ROUND TABLE
JM: Aside from regulations, another significant challenge is battery life and flight duration. Our teams must ensure power packs are kept charged throughout the day to ensure the drone is available to fly at any time. Conversely, to ensure longevity and effectiveness, LiPo batteries should not be stored fully charged for significant lengths of time. After a shoot, batteries should be discharged before being stored. Drones are susceptible to control signal failure, degradation or lack of GPS signal. It’s vital that the drone team check for potential radio interference and adequate GPS signal before commencing flight operations. Drones and helicopters have limits on what they can carry as camera systems. Therefore, choosing lightweight cameras and lenses is essential for prolonging flight duration. Aerial filming budgets are always under pressure from the production team, so it’s a challenge to provide the right level of equipment with sufficiently experienced crew to operate it. This is equally applicable to helicopter filming. It’s definitely not the case that cheaper is better, and an experienced aerial team with the right equipment will ultimately save the production time and money through their efficiency. DEF: HOW DO ENVIRONMENTAL FACTORS LIKE WEATHER SHAPE YOUR APPROACH TO A SHOOT? JB: Thorough site visits and pilot recces are essential. Various weather factors can pose challenges, but an experienced aerial coordinator can help directors and location managers navigate them, ensuring safe and successful outcomes. WB: Aerial cinematography is a game of opportunity. You can plan for weeks, but you also need to be ready to fly at a moment’s notice when the perfect light, sky and conditions align. Flexibility is essential, as weather can shift in an instant. When it does, delays in sourcing aircraft and waiting on rented equipment or even crew members can mean losing the opportunity to capture those ideal conditions. We now own our helicopters and camera systems, and have a range of lenses and camera bodies – so we’re always ready to move when nature opens a window! Winter is often seen as a challenge, but in reality it offers crystal-
the UK and Europe. Client demand, and our experience, has led us to apply for permissions to operate in the EU with the same level of equipment that we fly here in the UK. To do so, we’ve spent many months developing parachute systems and creating a safety case that will set The Helicopter Girls (THG) apart as the only company authorised to fly a payload as heavy as our 360º four-camera array in congested areas. For on-set crew it can be challenging to navigate complex environments and balance creative vision with the real-world constraints of filming in a city, for example. We tackle this by being meticulous in our planning with the production, and making sure the creative team are on board with the way a shot needs to be approached. Early engagement with the key decision- makers makes all the difference. As one of a very small number of women in our technical and creative field, I would also say that recruiting a diverse crew continues to be a real concern that needs addressing across the board. OS: Drone laws are constantly evolving, and navigating bureaucracy is time- consuming and laborious. Drone tech is advancing rapidly, and often outpaces legislation. Staying compliant requires ongoing monitoring of legal changes and working closely with regulatory authorities to secure necessary permissions.
clear visibility, breathtaking golden-hour light and dramatic land and cityscapes – if you have the ability to act fast. We monitor weather patterns at an obsessive level, analysing wider weather across the continent, including high-level winds and low- and high-pressure areas. When the conditions align, we don’t hesitate. EB: Focusing on weather, most drones are now robust in winds of 25mph, but rain has always been a problem. Aircraft like the Freefly Alta X and DJI Inspire 3 lack any kind of weather rating, and their electronics aren’t weatherproofed. Exposure to water can cause system failures, so flights in wet conditions are highly risky. Even in light drizzle, water on the lens can render the shot unusable, eliminating any potential benefits of taking the risk. I’m thrilled to say that this is about to change. At BSC Expo, The Helicopter Girls is unveiling the first rainproof film drone: the Hydra, built to withstand heavy showers, which means no more need for last-minute rescheduling! It’s a heavy-lift hex system, the gimbal and full cinema camera package can be weatherproofed and, with a rain spinner on the lens, it will be a game changer for productions. OS: With environmental factors having a huge bearing on safety and shot quality, conditions like high winds and moisture need to be carefully assessed before and during the shoot – and filming postponed if risks are too high. We scout the terrain in advance, planning optimal flight paths, line of sight and safe operating positions. Lighting is key, so we also collaborate closely with aerial and ground DOPs to maximise natural light and aim for the highest image quality and visual impact. JM: Effective pre-deployment planning should help mitigate disappointment, but weather is a very changeable beast! Flying over water also presents its own set of difficulties, especially for drones. If the operation requires the drone to be flown out from a boat, consideration must be given to the failure modes chosen. It’s no good the drone returning to its ‘home point’ on land if the boat has moved away from that established position. Recceing proposed operational areas allows pilots to judge how local environmental conditions might affect the operation.
TESTING TERRAIN Flying Pictures assesses conditions closely before and during shoots
33
DEFINITIONMAGS
Powered by FlippingBook