Yes. All operations must be previously authorized by the aeronautical air traffic control authority (EANA, Argentine air traffic office). Documentation proving that the permit is in effect, as well as proof of equipment registration, insurance and remote crew certificate may be requested by the authorities on public roads at any time.
CINE PILOTS has all the registrations and insurance to be able to request special permits to operate in the vicinity of an airport. It is necessary for EANA to authorize the flight and warning to the corresponding control tower.
The EANA dictates the limitations of each house case and can limit specific places such as close proximity to helipads/heliports, fuel tank overflights, military bases, government buildings, etc. However, by managing the permits to the appropriate area of government, it would be possible to fly in the places mentioned above.
By regulation the maximum height authorized to operate drones is 122m (400 ft). The EANA can limit that height to the proximity of airports, aeroclubs, helipads or heliports to 43m (140 ft).
Operation requirements specify that the drone cannot be carried beyond the direct line of sight (VLOS). Usually this is around 500/600m, but in favorable circumstances it can be much more.
The average autonomy is approximately 15 minutes and several battery sets are carried.
Yes, depending on the shot to be obtained. You can expect to carry the necessary battery sets and only have that. Typically, six sets with a total autonomy of 1:30 hours of flight. In practice it is best to anticipate carrying a portable generator..
The Inspire 2 can fly up to 96 km/h (checked) in Sport mode. With wind in favor, even more.
Our digital cinema drones weight about 4kg. It is not necessary to ask for special permits such as street cutting to operate them on public roads.
You can only fly at low altitude directly on people who are involved in the operation as actors or technicians. You can fly high on people as long as they don’t settle an agglomeration like a recital or sporting event.
We have mandatory and specific liability insurance for aeronautical activity five times the amount required by the local authority (USD 5 million). That makes us eligible to operate in any international production. We also have personal accident insurance for each of the people involved.
Our certificate of commercial drone operators contemplates night operation. However, this type of operation requires a previous daytime inspection that avoids any obstacle that cannot be distinguished at night such as cables, towers, etc.
The minimal drizzle can affect the drone’s sensors and thus affect flight safety, so it cannot be flown in rainy or extremely humid environments.
It is part of the safety protocol to inspect the places where the drone has to fly to get the desired shot. Ideally the drone pilot should be part of the scouting of the location and there may be impediments to getting the desired shot if this was not taken into account.
The gimbal operator, with a second remote control, specifically dedicated to camera movements, can make continuous tilt, roll and 360º continuous pan. This, combined with the movement of the drone generates a high dynamism in the images.
Through the dedicated application you can control all camera parameters such as start/stop, exposure, colorimetry, photo/video mode, etc. It is also possible to rack the focus, counting CINE PILOTS with a follow focus unit for a 1st AC to rack focus in cases that are required.
Yes, our digital cinema gear record up to 6K in CINEMA DNG (RAW) and Prores XQ 4444. We have made feature films and series intercutting footage with cameras such as the ARRI Alexa, RED Epic and SONY F55 with excellent results.
Yes. The digital cinema equipment in our fleet has a set of lenses prime each of the two sensor sizes we handle.
At CINEPILOTS we have an intercom set for camera operator, pilot and director, as well as a full HD video output so that the directing/camera crew can watch the shot in real time on a dedicated monitor.