Remote Control Aerial Cinematography

Impossible Made Beautiful

Based out of Atlanta, Georgia, Yonder Blue Films offers low-altitude aerial cinematography via remote operated helicopters. We specialize in capturing breathtaking images and adding value to your production.

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Droidworx Retractable Landing Gear

We were one of the first recipients of Droidworx's new retractable landing gear.  They were part of a prize package from a contest at MultiRotorForums.  Our first impression?  They're cool!  Once you get beyond the cool factor, you realize that these are well engineered landing gear. 

They're lightweight, with extensive use of carbon fiber and aluminum.  A Spektrum servo is used for operating the retracts.  That servo plugs into your receiver, so you can use a switch on the transmitter to operate them. 

Why would you need retractable landing gear?  Some camera gimbals can pan 360 degrees (the third axis of a 3-axis gimbal).  Some of these gimbals don't have landing hear that turn with them, so you need landing gear that can swing up and out of the way for an unobstructed view. When it's time to pack the copter down, you can pop off the legs via some heavy duty plastic clips. 

Once we do some more testing with the copter, we'll attach a camera gimbal to do some filming, but for now here's a short video showing off how the Droidworx retractable landing gear work. The Droidworx XM6 will be a nice addition to our fleet. 

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Yonder Blue Films is a production company based near Atlanta, and we’ve had many people contact us about our low-altitude aerial video shot with our Cinestar 8 multirotor copter.  So we’ve decided to share a review.  Before we get to the review, here’s a sample of some of the shoots this year with the Cinestar.

We purchased our Cinestar 8 frame early in 2012 and started assembly while wrapping up a TV show for NBC Universal. The instruction manual for the frame was clear and allowed me to put it together on my dining room table fairly easily, with a fair amount of patience from my wife.  At first, I was struck by how simple the design seemed.  But this simplicity has proven to be a very smart design.  Many of the parts are interchangeable which means we don’t require as many spare parts lying around.  Also, once you assemble one section, other parts are similar in assembly.  It took some serious engineering skills to simplify the construction of this frame and allow for the reuse of parts.  This frame is also very adaptable to a variety of setups.

I purchased the Cinestar 8 frame from Quadrocopter.  I used their RTF Cinestar as a guide for how I would outfit our Cinestar 8, but I also made some changes based off some research.  I did start with the standard QC-3328 motors combined with APC SlowFly props in the 14x4.7 size.  This is a good motor / prop pair for lifting mirrorless cameras and some smaller DSLRs.  We did discover later that for larger DSLRs like the 5D MkIII and camcorders like the Sony FS700, that we preferred the Xoar wooden props in the 14x5 size.  But for cameras like the Panasonic GH2, we’ve stuck with the APC SlowFly.  

For the flight controller, I did head in a different direction.  The Cinestar frame was designed around MK electronics, but is easily adapted to other flight controllers.  I did a lot of research before deciding on our flight controller.  At the time, the three main contenders were MK, DJI, and Hoverfly.  I found people having success with all three of these flight controllers.  I ended up choosing the Hoverfly Pro.  Here’s how I went about making that decision.  First, I did a lot of reading on forums like  Second, I took a look at the manuals for each of the three - I knew I’d be spending a lot of time with my nose buried in one of those manuals, so I figured I should take a look at them.  Third, I contacted a few folks that were using them.  What really sealed the deal for me was an endorsement for the Hoverfly Pro from Mike Hagadorn of Cloud Level Media.  He was getting great results with a Cinestar / Hoverfly combo.  Also, the Hoverfly had the easiest setup, is based in the U.S., and I could get customer support from them easily.  It flies awesome too!

When purchasing the parts for our first large multi-rotor, I didn’t hesitate in going with the more expensive parts.  I wanted the best.  One area where I was hesitant was the ESCs.  These plug in between the flight controller and the motors.  I went with Turnigy Plush ESCs.  I was hesitant about them because they were fairly inexpensive compared to other ESCs on the market, but they had a good reputation. They’ve proven to be “bulletproof” as it says on the label. They’re easy to program too if you have the programming card.  Their only drawback is a bit of noise, and I may check out some Castle Creations ESCs at some point since they are a bit quieter.  

We’ve put over 1300 flights on our Cinestar in a variety of locations: lakes, rivers, inside retail stores, factories, museums, across the globe.  To sum up our experience with the Cinestar in one word - awesome.  This flying carbon fiber beast has performed like a champ.  The frame has held up great under the stress of a lot of use in tough conditions. It has proven to be strong and durable.  Most of the frame still looks new!  Below is some footage from one particularly tough shoot.

The adaptability of the frame has definitely been a huge asset.  We’ve really taken advantage of this with the gimbal. We initially used the 2-axis Cinestar gimbal, then quickly upgraded to the 3-axis gimbal for more shot options.  Being able to shift parts around on the gimbal allows you to properly balance a variety of cameras on the gimbal.  We’ve discovered that balancing the camera is very critical with the gimbal stabilization systems that have been released in 2012, like the Hoverfly Gimbal board and Freefly’s Radian system.  Freefly, the manufacturer of the Cinestar line, has released several tutorial videos on how to properly balance a camera on the gimbal.  Some of the other gimbals on the market don’t really allow for these adjustments.  

