Cincinnati Drone Aerial Photography

 FIRST IN CINCINNATI DRONE FLIGHT

Did you know that Perfect Perspectives was the first commercial drone service company to operate in Cincinnati Ohio? Beginning in 2005, Perfect Perspectives began capturing aerial photos and video from custom built radio controlled helicopters. As a matter of fact, Perfect Perspectives is accredited by the BBB as "Ohio's Most Experienced Drone Service Company". Today there are over 100,000 FAA Part 107 certificated pilots but when we began offering drone aerial imaging 14 years ago in Cincinnati there were none.

To learn more, please contact Perfect Perspectives at -

https://perfectperspectivesaerial.com/

Commercial Drone Industry Best Practices

                                                 

The following list contains recommended guidelines for Part 107 Commercial Drone Operations that are intended to promote a positive image for this rapidly evolving industry.

Safety

• Although not a regulatory requirement, notify nearby airports and heliports of your operations. This promotes a spirit of cooperation with the manned aircraft community and helps avert misunderstanding and minimizes overreactions.
• Wear high visibility reflective vests. When working near streets use traffic cones and signs in order to avert causing traffic accidents. 
• Don't fly close to vehicle traffic in a manner that would cause a distraction and possible accident.
• Maintain a safe distance from Cell Towers, Electric Transmission Towers, Radio Transmission Towers and other high intensity RF transmitters.
• Always evaluate surrounding obstacles before flight relative to an unexpected return-to-home (RTH) event.
• Don't fly waypoint missions if there is a high probability that persons or vehicles will enter the flight zone during the flight.

Privacy

• If you can, tell other people you’ll be taking pictures or video of them before you do so.
• If you think someone has a reasonable expectation of privacy, don’t violate that privacy by taking pictures, video, or otherwise gathering sensitive data, unless you’ve got a very good reason.
• Don’t fly over other people’s private property without permission if you can easily avoid doing so.
• Don’t gather personal data for no reason, and don’t keep it for longer than you think you have to.
• If you keep sensitive data about other people, secure it against loss or theft.
• If someone asks you to delete personal data about him or her that you’ve gathered, do so, unless you’ve got a good reason not to.
• If anyone raises privacy, security, or safety concerns with you, try and listen to what they have to say, as long as they’re polite and reasonable about it.
• Don’t harass people with your drone.

General

• Don’t offer services without required credentials in your state such as mapping (surveyor's license), thermal imaging (ASNT certification) and building inspection (inspector's license).
• Avoid flying close to wildlife. Don't fly in wildlife protections zones or near nesting birds.

As a pioneer is commercial drone operations, Perfect Perspectives Aerial Imaging is committed to advancing the industry in a positive manner.

http://perfectperspectivesaerial.com/

Key Considerations When Selecting A Drone Filming Company

Currently in the U.S. there are over three thousand FAA Section 333 approved drone service providers and many, many more rogue (unauthorized) operators. As word spreads throughout various industries that a legal (although cumbersome) option exists for limited commercial drone use, more and more companies are insisting on only using Section 333 authorized companies for their drone aerial filming needs. Here are a few reasons why:

In general, well established businesses don't want to risk getting into scrapes with the Federal Government or having to deal with the negative publicity that often results when things go south. The media continues to sensationalize anything negative associated with drone use, no matter how trivial it might actually be. Larger companies also don't want to risk having an entire production shut down unexpectedly by the FAA. Using only an FAA authorized provider is also preferred for liability reasons.

A down side of using a Section 333 provider is more planning is required, which can result in significant delays in a production schedule in some cases. A perfect example of this is the requirement to obtain a written letter of agreement from airport management when flying within controlled airspace. As a matter of fact, at this point in time it is just about impossible to get such approval flying near any of the 12 largest Class B airports in the country. This might sound like an infrequent issue until you look at an aviation sectional chart or Airmap.io (a great resource). Every moderately populated part of the country is densely littered with airports and heliports.

In our part of the country, over 50% of our business inquiries want to shoot within 5 miles of an airport. The main reason for this is many desirable filming locations (and subjects) are situated within population centers, and consequently, near airports. At times we have had airports provide written approval in less than 24 hours. In other instances, like in Frankfort Kentucky for example, a drone shoot had to be canceled because the approval was going to take over a month to obtain, once the airport's board and legal departments got involved.

There is also another compelling reason to only use an FAA authorized drone company. There is considerable time and expense associated in becoming authorized. Companies willing to put forth this effort are almost always committed professionals. Consider that less than 1% of the U.S. population are certificated pilots. To become a pilot requires intelligence, dedication, good decision making skills and hard work. These same exact qualities are what most people want in a company they are going to do business with.

With these thoughts in mind, here is a list of the top 10 things clients want from a professional drone aerial cinematography company, based on our 11 years in this business:

10. Drone pilots who can get technically difficult shots without putting the cast/crew at undue risk.

9. A company that brings at least 2 of everything and is also good at improvisation.

8. A company that's flexible and doesn't slip in extra charges for minor gear changes.

7. Drone Pilots who have the flying skills/gear to get epic, attention grabbing shots, above and beyond the same basic moves the everyone else is doing, even in less than perfect conditions.

6. A crew that are not only drone experts but camera/video production experts as well.

5. The ability to move from location to location and deploy in only a few minutes.

4. A company that is adept at dealing with the public and law enforcement concerns.

3. A company that is equipped with latest cutting edge drone/camera technology that is currently evolving very rapidly.

2. A company that can meet the current Section 333 exemption rules and still get viable results.

1. A company that doesn't oversell it's capabilities.

                  Freefly Systems Alta flying Red Dragon 6K UHD camera
                             

Single or Multirotor Rigs for Professional Aerial Cinematography

With the exponential increase in sightings of multirotor aerial rigs, one might think that they are the cat's pajamas for low altitude aerial cinematography; and in some cases, they are the perfect tool for the job. But one might also be led to think that they are far superior in every aspect of close range aerial cinematography. But to assume this would be a serious error.

