PROFESSIONAL DRONE CAMERAS
DRONE CAMERAS FOR OUR FILM PRODUCTIONS
INTRODUCTION
Not every production calls for the same drone camera. A car commercial demands something different from a feature film, an FPV shoot through a factory or a night scene for a music video. At Kiwi Aerial Shots, we always match the camera choice to the scale of the production, the required image quality and the operational conditions on location.
On this page we explain which cameras and drone systems we use, what each system is technically capable of and which situations it is best suited for.
DJI INSPIRE 3 WITH DJI ZENMUSE X9-AIR
The DJI Inspire 3 is our workhorse for high-end commercial drone productions. The drone operates with dual control: one pilot handles the flight, a separate camera operator controls the camera independently. This makes complex tracking shots, flights alongside actors or buildings and precise camera movement possible without the pilot having to divide their attention.
The camera is the DJI Zenmuse X9-Air, a full-frame sensor with a dedicated DL lens mount. We fly with prime lenses of 11, 18, 24, 35, 50, 75 and 90mm depending on the desired look. The system integrates seamlessly into the post-production pipelines of broadcasters and streaming platforms.
- Technical specs Zenmuse X9-Air:
- Sensor: full-frame CMOS, 44.7 megapixels effective
- Dynamic range: 14 stops
- Shutter: rolling shutter (electronic)
- ISO range: 800 to 5000 (low) and 200 to 12,800 (high)
- Lens mount: DJI DL mount
- Codecs: ProRes RAW, ProRes 422 HQ, H.264
- Maximum resolution: 8K DCI (8192 x 4320)
- Maximum frame rate: 75fps in UHD 8K ProRes RAW, 120fps in DCI 4K
The rolling shutter of the X9-Air is worth considering for very fast lateral movements. For productions where this is a factor, we switch to the RED Komodo-X with global shutter.
DJI MAVIC 4 PRO
The DJI Mavic 4 Pro is our single operator system. One person flies and operates the camera simultaneously. That makes it ideal for a recce, location scout, behind the scenes coverage and run-and-gun situations where speed and a small crew are the priority.
The Mavic 4 Pro features three integrated cameras on one platform: a primary wide angle, a medium telephoto and a long telephoto. The system supports All-Intra 4:2:2 recording at 400Mbps, a significant step up from earlier Mavic generations which only supported Long-GOP codecs.
The Mavic 4 Pro is not the right system for fast tracking shots alongside vehicles or flights close to buildings or people. For those situations we switch to the Inspire 3 with dual operator workflow.
- Technical specs Mavic 4 Pro:
- Primary camera sensor: 4/3″ CMOS, 100 megapixels
- Dynamic range: up to 16 stops (D-Log)
- Primary lens: 28mm equivalent, f/2.0 to f/11, optically stabilised
- Medium telephoto: 70mm equivalent, f/2.8, 48 megapixel sensor, 14 stops
- Long telephoto: 168mm equivalent, f/2.8, 50 megapixel sensor, 13 stops
- Codecs: All-Intra 4:2:2 up to 400Mbps, D-Log, D-Log M, HLG
- Maximum resolution primary camera: 6K/60fps HDR, 4K/120fps slow motion
ARRI ALEXA MINI OF ARRI ALEXA 35
For productions that require a cinema-grade camera in the air, we deploy the heavy-lift Condor drone with one of our Movi gimbal. On this we fly the ARRI Alexa Mini or the ARRI Alexa 35, depending on the camera choice of the DOP. This system is intended for feature films and large commercial productions where the entire production is already shooting on ARRI and consistency between ground and aerial footage is essential.
