Switching up film gear for airline travel - Vlog 170
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VIDEO GEAR -
Sony FX6 - Favorite Camera for Anything
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Sony 24-70 II - Favorite Lens for Corporate Work
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Sony 16-35
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Custom Monitor Setup for Documentary Work (4 Pieces-UPDATED)
1. Monitor Mount from Kondor Blue
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2. Nato Rail
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3. Rod Holder
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4. 15mm Rod
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Tilta Camera Cage
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AUDIO -
Sony Wireless Lavalier Mic
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Shotgun Mic
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LIGHTING -
Amaran 200x - Key Light
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Led Panel - V Mount powered for field work
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CAMERA SUPPORT -
Rolling Cart
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Doctor Bag with Wheels
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Shoulder Pad
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VCT Plate
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Tripod: https
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Light Stands
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Boom Stand
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Teleprompter
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Im a big fan of the matthews reverse stands. 22.8” collapsed and well built. I have three now and use them all the time.
After a no notice, late afternoon decision to fly to D.C. the next day, last Oct. I only took a camera light. Fortunately I had support from our D.C. bureau. I decided to build a travel kit. Amarams and Matthews Reverse Stands. Use them weekly and of course... no travel since!
@@lazorkophotography how well would they hold a 300c and lantern soft box?
@@davidmorefield i bet they could handle it. Those lanterns arent very heavy. I put a 200x with an umbrella or small beauty dish on it all the time.
@@lazorkophotography that’s almost exactly what I would use! Either that or a 300c. But I like the 200x bc it’s lighter
@@davidmorefield I'm using the Matthews reverse stands as well. They can handle a good-sized light. I've flown a 200x and a 600d on mine. That's not really the issue. It's the size and weight of the softbox that matters more. A Light Dome II will create some bowing in the main shaft, but a good counterweight (e.g., a power brick or a water bag) will offset that well enough. For as light and small as the Matthews stands are, the construction is really impressive. Anyway, I just flew to Alaska with four of these stands and they delivered as always.
Pelican air 1615 is your friend. Maybe even 2. I fit a Sachtler fsb6 head, legs, amaran f22c, amaran T2c, 3 x nano stands, mini boom pole, boom adapter, cables, clamps, reflector etc all in the 1 case. Then camera things come onboard with me
@@jbf5030 I really like that setup! That sounds like the comprehensive list I am aiming for.
I use a SKB roto-molded tripod case with wheels and pelican 1615 cases for airline travel and it’s been fantastic. I’ve fit tripod, stands, and a softbox in the SKB. Also the top loading design gives you a little bit of wiggle room if you need to put something a little too long in the case. And the pelican 1615 is just so versatile. Ive used it for lighting, camera, rigging, even just a regular large suitcase for when I’ve needed to bring a ton of clothes.
Invest in the larger cases and you’ll have them for the rest of your career. It’s also easier to get media rates with these types of cases.
@@cinnabun1046 thanks for the tips!
@@davidmorefield Two Pelican 1615s here. Probably the most versatile, airline-friendly travel case. Obviously durable. Not cheap, but worth the investment. I've learned my lesson. I'm now investing in the best gear I can afford, even when the $$ are painful ("best" meaning lightest, smallest, most durable, and fastest to deploy). If you know you're eventually going to buy pro gear, go ahead and buy it now. You'll save more over the long run and you'll get the benefit earlier.
@@scotey the 1615’s seem to be a popular choice.
Hey mate.
I’m working as a news cam op in a bureau in Europe. We’re travelling quite regularly all over the place. Here’s a list of cases I travel with to give you some ideas
-Orca medium Tripod bag (fits lightstands, tripod, orca water bag weights for stands plus umbrellas)
-pelican storm IM12750 case Accesories ,chargers, main audio backpack
- think tank logistics manager 30
2 kinoteknik light panels + softboxes
Dejero, spare stands and more (love this bag)
-Think tank airport navigator
Carry on for all V lock batteries and others. Fits laptop and isn’t so big to raise suspicion about weight.
We will then also carry our Eng cameras on board. They look official and no one seems to say anything. I’ve also done this with fx6’s and they don’t seem to mind.
Hope this helps in some way
@@matthewkent4883 That’s an info filled list. Thanks, I’m researching them now.
