The quest for the ultimate camera bag is epic and feels endless, but PGYTECH recently distinguished itself from the usual choices of Peak Design, Manfrotto and more:  its quickly evolving OneMo line of backpacks has lately climaxed with the OneMo 2, especially its 35-liter version that can practically haul an entire mobile production studio from your back.  Here’s a picture of mine with no less than four cameras, a full video tripod, and room for a few more lenses and accessories inside.  (For the details-curious, I’m packing a Sony a7 IV with Tamron 35-150mm f/2-2.8 lens, Sony FX30 with 10-20mm PZ f/4 lens, Sony a6600 with Sigma 30mm f/1.4 lens, and Z CAM E2c with Leica 9mm f/1.7, paired with the shortest but sturdiest carbon fibers sticks once-but-not-now made by Vanguard, a Manfrotto fluid head, and a few more lenses with room to spare, not to mention a DJI Ronin RS3 in the front pouch.)

I could have fit mini stands and lights in there also, to service any four-camera shoot (and these days, I just add small ball heads with adapters onto any microphone stands already waiting at most venues, for a slim and stable profile). But, before we dive into the reasons why this OneMo 2 is the ultimate filmmaker’s backpack, here’s a little history.

The original PGYTECH OneMo was already a big step forward, responding to a dream wish list from filmmakers and photographers for the ultimate backpack.  Its unique features ranged from being more modular, sleek and subtle in its design; lots of pockets including battery sleeves with full/empty indicators; and a clever expandable front sleeve for awkward-to-fit items like an assembled gimbal stabilizer.  But it was only available in a 25-liter capacity, and as you can see in the above close-ups, the material texture was high-tech synthetic but a little rubbery and prone to scratches on its sheen.  With the advent of the OneMo 2 in both 25L and (as pictured here) 35L sizes, the material got more rugged into a grid matte texture.

One of my favorite features of the original OneMo, that I mentioned in my roundup here of DJI RS3 gimbal stabilizer accessories, is its expandable front sleeve so that you can simply keep your delicately balanced gimbal fully assembled and just drop it into the big front pocket for quick deployment, without the fuss of setup/breakdown at every new location.  A minor drawback of the original OneMo was that the sleeve only zipped open and expanded at its top half; with the new OneMo 2, the sleeve expands equally out from the top and bottom because of a 360-degree zipper design, as seen above in the first picture.  When it comes to side pockets, both generations of backpack offered traditional “peek-a-boo” quick access into one side of the main chamber, sized for an included modular camera bag that you could take out to scale down your mobility as-needed.  This is actually a function that I’ve never used, finding little difference between using that side access, and simply unzipping the main compartment’s back panel (more on that later).  But where the OneMo 2 strikes a nice compromise, is that it seals up one of the two side openings now, putting that pocket to better use for storing more accessories securely.  And speaking of places to stow accessories, inside those flaps, I love the combination of three things: zippered pockets, elastic loops, and mesh sleeves.  You can have it all!

And how cool is this? There are three battery sleeves (perfect for my NP-FZ100 and NP-F750 batteries) that include a slider-indicator for each, helping you remember you which are empty (red) and which are full (green).  They used to be more exposed and easier to get to, but required an extra latch for each to keep them secure — the OneMo 2, altogether better, conceals them behind a zippered sleeve but keeps them secure without needing a separate latch for each.

While both generations of backpack had side access to the main compartment, the original lacked that ability also from the top, but now the OneMo 2 gives you a zippered opening there.  I similarly don’t use this feature because it requires you to orient your camera one specific way in the main compartment for top access, but the OneMo 2’s default layout makes it work, and you might like it as seen below.

