BUYERS’ GUIDE GEAR
CARRY ON FILMING CASE CLOSED
S o many shoots start the same way. You get the kit together and then wonder how on earth you are going to carry all of it. If you need to pack carry-on luggage for a flight, it’s even more of a problem. Bags and cases are one of the most overlooked pieces of filmmaking kit, yet they quietly dictate how fast you move, how much you can bring, how protected your gear is and how wrecked your body feels by the end of the shoot. Get it wrong and you’ll spend the day fighting zips, straps and sore shoulders. Get it right and the bag disappears into the background, doing its job without demanding attention. Different productions need different solutions. A solo shooter weaving through city streets has demands that are nothing like a crew loading a van at
6am or a filmmaker boarding a flight with lithium batteries and fragile lenses. That’s why no single bag type wins outright – each excels in specific ways. Roller bags shine when distance and weight are the enemy. Airports, studios, car parks and convention centres are their natural habitat, letting you move around serious amounts of kit without destroying your arms or back. The compromise comes when terrain turns hostile as steps, grass, cobbles and mud quickly remind you why wheels aren’t always the answer. Backpacks are the go-to for agility. They’re ideal for handheld work, travel documentaries and fast-moving jobs when you need both hands free. A well- designed bag makes all the difference, but overloading is a mistake. Cram in too much and comfort evaporates quickly.
From discreet hand luggage to full-blown hard cases, we round up the best ways to move your kit without any comedic injuries WORDS ADAM DUCKWORTH
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