While footage filmed from cranes can add an extra dimension to any production, they can prove cumbersome to set up and operate. A South African company is offering a viable alternative – remote-controlled model helicopters which house cameras in pods.

Visual Air Production (Pty) Ltd is making waves – or should that read altitude. From fairly modest beginnings the company now boasts the most comprehensive range of remote-operated, pilot-less helicopters in Africa. Recent film work includes a Lucky Dube music video shot on Johannesburg’s Nelson Mandela Bridge and the World Motocross Championships at Sun City.

Says owner Stephen Verheul: “With the quantity of work being received for the international scene, we knew that it was only a matter of time before clients started demanding High Definition Video (HDV) aerial footage. Although South African TV doesn't broadcast in HD, many companies are future-proofing their projects, by shooting in HD and down converting to Standard Definition and (SD) and 16:9 widescreen. With the advent of HD, a lot of production companies still using 16mm are finally making the move to digital. After reviewing the available HD cameras, we settled on Sony's new 3 CCD HD Model. This offers top3 CCD Colour performance and the footage can be down converted to SD and widescreen from the camera as required”.

The choice of camera had a weight disadvantage, and conventional two-stroke and petrol engine model helicopters may have struggled. It was therefore necessary to look at new technology. Comments Verheul: “The model helicopter had to have the power to operate at higher than usual altitudes compared to the rest of the world, as Johannesburg is 5 500 feet above sea level and places extra demands on the power. After speaking to numerous manufacturers and researching the current offerings, we built a radio control helicopter with a two meter diameter rotor driven by a two-stage turbine.”

This turbine spins at 165 000 RPM and runs on Jet A1 fuel. The advantages gained by using a turbine are multiple: the power is more than enough to lift the complete helicopter and pod, with a large reserve. And, the vibration levels compared to piston powered engines are practically zero, so this equates to a lower requirement of vibration damping and the gyroscopes operate at a higher performance. The turbine is completely smokeless, which means no ruined takes because of smoke drifting into frame.

“A new camera pod also had to be developed and it was decided that the camera needed to be enclosed in a ball. This gives the pod a constant resistance to wind and results in a more stable tracking shot during forward flight. The pod has continuous 360° rotation, as well as roll and tilt functions. It is similar to all our other pods in that it is controlled by a cameraman who views a monitor with a live feed. The camera is stabilised in three axis by piezo gyros, which allow the cameraman to point and shoot with very little control input. Tink Minster from The Camera Platform provided valuable input in this area,” explains Verheul.

Visual Air has a comprehensive complement of highly enthusiastic and skilled staff that both ‘pilot’ the model helicopters and control the cameras. This includes highly experienced pilot Sean Russell, stills and motion picture camera operator Shane Hodgson, engineer and back-up pilot Eric Theron, and ‘pilot’/camera operator, Richard van Aken. The company also offers camera vehicles with fully equipped radio control for both chopper and camera and microwave links for instant viewing of shots.

Verheul notes that Visual Air has been very busy of late in the stills area, with six to 10 stills shoots per day. “We enjoy becoming a partner in the production and remain firmly convinced that the latest helicopters and gyroscoped camera mounts offer a significant advantage over more cumbersome crane shots – particularly in tight spots and on location. We recently flew a helicopter through a factory focusing on the various production areas therein.

“The current stability of the platform is superb and I am convinced that any DOP would be surprised at the end results. I must point out that the heavier rig gives a far more stabilised shot than the smaller helicopters and is closer in performance to aerial filming from a conventional helicopter. It still has all the advantages of a radio control helicopter, and can work in close proximity to the subjects while still maintaining manoeuvrability”.