Our annual coverage of the art of aerial cinematography sees more R&D and greater demands on what aerial can achieve
The tech side of sports broadcast is constantly evolving with New ways to engage fans and different movement options for broadcast
Is it a question one of ‘one or the other’ or is it more complicated than that? David Baillie asks the question.
It isn’t just Ben Kenobi’s name that is surprising but also his rise to his current drone operator status from where he started – the NHS
When an Oscar-winning DOP shoots a film on drones with only one aerial shot you know times are changing
In an exclusive article, head DOP Ben Joiner explains what has changed and why in shooting Amazon’s The Grand Tour.
If you put an engine the size of the one in the smallest specced Ford Fiesta in to an aircraft with non-powered rotors you have the latest in aerial cinematography
Drones, UAVs, UASs – they all do the same thing, shoot video from the air. But in the world of cinematic drones and gimbals that’s where the similarities end. We asked Jeremy Braben, CEO of Helicopter Film Services, to explain the world of ‘heavy-lift cinema’
The new issue of Definition Magazine is now out with stories from Planet Earth II, Fantastic Beasts, Wildlife Confessions, The Grand Tour and much, much more...
Last Sunday in Shenzhen, China, the drone manufacturer MMC unveiled their new product. Nothing too spectacular about that except that it's possibly the world's first drone powered by hydrogen cells.
Remote truck company NEP Sweden used a new type of studio camera head at last week's Eurovision 2016. It was a gyro-stabilised camera head that allowed solo operation of gimbal, camera, lens and tracking.
At this year's show Red Rock Micro showed that they have been busy as the system is now much smaller and has crystallised in to a working package which is already being pre-sold. All the products together cost around USD$4500.