Professional Drone Aerial Cinematography Services

<h3><span style="color: #b59757;">What Options Are Available For Drone Aerial Cinematography In Cincinnati?</span></h3>

Perfect Perspectives is Cincinnati’s oldest, most respected Professional Drone Aerial Cinematography Services Company. A quick Google search for drone aerial cinema companies in the Queen City will show many results but after visiting these other websites it becomes quickly apparent they have no film or TV experience. We officially opened for business supplying high quality aerial filming in 2005. Our Lead Pilot, Wendell Adkins flew in his first motion picture in the Cincinnati area way back in 1997 (The Mighty). Lead camera operator Leisa Adkins has 14 years of filming experience. Because of this Hollywood grade background, we are frequently recommended by other filmmakers and camera rental departments all across the Midwest.

[caption id="attachment_1628" align="alignnone" width="300"]<img src="https://perfectperspectivesaerial.com/wp-content/uploads/Reprisal-Movie-2018-300x214.jpg" alt="Reprisal (2018) Drone Aerial Filming by Perfect Perspectives" width="300" height="214" class="size-medium wp-image-1628" /> Reprisal (2018) Drone Aerial Filming[/caption]

<h3><span style="color: #b59757;">What Gear Do You Offer For Drone Aerial Cinematography In Cincinnati?</span></h3>

Perfect Perspectives offers a fleet of 12 cutting edge drone designs for professional drone aerial cinematography services. There are a few reasons for maintaining so many different drones. First, it is our policy to NEVER show up for a filming session without a fully redundant back-up system. In the demanding drone aerial cinematography business, technical issues that delay production are not acceptable. The second reason is not all productions have the same requirements for image resolution and shot design. At the upper end of image quality we fly our own RED Dragon cinema camera or the ARRI Mini on one of our several heavy lift rigs. These can be fitted with cinema glass, mattbox, and FIZ units. Many other productions are better suited for our Inspire 2 rigs with either X7 or X5S cameras with RAW or ProRes recording. The Inspire 2 is often the choice when maneuverability, flight time and range are needed.

[caption id="attachment_1331" align="alignnone" width="300"]<img src="https://perfectperspectivesaerial.com/wp-content/uploads/IMG_20150816_213220-300x300.jpg" alt="Columbus Aerial Video Jason Day Documentary" width="300" height="300" class="size-medium wp-image-1331" /> Columbus Aerial Video Jason Day Documentary[/caption]

<h3><span style="color: #b59757;">What is the difference in cost between a drone flying RED or ARRI Mini for aerial cinematography versus the Inspire 2 X7 for example?</span></h3>

We offer half and full-day rates for aerial filming. In general the rates for the RED/ARRI heavy lift rigs are roughly twice that of the Inspire 2 X7.

[caption id="attachment_945" align="alignnone" width="300"]<img src="https://perfectperspectivesaerial.com/wp-content/uploads/Arri-Mini-300x300.jpg" alt="Arri Alexa Mini Movi M15 Freefly Systems Alta" width="300" height="300" class="size-medium wp-image-945" /> Arri Alexa Mini Movi M15 Freefly Systems Alta[/caption]

<h3><span style="color: #b59757;">What specific experience do you have in drone aerial cinematography?</span></h3>

We have become the go-to source for aerial filming in the Midwest. We are a preferred vendor of drone services for TV Networks such as ABC, CBS, NBC, ESPN, FOX, BBC, Japan Television, History Channel, Military Channel, Travel Channel and Discovery. We have also flown in over a dozen Hollywood Feature Films but don't just take our word for it. Look here - <a href="https://www.imdb.com/name/nm1986317/">Wendell Adkins - IMDB</a>

<h3><span style="color: #b59757;">What skills separate your company from the large number of others recently offering drone filming services?</span></h3>

Because our Lead Pilot is a former World Champion RC helicopter Pilot with nearly 40 years flying unmanned aircraft, our team is able to routinely pull off technically challenging shots safely. We have a perfect on-set safety record for the past 14 years that proves this point.

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/

Drones Prove Versatile Tools For Aerial Cinematography/Video Production

Once drone technology entered the scene, it came with endless predictions and hype regarding it’s potential for virtually every conceivable purpose one could imagine. As you probably know, much of this drone hype has not panned out as “game changing” as advertised.

There is one area where drones have had an enormous impact however – Aerial Cinematography. This was foretold several decades ago when a little company from Belgium called Flying Cam started flying film cameras on custom built radio controlled helicopters. Getting low altitude shots from a manned helicopter is both expensive and often risky. Drones provided a welcome alternative. Slowly Flying Cam’s dynamic, close-range aerial shots began making their way into the biggest Hollywood films and due to their pioneering efforts, they enjoyed a bit of a monopoly for quite some time.

