Round Table: Aerial filming
Posted on Mar 3, 2025 by Admin
A panel of high-flying aerial specialists gives us the view from the top
The panel
- John Marzano, CEO, Marzano Films
- Olly Sugars, Drone pilot, Flying Pictures
- Emma Boswell, Co-founder and CEO, The Helicopter Girls
- Will Banks, Camera pilot, Aerial Film Company
- Jeremy Braben, Founder, CEO and aerial DOP, Helicopter Film Services Ltd
John Marzano, CEO, Marzano Films
Olly Sugars, Drone pilot, Flying Pictures
Emma Boswell, Co-founder and CEO, The Helicopter Girls
Will Banks, Camera pilot, Aerial Film Company
Jeremy Braben, Founder, CEO and aerial DOP, Helicopter Film Services Ltd
DEFINITION: What technological advancements have had the biggest impact on aerial filming in recent years, and why?
Jeremy Braben: One of the most noticeable advancements is that cameras have become smaller and better. Where we once would need a heavy-lift drone to carry a cine camera, we can achieve the same results with more compact, agile options like the DJI Inspire 3 with its 8K camera or a RED KOMODO-X mounted on an FPV drone. That said, there are still times when only a heavy lift will do; generally it’s dynamic range and lens choice that dictate this. The shift to smaller cameras also means multicamera arrays can now be used on drones. Our three- or six-camera, and even 360°, aerial arrays on the helicopter are proving popular for VFX. Our recent experiences working with Big Sky, Apple and Sphere have also demanded new methods of integration and use of these large format cameras.
Emma Boswell: For us, the release of the RED V-RAPTOR 8K large format camera has done for FPV cinematography what ARRI’s ALEXA Mini did for heavy-lift drones. For an 8K cinema camera, the V-RAPTOR is remarkably compact, making it ideal for FPV drones. We fly it with the DJI RS 3 Pro on a compact FPV drone, allowing incredible agility, which unlocks huge creative possibilities. With this set-up, the drone can dart and weave through trees at high speeds with a 90mm cinema lens, complete with lens control. That’s how we captured the broomstick chase sequence for Wicked. With this same set-up, we also shot a tracking sequence alongside racehorses at full speed on a 130mm lens. It’s a game-changing combination that has completely transformed how we approach shot planning for FPV.
Will Banks: Hybrid FPV drones, blending stabilised, steerable shots with FPV agility, have given filmmakers a new visual language, merging the smoothness of a traditional gimballed drone set-up with dynamic movement. Drones dominate the conversation, but high-speed aerial cinematography in the world of manned aviation is often irreplaceable. At The Aerial Film Company, we’ve embraced this evolution of drone tech, figuring out how it can complement what we’re doing in manned aviation. Our latest investment is the upgrade of our SHOTOVER F1 to the F1 RUSH system. In combination with our Pilatus PC-9, the F1 RUSH allows for stable, high-speed filming at up to 350 knots and 3.5G high-speed turboprop. This tech enables breathtaking high-speed tracking shots of jets, aerobatic aircraft, race cars – sequences that drones simply can’t sustain over long distances.
While automation and drone tech continue to reshape the industry, we think the magic of aerial cinematography still lies in human expertise, whether that’s in manned or unmanned aviation.
Olly Sugars: The miniaturisation and advancement of electronics have transformed aerial filmmaking. This has made equipment more efficient, capable and lighter. Key improvements in flight controllers, electronic speed controllers (ESCs), camera sensors, processing chips and algorithmic software have enhanced stability, precision and image quality. These have led to the rise of FPV and hybrid gimballed FPV systems. All the while, cinema cameras have become more compact and powerful, allowing high-end filmmaking equipment to be flown around without compromise.
John Marzano: Advanced three-axis gimbals – from DJI and Freefly for drones and PV Labs and SHOTOVER for larger systems and full-sized aircraft – give us ultra-smooth footage, even in turbulent conditions. The stabilisation has made it much easier for the VFX departments to track plate shots for compositing. DJI’s record move functionality (available in its new Inspire 3 drone) incorporates differential GPS accuracy, which allows the drone team to record a repeatable 3D move that, while not frame-exact, is astoundingly accurate.