Of course, the more efficient the backpack gets, to maximize the amount of stuff you can put into it, the heavier it gets!  Much like a good-fitting pair of shoes, one of the most important features of a backpack is how it feels on your back, and how it manages all the weight.  Below you can see side-by-side how the newer OneMo 2 adds a hefty waist support belt compared to the original OneMo’s basic straps.  This is a feature that can reduce the impact of the load, but it’s an extra step every time you sling your backpack — I actually prefer to keep it off most of the time, and to that end, it’s thoughtful that PGYTECH designed a very durable latch system to let you take off the waist support belt too.

When it comes to the shoulder straps, the original OneMo had included a small pouch with a recessed zipper down its center; but the new design of the OneMo 2 has a bigger elastic mesh edge-zippered pouch that provides easy access to accessories while you’re wearing the backpack.  There’s also a new “eco-skeleton” that lets your back breathe easier, including a handy loop down the middle for quickly securing your backpack onto the telescoping handle of rollaboard luggage.  You can also see, at the top of the pictured OneMo 2, a really important feature called “load lifters”:  much like my favorite travel luggage backpack (the Aer Travel Pack 3), load lifters are often-overlooked calibration straps critical for finding that sweet spot to ensure really important health safeguards like reduced risk of strain to your back.  You’ll be amazed at how big of a difference the load lifter calibration makes — and, any tool to avoid trips to the chiropractor, is priceless.

We’ve looked at lots of exterior details so far, but any backpack’s value finally comes down to what it can carry in the main compartment.  In the picture above, firstly you see how much more can fit into the 35L version, compared to the 25L version of the OneMo 2, and the original OneMo.  After years of using a large-capacity Manfrotto backpack, what I liked about that most was how it opened from the back, not the front:  I learned the hard way, that you can forget to zipper up your backpack, then find your gear spilling out onto the floor, if it’s left open at the front — this is far less likely to happen with a rear hatch (and I remain amazed at how the majority of video/photo backpacks still zip open at the front).  But an especially eyebrow-raising feature of the original was its book-like horizontal flip-out orientation.  I didn’t mind it much, but now that the OneMo 2 changed to the conventional vertical flip-out, I like it better (especially when you load up the sleeve with a heavy laptop or tablet that now doesn’t tilt the whole bag off-axis).

It’s a nice bonus that these backpacks include a modular camera bag for whenever you want to slim down your mobile unit quickly.  But the compromise of this approach is two-fold:  firstly, you aren’t able to maximize the amount of gear that your backpack can carry; and secondly, when you want to access whatever you put into the smaller bag, it’s an extra step of taking it out, unzipping it, etc.  So, pros and cons — but, better to have the choice.  And when it comes to that modular bag, there are some surprise features as seen below.

Both the original OneMo modular bag, and the version for the OneMo 2, have an expandable top to give even more room when it’s out of the backpack.  While the original version makes that top expansion area it’s own separated compartment, the newer version lets you choose to maximize the single compartment height, top-to-bottom, with the benefit of moveable dividers.  These bags also come with their own padded straps so that you can sling them as shoulder bags.

Choosing the perfect backpack is a critical thing, important for your health, and filled with opinions and preferences that range from brand loyalty, to aesthetics, to functionality.  One of the reasons I’ve structured this review around comparing the OneMo against the OneMo 2, is to show how quickly this company responded to customer feedback, and all the ways that little details in a backpack can accumulate into a product that really works, and then works even better.  I never expected a less-known brand like this to check all of my boxes for the ultimate backpack, but PGYTECH has done it, costing far less than the so-called premium brands.  While it’s available from major retailers like B&H, PGYTECH kindly offers you a 10% discount if you buy directly from them at this link and then use the promo code FOCUSPULLING at checkout.  And if you give the OneMo 2 a try, let me know what you think — I enjoy writing this kind of thing when it plants the seeds for solutions that help creative peers make great things — and as long as I can remember, this is the first time I think I’ve found a sleeper hit.

