The Best Cameras for Expedition Filmmaking
expedition filmmaking has it’s challenges when it comes to bringing gear into the most austere environments…
Here’s what I use and recommend if you’re looking to find the right gear for your next expedition!
Main Camera Body - Sony A7siii
When it comes to expedition filmmaking, having the right camera can make all the difference. The Sony A7S III has emerged as the perfect tool for adventurers and filmmakers alike, combining cutting-edge technology with rugged durability to deliver exceptional performance in the most challenging environments. In this article, we will explore why the Sony A7S III is widely regarded as the best camera for expedition filmmaking.
Unmatched Low-Light Performance
Expedition filmmaking often involves capturing scenes in dimly lit or extreme lighting conditions, such as sunsets, sunrises, or even during night expeditions. The Sony A7S III shines in these situations with its remarkable low-light capabilities. The full-frame 12.1-megapixel sensor boasts impressive ISO sensitivity, allowing you to shoot clean, noise-free footage in even the darkest environments. This unparalleled performance ensures that you can capture every detail of your expedition without compromising on image quality.
High Dynamic Range (HDR)
Expeditions can take you through landscapes with varying lighting conditions, from bright, sunlit mountaintops to shadowy valleys. The A7S III's high dynamic range capabilities enable it to preserve both highlights and shadows, producing stunningly balanced footage. With HDR video support, you can capture breathtaking scenes with vivid colors and incredible contrast, making your expedition footage come alive on the screen.
Advanced Video Capabilities
The Sony A7S III is a game-changer for expedition filmmakers, boasting impressive video capabilities. It can shoot 4K video at up to 120 frames per second, allowing for breathtaking slow-motion footage. Moreover, its 10-bit 4:2:2 internal recording capability results in richer color gradations and greater flexibility during post-production editing. Filmmakers can capture their adventures with stunning clarity and creative control, ensuring that every moment of their journey is beautifully documented.
In-Body Image Stabilization (IBIS)
Expeditions can involve physically demanding environments, including rough terrains and unpredictable weather conditions. The A7S III's In-Body Image Stabilization (IBIS) technology compensates for camera shake, ensuring steady footage even when shooting handheld or in challenging conditions. This feature is invaluable during expeditions, as it eliminates the need for external stabilizers, reducing the gear's weight and simplifying your filmmaking setup.
Weather Resistance and Durability
One of the most critical factors for expedition filmmakers is a camera's ability to withstand the elements. The Sony A7S III is built to endure harsh conditions, thanks to its robust magnesium-alloy body and extensive weather sealing. Dust, moisture, and extreme temperatures are no match for this camera, allowing you to focus on your creative vision without worrying about equipment failure. If you’re deciding between the Fx3 and Sony A7siii, I think this is where the Sony A7siii is the better option because it doesn’t have any exposed parts, such as the fan on the Fx3 that can get water or snow damaged easier.
Versatile Lens Options
The A7S III's E-mount system offers a wide range of lenses, providing expedition filmmakers with the flexibility to capture various perspectives and creative shots. Whether you need wide-angle lenses for capturing breathtaking landscapes or telephoto lenses for getting closer to wildlife, the camera's versatility ensures that you can tell your expedition's story exactly the way you envision it.
Super Capable in All Environments
Customizing the camera to fit my style of filmmaking
Although the image quality is the most recognizable feature in a camera there are a number of smaller characteristics that I love. When I shoot, I often have my settings preloaded onto dials and buttons on my camera so I don’t have to worry about changing anything when I’m filming rock climbing, flying down the mountain on skis or trail running with the camera.
The button customization, great color science and color manipulation capabilities and autofocus mean I can get a really great shot in lots of varied environments. That being said, the camera is definitely just a tool and without creativity or a well thought out story arc you won’t be creating what you want.
Check out the Goat Surf Club series to see photos and videos that I took using the Sony A7siii
Secondary / Stills Camera Body - Sony A7iii
This was my first “mirrorless” camera and still comes with me on a lot of my expeditions. In the world of expedition filmmaking, having a reliable backup camera is essential. The Sony A7III has proven to be an excellent companion to the Sony A7SIII, offering a winning combination of features and performance that make it the perfect backup camera for capturing unforgettable moments during your adventurous journeys.
1. Seamless Compatibility
One of the significant advantages of using the Sony A7III as a backup camera to the A7SIII is their seamless compatibility. Both cameras share the same E-mount system, allowing you to use the same set of lenses interchangeably. This compatibility ensures a smooth transition between cameras without missing a beat, so you can effortlessly switch gears when situations demand it.
