I'm a wildlife videographer and am tired of working in a vacuum.
Does anyone know of, or belong to, an amateur/professional group where nature videographers can talk to each other, share clips for commentary, etc. The nature photographers have a bunch of these sites and they're heavily used. Maybe video clips are just to cumbersome to share. Any thoughts?

Steve Siegel,
Miami, FL

Steve, if you find one let me know. I have videoed all over the Southern USA and Colorado, also Africa, Amazon River, Patagonia and Tierra del Fuago. Going to southern Brazil this summer. I also do macro of insects. I am using the Canon XL-1s and editing with Vegas 5. Bob

Steve and Bob,

In our shared vacuum I'd be glad to see any stills from your videos showing plumage detail at 50-100 yards. I'm hoping to get good quality images of vultures in slow flight with Canon GL2 but before buying it I'd prefer to hear from either of you that it's not on and that i should save up to get XL1-S or something else. Did you shoot any flight of the condor in South America Bob?
What do both of you find to be your favourite camcorders for long distance videography?

Brendan Marnell

Hi Brendan,
Unfortunately, I don't think you can get much plumage detail at 50-100 yards. I use an XL-1s (saving up for an XL2) and even with a 300 or 400 mm zoom, I can't get plumage details at those distances. 20 yds, yes.
If you want good flight images, picking a vulture is the smartest thing you can do. They move more predictably than other birds, but they still take lots of practice.
If you plan to shoot birds, you almost have to have an XL camcorder. Adding 35mm lenses is crucial.

Steve

Steve, that is most helpful.

You've just advised me that if I opt for GL2 I wont get plumage detail at over 50 yards ... it is so useful to know this BEFORE my expectations made a fool of me.

I better start reading up on the XL's and lenses ... and saving up!
Any pointers on lightweight lenses please?

Thank you Steve, big time.

Brendan

Brendan,
Canon's 75-300 zoom is about the lightest weight lens you will find that gives acceptable magnification ($450 US). Sigma, Tamron, etc make cheaper copies that may be lighter (ie, more plastic) but I'm not sure. Once you get above 300mm the weight and cost increase dramatically. Canon does not make a 1.4 or 2x teleextender that fits the 75-300. I have a 2x Tamron that fits but the image is noticably soft. Remember that with any of these lenses you must buy the XL adapter (another $450) to get them on the camcorder body. Wow, my pockets are hurting just talking about this stuff.

Steve

Steve,

Thanks again.

Sigma 75-300 & a fixed Sigma 180 (macro for close-ups of alpine plants) ) I have. I must start practising with the former on my Rebel just to get the hang of how much I'd be missing at distance (without a tele-extender or a bigger lens). I know I can get a tripod to 75 yards from target in usually good sunlight all day in spring and autumn. After years vulture-watching with 8x30 Swarovski I still don't understand why a magnification of 8 is not adequate, but I guess that rules for binocs and cams vary and I'll have to go for x20 ++ or even x20xx to get really good video images as opposed to eyeball images x8.

Sony FX1 offers interchangeable lens facility and I shall ask them about teleextenders and adapters. Have you any sony cam experience to share? Could my 75-300 be adapted to FX1? For the quality I seek you said 75-300 would be acceptable ... have you time to explain to me how 75-300 works with a tele-extender of x1.4 or x2 or whatever ... I mean what is the combined effect in terms of magnification? Or is there a book called Camcorders & Lenses for Dummies?

Brendan

Sorry Steve

I told a lie ... Sony tell me FX1 does NOT have interchangeable lens facility. So the product info on CNET Review is wrong on this.

So my choice seems limited to XLs after all until I'm in a position to shell out more than $4000 in all including the cost of adaptors, lenses.

What has the XL2 got that suits you so much better than XL1s?
What would you include on a list of essential kit for high quality videography at 50 yards in sunlight?

Brendan

Brendan, yes, I videoed the Condor from the top deck of a boat going through the Straights of Magellan. He was gliding right over me and I shot him with the XL-1s/stock 16x and 1.6 tele. He is beautiful. As he slid off to the right I managed to track him with a glacier as the background. Put it to music and still cannot believe its beauty and size. Also did a lot of albetroses. (sp), penquins, seals and whales. The Canon image stabilizer is incredible. I used the 3x wide angle for shooting inside the glacial valleys. Great effects. I also used it to tour the ships engine room. The ability to turn down the volome on the XL-1s really helped here. Additionaly, I use a set (+1, +2, +4) close up diopters for macro. These are relatevly inexpencive and work great. I used my 16x with 1.6 tele and a combination of +1 and +2 diopters to video praying mantis hatching from their egg pods. WOW!!! I must say if you want to do wildlife you really need to go with the Canon XL-1s or XL-2. It is a SYSTEM that will grow and change as your situations change. No other camcorder in this price range can come close to it for this type of shooting. Bob

Bob, you're sounding loud and clear.

Thanks for paying all our respects to the condor whether we appreciate it or not. I'd be hoping this might happen to me some day. Envy is not the word ... it's just that you were twice blessed ... to be there & then and to be able to record the passing beauty. You're not just a lucky guy but pretty resourceful as well. Many happy returns.

And now I'm after finding Chris Hurd's "XL2 Fields of View Comparison" on the XL2 Watchdog site. Apart from that multi-shot selection by lens etc being gobsmacking it's patently scientific, yet even I can begin to understand it. I wonder what sort of tripod he used although it might be irrelevant for wildlife movement as he was shooting stills.