I’ve got a long history with motorized gimbals, dating back to the earliest prototypes with mere 2-axis stabilization, onward to the first 3-axis pistol-grip Filmpower Nebula 4000, then the stronger CAME-Single, Zhiyun’s downslung Weebill LAB, and even a miniature one that I customized to fly a virtual reality camera. Until last year, I had settled into the DJI brand with their modest and portable Ronin-SC, but when it broke down, I upgraded to their RS 3.  Simply put, it’s a foregone conclusion to me now that the RS 3 is hands-down the best gimbal stabilizer on the market, so long as you’re not trying to fly a bulky cinema camera…but, what would be the point of that?  Most of us by now have added a portable B-camera (or C-camera, etc.) to our kit, to complement our bulky A-camera, at about the same image quality but much more portable.  For example, my Sony FX30 shoots video quality equivalent to (and easily blended with) my bigger Sony cinema cameras.  If I’m going to fly on a gimbal, it’ll be whatever’s lightest, which always results in better composition and camera movement.  Much as I loathe Sony’s attitude and price-gouging, their touchscreen- and A.I.-driven autofocus has magically simplified steadicam shoots:  there’s no longer any need for big rigs with focuspulling gears and motors and remotes.

What’s the magic reason why the RS 3 wins above all?  Mainly, this:

In my above YouTube Short (the only kind I can manage to spend time making these days!), I’m showing you how, when you power down the RS 3, it instantly tucks into a closed position and automatically locks all three axes.  It might seem like a gimmick, but that overused adage applies:  “it’s a real game-changer.”  When you’re quickly packing up and moving from one location to the next, keeping your camera mounted so that it doesn’t lose its delicate balance, the last thing you want is your camera and all three axes flopping around in transit.  Yes, on some but not all gimbals, you could manually lock each axis, but that’s wasted time, repeating those steps all day long, and your time’s better spent being efficient, not missing the shot (nor the sunlight, during a shoot when time is always the enemy — invaluable during my latest music video project shot entirely on the RS 3 with an FX30).

There are lots of other comparative wins for the RS 3 too, but again, it’s really a foregone conclusion here:  that there’s no other choice for mirrorless and DSLR cameras.  (DJI’s RS 2 offers slightly more weight capacity, but lacks the marquee Automated Axis Locks feature — sadly, same for the new RS 3 Mini.)  So, the main point of this post is to share a few absolutely essential (and strangely overlooked) must-have accessories for anyone who owns the RS 3.

PGYTECH CARRYING CASE

A frustrating development in this whole industry, is that manufacturers are “cheaping out” on giving us storage cases to protect our gear.  It used to (and still does) make lots of sense:  after designing the product themselves, they’re in the best position at product launch to simply bundle a perfectly-fitting case or bag — which can have the nice side effect of protecting their fragile products and reducing warranty claims.  Before these multinational corporations got more greedy, this was another kind of foregone conclusion.  Now, they aren’t even interested in the smaller profit margins from separately selling us a custom case or bag, even though they’re in the best position to market one.  Boo on them.

Enter PGYTECH, one of today’s most exciting third-party accessory-makers in this space, at a quality level well above companies like SmallRig.  They did everything right in the above-pictured case, and while there’s not much competition, another third-party case (sold under numerous different names) has a fatal flaw:  you need to un-calibrate your RS 3 by sliding all those carefully balanced measurements down to minimum size before being able to fit it into their case that they boast has “precise molding” — not a good thing.  As seen in the above middle picture, PGYTECH leaves just enough room for various configurations, while keeping everything snug.  PGYTECH also provides room for all the original accessories, along with their extra handgrip mount (discussed below), and anything else you can fit into the further pockets seen above at right, including pockets for small accessories, and a divider sleeve for a tablet or small laptop.

Best of all, it’s the most affordable of all the options, well under $50, especially when you use coupon code FOCUSPULLING for 10% off at this link direct from PGYTECH.

