up hands or a climber’s expression mid-crux. That flexibility matters a lot when I’m hanging from a rope and don’t have the luxury of switching lenses every few minutes.
The constant f/4 aperture holds up well as light changes throughout the day—whether we’re chasing golden hour on a wall or tucked deep in a shaded canyon. Honestly, this lens is on my camera probably 90% of the time during climbing shoots. It just works.
Most Used Lens (Commercial) - Sony 35mm f/1.8
When I’ve got the time to slow down and set up a more cinematic shot while filming climbing, I almost always reach for my Sony 35mm f/1.8. It’s compact, it’s fast, and it handles low light like a champ. It’s super useful when the sun’s dipping behind the ridge or we’re tucked in a shaded canyon. The 35mm focal length feels really natural and immersive. It lets you get close without feeling intrusive, which is important when a climber’s mid-move and totally in the zone. I’ll usually throw a 1/4 Pro Mist filter on it too, which softens the highlights and gives the scene this subtle, dreamy feel. It's my go-to for capturing those quiet, emotional moments in between the chaos like lacing up shoes, brushing a hold, or just breathing before the send.
Other lenses I use frequently - Sony 14mm (great for top down on-the-wall shots) and Sony 85mm (great for extra tight details)
When I’m filming climbing, I like having a couple extra lenses in my pack to give me more creative range, especially when the story calls for both scale and intimacy. The Sony 14mm is one of my favorites for those big, dramatic wide shots. It’s amazing for showing just how exposed a route is or capturing a climber way up on a route with nothing but air beneath them. It also works great when I’m anchored in on the wall and want to lean out for a overhanging shot that makes the wall feel towering.
Then there’s the Sony 85mm, which is basically my go-to for detail shots. I’ll use it for capturing chalked-up fingers finding a tiny crimp or the expression on someone’s face as they figure out a crux. It’s how I get those tight, emotional moments that balance out the epic scenery. Having both lenses lets me shift between showing the vastness of the climb and the vulnerability of the climber, which is kind of the whole point.
Audio - Tascam DR-10L and Sony ECM-B1 Shotgun Mic
Audio doesn’t always get the spotlight in climbing films, but it matters a lot. The right sound can bring a viewer right into the moment, whether it's the scrape of a shoe on granite or a climber’s breath before a sketchy move. I recently switched to the Sony ECM-B1M as my main shotgun mic, and I’m loving it. No wires, no fuss, it just slides into the hot shoe, sounds amazing, and lets me focus on filming instead of fiddling with audio settings. It’s a small change that’s made a big difference in how quickly I can set up and stay agile on the wall.
For interviews or any moment where I need clean dialogue, I still use the Tascam DR-10L lav mic. It’s been a workhorse for me. Super compact, easy to hide, and it records straight to an internal card, so I don’t have to worry about interference or losing signal when I’m perched on a ledge 50 feet away. Between these two mics, I’m covered whether I’m chasing ambient sounds on a windy ridgeline or recording a quiet post-send reflection back at camp.
Drone - DJI Mavic Air 2s
The DJI Mavic Air 2S has become one of my favorite tools for filming climbing because it helps show the full scale of a route in a way that's nearly impossible from the wall. Whether it’s a sweeping shot of an exposed face or a slow orbit around a climber midway up a pitch, the drone gives you context - height, terrain, atmosphere. It helps the viewer understand just how wild the environment really is. The 4K video is crisp, the color science looks great right out of camera, and it's small enough to toss in a crag pack without thinking twice. I use it a lot at sunrise or sunset when the light is soft and dramatic, and it always helps round out the story beyond the close-ups and handhelds.
Gimbal - Zhiyun Cinepeer Weebill 3E
The Zhiyun Cinepeer Weebil 3E has become a key part of my climbing film kit, mostly for the approach, but sometimes even up on the wall when I’m shooting something more polished for a commercial. It’s small, powerful, and surprisingly easy to manage in tough environments where weight and space matter. On the trail, it helps me get those smooth, flowing shots of climbers hiking in or gearing up, those moments that set the tone of the film. And when I do decide to bring it on the wall, it’s because I know it can deliver gliding, cinematic shots that really elevate the storytelling. Whether I’m walking, scrambling, or clipped into a hanging belay, the gimbal adds a level of polish without weighing me down.
Action Camera - Insta360 X5
The Insta360 X5 is a newer tool in my kit, but it’s quickly becoming one of my favorites for filming climbing. It opens up creative angles I’d never even considered before—shots that feel fresh and unexpected, especially on multi-pitch routes or when documenting a partner’s movement from unique perspectives. You can clip it to a route, hang it off a draw, or fly it around with the invisible selfie stick effect to make it feel like a drone captured the footage. It’s been wild to experiment with.
What I love most is how it expands the creative possibilities without adding a ton of bulk. It’s small enough to stash in the brain of my pack and light enough to not think twice about bringing it. I don’t use it for every shoot, but when I do, it usually ends up delivering a moment that surprises me. It’s not replacing my main cameras anytime soon, but for behind-the-scenes shots or moments where I want to get weird in the best way, it’s kind of perfect.
Using Cameras as a Tool For Exploration…
Cameras help me experience climbing in a deeper way. They force me to slow down, to pay attention, not just to the movement on the wall, but to the breath, the tension, the emotion behind every move. Filming climbs isn’t just about documenting the send. It’s about capturing the quiet pauses, the partnership, the grit, and the moments of doubt just before someone pushes through.
My gear is chosen with all that in mind. I need tools that can move with me, hold up in the elements, and still deliver when I’m perched on a ledge with one hand on the camera and the other gripping the wall. Everything I bring helps me stay light, stay present, and focus on telling the most honest version of the story—because in climbing, the most powerful moments usually happen when no one’s trying to perform.
Why We Should Work Together…
When I’m not on this website rambling on about filmmaking, I’m actually out there making films. From crafting memorable branded documentaries to capturing stories and products that move people, I’ve got you covered. Need a filmmaker who can scale mountains, brave the surf, or just tell a dang good story? Let’s chat!
In case I haven’t convinced you, here are three reasons why it might be fun to work together…
I believe in stories that stick with you - like campfire smoke on your clothes. The kind that makes you laugh, cry, or immediately want to call your mom.
I’m just as comfortable at 14,000ft as I am in front of a timeline. You get me in the mountains, in the ocean and in the editing room, making sure the magic out there really shines in the final cut.
I’ve filmed in some pretty wild places, but the best stories are the ones that bring people together. It’s those shared moments -big or small - that remind me why I love what I do.
Let’s Connect!
If you have a video project you need help bringing to life, feel free to reach out :)
Roo is an Emmy nomimated commercial/documentary filmmaker and photographer based in Boulder, Colorado but travels all around the world for his filmmaking career. He has directed documentaries for Patagonia in California, produced films for Outside Magazine throughout Europe and Africa, camera operated for Netflix in the Rocky Mountain West, photographed among indigenous communities in South America, and has received notable recognition in the outdoor industry for his work telling uplifting stories in the outdoor space.