Issue link: https://digital.copcomm.com/i/691968
Drones 30 cgw m ay . j u n e 2 0 1 6 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 happening around them, not just in front of them, when shooting with UAVs. But, the results can be amazing, as viewers of the Patron VR expe- rience can attest. "The UAVs had to maintain a steady sense of motion [that was] both comfortable to the viewer 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 something else happening in another corner of the warehouse and bottling room. They will have a different experience every time they watch it." J U S T T H E S T A R T The use of UAVs to capture footage is increasing, so much so that it's difficult to tell which project – film, commer- cial, music video, television series, or what have you – is using the tool. Without ques- tion, the devices are gaining acceptance as a vital tool in a filmmaker's toolkit. A UAV from Aerial MOB cap- tured a scene for a recent epi- sode of Criminal Minds: Beyond Borders, Supergirl, The Leovers, and more, as well as in commer- cials for Nike and Tesla. Aside from Into the Woods, Skyfall, and 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 systems are not ubiquitous, they are gaining in popularity as the indus- try 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 equip- ment 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 situations, they do pro- vide those who know what they are doing with amazing results. While some countries offer more relaxed regulations, there remains strict rules in the US: closed sets, no night shoots, use below 400 feet – and more. Indeed, there are safety con- cerns, 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 suggests, 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," Green points out. There is still a lot to learn. Braben believes the entire industry should be educat- ed on how to work with the devices on set. "Oen, they are considered a nuisance, a safety hazard, and seen as a piece of peripheral equipment. However, they should be treated with the same respect and reverence as a helicopter," he says. "They are flying aircra, and there are constraints, just as they are with helicopters. The aerial crew, whether flying a UAV or a helicopter, should have their decisions respected. On some sets, UAVs are dismissed as a toy. But there is an education process happening, which will bring them the respect they should have." There's no doubt that film- makers will increasingly turn to UAVs to get unique shots. "They have already revolution- ized filmmaking as a tool that gives professionals 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. ■ "THE ART OF PATRON" PRESENTS THE COMPANY'S BUSINESS FROM THE PERSPECTIVE OF A BUMBLEBEE. Karen Moltenbrey is the chief editor of Computer Graphics World.