PGYTECH HANDGRIP MOUNT

One of the key innovations way back when Zhiyun launched their Weebill product line, was an additional rear handle for another point of contact, and for “underslinging” the stabilizer lower to the ground.  My review didn’t find it revolutionary, just occasionally useful, but I eventually didn’t like it being completely integrated into the design, making the total size bigger and heavier always.  DJI offers an oddly-named “briefcase handle” for their RS series that folds out, but you’d still never want to keep it mounted all the time.  I prefer the flexibility of PGYTECH’s Handgrip Mount product, which uses a quick release connection to the NATO rail-like connector already on the RS 3, including a smart safety latch for insurance.  Then, they let you decide whether to move the tripod handle from the base to screw into the 1/4″-20 mount hole on the Handgrip Mount, or to buy another handle — I simply repurposed the one that came with my broken Ronin-SC.  But you could buy anything, and it of course doesn’t need the tripod function there.  (I sprung for grippy leather on the Weebill years ago.)

This is a similarly affordable accessory, and much less that the worse DJI option, being well under $40, especially when you again use coupon code FOCUSPULLING for 10% off at this link direct from PGYTECH.

SMALLRIG QUICK RELEASE MANFROTTO PLATE

I’m usually not a fan of SmallRig, because of their clownface branding and their grabby pricing lately, but after scouring for alternatives, I couldn’t avoid their quick release plate designed for the RS 3.  I even gave ANDYCINE a shot with theirs, but annoyingly, it claimed compatibility with the RS 3 but literally didn’t fit.  Here’s why this accessory is so important:  the quick-release system that DJI includes with the RS 3 is one goofy and needless combination of a Manfrotto 501-adjacent forward/backward quick release plate, and a second smaller left/right plate, that ultimately elevates your camera height.  Raising the center of gravity on a gimbal is easily the stupidest thing to do when it’s unnecessary.  But as seen in the above pictures, you can use this accessory as a replacement for both, skipping the extra height and extra plate; and the added bonus is that, compared to the DJI base plate, it’s fully compatible with most standard Manfrotto 501/701 quick release tripod heads.  It also has that other key feature of the RS 3 that distinguishes it from the rest:  you can use the knob pictured above at right, to engage the gears at the bottom of the plate to fine-tune the forward/backward axis balance.  Simplicity without compromise!  Always a winner.  This is what DJI should have included with the RS 3.

PGYTECH ONEMO BACKPACK

It might not seem like a clear fit for the DJI RS 3, especially when focusing on accessory products, but this incredible backpack design includes a feature that is a godsend for steadicam work.  To begin with, PGYTECH went straight down the line and engineered a camera backpack design that incorporates all the best features found in competing brands like Peak Design, and added more.  It also reminds me of my favorite “onebag” choice for general travel luggage, the Aer TravelPack 3.  (I’ll later be reviewing and comparing this with PGYTECH’s newest, larger update, their OneMo 2.)  Much like the RS 3 case, it has minimalist design without garish branding like you’d find on other third-party products, and its material design is durable/sleek.  Even though the dedicated case is ideal for travel and storage, the OneMo offers this feature that’s brilliant for temporarily stashing a fully assembled and calibrated gimbal like the RS 3:  the expandable compartment seen below.

Into a sort of V-shape seen from the side, you can unzip a top expansion and then another zipped opening into which you can set a fully assembled gimbal stabilizer like the RS 3.  The importance of this is massive, because otherwise, making room for such an odd form factor in the main compartment of any backpack would waste space, or become impracticable.  So long as you don’t bang your back against anything (!), a temporary stow into this expansion compartment, when moving from one place to the next, is a huge time-saver.  And remember, with those Automated Axis Locks, your gimbal isn’t flopping around in there.  You’ll probably have to dismount your camera via its quick release plate, but then PGYTECH has you covered in the main compartment, including a separate dedicated camera case that you can also access from side compartments as seen below.

There’s even a clever battery storage system where each of the velcro closure straps has a slider you can use to identify which ones are going on empty, and which are fresh.  Getting a durable, productive, and attractive backpack like this is an investment that pays for itself over time, and PGYTECH has priced their OneMo line much lower than competitors like Peak Design (because lattes and avocado toast cost a lot in the SF Bay Area!). Again, when you use coupon code FOCUSPULLING, that 10% discount really shaves a lot off already affordable price points at this direct link.

