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Above: Freestyle footballer on Lions Head, shot for FIFA Feature Film, Cape
Town.
Below: The stadium at Rustenberg, flying South Korea, FIFA and New Zealand
flags.
ial units for the 2004 Athens Olympics, 2006 Melbourne
Commonwealth Games and 2006 Doha Asian Games.
Additionally, we have been involved with the aerial coverage
for feature films such as “District 9,” and TVCs and
documentaries such as the BBC’s “Frozen Planet,” “Human
Planet,” “Planet Earth” and “South Pacific” TV series.
This event was quite different from all of them, in
that our six aerial units were simultaneously dispersed
across the entire country. Aerial Unit Commander Jerry
Grayson and Aerial Producer Sara Hine had three days
of initial briefings with the entire aerial unit en masse in
Johannesburg, before the teams were sent to their respective
cities: Cape Town, Johannesburg, Durban, Port
Elisabeth, Rustenburg, Polokwane, Pretoria, Bloemfontein
and Nelspruit.
Each aerial unit worked on different schedules and
for different directors, so their daily requirements could
vary greatly. Rather than the entire group having daily
briefings together, each team had daily briefings by
mobile and email. Edited footage would also be shared
36
so we could see the way in
which each team would shoot
their stadiums and cities, to
maintain consistency between
the teams.
PREPARATIONS
Well in advance of the World
Cup even beginning, we had
developed flight plans and
daily schedules for each of
the 64 matches, in order that
the security forces controlling
the airspace over each of the
stadia were aware of our daily
shot list and flight path.
For the opening and closing
ceremonies, we liaised
with the ceremonies production
department, the South
African Air Force and the Police
Air Wing to manage the
myriad of aerial assets that
were within the stadium’s airspace.
We also coordinated
with the Ceremonies producers
and directors on the safest
and best film positions during
the ceremonies, which
involved an intricate firework
show and elaborate fighter
and acrobatic jet displays.
Prior to each match, we
carried out reconnaissance
flights over each city and
environs to understand each
stadium’s specific shooting
requirements, RF boundaries,
and to find spots for landing and refueling.
Tests flights were also important to gauge changing
atmospheric conditions which would affect the helicopter’s
flight paths or clarity of the shot, due to cloud/precipitation
or high winds, smoke from bush burn-off, etc.
After our test flights we would refuel, make any necessary
flight changes, and then again get airborne for the
team bus departures.
SHOOTING
We were tasked with visually linking the stadium and the
surrounding fanfare within each city in order to give the
audience geographical context. During the lead-up to the
matches we shot a variety of establishing shots for each
stadium, including the city or rural surroundings, football
fan parks, and wildlife: wild rhinos, elephants, giraffes, lions,
etc. We also shot each team’s buses departing and
arriving from the hotel to the stadium.
The aerial footage we captured was incorporated
The Asset Management and Digital Distribution Issue — Creative COW Magazine
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