More and more, today's filmmakers rely on computer-generated graphics to reproduce stunts, backgrounds, and in some cases, entire sets. Visual effects can even be used to stitch together separate shots to create an illusion of the long extended shot type commonly referred to as "a-oner." So, does all of this incredible technology make filmmaking easier? If so, why is our "Drone Catch and Throw" technique being used by many different filmmakers big and small? Sometimes it may come down to safety and legal; other times, there may be no other way to achieve the shot type.

To tell this story, we look back at the first time a "drone catch" was performed in motion picture history. Long before an actual camera was put on the ground, the showrunners of The Greatest Showman had created a pre-visualization detailing every shot of the opening scene. This animation served as a guide to everyone on set, including comprehensive details of lighting, wardrobe, choreography, camera, props, etc. During this process, a particular shot was crafted that defied all traditional methods of capture.

About two minutes into The Greatest Showman's opening scene, a shot starts high and wide, under the hanging drapes of PT Barnum's fantastic circus. The camera circles wide around the tent poles, elephants, and trapeze artists, swooping lower and closer to the center of the stage, ending on a close up orbiting Hugh Jackman's character PT Barnum. A dream shot, created inside a computer.

At this time, Seamus McGarvey, Director of Photography, contacted Visual Effects Supervisor and Technodolly guru Anthony Jacques for help. Because of physical obstacles in the way, and the orbiting nature of the shot, Anthony knew that it could not be achieved by a crane or cable cam. Intregued by drone technology, Anthony recalled watching a recent promotional video of the DJI Inspire 2, where the camera transitioned from a flying camera to a handheld shot. As a result, this was his possible solution, it's a "drone catch."

Only a few weeks later, our drone was on set auditioning the capabilities of such a technique. Successfully, we were able to provide a proof of concept, later turning this wild computer-generated camera move idea into a reality.

What are some other reasons filmmakers have chosen to perform a drone catch or throw? Legality and safety is another genuine reason. At Flying Monster, we consider it our duty to provide the best safe solution and follow all federal and local drone operations' ordinances. In particular, it is illegal per the FAA to fly a drone directly over someone. It's not uncommon for a filmmaker to ask us to perform such a shot. Still, our job is to provide safe alternate shots that achieve the same or similar creative intent.

A great example of this can be seen in Mr.Robot's title shot in Season 5. The original creative intent was for the camera to gently travel directly over one of the character's head and continue to fly out into a wide POV. The safest and most realistic option was to hand launch the drone just after the camera travels over the character's head. Not only did this solution provide a steady, dolly like gimbal approach to the actor, but it also achieved a look that went beyond the original creative intent. In a particular take, the camera was so close to the actor's head, the lens passed through their hair! The showrunners loved the look, and that shot was selected in the final show.

The performance of a drone throw and catch is entirely dictated by the dedication of the crew. Like most filmmaking techniques, every take achieves slightly different results. Each time we've performed this type of shot, a fully coordinated effort is made between the grip department, camera department, and showrunners. While this technique is seemly used as a "problem solving" solution, we are excited to collaborate with others who dream up a shot designed around the catch and throw. What are some shots you've done in the past that could have been a drone catch or throw? What shots are you dreaming of capturing?