Land, Air and Sea: Flying Pictures has it all

British Cinematographer

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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.”