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