We’ve been interviewing winners from this 12 months’s New York City Drone Film Festival during the last a number of weeks, and it’s been a pleasure to get so many various views on aerial cinematography, and to get such an array of insights into how these administrators work.
This week’s interview is with Giles Campbell Longley, a Parkour filmmaker who directed “Cala d’en Serra – Drone Parkour,” which received the “Extreme Sports” class on the NYCDFF this 12 months. The video was shot by Kie Willis—who can also be knowledgeable Parkour athlete—and the Parkour was performed by Eric Moor.
Giles has been filming and doing Parkour for fourteen years, and his perspective and expertise are invaluable in relation to speaking drones and Parkour filmmaking—let’s dive proper in.
UAV Coach: This video is so enjoyable to observe. What had been a number of the challenges you confronted in making it? Did something surprising come up?
Giles: I feel the largest problem we confronted when filming this video was developing with sufficient actions for Eric in an setting that was so unsafe. We discovered the situation through drone racing movies on-line and booked flights with no concept whether or not or not the construction could be secure sufficient to leap on.
The complete factor was extremely sketchy and we ended spending a ton of time testing and strengthening areas of the constructing so that they might be useable.[Check out the behind the scenes video on the finish of the interview to see simply how sketchy this spot was.]
UAV Coach: Eric Moor’s Parkour is admittedly spectacular in the video. What was it like working with an athlete doing stunts like that?
Giles: I’m a full time Parkour filmmaker & Kie Willis (the drone pilot on this venture) is definitely knowledgeable Parkour athlete himself, so we’re very used to taking pictures this fashion of motion. Eric is one in every of our closest pals and he’s unimaginable to work with, each in his dedication to repeat one thing till it’s good, but additionally due to his humorousness.
UAV Coach: Editing is a vital a part of why your video is so superb. How lengthy did you are taking with post-production, and the way did you’re employed in the modifying room to ensure the top end result matched as much as the imaginative and prescient you first imagined while you began the venture?
Giles: The edit didn’t truly take too lengthy, about two to 3 days. Every evening after taking pictures we might get again to our lodge and play with the selects so by the top of the journey we already had a stable concept of how the ultimate piece would look. Then it was only a case of sprucing issues up.
UAV Coach: Tell us about your organization, Visive Productions. Is this the form of work you sometimes do?
Giles: Yes, I’ve practiced Parkour since 2003 so the game is effectively and actually engrained in my life. I acquired into filmmaking as a result of I simply needed to movie myself and my pals, and every little thing has simply advanced from there.
Giles shot this video again in 2010—the costumes are foolish, however the Parkour is significantly spectacular
UAV Coach: Did you need to safe a allow or deal with another sorts of rules to fly your drone in Ibiza in order to shoot the video?
Giles: No, we didn’t get hold of any permission to shoot there. We wouldn’t have thought-about the situation if it was constructed up and had lots of people frequenting the world, as we attempt to keep away from flying anyplace that might trigger any questions of safety.
The space itself was technically fenced off however there have been many spots that didn’t have fences.
Luckily the situation was extremely distant, and because of the truth that we filmed it in the off season (December), we solely encountered a few folks throughout the entire week of filming. Visitors ranged from household’s coming in to discover, birdwatchers, and even some trials bikers who labored their manner down the close by cliff face and into the courtyard.
UAV Coach: How did you first become involved with aerial cinematography?
Giles: Years in the past we had a few pals who constructed their very own drone and mounted a small Sony digicam on the underside of it. We performed round for a day in an deserted property and immediately noticed the potential it provided to seize Parkour from the air.
Unfortunately the drone setup was relatively temperamental and we didn’t get to make the most of it as a lot as we might have appreciated. However, inside a few years the buyer marketplace for drones expanded, with corporations like DJI coming into the combo, and we’ve been taking part in ever since.
UAV Coach: What drone(s) do you fly, and what cameras do you employ?
Giles: Currently we work with the DJI Inpsire 1 with the X5 digicam.
Another superb video from Giles and Kie
UAV Coach: What are your predictions for aerial cinematography, and the drone trade in common? Please be at liberty to reply at size (what you see manner down the highway, what you see for subsequent 12 months, the place you see rules headed in Spain or elsewhere, new purposes, and so forth.).
Giles: I feel in the close to future issues are going to get much more thrilling in relation to aerial cinematography.
I suppose my ideas at all times apply to the motion sports-filmmaker perspective, however when drones such because the early DJI Phantoms got here into play, movies out of the blue turned oversaturated with relatively boring over-the-top or high-up angles. These regarded spectacular however had been too tame for my liking.
Drones have the flexibility to journey at fast speeds whereas making actions that had been actually unimaginable just a few years in the past, until you had a helicopter, but for some purpose the vast majority of folks in the motion sports activities world nonetheless appear to go for what are comparatively easy photographs and flight paths.
The second we acquired our palms on the Inspire and had the potential for fast motion coupled with impartial digicam motion, we knew we needed to push the boundaries of what we thought was doable.
Now with the rise of racing drones, and unimaginable small cameras such because the GoPro Session, I’m hoping to see extra folks using these instruments to push issues even additional. The good thing about racing drones is that their actions are much less stabilized than one thing like a DJI Inspire, so in relation to motion sports activities you possibly can create one thing way more visually stimulating.
Regarding rules, I feel that sadly we are going to see these getting an increasing number of strict in the close to future.
With drones being so accessible, it simply will increase the possibilities of reckless pilots placing different folks in hazard, successfully spoiling the enjoyable for people who find themselves making an attempt to push their artistic boundaries whereas being smart and secure. I don’t actually know what the top level of this might be, however I significantly hope nothing main comes into play, like an outright ban on drones.
In the primary query of the interview Giles talks about how sketchy the situation was the place they shot the video that received the “Extreme Sports” class on the NYCDFF this 12 months. Here’s the behind the scenes video that exhibits simply how unreliable a few of these buildings had been:
Want to see extra of Giles’ work? Check out his showreel beneath:
Zacc Dukowitz is the Director of Marketing for UAV Coach. A author with skilled expertise in schooling expertise and digital advertising and marketing, Zacc is obsessed with reporting on the drone trade at a time when UAVs may help us reside higher lives. Zacc additionally holds the rank of nidan in Aikido, a Japanese martial artwork, and is a broadly printed fiction author. Zacc has an MFA from the University of Florida and a BA from St. John’s College. Follow @zaccdukowitz or take a look at zaccdukowitz.com to learn his work.