We wanted to find out more about the team behind Drone World Expo – what makes them tick, what motivates them and what are the secrets behind the success of the event. We interviewed Advisory Board member Michael Chambliss. Michael is a technologist and business representative for the for the International Cinematographers Guild (ICG), IATSE Local 600, focused on new production technologies impacting directors of photography and their camera crews. He has been working closely with FAA-exempt UAS motion picture and television aerial operators, regulatory agencies, insurers, the motion picture and television Industry Wide Safety Committee, industry guilds, and community based UAS groups to implement this technology as new visual storytelling technique.
1. At what point in your career did you first become involved with UAS in a professional capacity?
UAS technology first caught the attention of the ICG in 2011 at the International Broadcasting Convention in Amsterdam. Despite the ban at that time on commercial operations in the US, development efforts had continued in Europe. It was obvious that the technology was turning a corner. Technically, it wasn’t a matter of needing to see one or two things come together—the development of UAS cinematography blends advances in several seemingly unrelated technologies: smaller and lighter high quality cameras, light-weight stabilization, more efficient motors, high current batteries, strong composite materials, and miniaturized control systems.
2. For what kind of shots would you rather (or can only) use unmanned aircraft and why?
With UAS we can spontaneously handle the camera from a few inches to several hundred feet off the ground and run with it at 100 mph. And because it rides a much smaller column of air than a manned aircraft, the UAS camera is far less intrusive to sensitive environments. This is an entirely new kind of shot, just like in the 1980’s when the Steadicam opened new ways of handling the camera.
We’re still in the early stages of discovering the potential of UAS on our sets. It’s not just a matter of being able to go over, under, through, or around things. We’ve been able to do that for a number of years using telescoping cranes and cable rigs. The UAS camera becomes an extension of the cinematographer’s hands in executing the shot; it’s like suddenly having “Harry Potter” powers and being able to place the camera exactly where you imagine it should be and then move it with complete freedom in 3D space. It’s a new vernacular in the language of visual storytelling.
3. What are the implications for labor organizations in unmanned aerial cinematographic productions? Will drone operators need to join the International Cinematographers Guild?
As a freelance industry, the guilds and unions are well established in motion picture and television production. The system works and we’ve been experiencing steady robust growth. Think of the unions as handling the back-end work for entrepreneurial freelancers with small businesses. We set floors, not ceilings for rates and working conditions and are an integral part of the industry with roles extending far beyond contract provisions. We work with the studios to established uniform safety practices through the Industry Wide Labor/Management Safety Committee. Our member-to-member training programs help establish base levels for skills across crews and regions and encourage uniform practices.
Recently, the ASC (American Society of Cinematographers) held their 2nd International Cinematography Symposium, with representatives of 30+ plus countries in attendance. I came away from that with a new appreciation for how the International Cinematographers Guild IATSE Local 600 sets the world standards for our craft. When UAS camera teams are working on union sets, it is appropriate that they are part of the union production community.
It’s been interesting to watch how UAS aerial groups who compete with each other on a daily basis in the field have come together at the Guild to address common issues. The day after the first FAA approvals for closed-set filmmaking in 2014, 5 of the original 7 aerial teams that worked with the MPAA to establish the path under 333 exemptions gathered at the Guild to discuss what was next. It’s very valuable for small businesses to be able to share insights and experiences on a neutral ground. When there is a significant regulatory development or new some new twist to a working agreement, my phone starts to ring.
4. Can you tell us a bit about you liaison work with the FAA on ensuring safety on sets when using UAS for aerial shots?
The work our members do is unique. They routinely perform demanding maneuvers executed in close proximity to people while often in challenging environments under the full pressure of production schedules. It’s important for regulators, public safety officials, production management and studios to understand that doing this properly requires a completely different skill level than the bulk of UAS applications.
We receive feedback from our members, many of whom are serious aviators, on 100’s of shoots of every kind and description. It is part of our role to distill this information and use it to assist them to nurture this nascent part of our craft. We’ve been communicating at every opportunity: from UTM talks to a wide variety of industry events, council and committee meetings. And this backs up our members individual efforts, which range from meetings with FAA representatives to being involved with state and local legislative measures.
And I’d like to think that it has made a difference. The new 107 rules are a solid step in the right direction. We appreciate the rule makers’ willingness to listen and the allowances for new specialized exemptions, like night work over lit sets.
The educational and communication process is still just beginning for commercial UAS operations. It’s a huge undertaking and the industry’s success depends on it. Our members work nationally and internationally, so it’s vital to develop a cohesive set of operational rules and standards stretching from the federal level to local governments, public safety officials and down to individual employers. Think of where we must have been with integrating the automobile into the transportation system in the 1890’s. That’s about where we are and there’s a lot to figure out.
5. There is now a wide variety of exhibitions and conferences about UAS in the USA. Why did you choose to support Drone World Expo?
We take part in a number of events across the year: some focused on the Hollywood creative and production communities, some on regulatory and legislative groups, and others on the UAS community. When I attended the first DWE last year, I met a broad cross section of established UAS professionals and others who were very serious about joining the industry. DWE is a good fit for our community development efforts.