An aerial shot either tells the audience something the ground cannot, or it is a postcard the editor eventually cuts.
New Orleans has a look that genuinely cannot be doubled anywhere else, and aerials are how you establish it in one move — the Quarter's roofline, the river's bend, the transition out to bayou. Productions come here for exactly this, which makes the aerial unit central rather than decorative.
We work with directors and DPs the way any other camera department does — in prep, on the shot list, and on set as part of the plan rather than a novelty parked to one side. That means matching the look of your A camera, hitting the same marks take after take, and knowing which moves read on screen and which just show off the aircraft.
Louis Armstrong International sets Class C west of the city, leaving much of the urban core workable with authorization. The river traffic and the helicopter activity supporting offshore operations are the local factors that catch visiting crews out.
Louisiana's incentive program built a real crew base here, and Second Line Stages anchors it. Productions come for a look that cannot be faked anywhere else, which puts a premium on aerial work that actually uses the geography.
We shoot the French Quarter, the river, the bayou, and the Garden District — and we travel. CineDrones works nationwide, so if your production is basing in New Orleans and shooting somewhere else entirely, that is a normal week for us.
AERIAL CINEMATOGRAPHY — OTHER MARKETS: Albuquerque Atlanta Austin Chicago Las Vegas Los Angeles Miami New York Salt Lake City