Aerial second unit for film and commercial production.
Cinematic 4K and 6K aerial work for ad agencies, production companies, and brands. We integrate with your principal unit — same colour pipeline, pre-matched camera profile, deliverables in a format your colourist can use without re-grading.
Why aerial second unit is now a default line item.
- 01
Shots no jib, dolly, or rooftop rig can match — high altitude, long traverses, vehicle-following at speed.
- 02
Pre-matched camera profile and colour pipeline mean your colourist doesn’t re-grade aerial as a separate pass.
- 03
Smaller footprint than helicopter — same image quality, fraction of the daily rate, no FAA-grade landing zone required.
- 04
Aerial second unit is table stakes for premium commercial work in 2026 — cutting it usually shows in the final reel.
The capability mix.
Most film & commercial briefs use one or two of these — sometimes all of them. Open the service for the long-form.
- Aerial video
6K RAW masters, ProRes 4444 working files.
Service detail →
What lands in your inbox.
- 6K RAW masters
- ProRes 4444 working files
- Story-led shot list pre-approved with the DP
- On-set support across full production days
- Optional edit & colour grade
- Production companies
- Ad agencies
- Directors of photography
- In-house brand video teams
The kind of project we’d expect.
- 01National auto commercial — aerial second unit
- 02Brand film for a hospitality property
- 03Music video aerial sequences
- 04Documentary establishing shots
A clearer view for film & commercial.
Same-week scheduling across the Triangle. Statewide and nationwide for film, commercial, and large-scale survey work.