ROUND TABLE
JOHN MARZANO Director of Marzano Films
Marzano has been in the industry since the earliest days of modern aerial cinematography, building a career that now spans more than 35 years. An associate member of the BSC, he leads a specialist team delivering premium aerial imagery via drones and helicopters. With over 300 feature film and high-end television credits, Marzano Films is regarded as a world leader in aerial cinematography.
DANI ROSE Director of CineAero & CineArray With more than a decade in the industry, Rose has held key tech roles including drone pilot, array technician and Shotover technician. He’s been trusted with designing camera systems worn by Tom Cruise during skydiving jumps, and even served as lead rigging technician for the biplane sequence on Mission: Impossible – The Final Reckoning . His credits include Star Wars: Starfighter and Masters of the Universe .
THE VIEW FROM ON HIGH An FPV drone cam used in the Jurassic franchise (left) and a 3+1 array for the Shotover K1 (above)
DR: Aerial shots often look simple on screen, but they rely on early creative alignment, technical planning and coordination across multiple different departments. The most successful productions treat aerial filming as an integral part of the overall filmmaking process rather than as a bolt-on. When aerial teams are involved early alongside the director, DOP, stunts, locations and health and safety, it allows for better shot design, safer execution and stronger results on screen. JM: The most common issue is underestimating the time, permissions
has been integrated into the creative and logistical plan from the outset. Having an operational planning team is essential and the wealth of experience we have at Marzano Films Limited (MFL) is unsurpassed by any other operator. Engagement with the production unit at an early stage helps ensure any aviation- based regulatory requirements are met. DR: Agreed. Aerial work involves many moving parts, from securing the correct permissions and approvals in advance to having detailed creative conversations with the director and DOP about what the shot needs to achieve. Multiple stages
need to be aligned before a shoot day. As the saying goes, failure to prepare is preparing to fail! A clear, concise shot plan is essential. It allows the pilot and camera operator to understand the intention of the shot and execute it accurately, while ensuring coordination with any departments involved, such as stunts or grips. When everyone is aligned before the aircraft leaves the ground, the chances of delivering a successful aerial shot increase dramatically. DEF: Is there anything productions tend to get wrong when planning how to capture aerial shots?
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