How Do You Fix Cameras to a Thames A-Rater?

Filming a Thames A-Rater sounds simple until you actually try to decide where the cameras should go.

Champagne is long, narrow, fast and lightly built. She has a tall rig, a large sail area and very little spare space once the crew are aboard. Every rope, fitting and movement has a purpose. Adding cameras therefore cannot be treated as an afterthought.

A camera mount must do several things at once. It must hold the camera securely, avoid damaging the boat, survive vibration and spray, stay clear of sheets and crew, and capture footage that is genuinely interesting.

That combination is much harder than simply attaching an action camera to the nearest convenient surface.

Why We Want Cameras on Champagne

There are several reasons for filming Champagne.

The obvious one is to create exciting footage of the boat sailing. A Thames A-Rater is visually dramatic. The long hull, tall mast, large sails and three-person crew create a very different picture from a conventional dinghy.

However, the cameras are not only there to produce attractive promotional videos.

They can also help us review what happened during a race or training session. Video can reveal whether a tack was smooth, whether the jib was released at the right moment, whether the boat was heeling too far, or whether we chose the best route around a mark.

A camera may also record details that the crew did not notice at the time. When sailing, everyone is concentrating on their own responsibilities. The helm is watching the course and the wind. The jib hand is watching sail shape and timing. The middle crew may be moving weight, adjusting controls and preparing for the next manoeuvre.

A camera quietly records all of it.

That makes the footage useful for storytelling, teaching, performance review and documenting the continuing restoration and development of Champagne.

The First Rule: The Camera Must Not Affect the Sailing

The most important principle is straightforward:

The camera must never make the boat less safe or harder to sail.

A mount might look strong when Champagne is stationary in the boat park, but sailing produces very different forces. The boat heels, accelerates, slows suddenly and changes direction. Sheets move quickly. Crew cross the boat. The boom swings overhead. Water, vibration and impact all place stress on the equipment.

A camera that blocks a control line, catches a sheet or restricts crew movement is in the wrong place, regardless of how good the view might be.

The mount must also have no sharp edges that could damage sails, ropes, clothing or people.

This means that every mounting idea has to be tested first without sailing. We can move around the boat, simulate tacks and gybes, pull the sheets through their full range and check whether any part of the system creates a new hazard.

Only then is it worth trying the mount on the water.

The Deck: Secure, but Not Always Interesting

The deck initially seems like the easiest place to fit a camera.

It is relatively stable, there are existing fittings nearby and a deck-mounted camera can capture the crew working. A wide-angle camera facing aft might show the helm and middle crew, while one facing forward could record the bow, jib and approaching marks.

However, attaching anything directly to the deck requires caution.

Champagne’s varnished surfaces are part of the boat’s character. We do not want adhesive pads pulling away varnish, clamps marking timber, or metal fittings creating pressure points.

Permanent drilling would be a major decision and should only be considered if a fitting had a clear long-term purpose.

For temporary filming, a better solution may be to use a padded clamp attached to an existing structural fitting, or a custom-made bracket that spreads the load over a larger area.

A rubber or neoprene layer between the mount and the boat can reduce scratching and vibration. The bracket should be shaped so that it cannot rotate under load.

The deck can provide useful footage, but the position must be carefully chosen. A camera mounted too low may record mostly crew legs, ropes and spray. One placed slightly higher can produce a much more useful view.

The Mast: A Dramatic View With Practical Problems

The mast offers some of the most exciting possibilities.

A camera looking down from the mast could show the full length of the boat, the crew movements and the water rushing past. A forward-facing camera could capture the river ahead, while an aft-facing camera could show the sails and crew.

This viewpoint could produce spectacular footage.

Unfortunately, the mast also creates several challenges.

The camera must not interfere with halyards, stays, sail movement or mast fittings. The mount must remain secure despite vibration and bending. It must also be fitted and removed safely.

Weight matters as well. Even a small camera and bracket add weight aloft. The effect may be modest, but on a performance sailing boat it is still worth considering. A bulky mount may also increase wind resistance or create an unwanted snagging point.

For these reasons, a mast camera should be as light and compact as possible.

A custom 3D-printed mount might be suitable, provided the material is strong enough and protected from sunlight and water. It could be shaped to fit around the mast without requiring holes or permanent alterations.

The mount would need a soft internal lining to protect the mast surface and prevent slipping.

It would also need a completely separate safety tether.

The Boom: Excellent Footage, but a High-Risk Position

The boom is another tempting camera position.

A camera mounted near the end of the boom can provide a moving view of the crew, sails and water. During tacks and gybes, the camera angle changes dramatically, producing footage that feels much more active than a fixed deck view.

