digital cameras

How To Get Started In Aerial Drone Cinematography

Cinematography is the photography of moving pictures, and one of the most revolutionary changes in the technology of cinematography is the move from analog to digital film. In turn, one of the most exciting uses of digital cinematography is aerial drone cinematography.

Although taking film from an aerial position is not revolutionary—early pioneers simply attached cameras to kites—compact digital cameras provide cinematographers with more filming options and make aerial cinematography more accessible for lay cinematographers. Coupled with the current rise in inexpensive RC drones, digital cameras mounted on such devices provide a quick entry point into aerial drone cinematography.

And this marriage of technology isn’t just being used to get establishing scene shots. If you want a good example of how incredibly innovative aerial drone cinematography can be, look no further than this short created by YouTube FX masters Corridor Digital:

1. Select a Vehicle

Possibly the best option for those looking to get into aerial drone photography on a budget is the Pocket Drone. While it’s still in pre-order status at the moment, at under $500 and specifically designed for filming it looks set to offer excellent value for money.

The Pocket Drone camera for aerial photography

The Pocket Drone began as a Kickstarter project asking for $35,000 and ended with $929,212 in funding. This is perhaps the most accessible and portable form of aerial photography.

The drone contains a mount for a single camera and folds into a small travel case. It uses three propellers and has a flight duration of around 20 minutes with a mounted camera, which is more than enough for most filming needs.

Another option is a hobbyist remote control drone. These drones are slightly more expensive (between $500 and $1000 depending on the dealer) and have four, six, or eight rotors. A common choice for the hobbyist is a quadcopter, such as the DJI Phantom Aerial UAV Drone Quadcopter.

The Quadcopter remote control drone

Quadcopters such as these, although small and lightweight, are not as portable as the Pocket Drone and are aimed at the enthusiast market. The Phantom 2 Vision+ model, however, is designed with recording quality in mind.

This drone comes equipped with a high definition camera capable of filming 30 frames per second at 1080p or 60 frames per second at 720p. At $1300, it costs more, but it is a complete system for hobbyist aerial photography.

2. Select a Camera

Although some drones come with a camera, such as the Phantom 2 Vision+ above, most do come with camera mounts. Hence, one simply needs to select a camera to attach to the drone.

One of the best-known line of cameras is made by the GoPro company. For example, the GoPro Hero3+ is capable of shooting video at a high of 1440p at 48 frames per second.

Two GoPro Hero3 cameras

It can be mounted on a drone, or on larger vehicles, such as boats, cars, and motorcycles. So trusted is the GoPro that many drone sellers offer the camera as a default optional extra when purchasing a drone.

3. Select a Control Method

The classic method for controlling a drone is a handheld remote control with joystick-like controls. Anyone who played with remote control cars is familiar with this kind of controller, but worth considering is that most drones today can be operated remotely by computers (including tablets and smartphones.) For example, the Pocket Drone includes a virtual flight stick that can be run on Android tablets.

Finally, another control scheme is to set a pre-defined flight path for the drone using Google Maps, or to download flight plans created by other users.

Whatever technology one selects, the applications of aerial drone cinematography by drone are infinite. National Geographic photographer Kike Calvo offers an in-depth look at his aerial gear and how he uses it to film in natural settings.


Back To Black (& White): Monochrome Digital Cameras

Author: Salvatore Interlandi, Interim Chair, Cinematography Department, New York Film Academy

An example of a black and white monochrome image

When we look at the latest digital cinema cameras, there are many design goals that cinematographers have come to expect: lower noise, higher sensitivity, better color reproduction, and higher dynamic range. However, industry leaders like Red and Arriflex have been working on something you might not have expected:

Digital Black & White

In addition to the standard color models, Red has created both Epic and Dragon Monochrome cameras, while Arri is bringing out the Alexa Monochrome. This is an exciting development for cinematographers who have been mourning the recent loss of Kodak Plus-X motion picture stock, as we now have new formats created specifically to create black and white images.

While it is possible to desaturate a color image from a standard digital camera, these new monochrome cameras possess a number of advantages:

• Higher sensitivity
While a standard Red Epic has a recommended ISO of 800, the Epic Monochrome has an ISO of 2000. For low light scenes, this is a tremendous advantage.

• Sharper image
You may be surprised to learn that a CMOS sensor can only record black and white information. Cameras with CMOS chips (like Red cameras) use a complex process known as “Bayer filtering” to recreate color information from the monochrome data that is recorded, which effectively lowers the resolution of the chip. These new monochrome cameras don’t require the Bayer filtering step, therefore the image is sharper than what is possible with a color camera.

• Less compression
The new digital cinema cameras have very high-resolution chips and these create a lot of data. To record this huge amount of information, the camera applies compression and discards some parts of the image that are less important. Generally the first thing to go is color information, as the human eye is less sensitive to this than other things like resolution or dynamic range. Because the monochrome cameras have no color information, they can record with less compression than their color counterparts.

For a great example of this new technology in action, take a look at Justin Timberlake’s “Suit and Tie” music video, directed by David Fincher (Fight Club, Se7en) and photographed by Matthew Libatique, ASC (Black Swan, Iron Man). This was shot on the Red Epic Monochrome:

For an additional example of stunning black and white cinematography, take a look at this commercial shot for Audi. Arriflex has taken advantage of another attribute of digital cameras: the increased sensitivity of digital sensors to infrared light as compared to film. This commercial was photographed by Bill Bennett, ASC using a prototype camera. This particular camera began as a Monochrome Alexa, however it has a filter that blocks out all visible light. Instead, it captures only light from the infrared portion of the spectrum, bringing us incredible images very different from what our eyes are used to seeing!

Audi X Factor Shoot from ARRI Channel on Vimeo.