#aerial filmmaking

[clairegregoryau]

I've been tracking this down for a while now and I've finally found confirmation of what I suspected: Google Maps imagery for Piha Beach in Aotearoa New Zealand captured the setup for filming of Our Flag Means Death's Season 2, Episode 8!

[EDIT 25 June: the north end current imagery is sadly no longer this version, but I've captured it for posterity here, and it's still visible in the free Google Maps Pro app- read on for more info].

On the left is the north end of Piha Beach with the inn set. On the right is the south end carpark with the film crew base.

Why is that cool to me? Because it truly was a fleeting moment in time, no more than a handful of days of possibility, and yet it was captured as the image on the map, at least for a period of time. As an archaeologist I love a moment preserved in time, and in this one you can even see the OFMD production crew on the beach and on the path. It's places and people caught in the flashbulb of this aerial image.

The specifics of how I pinned down the imagery and the date are in this Twitter thread, but the short version is, I was hunting for a better visual on the area immediately surrounding the inn while writing Full Fathom Five, and noticed that the carpark in particular seemed to line up exactly with images from the final day of filming.

The final day of filming overall was 13 December 2022, filming at Piha was on 12 December 2022, and this aerial image was taken on 11 December 2022.

I had already been through the first image to make a comparison to the aerial map and it looked like a match, but Google Maps had 2024 in their attribution. [Noting that I'd put 13 Dec on my image notes, but I'd got that tangled with the last day of filming in the Kumeū studio the next day, and it was 12 Dec on location].

Thankfully Google Earth came through with the actual date.

And I just took a further dig into Google Earth Pro, which allows you to switch between previous satellite images, and it confirms a date of 11 December 2022 for the north end image as well.

[EDIT 9 September 2024- thinking about this again and suddenly realised... you know what, very often things will put the date it was in the US when a picture was taken, even when that picture was taken on the other side of the world, in a different timezone. Which made me realise that actually, if this was taken on the 11th of December in the US, that was on the 12th of December in AoNZ. A quick search shows that Google Maps confirms the date can be one day out, so- odds increasing that we're seeing the actual filming of Ep8 here!]

You can also compare this to a few months earlier in March 2022, right around the premiere of OFMD S1 (everything moved so fast in hindsight!) when there was no inn in that spot.

Which means we now know that for now, if you hop onto Google Maps (not Google Earth, because they have a different image for the north end that does come from 2024) and zing on down to Piha Beach, you can take a look at a preserved moment in time from the filming of S2Ep8.

[EDIT 25 June: the north end image has now been updated to the 2024 version across all of Google Maps and Google Earth, but the south end is for now still from the filming day. You can find the previous version for the north end on Google Earth Pro].

You can hop straight to the inn here.

And straight to the parking lot here.

And remember to put the layers into Satellite mode to view the aerial imagery.

Everything that was/is shown at the north end lines up with what we've seen both in the show and in behind the scenes content, all of which I delved into in this Twitter thread last month. That goes into a lot more detail about specifics, but the evidence is solid across the board.

The sandy path that runs beside the inn is a distinct feature seen in the show.

The peak that sits behind it, likewise (from Google Maps user uploads here and here).

The inn itself, and the way the path gives way to an unseen carpark, from Simone Nathan's TikTok video.

Based on all of that, it's easy to see that we've got our inn right here circled in red, preserved in that moment in time, even though it was no doubt taken down as soon as filming was done.

Prep looks like it took a couple of days before filming; filming was pretty much done in a day, according to an article at the time.

So, there you have it- it's a minor little thing and it won't be up forever, but for now you can hop into Google Maps and see an aerial view adjacent to the filming of S2Ep8 at Piha. The other beach scenes from Eps 1, 3 and 8 were filmed at Te Henga/ Bethells Beach.

[of-two-lands]

https://youtu.be/-xVN1l5mvLc

43°47'38.8"N 5°12'15.6"E

youtube/oftwolands

[filtergrade]

Bridgeport Drone Footage - DJI Mini 4 Pro Test Flight

[filmproductioninabudhabi]

Explore the Benefits of Filming in Dubai

Dubai has become a premier destination for filmmakers around the globe. Its unique combination of ultramodern structures, stunning surroundings, and supporting infrastructure makes it an ideal place for various film projects. Whether you're looking for a modern filming studio for rent or stunning shots with drone filming, Dubai provides everything. In this blog, we'll look at the multiple benefits of filming in Dubai and why it should be your next filming destination.

Versatile Filming Destination

Dubai's various surroundings make it an ideal destination for filmmakers. The city offers a combination of high skyscrapers, traditional markets, and vast deserts. The range of areas gives filmmakers many options without having to travel far.

Advanced Filming Facilities

When it comes to filmmaking in Dubai, you’ll have access to some of the best facilities in the world. These facilities keep up with all types of productions, from small indie films to huge Hollywood blockbusters. Companies like Action Filmz offer the best filming studio for rent, ensuring you have the latest equipment and space for your project. 

Expert Drone Filming Services

Aerial shots may give a stunning dimension to any film, and Dubai provides excellent services in this area. Drone filming in Dubai is a growing industry, with many companies providing professional services. A Dubai drone filming company can provide spectacular pictures of the city skyline or the vast desert. Furthermore, if your project extends beyond the UAE's capital, drone filming in Abu Dhabi is identically amazing, offering a unique yet complementing set of environments.

Beneficial Government Policies

One of the most significant benefits of filming in Dubai is the beneficial government policies. The Dubai Film and TV Commission (DFTC) works consistently to attract international productions by providing incentives and facilitating the filming process. The commission assists with permits, venues, and even logistical support, making filmmaking in Dubai a seamless experience.

Vibrant Film Community

Dubai is home to a vibrant film community. Various film production companies in Dubai are willing to collaborate on projects of every scale. This strong ecosystem ensures you can access professional staff members, including directors, cinematographers, set designers, and special effects experts. The collaborative environment promotes creativity and innovation, making Dubai a hotspot for important filmmaking.