I've a lot to read up but it is an enormous service to know where to find most of it. There must be more threads nearby that will shorten the road for me. Do you think C.Hurd could be persuaded to shoot a succession of XL2 test video clips of condors from an upper deck passing through the Straits of Magellan? Or could we persuade you to put yours on DVInfo ... just to save Chris the best years of his life!? Brendan

P.S. I know I'll be back on to you for answers about the factual/practical effects of add-ons that I can't understand.

Brendan, if I knew how I would. I have also videoed Africa, and the Amazon River. This summer I am heading down to Pantinal in southern Brazil. It is now New Years eve in tlanta and I am videoing praying mantis catching and eating crickets. I am doing it in macro! WOW. Wildlife is all around, you don't even need to leave your yard. HAPPY NEW YEAR. Bob

Bob Safay's comment about not having to leave your backyard is so very appropriate. The little things are there, just overlooked.
Chuck Towne

my GL2 does excellent wildlife photography. i would say, it is the best camera available for this job, as much for its ergonomics as its image quality. the great thing about the GL2 is its sturdiness, its compactness, its portability in the field, and its lack of moving parts. i can sling it and hike for hours without worrying about babying it too much. it is a rugged little camera, maybe the timex of higher-end prosumer cameras. whereas the XL2 requires more tender care....gotta keep it in its pack when in motion, so it is much tougher to catch those wildlife-shooting opportunities which require a quick draw. if you sling an XL2, it is uncomfortable, the attached parts, like the viewfinder lock, tend to unscrew, and there are many exposed control buttons which are subjected to contact with your body.

if image quality is paramount, by all means the XL2 out-guns the GL2, but if portability and ease of use are meaningful, i highly recommend the GL2. i can get excellent bird images on the GL2 at fifty yards--not 100, but certainly at 50. slap an achromatic diopter on a GL2 and you'll get fabulous close-in photography.

one other thing, the GL2 is less obtrusive--my dr. doolittle-esque experience is that animals don't seem to mind its presence as much as they mind the big gun. they seem more willing to reveal themselves to my GL2. that may sound a bit wifty-woo, but it's my experience. so that you don't *have* to be 50-100 yards away to get the shot. they'll let you in a little closer.

the longer i own my XL2, the more i appreciate my GL2, which seems to be the opposite of most folks' experience, i think, but when it comes to lurking about the animal kingdom, the GL2 is most animal-friendly. hands-down winner of the Coyotes' Choice Award.

I am a college film student close to graduating, and I have always wondered how one becomes involved in Wildlife Videography. Is it of a freelance nature? Is there any experience or study that I should partake in? Any information that anyone can give me would be awesome. I have a strong interest in documenting and conserving the beautiful wildlife that our planet has to offer, but I don't know exactly where and how to start after I graduate.

Thanks

Last year, I spent a lot of time considering several DV models for my videomaking, which nowadays involves mostly wildlife and outdoor scenery. I picked the Sony VX2100, because of its high-quality image and its superior ability in limited light. It seems that my best photo-ops with wildlife come in the evening, when the light is fading. I've also done some nighttime shooting with a bright, LED spot-beam flashlight attached and aligned with the camera. The VX2100 has done very well for me in this type of use.

I have 3 telextenders, with 1.4X, 1.7X and 2.2X, which give me good enough magnification for most needs, on the 12X basic lens. A .5X, 58mm WA lens gives me good indoor capabilities, when I need them. This model does very well indoors, without added video lighting.

I also find plenty of interesting wildlife shots in my yard or from my roof. There's so many birds and animals within a 20-mile radius, that I could shoot all day, everyday and never run out of subjects. I'm lucky to live between two large rivers and birds are constantly flying back and forth.
In Eugene, we have deer, elk and Cougars living right in town and in the Winter, there's about 50,000 wild geese of 7 subspecies living nearby. Last year, by closely examining some older footage, I discovered and proved that a subspecies of Canada Goose had been wintering here for some time, that hadn't previously been identified this far south.
I can practice my stalking and shooting techniques just as well near home, as in any place. If a distant wildlife production opportunity presents itself, I'll be skilled and qualified, without having spent much money for the experience.

Thanks a lot for the reply. I guess I just need to get myself out there and get experience in the field. Are there any techniques / books / etc. that I should study up first for finding interesting wildlife in my area? How do your long range opportunities arise? Through the internet, submitting your reel to productions or companies. I wish film school didn't focus on the useless theory of film and analysis, and acutally gave you good knowledge on how and where to best market yourself, and other practical information I have a huge void in.

I couldn't resist replying after reading your message in this thread: I live in Northwest Denver, practically right down the road, and I too chose a GL-2 as my new camera due to its portability and reputation for durability.

Do you use anything in the way of lights, microphones or other goodies to help you get the goods on those backpacking trips? I know I'd like all of the above, if it can be done without needing a Sherpa to schlep it for me!

To save time I put together a little web page about what I have, what I use it for and what I'd like to add ... suggestions more than welcome! ;)

http://home.att.net/~ebw3/vidpage.html

-- Erik

Thank you for including the following comment on your webpage, Erik. I was wondering why i took my Benbo tripod on birding holiday and never used it with the result that much of my XM 2 footage is much worse than it might have been if I had a monopod ...

