Why construction companies use drones for progress reports
Why construction use drones for Progress Reports Drones have become a game‑changer for progress tracking, replacing slow, incomplete “boots‑on‑the‑ground” inspections. Keeping construction projects on schedule and within budget requires timely, accurate data. 🕒 Time‑Saving & Thorough A single drone flight captures a complete, consistent aerial view of a job site, eliminating the need for inspectors to walk every corner. Drone progress monitoring saves time and labour costs, while software organizes the data into easy‑to‑read reports. 🧗 Safer Inspections Drones can access hazardous or hard‑to‑reach areas, reducing risk to workers. This is especially valuable on high‑rise projects or sites with unstable terrain. 📊 Reliable, Repeatable Data Using GPS waypoints and geotagging, drones replicate the same flight path over time, producing consistent images for before‑and‑after comparisons. High‑resolution photos (20‑megapixel cameras and up) and 4K video give stakeholders detailed visual records. 🗺️ Advanced Maps & Measurements Orthomosaic, thermal and LiDAR maps provide accurate measurements and reveal hidden issues. For example, thermal maps can detect heat leaks in building envelopes. These detailed datasets improve planning, communication and problem‑solving 📱 Real‑Time Updates & Collaboration Drone data can be uploaded to cloud platforms so project managers, investors and remote teams can view progress in real time. This speeds up decision‑making and keeps everyone on the same page. 📣 Chat with US From high‑rise developments in Vancouver to infrastructure projects in Kelowna, Aerial Vista Productions offers comprehensive drone progress tracking. Our certified pilots and robust software deliver reliable reports that help keep your project on track and on budget. Contact us to schedule a time to chat. Customer Reviews: “I’ve had the pleasure of shooting multiple times with Devin and his team. They are consistently flexible, easy to work with around production coordination and flawless when it comes to execution. They listen to your input and apply their expertise to make sure you are getting the best content possible. I’d absolutely recommend Devin and his team to anyone looking to gather top notch drone footage.” Scott (Seattle) Read more reviews here: https://share.google/HR6TE6lW2al0HM6Yv
Best Drone Pilots near Vancouver: What to look for?
🚁 1. Best Drone Pilots Near Vancouver: What to Look For in a Professional Finding the right drone pilot in Vancouver isn’t just about price—it’s about safety, compliance and quality. Drones are powerful tools for real estate, construction, agriculture and film work, but only a trained professional can legally and safely operate them. Here’s what to consider when hiring. ✅ Verify Certification and Licensing In Canada, commercial drone pilots need an Advanced Operations certificate from Transport Canada. In the U.S., pilots must hold a Part 107 certificate. Regulatory compliance ensures the pilot understands airspace rules and risk management. Hiring unlicensed drone operators can put your project—and your liability—at risk; always ask to see proof of certification. 🎓 Check Training and Experience Ask where and how the drone pilot learned to fly. Professional training from accredited programs is far more robust than self‑teaching or casual YouTube tutorials. Experienced pilots usually keep a log of flight hours—more hours often correlates with better situational awareness. Also confirm they’ve done work similar to your project (e.g., real‑estate photography, mapping, tourism, inspections or cinematic filming). 🎥 Review Their Portfolio and Website A polished portfolio tells you two things: they’ve completed similar jobs and they care about quality. Look for high‑resolution photos, videos or orthomosaic maps that demonstrate their style. Their website should be professional and easy to navigate—sloppy sites may indicate sloppy work 🛡️ Ask About Insurance and Safety Procedures Professional operators carry liability insurance and can show you their certificate They should also have documented safety procedures—ask how they assess weather, airspace restrictions and site hazards Safety‑minded pilots plan each flight meticulously to protect people and property. 🔧 Equipment and Specialization Not all drones are created equal. Ask about their drone model, camera resolution and sensors. Projects such as thermal inspections or mapping require specialized equipment. A knowledgeable pilot will explain why their gear suits your mission and how they maintain it. 📣 Choosing the best drone pilot near you means doing due diligence. Look for certification, training, experience, insurance and professionalism. If you’re in Vancouver or anywhere in British Columbia, Aerial Vista Productions offers certified pilots, comprehensive insurance and top‑tier drones for projects ranging from cinematic filming to industrial inspections. Contact us today to discuss your vision!
