British Cinematographer
article here
Flying Pictures are the ‘one-stop-shop’ for all aspects
of aerial filming, spanning helicopters, planes, drones and even hot-air
balloons, including the design and manufacture of specialist equipment to
capture the shot.
Drone filming has long since passed from being an unwieldy
toy with novelty value to being a multifaceted and agile suite of tools for
extending storytelling possibility. As the techniques and technologies have
matured so too has the workflow and the experience of specialist teams of
operators, pilots and logistics that help directors and DPs shape their
creative vision.
“We don’t just rock up and offer the classic aerial shot to
open a scene,” says James France, aerial camera operator with Flying Pictures.
“Our skills and knowledge combined with a growing arsenal of equipment is at
the disposal of directors and cinematographers to solve all manner of problems,
efficiently and creatively.”
Flying Pictures is the world’s oldest aerial service
company, pioneering aviation filmmaking since the 1970s. Innovation has always
been central to the business which, back in 2015, expanded its helicopter
filming division by adding the most advanced and experienced drone crews.
“We’ve worked in some of the most testing places; from high
altitude shoots, to filming ships over the oceans, from scene-setting shots of
London to action packed sequences in the jungles of South America and Asia,”
says Will Glover, Flying Pictures’ director.
Credited on over 350 productions, Flying Pictures has
coordinated and filmed some of the most memorable aerial stunts and action
scenes including the Queen parachuting at the London Olympic Games, to filming
Tom Cruise riding his motorcycle off one of the largest cliffs in Europe,
capturing one of the most dangerous stunt sequences in film history.
The overall trend has moved away from the single elevated
view for an establishing shot to embedding aerial cinematography within a
production’s camera, VFX and art departments for all manner of creative
solutions with the sole goal of enhancing the narrative.
“Being able to pivot as a unit, integrate into the wider
production and to gel communication together, is of critical importance to make
sure the shoot runs smoothly,” says France. “Even on medium or large-size
projects people need to pivot much more than you anticipate. That could be due
to a script rewrite or a cast sickness, or simply just not having the right
equipment or crew, that’s where we can step in and offer a creative solution.
With the history and experience of Flying Pictures, we’re not just a drone
crew, we’re an integral part of the camera department.”
He explains, “At Flying Pictures we work with the locations
teams on a scout to figure out the type of technology solution and size of unit
suitable for the sequence and the logistics of achieving it. We’ll work with
VFX departments to capture background plates and to world build and to create
the story universes.”
France recently collaborated with Martin Ahlgren, ASC on an
‘Untitled Jason Statham’ project for director Ric Roman Waugh in the UK and
southern Ireland. Needing to get a close-up of the main cast located on a boat
but lacking a tracking vessel, the production turned to France’s team.
“We deployed a drone to achieve an incredible medium
close-up tracking shot all the way across the harbour, which you just wouldn’t
be able to get with any other camera.”
France joined Ahlgren and Waugh again for the 42-day shoot
for Greenland: Migration, the forthcoming sequel to 2020’s
eco-themed blockbuster starring Gerrard Butler. This project involved
coordinating and filming aerial sequences on location in London Docklands and
Iceland using varied drone systems from a 35kg heavy lift drone to carry a
Venice 2 and Panavision lenses to the lightweight and nimble DJI Inspire 3 with
an impressive 8K camera system.
“At the time we were shooting in Iceland there was a
volcanic eruption on the Reykjanes Peninsula which made filming a little tricky
to navigate but it was actually a perfect backdrop for an apocalyptic
storyline, so it worked really well.
France has been a member of the Flying Pictures team since
2017 and has gravitated from shooting on high end commercials for the likes of
Lloyds Bank, Google and Ford and dramas like Pennyworth and Intergalactic to
operating on major motion pictures to include Kandahar, Kraven The
Hunter, Blitz and Greenland 2. Along the way he has
acquired a wealth of experience.
“It can be quite tricky for the drone department to get
access to a production’s directors and DPs and I see it as part of my job to
try and break down that communication barrier. I want to make sure that we’re
completely on the right creative path so that the camera language established
for each production is married to our aerial photography.
“To do that, we like to work closely with production on a
day-to-day basis so we can make those minute changes that means that our camera
language, our lens choices, our movement choices all marry up to the story and
also with what everyone else is doing on the ground, whether that’s how the
grips are utilizing the cranes, dollies and tracks or whether, actually, the
shot is conveying a moment of stillness or sadness and no camera movement is
necessary.”
As camera technology gets smaller and lighter this can
increase flight times and lend further creative potential to shooting longer
scenes, one takes and handoffs.
