DANI ROSE IN PROFILE
We hear from Dani Rose , director of the CineGroup and a driving force behind some of the most creative bespoke filming solutions of recent years
M y career has always been focused on all things aerial. I began flying RC helicopters in 2010, and quickly built up a skill base for flying, designing and building aircraft, often from scratch. In 2012, I made flying my full-time job and obtained my first commercial drone permit. In 2016, I got the opportunity to start working in film and television, where I built a reputation for delivering high-quality shots for action and stunt sequences. I started CineAero in 2021 with the aim to deliver the highest-quality aerial services in the industry. It quickly gained traction as a provider of bespoke aerial camera solutions and has now delivered systems to some of the biggest features in the world. We found we were being asked to provide more VFX plates with our multi- array camera systems on helicopters and drones, and felt it was the right time to separate that wing of the company –
so in 2023, we started CineArray and the CineGroup of companies was formed. A standout for me has been working on the Mission: Impossible franchise. I’ve been very fortunate to design and manufacture camera solutions which were key to some of the famous stunts on Dead Reckoning and the upcoming eighth instalment. These included a dual-head speed- flying rig, developed to capture a stunt in the Lake District; a quad-rail camera actuator system on Tom Cruise’s bike as he rode through Rome; and a fleet of multi-array camera systems for his most famous stunt to date – the motorbike jump off the cliff in Norway. That first rig was designed and built for one person – Malachi Templeton, an incredibly talented speed flyer. We were asked by second unit director and stunt coordinator Wade Eastwood to develop a rig that could capture Tom speed flying in a way never done before. It’s an incredibly fast and dynamic sport, so traditional methods weren’t possible. We worked backwards from the camera and lens DOP Fraser Taggart wanted. We then established whether a stabilised head was possible, working out the lightest gimbal that could give the performance we needed and the total weight Malachi would be flying with. I created a harness for Malachi that would let him fly under canopy with full performance from his wing, while also allowing him to release it in the event of a safety issue. The result was a rig with
ON THE NOSE (Above) Dani Rose prepares a Shotover camera system for a helicopter trip, and (below left) speed flyer Malachi Templeton gets ready for take off
twin stabilised remote heads, a 6K full- frame camera package, zoom lenses, long-range camera and lens control, plus long-range video transmission. The rig allowed Malachi to lead and follow Tom through the air, filming his descent while camera operators and focus pullers in helicopters in the skies above had full control over the cameras, as well as constant video link for ground and air coverage. It was a definite world-first, and very unique. The whole sequence on my side alone took a team of 12 people to coordinate properly – and we’re proud that we were able to deliver that solution. Seeing the hard work, not just from myself but the whole team, up on the big screen – and people’s reactions – is unbelievable. Working with these names and contributing to these stunts is the biggest honour of my career so far. I’ve been fortunate to turn my passion into a career, and have the trust of DOPs and directors to bring their visions to life. It’s been a lot of incredibly long hours and hard work to get where I am today, but I’m so grateful for each opportunity I’ve had – and that’s yet to come.
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