Today this has all changed. Later this summer there will be over 100,000 FAA certified commercial drone pilots in the U.S. Drones really are making a difference in many business sectors, but none more prevalent than in aerial cinematography and video production. There are several reasons why drones are showing up more and more on movie and even video production sets, even those with modest budgets.

Drones Are A Time Saver

If you have ever been on a movie or large video production set you know that much of the time spent is in set up. Camera kits need built, set’s need dressing, costume/make-up/props all need time to get sorted out. The beauty of drones in this setting is they can be unpacked and in the air in just minutes which is huge.

Drones Can Replace Other Tools

Drones are being used to replace everything from jibs, cranes, man-lifts, dollies and sliders. Avoiding the rental costs and set up time for a large Technocrane is a huge savings for a production. There is one caveat here however, an excellent drone/camera operator team is needed to safely replicate the super smooth shots they need to replace with these other production tools. This is particularly true when flying inside a large building where the drone can’t obtain a good GPS lock. This is where the experience of seasoned drone crew is well worth the extra day rate. Quite often as a time saver, we even use our drones with follow-focus for a quick and dirty hand-held shot in place of pulling out our MOVI stabilizer which adds value on set.

Recently Perfect Perspectives was hire to fly a small drone equipped with a custom built grappling hook underneath for a local casino TV commercial. Later day and night exterior drone shots where also captured. This is one of many examples of how the versatility of drones adds value to video productions.

If you pay attention you will notice that drone shots are making there way into all forms of multimedia these days and we predict this trend will only continue to grow as more and more creative uses are found in cinematography, video production and advertising.

To learn more please visit - 

http://perfectperspectivesaerial.com/services/aerial-cinematography/

2018 Aerial Drone Photography User Guide

Every day more and more businesses are beginning to incorporate drone based aerial imaging services into their work plans and deliverables. Being a relatively new technology, it is quite common to hear new clients say something along the lines of “I’ve never used a drone before so I’m not sure what you need from me”. This is such a common comment that I felt the topic deserved it’s very own blog post.

HOPE IS NOT A PLAN

It is understandable for a new drone user of drone aerial imaging to think that all that is required is to contact a drone service and book a flight with little advance notice. In some cases last minute calls like these can be accommodated if the schedule permits but quite often there are a series of administrative hurdles that must be addressed before the drone is cleared for take off. I will list these hurldles in the order we typically dispatch them via our work order system.

1. Clearing Airspace

Non-aviators usually have no need to know the details behind how our skies overhead are broken up into different airspace classifications in order to safely and efficiently manage air navigation and transportation. Drones are no exception to this time-tested system and must operate in a manner that does not conflict with ANY operations of full size aircraft. Much of our skies fall into what is called “uncontrolled airspace” or Class “G”. If the location you need a drone flight is in a Class “G” zone then quite often “Bob’s your uncle”. If however you have picked a location within 5 miles of an airport with a active control tower for example, this is now “controlled airspace” and a commercial drone can only operate within these zones with ATC authorization in the form of a special authorization or waiver. The closer your intended site is to the center of these airports, the more planning/authorization is required, meaning more “TIME” will be needed to coordinate. It can often take months to obtain these special authorizations if not already in-hand.

Understanding the importance of this issue, Perfect Perspectives was the first Ohio Drone Service to obtain wide area airspace authorizations for most of Ohio’s controlled airspace. So too the FAA quickly realized the long lead times required to obtain authorizations was unacceptable and a new on-demand/real-time system called LAANC (Low Altitude Authorization and Notification Capability) is set to be rolled out later this summer making this less of a cause for delays.

Another often unforeseen airspace clearance required deals with Temporary Flight Restrictions (TFR’s). These are typically associated with VIP movements and large Pro and NCAA stadium sporting events. When these are in affect they can stretch from 3 to 30 miles from the center point depending on activity being protected. It is possible to obtain an FAA waiver for the stadium TFR’s with written permission from the event owner. Such waivers can take days to weeks to obtain.

2. Clearing Permits

Currently in the U.S. only the FAA has jurisdiction over what can fly in the various flavors of airspace above. HOWEVER, City, State, Local, Tribal governments and private land owners can restrict drone operations being launched and recovered on properties they own and control. In some cases permissions will not be granted. In many others, a permit application will need to be filed and, at times, an associated fee will be charged. Approval lead times can range from days to weeks.

