Pro Moviemaker Winter 2018

AERIAL FILMMAKER FRONTIER LAND

Dudes’ agenda, largely undertaken as passion projects, while music videos for the likes of Coldplay andMacklemore are also part of the mix. Often these are the jobs that provide the most creative freedom. Andrew recalls with relish a shoot for a video by Travis Scott where the teamwas flying inside an abandoned shoppingmall, controlling the on-board Movi gimbal from the ground while pyrotechnics were going off all around. Drone Dudes also offers what it refers to as a land-based drone, the FreeFly Tero, which is a sturdy remote control miniature vehicle with the capability to offer dynamic low camera angles. “It’s a nice platform to build off for other jobs we’re getting that are more industrial,” confirms Andrew. “It offers a lot of creative shots and it’s a cool remote control tool. It might not be what people commonly think of when they consider drones, but it has its uses. We’re also looking at working with underwater drones.” The Virtual World One of the most exciting areas that Drone Dudes has ventured into recently

while another big part of our business is commercials. Recently, we’ve shot for Coca Cola, working with Greg Frazier, who was DOP on Rogue One , and also Sky Mobil, Subaru and Royal Enfieldmotorcycles. Commercials pay well and it’s a niche we enjoy working in.” Interestingly, and demonstrating just how good entry-level UAVs have become in recent years, it’s DJI’s Inspire II – a model flown by many enthusiasts as well as one-person drone outfits - that’s considered the ultimate workhorse by Drone Dudes. It’s reliable, relatively easy to fly and incredibly versatile, and when it’s being flown by full-time experts, such as the pilots who work in this particular business, then results can look amazing. “Each drone is like a tool. One might be better for a job than another, but it’s always nice when we can fly a high quality cinema package on a drone,” says Andrew. While not as lucrative as commercials, documentaries feature heavily on Drone

month and a half of building this thing, it all worked.” The idea of a flying a REDwasn’t so easy to accomplish and attempts at customisation came to nothing. “It was really hard to fly a RED camera because its constructionmaterials weren’t as high quality as now,” says Andrew. “Nothing ever worked properly, and I was sometimes crashing drones and cameras, which was an expensive business.” flies REDs, along with the similarly upmarket Arri Alexa, using high-end, heavy lift drones like the Freefly Alta. “The Alta is where the line is drawn between professionals and prosumers,” he says. “Using a Movi Pro as a gimbal it gives unlimited creative options and you can work with full, cinema-level tools. “Because of this we can work with all the major studios on feature films, A Maturing Business Eight years on and Drone Dudes regularly

“This is an exciting frontier. Combining drones with full immersion is a great dynamic”

ABOVE Drone Dudes has been flying since 2010, a long time in UAV years. RIGHT Among the jobs taken on by the team there is the potential for night flying, using heavy lift drones.

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PRO MOVIEMAKER WINTER 2018

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