Our Services

The Aerial Film Company offers an all-encompassing range of aircraft services to the film and television industry. Our aerial filming services form the heart of our operations, benefitting from our large fleet of aircraft and highly versatile line-up of gyro-stabilised aerial camera systems.

Airbus AS350 B3E

G-TVGB is our Airbus AS350 B3e which is dedicated to filming tasks. Often referred to as a ‘Single Squirrel’, the B3e is the most powerful variant of the H125 family and delivers maximum performance and manoeuvrability. It excels at high altitudes and temperatures, and its superior power gives maximum creative freedom. G-TVGB comes completely prepared for our Shotover camera systems, and is able to accommodate up to 4 passengers


Helicopter registration: G-TVGB

Manufacture year: 2017

Number of Seats: 4 passengers

Cruise Speed: 135KTS

Range: 290NM

AS355 Twin Squirrel

Our AS355 ‘Twin Squirrel’ helicopters are used for productions which demand operations over congested areas, extended flight over water or enhanced endurance. We operate the high performance N & NP variants of the AS355 helicopter, which enables us to demonstrate the safety margins required to gain our enhanced low flying and stunt permissions from aviation authorities even in congested areas.


Helicopter registration:

Manufacture year: 2007, 2001, 1999 and 1994

Number of Seats: 4 passengers

Cruise Speed: 120KTS

Range: 395NM

Shotover K1

The largest of our 6-axis gyro stabilized platforms. Unshakeable stability for even the largest payloads. Accommodating an almost limitless range of cameras and lenses, the K1 provides unmatched flexibility in the field. The K1 can also be paired with our Hammerhead array and fleet of RED V-Raptor FF’s to capture high resolution plates for VFX.

Our Shotover K1 can fit a large variety of payloads. The below list is non-exhaustive and outlines some popular options of an almost limitless range of camera and lens combinations which fit the Shotover K1. Full camera and lens control is available in the cabin as standard. Especially when flying large format cameras and lenses, the Shotover K1 is the tool of choice.

  • Sony Venice with R7 RAW module
  • Sony Venice 2
  • Arri Alexa Mini & Mini LF
  • Arri Alexa 35
  • Arri Alexa LF
  • Red Digital Cinema DSMC 2
  • Red Digital Cinema V-Raptor FF & VRaptor XL
  • Angenieux Optimo 12x (S35 or FF)
  • Angenieux Optimo DP Style
  • Fujinon Premista Series
  • Fujinon Premiere Series
  • Arri/Fujinon Alura
  • Canon 30-300mm & 50-1000mm
  • Panavision Primo 24-275mm
Unshakeable Stability

Class leading stability thanks to Shotover’s extremely high resolution gyro’s. The K1 delivers excellent image stability during aggressive flight maneuvers, even down to the longest focal lengths.

The Power of the 6th Axis

Straight look down capability enabled by the 6th axis of stabilisation eliminates gimbal lock commonly encountered on other aerial camera systems with a turret design.

Quick Payload Swaps

With the ability to quickly interchange cameras and lenses, the K1 is a highly flexible and adaptable tool for a wide range of applications. Not only can it accept just about any camera and lens combination imaginable, our pre-configured Hammerhead makes changing back and forth possible in a short amount of time. This allows the utilisation of the aerial camera system across multiple units.

Ready for inclement weather

There’s nothing worse than spitting rain when you’re on a tight schedule and you just need to get those shots completed before daylight hours run out. We can supply a rain-spinner for the Shotover K1 which forms a fully sealed system so we can capture the shots even when the weather isn’t willing to cooperate.

The Aerial Film Company Shotover camera system

Shotover F1

The Shotover F1 offers the same exceptional stabilization capabilities as the Shotover K1, but in a much smaller package. The F1 is capable of accommodating a wide range of payloads. Its lightweight carbon fiber construction allows for easy disassembly and transportation, making it a cost-effective solution for productions abroad.

The Shotover F1 fits an impressive range of cameras and lenses despite it’s small physical size. Large format cameras such as the Sony Venice and Alexa Mini LF can be paired with short large format zooms such as the Fujinon Premista series. Super 35 cameras open the door to a wide range of lens options, with the Angenieux Optimo 25-250mm proving to be a very popular choice amongst DOP’s and directors.

  • Sony Venice with R7 RAW module
  • Sony Venice 2
  • Arri Alexa Mini & Mini LF
  • Arri Alexa 35
  • Red Digital Cinema DSMC 2
  • Red Digital Cinema V-Raptor FF
  • Angenieux Optimo DP Style 25-250mm
  • Fujinon Premista 19-45, 28-100, 80-250mm
  • Fujinon 25-300mm
  • Arri/Fujinon Alura
  • Carl Zeiss Compact Zooms
  • Canon 30-300mm / Canon 50-1000mm
Reduced Drag

The Shotover F1 is mounted using the Airfilm single pole system. This not only speeds up the rigging process but also results in more time on task due to reduced fuel consumption. Moreover, the reduced drag allows for a slight increase in airspeed.

Travel Friendly

The Shotover F1 can be split into smaller pieces, allowing it to be carried as excess baggage on most commercial airlines. This makes it cost effective for productions abroad. Disassembly and reassembly is required to configure the Shotover F1 to fit into multiple boxes, each weighing less than 32KG’s to comply with airline regulations.