The primary reason for their sudden increase in popularity centers around the fact that, to a great extent, the on-board flight control system does most of the actual flying, with the pilot left to provide occasional control inputs to guide the rig along the desired flight path. Without this flight control, these aircraft are quite unstable. This assistance with control allows many lesser skilled pilots to quickly get into the aerial filming game.

Another difference is, compared to the traditional single rotor platforms we are all so familiar with, the need for advanced mechanical skills is displaced by the need for knowledge in advanced electronics.

On the supply side of the equation, vendors selling "ready-to-fly" or RTF rigs, are making a killing on would-be aerial cinematographers at the moment, and so, are perfectly happy to lead the uninitiated into thinking this is a buy/charge/fly/film proposition. It is impossible to appreciate the various skills needed to build, maintain and operate an aerial rig proficiently until, in many cases, it's too late. Many of our recent clients have reluctantly admitted to us that they had purchased these rigs and promptly proceeded to confirm Newton's first law of motion with them. All one needs to do is ask around camera rental houses to hear horror stories of Red Epics plowing into the ground attached to a variety of "heavy lift" octocopters. There is a very good, and hopefully obvious reason, why senior commercial airline pilots are excellent, highly skilled pilots, even without using advanced auto flight systems.

When we first started out, 10 years ago on our adventure to provide cinema quality aerial filming from RC platforms, we thought that the most important thing we needed to learn was how to not let the vibration and unwanted movements of the helicopter disturb the cameras images. Granted this was a major challenge but we also learned there was so much more we needed to know. Things like dealing with changing wind intensity and direction, crew safety, not running into things (situational awareness), staying focused on the task under time pressure and multiple distractions. All of these skills did not come quickly or easily. Please keep in mind that these observations are coming from one of the world's most experienced, world-class professional RC pilots. Even with over two decades of top level flying experience, there was still an enormous amount to learn to be fully qualified to fly on a movie set.

It is often said that true learning follows the 70-20-10 rule, whereas 70% is learned by doing, 20% by observing others with experience and the last 10% by more formal training. This certainly applies to becoming a proficient aerial filming pilot.

Because of the rapid proliferation of multicopters, there continues to be a corresponding amount of misinformation surrounding them related to single rotor platforms.

1. "Multirotors are more stable than single rotor helicopters." False. A single rotor helicopter is far more aerodynamically stable. Using a very sophisticated flight controller, the multirotor is slightly more stable than a properly tuned single rotor platform - sans autopilot. This same flight control technology is also available for single rotor helicopters, which, if used, yields a platform that is far more stable in high winds, taking advantage of its inherent stability combined with flight control.

2. "Multirotors are more efficient than single rotor platforms." False. Using the same flying weight and camera payload, and using the same battery voltage and capacity, the single rotor helicopter provides more total thrust and endurance. Because approximately 15% of the single rotor helicopter's power output is used for torque compensation (driving the tail rotor) some mistakenly think this throws the advantage to the multi. Even with this portion of total power not going to overall lift, the single rotor will still outlift the multirotor by 20%-30% due to the larger aerodynamic economies of scale.

3. "Multirotors are more reliable than single rotor platforms." False. Multirotors are often presented as having more redundancy than a single rotor, due to having 6 or 8 propellers. The issue here is that each of these propellers have individual motors and speed controllers, each being a potential failure point. For example, each octocopter has 8 times more solder joints to potentially melt due to high resistance overheating compared to a single rotor. Some argue that should an octocopter lose one motor, control can still be maintained. While this is true, the problem is, that to carry a Red Epic size camera, the power systems are usually very near their operational limits, making recovery after losing a motor far less likely. A large single rotor platform can very easily carry a Red Epic in the most demanding climates without significantly taxing the power system. All of its mechanical components have evolved over decades of outright abuse to be very reliable. Another added bonus flying the single rotor heli is the ability to glide down safely by autorotation in the event of  a main power failure.

4. "Multirotors can do anything a single rotor platform can." False. Our latest single rotor platform called "BRUTUS" can easily lift a 30 lb. camera payload and fly it for 15 minutes. It also has a top speed of over 80 mph carrying a Red Epic (twice the speed of any multicopter). It can smoothly descend at a rate 5 times faster than a multirotor and can also provide usable footage in up to 25 mph winds safely. Multirotors are generally preferred when flying close to talent. We are now getting smooth footage from the Movi at 100mm's so the heli can be flown at a safe distance from talent and still pull of tight shots.

5. "A heavy lift multicopter costs the same as an equivalent single rotor platform." False. At current pricing, an 800 size single rotor heli is approximately half the cost (both with GPS flight control) of a heavy lift multicopter with the same camera stabilizer/auxiliary components.

6. "Multirotors provide smoother footage compared to single rotor platforms." True. Or at least this is true for most. Having said that, a highly skilled builder can balance a single rotor to be just as smooth but this level of skill is uncommon. The recent development of brushless gimbals like the Freefly MOVI MR also levels the playing field between both platforms ability to provide stable footage. We have recently discovered that we are able to run much higher stiffness settings on our MOVI flown on our single rotor rigs compared to the multicopter which is another very significant advantage. This is primarily due to the difference in vibration frequencies and mass distribution between the two arrangements. We have also discovered that in fast forward flight (> 25 mph) the single rotor helicopter provides much smoother footage, due to the greater vertical distance between the rotor disc and the camera mount along with the fact that most single rotor rigs have main blade axle damping which helps to absorb aerodynamic disturbances like wind gusts. On multirotor rigs the propellers are rigidly mounted to the motor shaft which permits such disturbances to be directly transmitted to the airframe. Sychonization issues between multiple motors often results in unwanted vibrations that occur intermittently during flight. Using a single motor rotorcraft alleviates this problem.

These comments should not be taken as being negative towards multirotors. We have and use both types of copters wherever they fit best. In rough terrain, it is awesome to be able to hand-launch and retrieve a multirotor for example. There is an increasing number of clients who are specifically requesting multirotors under the impression that they are always the better choice and single rotor platforms are less capable "old technology" which is incorrect. In the hands of a top-notch, world-class pilot, both platforms can be very safe and can provide breathtaking, dynamic camera movements.

