We’ll be exhibiting at the media production show on the 9th/10th June at the Business design centre in Islington, London. Come and see us at stand 130 to see some of the new kit we’ve been buying and chat to us about what we’re up to and any projects you’ve got that you’d like us to work on! The show is in its first year but with a huge selection of exhibitors and some great guest speakers its looking like its going to be a great opportunity to see the latest kit and learn about everything taking place in media production at the moment.
It was a good day last Saturday when our eagerly awaited new purchase turned up, in a massive case! When the original ALTA was first released I had wished they’d made it an octocopter. I wanted the added redundancy, stability and lift of the 8 motors I was used to. It was because it only had 6 that I decided not to take the plunge and buy one then. It turned out to be a good decision. After a few month on the market, being flown by many companies around the world, the ALTA 6 turned out to maybe not be that capable at carrying the kind of heavy payloads first advertised and the kind of payloads we generally fly (Alexa mini/Red etc), as well as having a few other teething troubles. And then about 3 weeks ago, out of the blue, Freefly System announced the arrival of the ATLA 8. All my wishes had been answered and as it was the second generation of ALTA’s it seemed Freefly had addressed the issues from the ALTA 6 and improved the design in a few subtle but very useful ways.
We bought the ALTA 8 as we potentially have a lot of foreign shoots coming up this year in wild and remote places. The ALTA 8’s ability to quickly, and very cleverly, fold down to 50% of its size and fit into its custom Peli’s case was a big draw. Its claimed flight times with heavy payloads looked very impressive too. Mainly though I’ve always wanted an ALTA as Freefly undoubtedly make some of the best UAV and gimbal products in the world and I want the fly the best! I wasn’t let down.
From the moment you get the ALTA out of its case you can see the quality of the design and build. Everything fits together so well and there are so many clever little design features that allow super easy adjustment and changes of most elements. Its water resistant and comes ready fitted with cables for your FPV system and controller setup. The ALTA comes fitted with the toad in the hole quick release system for the top and bottom battery plates as well as a quick release system for the O-ring dampening system. It takes moments to change these or change from the standard mounting of the gimbal to the very impressive sky view where the gimbal is top mounted. The ALTA seems to bring the integration and ease of the DJI’s Inspire to the big league drone.
Flying the ALTA 8 was the first time i’d flown any flight controller other than DJI’s WKM. It was a fairly easy cross over with the flight modes feeling fairly similar. What was impressive was the smoothness of the footage, its ability to handle wind, its flight time and its in flight adjustments to speed and control. On the first two test days of flying the wind was gusting up to about 30mph. The ALTA just sat in the air looking totally un affected. Judging by the footage from the Alexa mini on board you’d think there was no wind at all. Its as stable as DJI’s Zenmuse gimbals and that with zero adjustment of Freefly’s default tunings of the ALTA. The footage flying in position hold (GPS for all DJI people), was particularly impressive as you could see the ALTA getting hit by strong gusts and even at slow flying speeds there was no shake or bumps in the footage. It feels super smooth in the air and the fact the motors are so quiet you can’t hear them at all when its about 100m away is very impressive but also a bit disconcerting at first!
With my old Skyjib 8 setup carrying the same payload (and giving the same AUW) I used to get max 7-8 minutes with two 10000 Tattu batteries. With the ALTA I’m getting 12 minutes landing at 21.4v. It a massive difference. My M15/Alexa mini/Zeiss prime set up comes in at 15.6kg. This means I have another 2.5kg payload to play with until I max out the ALTA which gives me a lot of options for lenses, LCS etc.
Using the ALTA 8’s velocity clamp option on the Futaba 14SG remote was also very impressive and I can see it being very useful in the future on shoots where we are tracking cars or people and want to be able to set and keep an exact speed. You can tell the is a UAV designed by film makers.
Lastly on my test flights I tested sky view mode. It looks like it shouldn’t work as there is so much weight on top of the ALTA, even with the batteries mounted underneath adding some counterweight. I admit I was nervous testing this in the wind. Thankfully as so as the ALTA became airborne all looked very stable and my confidence was restored. This feature will definitely add a lot of creative options on future shoots and I’m sure its something directors will want use.