Any weather, anytime.

If you’re up against the elements or your shots demand it, the Shotover F1 and K1 can be flown in inclement conditions by utilising the optional Rain Spinner. With the rain spinner fitted, the F1 forms a fully sealed system which allows you capture the shots whilst staying warm and dry in the cabin.

Hammerhead VFX Array

Hammerhead VFX Array

The Hammerhead Array is our 3 camera large format array which makes aerial VFX capture more accessible than any other system in it’s class. At the heart are three Red Digital Cinema V-Raptor 8K FF cameras and a matched set of Carl Zeiss CP.3 XD 21mm lenses. The Hammerhead is provided as a pre-configured payload to allow for quick interchangeability with a single camera. This allows productions to efficiently use the Shotover K1 across multiple units.

DSMC-3 Cameras

Central to the system are three RED Digital Cinema V-Raptor 8K FF cameras arranged in a vertical configuration. With a resolution of 8192 x 4320 and 17+ stops of dynamic range per camera, a total Field of View up to 150 degrees* can be achieved in an almost standard DCI aspect ratio.

Final Output

With a final resolution of up to 100 megapixels*, the Hammerhead array captures an astonishing level of detail at frame rates up to 120fps. Lens data can be captured through Carl Zeiss eXtended data technology, whilst the Shotover provides GPS data through a data logger and a real time monitor overlay which is captured on the instant dailies.

Quick Payload Swaps

The swap between a single camera and the Hammerhead array can be done on location in under 2 hours. This allows efficient use of the Shotover K1 across main, second and VFX units.

Consistent redeployment

Once configured to VFX requirements, the Hammerhead can be consistently redeployed to ensure accurate and repeatable VFX plate capture throughout production

Fully controlled package

Our 100% in-house Hammerhead array allows us to offer flexible pricing and eliminates repetetive setup and rigging costs encountered with other systems. Our investment in a matched set of cameras and lenses means that you will never find yourself at the mercy of other suppliers availability and prices.

3 versus 6 cameras

By utilising an extremely high resolution 3 camera array instead of a more traditional 6 camera one, hire costs of cameras and lenses are slashed in half. The use of 8K Full Frame bodies allows us to deliver the same high resolution output you would get from a more traditional 6 camera setup.

HD Downlink

Our HD Downlink is used to transmit images from both helicopters and fixed-wing platforms in real-time with minimal latency. The downlink reduces risk exposure of key personnel and increases productivity by having live images from the aerial unit directly on set. Our downlinks mount to both helicopter and fixed-wing with Civil Aviation Authority approved brackets and a receive box is made available to RF/video technicians on set. Alternatively, we are able to supply a competent RF Tech to ensure hassle-free management of the wireless video link.


Wireless System: Vislink, LoS, NLoS

Format: Full HD Video in any frame rate

Aircraft Compatibility: Helicopters & Fixed-Wing

Ground Station: Receive Unit + Aerials

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How do I book your services?

Contact Us either through email or via telephone and one of our team will get back to you right away. Our Ops team is always on hand to guide you through the process of booking any of our services needed for your production.

What cameras can you fly?

We can fly all commonly available cameras currently in use across the industry. Be it the latest digital cinema cameras, film cameras or even IMAX, our systems can accommodate payloads of all different shapes and sizes. Head over to our services page for a breakdown of common payloads we fly.

Where are you based?

Our main helicopter base is in Knutsford, Cheshire in the north of the UK. We have helicopters positioned all across the UK which allows us to match the right machine to the job. International operations are achieved by either ferrying our helicopters across by air, in our Helicopter Transporter or by using one of our trusted helicopter partners abroad.

Can you operate abroad?

We certainly can and we love it, too. We have a lot of experience operating in countries all over the world. Recent productions took us to South Africa, Slovakia, Italy, Spain, Norway, the Arctic circle and the middle east.

Can you fly in bad weather?

Our aircraft are all-weather capable. However, low clouds and fog can provide issues for helicopters departing and arriving at private landing sites such as unit base or on location. Our camera systems are also all-weather capable and we can provide rain spinners for the lens. Best results however are always achieved when no precipitation is present at all.

What about permits and flying permissions?

We have decades of experience when it comes to obtaining the relevant permits and permissions for helicopter operations. We are also one of the very few helicopter operators in the country with a permanent Enhanced Low Flying Permission, bringing our minimum separation and altitude down to 200 feet from the standard 500 feet required. Beyond that, permits are secured on individual application to legally allow us to perform operations in close proximity to structures, people and vehicles. Our operations team has years of experience working with the Civil Aviation Authority to get the permits required for even the most challenging shoots.

Can you operate on location for extended periods of time?

We take care of all the logistics required for extended periods on location. Our fuel bowser keeps aircraft flying all day, whilst our fire truck and fire fighters keep operations safe. All weather covers and tie-downs mean we can keep our aircraft on location overnight, ready to start filming at sunrise the next morning.

Can you arrange last minute helicopter charters for talent/crew?

We understand the sometimes hectic and last minute nature of the film industry all too well and will do our very best to accommodate urgent requests for any of our aircraft services. An entire fleet of aircraft at The Aerial Film Company means that we can usually get you a helicopter without delay. The best thing to do is contact us right away via email or telephone.