Aerial Video Platform Comparison

At this point in time, almost all cinema quality remotely piloted aircraft are based on VTOL (vertical take off/landing) aircraft designs. The two most common are single main rotor and multirotor configurations. Both types have inherent strengths and weaknesses.

Safety

It is believed by some that multirotor designs are the safer of the two options when it comes to flying around talent. The thinking being that the lesser of two evils is to be injured by 8 high rpm steak knives versus 2 medium rpm swords. This is a debate that has no real purpose. Both designs must be treated with the same respect when flown near people and property. To carry an equivalent weight camera package, both would have similar total weight and so would carry the same kinetic energy upon impact. If the risk advantage goes to the multirotor, due to less rotating mass, then the advantage goes to the single rotor platform in the event of a drive power failure due to this designs ability to still be guided during autorotation. Once again, such comparisons are pointless and safety must come from - the experience of the operator, the maintenance practices for the equipment, and well thought out risk mitigation planning for every shot.

The rig in the video below weighs approximately 20 lbs. and lost control with considerable force.

Vibration and Stability

A very common question is - which design provides smoother, steadier images? First let's discuss vibration. Further, lets define vibration as movement at fixed or semi periodic intervals (aka frequencies). In general it is a much simpler task to balance motors and fixed pitch propellers than drive shafts, gears and variable pitch rotors. This, more than any other reason, is why there are so few companies that can provide ultra smooth video from a single rotor machine. It is a very difficult undertaking that very few have all the technical/mechanical skills (and patience) to master. Can a single rotor design be built and balanced to the same relative vibration levels as a multirotor? Absolutely! The vibration frequency ranges are very different but in the end, if both are designed, built and balanced to exacting tolerances, the final product can be, for all intents and purposes, identical.

Regarding stability, there are two different, yet connected components that drive overall stability - one is the aircraft itself, with the second being the camera mount. If both operate smooth and stable, beautifully clean images result. If either is unstable, the other must absorb or dampen the unwanted motion. A perfect example is the current development of direct drive camera gimbals. These devices have both the speed and resolution to hide a multitude of sins being emanated from the aircraft airframe. Obviously, the smoother the airframe the better for camera and component life.

Within the next 12-24 months, it is reasonable to expect that a camera gimbal will be available that will provide near Cineflex quality for 10 -15 lb. cameras at a cost that is manageable for both top tier operators and insurance providers. This technology is already available for smaller cameras.

Flight Performance

In calm conditions, the flight performance is similar between the two arrangements. With electronic stability augmentation to assist the pilot, both have similar capabilities. In windy conditions however, the single rotor design wins hands down. This is due to the fact that a collective pitch rotor system is far more powerful and responsive to attitude changes when compared to multiple fixed pitch rotors. Think of this as driving a six speed performance sedan compared to a compact car with only third gear available. On top of this, the rotating mass of the larger rotors provides considerably more aerodynamic and gyroscopic stability than multirotors do. In general it is better to have an airframe/camera that never suffered from unwanted movement than one that did and had to have said movement removed through a correction in position.

Another significant difference is flying or descending at high speeds (above 55 mph) such as vehicle chase scenes. This is, once again, due to the advantages offered by a collective pitch rotor system used in single rotor designs over fixed pitch propellers on multicopters. A single rotor helicopter can descend at extremely high rates while still maintaining full control and camera stability.  This is made possible because the helicopter is being flown rapidly downward using collective pitch with power verses simply falling through its own downwash which usually results in unstable/unusable footage.

The next area, and this one is perhaps the most significant one, is pilot orientation. This factor alone is perhaps the biggest single reason that single rotor designs continue to dominate close range aerial filming in big budget feature films. It is not a major problem to clearly differentiate the nose from the tail at significant distances with a single rotor; Not so with symmetrical shaped airframes. To get around this limitation, multirotor designs rely on flight control systems with complex flight algorithms and GPS return to home features. The problem here is currently these systems are frequently subject to malfunction, and this is the last thing one would want when carrying $50K + of camera kit/glass. Flying first person view (FPV) and navigation lighting are workarounds for the orientation issue however, at present, all indications are that FPV mode of flight will be prohibited or very heavily regulated in the future and will only be permitted in unpopulated areas. First and foremost is to only use a pilot with years of the right kind of experience and one that can fly well without reliance on autopilots .

One area where the multicopter does have a very significant advantage is yaw axis stability. A single rotor helicopter must have a perfectly tuned anti-torque system that immediately and accurately corrects for even the slightest change in applied motor torque. It must also be fast and accurate enough to correct for wind gusts at every possible angle. Since multirotors control of the yaw axis is by varying motor torque through an opposing number of motors, this is a much less of an issue for this design. For a single rotor design, much of this limitation can be reduced by having the camera gimbal automatically correct for sudden movements in the yaw axis using stabilization devices.

A multirotor is also significantly less risky to launch and retrieve by hand than a single rotor helicopter. This can open up numerous opportunities to obtain shots in very tight spaces and difficult terrain.

As is often said "there is a perfect tool for every job" and this certainly applies to aerial cinematography. 

Cost

For most, making movies is a business endeavor, and so cost will always be a prime consideration. Currently the cost to build a rig capable of effectively carrying a Red Epic using a multiotor is roughly twice the cost of a single rotor design. You don't need to be a CPA to know that a lower initial investment, and the associated lower insurance costs, can result in a lower day rate being charged to the producer. This gap will likely narrow in the future, but for now, this is the current state.

Planning Ahead For a Successful Outcome

The list of things that can go wrong on an aerial shoot are almost endless. The secret is to properly prepare the things you can control - and have contingencies for those you cannot. 

First and foremost is to select a qualified, experienced, professional aerial service. Here are a few suggested qualifying inquiries:

1. Ask for relevant references for work of similar type using equivalent cameras and glass.

2. Clearly understand what type of insurance they provide. A world-class company will have no problem providing adequate third-party liability insurance. If the company asks you to split or cover the cost of their equipment, should an incident occur, this is a warning sign that you may not be working with competent professionals.

