Issue link: https://digital.copcomm.com/i/691968
erial cinematography is hardly new. In fact, directors and filmmakers have utilized helicopters for years, whether for in-project shots or simply for planning purposes. For the feature film The Walk, a camera attached to the front of a helicopter provided the visual effects team with reference footage of how light changes within the city and how traffic moves, as well as the perspective of what it felt like to be high-wire artist Philippe Petit as he made his famous walk between the Twin Towers, 110 stories above the ground. Using a helicopter, however, is oen an expensive measure, mak- ing it inaccessible to those working on projects with lower budgets – mainly those outside the realm of higher-end features. Alternatively, users have employed wire systems or hard-mounted systems such as cranes for shots that are limited in height. However, that equip- ment is cumbersome to set up and transport. In just the past few years, though, filmmakers have discovered a new, cheaper alterna- tive to capturing aerial shots: unmanned aerial vehicles (UAVs). As drones buzzed onto the hobbyist scene, they already were making an impact in the professional realm, including media and en- tertainment. And, no wonder: They are lightweight, nimble and easily maneuverable, and can be used in tight spaces where alternatives are not feasible. And, they are relatively inexpensive to rent: A cam- era-equipped UAV (also called unmanned aerial system, or UAS) and crew can cost a fraction of what a helicopter shoot runs. And, it takes little time to set up a scene shot from a UAV. Nevertheless, flying a UAV for this purpose is not for amateurs. Getting the right shots still requires an experienced pilot and the right equipment. To be as responsive as possible, the UAV needs to be lightweight yet strong enough to carry the necessary cam- eras. Which camera is ideal? It all depends on the needs of the filmmaker and project. (Part 3 of this series will focus on cameras used with UAVs.) N E W S W O R T H Y A P P L I C A T I O N S The use of UAVs, or drones as they are commonly called in the public sector, has been getting plenty of media attention, generating both positive and negative publicity. Indeed, there have been news stories of drones interfering with commercial flights and public events. Late last year, a camera-carrying drone nearly crashed into skier Marcel Hirscher during his World Cup run in Italy, missing him by inches. In fact, there have been similar incidents, and accidents, reported around the world and throughout the US, mostly involving amateur pilots and local and regional events. In contrast, there have been positive drone headlines, too. Last year, Good Morning America (GMA) sent a pair of Inspire 1 quadcop- ters from DJI with attached GoPro cameras – piloted by DJI's Eric Cheng and Skynamic's Ferdinand Wolf – into the heart of Iceland's most active volcano, capturing the amazing view of Bardarbunga Volcano from just 380 feet above the boiling surface. The drone systems had to endure wide-ranging weather condi- EYE IN THE SKY — CAPTURING FOOTAGE FROM UAVS OFFERS A UNIQUE PERSPECTIVE TO CERTAIN PROJECTS BY KAREN MOLTENBREY A DRONES ARE HELPING TO TAKE VIEWERS ON NEW AND UNIQUE EXPERIENCES.