Sometimes the drone is not the camera. It is the lamp you could not otherwise get into position.
Georgia's production country is genuinely dark once you leave the perimeter, which is a gift for night exteriors and a problem for rigging. Aerial lighting covers ground that would otherwise need generators, cable runs and a condor that cannot get down the road.
Airborne lighting units standing in for a helicopter searchlight, moonlight over a wide exterior, a police spot, or a source that has to move with the shot. On night exteriors where a condor cannot reach or cannot get there in time, an aerial unit puts the light exactly where the DP wants it and moves it between setups in seconds.
Summer humidity puts haze into long-lens aerial frames and afternoon storms are close to daily from June onward. Autumn and spring are the reliable windows, and Georgia's mild winters keep exterior work going most of the year.
Georgia's tax credit turned this into one of the highest-volume production markets in the country. Trilith, Tyler Perry Studios, Blackhall and Assembly all run features and series concurrently, which means aerial crews here compete on availability as much as on reel. The units that stay busy are the ones a line producer can reach on short notice.
We shoot the downtown skyline, the studio campuses, and the Georgia countryside — and we travel. CineDrones works nationwide, so if your production is basing in Atlanta and shooting somewhere else entirely, that is a normal week for us.
AERIAL LIGHTING — OTHER MARKETS: Albuquerque Austin Chicago Las Vegas Los Angeles Miami New Orleans New York Salt Lake City