Aerial filming for film, TV and events

Aerial filming for film and television productions, commercials, corporate video and events, with camera moves defined at the recce.

Netflix approved

DJI Inspire 3 with the Zenmuse X9-8K Air camera: on Netflix's list of approved cameras for 4K original productions.

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In a production, an aerial shot is planned like any other scene, from the storyboard, the shooting schedule and the permits required. The aim is to get the shot within the first takes, keeping the crew's waiting time to a minimum.

Who it is for

Film and television productions
Advertising agencies and companies
Photographers and videomakers
Weddings, venues and wedding planners
Festivals and public events

Reference figures

8K RAW: 8192 × 4320 up to 60 fps, 75 fps in 2.39:1 (8192 × 3424); 14 stops of dynamic range
21 J: impact energy with the recovery system, against 1,177 J without: the reduction that allows authorisation to be sought for filming above a controlled, marshalled area
0.27 s: parachute deployment time, with motor cut-off independent of the flight controller
2-3: people in the air unit: pilot, camera operator and, where needed, focus puller

Aerial filming for film, TV and events

Film and production

Aerial filming for film, advertising and documentaries, planned with the production and with the authorities that issue permits.

Shot planning

Flight path, speed and framing are defined at the recce, so on the shooting day the scene is executed to plan.

An exterior base camp.

Separate pilot and camera operator

Dual controllers: the pilot flies while the camera operator handles framing and focus with dedicated controls, as in ground-based filming. A three-channel follow focus adds a focus puller, and the production follows the frame on monitors.

Pilot and camera operator at work.

Aerial dolly on a saved path

The path is saved and stays fixed while the aircraft travels it under the operator's control, back and forth as many times as needed, like a dolly on rails fifty metres above the ground. Heading and gimbal can be automatic or manual.

A fixed path travelled under the operator's control.

Repeatability with RTK positioning

With precision positioning the same move repeats on the same path at every take, even days apart when the same correction service is used. This makes it possible to cut together shots from different days or stack passes in post-production.

Same move, same starting point.

Manual exposure

Shutter, ISO and aperture locked: brightness stays constant throughout the move and the footage cuts together without correction.

The camera department at work.

Permits and safety

Airspace, restricted zones and distances from people are checked before every call; the flight plan is handed to the production together with the footage.

Pre-take-off checks.

Aerial filming for film, TV and events

Media, sport and live events

Live events do not happen twice. Aerial coverage takes place among spectators, temporary structures and confined spaces, and requires the flight areas, the no-fly areas and the procedures for any changes to be established in advance.

Recce and flight plan

Site perimeter, take-off points, flight corridors and safety areas agreed with the organiser before the event.

The empty venue the day before the event.

Event coverage

Aerial openers, wide shots and course coverage, with same-day delivery when press or social media need the material that evening.

The event seen from above.

Races and courses

Subject following with automatic tracking and coordinated zoom across lenses, from a safe distance.

A racing group along a barriered course.

Regulatory compliance

Distances from uninvolved people, altitude limits and restricted zones checked on the national portal. Shots that cannot be flown are flagged at the planning stage.

Spectators at the edge of the field.