AERIAL GEAR.
payloads and usually yield about six minutes maximum flying time before a battery change is required. The Inspire 3 can stay aloft for over 20 minutes, which is very useful on a film set.” HYBRID APPROACH Miller details a modernised version of a crane move using the drone, where it starts high in the air, descends, then is caught by grips on the ground as the rotors are switched off. “They carry the aircraft, so it then becomes purely a gimbal shot that I continue to operate,” he explains. “We’ve done this very successfully on several films lately. It’s a potentially dangerous manoeuvre that requires a lot of rehearsals and concentration, as there are many components and technicians at work. If executed properly, you’ll never see the transition.” Drone pilot Carys Kaiser says a lot of thought goes into choosing the right aerial kit for the job.
seeking to push boundaries and captivate audiences with awe- inspiring visuals. Once limited to only a handful of options, there’s now an abundance of choice for the modern cinematographer and drone pilot. “DJI released the new Inspire 3 drone with the X9-8K full-frame sensor and dual ISO – among other things,” says Darren Miller ACO ( The Crown , The King’s Man ). “It’s ground-breaking tech and we now have one in our arsenal. However, a heavy-lift aircraft like the Freefly Alta 8 or Alta X, or VulcanUAV Raven would be our go-to aircraft if the production wants to fly a Sony Venice or Red Monstro, for example, with either spherical or anamorphic lenses. These are extremely heavy
much wind,” he adds, explaining how this can cause objects from the set to be blown around. “I will use different cranes depending on the height needed,” Selva continues. “Whenever possible, I like a crane I can ride on, so I can operate the shot directly from the point of view of the camera. This is much more intuitive than controlling from the ground with a joystick. I like a GF-8 from Grip Factory Munich or a Foxy Panther. For shorter moves, a Felix by Movietech is also a great choice. And for remote shooting, the Scorpio cranes and Supertechno telescopic cranes are fantastic.” RISE OF THE ROBOTS The innovations of recent years have propelled aerial filming to
GET TO THE CHOPPER Battery limitations mean that camera drones still can’t compete with the enduring helicopter in many applications
“It’s a potentially dangerous manoeuvre that requires a lot of rehearsals and concentration”
new frontiers. The introduction of lightweight, high-resolution cameras, coupled with increasingly sophisticated drone technology, means that filmmakers have gained unprecedented creative freedom. Aerial cinematography has now been democratised, completely transforming the industry. Moreover, drones have brought about a new era of versatility and efficiency for aerial filming. They can be equipped with a wide range of cameras and accessories, enabling filmmakers to capture cinematic footage in any setting. Whether it’s capturing wildlife in its natural habitat, documenting extreme sports or shooting dynamic action sequences, these machines have become an indispensable tool for filmmakers
All-out aerial action
JOHN MARZANO, FOUNDER OF MARZANO FILMS, DESCRIBES SHOOTING THE AERIAL SEQUENCES IN MEG 2: THE TRENCH “In Meg 2 , we used a combination of technologies to produce the finished article for the aerial sequences. On one hand, we were using the Mini Eclipse, an airborne, helicopter- mounted, military-grade camera system with a state-of-the-art high-resolution camera. We fixed a fish-eye lens for all the background plates, then we shot spherical for all the air-to-air stuff. Coupled with that, the other half of the team – the drone boys – were out on a catamaran flying state-of-the-art FPV hybrid drones, filming stunt sequences for Jason Statham as he was racing around on jet skis.”
33. AUGUST 2023
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