Spectacular Weather Year-round

One of the useful benefits of filming in Dubai is the predictable weather. With sunshine practically every day of the year, you won't have to worry about rainy days or unpredictable weather spoiling your schedule. This reliability allows you to plan and execute your film projects more efficiently.

World Class Accommodation and Amenities

Dubai is known for its luxury, which includes its accommodations and amenities. When you filming in Dubai, you and your crew will have access to some of the top hotels, restaurants, and recreational facilities in the world. This level of comfort can be especially beneficial during extended shoots, keeping the team engaged and renewed.

Accessibility and Connectivity

Dubai's advantageous spot allows for easy access from practically anywhere in the world. Dubai International Airport, one of the world's busiest, offers direct flights to major cities worldwide. This connectivity is an important benefit for international film crews, making travel to and from Dubai quick and easy.

Iconic Skyline and Landmarks

Dubai's iconic skylines and landmarks are easily identifiable and can offer a unique flavor to your film. From the towering Burj Khalifa to the stunning Palm Jumeirah, these structures create an amazing atmosphere for any type of scene. Aerial filming in Dubai allows you to capture these sites in all their magnificence, giving the film a unique visual appeal.

Various Cultural Environment

Dubai's rich heritage of culture provides filmmakers with a unique blend of traditional and contemporary elements. The city's combined population and historic sites create an environment for your story, adding depth and authenticity. Whether you're shooting a historical drama or a modern thriller, filming in Dubai allows you to easily include numerous cultural components.

Competitive Costs

Contrary to popular assumption, filming in Dubai may be cost-effective. The city provides competitive rates for equipment rentals, studio space, and professional services. Furthermore, the government's incentives for filmmakers can help reduce costs, making it an affordable option for excellent productions.

Filming Near You

For those who live in or near Dubai, the convenience of filming near me cannot be overwhelming. Local filmmakers can take benefit of the city's resources without having to travel long distances, saving time and money. The availability of local talent and production companies also allows you to establish a solid network for future projects.

In conclusion, filming in Dubai has multiple benefits, ranging from versatile places and modern facilities to professional drone services and supportive government. Dubai's growing film scene, amazing weather, and world-class amenities make it a perfect destination for filmmakers from around the world. Whether you are an indie filmmaker or a huge production company, Dubai has the resources and infrastructure to make your vision a reality.

So, if you're planning your next film project, consider Dubai as a place to shoot. With companies like Action Filmz offering excellent services, you'll have everything you need to produce an amazing film. Explore the opportunities for filming in Dubai and take your production to new heights.

Original Source: https://filmproductioninqatar.wordpress.com/2024/05/28/explore-the-benefits-of-filming-in-dubai/

[todropscience]

The white shark (Carcharodon carcharias) is the largest predator fish in the world, however, the early life history and reproduction of this iconic shark is still poorly understood, in fact, no one has seen a white shark puppy in the wild, nonetheless, recent aerial observations made by drone off California, USA, have revealed the first images of a white shark puppy.

Footage done by wildlife filmmaker Carlos Gauna and biologist Phillip Sternes in July 2023, revealed seconds of a single pale pup, which apparently was shedding its embryonic layer. This record robusts the idea the coast of central California acts a birthing location for white sharks. This shark was stimated to reach 1.5 m in lenght. Many researchers believe white sharks are born farther out at sea, due the elusivity to find pups. This finding means they are likely to born in shallow waters.

Photo: Carlos Gauna

Reference : Gauna & Sternes2024. Novel aerial observations of a possible newborn white shark (Carcharodon carcharias) in Southern California, Environmental Biology of Fishes

[thinkingimages]

Inside the Outset: Evoking a Space of Passage is a project by artist and filmmaker Rosa Barba following an invitation by Point Centre for Contemporary Art in Nicosia and curator Mirjam Varadinis to propose and realize a project in Cyprus.

The work proposed by the artist in 2013, started in 2014 and consists of two parts: a film and a long-term open-air cinema installation. The project was then presented to the Italian Council and received the first prize at the international competition (Third Edition) in 2018, and was awarded a grant from DGAAP (Directorate General for Contemporary Art and Architecture and Urban Peripheries), Italy.

Barba’s film is exclusively shot in Cyprus, including underwater shots of the Mazotos shipwreck, as well as aerial shots from archaeological sites. It is an investigation into the loaded, transforming topography that is already palpable in the landscape, before we actually understand what language it creates for our society. In that, the film follows Barba’s artistic approach to examine liminal states which manifest in between contested spaces, both mentally and geographically, in order to allow for a new perspective. The inaugural screening took place in Autumn 2021 at the open-air cinema installation in the Buffer Zone.

Inside the Outset: Evoking a Space of Passage, 2021

16mm film transferred to digital and 8k film, sound, 31:15 min

Produced by Point Centre for Contemporary Art, funded by the Italian Council. A collaboration with Famagusta Avenue Garage.

Images: Film still © Rosa Barba

[laracrofted]

baby, i'm high octane (i)

synopsis: nora rogers has made a name for herself in the documentary world, but lately, she's been running on empty. and then, with impeccable timing, her aunt charlie calls about an eight-week project in san diego: a feature on naval aviation's newest and most elite squadron. she accepts.

pairings: jake seresin x nora rogers (oc), minor bradley bradshaw x nora rogers (oc)

warnings: 18+, minors dni, explicit language, existential dread, alcohol consumption, slutty (affectionate) rooster, eventual smut in later chapters. set after the movie, so spoilers!

note: i have been working on this for many, many months, and every time i went back to edit it, it gained another 500 words, so i need to put it out in the world for my own sake. hope you enjoy!

read on AO3 | series post | next chapter

tagging: @theharddeck as usual, some mutuals (@anniesocsandgeneralstore @roleycoleyland), plus some folks who were nice about the halloween fic (@peakyrogers @t-nd-rfoot @double-j) let me know if you'd like to be added or removed!