<<And I find I can get good shots with a monopod, as long as it's got a tilt head (panning by pivoting on the leg is usually good enough for me).>>

BM

hi erik: thanks for the shout. it's nice to hear from someone in the area who shoots video the way i do: on the fly, on the go.

i looked at your website--some cool stills! what are you planning to do with your travel footage?

when i go really, really lightly, i sling my GL2 and shoot stuff in the 'hood. i live in the foothills, so there is always, always something worth shooting. even in my neighborhood. when i moved into my house, there were six piles of bear scat under the apple tree. i had to fence my yard for the benefit of the dog, so the bear disappeared. i haven't been able to shoot him yet, but i know he's out there....

when i go generally lightly, i pack a lightweight and comfy Orion Trekker camera backpack: my GL2, AT897 shotgun, MA-300 (wish i had a beachtek!), 2-ft. XLR cable, batts, tape, 'phones, lens cleaners, a coupla filters. for secondary sound recordings, i may toss in a minidisc recorder, discs, a Hoya XLR-to-minijack adapter (lets me use the shotgun with minidisk), and a 1/8'' mic. and the indispensable desktop tripod.

oh, and a snack.

i just posted some lengthy blather rhapsodizing about the charms of the desktop tripod for outdoor videographers at:

http://www.dvinfo.net/conf/showthread.php?t=44584&highlight=spider+brace

if you feel inclined to read about my only really innovative shooting device. you might want to check it out, since your website indicates that you're exploring the problem of traveling lightly with a stabilizer.

i've been experimenting with filters and the GL2 lately, which i highly recommend, because i am trying to find a unique signature "look" for my work which will distinguish it just a teeny bit. i've also been shooting a lot of stuff in black and white, which the GL2 does spectacularly (in my opinion). Hitchcock meets the wilder-wild.

those are most of my experimental secrets...revealed!

if you manage to test out either of those wireless lav sets, i'd love to know how they worked in the field. i have one wired lav--an AT-something or other--and a 10-ft. XLR cord which i use in the field for interviews, and, plugged into the MA-300, it seems to do the trick. it's very reliable and does not add much weight--i can still toss it in the Orion pack. but i've been thinking about wireless lavs for a project which would not work with a wired mic.

i've got loads of other junk, too, dollies, stabilizers, an XL2, a gigantic Lowepro backpack which fits both cameras simultaneously. speaking of needing a sherpa! i tried to lug that huge pack and two cameras plus assorted junk up the green mountain trail the other day and failed (turned back by snow, is my excuse!)

less gear and more fitness would probably be the greatest single enhancement to my video production!

oh, here is my own lame-o website. i don't usually share it. it's perfunctory, simply to show that i have one, linked to my biz card, to reassure clients that i'm for real. no audio, no streaming media, no e-commerce and crummy cheap-o production values. but i'm not very interested in web delivery and have more projects than i need right now, so it is pro-forma, not a selling tool. but since you showed me yours, i'll show you mine. ugh. it is my secret shame.

http://www.planeteproductions.com

Meryem,

Believe me, I really appreciate your reply with its nitty-gritty specifics. It is extremely helpful to hear what other people are using, especially other folks stubborn enough to drag video gear where it has no business being!

I hadn't given much serious thought to a desktop tripod, largely because most of them I've ever played with were pretty chintzy, but what you're describing is maybe better than the monopod I was thinking of -- I had already been contemplating some sort of jury-rigged "color-guard belt-hung flagpole pocket thingie" for the end of the leg to do just as you describe in your other post, only with one leg instead of two. But being able to set the camera DOWN once in awhile might be good too ... ;)

Does your mini-tripod mount a standard claw & ball head, or does it have a reasonably-decent head of its own?

As far as what I'm *DOING* with all that travel footage, well, the short answer is "not as much as I should" ... family and friends who tagged along on our last trip are still waiting for their DVDs ... (D'oh!). My step-son is an editor at Fox Sports now, though, so maybe I can con him into taking on some of the post-production responsibilities, especially after his mother and I take him on his first trip to Thailand at the end of the year, and let him use my single-chipper!

We have actually given some thought to organizing such trips professionally, since by now we've built up a pretty good arsenal of what to see, where to stay and so forth (I've been going to Southeast Asia more-or-less annually since 1988).

Before that, though, I'm going to help a friend make her indie feature for "deferred payment," a.k.a. for free this summer -- most likely putting together a 'making-of' documentary and schmoozing the camera crew to get my sweaty paws on the Sony CineAlta they're using, but I'm 1.) pretty resourceful and 2.) none too proud, so who knows what my screen credit might eventually read?

Finally, I tried to visit your website but I ended up at some internet provider's splash page in French (?).

Thanks again for your helpful answer!

Cheers,

-- Erik

it helps to actually know one's own web address. here, try the real one instead:

http://www.planeteproductions.net

just goes to show how often i invoke the silly thing!

my little tripod is nothing fancy, just a simple and inexpensive promaster 6030. the head doesn't have to be anything expensive, because the panning ability of the tripod coupled with the axis of your body motion provides plenty of movement to the head and it is quite smooth, because it is "attached" at your own center of gravity, at hips and waist instead of through hands, arms, shoulders, etc. the nearest analog is probably a steady stick but with the camera still closer in to your chest.

y'oughta do something with your stuff! there are so many small venues in this area for showing groovy travel footage, especially of that region.

Hello all. As I said before, you don't have to travel to exotic countries to video wildlife. You just need to be in the right place at the right time. This week I was passing a sign to a Wildlife refuge in Alabama and decided to swing in for a few minutes. I parked my car and walked 50 yards to a little viewing station. Well as I started to walk back to my car I heard a noise, looked up and actually got to watch a young redtail hawk fledge. Thats right, I ran to the car, got XL-1s, 1.6 extender and tripod and spent the next hour recording a redtail hawk take to flight for the first time. The really fun part was that the parents kept flying around carrying mice and other food in their beaks to entice him out of the tree. It was so awsome, and, I was less than a two and a half hours from Atlanta. So much to see and video. Just get out there and do it!!!! Bob Safay

wow, bob, you have awesome bird karma. i have been trying to get decent hawk footage for a few weeks now. they fly around NCAR up here in boulder, so i've been lurking about trying to get some footage. they are out there every day, in droves, but i can't seem to catch them. birds are really challenging for me. i go to shoot hawks, and instead all the deer and a coyote and a bunch of squirrels show up. so i have cool footage to show for my outings, but no birds. darn it. i have more affinity with the furry critters than the feathered ones, i guess.

there is a giant fat woodpecker down the street who i want to catch while he is whaling away on my neighbor's metal chimney pipe or on a nearby hollow tree, which echoes all over the neighborhood. that bird gives great audio. every time i walk my dog, he is out there banging away, and every time i think to bring my camera on the walk, he just sits there and looks at me.

when i was in hawaii, the turtles came out in droves. that was really cool. i have superb turtle footage.

one of the things i notice about shooting wildlife is, what you love, will come to you. i find it to be very spiritual, actually.

