Work

For the Grammy Awards 2026, DLP Aerials delivered a graceful opening drone shot for Addison Rae’s performance at Crypto.com Arena. The opening shot features a DJI Inspire 3 night shot establishing downtown Los Angeles and the arena, transitioning to a coordinated vehicle move as a box truck enters the loading ramp. Positioned on the back of the truck, Addison Rae is revealed as if covertly entering the venue, with the drone shot seamlessly handing off to a Steadicam tracking shot that follows her inside. This sequence highlights advanced drone filming, live event cinematography, and precision aerial-to-ground camera transitions for broadcast production.

For the production of Survive, DLP Aerials delivered extensive aerial cinematography in the rugged Dolomite Mountains, operating out of Cortina d'Ampezzo over a two-month shoot spanning the transition from fall to winter. Working in remote, high-alpine terrain, drones were deployed daily to capture dynamic aerial coverage and execute complex camera moves that would typically require technocranes or large-scale rigging.

Utilizing the DJI Inspire drone as the primary platform, the team achieved cinematic shots in locations that were otherwise inaccessible or unsafe for traditional equipment, with select sequences supplemented by helicopter filming. This project highlights advanced drone cinematography, precision flying in extreme environments, and efficient aerial production in challenging mountain conditions.

For the feature film Barbarian, starring Justin Long, DLP Aerials was brought in to capture a key establishing shot along the iconic Pacific Coast Highway in Malibu. The sequence features a cinematic aerial reveal over the ocean, introducing the character driving a red convertible along the coastline.

Captured using the DJI Inspire drone, this shot highlights clean, controlled drone movement and precision framing in a coastal environment.

For The Grotto, DLP Aerials provided professional aerial cinematography and aerial support services in the desert landscapes of Palmdale. The production featured cinematic drone coverage of a picture vehicle moving through remote terrain, captured with smooth, controlled movement using the DJI Inspire drone.

In addition to drone filming, DLP Aerials supported the production with paragliding coordination by training on-screen talent to safely kite a wing for a ground-based scene. This added an authentic visual element while maintaining full control of the environment for filming.

This project highlights capabilities in drone cinematography, vehicle tracking shots, desert filming, and on-set aerial consulting—delivering safe, efficient, and production-ready solutions for film, television, and commercial projects.

For Nostalgia, DLP Aerials contributed cinematic aerial cinematography to a deeply personal and emotionally driven film centered on loss, memory, and the objects that connect us to those we’ve lost. Working with director Mark Pellington, the team used the DJI Inspire drone to capture a series of atmospheric establishing shots throughout the film, including the final closing sequence.

The project carried profound meaning for Pellington, shaped by the loss of his wife, which informed the tone and intention behind each frame. During production, Patton Oswalt—who had experienced a similar loss—visited set to share a moment of reflection with the director and cast. It was a rare and powerful experience, where the emotional weight of the story extended beyond the screen and into the making of the film itself.

DLP Aerials had the privilege of capturing the maiden flight of the Anduril YFQ-44A autonomous aircraft—a next-generation, AI-powered jet developed by Anduril Industries. While details of the program remain limited, documenting the first flight of a fully autonomous aircraft was a rare and significant moment in aerospace innovation.

The project was led in part by Malin Hiles, FPV pilot and owner of DLP Aerials, whose background in aeronautical engineering and defense brought a high level of technical precision and safety to the operation. His expertise was instrumental in navigating the complexities of filming within a controlled aerospace testing environment.

To safely and effectively capture the scale and speed of the aircraft, the team deployed a Freefly Alta X drone paired with a MoVI Carbon gimbal system, delivering stabilized, high-end aerial footage in a complex test environment. This project highlights DLP Aerials’ capabilities in aerospace cinematography, high-performance drone operations, and working within sensitive, high-security productions.

Next To Me by Imagine Dragons is a hybrid short film and music video, directed by Mark Pellington and shot by cinematographer Matthew Roe. The project unfolds as a deeply emotional narrative, building toward a powerful and unexpected conclusion.

DLP Aerials contributed extensive aerial cinematography throughout the film, utilizing the DJI Inspire drone to capture a wide range of cinematic moments. The volume and quality of drone footage ultimately led to the creation of a dedicated aerial sequence for the end credits—an uncommon and visually striking choice that highlights the role of drone storytelling in the piece.

Blending narrative filmmaking with music video aesthetics, this project stands out as a visually driven, emotionally grounded production—and remains one of Gabe’s favorite collaborations.

DLP Aerials partnered once again with Anduril Industries to capture footage for Pulsar, a next-generation defense system designed to counter hostile drone threats. Filmed in an undisclosed location, the project provided a rare opportunity to document advanced counter-drone technology in action—demonstrating the ability to neutralize large-scale drone swarms in a single, coordinated response.

Aerial cinematography was captured using a heavy-lift drone platform carrying a RED Komodo, delivering stabilized, high-resolution footage in a controlled test environment. In addition, FPV drone systems were deployed to simulate first-person perspectives from within the swarm, creating a dynamic and immersive visual approach to showcasing the technology.

