The David Guetta show was captured live utilizing four ARRI cameras (2 ALEXA Mini and 2 Amira) straight from the helipad of Burj al Arab hotel in Dubai. The show was shot with no operators on stage, using Blackcam tracks and dollies, and ARRI Multicam System methodologies.

Remote cinematography

Remote cinematography is not a new jargon, but “thanks” to COVID, it was further developed to meet social distancing regulations and restrictions. Utilizing remote apparatus and devices like the AGITO combined with ARRI SRH-360, and sharpen the techniques needed for these kinds of shooting, allow the ability to execute productions with almost no operators onboard. A solid reference for that is the latest David Guetta show, filmed in the helipad of Burj al Arab hotel in Dubai, with no cameras and dolly operators around.

The location was extremely challenging because the limited space and weight restrictions on the helipad didn’t allow for cranes or camera people.

Blackcam

A very problematic (and challengeable) location

The helipad of Burj al Arab hotel in Dubai was the extraordinary location for David Guetta’s United at Home online concert. Due to the weight restrictions on the helipad and because of the current COVID hygiene regulations, the event was visually staged with high technical efforts which led to the decision of filming exclusively with remote cameras. The versatile setup counted with four remote-controlled Blackcam Systems plus four ARRI cameras, and even drones were in operation for this performance. Also, according to Blackcam, no one but David Guetta was allowed on the helipad during the shoot: “The location was extremely challenging because the limited space and weight restrictions on the helipad didn’t allow for cranes or camera people”.

Two ALEXA Mini and two Amira operated remotely

As Blackcam describes, here’re the technical detail:

• B40 with Tower Lift L2 (12 m) and ARRI’s stabilized remote head SRH-3 and an ARRI ALEXA Mini on 12 m 270-degree curved tracks
• B60 with Tower Lift L2 (8 m) and SRH-3 head and an ARRI AMIRA on 8 m straight tracks
• B20 dolly and an ALEXA MINI  on 2 m straight tracks directly in front of the DJ booth
• Blackcam Remote Head RHLarge with ARRI AMIRA

The technology in detail:

On a 270-degree rail curve with a diameter of 12 meters, one camera system was a remote-controlled Blackcam dolly B40 with a Blackcam TowerLift L2, a stabilized ARRI Remote Head SRH-3, and an ARRI ALEXA Mini with a Fujinon Cabrio Zoom 19-90. Another camera system consisted of an ARRI AMIRA with Fujinon Cabrio Zoom 14-35 in an SRH-3 on a Blackcam System B60 with a Tower on 8 meters of straight rail. Directly in front of the DJ booth was a 2-meter straight rail with a Blackcam unit and an ALEXA MINI and an ultra-wide fixed focal length ARRI UP8R. In addition, there was a Blackcam Remote Head with ARRI AMIRA and a Fujinon Cabrio Zoom 85-800 on a tripod.

There were some hurdles to overcome for this unique location. I’m glad that we had Blackcam on-site for this assignment, who on the one hand provided impressive shots with their systems, and in combination with our ARRI SRH-3 stabilized remote head and the ARRI AMIRA and ALEXA Mini cameras made it possible to work comfortably and perfectly.

ARRI

Production and operation

Here’s the description of the production according to Blackcam: “Live to hard disk, recording and operating in Log C. For the first time, the ARRI Multicam LogC LUT was used for color matching of the cameras. With this LUT it is possible to edit the video parameters in LogC operation of the camera. By means of an external LUT box, which displays the image in the correct color space in the desired look, it is thus possible to evaluate the image on measuring devices and preview monitors. To control the iris on the Alexa Mini with the UP8R, an ARRI cforce mini RF was attached. This motor can be connected to the Hirose connector of the lens mount via a cable without an additional interface, allowing iris control of a classic cine lens via an RCP. The cameras were connected via SMPTE fiber cables to the control room, which was located on the 27th floor of the Burj Al Arab, one and a half floors below the helipad.

From the ARRI side, Thomas Stoschek, ARRI Sales Manager Camera Systems states: ”There were some hurdles to overcome for this unique location. I’m glad that we had Blackcam on-site for this assignment, who on the one hand provided impressive shots with their systems, and in combination with our ARRI SRH-3 stabilized remote head and the ARRI AMIRA and ALEXA Mini cameras made it possible to work comfortably and perfectly.”

Final insights

COVID or no COVID, filming a live show from a small helipad on a tall building, demands vast expertise regarding remote cinematography. Thus, the David Guetta Dubai Show can be used as a case study for a complicated remote operation methodology and implementation. Watch the complete result below. Does it meet your cinematic expectations? Let’s hear your thoughts in the comment section.