3. Ask to see raw, unstabilized footage of the types of shots you require, using the exact camera and glass you plan to shoot on.

4. Ask about their fleet. Remotely piloted camera rigs are complex machines made up of a myriad of electromechanical devices. If they only have one platform, this would be cause for concern. It is not practical to have every possible spare component on hand, much less the time needed to install and test. Even worse, should even an minor incident occur, your plans for aerials could quickly evaporate.

5. Don't fall for the "camera bait and switch". Many aerial video websites will indicate that they "can fly" the Red Epic for example. But when pressed to task they will quickly attempt to sway the prospective client to a DSLR. You don't have to settle for less. If all there shots are short and close, and you require a longer, continuous shot, this may be a warning sign that they do not have the confidence or experience to pull off long range shots with a cinema camera. See item 1 above and keep looking.

6. Ask for a copy of the pilots resume and professional flight experience. Statements like "3 years flying experience" is not much assurance. Sport flying at the local model club and flying on a movie set are worlds apart and very different skill sets. What really matters is actual flight hours shooting aerials. If the only platforms they have experience with are octocopters, then their experience is likely limited, as these platforms have only recently become viable tools for filming.

It is also important to gain an understanding of the equipment's limitations:

1. For the camera stabilization to function properly, the camera must be perfectly balanced on

every axis. If the aerial service has not flown the exact kit previously, time will be required in

advance to make all the necessary adjustments. Often even a filter change can upset the whole

apple cart. The most capable operators will have the capability to cover a wide array of cameras

and glass.

2. What is the flight time of the aerial rig? If electric powered, are enough batteries available to 

fly/recharge on a continuous basis?

3. If the shooting location is prone to wind, ask for raw footage examples shot in windy conditions. 

Also, the larger the rig, the better it's ability to hold position in the wind.

4. Ask about the range of motion for the camera gimbal. For example, almost all multicopters

suffer from very limited tilt range. With a wide lens, the frame tubes will come into camera frame,

even at a level tilt position. This can be a real problem for a variety of shots.

Last but not least, try to get a feel for the companies commitment to safety. Ask for a copy of

their safety manual. Ask them to outline their emergency procedures in the event something might go wrong. And do the entire industry a big favor and don't ask for shots requiring 

overflight of large crowds. The entire flight path should be considered an exclusion zone as

far as the general public is concerned.

Red Epic and Scarlet Aerial Video

Above is Red Scarlet aerial footage of establishing shots showing various location changes for the feature film Scorned (February 4, 2014 release). Incorporation of these types of shots gives a film a sense of quality that is typically associated with bigger budget films, providing the audience with a higher level cinematic experience.

One of many significant advantages to flying the Red Epic camera is the option to use HDRx shooting. This allows the helicopter to fly through a wider range of exposures in one continuous flowing shot, opening up endless creative possibilities.

The rig used to capture this footage, unlike electric multicopters, can carry heavy cine primes for up to 30 minutes and is much more stable in windy conditions. It also has 10 years of proven reliability under its belt. Designs are available that mount the camera on either the front or below the airframe for optimum versatility. 

Perfect Perspectives is very pleased to announce the addition of the Freefly MOVI camera stabilizer to the fleet. The days of post stabilized aerial footage have officially come to an end!

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

Flying The Red Epic - Frequently Asked Questions

The following are some common questions clients have asked regarding Red Epic and Red Scarlet Helicam flight operations:

Q "Do you supply the camera kit or do we?"
A "Whichever you prefer. We have our own with a wide array of glass and required accessories."

Q "Will our cost be reduced if we supply the camera?"
A "Yes. We will deduct the cost of the camera rental from the quoted day rate."

Q "What are our options for glass? Can we use cine primes?"
A "Absolutely! We designed our systems specifically to meet the needs and wants of the filmmaker. We have flown a wide assortment of cine glass from 18mm up to 100mm including Leica, Zeiss, Cooke and Red Pro primes."

Q "How long can you remain airborne while filming?"
A "We carry enough fuel on our gas powered rigs to fly for 50 minutes non-stop but always land with a half tank for safety reasons. Our electric rigs can fly for 12 minutes on one set of batteries."

Q "Can we direct in real time during flight?"
A "Actually we prefer that you do. It is not possible to fully visualize the perfect shot until you see the aerial perspective. Real time direction provides the best result, both creatively and for maximum efficiency."

Q "What equipment is provided for direction?"
A "We provide a ground viewing station with either wireless uncompressed HD or SD transmission."

Q "What is the maximum windspeed you can fly under?"
A "We have flown successfully in winds up to 25 mph using our amazing Freefly Movi MR."

Q "What do you use to power the camera?"
A "We use either Red bricks, Redvolts or Li-Po batteries."

Q "How many flights have you made with Red cameras? Have you ever crashed while filming?"
A "At the time of this writing we have logged over 150 successful flights with the Epic or Scarlet cameras. We have never had an incident during the last year and a half flying Red cameras or the previous six years prior flying other cameras."

Q "What are the specs on your camera gimbals?"
A "We have two different camera mount designs, both with 3 axis brushless gimbal stabilization. The first type mounts to the nose of the aircraft and has travel ranges of 70 degrees roll, 110 degrees tilt and 180 degrees pan. The second type mounts under the aircraft and has 70 degrees roll, 110 degrees tilt and 360 degrees pan"

Q "How did you get involved in this line of work?"
A "For 22 years I was a factory sponsored professional RC helicopter pilot flying at the highest international level (FAI-F3C). In 1993 I was a member of the World Championship winning U.S. Team. I retired from competition in 2002 to consult for General Dynamics and later, Northrop Grumman. In 2005, I formed Perfect Perspectives Aerial Imaging, LLC to support the film industry."

Q "What was the first feature film you flew an RC helicopter in?"
A "The Mighty in 1998 starring Sharon Stone, James Gandolfini and Jillian Anderson."

