{"id":92394,"date":"2023-02-22T10:00:11","date_gmt":"2023-02-22T15:00:11","guid":{"rendered":"https:\/\/www.adorama.com\/alc\/?p=92394"},"modified":"2023-02-23T14:25:16","modified_gmt":"2023-02-23T19:25:16","slug":"whats-in-my-bag-donal-boyd","status":"publish","type":"post","link":"https:\/\/www.adorama.com\/alc\/whats-in-my-bag-donal-boyd\/","title":{"rendered":"What’s in My Bag: Filmmaker Donal Boyd"},"content":{"rendered":"\r\n

If you\u2019re thinking about filming wildlife, this article will provide insight when deciding what to put in your filmmaking bag. I\u2019ll be sharing with you some of my favorite gear and accessories that I\u2019ve chosen based on countless hours of trial and error while out in the field filming wildlife.<\/p>\r\n\r\n\r\n\r\n

I’m a co-founder of Atlas 1 Studio and have recently spent six weeks in Botswana and Zimbabwe researching and filming wildlife for a documentary film project. For this early stage of the project, we chose to travel across the two countries in a \u201cmobile studio\u201d \u2013 a 4×4 van with a rooftop tent. Many of the locations we were filming had limited electricity access, minimal mobile network, and no electronics store for hundreds of miles. So, let\u2019s just say we had to be very conscious about what gear we brought along.<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n\r\n\r\n\r\n\r\n\r\n

In this article, I\u2019m going to review a few essential gear items in my filmmaking bag<\/strong> when traveling to remote locations.<\/p>\r\n\r\n\r\n\r\n

Cameras<\/b><\/h2>\r\n

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The most important factor in filming wildlife is the camera itself. I\u2019ve experimented with a few different Sony<\/a> models over the past few years. As soon as I got my hands on the Sony FX3 Full-Frame Cinema Line Camera,<\/a> I knew it was the camera for me. I eventually chose this body over the FX6<\/a> (which I have owned in the past) as a main camera because of it\u2019s slim profile, optimized menu design for filming, and top-handle with XLR inputs.<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n\r\n\r\n\r\n

When filming wildlife, especially from a vehicle using cinema lenses, stabilization can be a challenge. Ideally, I\u2019ll opt to use a tripod on the ground. Although, that\u2019s not always possible when a moment presents itself with no time to pull out a tripod. The FX3 has 5-axis stabilization built into the body.<\/p>\r\n\r\n\r\n\r\n

The top-handle of the FX3 is one of the factors why I like it the most about this camera. This adds just a little extra length to the handle, which is a bit short in my opinion \u2014 at least for my hands. The SmallRig<\/a> version, which comes with the cage, also gives you the added addition for building additional accessories onto the camera.<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n\r\n\r\n\r\n

For our approach to shooting, we combine the FX3 with the Sony Alpha a7S III Mirrorless Digital Camera <\/a>without a cage for an even more slimmed-down kit. Later in the article, I\u2019ll explain our lens choices and how we set up the cameras. But first, I\u2019ll get into the main camera rig.<\/p>\r\n\r\n\r\n\r\n

Building Out the Rig<\/strong><\/h2>\r\n\r\n\r\n\r\n

The Base<\/strong><\/h3>\r\n

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Being able to build up the FX3 to fit various shooting scenarios is one of the primary reasons why I love this body. Adding to the SmallRig extension and cage, I\u2019d recommend a base-plate setup where you can retain the slim profile, but also add 15mm rails. For example, I\u2019ve got the SmallRig Baseplate. <\/a>With the baseplate and rails, you can attach additional accessories to the rig. For example, you can use these Arri Arosette attachments:<\/p>\r\n

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Building onto the SmallRig cage, I opted for the Left-side Tilta Focus Handle<\/a> to stabilize and for grip. Because I\u2019m primarily using DZOFilm Catta Zoom Cine lenses (manual focus), I chose this handle to combine with my Tilta Nucleus-Nano control system<\/a>. Primarily, I use the side-handle for focusing the cine lenses, but sometimes use the wireless focus system when we\u2019re filming macro scenes. This is especially true when filming slow panning or tilting camera moves.<\/p>\r\n\r\n\r\n\r\n\r\n\r\n