The ALTA is not a cheap option but you can see where your money is going. Its a new idea for me having a completely closed system compared with the custom builds of the past. The fact is, unlike a lot of UAV manufacturers, I trust Freefly. We’ve been using the Movi for years without any issues and it revolutionised the stability of filming from an aerial platform. The ALTA is a huge step forward in UAV design for aerial filming and its nice to be using a flight controller where you haven’t heard a hundred stories about it failing mid flight! It was a big investment buying the ALTA but I am already so glad i did invest and when I’m doing flight after flight in various remote parts of the world later in the year I’m sure i’ll be even happier Im flying with the ALTA!
This time of the year can often be pretty tricky in the drone aerial filming world, mainly due to the weather. Throughout the year I spend most of my time checking one of my 5 weather apps to see the possibility of rain but mainly to check the forecast winds speeds. To some degree the wind is our master and in the UK in the autumn the wind speeds are usually pretty high. This always leads to a lot more checking of said weather apps in the run up to jobs this time of year and can on occasion lead to cancelations. This has definitely been our busiest autumn ever and it has happened to coincide with many storms. For some reason many of our recent shoots have also happened to be on the coast, the one place you don’t want to be when you’re trying to escape the wind. Us and the kit has been tested to its fullest but we’ve had great fun and a lot of great results regardless.
We started off the autumn with a great music video shoot for the artist Lapsley and her song ‘Hurt me’. It was filmed on the coast just off from Liverpool, an area i’ve never been too before but that happened to resemble the pine forests and sand dunes of south west France. This was probably the windiest conditions we’d ever had to handle and once again we were flying with the lovely but rather weighty and expensive Kowa anamorphic lenses. After a few tentative test flights we got some fantastic shots of the windswept beach and the artist on top of the dunes. The music video only consists of three shots and it starts and ends with ours so we were very happy. Check it out here
We were soon back on the Coast in Cornwall filming for the new series of the hit BBC drama Poldark. Once again we faced some challenging wind speeds and a few passing rain storms. We were mostly getting some close tracking shots of two horses and their stunts riders galloping along the beach. These ended up being some of my favourite shots we’ve achieved this year and I’m really looking forward to seeing them in the new series. The Drama theme continued as we did 2 days shooting on a new ITV period drama called ‘Doctor Thorne’. This time it wasn’t the wind we were battling but the early morning mist giving us about 10m visibility!
We were back to the commercials after this working on another Google android commercial. This was a 2 day shoot with the same great team as before, using the Kowa anamorphic lenses again on a commercial about the birth and rapid growth of the LeeFest festival. You can see the commercial here. In the same week we worked on the first of two new commercials for Bisto.
Another feature film called ‘Access all areas’ followed. This is a British coming of age film about “four runaway teenagers who are catapulted on a wild and uplifting road trip out of the city and across the water to a magical island music festival.” This was a great shoot for us as it featured several famous landmarks from around our base in the south west that we’ve been wanting to film for a while. It was a busy shoot as we had 4 scenes to do in 4 different locations, with actors and vehicles, all before the sun set at around 6pm. We got some stunning shots in the morning around Glastonbury Tor and finished off the shoot filming at the Clifton suspension bridge in Bristol. This is a land mark that we’ve always wanted to film over and around, being based in Bristol ourselves, and as the production had gained permission to close off the bridge for the shoot, we could do exactly that.
We got the chance to film at the very interesting location of Chatham historic dockyard when we worked on the new Steven Poliakoff BBC Period drama ‘Close to the Enemy’. Set up to look like a full WWII dock complete with guns and search lights it was a pretty fun place to fly. Predictably it was a very windy day and were flying over the water, at night with our new Arri Alexa mini. We were a little nervous! In the same week we were up in Yorkshire filming our second Bisto commercial. During that week the UK was being hit by storm Barney. Amazingly, using the trusted weather apps we managed to pinpoint a break in the weather long enough to get the required shots and got the job done.
We’ve been working on another new BBC drama during the last 2 months that I’m particularly excited about. From the makers of ‘Utopia’ (one of my favourite drama series) and ‘Humans’ comes a new super natural drama series set in Victorian rural England. Having worked on several episodes and seen the trailer Im very excited to see the finished series. The production are luckily also very keen on drone shots and have used us in some very interesting and new ways, working with actors a fair amount. Its been challenging and I’m looking forward to being able to talk about them in more detail on here when the series has been released. Keep a look out for it in 2016!
