Not many are well familiar with the complexity involved regarding aerial cinematography on big-budget films. In this case study, we’re getting exposed to the filmmaking tools utilized on Black Widow, composed of an aerial camera array of 6 RED Helium and Zeiss glass on a helicopter, and separately, the Sony VENICE paired with Fujinon Premista zooms was used on Shotover F1. Read on.
Aerial Cinematography: Helicopters vs. drones
One question raised frequently is whether drones will eventually replace helicopters. Indeed, drones have become a common fixture on movie sets, including high-budget productions. The fact is that drones are good for simple storytelling shots, which used to be filmed from helicopters because no cost-effective alternative existed. However, camera drones have limited endurance and depth of field, and drone operators on the ground don’t have the comprehensive situational awareness that is required for the most dynamic action shots. When shooting with drones, the cinematographer is located away from the action, as opposed to a helicopter which allows the artists to be located just in the middle of the scene. Many helicopters pilots claim that If drones had come first, helicopters would have had to be invented for just that purpose. Personally, I agree with that statement. A helicopter has the advantages of speed and time-on-air, which are crucial for professional movie sets. Furthermore, the camera can do so much more when mounted on a helicopter, in terms of lenses and maneuverability, and stamina.
The Aerial filming on Black Widow
Black Widow (premiered on June 29, 2021) is a 2021 American superhero film based on Marvel Comics. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is the twenty-fourth film in the Marvel Cinematic Universe (MCU), and the first MCU film to be released in theatres and Disney+ simultaneously. The film was directed by Cate Shortland, shot by Gabriel Beristain, and stars Scarlett Johansson as Natasha Romanoff (the Black Widow). Filming also took place in Atlanta, Budapest, Rome, Georgia, and Morocco. The principal photography took 87 days and was officially wrapped in October 2019. As characterized by many other MCU films, Black Widow contains a vast amount of complex aerial shots, crafted by Jeremy Braben, which was the aerial director of photography in the film.
We used our specialist 6 camera aerial array, the Typhon, involving 6 RED Helium and 21mm Zeiss CP.3 XD lenses to give a massive field of vision that is ideal for use in VFX-driven productions.
Aerial DP, Jeremy Braben
Combination of Helicopters and drones
The Aerial filming on Black Widow combined helicopters and drones. The helicopter was used mainly for VFX purposes which required a multi-cam array of RED and Zeiss, whereas the Shotover F1 was utilized for the VENICE + Premista setup.
Here’s the tech spec of the Aerial filming used on Black Widow, by locations.
- Svalbard: Typhon 6 Camera Array with RED Helium/ Zeiss, Shotover F1 Sony VENICE/Fujinon Premista
- Budapest: Shotover K1 Sony Venice/Fujinon Premista
- Norway: Shotover K1 Sony Venice/Fujinon Premista,
- UK: Typhon 6 Camera Array, Shotover F1 Sony Venice/Fujinon Premista, Aerigon Drone RED Helium, with MOVI Pro gimbal
- Morocco: Aerigon Drone RED Helium, with MOVI Pro gimbal
The main Premista lens used was the 28-100mm which is ideal for aerial shots because of its focal lengths. The lens offers wide focal lengths, especially when paired with a large sensor (Sony VENICE for instance), and on the other hand, allows shallow depth of field in close shots with the help of the 100mm focal length. Thus, a zoom lens paired with a full-frame camera constitutes a solid solution when high-end aerial cinematography is needed.
Shooting aerial for VFX: 6 RED Helium camera aerial array
The Black Widow aerial DP, Jeremy Braben from Helicopter Film Services, elaborates on the making: “We were required to shoot VFX and live-action plates in Norway, Svalbard, Tangier (Morocco) and the UK. We used our specialist 6 camera aerial array, the Typhon, involving 6 RED Helium and 21mm Zeiss CP.3 XD lenses to give a massive field of vision that is ideal for use in VFX driven productions”.
There were 6 iris motors and 6 focus motors (one for each body). This enabled the operators to calibrate each lens individually to counter any mechanical difference in the scales of the focus and iris.
Aerial DP, Jeremy Braben
The second part of the brief was to film helicopter VFX plates over Ministry of Defense land in the UK and in Norwegian Fjords and mountains, plus, a live-action sequence with a drone in Tangier. For the drone work, the Aerigon Drone was used, carrying a RED Helium on the MOVI Pro gimbal.
Controlling the lenses
The lenses were controlled by the use of a focus and iris control via remote on each lens. There were 6 iris motors and 6 focus motors (one for each body). This enabled the operators to calibrate each lens individually to counter any mechanical difference in the scales of the focus and iris. The team at Helicopter Film Services used a single, hand-control unit in the helicopter cabin to control all 12 motors.
Drone filming and licensing in Morocco
The team at Helicopter Film Services emphasized that drone filming in Tangier (Morocco) presented a range of issues, from difficulties transporting the equipment up small, winding staircases to the rooftops, to flying around the rooftops of a busy Moroccan town, complete with all the obstructions of everyday life, such as TV aerials, scaffolding, and washing lines. “It is illegal to fly drones in Morocco, so Tangier, as a location, may have been a problem. However, we have long-standing experience and a good reputation for filming in this beautiful country, and received all necessary permissions working in close contact with our local production fixers, allowing us to continue our work unhindered” Braben added.
Final thoughts and summary
Aerial cinematography demands a vast amount of knowledge and expertise in order to be well-executed, especially on high-end productions that demand precise VFX and live-action plates. On VFX shots, the aerial team might use a multi-cam setup (array) which is built from multiple cinema cameras and lenses. That setup can be carried on a helicopter. Furthermore, helicopters have significant advantages when accurate action sequences are needed. Helicopters can lift a much higher load compared to drones, and with a lot better airtime which is an essential factor for production. Also, one of the most notable advantages when shooting with the help of a helicopter, is that the camera operator is in the heart of the action. That fact elevates the accuracy and the quality of the shots. Drones however are more compact and easy to use, and most of the time are more affordable compared to helicopters. In the case study above, we explored the combination of those two aerial approaches, and how they contributed to tell the story of the Black Widow.
Product List
Here’re the products mentioned in the article, and the links to purchase them from authorized dealers.
- Fujinon Premista28-100mm T2.9 Large-Format Cine Lens
- RED Digital Cinema DSMC2 BRAIN with HELIUM 8K S35 sensor
- Sony VENICE 6K Digital Motion Picture Camera
- ZEISS CP.3 XD 21mm T2.9 Compact Prime Lens
