Sometimes the drone is not the camera. It is the lamp you could not otherwise get into position.
Get outside Austin and the Hill Country is properly dark with no power infrastructure, which makes aerial lighting the practical solution rather than the clever one. Inside the city, it is about getting a source over the river or a bridge where nothing can be rigged.
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.
Texas summer forces exterior work to the ends of the day and heat affects both aircraft performance and how long anyone wants to stand in a field. Spring and autumn are excellent, and winters are mild enough that shooting continues.
Austin has grown from a festival town into a working production market, with Austin Studios anchoring a crew base that has deepened considerably. Texas incentives keep pulling features and series in, and aerial demand has followed.
We shoot downtown, the river, the Hill Country, and the Texas landscape — and we travel. CineDrones works nationwide, so if your production is basing in Austin and shooting somewhere else entirely, that is a normal week for us.
AERIAL LIGHTING — OTHER MARKETS: Albuquerque Atlanta Chicago Las Vegas Los Angeles Miami New Orleans New York Salt Lake City