I think that covers it all!  But let me know if there’s something else in the RS 3 world worth mentioning, and I’ll be excited to share.  (Myself, I’m keeping an eye on the new Tilta Basic Ring Grip, along with the new MOVCAM FlexPro.)  This kit has really revolutionized how I shoot, with freedom of movement and lots of saved time.  We’ve come a long way since the Merlin.

It’s hard to keep up with the portable continuous light industry, as they launch brighter outputs, lower price points, more versatility, and in the case of Aputure’s new Amaran 200x S, better color accuracy (and slightly higher output at the indoor color temperature) compared to their preceding budget workhorse 200x (without the S).  We’ve lately seen novice-brand companies like SmallRig and Zhiyun try to enter the game, but their products fall short.  I’ve previously at this blog reviewed, besides Aputure’s ultra-portable lights and tubes, Sokani monolights starting with their X60 RGB full-color-spectrum model, and then their brighter X100 bi-color model, paired with suggested accessories that pragmatically combine into an ideal full-service lighting kit for creators on a budget.  In that spirit, let’s do the same for the new Amaran, which outperforms them all for a still-reasonable $349 USD.

So, what’s new about the 200x S (like, what does that -S suffix mean compared to the prior 200x)? One gets the impression, it’s best kept simply explained, sparing the engineering details: that you get “an 18.6% increase in SSI from its predecessor,” which is a rating of color accuracy and a fuller metric than the CRI we most often see on cheaper products. The upgraded “dual-blue LED chipset” seen at left makes the light that it produces closer to reality than usual for LED lights, compared to authentic daylight (outdoor) or tungsten (traditional indoor) color sources. In the real world, this mainly translates into more believable skin tones, instead of getting creepy shades of greens, oranges and blues. One additional feature of the new LED chipset is slightly higher luminance (brightness) at the lower (indoor) color temperature compared to the prior 200x without the -S, while actually drawing a little less power too.

Speaking of color temperature, another thing worth mentioning is the overall future of artificial lighting (a term used in contrast to “practical” lighting which includes natural sources like the sun, or existing sources like table lamps using standard light bulbs).  I was at CineGear Expo a few weeks ago and chatted with an Aputure rep about how their RGB LED light panels, such as the new P60c seen at right, includes a hue dial mode in addition to the CCT color temperature dial mode.  In other words, even for the purpose of only achieving accurate white balance, rather than splashing the whole rainbow spectrum of theatrical lighting, it is inevitable someday that all lighting kits should give us the power to tweak/bias hue too.  We all know this from the experience of color grading for white balance in NLE applications like Adobe Premiere:  there’s a slider for Temperature (between blue and orange), and a slider for Tint (between green and red).  Taking just one example:  if I’m trying to achieve accurate white balance, but my subject’s skin is surrounded by green vegetation/leaves, a bi-color monolight like the 200x S won’t be enough — and shifting the hue into the red direction, away from green, would become priceless if possible.  But as I discovered from the Sokani X60 RGB monolight, the full color spectrum capability comes at the expense of luminance/output power, and CCT accuracy.  It’s currently a trade-off.  What this 200x S delivers, then, is maximum power at the typical drawback of sticking to the workhorse CCT spectrum only — and it could be worse, when using the sibling 200d S, which limits you to daylight color temperature only.