[ OPENING CRAWL ]

On March 3, 1969, the UNITED STATES NAVY established an elite school for the top one percent of its pilots. Its purpose was to teach the LOST ART OF AERIAL COMBAT and to ensure that the handful of men (and now women) who graduated were the BEST FIGHTER PILOTS IN THE WORLD. They succeeded.

The Navy calls it Fighter Weapons School. You might know it better as TOP GUN.

The DAGGER SQUADRON is Naval Aviation’s newest and most elite squadron, exclusively made up of patch wearers. Here are their stories…

 [ CUE MUSIC AND FADE TO BLACK ] 

Back in California for less than 24 hours, and Nora already longs for the cobblestone streets and late night espressos and dear god, the accents of the past six months.

She is used to being on the move. Living out of an expertly packed suitcase, down to a science now. Never quite settling down.

Any documentary filmmaker worth their salt learns early to stay light on their feet, ready at a moment’s notice to get the call that takes them halfway around the globe and brings them the quote, unquote next great story. 

This…was a different sort of call.

“You want me to go to San Diego? Why?” 

It was well past midnight in France, which made it more or less dinner time on the other side of the Atlantic. For Charlie Blackwood, a perfectly acceptable time to ring her favorite niece, but Nora had to take the call out on the small balcony that was attached to her hotel room. 

Documentaries weren’t the same as Hollywood films with their wider box office appeal and George Clooney-type stars. Funding was measly in comparison, so Nora bunked with one of the producers for the Paris leg. She and Jenna had worked together before a couple years back, and while Nora knew her to be sugar sweet from dawn to dusk, the 30-year-old woman did not fuck around with her skincare routine and her eight hours. 

At this time of night on a non-weekend, Paris didn’t have much street noise, but Nora was still certain Charlie’s connection must’ve cut out somewhere in the middle of her sentence. Or maybe Nora had heard her wrong. 

International calls could be so fickle sometimes. Right?

“Let me get this straight. You’re asking if I want to leave Paris to go to San Diego…” Nora repeated slowly, leaving ample breathing room between each word, plenty of time for Charlie to cut in and correct her, “and meet with your ex-boyfriend about some Naval feature? We don’t even like him.” 

“You can call him Maverick,” Charlie replied evenly, “Everybody else does.” 

Nora pulled a face. “I’ll call him Pete. How’s that?” 

“He’ll definitely ask you to call him Maverick.” 

“And I’ll still call him Pete.” 

Charlie’s answering sigh was loud in her ear, even through the static, and Nora smiled down at her shoes. She took a careful step around the bite-sized table, stacked precariously full with her laptop, camera, and notepad, and planted her elbows on the railing. Metal creaked gently under her weight.

“Pete… will be fine,” Charlie relented, “and really, Pete is fine in my book. We’re just… two old acquaintances who wanted different things and were never going to work out in the long term. Besides, from what I hear, Penny Benjamin is his new sweetheart now. Well, new old sweetheart.”

She didn’t know who Penny Benjamin was. Must be a real saint to put up with him.

“Good. He won’t be knocking on your door the next time the Navy sends him to Washington to accept some medal then, right?” 

Nora was seventeen the last time Pete Mitchell came knocking on Charlie Blackwood’s door; around eighteen months after Nora’s mom died, making Charlie her legal guardian. He happened to be in town for some medal or some ceremony or some medal at some ceremony.

He left in the dead of night, out the window, and Charlie spent the next two weeks muttering curses about hotshot pilots and their charismatic bullshit.

“That was almost twelve years ago, Nora,” Charlie chided, much less fun Aunt Charlie and much more diplomatic Charlotte Blackwood, employed by the Pentagon in that moment. Nora rolled her eyes. 

“And anyway,” Charlie continued, not letting her get another word in, “Maverick isn’t the main contact. You’d only meet with him because All Hands…” A Naval magazine, print and digital, funding the project, as Charlie had explained in her initial one long sentence explanation before Nora had been distracted by the who and the where. “…wants to focus on his team. Everything is already approved. All you, my love, would need to do is get the golden seal from Cyclone to head it up. He’s the Air Boss over there.” 

“Now Cyclone is a name that I don’t know,” Nora said, then swiped out of the call to look up the definition of Air Boss. “Doesn’t sound like a name made up by a 13-year-old boy who plays too much Call of Duty. He a Captain too?”

“Vice Admiral. You can meet him on your first day,” and Nora’s lips parted in protest, to say that was a little presumptuous, given she hadn’t agreed to anything and was still half a world away working on something else. Charlie cut her off, right at the knees: “Don’t start with me. Your Paris job wraps in what… four, five days?

Three, but Nora didn’t correct her. 

“Normally, by now, I would be getting half a dozen calls every week from you, gushing about what you’ve got going on next; whatever place you’ll be jetting off to this time. This is the first time I’ve talked to you in at least two weeks,” Guilt pinged at her chest, along with a large helping of existential dread. “Have you even signed on to anything new?”

No. And Nora was doing jack shit to change that. 

Her producer was already signed on for a film that would start pre-production ten weeks from now. It was a big one, lots of people to bring on board, and Jenna – literal angel in human form Jenna offered to pass Nora’s name along for consideration. 

Nora still hadn’t given an answer. 

She worried the edge of her lip but said nothing, and Charlie must’ve taken that as encouragement enough to continue on. “It’ll be a short project. Gives you enough time to find something new that excites you. Just… go to North Island and talk to Cyclone. You need a break.” 

Late May breezed across her cheeks, smelling of the sweet pink and white cherry blossoms in bloom at a nearby park. She’d passed it nearly every day, afraid that the end of May would come and Nora wouldn’t ever see them in full bloom before having to leave. They bloomed two weeks ago, almost overnight, and Nora knew that June loomed and with it, the end of another project. 

All that remained was uncertainty. 