You did well Bob.
Me next, ok?
Well next year maybe.
BM

Thanks. I am planing to go to Colorado over the 4th and then take a side trip to Mesa Verde to do a little videoing. The hummingbirds out there are spectacular. For all you guys in Colorado, I will be down in the little town of South Fork close to Wolf Creek Pass. Like Eric and the others I have hours of video from many wild places, all I need is more time to edit. I told my wife I can video for a few more years, retire and spend the rest of the time editing all the footage. I can probably do a few hours of just birds or insects. Life is very good, especially if you have a camcorder (ANY CAMCORDER) in your hands. Bob

This is a great thread. I too searched in vain for Nature Videographers forum to find nothing. I am doing a documentary on Western Ghats in India. It is a biodiversity hotspot. I made two trips and rented my friend's TRV900. In most cases I was using the on-board mic to record and as expected not the best sound I can get.

I don't have experience in using mics. Is there anyone with experience shooting in a rainforest who has recorded sounds? I have ordered an SGM-2x so that i can record ambient sounds using the short barrel and directional sounds using the long barrel. I will be using it on GL/2 with MA-300 in my next trip.

Thanks a lot for this thread.

Rajesh-

I noticed this is your first post. Welcome to Dvinfo.net!

My wife and I are wildlife videographers and do most of our work in the rainforests of Central and South America. As you can appreciate, it is very hard work with long hours, nasty (but fun!) conditions, and can be down right exhausting. But, all it takes is capturing a few moments of amazing animal behavior on tape or recording some new animal vocalizations to turn a terrible day into an exhilarating one :)

You, like others who have posted to this thread, mention that there is not a forum dedicated to nature videography and sound recording. I will address that in a post in the coming weeks. However, as I'm sure you're discovering, DVinfo.net is a goldmine of resources for technical solutions, industry news, and just plain old fun. You should continue to use and support this forum.

Now, on to your question:

I don't have experience in using mics. Is there anyone with experience shooting in a rainforest who has recorded sounds? I have ordered an SGM-2x so that i can record ambient sounds using the short barrel and directional sounds using the long barrel. I will be using it on GL/2 with MA-300 in my next trip.

You seem to be on the right track. Recording audio for movies, documentaries, industrial applications, and commercials is definitely different than recording professional-quality, ambient nature sounds. You have purchased a decent shotgun mic and the MA-300 XLR adapter for our GL/2 is a wise choice.

However, you should be aware of five major issues:

1. First, most DV cameras generate noticeable noise from their mechanical parts. Although today's generation of cameras are much quieter than several years ago, when recording natural-history sounds that tend to be soft to begin with, the seemingly minor noise can become a problem. Therefore attach your mic to a pistol-grip shock mount and hold it at least three feet away from the camera. By the way, many pistol grips can by attached to a tripod for hands free operation.

2. Use a wind screen at all times.

3. Omnidirectional and supercardioid microphones are great at capturing ambient sounds. However, sometimes they capture too much sound when all you really wanted to capture was a small audio arc in fron tof you--say a rare Indian cat. The best choice in this case is a highly-focused microphone such as a parabolic dish to house your microphone. The dish will allow you to capture the desired audio will minimizing the unwanted, extra sounds coming from the rest of the forest.

4. Buy the best XLR cables with the best XLR connectors you can afford. It really does make a difference. Read these Dvinfo.net threads to learn more about XLRs:

-http://www.dvinfo.net/conf/showthread.php?t=45960&highlight=XLR+cables
-http://www.dvinfo.net/conf/showthread.php?t=42833&highlight=XLR+cables

5. Finally, monitoring and controlling the sound level through your GL/2 can produce decent results but does not allow for the fine tuning required to capture exceptional natural-history audio. Many times natural history sounds start soft then suddenly grow loud, or vica versa. It is similar to an actor who all of a sudden yells into the mic. Without a quality field mixer, it is virtually impossible to adequately control sound input level. You may get lucky from time to time, but don't take the chance with your hard work, expensive trips, and rare recording chances.

Remember, recording natural-history sounds is the hardest type of audio recording IMHO. Orchestral and operatic recording is on par but even then, there is not a rainforest of other players out there trying to be heard at the same time! Recording the human voice, while with its own challenges, is still a far easier task, since their are clever ways to make good audio great. But with nature recording, it is extremely hard to make good animal sounds great. Record the sound the proper way the first time. Besides, it is often the only chance you get.

Good luck, and enjoy the Western Ghats!

Hi Jeff,

Thank you very much for the detailed response. I couldn't agree with you any less on the challenges. And of course, dvinfo.net is a great place and a key driver for me to buy GL/2. In fact, the post from Meryem Ersoz on GL/2 over XL/2 was very helpful to me.
I have hiked the rainforests in Western Ghats under extremely rough conditions and my cameras take a beating. My last trip was a 24 hour hike in rain and highly humid environment, many times crossing hip deep streams. And I felt GL/2 would be much simpler than an XL/2 (that I cannot afford right now). And as you say, the rewards are great. I got some never heard before footages of behaviors of various critters. But if I can have a great sound in those circumstances, then the footages would be extraordinary.
Like the challenging and varying light conditions, rainforest have equally varying sound conditions. Only experience and learning from others can help. I look forward to a wildlife video forum.