Why companies are doing Drone Inspections
Why Construction Companies Are Using Drones for Progress Tracking Modern construction sites are rapidly adopting drone technology—and for good reason. Drones provide real-time insights, improve safety, and help managers track site progress more accurately than ever before. 🏗️ What Is Progress Tracking with Drones? Progress tracking involves using drones in construction and industry to: Capture aerial images and videos of active job sites Create 2D and 3D site maps Compare week-over-week development Monitor subcontractor activity and equipment usage 📈 Benefits for Construction Firms Save Time: Capture entire sites in minutes Reduce Errors: Spot layout mistakes early Improve Client Communication: Share visual updates Boost Safety: Monitor without entering hazardous zones 🛠️ Common Use Cases in Canada Road and highway development Commercial and residential builds Infrastructure and utility projects Mining and civil engineering work 🎯 Why Choose Aerial Vista Productions? We specialize in construction drone services across British Columbia. Our pilots are certified, insured, and experienced in handling high-compliance industrial jobs. “Drones give us eyes in the sky, every step of the way.” 🗂️ Deliverables Include: Aerial time-lapse progress documentation Orthomosaic or 3D maps Elevation and volume measurements
Union and Non-Union Movies; Film Set Work in Victoria with Drones
Blog Union and Non-Union Film Set Work in Victoria The last couple of years has brought a resurgence of big film productions to Victoria, BC. We have seen several Hollywood films, numerous Hallmark MOW’s, several Netflix and a few independent TV series make their home base in Victoria. With 3 full 100+ person crews, Victoria is able to cater to three big productions simultaneously. As a ICG 669 Union Drone Pilot member, we at Aerial Vista have been fortunate enough to be invited to coordinate on the aerial cinematography on nearly all the Hallmark movies, Hollywood movies and a couple of Netflix specials that have come to Vancouver Island including Super Pups, Phantom Pups and Scaredy cats! We bring 14 years of drone videography and flying experience to the table including multiple projects on big film sets, Nat Geo, BBC, wildlife documentaries, multiple TV shows and an IMAX on the Great Bear Rainforest that was filmed in the gorgeous North Coast of BC from the tip of Vancouver Island to Prince Rupert. We always bring 2 drones and 2 camera systems while on set for complete redundancy, a generator, an array of wide angle to telephoto lenses and the desire to create the most cinematic and exciting shots. Why bring your Production to Vancouver Island? Tax incentives https://www.filmvictoria.com/tax-incentives-2/ Brief Overview of the Film Incentive BC Program (FIBC) 28% of qualified BC labour expenditures – basic PSTC tax credit (35% domestic) Plus 6% of qualified BC labour expenditures – regional tax credit (12.5% domestic) Plus 6% of qualified BC labour expenditures – distant regional tax credit Plus 16% tax credit for digital animation or visual effects when you post in BC Digital Animation or Visual Effects Tax Credit (DAVE) For a detailed description and eligibility criteria of the Provincial tax credits, go to Creative BC or contact by phone (604-736-7997) or email. Canadian Audio-Visual Certification Office (CAVCO) Plus 16% of Canadian Labour Costs The Canadian Federal Government’s Film or Video Production Services Tax Credit (PSTC) is primarily for foreign production and is 16% of Canadian labour costs. Union and Non-Union Drone Team for Film Set Work on Vancouver Island
Dream Job: Chief Drone Pilot on IMAX film.
