ROUND TABLE
never impose limitations: we’ll work with every department on a production, as well as with aviation authorities, to make sure we can deliver exactly what’s required. This is much more straightforward when we have complete information about the requirements early on. So often, productions are ill-informed – by well-meaning individuals without full knowledge of equipment, machine capabilities and regulations – about what is and isn’t achievable. Our past experience can help inform productions on the visual language that’s possible by utilising the right platform in combination with the best-suited lenses. It’s all too easy to slap a 12x zoom onto a gimbal to capture everything, but sometimes films are better served by bolder options like extreme wide-angle, vintage or anamorphic lenses. Our job is to empower the creatives; whether it’s in capturing a high-speed car chase, stomach-turning aerial battle, shooting landscapes in that perfect light or performing a seamless VFX pass, we’ll make it happen. EB: It’s essential to be able to plan in detail with other departments, including locations, ADs, camera and VFX. The location team in particular is hugely important to the success of drone shoots. Back in Action is a great example of a huge team pulling together to close down large areas of London along the Thames and execute a wildly ambitious stunt that included lots of FPV and heavy-lift drone work. This was achieved through multiple recces, briefings, studying the previs and concepts shared by the creative team, discussions identifying potential hazards and safety concerns and ultimately rehearsing so that every detail could be executed as planned. As a drone unit, we have to be able to adapt to changes in conditions on the day, so our goal is to pre-empt what we can. By addressing details beforehand, we’re minimising unnecessary resets while maximising efficiency and flight time, and allowing the director to confidently get their shot. This level of preparation is especially critical on high-pressure sets where time is limited and every take matters. When everyone is on the same page before takeoff, we can focus fully on the execution of a precise, dynamic and visually compelling shot.
NEED FOR SPEED For The Helicopter Girls (above) and Helicopter Film Services (bottom left), planning and coordination with location teams is essential for securing drone flight permissions
OS: For us, there are three key factors for ensuring that both artistic and logistical goals are met. Firstly, collaboration and coordination between departments so that aerial shots integrate smoothly into the overall production. Secondly, communication and open dialogue with the director and DOP to achieve the desired movement, angles and storytelling impact. Finally, experience: a deep understanding of production that allows for creative problem-solving and precise execution. JM: From a creative perspective, an accomplished aerial operator with a wealth of experience will provide the creative team with ideas and solutions for the shots required for the sequence. With the VFX team having ever-increasing responsibility for a film’s look, the aerial DOP should have in-depth understanding of VFX workflows. The entire drone team needs to work together as a cohesive unit to ensure efficiency and creative success. DEF: HOW DO YOU DECIDE BETWEEN USING DRONES, HELICOPTERS OR OTHER AERIAL PLATFORMS FOR SPECIFIC SHOOTS? JB: As a full-service provider, and one who has both helicopter and drone tools in- house, we can look at an aerial sequence holistically. Both helicopters and drones
have their merits and shortcomings, so understanding these allows for a more informed choice rather than blindly offering a piece of equipment. In some cases, even a drone isn’t the right choice for a low-level, timed sequence – a wire system might allow for a better, more repeatable solution. Helicopters can fly in a greater variety of weather conditions, as well as higher and further than drones. A multi-location task might take minutes or hours between locations in a helicopter, rather than days for a drone. The shots look different too – there’s something distinctive about a helicopter shot, but an FPV drone shot is also very different! WB: Our in-house aerial DOP is highly experienced with helicopters, high-speed fixed wings and drones, understanding the nuances of which precise platform’s strengths play well for the requirements of any given production. Drones excel in tight environments, capturing low- altitude, close-proximity shots safely and efficiently. Helicopters, on the other hand, offer endurance, speed and flexibility, making them essential for high-speed tracking, large-scale landscapes and complex sequences requiring multiple shots in a single sortie. For example, when filming a desert car chase, a helicopter with a SHOTOVER system delivered dynamic, fluid shots at high speeds –
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DEFINITIONMAGS
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