She did need a break, though Nora wasn’t sure that anyone other than her aunt and herself would consider working on another documentary to be a break. She couldn’t remember the last time Charlie had even taken a sick day. They were born and bred workaholics the both of them, and usually, Nora thrived on that.

But lately, Nora was so tired. 

Another project could be good for me, Nora thought. Fewer eyes and expectations, without the pressure of acclaim and awards and future grants and questions of what are you doing next tightening like a noose around her neck. It’d be a one and done. She could do that.

“Alright,” Nora said, feeling a little lighter from letting the words loose. That was reassuring, at least. “Start from the beginning. How’d you find out about it? Who are the subjects? What’s the goal?” 

Smile audible in her voice, Charlie started again, “Here is what I know…” 

They wrapped mid-week with the usual fanfare, and the next day, Nora was packed and on a plane back home to Southern California. 

Nora could already tell the Vice Admiral was ready to have the screening process over and done with. He barely asked her any questions before shaking her hand and foisting her onto Admiral Bates who ran her through the rules and regulations for getting onto the base and her accommodations. 

Since Nora was freelancing for a Naval magazine, the United States government would be putting her up for the duration of the project. God bless America. She did not want to find a last minute hotel room in San Diego in June. 

After obtaining a temporary ID card and a neat stack of manilla folders, probably filled with generously redacted background and service records, Nora is promptly deposited in the beachside parking lot of a steel-blue apartment building, faded from sun and brine, with a whole night ahead. 

Showering off the plane eats up a few minutes, as does replying to the check-in email that the magazine contact sent over this afternoon. They would talk more over the weekend and into next week. It was difficult to connect with the time difference, so Charlie had guided the initial communication. 

Calling Charlie drains another half hour, while Nora hums in all the right places and fights to keep her eyes open, chiming in with the occasional observation about North Island and tidbit about the conversation with Cyclone and Warlock. 

“What’d you think of Cyclone?”

She stares at the blank wall across from the bed – all that wide open space and not an art print in sight – and thinks back. 

Cyclone leveled an impassive stare at her over the folder that held her portfolio – apparently faxed over by Charlie before Nora had even agreed to come – and said, “This is an unusual circumstance. Most of the nepotism hires that come across my desk are aiming higher than an eight week contractor.” 

She’d bitten her cheek to hold back a laugh, and Admiral Bates let out a suspiciously timed cough, hiding his mouth behind a balled fist. 

“He was kind of hot,” Nora admits, then has to hold the phone away from her ear to not be deafened by Charlie’s laughter. “What? Just because I lack a father figure, I’m not allowed to appreciate an older man every now and then?” 

“Sure, but I think I’ll draw the line at Maverick.” 

Nora does her best projectile vomit noise, and Charlie laughs so hard that Mr. Charlotte Blackwood – as Nora affectionately likes to call Charlie’s husband John, who always accepted it with a congenial smile that only made her like him more – shouts from another room, wanting to know what exactly is so hilarious. 

She won’t see Pete Mitchell until Monday, and after promising to tell him that Charlie says hello and sends her best to him and this Penny Benjamin woman, Nora hangs up the phone. 

It’s barely 8 PM, and Nora wants nothing more than to crawl under the covers and leech the travel from her bones, but the San Diego sun is stubborn and high on the horizon. She knows her own body well enough to know that an 8 PM bedtime makes for a 3 AM bout of insomnia. 

Boredom finds Nora perched on a cushioned barstool, a fresh t-shirt on her torso and a new coat of red lipstick on her lips, in the crowded Hard Deck bar. Sipping on an Old Fashioned, chatting with none other than Penny Benjamin. 

“Charlie Blackwood,” Penny Benjamin repeats, a surprised but amiable smile on her face. A brown leather jacket sits over her slender shoulders, the same warm shade as her hair, and Nora spots a United States Navy patch on the sleeve. “God, I haven’t seen Charlie in… 30 years now. She may have told you, but I met her once or twice at Top Gun, back before my old man, the great Admiral Benjamin, retired. How’s she doing?” 

“She’s good,” Nora offers, adding as an afterthought, just in case Penny Benjamin was the jealous type. “Married now.” 

Penny sends her a sidelong look, narrow-eyed, that must make the fresh-faced Top Gun hopefuls cower in their regulation boots. Behind the glass, Nora’s lips curve into an amused smirk. 

Things must be going well. Good for them.

Nora swirls the amber liquid, fishing out an extra cherry from the bottom and popping it into her mouth. “She sends her well wishes. She’d probably want me to give you a hug or something, but I think I’d fall on my ass trying to lean over the counter. Consider yourself lucky.” 

“You can give my hug to Pete, but only if I’m there to witness.” 

 “Distinguished Captain Mitchell isn’t much of a hugger? I’m shocked.” 

“Are you kidding?” Penny fills another pint glass for a patron a few barstools down, sliding it down the counter and looking back at Nora with an amused twinkle. “He’ll turn into a robot. He won’t know how to react. Make sure to ask one of the boys to record it for you so I can blackmail him with it forever.”  

Imagining it, Nora is still smiling when Penny���s name calls her to the other side of the counter. Leaving her alone to people-watch and observe the establishment with a filmmaker’s eye. 

Miniature planes hang from the ceiling, swaying in the breeze that cuts in with the opening and closing of the door. A wood island separates one side of the bar from the other, stacked high with an assortment of colorful glass bottles that gleam in the fading sunlight. 

A golden wash spills through the back windows, and the Hard Deck is filling up fast with civilians, veterans, and servicemen alike. They’re the easiest to spot, wearing  their service khakis and all. 

Music swells through the bar, and Nora spies a jukebox in the corner, drawing a line five deep, all waiting for their turn to select the next 1980s classic. She recognizes the current song from her white dad music playlist. 

‘Take It Easy’ by Eagles. Track four, baby. 