High-resolution, lightweight cameras like the RED KOMODO and V-RAPTOR, ARRI ALEXA Mini LF and 35, Sony VENICE 2 and, most recently, the Zenmuse X9-8K for the DJI Inspire 3, have facilitated cinema-grade images from drones and compact full-sized aircraft systems. FPV drones capable of carrying cinema grade cameras have revolutionised dynamic aerial shots, enabling high-speed, immersive filming that was previously virtually impossible. With the advancement of AI-aided intelligent flight systems, complex aerial shots are becoming easier and safer. Battery tech has also made significant strides, providing longer flight times, which are vital when hovering in position waiting for all departments to be ready for the single explosion or high-speed stunt. LiDAR and 3D mapping have also made huge advancements in high-res scanning and photogrammetry, providing filmmakers with super-accurate 3D maps for better previsualisation and VFX integration.
DEFINITION: What are the key challenges in your field and how do you address them?
Jeremy Braben: Operating aerial vehicles means adhering to strict aviation regulations, including airspace restrictions and safety protocols. This includes staying updated with local and international aviation laws, obtaining the necessary permits and certifications and ensuring all crew members are trained in compliance procedures. The risk of accidents like collisions or equipment malfunctions poses significant safety hazards and we do our best to mitigate these with continual training and maintenance. It’s essential to conduct thorough pre-flight checks, regularly maintain equipment and provide ongoing training for crews and operators.
Will Banks: Aerial filming with manned aircraft presents unique challenges, from navigating congested airspace and flying low level through complex terrain to keeping up with ever-changing aviation regulations. Use of helicopters and fixed-wing aircraft requires detailed permits, enhanced low-level approvals and close coordination with aviation authorities – all within the notoriously tight timelines of film production. We tackle this with a dedicated operations team led by Abi Hensby, ensuring seamless compliance while maximising creative flexibility. Directors and DOPs can dream big knowing our team is hard at work securing the necessary permissions without delays or last-minute restrictions. Many underestimate the importance of adherence to aviation regulations, but it’s the backbone of delivering our services to productions across the world.
Emma Boswell: We believe in staying ahead of the curve, listening to what our clients want and being nimble and solution-finding. This means we’re continually reinvesting time and money into development, and have established a phenomenal in-house team with the skill set to design and manufacture. In doing so, we adapt quickly to clients’ needs and maintain our 36-strong fleet of heavy-lift, super-heavy-lift, FPV and Inspire 3 drones.
Regulations become increasingly challenging as they evolve, both in the UK and Europe. Client demand, and our experience, has led us to apply for permissions to operate in the EU with the same level of equipment that we fly here in the UK. To do so, we’ve spent many months developing parachute systems and creating a safety case that will set The Helicopter Girls (THG) apart as the only company authorised to fly a payload as heavy as our 360º four-camera array in congested areas.
For on-set crew it can be challenging to navigate complex environments and balance creative vision with the real-world constraints of filming in a city, for example. We tackle this by being meticulous in our planning with the production, and making sure the creative team are on board with the way a shot needs to be approached. Early engagement with the key decision-makers makes all the difference.
As one of a very small number of women in our technical and creative field, I would also say that recruiting a diverse crew continues to be a real concern that needs addressing across the board.
Olly Sugars: Drone laws are constantly evolving, and navigating bureaucracy is time-consuming and laborious. Drone tech is advancing rapidly, and often outpaces legislation. Staying compliant requires ongoing monitoring of legal changes and working closely with regulatory authorities to secure necessary permissions.
John Marzano: Aside from regulations, another significant challenge is battery life and flight duration. Our teams must ensure power packs are kept charged throughout the day to ensure the drone is available to fly at any time. Conversely, to ensure longevity and effectiveness, LiPo batteries should not be stored fully charged for significant lengths of time. After a shoot, batteries should be discharged before being stored. Drones are susceptible to control signal failure, degradation or lack of GPS signal. It’s vital that the drone team check for potential radio interference and adequate GPS signal before commencing flight operations.
Drones and helicopters have limits on what they can carry as camera systems. Therefore, choosing lightweight cameras and lenses is essential for prolonging flight duration. Aerial filming budgets are always under pressure from the production team, so it’s a challenge to provide the right level of equipment with sufficiently experienced crew to operate it. This is equally applicable to helicopter filming. It’s definitely not the case that cheaper is better, and an experienced aerial team with the right equipment will ultimately save the production time and money through their efficiency.
Definition: How do environmental factors like weather shape your approach to a shoot?
Jeremy Braben: Thorough site visits and pilot recces are essential. Various weather factors can pose challenges, but an experienced aerial coordinator can help directors and location managers navigate them, ensuring safe and successful outcomes.
