The camera has to be steady. The rest is our problem.
- Gyro-stabilisedMounts
- Doors offConfig
- Filed aheadPermits
What This Looks Like
- 01 Gyro-stabilised nose-mounted gimbal platforms, fitted and balanced before call time
- 02 Doors-off configurations for handheld and rigged operators
- 03 Repeatable camera moves — the same line, height and speed on the fourth take
- 04 Remote location support including fuel, crew logistics and ground positioning
- 05 Filming, overflight and low-level permits arranged in advance
Why Aviation ONE for aerial film work.
Aerial film work is not a scenic flight with a camera in it. It is a rig tested before the unit arrives, a pilot who can fly to the frame rather than to the map, and a ground crew who understand that the day is governed by light rather than by the call sheet. We plan for the first-light window, which is why the gimbal goes on at four rather than at sunrise.
Permits are part of the job. Low-level and filming approvals are where most aerial shoots quietly lose a day.
Namib dunes, the Okavango, the Mozambican coast and the plains of East Africa. We have supported international production companies and documentary units, and one internationally recognised art institution across more than ten years of expedition filming.