Over her shoulder, a tight-knit crowd surrounds the pool table. They throw jeers and jokes at each other with familiarity, and Nora watches them for a moment too long, dragging her tired eyes away when one of them starts to turn in her direction. 

She checks her phone, under the bar, not on top, of course, unless Nora wants to buy the whole room a round. A little after 8:30 now. She just needs a kill another hour or so, and then, that’ll feel like an acceptable time to crawl into bed and sleep for the next ten hours. 

Fingers dancing through her tote, Nora fishes out her favorite journal, setting it down flat on the least sticky surface she can find. Leather-bound, stuffed to the brim with colorful sticky notes and touch-creased photographs. Further searches reveal that Nora left her pens back at the apartment, somewhere in one of those suitcases that had gotten packed and unpacked in an attempt to burn time. 

“Do you have a spare pen?” 

A blue pen rolls over to her waiting hands as Penny passes with a wink and dashes down the counter to fill a round of drinks. She has that endless energy that Nora needs a few coffees to achieve. 

Thinking it makes Nora’s lids feel even heavier. 

Tracks switch again on the jukebox, and Nora hums along to the new song, another winning installment on her white dad music playlist. Has the United States Navy hacked her Spotify account or something? She cuts through the pages like a surfboard through an ocean wave to find a fresh page, and Nora spins the pen between manicured fingers, mouthing the lyrics to ‘Dancing in the Dark’ under her breath. 

Her brain is a firework show, thoughts shooting off high and fast, bursting into a million different directions. Loud and colorful. She can be like this on her best day, but a severe lack of sleep – or in this case, horrible jet lag – makes it a million times worse. 

A long blank stare at the page later, Nora manages to piece a few words together into what might resemble a coherent thought, with emphasis on the word might here.

And right as Nora clicks the pen and presses it down on the page, denting the lined paper beneath the blue ink, an empty pint glass is set down on the counter, a few inches from her left hand. A whiff of cologne fills her nostrils, a little overbearing but still pleasant. 

Fingers drum against the wood, in time with the music, and determined, despite the distraction, to pin down the semi-coherent thoughts that are now fleeing like scattered mice, Nora reaches for her drink and finds it empty save for half-melted ice and an orange rind. 

“Buy you another one, sweetheart?” 

She looks up, in spite of herself, and damn. 

He is handsome as hell, heart-aching levels of handsome, a little like looking into the sun. Like a goddamn movie star, all broad shoulders and perfect, slicked back blonde hair, and easy confidence that fits him like a well-worn shirt. 

He plucks the rocks glass easily from her stunned grip, holding it between two fingers, a loose, almost careless hold, and damn her to hell, Nora swallows against her suddenly dry mouth. 

She really needs to go to bed. Among other things. 

Green eyes study the contents of the glass, then flick back over to her, and Nora is hit with the full force of a mega-watt smile. 

Dimples out. Ready to film a tooth-whitener commercial. 

“Bourbon girl? I’m impressed.” 

“Why?” Nora drawls, and hell, the word comes out of her mouth a little rough. Get it together. Put away the bedroom voice. She clears the cobwebs from her throat. “Because I look like I’d order a cosmopolitan in a dive bar and act surprised when I’m given a vodka cran?” 

He seems to take look as an invitation, dragging his eyes over the soft t-shirt, a little damp over the shoulders from her shower, and the faded blue jeans that hang loosely from her legs, an old pair with a rip in the knee big enough that Nora might soon need to give them a second life as shorts. 

His appraisal stalls out on her blood-red lips, tracing the shape of them, getting the lay of the land. And then, slowly rises back to meet her gaze. All the while, smiling like a pageant contestant. 

“Name’s Hangman.”

Record scratch. He’s a pilot.

Goddamn pilots. 

“That doesn’t sound like a name,” Nora drawls back, matching his conceited-ass smile with her freshly chilled ice-cold bitch smirk. “And I can buy my own drinks.” 

Rudeness isn’t her drug of choice, but Nora clocks him as a tough one. A swift one-two ego punch should do the trick, rejecting his advance and mocking his precious call sign in one fell swoop. Aviators toss those around more than their actual names.

He’ll leave now.

She stares him down, and Mr. Pilot stares right back, eyes amused and sparkling in the twinkling lights dancing right above the bar, tucked between the steins. 

Any minute now.

He doesn’t move an inch, and if possible, the Barbie and Ken smile grows even wider on his perfect face. He’s so hot, Nora kinda wants to break his nose just to make something on his face crooked. 

“It’s my call sign.” 

She is so tired. It trips off her tongue, almost out of habit: “Well, I’m not calling you Hangman. What’s your actual name?” 

Why…. Why would those words come out of her mouth, instead of the ‘Get lost, Malibu Barbie’ that was locked and loaded in the back of her mind? Damn damn damn. 

She doesn’t fool around with pilots, not after Charlie’s history with Pete Mitchell and her own Air Force sperm donor who couldn’t be bothered to call more than once a year. And especially not, when Nora will be working on the base for the next two months. What if Nora ran into him?

The edge of Hangman’s mouth twitches into a slow, dangerous smile, and Nora catches a flash of his canines, ultra-white like the rest of his teeth. 

She fiddles with the pen cap, rolling and bending it between her pointer finger and thumb. Waits impatiently for him to give her an answer that gives her the opening needed to send him packing, back to the pool table to make better use of his bulging arm muscles over there. 

Some co-ed girls push behind him, stumbling and giggling to each other, and in stepping out of their way, Hangman inches forward into her space. Breath warm at her nape, stirring the pale strands loose at her cheekbones, too short to remain tucked behind her ears without a fight.

Clever fingers capture one and brush it back into place, softly brushing against the side of her neck. His words are a low, hot rumble against the shell of her ear: “It’s Jake. Lieutenant Jake Seresin.” 

Oh, Nora thinks, warm all over in a way that has nothing to do with the sticky heat of the night. Oh shit. 