Will Banks: Aerial cinematography is a game of opportunity. You can plan for weeks, but you also need to be ready to fly at a moment’s notice when the perfect light, sky and conditions align. Flexibility is essential, as weather can shift in an instant. When it does, delays in sourcing aircraft and waiting on rented equipment or even crew members can mean losing the opportunity to capture those ideal conditions. We now own our helicopters and camera systems, and have a range of lenses and camera bodies – so we’re always ready to move when nature opens a window! Winter is often seen as a challenge, but in reality it offers crystal-clear visibility, breathtaking golden-hour light and dramatic land and cityscapes – if you have the ability to act fast. We monitor weather patterns at an obsessive level, analysing wider weather across the continent, including high-level winds and low- and high-pressure areas. When the conditions align, we don’t hesitate.
Emma Boswell: Focusing on weather, most drones are now robust in winds of 25mph, but rain has always been a problem. Aircraft like the Freefly Alta X and DJI Inspire 3 lack any kind of weather rating, and their electronics aren’t weatherproofed. Exposure to water can cause system failures, so flights in wet conditions are highly risky. Even in light drizzle, water on the lens can render the shot unusable, eliminating any potential benefits of taking the risk. I’m thrilled to say that this is about to change. At BSC Expo, The Helicopter Girls is unveiling the first rainproof film drone: the Hydra, built to withstand heavy showers, which means no more need for last-minute rescheduling! It’s a heavy-lift hex system, the gimbal and full cinema camera package can be weatherproofed and, with a rain spinner on the lens, it will be a game changer for productions.
Olly Sugars: With environmental factors having a huge bearing on safety and shot quality, conditions like high winds and moisture need to be carefully assessed before and during the shoot – and filming postponed if risks are too high. We scout the terrain in advance, planning optimal flight paths, line of sight and safe operating positions. Lighting is key, so we also collaborate closely with aerial and ground DOPs to maximise natural light and aim for the highest image quality and visual impact.
John Marzano: Effective pre-deployment planning should help mitigate disappointment, but weather is a very changeable beast! Flying over water also presents its own set of difficulties, especially for drones. If the operation requires the drone to be flown out from a boat, consideration must be given to the failure modes chosen. It’s no good the drone returning to its ‘home point’ on land if the boat has moved away from that established position. Recceing proposed operational areas allows pilots to judge how local environmental conditions might affect the operation.
DEFINITION: What are the most common misconceptions about aerial filmmaking and how would you counter them?
Jeremy Braben: There’s a misconception that drones have completely replaced helicopters in aerial filming. While drones are versatile and cost-effective, helicopters are still preferred for some high-speed manoeuvres, as they can carry larger camera equipment and operate in more challenging weather conditions or over longer distances. The choice between drones and helicopters depends on the specific project requirements, including the desired shot type, environmental conditions and budget. We look at the requirements and advise accordingly.
Will Banks: One of the biggest misconceptions in aerial filmmaking is that one tool fits all – that a drone can do everything a helicopter can and vice versa. In reality, the most successful productions use both to their strengths. Helicopters provide range, endurance, speed and the ability for directors and DOPs to see shots unfold in real time and make adjustments mid-flight. They’re essential for high-speed tracking, big landscape shots, carrying full-scale cinema cameras and flying over congested environments where drones can’t due to regulations. On the other hand, drones excel in low-altitude precision, navigating tight environments safely while adding agility to scenes.
That’s why we see helicopters and drones not as rivals, but complementary. This approach allows productions to seamlessly integrate both. The result? Smarter shot design, creative flexibility and aerial sequences that suit the storytelling.
Emma Boswell: It’s a common misconception that you can buy a drone off the shelf and operate it at a professional level. While consumer drones are widely available, truly staying ahead of the curve and delivering the best to clients requires being both a tech and drone company. We invest heavily in R&D, constantly refining our systems and capabilities to push the limits of what’s possible. In reality, drone units are highly demanding. Every rehearsal is effectively a take and every take is different. There’s little to no time for traditional rehearsals, meaning we must adapt in real time, adjust on the fly and perform at the highest level under intense pressure.
Olly Sugars: ‘It’s just about getting the camera in the air’ – absolutely not! Aerial filmmaking requires careful planning, technical expertise and a strong understanding of composition and spatial relationships.
‘Anyone can fly a drone’ – safe and effective drone operation requires skill and responsibility; proper training and certification are essential. But flying the drone is only half the story – it’s about integrating onto a larger set, developing shots and adding to the director’s vision.
