Most drone companies are one pilot and a marketing site. Productions find out which is which on the day.
A drone company that works New York is really a permitting company that also flies. Between the Mayor's Office of Media and Entertainment, the City's own drone restrictions and three overlapping Class B footprints, the difference between a shoot that happens and one that does not is decided weeks before anyone loads a case.
CineDrones has been a working aerial department since 2013, with the depth to put multiple units on a show and the insurance and permitting infrastructure a studio production office needs before it can hire you at all. We handle it end to end: airspace authorization, permits, the shoot itself, and delivery in whatever format post is expecting.
Film permits come through the Mayor's Office of Media and Entertainment, and aerial work sits on a separate track from a standard street permit. The City has been opening a narrow, structured pathway for permitted drone operations, which is exactly the kind of thing a producer needs a crew to already understand rather than research after the fact.
New York City is Class B three times over, boxed in by JFK, LaGuardia and Newark, with helicopter routes running the rivers below that. On top of federal airspace, the City has its own long-standing restrictions on where a drone may take off and land, enforced by NYPD rather than the FAA. Flying here legally is a two-agency problem.
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.
A full toolkit rather than one aircraft: cinema payloads, FPV, heavy lift, prop and stunt builds, and aerial lighting.
Our aerial units have worked on Ozark, Jack Ryan, Bosch, Mayans M.C., SEAL Team, NCIS: New Orleans, Fear the Walking Dead, American Horror Story, Modern Family, 9-1-1, Goliath, The Resident, Raising Dion, Castle Rock, Doctor Sleep and Chef's Table, for Netflix, Amazon, Apple, HBO, Hulu, Showtime, Sony, CBS, AMC, MTV and Bravo. See the work →
It is a procurement process, not a creative one. Risk management reviews your insurance, safety record and operating procedures before a production office is allowed to hire you. We have been through it with the majors since 2013.
Yes. Multi-unit days are normal for us, and having a second aircraft on standby is often cheaper than losing an hour to a battery swap or a downed aircraft.
A $5M aviation liability policy, with certificates issued to the production naming whoever your legal department needs named. That is usually the first question a UPM asks and the one that ends most conversations with smaller vendors.
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