She has the borrowed pen in a chokehold, gripping it hard enough to redden her fingertips, and Hangman – now Jake notices. His grin widens, and Nora forces herself to loosen the hold, to let the blood flow back into her hands, to regain some of her composure.

“Let me buy you a drink.” 

Not a question this time, so Nora doesn’t need to give him a yes or no. 

He’s offered a loophole, one around her own better judgment, without even realizing it. She can just drop her shoulders with casual indifference, as if to say if you insist, and turn back to her journal. Pretend not to feel his intent, most definitely intrigued gaze on the side of her face. 

It’s a free drink, and Nora’s hardly encouraging him. What is the harm, really?

A smug smile crosses his face when Penny comes over, an unreadable expression on her face, and Nora doesn’t stop him from ordering another Old Fashioned. He’s close enough now to feel the evening heat radiating from his tan skin, exposed where the sleeves of his t-shirt cut across his biceps. 

Nora is not enabling anything. Not at all. 

Rooster is on the last swallow of his beer when Phoenix looks over his shoulder and groans, a dramatic and drawn-out sound that would’ve made her an excellent soap opera star in a different life. He barely has time to snort before Bob appears at her side, a look of sudden concern on his clean-shaven face.

“What’s wrong?”

“We’re never getting our next round.” Phoenix rigidly jerks her head in the direction that Hangman disappeared a few minutes ago. Too long ago, now that Rooster thinks about it. “Bagman got distracted.” 

This is enough to bring the rest of the Daggers to attention. They round the pool table one by one, incited by the suggestion that Hangman might get out of buying them drinks. 

“Distracted,” Payback lets out a sardonic snort. He leans on the pool cue like a walking stick, towering over the rest of them with Rooster seated. “He probably forgot to order the round. Idiot.” 

“I don’t blame him,” Fanboy drawls, looking to the center of the room, waggling his brows. “I think I’d let her distract me anytime, anywhere. Is that not the hottest woman you’ve ever seen step foot in this bar?” His eyes go wide, almost panicked, darting to the only woman in their ranks. “No offense, Phoenix.” 

Phoenix shows no sign of hearing him, and Rooster and Payback share a disbelieving look over the WSO’s head, snickering underneath their amazing mustaches. Lucky son of a bitch. 

“Poor girl,” Phoenix muses with a slow shake of her head, sending her loose curls cascading over her shoulders. “Someone needs to launch a rescue mission. He’s practically drooling into her glass. And…” Something changes in her expression. “Did I hit my head in the cockpit this afternoon and not remember it? Does that girl look familiar to anyone else?” 

“Never seen her before in my life,” Payback says, slapping his WSO on the shoulder, which seems to give Fanboy the confidence to add in, “I’d love to get further acquainted though. Think I can swoop in and steal her from Hangman?”

Phoenix has already pulled out her phone, paying no attention to the round of low chuckles and smirks that are shared between the men. Her fingers skate across the screen, faster than an F-18 on descent, and Rooster looks over his shoulder to get in on the joke. 

It takes him all of two seconds to find them, mostly because Hangman has just flashed that thousand-watt smile that could probably blind an enemy dogfighter. 

He leans against the counter, the cocky bastard, with a pint glass in his hand – one that should be in all of their hands right now. Not an empty glass filled with an inch of foam. Looking down at the barstool next to him, or more specifically, at the woman perched there.

Slender, blonde, dressed down in a t-shirt and jeans, and most definitely a civilian. He can’t accurately weigh in on Fanboy’s assessment, at least until Rooster can catch a glimpse of her face. 

“I knew it!” 

All of them startle when Phoenix makes the announcement and looks up from her phone with the victorious expression of someone who’d just shot down Maverick in a dogfight. She waves her phone in front of their faces, too fast for him to make out more than a blur of words and pictures. 

“I fucking knew it. I follow her on Instagram.” And the wide smile on Phoenix’s face be described as nothing short of gleeful gloating. She cackles to herself, leaning over to show the screen to Bob again. “And you little shits made fun of me for loving documentaries so much. Who’s laughing now?”

Documentaries…. 

Recognition tugs at the edge of his drunken memory.

“Her name is – ” 

She turns, and Rooster sees her face. 

“Well, I’ll be damned,” Rooster calls out, and Phoenix and Bob startle at the sudden change in volume, brown and blue eyes shooting up from the phone like Rooster blared an airhorn between their heads. He ignores them. “Am I seeing things, or Nora fucking Rogers, is that you?” 

Everyone in a 10-foot radius looks at him, exchanging looks and eye rolls, dismissing him as belligerent but harmless, but Rooster ignores them, keeping his eyes locked on one woman. 

Cornflower blue eyes survey the crowded room, sifting through the noise to place the voice, and finally, land on him. Surprise softens her features. And as the jukebox switches tracks, another crooning 1980s love song pouring through the speakers, Nora Rogers smiles at him for the first time in half a decade.

“Bradley Bradshaw, from beyond the grave.” 

It really is him. This… six-foot-something hallucination with tree-trunk arms and a ridiculous porn star mustache and a familiar gleam in his eyes that spelled trouble. Did Charlie know Bradley would be here? She might’ve mentioned that. Nora looks up at him… and up again, because goddamn, were all Naval aviators so fucking tall?

An awkward beat passes where Bradley and Nora seem to grapple for the right greeting for a person you hadn’t seen in years and hadn’t seen all that often in the first place and mutually, come up empty-handed. 

They’d met all of four or five times over the years, courtesy of the long-distance friendship that blossomed between Aunt Charlie and his mother Carole after Pete had left his Top Gun instructor post and shipped out again. She could use the extra friend without her husband, Charlie had said. 

And then, Nora got older and became Charlie’s backup plus one to some Naval Aviation functions, usually thrown by Top Gun graduates who passed through when Charlie was a civilian instructor. She’d see him there every once in a while, all grown up and pursuing his dreams of becoming a pilot. 

And then, Nora thinks absently, there was that one time…

She should’ve remembered that Bradley Bradshaw is a hugger. 

