Sometimes the drone is not the camera. It is the lamp you could not otherwise get into position.
New York night exteriors are lit by the city itself, so aerial lighting here is usually about adding a specific motivated source — a helicopter spot, a moonlight wash on a rooftop — rather than lighting from nothing. On streets where a condor cannot park, it is often the only way to get the source up.
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.
Winter shortens the day sharply and wind between buildings gets serious. Late spring and autumn give the cleanest air and the best skyline visibility, which is when most of the aerial work here gets scheduled.
New York shoots dense, fast and on the street. Blocks close for minutes, not hours. An aerial unit that needs a long setup does not get invited back. The premium here is on crews that can put a drone in the air inside a tight window and clear out.
We shoot the Manhattan skyline, the bridges, the boroughs, and the waterfront — and we travel. CineDrones works nationwide, so if your production is basing in New York and shooting somewhere else entirely, that is a normal week for us.
AERIAL LIGHTING — OTHER MARKETS: Albuquerque Atlanta Austin Chicago Las Vegas Los Angeles Miami New Orleans Salt Lake City