3. Clearing Policies/Liabilities

In an effort to protect public safety, privacy and restrict unauthorized use of drones, many organizations now have drone policies in effect. In order to be cleared for a commercial drone operation in these cases, the operator must supply one or more of the following items –

– Certificates of Insurance (aviation, general, vehicle and Worker’s Comp)
– FAA License and Registrations
– FAA Waivers and Authorizations (airspace, night operations, etc)
– Flight Operations Safety Manual
– Detailed Flight Plan

Each of these items will then be reviewed by the company’s Legal and Risk Management Departments before issuing a release to conduct operations. This too can take days or weeks to obtain approval.

4. Clearing Regulatory Requirements

Last on our list is making sure the aerial imaging the client needs/wants can be obtained within the current FAA Part 107 regulations for commercial drones. The most common considerations here deal with the restrictions prohibiting flights directly over people and moving vehicles. Often when this is pointed out, and the only direct solution is obtaining a permit for closed-set operations, the drone work is cancelled because the project can not justify the time and expense to comply. As Ohio’s Most Experienced Drone Service, Perfect Perspectives has 13 years experience using a wide array of available options to legally work around these issues. Some of these include selecting the optimum time/day with minimal activity to use of advanced flight techniques and the addition of Visual Safety Observers.

With this information in hand you can now take the necessary steps to assure that lack of planning on your part does not constitute an emergency on ours with the end result being a smooth flight with little or no turbulence.

To learn more, Please contact – http://perfectperspectivesaerial.com/

The Naked Truth Behind The FAA "Part 107" License

With the recent arrival of the FAA's new Part 107 Small Unmanned Aircraft regulations late last month, it has become quite common to see drone operators proudly announcing that they are one of the first to pass the knowledge exam and will soon be open for business. (The applicant must pass a TSA background check before actually being granted the license). But what does this really mean to the average individual or business person?

To be honest it's very similar to someone saying they passed the knowledge test for a chauffeur's license, but not an actual driving test. Yes that's correct. There is NO practical exam associated with Part 107. When I obtained my Private Pilots License, I had to pass a knowledge test, an oral exam and a check ride with an FAA examiner. On top of all that, my instructor had to sign off my log book to indicate I was actually qualified and ready to even go on that check ride.

So what passing the 107 knowledge test really means is some test questions were memorized and a passing score on the 107 exam was obtained - and nothing more. This is in no way intended to downplay the importance of compliance with the new FAA commercial drone regulations. This step is vitally important to educate potential commercial drone operators on the safety aspects of flying drones in the national airspace. Many of these new drone pilots have been violating FAA safety policies they never knew existed until studying for this exam.

Even more important for the FAA is by passing the exam, commercial drone operators will no longer be able to plead ignorance when they are caught being careless or reckless. This also greatly simplifies FAA enforcement efforts when it comes to levying fines and revoking operators licenses, as they can now actually cite specific regulations violated.

So going back to our example of the aspiring limo driver who just passed the chauffeur's exam, what you would NOT know about this person is -

- How much actual driving experience they had?
- How many accidents they have had?
- Do they possess good decision making skills?
- Do they have drug or alcohol dependence?
- What kind of maintenance history does their limo have?
- Is their limo the best one for the job?
- Do they have any references or insurance?
- Have they ever driven for anyone important?

Obviously all of these same questions and many more should be asked before hiring anyone to perform drone services for you or your company. Check out the operators previous work and website. How many flight hours do they have? What kind of insurance do they carry? Only the most experienced operators are able to obtain policy limits of $5M to $10M or more. Do they have a Worker's Comp policy?

The most experienced professionals in the drone service industry started down the path to excellence many, many years ago - long before the potential of using drones commercially was even on the FAA's radar screens. These professionals obtained full size pilot's licenses and developed very comprehensive operating manuals for things like closed-set motion picture/television filming and inspections of industrial facilities.

As I have mentioned previously, a large portion of the work that our company gets is the direct result of another less experienced company not performing as expected and/or having an accident. Because drones have become easier and easier to operate, many people think that little actual flying skill is required to use them for work. It then comes as a rude awakening when they discover that flying indoors, around electrical equipment, power lines, inside boilers and near buildings can require the pilot to quickly and unexpectedly assume full manual control to avoid an accident. But this is the kind of information you need, before you actually need it - otherwise commonly known as "experience".

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
                             

Why FAA's Commercial vs Recreational Drone Policies Don't Fly

At a recent press conference held January 7th, 2015 at the CES Show in Las Vegas, FAA UAS Integration Manager Jim Williams was asked why the FAA views commercial drone use differently compared to recreational use in regards to NAS safety.

2015 CES Drone Press Conference

The response from Mr. Williams was "It's fairly established in past history, that people who are being paid to do a job are more likely to take risks in order to accomplish that than they are if they are just doing it for pleasure and that's the reason the rules are different for those two activities". 