How do you work with focusing? Do you use manual or auto? Especially when a crested hawk eagle circles over the canopies how do you keep it in focus?
I had limited success with TRV100 by focusing to infinity on manual. But I was recently shooting Ospreys hunting and couldn't achieve the same in GL/2. Any thoughts?

Thanks again,
Rajesh

I run a video studio as my day job here at The U of Michigan and am a wildlife videographer and film producer the rest of the time. My partner and I co-produced and co-directed "An Osprey Homecoming."

http://www.anospreyhomecoming.com

A movie that deals with an osprey reintroduction program here in
southern Michigan, but the film's sub plot is about biodiversity.
I LOVE being a wildlife film maker!!!

We recently won a Finalist Award at The International Wildlife Film Festival
beating submission by the BBC, CBC, Disccovery Channel and other
big money corporations.

My partner and I used (burned it out and need a new camera now) XL1, EOS
adapter and Canon EF 100-400 USM lens as our long 'gun' and VX2K for
interviews and other short shots. Audio is a combo of Neumann USM69i
for stereo background audio and schoeps MK41 and Sennheiser 416 for
distance audio and camera mics when there was no other way.

Jeff, so you video in the rain forests, so do I. Have you ever beeen down to Belize? As a Peace Corp volunteer there from 1976- 78. One of my assignments was to explore and document several areas (including two reefs) for possible inclusion as a National Park. One other person and I spent over a week hacking through and photgraphing the Bladen River area and its wildlife. Remember, most of these animals have never seen a human and had no real fear of us. This area was eventually selected for National Park Status. If you ever get the oppertunity to go there remember, I was there before it was a park. My God it was magnificent!!! Bob

I too am a wildlife (bird) videographer. My steam-driven XL1 is still going strong - mostly with a Sigma 120-300mm lens.

Thanks for the audio tips: this is undoubtedly my weak point. I use a Senny K6/ME66 with Mini Mount and wind shield, and basically let the audio take care of itself - with mixed results. Could you tell me how much difference a good field mixer would make with this mic - subtle or obvious? As a single-handed shooter, how easy is it to ride the audio levels while panning, focusing etc?

Rajesh, I envy you living in the Western Ghats. I've birded in that area a couple of times and there is some magnificent forest. Anamalai (Indira Gandhi) NP is one of my favourite places on earth, with an incredible biodiversity. Have you been up to Rajamlai NP, where there is a habituated and very photogenic herd of Nilgiri Tahr?

Regarding shooting soaring raptors, I focus manually and just try to keep up with the bird as best I can. Crested Serpent Eagles are pretty slow fliers and don't jink around much, so it's quite easy to predict their movements. With a reasonably small aperture (and therefore wide depth of field) you should be able to get reasonably well-focused shots most of the time unless the birds are really close. It's just one of those things that takes a lot of practise.

Best wishes

Duncan

I like to watch wildlife videography on the PBS HD Channel. Nothing beats getting free high definition programming off of the air. School teachers ought to make videotape recordings in high definition of wildlife shows and show them to their students.

Jeff, so you video in the rain forests, so do I. Have you ever beeen down to Belize? As a Peace Corp volunteer there from 1976- 78. One of my assignments was to explore and document several areas (including two reefs) for possible inclusion as a National Park. One other person and I spent over a week hacking through and photgraphing the Bladen River area and its wildlife. Remember, most of these animals have never seen a human and had no real fear of us. This area was eventually selected for National Park Status. If you ever get the oppertunity to go there remember, I was there before it was a park. My God it was magnificent!!! Bob


Bob:

Nice to meet you. I have not spent any time in Belize but my wife has. All of our tropical videography and studies have been in Costa Rica, numerous trips to Panama, Southern and Northern Peru, and Ecuador including the Galapagos. Speaking of the Galapagos, it is another amazing place to video wildlife seeing how you literally have to step over many of the animals just to get around. We also have spent time studying birds and lemurs on a research team in Madagascar helping to establish Ranomafana National park. But that was before 3 chip cameras were invented!

We do plan on going to Belize in the future and I will remember your Bladen River area. It sounds like a superb place!


I too am a wildlife (bird) videographer. My steam-driven XL1 is still going strong - mostly with a Sigma 120-300mm lens.

Thanks for the audio tips: this is undoubtedly my weak point. I use a Senny K6/ME66 with Mini Mount and wind shield, and basically let the audio take care of itself - with mixed results. Could you tell me how much difference a good field mixer would make with this mic - subtle or obvious? As a single-handed shooter, how easy is it to ride the audio levels while panning, focusing etc?

Duncan:

I love the phrase "steam-driven XL1"! Do I have your permission to use it--of course, it would be our steam-driven Sony HVR-Z1U.

Concerning your question about audio, we also use Sennheiser microphones, specifically the ME62 and ME66 with K6, shock mount, and wind screen.

Since the exceptional, but tiny cameras, we all use do not have efficient ways to easily adjust sound input, a good field mixer can make a big difference. I do realize that sound input levels can be monitored and adjusted in our cameras but it is simply not an easy task with the tiny controls and menu navigation. Also, the electronics are not as sophisticated or dedicated to audio mixing. So, a good field mixer can make an "obvious" difference. But it takes experience getting the right mix. Therefore, a field mixer is a must if you have the money, and extra arms!