John Marzano: It’s widely believed that a drone can replace a helicopter for all aspects of aerial filming. This is not the case. While drones are highly versatile, helicopters still lead the way for high-altitude operation, high-speed tracking and carrying heavy kit such as IMAX and large zoom lenses like the Angénieux Optimo Ultra 12x. Drones have more wind and weather limitations, and batteries result in limited flight times. In certain cases, the regulatory constraints are more inhibitive for drones than those of a full-sized helicopter. An experienced aerial filming operation should be able to guide the production team in choosing the most appropriate and cost-effective tool for the shoot. Some filmmakers assume that hiring a drone and crew is cheap, quick and doesn’t require planning. Professional aerial cinematography involves expensive equipment, a skilled crew, meticulous flight planning, permits and insurance. Corner cutting ultimately leads to safety risks and legal issues. Pre-production planning addresses this misconception and broadens production teams’ knowledge of what’s possible.
It’s also assumed that drones can fly anywhere. This is not necessarily the case either. Any drone over the 250g max takeoff weight can’t be flown over active airfields or other sensitive sites and can’t be flown in congested areas without meticulous flight planning and permissions. Many larger studios also prohibit drone flights over the heads of cast, crew and members of the public. The VFX department, while brilliant, can’t always fix poorly framed, exposed or focused aerial shots, so it’s vital that the drone team work in harmony to achieve great shots and avoid costly corrective post-production processes.
We look at the specific project requirements and advise accordingly”
DEFINITION: How do you ensure aerial footage aligns with the creative and logistical goals of directors and other departments?
Jeremy Braben: Communication is key! Getting a clear brief, storyboard and ideas from directors and obtaining scripts at an early stage provides the aerial DOP and coordinator with a foundation on which to build aerial sequences and shots that work. We use our knowledge and experience to deliver directors’ visions, and in some cases offer a different approach to achieve this. A vital element of any aerial team is, of course, effective communication and understanding between the pilot and aerial camera operator.
Will Banks: To deliver the director and DOP’s vision, the aerial team needs to be part of the conversation from the start. When we’re involved at an early stage, we can align the creative intent with technical execution, ensuring everything is achievable within regulations, budget and logistical constraints. Our job is to never impose limitations: we’ll work with every department on a production, as well as with aviation authorities, to make sure we can deliver exactly what’s required. This is much more straightforward when we have complete information about the requirements early on. So often, productions are ill-informed – by well-meaning individuals without full knowledge of equipment, machine capabilities and regulations – about what is and isn’t achievable. Our past experience can help inform productions on the visual language that’s possible by utilising the right platform in combination with the best-suited lenses. It’s all too easy to slap a 12x zoom onto a gimbal to capture everything, but sometimes films are better served by bolder options like extreme wide-angle, vintage or anamorphic lenses. Our job is to empower the creatives; whether it’s in capturing a high-speed car chase, stomach-turning aerial battle, shooting landscapes in that perfect light or performing a seamless VFX pass, we’ll make it happen.
Emma Boswell: It’s essential to be able to plan in detail with other departments, including locations, ADs, camera and VFX. The location team in particular is hugely important to the success of drone shoots. Back in Action is a great example of a huge team pulling together to close down large areas of London along the Thames and execute a wildly ambitious stunt that included lots of FPV and heavy-lift drone work. This was achieved through multiple recces, briefings, studying the previs and concepts shared by the creative team, discussions identifying potential hazards and safety concerns and ultimately rehearsing so that every detail could be executed as planned. As a drone unit, we have to be able to adapt to changes in conditions on the day, so our goal is to pre-empt what we can. By addressing details beforehand, we’re minimising unnecessary resets while maximising efficiency and flight time, and allowing the director to confidently get their shot.
This level of preparation is especially critical on high-pressure sets where time is limited and every take matters. When everyone is on the same page before takeoff, we can focus fully on the execution of a precise, dynamic and visually compelling shot.
Olly Sugars: For us, there are three key factors for ensuring that both artistic and logistical goals are met. Firstly, collaboration and coordination between departments so that aerial shots integrate smoothly into the overall production. Secondly, communication and open dialogue with the director and DOP to achieve the desired movement, angles and storytelling impact. Finally, experience: a deep understanding of production that allows for creative problem-solving and precise execution.
John Marzano: From a creative perspective, an accomplished aerial operator with a wealth of experience will provide the creative team with ideas and solutions for the shots required for the sequence. With the VFX team having ever-increasing responsibility for a film’s look, the aerial DOP should have in-depth understanding of VFX workflows. The entire drone team needs to work together as a cohesive unit to ensure efficiency and creative success.