Making up his mind for them both, Bradley reaches out and tugs her against his chest. And for one moment, Nora can feel the muscled strength of his arms banded around her torso, the firmness of his chest underneath the open Hawaiian shirt and incredibly thin white tank; can practically make out the ridges of his abs through the fabric. 

It is barely longer than a brief squeeze, but as Nora pulls back, an unnatural but not entirely unexpected lightness buzzes in her chest. She is quick to blame it on the lack of sleep and dark liquor coursing through her veins.

She is feeling all kinds of strange tonight. 

Like earlier, when Jake Seresin handed over the Old Fashioned, an unshakable curl to his lips, and as Nora took a delicate sip, watched the movement with half-lidded eyes; the muscles that worked in her throat. Like Jake wanted nothing more than to follow the path with his mouth, and Nora could picture him sprawled across her bed, clear as a snapshot: chests heaving, sweat dripping, tongue dragging across her pulse point, his large hand a collar around her throat. 

Right then. Silly little thoughts like that. 

Nora clears her throat, tugging at the neckline of her tee, and almost unbidden, like a magnetic pull, her gaze wanders back to him, standing in nearly the exact same spot at the bar, collecting a round of drinks. He apparently owed the group for the last pool game or something.

She can’t help but notice a new tension in his shoulders that wasn’t there a few minutes ago. She can tell, having been slightly too preoccupied with the strong line of his shoulders over at the bar for her own liking. He’d seemed so casual at the bar, so relaxed. 

Is Jake mad? At Bradley, for interrupting them? At Nora, for coming over here?

These seem to be his friends. He was playing pool with them after all, up until Jake approached her at the bar. And Nora was hardly even talking to him at the bar, scribbling in her notebook and entertaining the occasional question as Jake seemed content to stand at her shoulder and watch. 

“What’s your name?” 

“What’re you doing in Fightertown?” 

“What do you do for work?” 

“A filmmaker? Like Quentin Tarantino?” 

And Nora had been incised enough to set her pen down and stare him down. “I make documentaries, and if I did make movies, I’d at least like to be compared to someone decent. Not some piece-of-shit asshole director.”

His brows rose, but Jake looked unperturbed. “Like who?” 

“Like… I don’t know, Nora Ephron or Greta Gerwig. You probably don’t even know who Nora Ephron is, do you? Do you also think Fight Club is a love letter to toxic masculinity?” 

He exhaled a laugh, brows still halfway to his hairline, and opened his mouth to reply when Bradley called her name, and Nora was gone before Jake could get another word in.

Still. Seeing him look so… Tense? Dejected? Annoyed?

It makes her feel off-kilter. 

Maybe Jake just wanted to chat her up at the bar and go back to his friends, not to be bothered for the rest of the night. She’s ruined that plan by coming over here, invited or not. It shouldn’t matter. She can’t stop herself from wondering anyway. God. Why do you even care?

She doesn’t know him, and after tonight, she’ll likely never see him again. 

He starts to turn, and Nora slingshots her gaze back to Bradley, refusing to be caught watching him, who is looking down – and down – with a rose-colored hue to his face. A pair of aviator sunglasses sit crookedly over his eyes, showing her reflection. 

She takes a half-step back to not have to crane her neck so much to meet his eyes. Raises her voice to be heard over the music, much closer to the jukebox now. “What are you doing here? I might be out of the loop, but didn’t you already graduate from Top Gun? Like many, many years ago?” 

“She’s calling you old, Rooster,” Jake cuts in, reappearing and passing out the few bottles and glasses around the circle. Seven total, including another Old Fashioned that Nora probably doesn’t need but still accepts. He shoots her a wink over the glass. “You gonna take that, man?” 

“I was not, you jackass,” Nora shoots back, the second Old Fashioned blurring the lines between her brain and her mouth.

Jake settles against the pool table in a casual stance, arms crossed across his chest, biceps bulging. She must’ve imagined the earlier tension. He seems fine now, watching her with a smirk.

“I didn’t expect to see anyone I knew here. Answer the question, Bradshaw.” 

Bradley’s laugh is a little loud, a little unsteady. One look at the nearest hightop table, littered with empty beer bottles and pint glasses, tells her everything she needs to know. 

Bradley Bradshaw is tipsy. Color shines high in his cheeks.

“‘What am I doing here?’ You’re on a Naval base, darling, which makes me,” Bradley pushes the glasses up the bridge of his nose and with the hand holding the new beer bottle, gestures to his own chest. Covered in that shirt that is… not hiding much, “the law around these parts. I ask the questions around here.” A dark-haired woman rolls her eyes behind his back. “What the hell are you doing here, civilian? You following me around now?” 

Oh wow. He’s so drunk. 

“In your dreams.”

She doesn’t like the look on his face; doesn’t trust what drunk Bradley might spit out next in a public setting, so Nora brings them back to more even ground, summarizing everything with a short and sweet, “I’m doing Charlie a favor” that is more or less true. Gives him the barest rundown of her past 48 hours, all too aware of the four Naval aviators standing within earshot, shooting her curious glances and waiting for an introduction. 

“It’s your turn now.” 

“We were here on a special detachment. Eight months ago. Top secret shit,” Bradley offers in an oh so serious tone. All of his concentration seems to go towards hiding a smile. It’s given away by the obvious twitch of his mustache, dampening the effect slightly. “I can’t talk about it, or Cyclone will shoot me out of an airlock.” 

“We’re on the ground, Rooster.” 

“Semantics, Payback. He will take me up into the atmosphere in an F-18 just to shoot me into space. And then, probably like, come down here and have one black coffee in victory. Happy now?” 

Nora offers, “I actually have some security clearance.”

Some was probably an exaggeration. Charlie set her up with a director who needed an assistant, back when Nora really needed another project under her belt to build her portfolio. Lightly sensitive, all for internal use, of course.

“No shit. Aren’t you special?” 