Blog My Dream Job: Chief Drone Pilot for Great Bear Rainforest IMAX film I was hired by the world renown wildlife photographer Ian McAllister, director of Pacific Wild to act as their Chief Drone Pilot for their IMAX documentary on the Great Bear Rainforest. Pacific Wild is a non-profit located in the heart of the Great Bear Rainforest on Denny Island. They are committed to defending wildlife and their habitat on Canada’s Pacific coast by developing and implementing conservation solutions in collaboration with First Nations communities, scientists, other organizations and individuals. Andy Maser working on balancing the camera I was brought in on this project to be the Chief Done Pilot; to assemble, pilot and maintain the Freefly Alta 8 heavy lift drone with MoVi M15 gimbal. We would be flying and filming with the RED Epic Dragon 6K camera and the RED Helium 8K camera as we were luck enough to get our hands on a pre-release in July. Nothing like contemplating flying a $150 000 UAV drone system on the wild west coast of BC. Near the end of July I flew up to Bella Bella to setup and get acquainted with our new home; a 46 foot catamaran called “Habitat”. I was joined by Andy Maser, a National Geographic filmmaker who would be our RED technician and my camera operator for the drone system. Although Freefly tries to sell the Alta 8 as a plug and play system there are actually a ton of things to do and set up. These are the steps we did to get the Alta 8 up and running with a RED WEAPON Helium 8K: Day 1 of Freefly Alta 8 UAV setup: 1) Unpacked and inspected all drone components and back up parts. 2) Charged and inspected all UAV Lipo batteries. 2) Partitioned components into main UAV use and drone backup, labelled and packaged in respective groups. 3) Assembled Alta drone with correct vibration isolators to make it suitable for heavy weight lift. 4) Installed receivers on Alta and bound them. 4b) Checked prop bolt tightness on Alta 8. 5) Mapped transmitter radio. 6) Configured app and osd preferences. 7) Installed FPV for pilot. 8) Set up monitors on tx’s. 9) Installed landing gear. 10) Compass calibrated. 11) Set low voltage warnings and RTH parameters. 12) Set up RED EPIC Dragon for video output and minimal weight Day 2: 1) Test flew without MoVi for 2 hours. Measured motor temps of the octocopter UAV on all landings. Recharged all lipos and check cell health. Downloaded and checked all flight data. Tuned Alta 8 flight parameters. 2) Balanced Red Epic Dragon and video downlink on MovI M15. 3) Linked MoVi controller to MoVi. 4) Set up CONNEX video downlink and verify video out and MoVi.control. Changed MoVi parameters for smoother operator control. Added RT Motion Latitude for camera control while in the air. Added Fool Control App. These 2 lovely add ons made filming with the RED Dragon and the RED Helium easier and much more enjoyable. 5) Tested movements and responsiveness on the ground, modified MoVi controller for cam ops preferences. 6) Experimented with longer lens stability…50-90mm. Day 3: 1) Mounted MoVi, weigh it and recalibrate Alta flight parameters for weight of 38 lbs. 2) Tested shots with this camera. Evaluated and fine tuned. Used various lenses. 3) Flew different movements/speeds to refine precision. 4) Measured engine temps on all landings. 5) Recharged all lipos. 6) Downloaded and check all flight data. Day 4: 1) Worked with camera op and spotter to establish consistent standard protocol, communications and movements for drone and drone/camera combos. 2) Looked at options of different launch and landing platforms. Built landing platform on Boat. 3) Practiced hand catching Alta for emergencies. Day 5-7: 1) Tested in the field over land and along beaches: jibs, dollies, 45’s, pans, locked, pushes, pulls etc. 2) Refined combo patterns with camera op. 3) Experimented with longer lens stability…50-80mm for active and static locked shots at altitude. Thoughts on the Freefly Alta 8: We were lucky to be one of the first to receive our Alta 8’s directly from Freefly at the beginning of July. First impressions were very positive. I really fell in love with the new design and portability of the Alta 8. The engineering appeared to be superb with many weaknesses addressed from the previous model; the Cinestar 8. This machine is a beast, even fully loaded I felt that it had plenty of power in reserve. It really felt like a high end machine which gave me comfort and confidence while flying this $100000 camera system. It flies like no other, with serious control, power and stability combined in a beautiful design to to give the ability to create some unique and exciting shots. The toad in the hole, and the top mounting system were also some great new features to the Alta 8 platform. It is mandatory to have the Latitude and Fool Control app for proper exposure with the RED on the Movi M15 (Although on the MoVi Pro it sounds like they have created a direct link with RED so this may no longer be needed). Equipment: Alta 8 MoVI M15 RED Helium 8K RED EPIC Dragon 6K Latitude, Fool Control App MoVI Controller Amimon CONNEX Video downlink. As a wrap up, I should mention that we had the pleasure of renting out an IMAX theatre in Victoria, BC to view our edited footage and actually see the differences between the video that we got from the DJI Inspire, RED EPIC Dragon, RED Helium 8K camera, and the Arri Alexa. Watching the footage on a giant screen with edited sequences and sound design was surreal to say the least. Most satisfying part was knowing that we could use the RED Helium to match footage with the Alexa as we moved into the next season of filming. Share Post : IMAX Production: Chief Drone Pilot for Pacific Wild IMAX film.
