Spy-High – (illustrated LECTURE points)
Flight chromatics showing what it’s like to get a move freely in all dimensions.
Specifically here we’re going to look at the SPI high flight dramatic and this is where the user comes away with the experience that you were able to move up and see details high off the ground and this emotional response is not actually to the details themselves.
It is in your ability to get a move up there to go and find them the details themselves.
The emotion that that generates is the discovery reveal the geographic dramatic of the discovery reveal the spy high flight dramatic it’s all about your ability to be able to get there with the drone.
Kind of flight patterns that lend to this are quite a few.
The elevator the arc the close call the line and the crab all typically can end up in some of these spy high flight dramatics.
How do you do this.
Well you need to pick out some unexpected close up details when you’re in the sky.
You then want to be able to show your route to get to get up there so that you can go and collect those details and put them in your footage.
It works well.
Birchell in will out and also you’ll gimbels down as you might have your gimmel down.
Spy some details and then fly down towards them to go and find them.
Words Go on say the tops of ruins cliff faces the tops of ridges.
You to be careful here that you don’t get some reception issues some sudden signal losses as you go down to go and look at those details because you’re quite likely to have something obstructing you.
And the drone up in the air.
You don’t stay too high here otherwise you won’t get to see the details.
And then you lose the dramatic.
To get a strong dramatic it’s all about getting this sense of the passage up to the spot being showing if you’re including all this manoeuvring things in your actual footage as you’re flying around stuff up and down twisting to go look at the details that strengthens these dramatics.
One of the few times where you do want to show that flying manoeuvring.
Once you’ve got this at home ready to start editing it up then you want to use this footage to better tell a story how you got from a to b and then discovered C at the end of it.
So that’s the end of the spy high flight traumatic.
Finally you have a quick talk about a crash flight dramatic.
Now you do not want to crash.
You will avoid it.
Obviously under all circumstances but if you do if you got some crash footage there are some things that you can do to use it in your final production to really make the most of it.
So when you were editing that footage it’s pretty useful to provide some suspense.
You can show the build up to just before the crash and then you can break for another clip and come back to the actual crash later.
If you’ve had any other multi rotors flying around that are doing some search and rescue to find out where the crash happened it’s great to include that footage too as it helps tell the story.
Need to make sure though that any crash footage is only a smaller part of a much larger production because having it just on its own is not interesting enough to most viewers.
So that finishes the discussion on the spy high flight dramatic and also the crash flight.