For out in the field, to balance the rig on the right side using 15mm rails, I\u2019ve added the SmallRig wooden handle<\/a> for additional stabilization.<\/p>\r\n

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The Screen<\/strong><\/h3>\r\n\r\n\r\n\r\n

The swivel screen on the FX3 is quite nice. Although, it\u2019s not very practical for recording and focusing. For filmmaking, I highly recommend using an external monitor as you\u2019ll gain a much greater control of the focus. This can be very difficult to nail on the small default screen of any mirrorless camera.<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n\r\n\r\n\r\n

Over the past few years, I\u2019ve used a variety of external monitors and one of my favorites is the Atomos Ninja V<\/a>. Both because of the brightness it can produce (1000 nits of output), the standard batteries<\/a> it uses. It has a slim size and light weight, and can record externally via SSD.<\/p>\r\n

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External recording is an option with the Ninja V that allows for recording ProRes RAW in up to 60p 4.2K. I use the Angelbird 1TB SSDs<\/a> for external recording, which are also much more affordable right now when compared to the fastest internal recording SD cards. Of course, the SSD (~520 MB\/s write speed) is not as fast as the CFExpress Type A cards<\/a> (700 MB\/s write speed). Although, when you compare the price per GB and what you can record onto each of the media format, it makes a lot of sense to me to go with the external recording method. Of course, we don\u2019t record externally all of the time, since these files can be much larger in the long run, but having the option to do so is essential.<\/p>\r\n

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To attach the external monitor to the rig, I use a magic arm<\/a> for position flexibility. Plus, I use a standard quick release plate<\/a> that allows me to remove the monitor if necessary. As for an HDMI cable, I prefer the ZILR model<\/a> both because of the length and the price. cable.<\/p>\r\n

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The Audio<\/strong><\/h3>\r\n\r\n\r\n\r\n

The FX3 has two XLR inputs and the option to turn off the heat dissipation fan during recording. This is helpful when recording audio using a shotgun mic attached to the top handle. A recent favorite of mine has been the Rode NTG4+<\/a> because it can be charged via USB instead of having to use AA or AAA batteries like other recorders. I find this to be a favorable factor, especially batteries can be easy to mismanage when traveling. Once fully charged, the internal battery can last up to 150 hours, which is incredible. Even so, if this battery runs out, the NTG4+ can operate on phantom power provided by the FX3.<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n\r\n\r\n\r\n

Another reason why I like the FX3 so much is because of the audio controls on the handle. If you\u2019re recording wildlife, audio can sometimes make or break a scene. Capturing natural sound while you\u2019re out in the field is essential to bring your viewers into the moment. The Rode shotgun microphone is also very handy because it can easily be setup as a boom for interviews.\u00a0<\/p>\r\n\r\n\r\n\r\n\r\n\r\n

Lenses and Filters<\/strong><\/h2>\r\n

As I\u2019ve covered in the past<\/a>, I\u2019m a big fan of the DZOFilm Catta Zoom Lenses<\/a>. They\u2019re pretty much the main lenses I use when filming wildlife on the go in medium to close range scenarios. I love the look of the lenses and, combined with the Tilta focus handle, it\u2019s a powerful setup that allows me to quickly adjust focus on the go. When paired with the DZOFilm filter solution, it\u2019s even more ideal.<\/p>\r\n\r\n\r\n\r\n

Although I do miss the internal VND of the FX6, it\u2019s easily made up for when combining the Catta Coin Filters<\/a> with a PolarPro VND. I usually have the Catta Coin 1.2 ND and PolarPro Peter McKinnon 2-5 Stop ND<\/a> for maximum flexibility when shooting during normal daylight conditions. In low-light conditions, I\u2019ll typically remove the Catta Coin and only use the VND while switching between the two base ISOs of the FX3 \u2014 depending on the specific lighting situation. In general, there\u2019s a lot of flexibility with filters and the dual base ISO.<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n

