Before many people realize it, drones have become a vital tool in the media industry, no longer just simple flying toys. This feature will take a deep dive into the many applications of drone photography in the fields of film, television, and film. From capturing breathtaking aerial shots in blockbuster films to providing real-time coverage in challenging terrain, drones have also brought many unexpected surprises. Studio Insider also provides guidance for drone operators who are eager to fly in this dynamic field.
Drones have fundamentally altered the landscape of filmmaking, offering unprecedented creative freedom while democratizing aerial cinematography. As Dop Monica Wyer from the Flying TV, a supplier of helicopter and drone aerial filming from the UK explains: “What once required a £15,000-a-day helicopter can now be accomplished with a £2,000 drone, but it’s not just the cost that’s the real game-changer, it’s the ability to perform filming missions that were previously impossible.”
If you have a slightly long experience of watching movies, you will find the intuitive difference between drone and helicopter filming: bolder and freer. From the vertigo-inducing cityscapes of Mission: Impossible – Fallout (2018) to the immersive FPV dogfights in Top Gun: Maverick (2022), drones have become one of the best creative partners for directors and cinematographers. However, as Monica emphasizes, mastering drone filming is not just a matter of piloting skills – it also tests the pilot’s ability to adapt to environmental obstacles, strategic equipment selection, and smooth visual storytelling.
“When I started in the industry, aerial photography meant helicopters,” says Monica. “They were big, loud, expensive, and required permits, tanker trucks, and a small army to operate. I witnessed a production company spend $80,000 on a day of shooting in a helicopter just to capture three scenes. Today? I can pull the same footage out of a backpack with a Freefly Alta X and a RED Komodo.”
She’s excited about this game change. “It’s not just the cost savings that are a real game changer, it’s the creative freedom. With drones, we’re no longer limited to what a helicopter can actually do. ” In Fallout, where the camera swoops across the rooftops of Paris? That was impossible in the past. Now, with FPV drones, pilots can not only shoot the action, but be there themselves. When Monica first flew an FPV device through a collapsing building scene, she understood what directors mean by ‘visceral filmmaking.’
Monica is also very impressed by the progress of drones themselves. “I’ll never forget my first cinematic drone – this bulky early device weighed 15 pounds and had a flight time of about 8 minutes. We needed six batteries to complete a basic shot.” Today, Alta X can carry a full set of cinematic cameras for 18 minutes, and the DJI Inspire 3 can shoot 8K RAW, and it’s light enough for one person to operate. The technology has advanced so fast that half the shots in Top Gun: Maverick would have been physically impossible just five years ago.
But the problem most beginners run into is the combination of the language of the lens and film or television, Monica says: “I’ve seen pilots with $30,000 worth of equipment who can’t even compose a proper opening shot. Drones are the photographer’s tool – when you combine it with proper lighting, composition and action, magical things happen. That’s why I tell new pilots to study classic films before studying drone manuals.”
As drones are smaller and more flexible than helicopters, this means they are also more fragile. Even if you have mastered the flying skills of a drone, sometimes you still have to be careful when facing the harsh natural environment outdoors. Jean Lamoureux is an Advanced drone pilot and Flight Reviewer from Drone Pilot Association of Canada shows some of the most common problems drone pilots may face.
Jean believes nothing tests your skills more than shooting in bad weather. She was filming a desert segment for a BBC documentary when a 50 kph wind suddenly blew up. The $60,000 Freefly Alta X flew through the air like a kite. “That’s when you really understand—in wind, height is your enemy,” she says. “We immediately dropped from 200 feet to 50 feet, added ballast weights to the rig, and used ReelSteady in post to salvage the footage. Now, if my weather app says the wind is over 20 mph, I politely tell the director we need to reschedule the shoot. No shoot is worth losing the equipment.”
But when things get wet, Jean’s reaction is completely different. Drones need to be kept as far away from water as possible. Most people don’t know that 90% of drones will short-circuit if a single drop of rain gets in. “When we have to shoot in wet conditions, we use the waterproof Matrice 300 with a silicone seal,” he said. “But let’s be honest, The smart thing to do is always to wait.” The clouds will always clear, even if sometimes you have to wait for 12 hours or more.
These are just some of the many problems encountered when flying drones outdoors. Other challenges from clouds and altitude are equally important. Now let’s take a look at what kind of wonders the combination of drone photography and modern technology can create. Monica has been trying to bring AI and other automation technologies to this field for several years.
Monica is excited about the combination of AI and drone photography, and she believes that AI is not replacing, but liberating. For example, the new DJI Inspire 3 can autonomously handle boring tracking shots, which means that photographers can focus on creative camera choreography.
Virtual production is another game-changing technology. Monica explained: “Last month, we used drones in Unreal Engine to scan the shooting location and pre-visualize the entire car chase. The director can ‘fly’ through the scene before we shoot a single frame.”
Swarm cinematography has made a major revolution in the form of photography. Imagine ten drones capturing a fight scene from all angles at the same time. Monica and her team tested it on a low-budget hero movie – synchronized Alta Xs spun around the actors like angry wasps. “These shots make a $5 million movie look like $50 million. This is where the industry is going: to democratize Hollywood-level visual effects for the next generation.”
Monica believes that the technology in this industry is changing, but the need to tell a good story will not change. Master these two points and you will never lose your job.
Now you might be eager to know – how do I actually turn these skills into a career? Making the jump from flying for fun to getting paid to film isn’t just about your skill (though that’s crucial). Sarah explains that you also need a solid foundation, extensive experience and understanding of the commercial aspects of drones in the TV and film industry. Here’s a step-by-step guide designed for complete beginners to go from hobbyist to professional operator.
Flying commercially without a license is like driving without a license, not only is it risky, but you can also be fined to the point of breaking the bank. In the UK, you’ll need to get a GVC (General Visual Line of Sight Certificate) and, if you’re flying near crowds, an A2 CofC. Budget about £1,500 for the whole thing. In the US, just take the FAA Part 107 exam, which costs just $175, and there are plenty of free study guides online. EU flyers have their own system, issuing A1/A3 or A2 licenses depending on the weight of the drone. This isn’t the fun part, but it’s absolutely necessary.
Once you have your certificate, it’s time to develop real skills. FPV simulators like Liftoff and Velocidrone allow you to practice acrobatics without endangering your hardware. Once you’re comfortable, start networking with local film groups—student films and independent projects are always in desperate need of drone operators. And never stop learning from YouTube. Channels like Johnny FPV and Drone Film Guide are basically free film schools for drone pilots.
Master cinematic composition – learn the rule of thirds, leading lines, and all that good stuff. Learn basic editing in DaVinci Resolve (it’s free!), especially colour grading drone footage. Don’t forget to learn to read the weather forecast. Nothing can ruin a shoot faster than ignoring a wind warning.
.”The best way to learn? Fly every damn day. Film everything. Crash. Fix it. Repeat. TV crews don’t care about your certifications—they care if you can deliver the shot when it counts.”
Now it’s your turn to grab a drone, start shooting, and tag us @studioinsidermag — we’ll feature the best reader reels!
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