When you say you carry your cameras on board, are they not in a case… keep them in your lap, in the foot stowage area
@@davidmorefield I’ll usually take a jumper and wrap it around and put in the overhead compartment. Saying this im working with a pmw-x400 which is built like a tank. Have done this for years and never had any issue from airlines with it or damaged a camera.
@@matthewkent4883 the way I have my fx6 rigged out, it’s decently strong. The only crux is the flimsy microphone holder.
Thanks for sharing! I’m actually flying into Orlando in 20, 😅. Just watching your video now on the plane. 🤙
I typically travel as a full single OP production and roll with 2 cameras, 4 light kit, 2 Tripods, Automated Slider, 4 stands, Production monitor, 3 cases, and a multi-cart. Always looking to get a “media baggage” rate when possible too.
My luck has been with Nanuk hard cases, backpack (camera gear), OSEE monitor which also holds all my batteries, and a cheap Neewer rolling bag for all the sticks.
@@MikeAustinMedia that’s quite the kit! Do you mind sharing which neewer rolling bad?
Pelican 1650nf for checked gear. Matthew’s reverse stands for light stands. I’ll often take a grip head and a boom arm. For modifiers I bring cinefoil, and some unbleached muslin. For lights I’ve taken all kinds of stuff. I kind of like the amaran p60c three light kit. You can throw the whole bag in the pelican case.
Jon Waldman has some cool BTS videos where he shoots a softbox through muslin. Perhaps a small softbox and muslin would be sufficiently soft *and* easy to pack for airline travel.
@@seansims2475 grip head and boom arm would be great to add to the kit.
The p60’s look interesting but I worry if they have enough output.
@@scotey I’d think to shoot through a soft box and muslin, I’d need to have some stronger lights.
Jon has some great videos!!
@@davidmorefield If you're going to include a window in your shot, yes, you will. But the 600d is not terribly expensive these days. I got mine for around $1K. Build quality is amazing.
@@scotey they are great! But huge! I’d probably want to go with a smaller fixture like my 300c/200x and just shoot through less diffusion.
We use mostly all SKB cases. I would highly recommend them. Look into some of their options that they market to drummers for their stands. Their customer support is great and they will replace your wheels and handles for free for life. We use some of the large coffin style cases and they can fit A LOT of gear in them but they will get heavy when you max them out. I'm on a plane right now and our largest case weighed in at 99 lbs.
I second this. I use the SKB 4213 and it's been amazing so far for travel.
@@framewavemedia4831 thank you. I will check them out!
i just came back from an overseas job and i definitely needed and wanted and strong keylight, i bought myself the Zhiyun Molus g300. Did not want to comprimise on power! Its and excellent light for travel! very very compact and super powerful!
@@leedonohue that’s good to hear! Which stands did you use?
@@davidmorefield i used a 70inch neewer portable lightstand, it breaks down to about 19,5 inches. decently sturdy as well!
You obviously are not familiar with the MarkusPix channel. He has lots of videos about different budget minded gear, but specifically has at least a handful about light stands that you might find helpful.
@@richiecabral3602 thanks for the rec.
Go lower power for lights, because you also have limited batteries you can reasonably carry as a solo person.
I have shot thousands of prime time interviews with only a 42w key and 20w pocket light for back light. It's easy enough.
I often use an ancient 1x1 panel with a medium 5in1 flecky as diffusion or bounce. Doesn't have to be anything new or fancy if what's in shot looks good.
Some sort of stand case is important. I hate faffing around with compact light stands, they are so flimsy and not capable of holding a light boom/rod for a mic or backlight.
Good luck, it takes a bit to find a travel setup that works for you 😊🤙
@@jamesandcamera We are on a similar train of thought. I was thinking of a pocket light as well for hair light. I could then use a lighter boom setup.
And instead of finding a case large enough to fit my lantern, using my 5 in 1 diffusion. Possibly two or them. One for diffusion, one as neg or flag.
Honestly a 1x1 is so simple. Love it.
@@davidmorefield yeah pocket light is the way to go for a backlight, but get one that runs off NPF batteries so you can use an NPF-Vlock dummy battery. Don't use an internal battery one, its a pain in the butt to not have user changable batteries. I find 20w of old basic bi-colour pocket light is more than enough.
If you can find them, those Neewer goose neck panel lights the Cranky Cameraman uses for travel jobs are super slim and bi colour with 60w power. They are great for travel being so slim 😊🤙
@@jamesandcamera I would like to use an Aputure MC since I can operate off Sidus Link. As a one man band, having all remote control of all my fixtures is a huge help. However, it doesn’t have an external battery solution. I could power it via a long usbc cord. Not ideal but it would work.