Q "Do you have an hourly rate?"
A "No, due to the amount of prep involved to mobilize our systems, we only offer a full day rate."

Q "Do you offer a discount for multiple days of shooting?"
A "Yes, depending on the number of additional days, the multi day rate can be as much as 50% less than the single day rate"

Q "Can you provide references for film and television work?"
A "Certainly"

Q "Can you fly at night?"
A "Yes, we have lighting systems that allow operations similar to those in daylight. The site must be thoroughly scouted for obstructions beforehand however."

Q "How long is your location set up time?"
A "The first pre-flight/safety check usually takes 15-20 minutes. With subsequent location changes, we can typically be in the air in less than 10 minutes."

Q "Do you have IMDB credits?"
A "Yes, search under Wendell Adkins - Aerial Photography."

Q "How many remotely piloted cinema aircraft do you have?"
A "Currently we have six. There are three different configurations, each optimized for a specific type of shooting and we have a back up for each of these."

Q "I see multicopters rigs cropping up everywhere. Why do you prefer gas/electric powered single rotor helicopters?"
A "Flying very expensive cinema cameras and glass is very difficult, even for someone highly skilled. One small mistake can spell disaster. The beauty of our rigs lies in their simple reliability. Everything about them is time and battle tested. We have logged thousands of flights over the last 10 years flying heavy payloads with these aircraft. Multicopters are new and unproven technology at this point in time. Even experts are crashing them when their complex flight control systems decide to freeze, lock up or malfunction. Most are operating within an inch of their lives carrying heavy cameras like the Epic and Scarlet for more than just a few minutes. We have no problem flying an Epic with a Cine prime lens for 15 minutes, all with 200% reserve payload capacity. Use of the Movi allows the use of longer lenses. This means we can still get tight shots while remaining a safe distance from talent and crew."

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

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

Flying Helicams For The Big Screen

One does not need to be particularly prescient to see that the marriage of remotely piloted helicams and digital cinema cameras will continue to evolve and provide exciting, never before seen vantages for the motion picture industry. As interest continues to grow in this arena, the reliability, capability and associated technology will grow at an ever increasing pace. However, the primary reason for expanding use of this tech in film-making is far less complex - quite simply it is cost. It is an order of magnitude less expensive to capture a unique live action shot using a helicam for a day or two of location shooting than paying the wages of several VFX/CGI artists for several weeks. Another reason is the ability to capture tight, dynamic camera movements that give the audience the feel of floating like a bird or flying in a dream.

Close-range, live-action aerial imaging and VFX/CGI are not necessarily competing interests however. One of the best, most dynamic uses of helicams is to capture the background layer of the world from above that later is accentuated through the addition of composited elements added in post production (back plates). Having this real-life template as a starting point, with all it's perfect nuances of texture, shadow, color and motion is priceless in selling the reality of a fantasy or action sequence that incorporates VFX to an audience whose expectations increase daily.

One of the primary obstacles in using helicams in feature films has been the limitation in payload capacity of the unmanned aircraft. Until now, the use of this technology has been primarily limited to flying modified 35mm film cameras with 200 ft. loads. Only recently have digital cinema cameras achieved the weight and form factor to permit efficacy on a remotely piloted helicopter. The most exciting recent development in this area is the RED Epic camera. At around 10 lbs. with battery and a prime cinema lens, this 5K camera is a god-send for helicam imaging for the big screen. While DSLR cameras like the Canon 5D MK 2 are small and seeing increasing use for television programming, the image quality lags miles behind that of the 5K Epic at present for use on the silver screen.

Below is an example of a large industrial size helicam used to carry the RED Epic camera by Perfect Perspectives Aerial Imaging for motion picture filming. As mentioned previously, the primary benefit of this type of platform is it's power and duration. Both of these benefits have proven priceless when multiple takes are required (as they always are) and shot set up is complex. Time is money on a movie set and not having to stop flying for 30 minutes at a time is a very efficient and economical way to operate a helicam. The rig shown below was flown with a Cooke 25mm S4/i prime lens for filming of aerial shots used in Josh Radnor's new hit film "Liberal Arts".

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

Environmental Considerations for Drone Cinematography

Close range aerials can be obtained in a wide variety of wind, weather and lighting conditions with the quality of the final footage being directly proportional to the severity of the conditions present. Obviously the best results will most often be achieved in near perfect conditions. The problem here is that we must work around mother natures schedule and not the reverse. Whether or not acceptable results can be obtained when the conditions are less than ideal is primarily dictated by the type and quality of platform employed, camera gimbal stabilization and the flying skills of the operator.

Wind
At present, most outdoor Helicam demo reel footage of acceptable quality will almost always have been shot with little or no wind present. For a single rotor platform, when significant winds are present, the best footage is usually obtained flying head on into the wind verses perpendicular to it for example. The winds direction is always an important consideration when planning each shot, for not only shot quality, but also approach planning in case an autorotation is required in the event of an emergency. Autorotation is the unique ability of a single rotor helicopter to maneuver and land without power. To consistently acquire usable footage in winds above 10 mph at this point in time,  a large single rotor aircraft weighing at least 30 lbs. fully fitted with camera and other needed accouterments is required. In addition to needing this larger mass for overall stability, a well-tuned, gyro-stabilized camera gimbal is also required. The associated cost, complexity and skill required to fly and maintain these larger aircraft quickly narrows down the number of potential sources however.

Precipitation
If properly designed and installed components are used, it is not an issue to perform flight operations in light mist, rain and snow. Since the camera/platform is usually required at some point to engage in forward flight, precipitation typically becomes more of an issue of keeping moisture off the camera lens than creating an operational problem for the aircraft and/or operator.

