MARZANO FILMS & THE HELICOPTER GIRLS ADVERT I SEMENT FE ATURE .
“What’s most rewarding for me is the amount of faith our clients have in our abilities... it’s a pleasure to feed into the creative process” “Our Alta X drones can carry roughly 35kg,” explains Nelhams-Wright, “which means flight times are less limited, and we can use kit that’s never before been possible.” “Our ability to react very quickly to new cameras and lenses is one of our greatest strengths,” adds Marzano. “When products are released, making them viable aerial tools as soon as possible is critical, because productions want them.” Beyond expanding existing tools, the partners have been leading the way with all-new set-ups. By combining the speed and agility of FPV drones with the camera tilt-and-pan control of larger aircraft, never- before-feasible shots have been captured. “We’ve saved second units hours of set-up time, because they haven’t needed to lay track or rig complex wire cam systems. Not only are we able to achieve the same shots they’d manage through those means – we’re moving the camera in ways they’ve never seen,” Marzano enthuses. “People will certainly catch up with the flight element soon,” Nelhams-Wright continues. “But from the get-go, we’ve had lens control, video downlink and run/ stop. Those features are much harder to incorporate. FPV hybrids have brought a new language and energy to sets.” Of course, the truly irreplaceable pieces of the puzzle are not the tools, but the people. Head of operations Emma Boswell is endlessly proud of the team the partnership has built. “We have two of the best pilots in the UK, both on the helicopter and drone sides,” she says. “They’re not fazed by anything, which is crucial with such high stakes and challenging payloads. There’s
WOULD YOU BELIEVE? Between advanced, super-heavy lifting drones, cutting-edge FPV hybrid set-ups and customisable helicopter systems, a whole new range of camera kit can be used to capture previously inconceivable shots
a lot of advanced technology in aerial cinematography and it must all work together seamlessly. The team’s experience, confidence and preparation are essential.” “What’s most rewarding for me, as an aerial DOP, is the amount of faith our clients have in our abilities. Directors and DOPs regularly ask if we can bring their ideas to life in fresh ways. It’s a pleasure to feed into the creative process,” Marzano tells us. “That trust is a result of our collective experience.” With sights fixed on the future, Boswell takes a moment to examine the company’s trajectory – and role in the industry. “We’ve always had a drive to use aerial cinematography right in the heart of scenes, and we’re able to do that now more than ever,” she concludes.
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47. MARCH 2022
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