Sometimes the drone is not the camera. It is the lamp you could not otherwise get into position.
On LA night exteriors the problem is usually access rather than output — a condor cannot get into a residential street, a canyon location or a backlot alley on the schedule you have. An aerial lighting unit repositions between setups in seconds and puts the source where a rigging plan could not have reached.
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.
LA works year round, which is why it became LA. June gloom flattens coastal mornings into July, and the Santa Anas bring the clearest air and the worst flying conditions of the year at the same time. Fire season now closes airspace with little notice.
This is the deepest crew market in the world and the one with the least patience for a unit that slows the day down. Paramount, Warner Bros. Burbank, Universal, Sony Culver City and every major streamer run production here, and they all have a drone vendor already. The way in is being the crew that lands the shot without becoming the reason lunch moved.
We shoot the Hollywood sign, downtown, the coastline from Malibu to Palos Verdes, and the studio lots — and we travel. CineDrones works nationwide, so if your production is basing in Los Angeles and shooting somewhere else entirely, that is a normal week for us.
AERIAL LIGHTING — OTHER MARKETS: Albuquerque Atlanta Austin Chicago Las Vegas Miami New Orleans New York Salt Lake City