The Art Race - The 2nd Hurtle - Who Runs The Show?

So the next morning the film crew arrives with Ben who had found a place to stay in Portal. We did all the setups and filmed like it was the day of the flight. Then we went flying. They wanted to set up on the runway to get some flying shots and the suggestions started. I explained that when I turn the key I’m responsible and pilot in command so I make the decisions. Ooooppps, this initially did not go over to well, but when I explained about some of the other directors who had filmed here and what some of their requests had been then the problems associated with complying they began to get the picture, directors want to kill pilots. So I explained what I could do for them, I could place the aircraft in front of their camera in a number of different ways that would look cool from their perspective but I would always have full control and not put anyone at risk. It was a polite way of saying "yes I want to make your vision a reality but I would like to live through the experience please". I kept repeating, “if we do this right everybody lives and you get the shots you want, we do this wrong and everybody dies, the FAA becomes involved, there will be gnashing of teeth, then ashes and sack clothes for everyone left alive“. They asked where they could set up for filming and we choose several spots where they could get cool shots and everyone would be safe, second hurtle passed.

Ben did well and adapted quickly and soon he was flying from the backseat using the instructors bars. No cross controlling or over controlling he did quite well. He could hold straight and level flight for several minutes. I flew us past the camera along the runway in a series of low passes creating a number of different poses with us and the aircraft. When we landed after an hour of flying everyone was happy. The camera guy got what he wanted, Ben got a flight lesson, I was safe the whole time, and finally I brought the artist back. I’m sure Clare was relieved.

Next - The Trade

Hard Work Does Pay Off… eventually….I think….maybe. Weight Shift Aircraft in The Art Race

We’ve done our share of television and filming here and one thing is consistent, directors want to kill pilots…. They don’t have an understanding of aviation or what is safe in an aircraft. They politely ask over and over “can you do this please” meaning fly straight at that cliff through the rotors then at the last moment pull up and climb at over 2000’ minute and clear the top of the cliff by 2 feet. Of course what they think will look cool and what really looks cool are 2 different things. It was with that in mind that one day a fellow came into the hanger where I was working, he introduced himself as Ben Sargent an artist from New York. Behind him several others were approaching, one Clare Bradbury turned out to be the producer and with her were a sound and camera guy. Ben was part of the Art Race being filmed by Illuminations media out of the UK. He wanted to know if I was willing to trade a flight carrying him on his eastward trek for some artwork? I replied that I was pretty sure we could work something out. So I asked “is the show sold?” and Clare relied yes it was sold to the VROOM cable network and would appear on their channel Gallery HD. Great, so down to business. Their idea was that I would fly Ben to some point east helping him cross the country and he would create some artwork in trade. They wanted to show up on the day of the flight and film and follow us east. Well, mixing filming and the actual flight was not a good idea. To many variables and things that can go wrong so I said no it would be better if all the filming was done on one day, then the day of the flight they just drop Ben off and I ferry him to Columbus 90 miles east. I explained that we needed at least 1 introductory lesson to familiarize him with weight shift control aircraft. In return I would strap on a wing mount camera and collect some footage they could include. They agreed, first hurdle past.

Next - Who Runs The Show?

Aerial videography from weight shift control (WSC) aircraft

Probably the most important thing I have learned about aerial videography is the importance of relative motion. That is understanding how objects move relative to one another in a scene while flying, then capturing that on video. Just as aerial still photography requires an emphasis on composition, aerial videography requires thinking about composition through time and how all the objects in the frame will look moving relative to one another.

The first step in understanding relative motion is camera placement. The advantage of taking video from WSC aircraft, or any ultralight trike for that matter, is realizing that there are lots of places to mount a camera and the effect you want will dictate the mounting position. If the camera is a passive observer in the scene then stability is required and mounting on the control bar or an element of the wing provides the most stability. If the camera is an active participant in the scene then mounting on carriage or front tube adds some movement during video recording which helps make the viewer part of the action. There are 2 videos where different camera placement was the goal of the exercise.

Learning to Aerotrekk had 10 camera placements and focused on demonstrating a low pass from the pilots perspective.


Personal Protection based on the 1950's Duck and Cover also had 10 camera placements and compares control bar and wing mounting versus carriage mounted views.