Flying The Red Epic - One Year After

My mother used to tell me when I was a child that time passes faster as you get older. This made no sense to me at the time but is all too crystal clear to me now! It certainly doesn't seem like a year has passed since we arrived on location at scenic Kenyon College to begin filming Josh Radnor's latest feature film "Liberal Arts". We were excited to meet Josh and the crew and just as excited to get our first go at putting the Epic in the air.

Having flown the more substantial Red One years earlier, there was little concern about the rig's ability to comfortably carry the 12 lb. load. The real question was - how well would this new camera play with the airframe? There are engineering tools such as modal analysis and calibrated shaker tables that can be used to determine if the natural vibration frequencies generated by the airframe might prove problematic for the camera, however in this instance, the time needed for such testing was a luxury not afforded. Any such concerns were quickly assuaged when word came back that the test footage looked "awesome".

 The rest of the day was spent blissfully moving from location to location, flying over country roads, cornfields and the occasional church steeple. The combination of 5K camera and industrial helicam worked flawlessly and has ever since.

By the way, make it a point to catch this film when it is released this fall. It was the only film at Sundance (that I recall) receiving a standing ovation, and rightfully so.

That is how flying the Red Epic began and 12 months and dozens of projects later, we continue to refine our systems and techniques. We have since added a fully kitted Red Scarlet X to our stable of high rez pixel makers earning their keep.

Often we are asked if we are ever concerned flying such expensive cameras. The answer would most certainly be yes if not for the following: We have 10 years experience flying the airframes we currently use with 10 lb. payloads. As chief pilot, I have over 30 years experience flying remotely piloted helicopters, much of which was spent as a world class competition pilot and UAV pilot for two of the world's largest defense contractors. Over the last ten years and countless flights, we continue to have a perfect safety record. This is not due to incredible good fortune, but rather a testament to proven flying, testing and maintenance procedures.

Another question that we are often asked is - why do you use a single rotor helicopter versus a octocopter or mulicopter to carry these cameras? The short answer is, what we currently fly is a known quantity that has yielded proven results for 10 years. To further elaborate, our large helicams have longer flight duration, better visibility, higher top speed with payload and proven reliability.

During the last 10 years we have never been forced to land due to an engine failure for example. For this system to provide smooth footage, the engine must be perfectly tuned every single flight. The side benefit of this requirement is, the engine will make a different sound if not perfectly tuned. Think of this as a continuous audible warning device. As long as the sound being made is of perfect tune, all systems are go.

With an all electric\electronic power system, power system status must be downlinked to the ground. If the camera operator is continuously watching this readout, odds are they are not framing the perfect shot. We are currently evaluating using multicopters as another tool in our hanger.

Will we strap on a $50k digital cinema camera? Not right away. We clearly understand that to fully prove a flight systems reliability takes years and thousands of flights. Anyone who thinks otherwise had better have mighty deep pockets!

For more info, please visit http://www.perfectperspectivesaerial.com