The looks on the faces in the crowd must have been filled with utter dismay as all of the comments immediately following this statement vehemently disagreed with the FAA's position (as we do also) and here is why:

First of all there is no valid basis or data to support such a comment and position specifically for drones. Only within the last few months has commercial drone use been permitted by the FAA through exemptions and subsequently under FAA/NTSB scrutiny in regards to safety reporting. Further, if all known careless and reckless flights performed by unauthorized commercial operators in recent years was tallied, and this figure was then compared to the number of careless/reckless recreational flights.......well, we all know how lop-sided that comparison would be. In 10 years of flying camera drones, not once has anyone ever asked us to take photos or video from 5000' AGL.

People only do things they need or want to through some form of motivation. 

The typical motivation for a careless recreational drone pilot is to simply see if they can do something. Natural curiosity if you will. At more extreme levels, this is sometimes also known as thrill-seeking. How high can this drone fly? What does my city look like from 5000' high? How far away can I fly this drone? How close to something can I fly my drone if FPV? What do fireworks look like from my drone? What do my city's Xmas lights look like from my drone at night? These are all good examples of motivations for a careless drone hobbyist. It is also human nature to want to share such daring exploits with others and the more YouTube views the better!

This is in very stark contrast to the motivations of a commercial drone pilot and company. Their prioritized motivations are more along the lines of -

Making a profit
Keeping costs down
Staying ahead of the competition
Building a client base
Maintaining a good reputation

While there can be business motivations to get attention-grabbing, high-risk shots for marketing purposes, in general putting very expensive equipment at high risk is usually a very poor business model. Frequently broken equipment is not good for a productive bottom line. A perfect example of a more preferred risk management approach is the frequent use of disclaimer's that reads "professional driver on closed course" in automobile advertising.

Looking at the list of motivations for a commercial drone operation, putting equipment, persons and company reputations at excessive risk is directly counter to every single item listed above in a very big way. Insurance is also a consideration. Aviation liability insurance is expensive and hard to keep for those prone to frequent claims. Careless hobbyists aren't covered by insurance when not following the safety code of a "community based organization" such as the AMA.

So in conclusion, since the FAA's commercial vs recreational regulatory policies are not based on data, logic, trends or observations, the question that begs to be asked is...what are they "really" based on, truth be known?

UHD 4K and 6K Aerials for VFX Backplates

One of many excellent applications for close range aerial video using advanced drone technology is the acquistion of UHD backplates. Perfectly smooth, dynamic and flowing images can now be captured using cameras such as the Red Epic Dragon which make the perfect canvas for the addition of CGI/VFX elements in post production. Have so much pixel real estate to work around in with the 6K image is pefect for compositing in post.

Perfect Perspectives has entensive experience in providing UHD backplates and has a fleet of 8 different single rotor drones that can easily fly a fully kitted camera with anamorphic glass if required. For action filming it should be noted that single rotor rigs are capable of flying at speeds that are more than double that of mulitrotor systems, all with superb aerodynamic stability and control. Our systems utilize the amazing Freefly Systems Movi M10/MR camera stabilization system and includes Paralinx wireless HD real time monitoring during flight.

Perfect Perspectives is the only drone filming company we know of that guarantees zero post stabilization will be needed for any cameras we fly. Below are a few examples of recent projects:

Cincinnati Bell TV Spot

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 Cinematography Demo Reel 2013

Below is the last aerial demo reel by Perfect Perspectives using servo driven camera stabilizaton. Recent advances in brushless gimbals provide a level of speed and accuracy that cannot be achieved using servos.

Perfect Perspectives has recently incorporated the amazing Freefly MOVI camera stabilizer to a true super heavy lift airframe with astounding results. This rig, known as "BRUTUS", offers performance capabilities few others can match, such as 15 minute flight times with 30 lb. payloads, useable footage in up to 25 mph winds with no post stabilization, 80+ mph top forward speed and full HD wireless monitoring with minimal latency.  Why are these impressive specs important? Because when the density altitude conditions are far less than ideal, such as in very hot, humid or high altitude areas, this rig can still deliver dynamic, high performance shots without making excuses.

Perhaps most important is that this platform was designed from the beginning with the goal to be both reliable and inexpensive to operate relative to other designs capable of carrying ultra high definition digital cinema cameras. As a result, this rig can be provided at a day rate that is significantly less than the competition.

This one-of-a-kind rig can run much higher MOVI stiffness settings than an octocopter, allowing for higher speed, dynamic filming for vehicle tracking and action sports shots.

The MOVI stabilizer can quickly and easily be coverted from aerial to handheld use, providing for maximum versatility and on-set production value.

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.

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

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

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