200 watts is indeed a lot of power (that’s what the 200x stands for — you can get a 100x S for a hundred bucks less, if you’re pinching pennies, though double the brightness latitude at that same size seems worth it to me, since you can always dial down the brightness, as seen in the above pictures that show one dial for CCT or color temperature, and the other for INT or intensity). So unless you want to haul around an unwieldy gigantic battery module, you’re going to need an AC wall outlet.  Compared to most other monolights, I really like how Aputure designed a bright yellow, solid connector interface angled to where you’re reaching up, adjacent to a similarly angled power toggle. As seen in the picture at right, I also like how the external power supply includes a metallic loop that you can use to sling onto the stand, in case cables don’t fully reach the ground, etc.  On the back panel display, it couldn’t be simpler:  you get the intensity percentage, and the color temperature in Kelvin, with a Bluetooth logo indicating connection to Aputure’s free Sidius Link app that you can download for free to Android or iOS smartphones/tablets.  (But, ugh: note to engineers, we search for apps alphabetically on our phones, so please for the love of God just start off app names with your company names!  Why should I remember the word “Sidius” in a sea of hundreds of apps?)

Another nice touch is the way that the included power cord that runs from the brick transformer, to an AC wall outlet, locks in with a red tab/switch (just like the power cord into the light locks into its yellow receptacle), ensuring that nothing yanks loose during a shoot.  Unfortunately though, compared to the Sokani products and many others, Aputure does not include any bag to carry these several accessories.  Worse, they don’t sell one or recommend one, thus you’re on your own finding something that carries the monolight, power supply, and detached Bowens-mount “Hyper Reflector” which kicks up the output from 6400 lux to 45,400 lux.

But that reflector casts a harsh circle around your target (even more than the prior Amaran product pairings), so for almost all use cases — to avoid a stark corporate video look — you’re going to need a modifier with difffusion.  I’ve got a winning favorite that I’ve touted before:  the Aputure Lantern which is a bargain at $89 USD.

This type of attachment is usually called a “China ball” on movie sets (a political incorrectness that actually just makes me giggle), not always the first choice for conventional lighting kits.  They’re most classically used for overhead lighting above a roundtable discussion — one great example, exposed in many shots, is the restaurant setting in Martin Scorsese’s Netflix series Pretend It’s a City with Fran Liebowitz.  But as a practical compromise, it casts a very diffuse and broad glow that minimizes shadows, compared to your next-best option such as the Aputure Light Dome Mini II which sacrifices maximum softness for a stronger and more directed cast.  And it still can mount facing forward, as seen above, casting a wide berth.  The Lantern instantly sets up and breaks down: you just latch one center support loop into a hook that you can see when peeking down into the bottom (in the picture at right), and those pre-installed “ribs” on the sides just warp into position. It literally takes about 5 seconds, and when collapsed, it’s nice and small, and packs into its included carrying case seen below, which in turn can fit into a bag for everything that includes a light stand.

Since portability and low cost is what distinguishes these products, I found a match in the perfect lighting stand for it, manufactured by Impact and sold for as little as $100 USD. Its best feature is that it combines light stand with boom, and a mounting hole at the end so you can attach a counterweight. Impact includes a saddle bag that you can throw anything into for adding weight, such as other batteries you brought with you, or bottles of water that you’ll be drinking when you pack up anyway.

The stand has a big knob to tighten the angle that doesn’t slip, and its magic trick is that the boom arm telescopes down into the vertical light stand! So you can skip the boom part if you don’t need it, and the stand adapter at the end can point straight up.

It’s reasonably small at 45 inches collapsed, but it can get up to 13 feet. For packing everything up but keeping to a low budget, there’s also a great padded bag that fits the stand perfectly from Ruggard costing under $60 USD, way below anything else I could find. It’s perfect for holding the light stand, and also the diffuser that we’ve added to this kit.

But if you don’t need the boom arm and rock-stability of the Impact stand, and want something super light and portable, then after a lot of research and experimentation, I’ve settled on the Kupo Handy Stand for $60 USD, which folds down to an amazingly short 19.2 inches but extends to a maximum height of 89.3 inches.  You might find your light swaying around nervously when you bump it, but so long as you spread the legs out fully horizontally, and point one of them in the same direction as your light, it should hold up!  And then, you’d best get a smaller version of the Ruggard bag to match the smaller stand.