Flying-Cam // Close Range Aerial Filming

Press releases

October, 2014
AUVSI
October 2014, AUVSI recognize Flying-Cam Exemption September, 2014
August 2014 POPULAR SCIENCE
Popular Science Magazine found 25 good reasons to love drones. SARAH is one of them... June, 2014
GNSS
June 4th 2014 GNSS Announce FAA Exemption for Flying-cam February, 2009
Beijing Film Makers Guide
Equipment Leasing
Flying-Cam Close Range Aerial Filming June, 2008
ICG Magazine
The Spy Game
Dean Semler, ASC, ACS pushes the genesis to the limit for Get Smart November, 2007
American Cinematographer
Honoring a Lost Friend
Roberto Schaefer, ASC, helps bring the best-selling novel The Kite Runner to the big screen. January, 2007
American Cinematographer
Production Slate
Scheming Royals and a Self-Destructive "Superstar"
Curse of the Golden Flower, Imperial Intrigue October, 2005
American Cinematographer
Amateur's Hour
The Greatest Game Ever Played, shot by Shane Hulburt, restages the legendary 1913 U.S. Open golf tournement. September, 2004
British Cinematographer
Flying-Cam does Potter June, 2004
British Cinematographer
Flying-Cam May, 2004
ICG
View to a Kill
The Flying-Cam provides a bat's eye view for Van Helsing's second unit crew May, 2004
ICG
Monster's Ball
Allen Daviau, ASC captures classic creatures for Van Helsing November, 2002
American Cinematographer
No Holds Barred
Die Another Day brings James Bond back to the big screen November, 2000
ICG
Fore Love and Valor
Michael Ballhaus, ASC goes par for the course in The Legend of Bagger Vance August, 2000
American Cinematographer (USA)
Bird's-Eye View
ASC explores the aerial photography field

Jon Silberg
American Cinematographer (USA)
October, 2005

Amateur's Hour
The Greatest Game Ever Played, shot by Shane Hulburt, restages the legendary 1913 U.S. Open golf tournement.

(...) Other shots required a combination of practical trickery and CGI.
Bill had a good idea for a big golf shot by Ted Ray, recalls the cinematographer. Ray tees up and really nails the ball, basically driving all the way to a 360-yard green. After the actor hit the ball, Bill wanted the camera to pull back from him, pan to the side, show the ball flying through the air, move around over the balls shoulder, and then travel all the way to the green. I suggested that we go through the ball and reveal its inner webbing, rubber and texture. Bill thought that would jack the shot up, so we went for it.
...Shots such as these required close collaboration between production and the visual-effects team. The practical shots were accomplished with a Flying-Cam, a small, remote controlled helicopter carrying a converted that can use specially adapted Zeiss primes. To capture the shot, the Flying-Cam began by hovering 6 feet away from the actor; the minute he swung his club, the aircraft reacted and flew to a point 100 yard away. The aerial camera then rotated and continued its flight sideways down the fairway toward the green, as if it were gaining on the ball which was added into the shot later as a CG element. That shot culminated with Mr. X's digital reveal of the golfball's inner workings. Then, a second practical shot followed the ball the remaining 150 yards to the green. The final effect creates a single shot that glides down the fairway, moves through and ahead of the ball, and then allows the ball to re-enter the shot as it finishes its journey to the green.
Paxton wanted to not only show golf from impossible points of view, but also put the audience inside the golfers minds. One such effect was designed to illustrate Ouimet's ability to visualize the hole coming to him. He could stare down the fairway and make it collapse, accordion like, until the distance between his position and the hole vanished. (...)

Pictures
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