You ask the proper question, however. "As a single-handed shooter, how easy is it to ride the audio levels while panning, focusing etc?" That may be your biggest challenge. If it is just you shooting and you are focusing, panning, and possibly not on a tripod, then riding audio levels will be a challenge. But then again, it will be much easier to adjust audio levels with this extra piece of equipment than trying to do so on your XL1 or my Sony.

Remember, the field mixer will be slung around your neck, adding additional weight, and more cables to wrap around you. Of course, this just adds to the fun of being in the field!

Here are a couple of suggestions. I prefer the Rolls MX422.

This unit weighs four pounds and is designed for digital recording at a fraction of the price of most digital field recorders.
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=364536&is=REG

Here's a smaller version that weighs around 1 pound but I believe is analog (I'm not sure on this fact though):
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=174333&is=REG

I hope this helps, please ask more questions if you're not clear on what I'm saying.

Hi Jeff

Many thanks for the information on field mixers. I will take a look at the ones you suggest. I always shoot off a tripod, so I guess it's not quite as difficult to monitor levels as hand-held. However, I hear you about it being one more bit of kit to carry around - like I don't have enough already!

Oh, and off course you are welcome to use the expression "steam driven", although I'm not sure it applies to the HVR-Z1U just yet!

Best wishes

Duncan

I used to use the Sennheiser ME67/K6 mic, but that mic has a fairly high
noise SPL (sound pressure level); read HISS. A better mixer might
help, but so little as not to notice. Certainly (not trying to be mean here)
the Rolls mixer is on the low end of mixers along with Sampson and
others, so I wouldn't expect a cleaner signal adding that to the chain.

FWIW, good audio starts with good gear and it is NOT cheap.
Wildife recording means you are essentially mic'ing ambient
noise at sound pressure levels that are ususally lower than 60 db.
So, if you microphone has a noise level of 27db, your desired signal
(birds, crickets, etc.) is not much hotter than the hiss produced by
the mic. One of the quietest mics is the Neumann TLM-103 @ 8db.
Most manufacturerers do NOT state the noise SPL of their products.

Personally, I would broom your mic and look into a replacement such
as the AT4073 (good), Sennheiser MKH-416 (better) or Schoeps MK41 (best). Instead of the mixer buy a beachtek DA-6 or 8.

I used to use the Sennheiser ME67/K6 mic, but that mic has a fairly high
noise SPL (sound pressure level); read HISS. A better mixer might
help, but so little as not to notice. Certainly (not trying to be mean here)
the Rolls mixer is on the low end of mixers along with Sampson and
others, so I wouldn't expect a cleaner signal adding that to the chain.



Jacques is right on the money with what he said--and I do not take any offense at your challenging my suggestions! That's what sharing ideas is all about. I am certainly not an audio expert. I simply have some field experience. I still have much to learn myself, though.

The noise SPL of a given microphone and the quality of the mixer (as well as of the rest of your equipment) is very important. I've used the Rolls because that was what I could afford when I purchased it and it is a lighter model than some of the high-end ones. Every pound makes a difference when your slogging through a tropical swamp! Besides, if I were to drop it in a puddle (I've come close too many times), it would not be that expensive to replace. Although it is not as good at providing cleaner signals as a high-end model, it sure has helped with my Sennheiser setup. None the less, I am looking to upgrade down the road to a higher-end mixer but will most likely still use the Rolls in deep rainforest.

The Schoeps MK41 is an excellent (and very expensive) microphone and the suggestion of using a beachtek DXA-6 or -8 is interesting.

Speaking of which, here is an interesting article on noise SPL and choosing the right preamp: http://www.rane.com/note148.html

When all is said and done however, I try to weigh the cost, quality, and ease of equipment use with the site location. If I'm going to be doing easily accessible shooting (good road access, flat surfaces, hardly any dense of vegetation), I will bring some of my more expensive, better quality items. If I'm going to shoot in the Amazon and plan on traveling pathless forest, I'll settle on lighter and cheaper equipment that still gets the job done. Since it is only my wife and I, weight and ease of transport in difficult conditions has to be our primary consideration.

Well, it's off to the gym for me. I think I've just realized I need to build up more strength!

This is great discussion. Let's keep it up!

Rajesh, I envy you living in the Western Ghats. I've birded in that area a couple of times and there is some magnificent forest. Anamalai (Indira Gandhi) NP is one of my favourite places on earth, with an incredible biodiversity. Have you been up to Rajamlai NP, where there is a habituated and very photogenic herd of Nilgiri Tahr?
Duncan

Unfortunately I do not live in Western Ghats. I live quite far away in a rather cold place -Boston. ;-) However, I do make an annual pilgrimage to Western Ghats and recently switched from photography to video. I got many unusual behaviour footages of various critters. In particular I like doing macro and western ghats is a heaven for that. I have been to Anamalai many times and wished for 500mm/IS - in my dreams. In my next trip I plan to shoot Nilgiri Tahr as well as Lion Tailed Macaques.

Nice to know someone who has been there. Did you take video in those places? I recently saw a news where UNESCO is planning to declare portions of Western Ghats as World Heritage Site. That will be great.


Thanks,
Rajesh

I am a college film student close to graduating, and I have always wondered how one becomes involved in Wildlife Videography. Is it of a freelance nature? Is there any experience or study that I should partake in? Any information that anyone can give me would be awesome. I have a strong interest in documenting and conserving the beautiful wildlife that our planet has to offer, but I don't know exactly where and how to start after I graduate.