Lighting
The quality of lighting (brightness) and overall visibility (lack of fog/haze) present has a direct bearing on the range or distance the helicopter can safely be flown from the pilot via "line of sight" during daylight operations. The position of the sun relative to the pilots viewpoint must also always be considered when laying out each shot. The aircraft must never be flown in a path that requires the pilot to look directly into the sun if possible. Shadows are another important consideration when shots are obtained from an aerial view. Things always look a bit different from above and shadows can quickly creep in a ruin an otherwise good take. In many cases there is ample time in a given day to film a large number of shots but the optimum window of opportunity for best lighting for each individual location is often very brief. Because of this, proper shot scheduling/planning for the lighting conditions is critical.


Flight operations during dusk, dawn and dark conditions are also possible using high intensity LED lighting systems on the aircraft. The range of operations using such lighting systems is very similar to that of daylight operations. The flight path must be carefully scoped out during the day in order to prevent collision with objects extending upward such as power lines and structures. Just as the suns position must be accounted for during daylight operations, the position of bright lights must also be taken into consideration during nighttime operations.

Dust and Dirt
A helicopter is a precision flying machine and so dust and dirt are its enemy. There are several techniques that are available to mitigate this type of issue however when the location requires operation in sandy, dirty or dusty environments. In such conditions, the rotor downwash from the helicopters blades will kick up large amounts of particulate, which, if not abated, which will find its way to the cameras lens, not to mention many of the close tolerance mechanical parts of the machine.

To summarize, it is possible to obtain close range aerial footage that will mesh with the look and feel of the particular scene in question, provided certain considerations and plans are made to account for the various environmental conditions at hand at the time of shooting.

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

Advanced Helicam Aerial Cinematography

Most Helicam aerial imaging is performed within a framework known as "line of sight" or LOS. There are several reasons for this. The most obvious being that if the pilot has a clear, continuous visual link to the aircraft being flown, it can be controlled at all times. The up side of this arrangement lies in its simplicity. Aside from flying behind an obstacle, having sudden vision problems or flying so far away as to lose orientation, there is very little that can go wrong, (aside from aircraft mechanical/electronic control problems anyway). The down side of this arrangement is that it limits the range of use to an area extending about 1200 feet horizontally and 400 feet vertically from the pilots fixed position. For the majority of shots required, this is a non-issue.

The radio control systems used today are capable of transmitting a clear signal several times further than the LOS distance. The position of the pilot is also critical for optimum LOS shooting. In some cases it is most effective to place the pilot on top of a building, mobile manlift or other fixed structure to improve visual range over any obstacles. This is particularly useful for flying just above tree-top level - skimming over a dense forest where trees would obstruct the pilots view if shot from ground level.

Helicams can also be piloted directly from the cameras transmitted video signal in what is called "first person view" or FPV. While this can improve close maneuvering around obstacles and extend operational range, loss of video feed remains a significant additional risk factor however. While this may be an acceptable risk for low end equipment, with the equipment currently available, it is not recommeded to fly a $50K to $100K camera kit using this method.

Recent advances in GPS based autopilots show great promise for extending the range of use well beyond the visual LOS range noted. These devices can be programmed in a manner that allows the aircraft to fly a series of "waypoints" and then return to its home position with just the flip of a switch. While this type of technology will assuredly advance the capabilities of Helicam systems for engineering and aerial mapping, for the moment there are several major technological hurdles that must be overcome first. Most notably among such obstacles includes the requirement of the system to sense and avoid both full sized aircraft and ground based obstacles. Another limiting factor is a pilot is capable of executing extremely complex, continuously variable commands that, at present, are well beyond the current capabilities of programmed systems.

As mentioned previously, Helicams are very well suited for operation from many types of moving platforms and vehicles in order to extend range. When land based vehicles are used for this purpose on public roads, local authorities should always be retained to temporarily shut down traffic and provide an escort if required in order to safely acquire the shot. Due to privacy concerns, state and local governments are also passing laws limiting or outright banning use of remotely piloted aircraft. Make sure to check local ordinances when scouting out aerial filming locations.

Another viable technique lies in the use of two or more pilots wherein one pilot hands off control to another in what is known as "relay mode". This effectively doubles the range of operation compared to single pilot operation and can be performed in a very seamless manner through radio communication.

At present, line of sight operation remains the predominant mode of operations for close range aerial imaging due to its inherent simplicity, flexibility and reliability. This will most certainly be augmented in the future in ways that are hard to imagine now.

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

Safety Considerations For Helicam Cinematography

Another valid concern regarding Helicam aerial imaging is "what are the risks to persons and property?" Considering that millions of flight hours have been logged by radio controlled sport pilots over the past half century, all across the globe, and considering further that serious injuries, fatalities and significant property damage are rarely occurring events, Helicam operation is quite a safe endeavor in the hands of a professional. As a matter of comparison, professional Helicam operation has a far better safety record than ANY other form of manned aviation.

When accidents do occur with remotely piloted aircraft, in almost every case the root cause can be traced back to pilot error. Consequently, by using a pilot with decades of the right type of experience, the probability of having such an incident drops dramatically. To clarify what is "the right type of experience", it is not a pilot who can do all the latest extreme tricks and stunts but rather a pilot who has experience in precision piloting, in and around tight quarters. Stunt flying, while entertaining, is an entirely different skill set and so is of little or no value when it comes to flying a camera like it was attached to a jib.

Appropriate administrative procedures can add an additional layer of risk mitigation to the whole process. A professional operation will be happy to provide a safety manual that details such procedures and policies. Good examples of these include implementation of maintenance procedures that mirror those of full-sized aircraft, redundant flight control systems and secure flight zones. Standard practice is to set up each shot similar to that of a stunt coordinator, wherein each shot is meticulously planned, rehearsed and appropriate safety precautions and emergency procedures are in place. Below is an example of Perfect Perspectives using local law enforcement to secure the flight zone for a feature film action scene.

In the hands of a professional pilot, the level of precise control of the Helicam can be quite astonishing for the uninitiated. So much so that as a shoot progresses, reminders must be given to observe the safe minimum distance from the aircraft due to complacency that tends to set in due to this high level of observed control.

