The aerial shooting solutions by Aering

par Aering Contre-Champ AFC n°330

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Aering presents its aerial shooting solutions.

A plane solution
Filming @210kts is doable with Aering by Airborne Films. Those services are delivered from France. The ShotoverF1 provides a field of camera and equipment from RED Series to Arri Alexa Series with numerous zoom solutions.

Shotover K1 et Arri Alexa Mini LF
Shotover K1 et Arri Alexa Mini LF

The Angénieux 25-250mm zoom provides a high-level standard for this rig. Additional to this, a list of accessories is provided, including customs remotes for setup on board of the plane.

Shotover F1 - Arri Alexa Mini LF - Zoom Angénieux
Shotover F1 - Arri Alexa Mini LF - Zoom Angénieux

The remote can switch internal filters of the camera (Arri Alexa) or general settings on camera menu from on board.

A multi-array solution
Background plates become a thing of freedom as these array systems provide matching visuals for almost any foreground imagery imaginable.
In partnership with Team5 (based in Los Angeles) Aering proposes two multi-array kits ready to use on helicopter or crane/ vehicle. Both setups are proposed with the ShotoverK1 : the Hydra and the Trident.

The Trident has been designed to accommodate any of the three major cameras placing them in either their standard position (Landscape) or turned 90 degrees on their side (Portrait). Virtually any lens can be used, and a lens drive added to that.

Shotover K1 Trident
Shotover K1 Trident

Degrees of offset for each camera ranges from 20 degrees to 80 degrees. The first use was with three Sony Venice cameras turned on their side (Portrait) and three 15mm lenses. The overlapping coverage had a 100 degree vertical and 180degree horizontal image after stitching the three images together. This set up could also be rigged with Mini Alexa or RED Series cameras.

Moniteurs Trident
Moniteurs Trident

The Hydra proposed an advanced panoramic payload with a pre-built RED 6K cinema cameras and lenses, already tested and chartered. The system provides footage that can construct frames spanning a 152+ by 60+ degrees field of view. The custom integration synchronizes the cameras to themselves as well as to the platform metadas that includes GPS vehicle positioning information, as well as heading and lens data by the frame.

Shooting Extraction 2, February 2022, by Cinematographer Greg Baldi, David Nowell - Aerial DoP

Which camera setup did you use for the Trident on this one ?
Greg Baldi : Even though Extraction 2 was being shot on the Arri Alexa LF format, it was decided by VFX to go with the RED cameras. The final decision was to use three RED Dragon 6K cameras and their three 24mm Canon still lenses. Because the Shotover K1 system being used for the aerials can control all RED functions through its laptop, it meant that the Canon lenses could be controlled through the EF lens mount on the RED bodies. No external lens drive motors was needed.

Did you configure the Trident in the Portrait or Landscape mode ?
Greg Baldi : VFX had decided they did not want the tall format that Portrait would give. They instead wanted a narrower image with less distortion from extreme wide lenses, but still wanted the 180 degree Horizontal coverage. That’s why we went with the 24mm lenses, and the degree sweep between camera bodies set to 60 degrees in the Landscape mode. Three 7’’ monitors are held by a special bracket to allow the cameraman to see the entire image in real time. With this setup from one position next to the hero building we could cover 180 degrees left to right and tile down to zero degrees to give huge images of the building for post and green screen work.

Our latest credits for helicopter services, camera equipment and aerial coordination
- The Gray Man, photographed by Greg Baldi (2d unit), France - 2021
- La Chambre des merveilles, photographed by Guillaume Schiffman AFC, France – 2021
- Menteur, photographed by Arnaud Stephani
- Citadel, photographed by Michael Wood, BSC (Croatia and Spain)
- The Little Mermaid, photographed by Dion Beebe, ACS, ASC (Italy)
- Extraction 2, photographed by Gred Baldi (1st unit) (Czech Republic 2021) and Milan Chadima (2d unit), Austria 2022.