Thanks

Hi Michael,
Yeah, well this is a tough biz. I would love to share as much as I know with you, but for starters, here's my short list of things:
1. at Montana State University, there is a master's program called "Science & Natural History Filmmaking" generally, they want you to have at least a science degree. I can provide lots of info here, I was the first to graduate from this program.
2. There are several festivals devoted specifically to wildlife: Jackson Hole Wildlife Film Festival in Jackson, WY (~$900 to get in, ouch - so volunteer instead -- they give you a place to stay, and feed you occasionally :) ), International Wildlife Film Festival in Missoula, Montana (where you can also volunteer or pay ~$250 for a delegate pass), Wildscreen in Bristol, England (also expensive...donno any details), um, there's now one in Germany, New Zeland, Japan, and probably dozens of other countries.
3. The key here is networking. The festivals will provide you with invaluable contacts, so that's why it's so important to attend. Better yet, have a showreel with you, or a film entered in the festival when you go.

Unfortunately, under the current administration, funding for these types of films has really hit the floor. Many long-time production companies of these films have dropped out of the nature film world, changed their work type or disappeared. Knowing someone is good. Working for free to get in is good. Having a skill that others don't is good (maybe you can talk to animals like me :) )
One rep from a prominant broadcasting company said "it's more difficult to get into the wildlife filmmaking profession than it is to become an actor in hollywood." I'd believe it. It's a small community. Over the past 5 years that I've attended festivals, it seems to be the same poor 1,000 people or so that keep coming back. Hmm.
Certainly, this isn't the only way. I know people who do nature filming for their state game commissions. Most guys, I know, are retired from a "real" job and do wildlife stuff for fun or take the work as it comes.
It seems the big thing now in the wildlife filmmaking world is HD. Not many people are shooting it, and most of the channels are begging for it. That'll change soon, I suspect. Hopefully, once the price of the camera drops below 2x the cost of my parents house!! :)

I donno what else to add. Feel free to ask more about whatever, or to correct me if you wanna pick a fight :) just kidding. Good luck, we need more people out there fighting for our animal brothers and sisters!

I own a JVC HD10 video camera. I don't care what anyone says the JVC blows the Cannon XL-2 out of the water for wildlife videography. When the JVC HD100 arrives it will sink the Cannon XL-2. People complain that the JVC HD10 only has a 10x optical zoom but the JVC has twice the resolution so in effect it has the equivalent of a 20x optical zoom. Talk to any wildlife still photographer and they will tell you resolution is king and the more megapixels the better. But videographers have this idea that high definition is just a gimmick. That being said my videography skills need improvement.

I don't care what anyone says the JVC blows the Cannon XL-2 out of the water for wildlife videography. When the JVC HD100 arrives it will sink the Cannon XL-2.

Wow...I hope I'm there to capture all this naval action with my XL1.

All the advantages seem to be stacking up in the JVC-HD column as far as wildlife videography goes. Canon needs to come out with HD and a CMOS chip! I'll just grease up my XL-1s and keep watching these pages.

It truly is an exciting time for wildlife videographers when it comes to camera options. The JVC-HD100 does look like an interesting camera. It is bigger than I care to carry these days, but then again, in the mid 80s I used to lug around one of the high-end Panasonic video cameras that had a separate 3/4 inch VTR. Try walking through a swamp with all of that plus tripod and boom mic!

rats. my tripod head broke.

i thought before buying a new one that i'd ask around and see what sorts of travel tripods you wildlife videographers are recommending.

this would be for my GL2. for those of you who pack your camera gear, say, 3 miles or longer, what sorts of tripods do you prefer?

what i mean is, what tripods do y'all think offer the highest performance with the least amount of weight?

for longer distances, i'm giving some thought to the sanford & davis courier F10. does anyone have any experience with this?

Hi Meryem-

I use a Bogen/Manfrotto 441 CarbonOne Video Tripod with a 3443 Bogen head. To that I attach a Wimberley head which allows me to find the best center of balance for the video camera and gives me great control over fluid motion. This head is usually used for SLRs with very large lenses.

The tripod weighs less than four pounds but can support about 13 total pounds. It is made of carbon fiber and collapses to a small enough size to pack into my backpack. The Wimberley head weighs as much as the tripod! But, 7 total pounds is acceptable to lug through a forest.

I've taken it through Central America and into the Amazon. It works wonders and doesn't kill you!

I believe that this series has been replaced by Bogen's Mag Fiber Tripods.

Here are some links:

http://www.procam.com/shop/product_info.php?products_id=233

http://www.tripodhead.com/products/wimberley-main.cfm

We also have spent time studying birds and lemurs on a research team in Madagascar helping to establish Ranomafana National park. But that was before 3 chip cameras were invented!



Hey Jeff,

Good to hear a fellow traveller has been to Madagascar. I was there with a group the day Ranomafana became a National Park. We also ran into a cool group from Duke University Primate Center.

I wish I had something like my XL2 back then. The shots of Diademed Sifakas in the Spiny Forest, chameleons in Mahajanga, Ring-tailed Lemurs in Berenty, and Dwarf Mouse Lemurs in Perinet would have been amazing. That was back in my 35mm still photo days. My macro lens was working overtime. We were even lucky enough to get some great recordings of Indri Lemurs in Perinet.

Did you ever go back? I'm sure the current level of destruction is very sad.


I agree with the comment about parabolic reflectors. I have used the long-discontinued Sony PBR with my DAT for several years. There is nothing better for bird recordings. I would like to try to get the same quality of recordings on my XL2 someday. On my simple home page you can see how I recently rigged my PBR on the shoe of the XL2.

http://www.geocities.com/amjoyce2004/main.html

Hey Jeff,

Good to hear a fellow traveller has been to Madagascar. I was there with a group the day Ranomafana became a National Park. We also ran into a cool group from Duke University Primate Center.