Blue Whales in Chile
Filming Blue Whales in Chile Filming Blue Whales in Chile with Drones A surreal filming experience off the coast of South America. Equipped with 2 DJI Inspire 2 drones for easy launch from our small boat we spent a dozen hours each day scouting for wildlife and looking for a variety of whales, dolphins, sea lions, turtles and penguins. Definitely one of the more challenging shoots I have done, from the launching and landing fo the drone in the rolling seas to the long days scouting for wild life that would ap[[pear and disappear, nothing happened without challenge. The reward came with several close up encounters with Blue Whales, Whales, Humpback whales and sealions. The unexpected sighting as that of desert penguins on one of the more famous islands in the region. hh
From a Training Drone to Flying an Alta 8 with a RED Epic Dragon and RED Helium 8K.
Blog From a Training Drone to Flying an Alta 8 with a RED Epic Dragon and RED Helium 8K. After many years of exploring the possibility of flying and working with drones I finally committed in August of 2012 to buy a beast of a drone known as the Freefly Cinestar 8 Octocopter. T0 get ready for its arrival I bought a small training drone to get my skills up. After approximately 50 hours of practice flight time indoors and outdoors I felt ready to set up and practice with the new UAV. I quickly realized that this drone was a battery drainer, so I quickly ordered more batteries and props. After many practice flights in manual mode without gps assist I started to feel more comfortable. With help of Ben Driver we got the Canon 7d mounted and ready to film and work on aerial photography skills. At this time I has a small clip online a local producer found it and reached out to set up a meeting. Dan Batchelor Productions then helped to film and edit my first Aerial Demo Reel for 2013. This demo reel led to quite a few jobs with visionaries in the field including Dave of Riptide Studios. Our first project with Dave was a commercial for Original Joes Restaurant: The “Thrill of the Dill” which has seen over 1 million views on youtube. This was followed up with the behind the scenes of “Thrill” where Dave shared his thoughts on using a drone to capture the shots he wanted. The next year I bought all the components to make my own Cinestar 8 heavy lift, a slightly more robust version with bigger props, dual batteries and a higher lift capacity. On it with attached to custom made Alexmos 3 axis gimbal to stabilize our newly acquired Canon 5D Mk3. This bigger UAV system with the new camera upgrade was huge for us and brought in quite a bit of aerial photography and aerial video work. In 2015 we invested in the DJI inspire with 4K camera, a virtual plug and play system. This small system was a dream come true. Small, portable with Great battery runtime and an excellent stable image at 4K with raw photos. The live video transmission and on the fly camera tuning made us all smile. I fell in love with this system and the ease I could take it anywhere. No more messing around with finicky gimbles, a million batteries, and a huge unwieldy system that sounded like a flying lawnmower. After flying these for a while I was hired by the infamous Ian McAllister, director of Pacific Wild to act as their Chief Drone Pilot for their IMAX documentary on the Great Bear Rainforest. Pacific Wild is a non-profit located in the heart of the Great Bear Rainforest on Denny Island. They are committed to defending wildlife and their habitat on Canada’s Pacific coast by developing and implementing conservation solutions in collaboration with First Nations communities, scientists, other organizations and individuals. I was brought in on this project to assemble, pilot and maintain the Freefly Alta 8 heavy lift drone with MoVi M15 gimbal. We would be flying and filming with the RED Epic Dragon 6K camera and the RED Helium 8K camera as we were luck enough to get our hands on a pre-release in July. Nothing like contemplating flying a $150 000 UAV drone system on the wild west coast of BC. Near the end of July I flew up to Bella Bella to setup and get acquainted with our new home; a 46 foot catamaran called “Habitat”. I was joined by Andy Maser, a National Geographic filmmaker who would be our RED technician and my camera operator for the drone system. In addition we have invested in the highly portable and super powerful Inspire 2 Pro with 5.2 RAW Video and 21 Mp RAW Stills. This machine is a true gem. We flew it up in the mountains while filming for Mike Wiegeles Heli Skiing at -20C with a 90 mm equivalent lens on it and it performed flawlessly at 80 km/hr. The image is sharp, the stability phenomenal and the usability excellent Share Post : From a Training Drone to Flying an Alta 8 with a RED Epic Dragon and RED Helium 8K.
