Written by new-contact on Feb 25, 2010. Posted in General Interest

Aerial filming equipment helps crews reach for the sky

Aerial filming can produce spectacular results, whether it’s capturing iconic metropolitan vistas like New York or Sydney, or tracking death-defying leaps across construction cranes on a Bahamas building site in Casino Royale.

There is a range of equipment available to suit different budgets, with SpaceCam (pictured) in Los Angeles being one of the leading companies and, according to head Ron Goodman, providing images for around 80% of big-budget Hollywood productions that use aerial shots.

The SpaceCam is one of the top-of-the-range pieces of equipment available to production crews. It comprises a gyro-stabilised ball that encases the camera on the exterior of a helicopter and is controlled using a thumb-operated joystick. While the basic ball element of the design is commonplace throughout the industry, the SpaceCam and its competitors are distinguished from each other by the specific technology within.

Ron Goodman, head of SpaceCam, said: “We have the highest reliability in the industry with proven, solid technology using features including the latest ergonomics and computer design.”

Two of SpaceCam’s main competitors in the gyro-stabilised market are the Wescam and Cineflex systems. These operate in a similar way to the SpaceCam, but their technical specifications are slightly reduced as they have smaller gyros and different camera packages are available. In addition, the SpaceCam features a steerable roll axis even after the roll gyro has been turned off.

The dominance of high-end equipment is indicative of their popularity throughout the industry. Peter Sherlock, a producer with Cape Town’s Farm Film Productions, worked with another leading device, the Gyron FS Stab-C, while filming aerial shots for a Specsavers commercial.

He said: “It is a tried and trusted piece of equipment. When working to such tight deadlines and with budget in mind there is no space for research and development in terms of aerial shooting - you want to get the best shot as quickly as possible. For this reason your choice is limited to rigs with a history of reliability and ease of use.”

SpaceCam’s SnakeHead Periscope system represents one of the industry’s latest innovations for use on fixed-wing aircraft and comprises a stabilised periscope that protrudes from the tail and nose and can capture images with coverage equalling almost 360 degrees.

In the UK, Helicopter Film Services has developed the “Da Vinci” 3D rig, which has been available since early 2009 and can shoot stabilised 3D footage using synchronised cameras controlled from within the helicopter.

The Tyler MiniGyro is one of the principal semi-stabilised options and has the advantage of not needing a specialist operator or an installation period. It also delivers a degree of stabilisation through four internal gyros.

Jeremy Braben, of UK-based Helicopter Film Services, said: “Equipment like the Tyler MiniGyro tends to be one step up from handheld.” However, John Marzano, head of the camera department at Flying Pictures, also in the UK, said: “The Tyler MiniGyro can be good for use in chases and other scenarios that need a high level of manoeuvrability.”

There is, however, an alternative that could make an impact in the near future. Michel Korchinsky, an executive producer with Circle Productions in Toronto, recently used a Canon 7D with HD video mode to take aerial shots for an advert for Canadian beer brand Molson called Made From Canada.

The camera was simply held in the operator’s lap and the minor shake gelled with the commercial’s rugged tone, while the image was further stabilised in post-production. Mr Korchinsky said: “It’s so much easier to use than anything else.”