We recently got to work on an up and coming, full blown action movie. The scenes we worked on all involved stunts with vehicles being flipped and crashing in pretty spectacular style. One of these vehicles was a double decker bus! It was great to see the process and work that goes into prepping these kind of vehicles for a stunt. The insides are completely stripped out with roll cages and the all important pneumatic ram fitted. A hole in the floor is cut out for it to be fired through. One thing thats evident when doing this kind of filming is that you don’t get a second chance! The kit and the shot had to go as planned. Everything was checked several times and the shot was rehearsed several more. We were also using a new set of lenses for us. They were some Cooke S2’s. Some lovely PL mounted cinema lenses that remain fairly light weight. Unusually for us we were also mostly shooting on a 32mm lens which, with the crop factor on the Red Dragon became a 35mm lens. This was a bit tighter than we would usually shoot but worked well for the scene and allowed us to be a safe distance from the action! The one thing about being the pilot is that all your concentration is on the UAV in the air so you don’t really get a chance to look at the action that going on in front of you at the time. For this reason, whilst the shot was taking place I just heard a big bang, as the ram to flip the bus was fired, and then the smashing of glass and metal as the bus hit the tarmac and slid for 30ft. It wasn’t until I got to watch the playback that I got to see how good it looked! With a little luck, but I to think mostly skill, everything was framed perfectly, including framing out the two tracking camera vehicles and even getting a nice sunlight ping of the bus window as it flipped through the air.
We repeated a similar shot next filming a Range Rover flipping and rolling down the road about 100ft as another angle of the same scene. Finally the director asked for a shot directly above the double decker bus as it rams and smashes into the pursuing Range Rover, both going around 30-40 mph. The shot needed to remain tight as one of the bad guys on the bus emerges from a hatch in the roof at one point. All in all it was a fairly tricky shot to nail but on the 3rd attempt we got it. 13 hours of work to capture about 30 seconds of an action sequence but probably some of the best shots we’ve got so far. The director and DP were very happy. I love working on action movies!
We had another first at the start of August. Filming at a very large festival. When I first got the enquiry about the job I thought it would be impossible to film at the festival and stay within the rules of our license. I can’t think of a worse location than a festival for crowd control! Thankfully it was a production company we’ve worked with a lot, Bristol and London based Clockwise media, so we were able to spend a lot of time planning the shoot to make it possible. The festival was Boom Town Fair, near winchester in the UK. Unlike a lot of festival that just occupy a massive square of land, Boom Town Fair takes place in several massive bowl like valleys that all connect together. In between the valleys are bits of high ground and woodland areas that are fenced off from the rest of the site. After giving the site map a good look a few weeks before the festival I could tell these were going to make pretty good launch and flight locations. As well as a few spots just outside the main fence these gave us our safe flight locations and made the job possible.
As it was a festival and the production company wanted some night shots it was a late start and a late finish. Once on site we needed a fair few extra hands as it was very difficult to organise any kind of transport around the site and we have a lot of gear. We were using the Sony F55 camera and Zeiss CP2 lenses for the first time on the drone too. These belonged to the production company. The set up looks a lot bigger than the usual Red Dragon rig but it actually all came in a fair bit lighter with the bonus of extra flight time and slightly less being to carry about. Whilst trekking around the site the number of comments from slightly inebriated festival goers about my ‘big drone’ were too numerous to count.
Throughout the day we launched from serval sites around the festival covering various stages and areas. It was great having such a different subject to work with. Boom town fair stands apart from other festivals by the size and look of their stages. It was like being inside several massive movie sets. One stage designed like a huge Mayan temple, another like a 5 story palace with huge pyro flames going off from every corner. It wasn’t hard to make it look good! When the evening came we were operating from a perfect spot overlooking the whole site. As the light went down the sea of flames, lights and lasers were truly amazing! On top of this we got to film the festival fireworks display (from a safe distance!) At the end of the shoot it was hard not to be in the festival spirit so a few rum and gingers were had to round off an amazing day.
At the start of August we were asked to shoot a new commercial for a very well known international brand. The shoot was another very early start (3:30am!), on a beach on the east coast of England. It was a very dramatic spot called Botany bay with some amazing white cliff formations. The shoot was a first for us as the DOP wanted to use anamorphic lenses on our Red Dragon, something we had never flown with. They were a set of light weight Kowa anamorphic lenses that were a perfect size and weight for using on our heavy lifted octcopter. We organised a test day the day before the shoot just to make sure all would work as it should in the air, as is always advised when using new kit.