I wish I had something like my XL2 back then. The shots of Diademed Sifakas in the Spiny Forest, chameleons in Mahajanga, Ring-tailed Lemurs in Berenty, and Dwarf Mouse Lemurs in Perinet would have been amazing. That was back in my 35mm still photo days. My macro lens was working overtime. We were even lucky enough to get some great recordings of Indri Lemurs in Perinet.

Did you ever go back? I'm sure the current level of destruction is very sad.


I agree with the comment about parabolic reflectors. I have used the long-discontinued Sony PBR with my DAT for several years. There is nothing better for bird recordings. I would like to try to get the same quality of recordings on my XL2 someday. On my simple home page you can see how I recently rigged my PBR on the shoe of the XL2.

http://www.geocities.com/amjoyce2004/main.html


Hi, Andy:

My wife studied at Duke University under Dr. Pat Wright, the bundle of energy and determination behind the establishment of Ranomafana National Park. In 1989-90, we worked with Pat to help do some final baseline assessments of the flora and fauna of the proposed park area. We have not been back to Madagascar in since then, but we are thinking of doing a grand African expedition to shoot (of course with video and SLRs) wildlife throughout the continent. Perhaps we will revisit our old stomping grounds on the big island then.

We did not have great audio recording equipment at the time, but we did manage to record the Indri's dueting early in the morning. It is still one of the most beautiful yet eerie songs we've recorded. It almost pulls at your heart when you hear them dueting.

I like what you did with your PBR and XL2. It gives me some ideas!

Hi,

I'm going to be in Tioman in a couple weeks. I was wondering if any wildlife videographers could give me tips on shooting macaques. I'm using an XL2 with the stock lens and will pick up a CO 1.6x telephoto convertor and possibly also the Canon 1.6 extender before I go. I'll use the stock mic as audio isn't a huge concern for my project.

Thanks!
Alan

Hello. In a little less than 2 months, i'm going deep into alaska to to film bears, and a bear hunt. I've never done anything of this sort, nor do i have any outdoor equipment. I have an XL1s w/ the ma-100, shot gun mic, and wireless lav. the temp is supposed to range from 20-50 and rain and wind are supposed to be constant. and we will spend all day hiking and searching for bears(5-10 miles a day), or sitting in a lookout. packing light is also essential since we will be flying 2-seater float planes to our destination.

I've put together a list of things I think I'll need for this expedition, here's a link:

http://www.bhphotovideo.com/WishList/181403DE6C&BI=28


what I'm looking for is advice as to what I need, and what I don't as far as camera equip, for the weather, cold and wilderness. and what kind of tape, and battery requirements, cleaning/care, and things i don't even know i need yet. i'm also looking at getting the EF adapter and a 75-300mm IS lense. as well as any other hard learned lessons anyone would be willing to share. let me know.

thanks

austin

I've filmed in Alaska several times with an XL-1/XL-1s using the EF adapter and 75-300 zoom, and found the setup works well. One time, scared by a bear, I tipped my tripod and camera into a stream. Fresh, clean water, no harm done! You will need a tripod with the 75-300. If not your pictures will be unwatchable for the shake. Get a lightweight, but sturdy one (carbon fiber would be best). The head is a problem. None are light, but Bogen's 301 might do. Be sure to take a plastic cover so you can film in the rain. Fancy isn't necessary. A sack with a pull string works nicely. You will record the sound of raindrops on the plastic. Filming in a constant wind with the 75-300 is a big problem. Image stabilization looks good on paper but is pretty worthless in a stiff wind. You will have to improvise. One thing I have done, if your bear is not moving much and you can step away from the camera while the camera is running, is to stand a couple of feet away with an open umbrella, and let that break the wind. (Or cut the cheese, or whatever!). Or get as low to the ground as you can. It makes a difference. For wind noise prevention, Light Wave Systems makes a muffler for the XL series microphone that is really good (you will still have to edit out some wind noise in post). Three of the large 7.2 volt 4400mAh batteries should be more than enough if you can get back to electricity every night. The camcorder works very well in the cold. In Barrow (20 degrees) I took chemical hand warmers to warm the innards, but found them totally unnecessary. Be absolutely sure to take one or even two dry tape head cleaners. I guarantee that after a few days in the field you will get a "dirty head" message. When you are driving on dusty roads, try to keep the camcorder in some kind of a bag. If you plan to do scenery and pan with the standard lens, have a new, clean graduated neutral density filter. Any spot or scratch even teeny, tiny ones will show up in your final product if you are panning sky. Take a can of dry air, because if you inadvertently breathe on the viewfinder in cold wet conditions, it can be several minutes before you can see anything again. I always find a pair of gloves with the finger tips missing (like bike gloves) useful if it really will be in the 20's. If you are south of Denali, it may not be. Finally, take some basic tools, duct tape and lots of rubber bands. I once fixed a short in the EF adapter with a piece of a lid from a McDonald's coffee cup. You never know what will come in handy.

Good Luck

Austin,

I'll ask this just to get one of the folks that have filmed in cold weather to respond. I ask based on my prior military experience, not because of cold weather filming experience.

Would you be better served in a possibly extreme cold weather environment getting the battery off the camera and into a heated pouch with just a wire from the pouch to the camera. Extreme cold (and heat) are really hard on batteries. I think as long as you give the camera time to acclimatize to the temp and relative humidity, it'll shoot colder than you want to be out in. But batteries will drain much quicker in extreme temps. Just a thought.

Dylan wrote a GREAT article on his Arctic adventure (http://www.dvinfo.net/conf/showthread.php?t=44994&highlight=cold+battery), complete with pics.