Because there has never been, nor shall there ever be, a perfect machine, a responsible Helicam operator will never fly directly over large crowds of people. Close range operations are possible however with a cast and crew strategically positioned for full visual effect but at the same time observing optimum risk mitigation techniques. Proper use of exclusion zones and secure take off/landing areas are also vital parts of this effort. Unwavering use of the techniques outlined here has allowed Perfect Perspectives to maintain a perfect safety record and 100% systems availability for the past 7 consecutive years.

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

Aerial Video Demo Reel

While most others were struggling to fly small consumer grade cameras, Perfect Perspectives was hard at work developing rigs that could fly larger 8 - 10 lb. cameras like the HVX200 and Sony EX-1, starting way back in 2005. If we had known how difficult the struggle was going to be, we very well might have had second thoughts. However now we are very happy we didn't give up, as the many lessons learned, and equipment developed, proved to be the perfect transition to safely flying digital cinema cameras like the Red Epic and Red Scarlet with prime cine glass for motion picture aerial cinematography.

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

Camera Vibration or "Don't shake it like a polaroid picture"

A very valid concern of filming by helicam is - how smooth can/will the resulting images be? While a blog is obviously not the best venue for an in-depth technical discussion, one cannot properly address this particular issue without at least briefly touching on some of the technical aspects. Vibration is commonly described as the periodic displacement (movement) of a body (camera in this case) from a position of rest. The vibration frequency (period) is defined as the number of cycles (times body moves from rest to each extreme and back to rest) and is often expressed in cycles per second (CPS). Amplitude is defined as the distance that is traveled during each vibration cycle. Velocity is another term used to measure and analyze vibration but we will leave that another discussion.

All helicopters, both large and small, generate a wide range or spectrum of vibration frequencies as a result of all the various rotating parts. To complicate matters further, unwanted camera movements can result that don't fit the standard definition of vibration as they occur randomly due to abrupt movements of the helicopter airframe and/or aerodynamic forces and wind buffeting for example. The latter type of movement can usually be reduced or virtually eliminated by a well designed mechanically or electronically stabilized camera mount or gimbal. At high forward speeds, the aerodynamics of both the camera, mount and helicam airframe all come into play also. Okay, enough of the technical stuff already!

The challenge for the helicam builder is to design and build an airframe where all the rotating components are as perfectly aligned and balanced as humanly possible. The problem here is that most of the commonly produced components do not have nearly the exacting tolerances required to achieve rotational nirvana. So to accomplish this lofty goal, a combination of precise measurements, material selection, structural design, damping and vigorous static and dynamic balancing is required.  Even further, once achieved, the final design must be robust enough to hold the tight tolerances required and keep operating smoothly after numerous flying sessions. Considering this, it is easy to understand why a helicam builder/pilot might want to avoid extremely high risk situations and would likely possess a particular brand of hatred for heavy-handed baggage handlers! 

Each helicopter airframe produces its own unique range of vibration frequencies, displacements and amplitudes. If you built two identical airframes, side by side, the resulting vibration signatures produced by each would be similar, yet not identical.  Complicating matters further, not all camera types respond to vibrations the same. 35mm film cameras are far more forgiving in this regard than video cameras for example. Conversely, SD cameras are more forgiving to vibration than HD cameras. This is due to many factors such as sensor type, image stabilization along with camera size, weight and construction. Another example is CMOS sensors do not respond well to high frequency vibrations as CCD types and can often display the unsightly "jello" effect as a result. Multicopters are particularly prone to rolling shutter artifacts generated by the numerous high rpm electric motors and their inherent tendency to produce either non-synchronus or sub-synchronous vibration due to the interaction between the large number of nearby rotating motors and propellers . This does not mean that they are unsuitable, it merely means a higher level of tuning is required by the designer/builder to make them work. It should become quickly apparent that not all cameras would perform equally well on all types and sizes of helicopters. Our particular experience has shown that the smaller the helicopter, the more high frequency vibrations will be produced. This presents a very real challenge if a CMOS based camera is being used.

Gimbal stabilization can be accomplished by means of electronic gyros, mechanical gyros, inertial management units or by some combination. These can provide either active or passive stabilization, or some combination of both. If the camera movement is not to fast or severe, most unwanted, low amplitude camera movements can be removed in post using stabilization software. Some popular examples are Smoothcam in Final Cut Pro, Warp Stabilizer in Adobe Premiere Pro and Mercalli. For advance stabilization there are also motion trackers such as Syntheyes and the Foundry plug-in for After Effects. Use of post stabilization comes at the expense of some loss of resolution and image cropping but if used in small amounts it can be very effective. This is another huge advantage of using ultra high definition cameras like the Red Epic for aerial filming as there is so much resolution head room. Currently this type of stabilization does still have difficulty removing high frequency vibrations, especially using wide angle lenses. This problem can be somewhat corrected however by removing lens distortion in software.

The most exciting advancement in the area of camera stabilization is direct drive gimbals. Advances with this technology are currently moving at near light speed. Very soon you will be able to shoot close range aerials, full size aerials and ground level steady cam type shots, all with the same mount.

The bottom line is however, the less vibration the helicopter produces - and the camera sensor sees, the better! This is why Perfect Perspectives uses only the most advanced vibration monitoring/dynamic balancing equipment available to ensure smooth footage. This is not referring to the vibration app on the iphone or vibration logs off of flybarless controllers here, but rather industrial grade, precision FFT vibration spectrum analyzers, multichannel accelerometers and laser alignment instrumentation.

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

Creative Potential of Remotely Piloted Helicams

Great film-making is about those infrequent, elusive moments when technical aspects (cameras, lighting, sound, editing) merge with creative aspects (compelling storytelling, great acting, engaging settings) to synergistically create something that is universally respected and admired as art. While strapping a camera to an RC helicopter with the expectation of graceful, flying imagery is certainly a technical challenge, that is not the focus of this discussion. The specific topic here is - how can this technology be used to its fullest creative potential?