DEFINITION: How do you decide between using drones, helicopters or other aerial platforms for specific shoots?
Jeremy Braben: As a full-service provider, and one who has both helicopter and drone tools in-house, we can look at an aerial sequence holistically. Both helicopters and drones have their merits and shortcomings, so understanding these allows for a more informed choice rather than blindly offering a piece of equipment. In some cases, even a drone isn’t the right choice for a low-level, timed sequence – a wire system might allow for a better, more repeatable solution. Helicopters can fly in a greater variety of weather conditions, as well as higher and further than drones. A multi-location task might take minutes or hours between locations in a helicopter, rather than days for a drone. The shots look different too – there’s something distinctive about a helicopter shot, but an FPV drone shot is also very different!
Will Banks: Our in-house aerial DOP is highly experienced with helicopters, high-speed fixed wings and drones, understanding the nuances of which precise platform’s strengths play well for the requirements of any given production. Drones excel in tight environments, capturing low-altitude, close-proximity shots safely and efficiently. Helicopters, on the other hand, offer endurance, speed and flexibility, making them essential for high-speed tracking, large-scale landscapes and complex sequences requiring multiple shots in a single sortie. For example, when filming a desert car chase, a helicopter with a SHOTOVER system delivered dynamic, fluid shots at high speeds – something a drone simply couldn’t sustain over the necessary distance. However, on another project we combined drones for detailed close-ups with a helicopter for sweeping aerials, seamlessly blending the two perspectives. Every shoot is unique, and our approach is always tailored to maximise both creative potential and efficiency. By understanding the strengths of each platform and how they work together, we ensure productions get the best of both worlds.
Emma Boswell: It’s usually clear whether it’s a drone or helicopter that’s the right tool for the shot, but there’s often a deeper conversation about which of the various drones we operate is going to get closest to the creative intention, especially since drones are now such flexible tools. This can be a discussion about location, speed, accuracy, flight time, camera and lens payload, style of flight, using hand launch or landing techniques to move between ground and aerial. We’ll usually have more than one type of drone on-set so we can shift between an FPV and either a heavy-lift or Inspire 3 drone.
John Marzano: Many factors influence the choice of aerial platform, not least of which is cost. Aircraft flight characteristics, capabilities and environmental impact also play a vital part in platform choice. Weather conditions obviously also have influence over the decision, with drones much more susceptible to adverse conditions. Flight duration is always key, and impact on the ground is particularly applicable when considering operations with a helicopter.
Every shoot is unique, and our approach is always tailored"
DEFINITION: How do you manage communication between ground teams and aerial operators to ensure a seamless and safe shoot?
Jeremy Braben: Radio and video links are essential, as is having a good team on the end of them. A clear central point of communication, often via an aerial coordinator, is crucial.
Will Banks: Precision and safety rely on effective communication, and the costs and risks in our line of work are simply too high to leave this to chance. Clear, standardised protocols and dedicated radio frequencies ensure uninterrupted communication between ground and aerial teams. Pre-shoot briefings outline every team member’s role, the sequence of shots and contingency plans. Some aerial companies simply use an open radio frequency, hopping channels until they find a seemingly quiet one, but this can lead to interference, delays and even security breaches. We operate on dedicated, private channels assigned by aviation authorities. This prevents outside chatter from disrupting critical instructions, eliminates the risk of press leaks and ensures only essential crew members are involved in real-time decision-making.
We have an aerial coordinator who is a seasoned operations manager with over a decade of experience in the helicopter industry. Her in-depth knowledge of aviation protocols and direct access to multiple aircraft and crews ensures every moving part of the operation functions seamlessly. We’re a highly synchronised unit that has worked together for years. This deep trust and familiarity creates an environment where everyone understands their role, responsibilities and the critical nature of clear, procedural communication. Interference with this level of cohesion from outside parties inevitably forms cracks – miscommunications arise, assumptions replace clear directives and safety margins shrink.
In aviation, assumptions are the first step toward failure. That’s why our communication approach is built on transparency, precision and a shared commitment to the highest standards of safety and efficiency. Whether adapting to last-minute creative changes or responding to shifting environmental conditions, our system ensures every decision is made with clarity, confidence and complete situational awareness.
Emma Boswell: When working with a big team on the ground, the ADs facilitate communication, manage set control and ensure a safe, organised working environment. They help coordinate movement, lock down areas where needed and relay critical information between departments, allowing us to focus on getting the shot.