The shoot itself involved capturing sunrise shots flying low over the sea and a series of shots circling a group of swimmers as they approached the ocean. All the shots looked great with perfect light and weather conditions throughout the morning and the addition of being shot on anamorphic lenses. The only thing we had a watch was keeping the horizon dead centre of the frame as the anamorphic lenses tend to slightly bend the edge of frame at the top and bottom, which is especially evident when looking at the ocean horizon. With an early start comes an early wrap and we were finished by 11am ready for the long drive home!
Im very excited at the moment as we are weeks away from getting our hands on our own Freefly Alta. This is the latest product release from Freefly and will probably be the best ready to fly UAV on the market. It features Freefly’s own flight controller, the Synapse, which has been in development for the last 6 years. By all accounts its pretty special. All the components on the ALTA are custom made by Freefly including silent drive motors. By all accounts these are the quietest motors you can get, so maybe those pieces to camera will be possible now! With Freefly track record of past products you know its gonna be good! It has some very exciting features which are gonna be great for us and allow us new levels of creativity. This is the first UAV where you can top mount the gimbal allowing you to look up in flight. This brings a whole new level of achievable angels and shot opportunities for every shoot. The Alta also folds down and fits into its own Peli case with a set up and de rig time of 5 minutes. This makes it the perfect tool for taking on foreign shoots or shoots that involve trekking to hard to reach places. I wish we had one if these when we had to trek for three hours through the jungle in Vietnam last year!
The ALTA will be able to carry our current main payload of the Movi M15 and Red Dragon so will be being put straight into action.
We will get our Alta at the beginning of August and can’t wait to start using it on jobs. Have a look at some of these photos to get you excited!
It’s been a while since I last posted anything. Here’s a round up of some of the jobs we did in June. We started the month in Weymouth shooting for Volvo filming the GB Olympic sailing team. They were practicing along with all the other international team for upcoming competitions. I always feel a little nervous flying all that gear over the sea but it seems many jobs recently have been taking place on the coast so Im starting to get used to it! It was great fun have such a dynamic subject to shoot with a lot of movement to track and follow. We got some great footage on the C300 that will be appearing on a show reel soon.
Our second shoot over the sea was in Cornwall filming for a new National Trust commercial that will be shown on the TV and in the Cinema. We were shooting back on the Red Dragon flying off the cliffs at Boscastle. It is a beautiful spot that we got to see in some stunning light as we arrived at the location at 3am! Its not easy getting up that early but it pays off when you get to see such an amazing location at first light and through to sunrise. The shoot involved flying along side cliffs, out to sea and some nice graphic shots with full frame rock faces and shore lines. Looking forward to seeing the finished commercial.
Next we were back filming for a big new Sky One series due out later in the year called Apocalypse Slough. We were filming the end shot for a rather complex CGI sequence which involved tracking about 6ft directly behind a moving car. The passenger in the back was staring out down the lens so the shot had to remain dead centre. It was fairly tricky and took a few takes but we eventually nailed it. The CGI director said after “You couldn’t get it any more perfect”, so we were pretty happy! We had a second shoot for the same production a week later getting shots of Slough for the title sequence and to be used throughout the 10 episodes. This was fairly straight forward although it was fairly windy but all went well.
Mid June we shot a commercial for Carlsberg. This was in Croydon and was a lot of fun. It should be on your screens fairly soon so lets just say it evolves a kick around in the park that escalates somewhat! It was a great team with a lot of big toys on location. Our rig looked pretty small next to the techno crane!
At the end of the month we were back down in Cornwall filming at the Pendennis super yacht boat yard. We were filming a very impressive super yacht coming into the wet dock for a complete refit. It was an amazing place to film at with a lot of opportunities for some diverse shots. We got to fly inside huge boat sheds and covered dry docks as well as in and around all the huge machinery and hoists on the water front and around the super yacht as it came in from the sea. Amongst all the fun we were having we did encounter a few new hazards. There seemed to be a fair bit of RF and compass interference on site There is obviously a lot of transmitters on boat and probably a lot of high power electrical cables running round the site. We had to monitor the levels throughout the day and stay away from a couple of locations for safety. Secondly there were a lot of very aggressive seagulls about that seemed intent on dive bombing our 8, carbon fibre bladed, heavy lift octocopter. Lucky none followed through with their threats as it wouldn’t have ended well for anybody! Always things to be wary of on shoots!
June was a really great month. Looking forward to a great July, especially the birth of my first child! UAV carrying baby footage soon I promise!