A very powerful and effective use of aerials is in the creation of a "sense of place" or, in other words, an establishing shot that clearly and dramatically indicates the opening setting or, as the story progresses, a change to another location/setting. Some good examples of this would include skimming just above a glimmering ocean or lake, steadily gaining altitude to slowly reveal a tropical island or isolated lake house or some other prominent feature. This is an extremely effective means of sending the viewers mind racing with anticipation about what might follow in this new environment. Once setting is established, closer range aerials are also very effective in capturing unique and dynamic views of the characters movement and interaction within this new setting. For example, a parallel shot of a jeep driving down a curvy, cliff side road viewed from the POV of a following vehicle that suddenly veers of the cliff at a curve but then magically flies beside the insert car, out and over the gorge below. Another example is a tight overhead following shot of a convertible that slowly climbs and trails behind to reveal its steady progression down a narrow tree lined parkway.

Jib, crane and dolly shots can all be thought of as the lowest altitude "aerial shots" and are very effective also, however, in very remote areas they are often not feasible. A skilled helicam pilot can mimic many of the same movements as these camera tools while at the same time having the added benefit of increasing the range of use significantly. Use of a helicam in these situations is simply a matter of transport, either by off-road vehicle, watercraft or backpacking on foot. Once on location, a small clearing is all that is required for take off/landing. The helicopter can usually be in the air to start shooting in less than 15 minutes, making it a very productive time and money saving tool for film-making.

Effective use of close range aerials allows the film-maker to fully immerse the viewer in the world being created. In the past the use of this technology was limited only to big budget feature films but smaller, lighter cameras and more reliable aircraft designs are changing much of that. For a few thousand dollars, smaller budget productions can now incorporate these stunning camera views, adding a new level of quality to the production and captivating the audience in the process.

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

Film from full sized or remotely piloted helicopter?

It should be made clear that, at present, a remotely piloted Helicam is not a direct replacement for a full-sized helicopter with a camera mount. While there can be some overlap in the operational ranges for either, to try and use one entirely in the domain of the other is neither safe nor wise. For maximum benefit the user should apply each towards its own inherent strengths. If you need a long continuous shot over a tree covered landscape, filming from full size is the best option. If you need a shot flying under a bridge or chasing a car through an abandoned building - then this is the sweet spot for a Helicam.

If budget permits however, it can be quite spectacular to blend both technologies together, combining wide, high altitude panoramic views with tighter shots like those from a birds POV.

Regarding comparative costs, hiring a Helicam with an experienced, professional crew is usually 30% to 50% less than say renting a Jet Ranger with a Tyler mount for a days shooting. I should also qualify what I consider a "professional crew" in this equation. This would be a company that carries insurance, has more than one aircraft available, has numerous examples of smooth, steady, vibration free footage and has captured this footage in a wide variety of settings and weather conditions over a period of several years.

As mentioned previously, the typical range of a Helicam is about 1200 feet in the horizontal plane due to the need for the pilot to have continuous "line of sight" connection to the helicopter. This range can be increased dramatically however by using a variety of vehicles such as boats, ATV's, golf carts, cars, trucks, snowmobiles, etc. to fly from.

Perhaps the greatest advantage of remotely piloted camera platforms is their ability to obtain movements and angles that are uncommon and grab the viewers undivided attention. The most significant advancements being made with these systems is in the area of camera stabilization. Systems are now available that can hold a level horizon at +/- .5 degrees or less with small lightweight cameras. Similar systems for cinema quality cameras is not far behind.

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

RC Aerial Cinematography Basics?

For aerial cinematography, think of the RC Helicam as a hybrid dolly and jib with an insane range of motion. Since the helicopter is not connected to the ground, it can move the camera freely to any point in 3 dimensional space, providing some often spectacular angles, dynamic movements and unique views. These aircraft are most often flown in what is commonly known as "line of sight" or LOS. For a larger, brightly colored helicopter, this range can be as much as 1200 feet in the horizontal plane and 400 feet vertically when operated by a well experienced pilot. Why is the vertical distance less than the horizontal you might ask? Well this is primarily due to the policies of the FAA in the United States. It is in everyone's best interest if these unmanned aircraft do not try to occupy the same airspace, at the same time, as full size manned aircraft.

From a creative perspective, the potential of such a device quickly becomes apparent. Taking only about 15 minutes to set up or tear down, you can quickly appreciate the versatilty of such a platform, particularly in remote filming locations. The next question is usually one of image quality. Capturing photographs from a helicam is not a overly complex task for a competent pilot, but capturing smooth, stable film or video is an entirely different matter and requires the skill set of a true ninja/guru/master in several different arenas. This quickly explains why there is truly only a handful of companies that can consistently and reliably provide such a service using cinema quality cameras like the Red Epic. For these elite few, it is possible to provide very high quality imagery that is worthy of the big screen. As technology advances, sophisticated electronics and software will make cinema quality aerials within the reach of the less skilled, and at a price that many can afford.

There are a variety of helicopter types and sizes used for HD aerial video and film-making. They can be powered by internal combustion engines, turbine engines and electric motors. Our personal experience has shown that turbine powered models, while smooth, are overly complex and not practical for daily use "in the trenches". Electric powered models are both smooth and quiet but have limited flight duration. Around 10 minutes flight time is typical for one set of lithium based batteries. Since aerial shots are typically short, this is usually not an issue and only a few moments are required to change batteries. Internal combustion powered models may be either methanol or gasoline powered. Once again, our personal experience has been that opposed twin cylinder engines are much smoother than single cylinder types. We have been able to obtain smooth, vibration free video from such platforms that rivals our electric powered models. A side benefit of these platforms is the ability to be continuously available for up to one hour. These platforms are also larger than current electric powered aircraft and so, are more stable, particularly in moderate winds. This is not just our opinion, it is the law. More specifically Newton's law. For HD video, the practical benefit of gas power is being able to do multiple takes, loitering in the sky if needed to reset the shot. Over the course of a day of filming this can be a huge time savings. For 35mm filming this is less important as the cameras can only carry film loads of up to 200 feet. Recent advances in direct drive gimbals we very likely bring renewed interest in gas powered rigs, as it will become much easier to get footage that requires no post stabilization from a rig with a small amount of vibration.

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