2. Impressive Video Capabilities
The Sony A7III may be a step down in terms of low-light performance compared to the A7SIII, but it still boasts remarkable video capabilities. It can shoot 4K video at up to 30 frames per second, ensuring you can capture high-quality footage during daylight or well-lit scenes. Additionally, its 6K oversampling delivers stunning details and sharpness, further enhancing your expedition videos. Additionally, with a higher megapixel count than the Sony A7siii it’s a great stills option as well!
4. Compact and Lightweight Design
During expeditions, every ounce matters. The Sony A7III's compact and lightweight design makes it an excellent choice for a backup camera, as it won't weigh you down or take up excessive space in your gear bag. Its portability ensures that you can carry it effortlessly while maintaining focus on the expedition's primary objectives.
5. Cost-Effective Solution
The A7III offers a cost-effective solution for those who want a capable backup camera without investing in another high-end model. While it may not match the A7SIII's low-light capabilities, it still delivers impressive performance and image quality, making it a smart investment for budget-conscious expedition filmmakers.
Check out my documentary “The Mountain Guide” to see some photos and videos that came solely from the A7iii.
Drone - Mavic Air 2s
This drone is an absolute beast and is so useful given its price point. In the realm of expedition filmmaking, a drone can be a filmmaker's most potent tool, capturing breathtaking aerial shots and adding a new dimension to storytelling. The DJI Mavic Air 2s has emerged as the ultimate drone for adventurers and filmmakers alike, combining advanced technology, portability, and powerful performance to make it the best choice for expedition filmmaking.
Uncompromising Image Quality
The DJI Mavic Air 2s boasts a powerful 1-inch CMOS sensor, capable of capturing stunning 20-megapixel still images and 5.4K video at 30 frames per second. This level of image quality ensures that every shot taken during your expedition is rich in detail, colors, and clarity, adding a cinematic flair to your storytelling. Whether soaring over majestic landscapes or documenting wildlife from above, the Mavic Air 2s elevates your filmmaking to new heights.
Exceptional Flight Performance
During expeditions, agility and reliability are paramount when it comes to drone flight performance. The Mavic Air 2s delivers on both fronts, with its improved motors and advanced flight controllers providing stable flight even in windy conditions. Its maximum flight time of up to 31 minutes allows you to cover vast distances, capturing extensive footage without frequent battery changes.
I took this drone on a shoot in Utah to film longtime friend and rock climbing YouTuber Noah Kane climb an iconic tower in the desert.
Lenses
When I’m outside filming a documentary series or adventure style documentary, I’m typically using the Sony 24-105mm f/4 for about 95% of the film. The image quality is awesome, it’s optically stabilized so makes things look even more stable and allows me to avoid carrying a tripod or gimbal to many hard to reach places. It allows me to get wide shots, medium and tight shots without having to move which, on some mountaintops and rock faces, is a necessary requirement.
Documentary vs. Commercial
For more scripted and pre-planned commercials and branded documentaries, I’ll shoot most everything on my 35mm f1/.8, 85mm f/1.8 and 14mm f1/.8 since they’re a little sharper and have a shallower depth of field which produced a more “commercial” or “cinematic” look to some people. For documentary, I’m mostly shooting on zooms and commercials I’m always on primes.
The Cameras I Don’t Use
There are a lot of cameras out there and, at this point, I’ve used a whole lot of them. I’ve operated everything from super high end cinema cameras to GoPros and while the technology is really interesting, it doesn’t always fit well with what I do. For instance, RED cinema cameras have been considered a gold standard of image quality in the outdoor industry but it just doesn’t work well for my directing workflow. The camera takes a while to turn on, something which bugs me in my normal quick reaction style of filmmaking.
It just doesn’t work for me
There’s no autofocus which means I have to take my brain away from thinking about composition and story development to pulling focus, which negatively impacts my ability to both direct and camera operate at the same time. The file sizes and resolution is overkill for how I deliver videos since I mostly create longer documentaries for clients and don’t need the option to give their audiences an 8k resolution option. Plus, I’m convinced most everybody just watches my videos on their phone and non-4k laptop anyways. That being said, when I’m hired directly by a production company as a cinematographer, I do love working with RED cameras just for its insane capabilities.
So when it comes time to create my next bike film, surf documentary or mountain adventure series I’ll just pull out a small backup and chuck all these pieces of gear in there.
If clients want me to shoot on a specific camera, I’m always happy to oblige but I will say that 95% of the work you’ve seen from me has been made from these few pieces of camera gear.
Want to Work Together?
If you have a video project you need help bringing to life, feel free to reach out :)
Roo is a commercial/documentary filmmaker and photographer based in Boulder, Colorado but travels all around the world for his filmmaking career. He has produced films for Outside Magazine in Ireland, camera operated for Netflix in the Rocky Mountain West, photographed among indigenous communities in Peru and Ecuador, directed videos with professional climbers in Mexico and has received notable recognition in his hometown of Orcas Island in Washington State for his work telling uplifting stories in the outdoor space.
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