However, a boom-mounted camera may also be one of the most vulnerable options.

The boom moves quickly and can experience sudden shocks. A gybe can place substantial forces on both the mount and the camera. The equipment may also be hit by sheets or crew.

We have already learned, on another boat, that camera mounts can fail when sailing forces become greater than expected. During a sudden gybe, a 360-degree camera boom mount broke and the camera was lost.

That experience changes how we approach camera mounting on Champagne.

A boom camera cannot rely on a single plastic fitting or clamp. The main mount must be strong, but the safety system must assume that the main mount could still fail.

The camera should have an independent tether attached to a separate secure point. Ideally, the tether should be short enough to stop the camera swinging dangerously if it comes loose.

A boom-mounted camera may produce excellent footage, but it should probably be treated as an occasional specialist position rather than the default mounting point.

The Stern: A Strong Candidate for the Best Overall View

The stern may provide one of the most useful camera positions on Champagne.

A camera mounted behind the crew and facing forward could capture the helm, middle crew, jib hand, mainsail and much of the river ahead. It would give viewers a sense of being aboard the boat without placing the camera directly in the crew’s working area.

This position could also be ideal for a 360-degree camera.

A 360 camera allows the viewpoint to be selected during editing. Instead of deciding in advance whether to film the crew, sails or riverbank, the camera records everything around it. The final shot can then be reframed later.

The difficulty is creating a stern mount that is high enough to see over the crew but not so long that it bends, vibrates or becomes vulnerable during manoeuvres.

A short, stiff pole is usually safer than a long flexible extension. The base would need to be fixed to a strong part of the boat or to a purpose-built bracket.

Again, any clamp would need padding to avoid marking the boat.

The stern position also creates the possibility of attaching a small protective cage around the camera. This would not make the camera indestructible, but it could reduce the chance of direct impact damage.

A Camera Facing Back From the Bow

Another interesting option is a camera placed towards the bow and facing aft.

This would capture the crew against the background of the mainsail and river. It could show how the crew move together during tacks and how weight is distributed along the boat.

The main challenge would be protecting the camera from the jib, sheets, spray and possible impact.

The bow is also a very wet part of the boat. Any camera placed there must be genuinely waterproof, not merely resistant to a few raindrops.

The lens would also need regular checking. A single water droplet can spoil an otherwise excellent sequence.

Hydrophobic lens coatings or replaceable lens protectors may help, but no system completely removes the need for inspection.

Safety Tethers Are Not Optional

Every camera on Champagne should have a secondary safety tether.

The tether should not be attached to the same part of the mount that might fail. If the clamp, adhesive pad or extension pole breaks, the tether must remain attached to something separate and stronger.

Dyneema line is a useful option because it is light, strong and resistant to water. However, the attachment points still require careful thought.

A tether should not be so long that a detached camera can swing into a crew member, damage the boat or become tangled in the rigging.

It should be just long enough to prevent the camera being lost while keeping it under control.

Where practical, the camera could also be enclosed in a small protective cage. This would provide another layer of security and give the tether a strong attachment point.

The objective is not merely to save an expensive camera. It is to prevent a loose object becoming a hazard.

Vibration Can Ruin an Otherwise Good Camera Position

A camera can remain attached perfectly and still produce unusable footage.

Long poles, thin brackets and lightly secured clamps can vibrate continuously. This may create a rolling or jelly-like image, particularly with small action cameras using electronic stabilisation.

The answer is not always to add more stabilisation in editing.

The best solution is to stop the vibration at source.

Mounts should be short, stiff and securely supported. A bracket with two attachment points will often vibrate less than one held by a single narrow clamp.

Soft padding can help protect the boat, but too much soft material may allow the camera to wobble. The mount needs enough cushioning to avoid damage without becoming flexible.

This is where prototype testing becomes valuable.

We can begin with a temporary mount, film a short sequence and then review the footage carefully. If the image is shaking, the mount can be stiffened, shortened or repositioned.

A camera position should not be accepted simply because the camera remained attached.

Waterproofing Means More Than Using a Waterproof Camera

Most action cameras are designed to survive water, but the complete system may not be.

External battery packs, microphone adapters, charging cables and connectors may all introduce weak points. Even the camera door or lens cover may not be properly sealed if it has been opened in a hurry.

For short sailing sessions, it is often better to rely on the camera’s internal battery and avoid unnecessary cables.

The camera should be checked before launching. Doors should be closed properly, lens protectors inspected and memory cards fitted.

Fresh water should also be used to rinse equipment after sailing, particularly if the boat has been used in dirty or silty conditions. Although Champagne sails on the Thames rather than at sea, river water can still leave deposits on lenses, mounts and moving parts.

