THE PANEL
Round Table
John Marzano CEO, Marzano Films
A panel of high-flying aerial specialists gives us the view from the top
Olly Sugars Drone pilot, Flying Pictures
DEFINITION: WHAT TECHNOLOGICAL ADVANCEMENTS HAVE HAD THE BIGGEST IMPACT ON AERIAL FILMING IN RECENT YEARS, AND WHY? JEREMY BRABEN: One of the most noticeable advancements is that cameras have become smaller and better. Where we once would need a heavy-lift drone to carry a cine camera, we can achieve the same results with more compact, agile options like the DJI Inspire 3 with its 8K camera or a RED KOMODO-X mounted on an FPV drone. That said, there are still times when only a heavy lift will do; generally it’s dynamic range and lens choice that dictate this. The shift to smaller cameras also means multicamera arrays can now be used on drones. Our three- or six-camera, and even 360°, aerial arrays on the helicopter are proving popular for VFX. Our recent experiences working with Big Sky, Apple and Sphere have also demanded new
methods of integration and use of these large format cameras. EMMA BOSWELL: For us, the release of the RED V-RAPTOR 8K large format camera has done for FPV cinematography what ARRI’s ALEXA Mini did for heavy-lift drones. For an 8K cinema camera, the V-RAPTOR is remarkably compact, making it ideal for FPV drones. We fly it with the DJI RS 3 Pro on a compact FPV drone, allowing incredible agility, which unlocks huge creative possibilities. With this set-up, the drone can dart and weave through trees at high speeds with a 90mm cinema lens, complete with lens control. That’s how we captured the broomstick chase sequence for Wicked . With this same set-up, we also shot a tracking sequence alongside racehorses at full speed on a 130mm lens. It’s a game-changing combination that has completely transformed how we approach shot planning for FPV.
Emma Boswell Co-founder and CEO, The Helicopter Girls
Will Banks Camera pilot, Aerial Film Company
Jeremy Braben Founder, CEO and aerial DOP at Helicopter Film Services Ltd
TAKE TO THE SKY Some sweeping landscapes and high-speed chases can only be captured from the air – The Aerial Film Company has this covered
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