I really like the idea of those neewer panels. Very slim and compact. They have mixed reviews though. Dracast has similar options but unnecessarily more expensive. And of course, still not on Sidus. Plenty of great options though.
I mean if you have an MC then for sure, use what you have at hand. Just be conscious that it doesn't run out of juice mid interview.
If you don't have an MC, I would advise not buying a device that doesn't have user changable batteries as they are not useful after 2-3 years of hard use. Where the pocket light and 1x1 panel I use I have had for atleast 7years of complete abuse 5 days a week with no problems besides a single dead led diode.
Would a Aputure P60 fit in your budget? Get Sidus link and interchangeable batteries? Bit bigger than what's needed, but should last ages longer in your career than a disposable MC
@@jamesandcamera It’s not a budget issue per se but if I go with a p60 and dual npf’s off the back then I have to have a much sturdier boom setup than with an mc.
I don’t own one but I do hear what you’re saying about a product with a definitive life cycle. Hmm not sure.
Could go the tube route but idk.
Seems so tricky. Sizing up and sizing down both have their pros and cons. I feel like it would just come down to price for me. And I feel like if you buy bigger traveling gear, you aren’t going to be adding more gear which could get pricey and annoying.
@@luker1ng I don’t want more gear honestly 😅 I wouldn’t even be doing this if my stands already fit.
But this is necessary since I do want to be flown around for interview/doc gigs. Need to find the right formula.
Godox travel series domes are shorter , My 90cm , basically minimum size for an interview key , is about 63cm in the bag , G300 by far the smallest / powerful light around , doesn't need a big stand even with 90cm dome, and an X60 just incase, pop out neg fill / white bounce. Hair light , nah , very out of fashion now, only need one decent size key light for interviews , couple of Sigma f1.4 primes and your zoom of choice. Ive done interviews for Netflix/ Apple TV / Hulu / BBC , 60 minutes , and many corporate video,s , all with one large key light, and neg or bounce.
@@robinprobyn1971 That exactly the direction I’m wanting to go. Thanks for the recommendations.
Harbor Freight rifle case
@@Falsecolormedia I’ll check it out
Regarding the Freewell filter, They aren't designed to be used underwater or during water activities It's stated so in the FAQ's on their website and the amazon page (it's actually the only thing mentioned in the FAQ)
@@Fstahp if only I had taken the time to read. Seems like a poor design since it’s built for an action cam. They could creat a nice seal with just a rubber gasket.
@@davidmorefield Yeah it's certainly a poor design choice on their part given its made for an action cam. I would suggest the K&F Concept line of filters for Gopro, That line of filters are marketed waterproof 👍
@@Fstahp oh interesting. I’ll look into that
The problem with using luggage is an airline employee might consider it personal and try to deny the media rate. Last Oct. when I returning out of Reagan in D.C. I had to go through 3 layers of supervisors before one agreed. I had a letter from my boss on company letterhead, business cards, media ID and the camera hanging off my shoulder before a supervisor of the supervisor approved it... I now have a Pelican 1650 that I got off FB Marketplace for $150.
@@bubbakneipp2360 wow, never heard that! I’m glad you got it through but what a headache. I’m considering the used pelican route too.
We flew up there and scored the first one on one with Speaker Johnson. Beat Hannity! Of course Mike is from our district. Even dropping hints of why we were there didn’t help much.
I would shrink down your kit. Don’t bring those heavy stands go to 60 D route and just go back to the fundamentals with light.
@@Brian-Hansen I like that idea. I could even bring multiple 60 w fixtures and not increase the space too much.
@@davidmorefieldyes, smaller is better when traveling. Everything you bring gets heavy quickly when you gotta lug it around airports and hotels.
@@Brian-Hansen tell me about it.
I use instrument cases from SKB. Solid quality and you're not paying a premium because photography or videography isn't in the branding of the case.
Smart route
Never rent something you can buy with one equipment fee! Buy a LD Mini
@@AcastroAX not as soft as I want but I think it’s a good middle ground. I wish they had a mini lantern.
@@davidmorefield we as filmmakers need to balance everything. If you want soft buy a 6x6 bleached Muslin and definitely packs way better than the softbox but won’t be a portable on set you just need a t bar and another stand.
@@AcastroAX It seems like it’s all about balance. Thanks for the insight.