Our team has been flying heavy lifter cinema drones since 2012. We’ve always strived to be pioneers from the beginning. Drones were not available to purchase back at the start. This is why we had to build our own custom heavy lifter drones. Since then, the evolution of drones has been simply amazing. With each passing year, the advancement of drones enables our team to provide our clients more creative freedom and professional efficiency. We fly nationwide and enjoy the opportunity when we get to drone in Asheville, NC.
The Freefly System ALTA 8 flies like no other. “Stability” and “Agility” are the two words that come to mind about our Altas.
When flying this heavy lifter, along with the MōVI Pro gimbal system, they truly do fly as one.
We’re able to carry up to a 20 pound payload. This includes many different cinema cameras and lenses.
VidMuze Cinema, LLC is a strict believer in providing our clients full creative freedom when it comes to "camera movement" in the sky.
Ground View: This is the traditional perspective, while having the gimbal below the drone, allowing us to capture anything below our drone. This setup is perfect when filming low to the ground or other obstacles.
Sky View: This is one of more favorite perspectives. Sky View gives us the creative ability to look up, above the drone. Perfect for looking up into trees, or looking up at a waterfall. This perspective is quote uncommon on almost all other drone platforms.
One of our main priorities is to give our clients full creativity. For this very reason, we only fly heavy lifter drones. By doing this, this provides three main areas of creative freedom.
The main reason we fly the MōVI Pro is we're almost unlimited to the cameras that we can carry. Providing you (our clients) the ability to fly the camera you want provides you the image quality your productions require. To match all of your footage, it's best to use the same camera in the air that you used on the ground to shoot the rest of your production.
If not more important than having the proper camera sensor, is using the proper lens. Each lens is designed different, therefore they each have their own "look." Flying in the air with the same lenses on the camera as you would on the ground is creatively important. It's vital to your production to have your footage match. This will be effected by the lenses you use in the air.
Providing nature and methodical camera moves is our third priority for our clients. We provide very natural and smooth camera moves that continues to captivate your audience. Using technology like our MōVI Controller helps us achieve these required camera moves. In addition we have "Mimic Mode," which will "mimic" our camera move behavior, providing an even more realistic and natural looking camera movement.
Along with our three main client priorities; 1) Camera Sensors, 2) Lens Choices, and 3) Methodical Camera Moves, we also provide our clients cinematic freedom to create compelling imagery to produce you higher production value.
We aren't like most drone pilots that like to fly high and wide. We feel right at home a few feet off the ground, while flying long focal length lenses which creates the parallax effect. This effect is when the background and foreground materials are moving in two different directions, resulting in a cinematic effect. It's rare to see this effect on drones because its challenging to do. Our team has trained for countless hours, aiming to perfect our ability with flying long lenses. Anything from a 50mm to a 300mm, we feel right at home.
Shallow Depth of Field
Another cinematic element is creating shallow depth of field. This is when your subject is in focus and the background and foreground elements are out of focus (blurry). You'll typically find shallow DOF on longer lenses. This effect is difficult to execute on a drone since the field of the field of focus is constantly changing since the drone is moving. This takes a lot of coordination and flying in sync for our team. We've trained for countless hours, making these type of shots second nature, enabling us to give you cinematic freedoms.
FIZ (Focus, Iris, Zoom)
When we shoot with shallow depth of field, we need to have a way to change our field of focus. This is when we would "rack focus." We have access to three channels we can adjust remotely. It's called FIZ (Focus, Iris, Zoom). For us to be able to adjust these channels, live, during the shot, provides you incredible creativity to your production. We can even create the "vertigo" effect with a zoom lens, also known as the "Alfred Hitchcock" effect.