Most aerial film is shot by a crew who arrive on a Tuesday, fly for a day, and leave. That works for a launch or a commercial. It does not work when the shot you needed was of something that was buried six months ago.
AirTech films the sites it already monitors. The cameras and the survey aircraft are there every month anyway, which changes what a film can be made of: instead of a day’s material, there is a record going back years, and the edit can be cut from it.
What we shoot with
Video at up to 6K, sixty frames a second, recorded 10-bit in D-Log with sixteen stops of dynamic range. That is enough latitude to hold a bright UAE sky and a shadowed elevation in one frame and still grade it. Where the edit needs it we record all-intra rather than long-GOP, so the footage cuts cleanly.
Stills come off a 100 megapixel Hasselblad sensor on the aircraft. Where a brief needs more than a drone can give, such as interiors, close detail or large-format print, we shoot from the ground on Canon, Nikon, Sony and PhaseOne bodies.
The pilots have flown for TV commercials, feature films and live event coverage. That matters less for the equipment than for the framing: someone who has shot to an edit knows to give the editor the handles, the alternate angle and the clean pass, rather than one beautiful take that cannot be cut.