Drone operations were led by Malin Hiles, FPV pilot and owner of DLP Aerials, whose expertise in high-performance drone systems ensured precise execution throughout the production. This project highlights DLP Aerials’ capabilities in defense-focused cinematography, complex aerial coordination, and capturing cutting-edge technology in high-security environments.

For Zac & Mia, DLP Aerials conducted its first on-set deployment of the DJI Inspire 2 drone, marking a significant step forward in aerial image quality and performance over the previous generation. Equipped with the X5S RAW camera system, the platform delivered enhanced dynamic range and cinematic flexibility for narrative production.

The team captured a sequence set within a vineyard, following the main character in a fluid tracking shot that transitions from an intimate, medium perspective into a wide aerial reveal—expanding the frame to showcase the full scale of the landscape. While technically simple, the shot demonstrates how precise drone movement can elevate storytelling through composition and timing.

This project highlights the evolution of drone cinematography tools, with platforms like the DJI Inspire 3 drone continuing to push the boundaries of what’s possible for film and television aerial production.

DLP Aerials provided aerial cinematography for “Look Up” by Ringo Starr, capturing sweeping visuals that elevate the message of the piece. Using the DJI Inspire drone, the team filmed expansive establishing shots of rolling grassy hills, setting a calm and open visual tone.

A key moment in the video features hundreds of extras assembling into a large-scale peace sign across the landscape—captured from above to fully reveal its shape and impact. The result is a clean, symbolic aerial sequence that blends music, message, and cinematic perspective.

DLP Aerials collaborated with Anduril Industries to capture aerial cinematography for Bolt, one of their advanced defense platforms, during active engineering test operations. Filmed in a remote desert environment, the production required careful coordination alongside engineering teams to ensure zero interference with ongoing testing.

A dual-platform approach was used to achieve both cinematic and dynamic coverage. A Freefly Alta X drone carrying a RED Komodo with prime lenses delivered stabilized, high-end imagery, while a custom heavy-lift FPV drone—also equipped with a RED Komodo—provided agile, high-speed perspectives not achievable with traditional systems.

Operating in extreme heat and within an active test environment demanded precision, patience, and strict adherence to safety protocols. This project highlights DLP Aerials’ ability to integrate seamlessly into technical workflows, delivering high-quality aerial footage for defense, technology, and engineering-driven productions.

DLP Aerials provided aerial cinematography for “Blue Tacoma” by Russell Dickerson, capturing the laid-back coastal energy that defines the piece. Filmed along the scenic shores of Malibu, the production embraced natural light, open roads, and ocean views to complement the song’s tone.

Using the DJI Inspire drone, the team captured smooth, cinematic passes over the coastline, adding scale and atmosphere to the visuals. With a small, agile crew, the shoot maintained a relaxed pace while delivering polished aerial footage that enhances the storytelling.

For a music video with Jordan Tarrell, directed by Steven Taylor and shot by Matthew Roe, DLP Aerials delivered a specialized aerial lighting and cinematography solution that pushed beyond traditional drone use.

Utilizing a Freefly Alta 8 drone, the team flew a 6K-equivalent LED lighting system—effectively creating a mobile “sky light” that could be positioned dynamically above the scene. This approach allowed the cinematography to evolve in real time, with light direction, shadow, and intensity shifting in sync with camera movement to shape a highly stylized, atmospheric look.

In addition, a DJI Inspire drone was used to capture aerial footage of the sequence, documenting both the environment and the lighting effect in motion. The result is a unique blend of aerial lighting design and drone cinematography, showcasing advanced on-set innovation and creative problem-solving for music video production.

DLP Aerials provided aerial cinematography for a K-pop music video featuring Suzy, executing complex air-to-air drone operations over the waters of Long Beach. The production involved coordinated flight alongside a seaplane, as well as precision timing with multiple moving vessels, requiring close collaboration with two boat captains.

Operating from boats in open ocean conditions, the team captured dynamic aerial footage while managing constantly shifting variables such as wind, water movement, and vessel motion. These conditions demand advanced piloting skills and extensive experience to ensure both safety and shot accuracy.

This project highlights DLP Aerials’ expertise in air-to-air cinematography, ocean-based drone operations, and complex multi-vehicle coordination—delivering high-end aerial footage in challenging marine environments.

DLP Aerials provided aerial cinematography for the reality series Alaskan Bush People, working on location for extended periods over multiple seasons. Filming took place in remote wilderness environments across Alaska, as well as mountainous terrain in Washington—often far from accessible infrastructure.

Using the DJI Inspire drone, the team was able to operate efficiently in rugged, off-grid locations where portability and rapid deployment were critical. Drone cinematography became an essential tool for capturing the scale of the landscape, navigating difficult terrain, and maintaining production mobility in constantly changing conditions.

This project highlights DLP Aerials’ expertise in remote location drone filming, wilderness aerial cinematography, and long-term production support in challenging environments—delivering reliable, high-quality results in some of the most inaccessible filming locations.