The person interested in getting into producing nature programs faces a bewildering array of choices. The equipment used for acquiring the raw footage in the field can range in price from $1,000 to well over $50,000 and can range in weight from less than four pounds (2 kg) to well over 50 pounds (22 kg) (for a complete outfit with tripod and batteries). We will try to give you some indication of the range of choices available and how we feel about some of the options. Remember that you alone can decide what level of quality and what range of options is best for what you have in mind.
The first question is do you want to use tape or film? We feel that for our purposes tape is the way to go. Check our film versus tape page for the reasons why.
The second question, assuming that you have decided to go with tape, is which tape format to go with for acquiring your raw footage in the field. Before you go into that in any detail however you may want to check our page that describes some background issues such as equipment quality categories, the differences between camcorders and cameras, the differences between single and three chip cameras, and the problem of lens interchangeability. There are over 50 videotape formats, but most of these are of limited concern for the starting nature videographer. Some no longer exist in any functional way and some are not suitable for field shooting. There are 13 formats you should be familiar with. These are VHS, S-VHS, VHS-C, S-VHS-C, 8 mm, Hi8, 3/4 inch, Betacam, Betacam SP, MII, DV, DVPRO, and DVCAM. Check the format page for a discussion of the pros and cons of each format. Note that the last three formats are digital videotape formats with some advantages compared to the other formats which are all analog.
Of these 13 formats, we think that the most suitable are S-VHS (including S-VHS-C), Hi8, Betacam SP, MII, and the three digital formats. We feel that VHS, VHS-C, and 8 mm simply do not result in high enough picture quality. Betacam (as opposed to Betacam SP) and 3/4 inch although still in widespread use are not as good as other options within the same price category. Remember that the same format may not be used throughout a production. Thus some videographers may use Hi8 as their acquisition format (i.e., the format used for getting the raw footage in the field), then bump it up to Betacam SP for editing, then distribute the program for home VCR use on VHS.
Beware of excessive claims for the new digital formats. Some gushing reviews and advertisements would have everyone believe that for a couple of thousand dollars you can have a camcorder that can rival the best in broadcast quality. Now there is absolutely no doubt that the digital formats are a major advance in videography. At the lower end of the quality spectrum, the implications are truly amazing. A tiny $2,000 DV unit can indeed provide stunning quality that is much better than S-VHS and Hi8. However it is wise to keep a few things in mind. The tape format is a key part in the overall quality you can expect in a project, but it is not the only one. Do you think that a $2,000 to $4,000 DV camcorder uses a lens of equal quality to that in a $10,000 or $60,000 unit? Just consider that the cheapest interchangeable video lens is at least $1,000 and the best lenses can easily get to $20,000! The same holds true for other components in the camcorders. Also remember that the use of 5:1 compression in the DV format while generally resulting in very good pictures is not the same as uncompressed video. People who are very attuned to video picture quality can usually spot compressed video easily. In certain circumstances, such as very fine details, the compression artefacts can become more visible and be noticed by non-specialists. The digital formats do indeed hold much promise and they are sure to become especially valuable to nature videographers because of the small size of many DV units. Don't count the other formats completely out however, there may be some cases where they may be the best bet for you.
The ideal equipment for field acquisition of nature footage would be affordable, lightweight, small in size, rugged, capable of excellent video quality, and have interchangeable lenses, an excellent large viewfinder, good audio controls, and good low-light characteristics. Check the linked page for a discussion of each of these aspects of equipment and why they are particularly important for nature videography
So is there a perfect field unit that incorporates all of the above? Of course not! Life simply doesn't work that simply! The best unit is the best unit for your needs and your pocketbook. Let's look at some examples of possible good choices.
Let's start with the simplest case: you don't have much money, you want to record nature activities as you go around birding or hiking, and you want to keep it simple and lightweight. If money is really tight, you can get a small automatic Hi8 unit for about $1,000. One good choice appears to the new Canon ES4000 for $1,200. If you have a bit more money get a comparatively low end DV unit in the $2,000 to $3,000 range (examples are the JVC GR-DV1U, the RCA CC900D, the Panasonic PV-DV700, or the Sony DCR-TRV7). These units are very small (under 2 lbs - less than 1 kg) and can be taken nearly anywhere. The video quality will be a lot better than the Hi8 camcorder. If you move up later on you may still keep your original inexpensive small DV unit as a backup. There are some excellent DV units with three chips in the $3,000 to $4,000 range that are a bit larger (about 3 lbs - 1.5 kg) than the units mentioned above (e.g., the Sony DCR-VX1000 and the Panasonic PV-DV1000), however there are probably better options (see the discussion of the Canon XL1 below) once you get to this size and cost. A benefit of all of the above units is that the tape cassettes are small and you will be easily able to carry a supply of tape for 2 weeks or more in your carry-on luggage. Note however that none of these units have interchangeable lenses, a major drawback for nature videography.