- Technical specs ARRI Alexa 35:
- Sensor: Super 35 CMOS, 27.99 x 19.22mm, 4608 x 3164 effective (14.5 megapixels)
- Dynamic range: 17 stops (the highest of any ARRI to date)
- Shutter: electronic rolling shutter, 1/8000 to 1 second
- ISO range: 160 to 6400 natively, Enhanced Sensitivity Mode up to EI 6400
- Lens mount: PL mount (interchangeable, supplied with LPL as standard)
- Codecs: ARRIRAW, ProRes 422 HQ, ProRes 4444, ProRes 4444 XQ (12-bit), Log C4
- Maximum resolution: 4.6K ARRIRAW up to 75fps, with sensor crop up to 120fps
- Technical specs ARRI Alexa Mini:
- Sensor: Super 35 CMOS, 28.17 x 18.13mm
- Dynamic range: 14 stops
- Shutter: electronic rolling shutter
- ISO range: 200 to 3200 (dual native: 800 and 3200)
- Lens mount: PL mount (LDS), compatible with EF via adapter
- Codecs: ARRIRAW, ProRes 4444, ProRes 422 HQ, Log C3
- Maximum resolution: 3.2K ARRIRAW up to 120fps
The Alexa 35 is the choice when maximum dynamic range and the latest Log C4 colorimetry are required. The Alexa Mini is more compact and leaves more weight allowance for the drone, which is preferable in certain flight scenarios.
RED KOMODO-X
Our cinelifter is a heavy FPV drone built specifically for flying a cinema camera. We mount the RED Komodo-X on it, a compact Super 35 cinema camera from RED Digital Cinema with global shutter: the key technical advantage over rolling shutter systems on fast FPV flights.
With rolling shutter, image distortion occurs during abrupt accelerations and rotations, the well-known “jello effect”. The global shutter of the Komodo-X captures the entire frame at the exact same moment, eliminating this problem entirely. That makes the Komodo-X the ideal choice on a fast FPV cinelifter drone.
- Technical specs RED Komodo-X:
- Sensor: Super 35 CMOS, 27.03 x 14.26mm, 6144 x 3240 effective (19.9 megapixels)
- Dynamic range: 16.5+ stops
- Shutter: global shutter
- Lens mount: Canon RF (integrated, with lock), compatible with PL via adapter
- Codecs: REDCODE RAW up to 6K 17:9 at 80fps, Apple ProRes 4444 XQ, ProRes 422 HQ
GOPRO HERO 13 & GOPRO MISSION 1
For lighter FPV productions, we work with GoPro action cameras. Below is a comparison of the two models we most commonly use:
- GoPro Hero 13 Black:
- Sensor: 1/1.9″ CMOS
- Maximum resolution: 5.3K at 60fps, 4K at 120fps
- Dynamic range: HLG HDR support
- Shutter type: rolling shutter
- Lens: fixed, HyperSmooth stabilisation built in
- Weight: 154 grams
- Codecs: H.265, H.264, HLG
- Notable feature: Horizon Lock up to 360 degrees, Max
- Lens Mod 2.0 compatible
- GoPro Mission 1:
- Sensor: 1″ CMOS, 50 megapixel
- Maximum resolution: 8K at 30fps, 4K at 120fps
- Dynamic range: improved over Hero line
- Shutter type: rolling shutter
- Lens: fixed, 15mm equivalent, f/2.8
- Weight: 207 grams
- Codecs: H.265, HLG HDR, 10-bit colour, up to 240 Mbps
For FPV productions we regularly fly a Naked GoPro: a Hero 13 stripped of its original housing. Removing the plastic shell, battery and screen reduces the weight dramatically, which on a small 5″ FPV drone makes the difference between an agile, fast flight and a drone struggling with its payload. Especially in indoor productions, where the drone flies through narrow corridors or past obstacles at close range, every gram counts.
The Mission 1 is a different story. Its larger sensor and bigger body make it considerably heavier than the Hero 13. We therefore prefer to fly the Mission 1 on a 7″ drone rather than a 5″. That larger frame provides more lift, better stability under higher payload and greater control during the slower, more cinematic flights where the Mission 1 shows its true value.