Nat Geo 360 VR Shoot: Flying a 360 camera on DJI Matrice 600
Blog Nat Geo 360 VR Shoot: Flying a 360 camera on DJI Matrice 600 Aerial Vista Productions was contacted at the end of January 2017 by a PI Studios a production company looking to film some 360 VR aerial video with a heavy lift DJI drone for a Nat Geo 360 Experience project. As a photographer who has travelled around the world for the last 20 years and has dreamt of doing a shoot with Nat Geo. We were absolutely stoked to be part of a shoot that involved such innovative tech pushing the filming limits in order to provide viewers with a new richly immersive virtual reality experience. A week later my spotter Dale Sanders (pro underwater photographer) and I were heading up island to meet the crew of PI studios and international underwater filmers David Schott, Becky Schott, and Adam Revetch. Our crew would be filming BBC international cinematographer and Nat Geo star Bertie Gregory who has been making splashes with his Nat Geo Wild series “Wild Life“. Aerial Vista Productions would be in charge of flying the Matrice 600 heavy lift drone made by DJI with the 360 Omni from GoPro camera. We were also helping out with location scouting which provided us with some extra challenges and learning in a very cold and snowy winter weak. One thing to consider about a location while filming VR 360 is the various aspects that can sneak in, thus a very careful inspection of an area in all directions and all levels can yield something significant that makes the shot unusable. As we were doing mostly scenic we found it challenge to find natural areas around Campbell River that didn’t have some sign of human interference. Part 2 of our shoot was on Hornby Island, with us basing out of the Hornby Island Dive Lodge. Our fantastic hosts Amanda and Rob Zielinski are highly experienced and super helpful with everything from food, tanks to boats and location scouting. Share Post : Nat Geo 360 VR Shoot: Flying a 360 camera on DJI Matrice 600
Pacific Wild: Making an IMAX
Blog Pacific Wild: Making an IMAX t’s early, still a few hours to go until enough light descends on the estuary for filming. But S/V Habitat is bustling as the crew prepares the gear for the coming day. The smell of coffee brightens tired eyes, and with the new day comes new hope for this once in a lifetime project. Fourteen months, four seasons, one goal. Capturing the stunning beauty of the Great Bear Rainforest for the giant IMAX© screen. The latest effort in leveraging awareness to help protect the region and its inhabitants. Twenty-five years of studying and telling the stories of the coast has well-prepared Ian McAllister and Pacific Wild for this new initiative. After 32 days of fall filming, a much-needed break, and two weeks of storms on Denny Island, we finally set off for winter diving. It is now day 18 of our winter voyage, and snow is falling on the waters of the Great Bear Sea as our divers enter the water, blanketing our boat with signs of Christmas. These trips can be long and demanding, but the season is short and every day is precious. Like the urchins, anemones, and fish that take full advantage of a slack tide, our whole crew on Habitat share an unspoken understanding that we should make the most of the time we have, and that feeling only grows on this trip as daylight becomes scarce. And so we have begun our fourteen-month journey with Habitat as our new home. From the graceful and unusual creatures that dwell in the sea to the ever fascinating and beautiful predators of the land and sky, we will slowly but surely collect snapshots of the beauty and diversity of this remote and utterly unique place in a format never attempted before. And for good reason. IMAX technology is not only new to me; it is new to the world. In fact the two cameras that we are using: the latest Arri Alexa 65 and RED’s Helium, are at least by numbers more rare than the Spirit Bears we are documenting. If someone had told me a year ago I would be assisting on a shoot like this—with technology like this, on a coastline like this, well…. My role as a camera assistant and DIT is mainly to prep equipment and manage the project media, ensuring the vast amounts of digital data that the crew is producing each day are securely