You are not hiring a drone. You are hiring the person flying it, the person pulling focus off it, and the paperwork that lets it leave the ground.
New York is the market where the wrong operator gets your production stopped. Federal airspace is only half of it — the City has its own rules about where a drone may take off and land, and enforcement is NYPD, on the street, in the moment. An operator here needs to know both regimes cold.
A CineDrones operator arrives as a unit, not a hobbyist with a case. FAA Part 107 certificated pilot, dedicated camera operator on the gimbal where the shot calls for it, visual observer, and the authorizations filed before the call sheet locks. We have worked on sets since 2013, which mostly means we know when not to fly — when the AD is behind, when the light is about to go, when the shot is better served by staying out of the way.
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 crews are fast, expensive and used to working in tight quarters. The logistical constraint is not people, it is parking, load-in and the fact that everything moves on foot for the last hundred yards.
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.
DRONE OPERATOR — OTHER MARKETS: Albuquerque Atlanta Austin Chicago Las Vegas Los Angeles Miami New Orleans Salt Lake City