The PolarPro VNDs are, of course, very compact. Although, when the sunlight is very intense, utilizing the matte box setup with the PolarPro Basecamp VND Kit<\/a> is essential. Usually, we\u2019ll have one camera set up with the Catta Zoom 35-80mm T2.9 and one with the 70-135mm T2.9. One will have the Basecamp kit and the other with the Peter McKinnon VND. That way, we have options when out in the field and we can switch the lenses quickly between the cameras.<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n\r\n\r\n\r\n

Macro Lens<\/strong><\/h3>\r\n\r\n\r\n\r\n

One of my new favorite lenses is the DZOFilm 90mm T2.8 Macro lens<\/a>. Capturing close-up details of the environment is crucial in being able to bring viewers into the world of wildlife. Filming grass, flowers, insects, trees, and other abstract elements can help tell a more in-depth visual story. Macro lenses allow you to focus much closer to your subject. This DZOFilm lens has the ability to focus as close as 0.258m (0.84 feet), which enables 1:1 object to image size ratio on the sensor.\u00a0<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n\r\n\r\n\r\n

Long Lens<\/strong><\/h3>\r\n\r\n\r\n\r\n

When we\u2019re filming close-ups, our go-to lens is a 400mm F2.8 lens<\/a>. Whereas the 35-80mm and 70-135mm lenses can be shot handheld,\u00a0 it would be very difficult at 400mm to obtain usable footage with such a small angle of view. Although we have resorted to using the side of a vehicle door or a beanbag for support, it\u2019s best to secure the camera and lens with a tripod.<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n\r\n\r\n\r\n\r\n\r\n

ND Filter<\/strong><\/h3>\r\n\r\n\r\n\r\n

When filming wildlife, it\u2019s preferred to keep the shutter speed two times the frame rate. But doing so with most lenses is no problem because you can add filters to the front. With the 400mm F2.8 lens though, you\u2019ll need to utilize the rear filter slot, which is 40.5mm. You can use any screw in type threaded filter, for example, Tiffen 0.9 ND<\/a>, which will allow you to retain a lower aperture while filming wildlife in bright conditions.<\/p>\r\n

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Alternative to 400mm Lens<\/strong><\/h3>\r\n\r\n\r\n\r\n

The 400mm F2.8 lens\u00a0 is a highly desirable lens for filming wildlife, but it\u2019s not at all affordable. A viable alternative to the 400mm is utilizing the 70-200mm F2.8<\/a> + a 2x teleconverter<\/a>. You\u2019ll be able to quickly switch between 70-200 at F2.8 and 140-400 at F5.6, plus you can utilize the stabilization of the 70-200 to shoot handheld. Combined with the PolarPro Peter McKinnon Variable ND or the Basecamp setup, you can achieve epic close-up shots of wildlife.<\/p>\r\n

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SSD Storage<\/strong><\/h2>\r\n\r\n\r\n\r\n

As with any production, it\u2019s highly recommended to do a double backup of all your footage straight away each day. Because our productions take place in remote locations with high heat conditions and bumpy roads, spinning disk HDs were less desirable due to higher possibility of failure. Thus, we utilized the Sandisk SSDs.<\/a> I\u2019ve been using these for years for direct downloading from the camera\/SD card reader.<\/p>\r\n

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Photo by Donal Boyd<\/figcaption><\/figure>\r\n

We use both the 2TB and 4TB versions, and later transfer the contents to spinning disk HDs when we get back home. The SSDs are more expensive but reduce the footage downloads and are also more reliable in terms of storage.<\/p>\r\n

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To learn more about my filmmaking process, check out my AdoramaTV video below:\u00a0\u00a0<\/b><\/p>\r\n\r\n

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Parrot Paradise | In the Field with Donal Boyd<\/div><\/div>
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