ROUND TABLE
and safety planning required. Aerial work involves aviation regulations, risk assessments and coordination with stunt, camera and VFX departments as well as (almost always) local authorities. Another frequent issue is not getting rehearsal time, especially for complex moves involving actors, animals, vehicles or aircraft. DEF: A re there any common misconceptions about aerial filming, and how would you address them? JM: A common misconception is that aerial filming is simply ‘flying a drone’. In reality, it is a coordinated aviation operation involving licensed pilots, camera operators, safety officers and technical specialists. Aside from their creative and technical capabilities, crew training and experience involves being competent with aviation safety protocols and the technicalities of the aircraft being used. At MFL, while we strongly advocate for and encourage new talent, we also know that integrating inexperienced personnel into key aerial team roles can multiply the safety risk to the whole production crew. While drones have reduced costs compared to helicopters, high-end aerial cinematography still requires specialist crew, insurance, planning and premium equipment to successfully meet high cinematic standards. THE PRODUCTION TEAMS WERE AMAZED AT WHAT both drone units achieved ”
BIG-SCREEN TRICKS Dani Rose works on rigging up a biplane (above); the Marzano Films team setting up a major set-piece from Jurassic World Rebirth (below)
DR: One of the biggest misconceptions about aerial filmmaking is that drones have replaced helicopters on film sets. In reality, they are very different tools that serve different purposes, and most large productions rely on both. Drones are fantastic for fast, dynamic shots that can get right up to the action, especially when you are working in more confined spaces or very near performers or sets. They are also great tools for capturing VFX plates. At CineAero, we have used multicamera arrays on drones to gather plates from ground level up to around 1000ft, which would be difficult or inefficient to achieve via any other method. They are agile, quick to deploy and incredibly versatile. Helicopters, however, remain essential. They are able to fly longer, further, higher up, carry heavier and more complex camera packages and deliver a level of endurance and perspective that drones simply cannot replicate yet. For sweeping landscapes, extended chase sequences or shooting situations where reliability over long takes is critical, helicopters are still pivotal in capturing truly cinematic aerial imagery. Aerial filming is not about choosing one system over the other, but instead understanding the strengths and limitations of each platform and then using the right one for the specific story, environment and safety requirements of the shoot.
DEF: Everybody is talking about artificial intelligence right now. How do you see it having a tangible impact on your work, if at all? DR: AI is becoming part of the landscape, but its impact should be more practical than transformative. Creative decisions such as when to fly, where to place the camera, how a shot supports a story and performance are still very human. AI can streamline processes and reduce risk, but it doesn’t replace the judgement, experience and collaboration required to capture cinematic aerial footage safely and meaningfully. JM: AI is already influencing flight stabilisation, object tracking, obstacle avoidance and autonomous shot planning. A Marzano team used these features on a recent job in central London, working in an extremely sensitive area. We were able to provide real-time assurance to our stakeholders that our flight paths would remain adequately separated from historical architecture. In the short term, AI-driven previs, automated flight paths and post- production enhancements will speed up workflows and reduce risk. However, creative aerial cinematography still relies heavily on human piloting skill, artistic judgement and on-set collaboration, which AI will augment rather than completely replace.
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