“Systems are coming to market which have longer signal range
and better battery life which makes the whole package more robust and reliable
and gives the production more options.”
Instead of going to a drone team and having one custom built
heavy lifter you can now expect a drone unit to build and fly multiple
different systems all transported and managed on location from the same van.
“It gives you so much more creativity to conjure up a shot, plan and execute it
on the day,” France says.
Flying Pictures is one of only a handful of companies in the
UK to hold an OSC operating permission from the CAA meaning it can fly both
heavy and light lift drones as close as 10m from public, buildings and vehicles
that are not under our direct control. This opens up a world of opportunities
for city centre aerial filming and makes productions life easier requiring
fewer lock offs, fewer marshals and fewer permissions ultimately saving time
and money. As such, it has extensive experience filming in central London and
restricted areas including military bases, airports, diplomatic homes and even
Royal Palaces.
A new world of dynamic camera movement possibilities
The last few years have seen a surge in FPV (First Person
View) filmed content. Much smaller than traditional drone systems and flown
from the point of view of the pilot, these devices enable productions to
position the aircraft much more precisely and achieve some sensational high
speed action.
Camera packages range from stripped-down GoPro systems up to
the RED Komodo cine camera. “Our FPV pilots are highly skilled and have years
of training allowing them to operate to the limits on every shoot,” says
Glover.
Standard FPV drones
Typically, just FIVE inches across standard FPV drones carry
a small payload, something like a GoPro or DJI Action Cam or potentially ZCam
E1. Extremely fast and agile with a fixed mount camera, these drones are great
for flying in small spaces, through woodlands, chasing bikes or flying under
boats.
“We offer different types of standard FPV drones, some are
designed for outright speeds and agility, some designed with safety in mind
with enclosed props and even rubber bumpers,” France says. “The best way to
evaluate what you might require is to have a chat with one of our in-house
pilots, talk through what you’re looking to achieve and we can offer the best
advice. It might be you need a variety of different systems to achieve your
vision.”
Hybrid FPV drones
Standard FPV drones offer a great new perspective but shots
are limited, usually to a forward-facing fixed mount shot that rolls with the
roll of the drone. That’s why Flying Pictures invested in Hybrid FPV drones. As
with traditional drone operation these are flown by a pilot via goggles but
have a camera and gimbal controllable by a separate camera operator giving the
unique ability to get into tight spots accurately and also having the ability
to frame the shot perfectly.
Payloads vary on these systems but Flying Pictures try to
keep them as lightweight as possible with the maximum payload being something
like a RED Komodo, ZCam or Freefly Ember.
“We use smaller gimbal systems providing reliable stable and
controllable shots at very high speeds,” says France. “We’ve tried and tested
these gimbals in some of the harshest environments with exceptional results.
Flight times on these systems varies drastically depending on flying style and
payload. Typically, we expect to see flight times of around 5-10 minutes but
this can be reduced if flying a heavy payload extremely dynamically.”
Micro FPV drones
Flying Pictures operate micro FPV drones weighing less than
250g that comply with EU regulation regarding open category drone
operations.
“We’re able to fly these systems over people, buildings and
vehicles not under our direct control,” France says. “They’re also designed to
be super safe, with small enclosed propellers and stripped out GoPro camera to
get the weight down to the bare minimum.
For achieving breathtaking building drop shots, flying over
things that normally wouldn’t be possible or simply trying to replicate ‘that
bowling alley shot’ then micro drones could be just the job.
Expand your water-based options
For water-based action sequences, Flying Pictures also own
and operate purpose-built camera tracking catamarans that enables productions
to capture dynamic shots on the water. The vessels are equipped with advanced
camera tracking technology, ensuring stability and precision, even in
challenging conditions.
“Our crew has extensive expertise in building and operating
tracking vehicles both on land, and on the water. With experience on Sail GP,
the America’s Cup yacht racing and hundreds of Top Gear episodes,
we can customise solutions for land or water tracking sequences,” says Glover.
“Whether it’s a fast-paced chase scene, a scenic aerial shot, or a smooth
tracking shot on the water, we have the expertise and equipment to bring your
vision to life.”
All under one roof
“We put our comprehensive resources at your disposal,” says
Glover. “We have an in-house operations team, an expert engineering department
with unparalleled technical expertise, vehicles from helicopters and drones to
boats and custom-built tracking vehicles plus all variety of camera systems,
gimbals and Shotovers meaning we can tailor the camera and lens packages to
suit any requirement.
“Plus, we have experienced pilots and camera operator teams with years of experience in creative collaboration with production to deliver the most exacting and outstanding shots you need.”
No comments:
Post a Comment