Issue link: http://digital.copcomm.com/i/680196
www.postmagazine.com 40 POST MAY 2016 Drones process, all from the point of view of a bumblebee. The spot, which is available online and used at Patron-sponsored events, combines live footage, nearly all of which was captured from a UAV, along with CGI, and presented in stereo (see "Generating A Buzz," page 12). The use of a UAV for aerial photog- raphy, both here and in other projects, goes far beyond the "cool" factor. It enables a director to get a novel point of view or move into a scene in a dramatic way. "Steadicam was revolutionary in that regard. Today, the drone is becom- ing one of the most useful tools of VR filmmaking. You have the ability to get really high angles, but you also can push the depth more than what would natu- rally be there in a captured moment like that, through 3D conversion," says Matt Akey, executive vice president at Legend VR, which teamed with Firstborn to create the project. With these advantages, however, comes more work for directors, who now have to consider everything that is hap- pening around them, not just in front of them, when shooting with UAVs. But the results can be amazing, as viewers of the Patron experience can attest. "The UAVs had to maintain a steady sense of motion [that was] both comfortable to the view- er yet also provide a bird's-eye point of view as we fly through the factory," says Akey. "This gives viewers the ability to watch what is happening in one area, and if they watch it again, they can see some- thing else happening in another corner of the warehouse and bottling room. They will have a different experience every time they watch it." JUST THE START The use of UAVs to capture footage is in- creasing, so much so that it's difficult to tell which project — film, commercial, music video, television series or what have you — is using the tool. Without question, the devices are gaining acceptance as a vital tool in a filmmaker's tool kit. A UAV from Aerial Mob captured scenes for recent episodes of Criminal Minds: Beyond Borders, Supergirl, The Leftovers and more, as well as for com- mercials for Nike and Tesla. Aside from Into the Woods, Skyfall, Chappie, there are a growing number of films in theaters containing shots from UAVs, including The Wolf of Wall Street. For that movie, a drone from Freefly, with an attached Canon C500, captured the Hampton pool party scene, starting from the coast and moving in for a closer aerial shot. While the use of unmanned aircraft sys- tems are not ubiquitous, they are gaining in popularity as the industry continues to reap the advantages they offer — cost and agility among the top. As Green points out, a person can rent a UAV system for 10 to 20 percent of the cost of a helicopter, and all the equipment can fit into a person's hand. And, the devices offer the chance to capture some never-before-achieved shots — a filmmaker's dream. Currently, the UAVs used by filmmakers are limited in payload and do not fly for long periods of time (many for just several minutes). Also, they are limited in the distance they can fly, speed and altitude. "There are compromises to be made," says Braben. And while UAVs may not be the ideal solution for all types of situations, they do provide those who know what they are doing with amazing results. While some countries offer more re- laxed regulations, there remains strict rules in the US: closed sets, no night shoots, use below 400 feet — and more. Indeed, there are safety concerns, particularly since they are so new. "They are in their infancy. Once they become more commonplace, people will become more comfortable using them. People are just learning what they can do with them. They are experimenting now," says Braben. Also, weigh your options, Green sug- gests, and determine whether a UAV is the best choice in a particular situation. "Eight years or so ago we did a music video for R Kelly and Rick Ross, and used a helicopter to shoot them in a so-called cigarette boat. We used a helicopter, and if we did that today, we would still use a helicopter because a drone couldn't have kept up with the boat," he says. There is still a lot to learn. Braben believes the entire industry should be ed- ucated on how to work with the devices on-set. "They are considered a nuisance, a safety hazard, and seen as a piece of pe- ripheral equipment. However, they should be treated with the same respect and rev- erence as a helicopter," he says. "They are flying aircraft, and there are constraints, just as there are with helicopters. The aeri- al crew, whether flying a UAV or a helicop- ter, should have their decisions respected. On some sets, the UAVs are dismissed as this toy, but there is an education process happening, which will bring it the respect it should have." There's no doubt that filmmakers will increasingly turn to UAVs to get unique shots. "They have already revolutionized filmmaking as a tool that gives profession- als the ability to film their craft in a way that used to come at a great cost. As a tool, it certainly does open up a new world of filmmaking," Green says. Now, the sky is literally the limit when it comes to getting great shots for a project. Karen Moltenbrey is the chief editor of Post's sister publication, Computer Graphics World. The Art of Patron presents the company's business from the perspective of a bumblebee. C M Y CM MY CY CMY K