Next case: you don't have much money but you want to try your hand at more complex shooting with interchangeable lenses, and you don't have any serious broadcast ambitions at this stage. The Canon L1 and L2 Hi8 units are the least expensive interchangeable lens camcorders but they are now discontinued. They are readily available as used units however for about $2,000 to $2,500 depending on accessories. Keep in mind however that these are single chip Hi8 units with the quality limitations that this means. You may also find some used S-VHS (the Panasonic Supercam) or Hi8 ( the Sony EVW300 or the Toshiba TSC200) industrial three chip units with interchangeable lenses at competitive prices ($3,000 and up). These high quality three chip units are capable of higher quality pictures than the L1 or L2 but are larger (12 lbs and up - over 5 kg) and more awkward to use for nature videography.
Next case: you want to get serious for the lowest possible price. The Canon XL1 appears to be the best bet in this category, pending field testing! This camcorder is scheduled to be released in December 1997 but when it will become common in stores is anybody's guess. Fans of Canon's L1 and L2 Hi8 camcorders have waited for several years for the appearance of a digital videotape successor to the L1 and L2. Let's hope that the wait is really over. On paper the unit appears close to ideal for nature videography: it has a low cost ($4,600 is low for a unit with these characteristics); it is comparatively small and lightweight (5-6 lbs); it uses the DV format and has three chips for likely high quality video; it has interchangeable lenses, including an adaptor to use Canon EOS 35 mm lenses; it has what appears to be a good quality viewfinder with zebra pattern; and it appears to have good audio control including optional XLR contacts. However, this is on paper only. We have not seen any extended testing of this unit to confirm certain assumptions. Just how good is the picture quality? Is the colour viewfinder really adequate for critical focusing? How does it handle in the field? How robust is the unit? Will it really become readily available soon? Will Sony respond with an interchangeable lens version of their excellent VX1000? Other options under $10,0000 with interchangeable lenses such as S-VHS camcorders (e.g., the Panasonic Supercam) or medium priced digital cameras (e.g., the Panasonic AJ-D200) don't appear as useful for the nature videographer and carry a significantly higher price tag.
Final case: you are really serious and price is less of an object; you hope to get seriously into broadcast. There are a number of Betacam SP units that will provide excellent quality and have a proven track record in terms of robustness. Based on specifications we wouldn't specifically recommend getting the UVW100 camcorder from Sony. If you want Betacam SP you might as well get the quality of the PVW series. Be prepared to pay $20,000 or more however and have a heavy unit to lug around. Consider getting used Betacam SP equipment. Make sure that the recording heads have low hours on them or you will end up with an expensive overhaul! Also consider dockable MII units available at very competitive prices. There are also some excellent higher end digital camcorders such as the Sony DSR 130 ($19,000) or the Panasonic AJ-D700 ($22,000). Prices on really high end digital or Betacam SP units can get you to the $50,000 range without difficulty. Finally the Canon XL1 might even fit into this category. While it may not turn out to be quite as good in image quality and as robust as some other options, its light weight and versatility might be very strong points indeed. The possibility of having two or three Canon XL1s for less than the price of a minimal Betacam SP outfit seems very tempting!
Special case: there may be some special project you have that can use some other combination. For example if you are doing some macro or micro work inside, then you should probably consider a small separate camera connected by a cable to a portable VTR or a large desk-top unit. Separate cameras tend to be forgotten by most videographers but they can be adapted to specific tasks that would be difficult for larger camcorders. Some of them have special characteristics such as low light capabilities (e.g., the Panasonic WV-E590) or infrared sensing to allow you to work at night without using visible light. Some simple single chip cameras can be made extremely small and can be used camouflaged in unusual situations (e.g., near a site where the animal you want to record comes frequently). You connect the camera to your portable VTR or camcorder through a long cable. This can enable you to record without disturbance and while you are in comparative comfort!
Final note: remember to consider the cost implications of your choice of field equipment on other components in your system. For example if you get a dockable Betacam SP or the Sony UVW 100 camcorder, you should realise that you will not be able to playback Betacam SP tape in colour using these units. They are geared for recording only (or require expensive additional add-ons for full playback). That means that even if you go directly to a non-linear editing system you will need another expensive Betacam SP unit for putting the footage into the editing system!
We hope to add soon a table listing specifications on some of the field units best geared to nature videography with links to places where you can get more data or reviews for each piece of equipment.
How about renting the expensive equipment you need? That makes sense for many videographers. The actual shooting of the raw footage of a project may take comparatively little time and can often be scheduled precisely. That is not likely to be the case for many nature videography projects however. Sometimes you will have a short trip and you may have to take all of your footage within that short and well-defined time span. But that does not make for a really good quality program. Programs which were shot that way show it and become little more than nature-oriented travelogues. Extensive time in the field is typically needed for good nature work. The really good nature programs may have required years of shooting in difficult conditions. Also you need to become very familiar with your basic equipment so that you don't waste too much time fiddling with controls in the field. For these reasons we would not recommend renting. You want your camcorder or camera there when you need it. Other specialised equipment can be rented as needed.