On a recent shoot in Oklahoma we needed to film some slow-motion footage with the Sony FS700 - a fairly long camera when compared to the DSLRs that we typically fly.  It was clear that the FS700 wouldn’t fit on the stock gimbal, but this is where that adaptability came into play.  I simply purchased longer carbon fiber arms from Quadrocopter, a Freefly distributor, and swapped out the stock arms.  This allowed us to successfully fly the camera and pull off some fun slow-motion footage from the air.  I actually bought a single boom arm from Quadrocopter, then cut it in half, only to discover a few days later that they sell arms that are already cut to length - should’ve called them first.

A few other features of the Cinestar have been very nice.  The flight battery is mounted on the center of the frame, which keeps it balanced in flight.  There are o-rings between the copter and gimbal that isolate any motor vibrations to keep them from reaching the camera gimbal.  Since most of it is constructed from carbon fiber, it is very lightweight while remaining tough.  I’ve found it to be easy to work on as access to screw heads is easy.  I’m sure there are a few other highlights I’m ignoring, but obviously my review of the Cinestar is overwhelmingly positive.  Below is a highlight video from a 3 day shoot at Belmont University.  

To be fair, there are a few small things that I think could be improved, but I’m no engineer.  The screws used require a 2.5mm driver or a 2mm driver.  Most of them require a 2.5mm hex screwdriver - those work great. The button head screws that use a 2mm hex screwdriver aren’t quite as tough, so be careful with them.  I’ve mangled two of them, but fortunately the kit includes some spares.  The second issue is really a tradeoff.  The Cinestar can pack down really small, which is helpful when you need to check it at the airport.  The downside is that it can take a bit of time to reassemble it on location.  A second pair of hands is very helpful though, and an electric screwdriver speeds up the process immensely.  For shoots around Atlanta, we just keep it assembled as it fits in our vehicle.  Overall these issues are minor, and Freefly Systems is continuing to add updates to the Cinestar - a few are hinted at in the comments of this recent test video.  

After a day of filming for John GraceObviously, we’re very happy with the Cinestar and all of the components we’ve chosen to install on it.  Freefly has designed an impressive multirotor for aerial cinematography, and it is fun to fly.  But the best thing about this whole endeavour has been the human element.  We’ve made many new friends since getting our Cinestar airborne.  The multirotor industry is chock full of some awesome and generous people.  The team of geniuses at Hovefly, the helpful crew at Quadrocopter, all the great members of MultiRotorForum and Freefly forum, the fun folks we’ve flown for, and the super supportive Freefly Systems - they’ve all been great.  Just one example of many, I needed some spare props really quick that I couldn’t find in stock in the U.S.  I posted my dilemma on a forum.  That same day, Tabb Firchau owner of Freefly shipped some out to me.  They don’t sell props, they just had some spares and sent a pair my way.  The only question, “How fast do you need them?”  I’ve got several of these stories, and I’m sure that 2013 will bring many more.

Want to comment on this post?  Leave us some feedback on our Facebook page or Twitter.  

All the best,
Yonder Blue Films
“Impossible Made Beautiful”

Disclaimer: While we received no financial compensation for this article, we have beta tested products for Freefly and won a contest that included products from some of the manufacturers mentioned.  But that has not biased this article in any way.



We took some time to do a systems check on the YBF multirotor. August and September provided us with a demanding shooting schedule, making copter maintenance a priority during downtime. Below are a few shots of the vital organs of our Cinestar 8.

Our HoverflyPRO flight controller is firmly housed in the center of the multirotor. The flight controller is the brain of the copter. 

Ben, who constructed the copter himself, loosens the flight controller to have a better look inside the housing.

All wires and components seen below are strictly part of the flight system. The camera system is an entirely different unit, housed below the copter. 

Every wire, connector, bolt and screw matter. 


Interviewed at Get Connected

We were recently interviewed at "Get Connected," a networking event in Atlanta, Georgia.  Here's the video of the interview from The Lounge Magazine.


Aerial Tips - Lesson #1

Recently, people have been contacting us about how to sharpen their aerial video chops.  Now, we're not the Bruce Lee of aerial video, but we'd like to think that we're well on our way to a black belt.  So we've decided to share a few tips about what we've learned along the way.

We proudly present a cheesy new series of videos called "Aerial Tips."  Very original title, huh?

Aerial Tips - Lesson #1 from Yonder Blue Films on Vimeo.

Now if we get more than five views, we may actually release a lesson 2 video.  But let's talk a bit about lesson #1 - "Keep it moving."  If you're a student of film, you may have noticed that good directors and DPs keep the camera moving, whether it's on the shoulder of a great camera op, on a dolly, or on a Steadicam.  Whether subtle or grand, camera movement adds visual depth to a scene, giving it dimension.

So if your camera is mounted on something that flies, you might as well make it move.  Hovering shots may show how stable your aircraft is, but it doesn't make for a very exciting shot.

Have a great moving shot you'd like to share?  Post it in the comments.  And if you liked this video, feel free to click on the share button in the upper right corner and post it to your grandma's Facebook page.  We hear she has some sick RC heli skills.

Note: This video was shot from a Cinestar 8 with a Hoverfly Pro flight controller (the killer combo).  Piloted by Benjamin Rowland and camerawork by Will Wheeler (the dynamic duo).