Waterproofing is not a single feature. It is a routine.

Camera Angles Must Tell a Story

It is easy to become so focused on engineering the mount that we forget the reason for fitting the camera.

The footage must be interesting.

A fixed shot of the same section of deck for an entire race will not hold an audience’s attention. The best sailing videos combine several perspectives.

A stern camera can establish the full scene. A deck camera can show crew concentration. A boom or mast camera can add movement and drama. A handheld camera from the Whaly camera boat can provide external shots of Champagne sailing past.

The footage can then be edited together to create a clear sequence.

For example, a tack might begin with an external shot from the camera boat. The edit could then cut to a stern camera showing the crew preparation, followed by a deck camera recording the jib release and trim.

The audience sees the same manoeuvre from several viewpoints.

This makes the video more engaging, but it also makes the sailing easier to understand.

External Filming May Be Better Than Adding More Cameras

Not every shot needs to come from a camera attached to Champagne.

The Whaly 455R can act as a stable filming platform, provided it remains clear of the racing line and does not interfere with other boats.

External footage can show the shape and speed of Champagne much more effectively than an onboard camera.

A long lens can capture the boat from the riverbank, while the Whaly can record closer tracking shots. A camera placed near a mark can show tacks, gybes and roundings.

These external angles reduce the need to cover Champagne with equipment.

The best final video may use only one or two carefully positioned onboard cameras, supported by footage from the bank and the camera boat.

That is likely to be safer and visually stronger than attempting to mount a camera in every possible position.

Designing Our Own Mounts

Commercial action-camera mounts are useful, but they are designed for general applications. Champagne may require fittings shaped specifically for her layout.

This creates an interesting research and development project.

We can measure the mast, deck fittings, stern structure and available clearances. From those measurements, we can design brackets that fit accurately without drilling or damaging the boat.

3D printing is ideal for early prototypes.

A printed mount can be tested for size, camera angle and clearance before producing a stronger final version. Different shapes can be tried quickly and cheaply.

However, a printed part should not automatically be trusted simply because it looks substantial. Layer direction, material choice, wall thickness and temperature resistance all affect strength.

A prototype may be suitable for checking the fit while a final load-bearing mount could require a stronger printed material, aluminium reinforcement or a completely different manufacturing method.

The design process must always include a failure plan.

What happens if the bracket cracks? Where will the camera go? Could the broken part fall into the boat? Will the tether still hold?

These questions should be answered before the camera goes afloat.

Testing in Stages

The safest approach is to test each camera mount in stages.

First, fit the mount while Champagne is ashore. Move all the ropes, controls and sails that could come near it.

Next, have the crew simulate their normal positions and movements. Practise crossing the boat and carrying out tacks and gybes without actually sailing.

Then test the mount during a gentle sail in light conditions.

Only after the system has proved reliable should it be used during stronger winds, racing or more demanding manoeuvres.

After every sail, the mount should be inspected.

Small cracks, loose screws, stretched straps or signs of movement should not be ignored. A system that survived one outing may still be gradually failing.

Camera mounting should be treated in the same way as any other piece of sailing equipment: check it before use, watch it during use and inspect it afterwards.

What We Are Learning

The challenge of fitting cameras to Champagne is a good example of how apparently simple projects develop into real engineering problems.

We began with a straightforward idea: put cameras on the boat and film the sailing.

That immediately led to questions about loads, materials, vibration, waterproofing, crew movement, damage prevention and safety.

It also reminded us that the most visually exciting position is not necessarily the most sensible one.

The boom may create dramatic footage, but the stern may be safer and more reliable. A mast camera may offer an extraordinary view, but an external camera boat may capture the boat better without adding weight or complexity to the rig.

The correct answer may therefore be a combination of methods rather than one perfect mount.

Conclusion: Secure, Safe and Worth Watching

Fixing cameras to a Thames A-Rater is not simply a matter of buying a clamp and pressing record.

Champagne needs camera mounts designed around the boat, the crew and the realities of sailing. They must protect the varnish, avoid the control lines, resist vibration and survive sudden movement.

Every camera must have a proper safety tether. Every position must be tested. Every mount must be judged not only by whether it holds the camera, but also by whether it leaves the crew free to sail the boat safely.

The aim is not to turn Champagne into a floating camera rig.

The aim is to choose a small number of positions that tell the story properly: the speed, the teamwork, the movement of the sails and the distinctive experience of racing a Thames A-Rater.

When the engineering disappears into the background and the viewer feels as though they are aboard the boat, the camera mount has done its job.