backed up and protected. On an IMAX where 8K resolution is the standard, each day of shooting takes up a significant chunk of hard drive space. I spend a lot of time putting together and taking apart a vast array of underwater and topside gear that keeps this shoot moving forward. It means early mornings and late nights, but when your job is making beautiful images nothing seems as bad—especially with the right crew. The team is, of course, a crucial component of any film and fortunately Ian has brought together a capable and hard working one. The diversity of skill sets and each person’s uncanny ability to wear multiple hats when necessary is key. Andy Maser, our second camera operator, is our rock, and gets it done rain and shine, day after day. Devin Card, our drone pilot —well, when you’re flying a machine that costs over $150,000.00 from a rolling vessel without a hitch—it pretty much says it all. Nicola, our deckhand and cook, lights up the room with her smile and fills the boat with good vibes and great smells. And of course our intrepid leader Ian continues to take us on a roller coaster ride of amazing locations learned by a lifetime of exploration on this coast. A year is both a long and a short amount of time for a film of this magnitude. We have 250 shooting days and we have already used a fifth of those days. The last remnants of the fall salmon run has been replaced with a fresh coat of snow, and soon the winter outflows will turn the waters we sail through into a cold, clear, winter haven for filming some of the world’s most diverse life. From what I have witnessed and what we have filmed, it is exciting to imagine how this film will evolve with the coming seasons. And like previous mornings, tomorrow I will wake up in the dark and let the slow light of day reveal the next chapter of this stunning place. Share Post : Pacific Wild: Making an IMAX
Another video for Mike Wiegele’s Heliskiing
Blog Another video for Mike Wiegele’s Heliskiing https://youtu.be/zq5zHxATpFs Here is another video in a 4 part series we are doing with Dan Batchelor for Mike Wiegeles Heli Skiing. This particular video focuses on the safety side of things while heli-skiing in the mountains. Share Post : Mike Wiegele’s Heliskiing
Drones edging out helicopter film pilots
Blog Drones edging out helicopter film pilots The helicopter has long been the go-to to get epic aerial shots. But lately, the mighty flying machine has been losing business to drones. (Doug Husby/CBC) 723 shares Transport Canada thought he couldn’t do it. But Jim Filippone was eager to fly a helicopter through downtown Vancouver, squeezing between all of the soaring glass towers on Georgia Street. After all, the film needed it. He got the OK after plotting it out with his safety co-ordinator (and wife) Wendy, pledging to fly with two engines and stick to the yellow line in the middle of the road. Filippone hovered his helicopter just above the street lamps, zooming up and down the road until the cameras got what they needed. He did it again for the Arnold Schwarzenegger movie The 6th Day, this time at night with no light. Filippone’s precision made him the go-to pilot for these low-level helicopter shots. But drones, which can get the same shot at a sliver of the price, have forced the Filippones out of business after more than 30 years and 13,800 hours in the air. Jim Filippone flew helicopters for films and television shows for more than 30 years. You can even spot him in the opening for the old CBC show Danger Bay, for which he once had to don this blond wig. (Jim Filippone) “We’d call up people, production managers, and we would say, ‘Oh hey do you have any aerials on the show?’ … every time they say yes, we would have a job. They would hire us. But it’s, ‘Oh yeah, we have an aerial but we’re using a drone,’” he said. The couple worked on the X-Men movies, Tron: Legacy and the old CBC show Danger Bay, among many others. “We’ve gone into retirement because of this,” Filippone said about the drones bumping out his work. ‘Tipping point’ for drones The drone has stolen gigs and taken a hit on Canada’s small but mighty pool of film pilots and aerial videographers. It can squeeze into tight spaces and get shots the helicopter can’t — quicker, without much setup, and clad with high-quality cameras. There’s also less at stake if something goes wrong. Helicopter crashes have killed more than 30 people on film and TV sets since 1980, according to Deadline.com. Chris Bacik, right, runs Sky Eye Media out of his parents’ garage near Barrie, Ont. He has flown drones for Hollywood movies and hit TV shows like Orphan Black and The Handmaid’s Tale. (Haydn Watters/CBC) But the biggest drone draw may be the price point. Drones are substantially cheaper to fly for film — even when decked out with fancy equipment. The cheaper price has won Chris Bacik a bunch of film jobs — he has flown his drones for Hollywood movies and hit TV shows like Orphan Black and The Handmaid’s Tale. Price points: Drone vs. helicopter Here’s what CBC News was quoted for a helicopter film shoot with Chanda’s Aerial Camera Operations and a drone film shoot with Bacik’s Sky Eye Media. Helicopter: Chanda said a twin turbine helicopter is needed for film-style shoots ($2350/hr). Plus a full day on the camera for prep/install/shoot adds another $5,750. Drone: Bacik flies with three operators (a pilot, camera operator and safety person), charging $1,600 for eight hours. The rental price for one of Bacik’s mid-sized drones is $1,800/day. Bacik said productions usually provide their own camera and lenses, but others rent from him, which costs $1,500-$2,500/day. “When we get the opportunity to show these [to] people, their eyes just light up,” he said of drones. Bacik runs Sky Eye Media in Midhurst, near Barrie, Ont. He works out of his parents’ garage, packed tight with shelves of drones. Some are as small as tubs of margarine, others as big as office chairs, with tentacle-like arms to help it fly. The drone can go places and get shots the helicopter can’t, like this one of a man on a backyard deck looking out over the water. (Sky Eye Media) “Finally there’s been this tipping point in last 12 months or so now where we are shooting twice a week, and now we’ve become profitable and things are just escalating,” he said. “We’ve definitely come across a couple of helicopter operators that aren’t as friendly to us because they realize yes, we’re here to stay and we are affecting the way they do business.” ‘You can’t take it for granted’ Still, the helicopter has its advantages. It can fly faster, longer and higher than any drone can, able to get those striking big-city and mountain shots. The helicopter works in any weather, whereas drones can’t fly in the wind. And some drone pilots fear Transport Canada’s proposed changes to drone rules, which could crack down on what they fly right now. The helicopter can fly a lot faster, longer and higher than a drone can, helping helicopter cameraman Chris Chanda, left, stay airborne. (Doug Husby/CBC) All this is helping helicopter cameraman Chris Chanda stay airborne. He has been filming from above for 23 years, and now runs Aerial Camera Operations. “From our side of the fence, we think [drones are] a great tool, but they’re certainly not capable of the full-on production value we can provide,” he said. “It’s kind of like giving your kid a skateboard and telling him to go play on the highway.” But he too admits he’s lost some business to drones, something he thought would never happen. Chanda, who runs Aerial Camera Operations, outfits a helicopter with his filming equipment at a Brampton-Caledon airport hangar. (Doug Husby/CBC) As technology gets better, industry experts predict it won’t be long before drones can do what helicopters can — with longer and higher flights and even better, more stable aerial shots coming soon. “You can’t take it for granted,” said Chanda, who has considered adding drones to his fleet. “You certainly can’t say no to advancing technology.” If you look closely, you can see Filippone at the helm of the helicopter as a stunt
Albreda Lodge: Exclusive Boutique Lodge Heli Skiing
Blog Albreda Lodge: Exclusive Boutique Lodge Heli Skiing https://youtu.be/5NYmW0r3caQ Together with Dan Batchelor Productions we had the opportunity to stay and film in Mike Wiegeles exclusive Albreda Lodge. MW has nearly 1.3 million acres of tenure which made for incredible adventures and amazing backgrounds to film with. Share Post : Albreda Lodge: Exclusive Boutique Lodge Heli Skiing
