ROUND TABLE
DEF: WHAT ARE THE MOST COMMON MISCONCEPTIONS ABOUT AERIAL FILMMAKING AND HOW WOULD YOU COUNTER THEM? JB: There’s a misconception that drones have completely replaced helicopters in aerial filming. While drones are versatile and cost-effective, helicopters are still preferred for some high-speed manoeuvres, as they can carry larger camera equipment and operate in more challenging weather conditions or over longer distances. The choice between drones and helicopters depends on the specific project requirements, including the desired shot type, environmental conditions and budget. We look at the requirements and advise accordingly. WB: One of the biggest misconceptions in aerial filmmaking is that one tool fits all – that a drone can do everything a helicopter can and vice versa. In reality, the most successful productions use both to their strengths. Helicopters provide range, endurance, speed and the ability for directors and DOPs to see shots unfold in real time and make adjustments mid- flight. They’re essential for high-speed tracking, big landscape shots, carrying full-scale cinema cameras and flying over congested environments where drones can’t due to regulations. On the other hand, drones excel in low-altitude precision, navigating tight environments safely while adding agility to scenes. That’s why we see helicopters and drones not as rivals, but complementary. This approach allows productions to seamlessly integrate both. The result? Smarter shot design, creative flexibility and aerial sequences that suit the storytelling.
WE LOOK AT the specific project requirements AND ADVISE ACCORDINGLY” ‘Anyone can fly a drone’ – safe and effective drone operation requires skill and responsibility; proper training and certification are essential. But flying the drone is only half the story – it’s about integrating onto a larger set, developing shots and adding to the director’s vision. JM: It’s widely believed that a drone can replace a helicopter for all aspects of aerial filming. This is not the case. While drones are highly versatile, helicopters still lead the way for high-altitude operation, high-speed tracking and carrying heavy kit such as IMAX and large zoom lenses like the Angénieux Optimo Ultra 12x. Drones have more wind and weather limitations, and batteries result in limited flight times. In certain cases, the regulatory constraints are more inhibitive for drones than those EB: It’s a common misconception that you can buy a drone off the shelf and operate it at a professional level. While consumer drones are widely available, truly staying ahead of the curve and delivering the best to clients requires being both a tech and drone company. We invest heavily in R&D, constantly refining our systems and capabilities to push the limits of what’s possible. In reality, drone units are highly demanding. Every rehearsal is effectively a take and every take is different. There’s little to no time for traditional rehearsals, meaning we must adapt in real time, adjust on the fly and perform at the highest level under intense pressure. OS: ‘It’s just about getting the camera in the air’ – absolutely not! Aerial filmmaking requires careful planning, technical expertise and a strong understanding of composition and spatial relationships.
of a full-sized helicopter. An experienced aerial filming operation should be able to guide the production team in choosing the most appropriate and cost-effective tool for the shoot. Some filmmakers assume that hiring a drone and crew is cheap, quick and doesn’t require planning. Professional aerial cinematography involves expensive equipment, a skilled crew, meticulous flight planning, permits and insurance. Corner cutting ultimately leads to safety risks and legal issues. Pre-production planning addresses this misconception and broadens production teams’ knowledge of what’s possible. It’s also assumed that drones can fly anywhere. This is not necessarily the case either. Any drone over the 250g max takeoff weight can’t be flown over active airfields or other sensitive sites and can’t be flown in congested areas without meticulous flight planning and permissions. Many larger studios also prohibit drone flights over the heads of cast, crew and members of the public. The VFX department, while brilliant, can’t always fix poorly framed, exposed or focused aerial shots, so it’s vital that the drone team work in harmony to achieve great shots and avoid costly corrective post-production processes. DEF: HOW DO YOU ENSURE AERIAL FOOTAGE ALIGNS WITH THE CREATIVE AND LOGISTICAL GOALS OF DIRECTORS AND OTHER DEPARTMENTS? JB: Communication is key! Getting a clear brief, storyboard and ideas from directors and obtaining scripts at an early stage provides the aerial DOP and coordinator with a foundation on which to build aerial sequences and shots that work. We use our knowledge and experience to deliver directors’ visions, and in some cases offer a different approach to achieve this. A vital element of any aerial team is, of course, effective communication and understanding between the pilot and aerial camera operator. WB: To deliver the director and DOP’s vision, the aerial team needs to be part of the conversation from the start. When we’re involved at an early stage, we can align the creative intent with technical execution, ensuring everything is achievable within regulations, budget and logistical constraints. Our job is to
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