Clear communication and effective planning through the AD department are essential to our operations. Without their support, executing complex drone shots – especially on large-scale productions – would be nearly impossible.
Olly Sugars: Communication is essential, but must be managed well to avoid overwhelming pilots during flights. Experienced camera operators act as a bridge between the pilot and the creative team, so critical information can be relayed efficiently.
John Marzano: For successful drone operations, our drone teams always communicate through a closed-network headset intercom system. Our teams are also in radio communication via the production network, allowing for direct communication with various production departments, including the first AD. Prior to flight operations, Marzano Films provides all involved parties with a set of aerial safety notes and a safety briefing. This ensures every crew member has a clear understanding of safety around the aircraft and procedures required in the event of an emergency. We work closely with health and safety teams to provide ground safety and advice for sequences involving full-sized action aircraft.
DEFINITION: How do you see the future of aerial filming evolving over the next five years?
Will Banks: Technological innovations and sustainability concerns will make their mark, but human expertise will remain irreplaceable. AI-driven drone and camera systems will bring more automated framing and tracking, as already integrated in the Inspire 3. This will enable intricate pre-programmed flight paths for dynamic, repeatable shots.
Meanwhile, the push for electric and hybrid aircraft on the manned aviation side will not only reduce the industry’s carbon footprint but also offer quieter, more efficient aerial operations. The advancement in this sector is highly regulated by the Civil Aviation Authority, so the pace of progress on this front will be largely dictated by regulating bodies. However, while technology will advance, storytelling is an art, not just an algorithm. The need for skilled pilots and operators who understand the nuances of aerial cinematography will only grow.
Jeremy Braben: There’s a lot of industry buzz with the increased use of unmanned aerial systems across all areas of aviation. The use of larger UAS (drones, to use the familiar term) is being seen in surveying, agriculture and search and rescue missions, and these will undoubtedly get adopted for filming too, as power sources get better and better. As the future of film production evolves with the use and adoption of new technologies like AI, so will it with aerial filming. Quite how is yet to be seen, but VFX will be an area to watch.
John Marzano: AI advancements will play a significant part in the development of aerial filming over the next five years. I’ve no doubt that we will see the development of AI-driven flight control, subject tracking, shot composition and adaptive framing and movement, all dynamically based on scene analysis. While we already have real-time obstacle avoidance technology built into certain drones, this will become more readily available and sophisticated.
Battery technology such as solid-state batteries and hybrid or hydrogen power supplies could, in theory, provide hours of flying time without the need for a battery change. Power management will also play its part, making helicopters and drones more efficient and thereby prolonging flight times. Lighter, higher-resolution cameras with improved dynamic range will become more commonplace, and improvements in low-light capabilities will further enhance that aspect of digital cinematography. Over the next five years, I believe aerial filming will become more autonomous and more immersive. The distinction between drones, helicopters and virtual cinematography will blur, offering filmmakers unprecedented creative freedom. However, the need for skilled aerial crew, legislative compliance and high-quality storytelling will become even more necessary!
Emma Boswell: There are some seriously innovative times ahead! In R&D, THG is advancing with Drone MoCo, a custom motion-control system that will harness the progress in positioning capabilities of the latest camera drones using software we’ve developed. This will reproduce aerial camera moves between locations, regardless of geographical distance. In short, we can film background plates and then replay the moves precisely on-set for live action. We already achieved a shot using this system in a test case for Paddington in Peru (which made the cut) and now we’re running a funded project to perfect the workflow. This certainly unlocks newfound creative possibilities for filmmakers. Beyond its technical benefits, Drone MoCo will also contribute to sustainability. By enabling productions to capture critical elements remotely and match them later in a controlled environment, this will help reduce the need for large crews to travel, minimising the overall carbon footprint of a shoot.
Olly Sugars: We think AI-driven flight systems will enable smarter object tracking and obstacle avoidance. FPV drones will become even more refined, offering higher resolutions and better stabilisation to further integrate into mainstream filmmaking. Battery tech improvements will lead to longer flight times, expanding creative possibilities. Lighter, high-quality cinema cameras will allow for seamless integration between aerial and ground-based footage. As regulations adapt to technological advancements, we should expect greater flexibility in drone operations, including beyond visual line of sight (BVLOS) flights, opening up new opportunities for live broadcasts and cinema alike. Exciting times ahead!
For more insights into the industry, read Round Table: What’s next for PTZs?
This story appears in the February 2025 issue of Definition
