Close Range Aerial Filming - Own or Rent?

There are many valuable lessons that one learns over the years; don't tug on Superman's cape, don't spit into the wind, don't pull the mask off that old Lone Ranger and you don't ever want to try and discourage anyone from doing something they are truly passionate about.

So what does the last lesson on the list have to do with aerial filming? As mentioned previously here, few things are more unforgiving of human error that flying. Human factors studies commissioned by the FAA estimate that up to 80% of full sized aircraft accidents can be traced back to human error. It is safe to say that for operating a complex RC aircraft, this estimate would be even higher. To say that the learning curve to become a safe, efficient and effective RC aerial cinematographer is steep is truly an understatement. Provided the person (or team) already has the required mental discipline to meet the challenge (many will not), humans learn best by doing and making mistakes, and in this area, mistakes are almost always very costly. Experience is something you don't realize you need until you need it. So what is the point here? If a person has a relentless, burning desire to become an RC aerial cinematographer, and has the raw core skills to do so, nothing anyone does or says will deter them.

Recent developments in multicopter flight control technology makes it easier to control an aerial filming platform compared to manually flying a more traditional single rotor rig. Many production companies think that in order to stay competitive, they need to add this skill set to their list of offerings. But there are many, many things to weigh in order to determine if this course makes sense from a business perspective. Below is a list of just a few key considerations -

1. Core Competencies, Time Management and Continuity of Skills

If you are a production company, you are already adept at multi-tasking. So what is the big deal about adding just one more task? At issue here is the fact that this particular task is not only very time consuming to master (read years), it is also very time consuming to maintain. This is due to the complex nature of the equipment and process for using it, as well as the fact that the technology is evolving at a very, very rapid rate currently. The time commitment is much more than most would ever think, and if not performed often, the skills needed will quickly deteriorate, leading to greater risk of accidents. So the question that needs to be answered is, do I really have the time to commit to this effort, or does it make more sense to focus on what I am already good at and simply hire an expert to do my aerial filming?

2. Insurance

Due to the exponential increase of incidents, obtaining insurance to perform RC aerial cinematography is becoming more difficult every day. It is possible to obtain a policy, but, upon close examination of the fine print and exclusions, it will become evident that the policy has almost endless avenues to deny a claim, and insurance companies are very adept at denying claims. Many companies may be in a position to absorb the repair costs for equipment damaged in a crash, but most would not be able to cover the liability of a personal injury case. There are only a couple of options for insurance that will truly cover third party liability in a meaningful manner and they are very selective when it comes to taking on new customers. An extensive review of equipment, qualifications and procedures is required in order to qualify for these policies.

3. Pending Regulatory Landscape

Currently there are no specific federal aviation regulations for performing RC aerial cinematography. The agencies policy for this activity is currently being contested in court. This is going to change. While the exact regulatory timeframe is currently not well defined, the event is as certain as death and taxes. Why is this an important consideration? For one thing, the investment made into expensive equipment could result in significant stranded costs should the regulations not permit use of some designs. Should the regulatory agency follow the lead of other, more expedient countries in this area, items such as airworthiness, licensing, safe operating procedures, emergency procedures, maintenance procedures, management of change procedures, flight logs, risk assessments, collision avoidance systems and more may become requirements. Government oversight and red tape have always been synonymous.

So in summary, the purpose of this information is neither to encourage or discourage a production company from pursuing their own aerial cinematography capability, but rather to provide some hopefully insightful considerations before jumping into the deep end.

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 - 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

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