Drenched in sarcasm, but Bradshaw is looking at her over the edge of his pint glass with a hint of something else in his brown eyes.

Nope. No. Not going there tonight. 

“Now, Bradshaw.” She delivers a light slap to his chest, and Bradley looks down, amused. It’s a little more familiar than Nora was going for. She probably didn’t need another drink. “When are you going to stop being rude and introduce me?” 

His arm settles over her shoulders, swiveling her like a Hard Deck barstool to face the rest of the group. They go down the line, one by one. Call signs, then their first and last names, upon request because Nora refuses to call a bunch of grown men things like Rooster and Fanboy. Phoenix is actually a damn cool name. 

Phoenix, Fanboy, Payback, and Bob.

Natasha, Mickey, Reuben, and Bob again.

“And Hangman,” Jake finishes, a pronounced twang in his voice that Nora didn’t notice before. She was missing the accents earlier, wasn’t she? “We met at a little spot not far from here. I was the devastatingly handsome man buying you a drink.” 

“Sorry,” Nora shoots back, all calm and collected. “I don’t think I know a Hangman. Doesn’t sound like a real name to me.” 

A muscle twitches in his cheek. “Jake.” 

“It’s all coming back now.” And Nora doesn’t mean for it to come out so quiet, so intimate. “Hi Jake.” 

He flashes her a dimpled grin, all soft edges. “Hi Nora.” 

It’s so damn charming that Nora has to bite back an unbidden smile, but with the high-speed attention of an F-18 pilot, Jake catches it, the smug son of a bitch. He lifts his beer to his mouth and shoots her a heated look that curls her toes inside her boots. 

“So,” Phoenix interjects, glancing between them with an all too knowing look that makes Nora flush. “Who is up for another round of pool?” 

She should’ve stuck to her original plan, which would have seen her leave over an hour ago. Already curled up under the sheets for a long, much-needed sleep by now. 

But Nora is having too much fun, sitting on a barstool near the pool table, watching the game and listening to them trade insults and stories (just the non-classified ones, of course) back and forth. All of them seem to know each other well, and Nora learns early on that Captain Mitchell recruited them for this special top-secret detachment a few months back. 

“We’re still here under Maverick as an actual squadron now. We’re… I’m sorry, I’m not exactly sure what I can and can’t tell you,” Bob explains, cutting himself off with a sheepish expression. He is damn cute, clean-shaven and baby-faced. Easygoing. He reminds her a little of a duckling, jabs rolling off his back like water. “You can ask Maverick on Monday. Are you just following him around with a camera or…?”  

She gives him the quick run-down, well aware that the Daggers are all within earshot now, not even pretending not to eavesdrop on the conversation. “It will probably be a good bit of interviews and additional footage. It’s not just about Captain Mitchell. I’ll be focusing on the whole team.” 

“We’ll probably be seeing a lot of you then.” 

It is a perfectly nonchalant observation, but Nora’s heart does a stuttered thump-thump in her chest, the exact same realization piercing through her intoxicated brain way too late. If Maverick is their CO, then Bob is on the team that Nora will be profiling in the feature. All of them are. Which means...

She will be seeing them. Probably every single day.  

Nora manages to get out an even, “I guess so.” 

She remembers the cardboard box of files, sitting unopened next to her overturned suitcase, and wants to bang her head against a wall. Instead, Nora washes down the overwhelming sense of uh oh with a too-quick gulp of her drink. Green eyes burn against the side of her face, stinging like the bourbon in her nostrils. 

Natasha drops onto the next barstool over, providing the perfect distraction from her thoughts. She’s just landed an impressive sequence of shots against Mickey and Reuben, who now stand staring down at the table, hands on hips in identical stances of contemplation.

“I follow you on Instagram,” Natasha admits, snagging her beer bottle from a nearby table and waving off the popcorn that Bob offers her. “And I have to tell you. I have invited these idiots over to watch documentaries with me more times than I can even remember. Tried different topics too. Bob is the only one who ever comes over. Don’t let them convince you otherwise.” 

“Oh, I won’t. I can smell a fraud a mile away,” Nora reassures, a conspiratorial gleam in her eyes to match the other woman, “but I, for one, would love an invitation to watch a documentary with you. Make it a weekly thing while I’m here.” 

And Natasha grins wide enough to inspire warm and fuzzy feelings in her chest. Is this what budding friendship felt like? She has been on the move so much lately. She’d almost forgotten. 

“Nora is my friend, Phoenix,” Bradley cuts in, sunglasses sliding further and further down his nose. His large hand comes up to deliver a playful push to the other woman’s shoulder. “Stop trying to steal her away from me. Get your own friend.” 

“We’re friends now, are we, Bradshaw?” Nora can’t help her laugh, slightly mocking, light enough not to be mistaken as rejection. “I haven’t seen you in like… five years. You probably don’t even know my birthday.” 

He pouts. “Phoenix doesn’t know your birthday either.” 

“It’s in August. She posted about it on her Instagram.” 

“Go away, Phoenix,” Bradley reaches across her again to push at Natasha harder. He loses his balance a little bit and nearly topples into Nora’s lap, only caught by Phoenix shoving against his shoulder. “Don’t let her do this, Rogers. You’re breaking my heart here.” 

“You’re drunk,” Nora giggles, an honest to god giggle, only reserved for drunk Nora. Sober Nora laughs. Drunk Nora giggles. It’s usually a sign to call it a night. “You’re drunk, and I think… I think I might be drunk.” 

“You’re definitely drunk.” 

Nice. Real professional. Getting drunk on the night before her first day and with none other than the only team of pilots on North Island that she is guaranteed to see after tonight. 

“Oh no….” Nora whispers through another giggle, and with a hand that feels disconnected from her arm, reaches up and pushes Bradley’s sunglasses back up his nose. His grin turns wolfish and… “I think I need to go home.” 

“Or…” 

“I can take you. Where’re you staying?”  

Jake pulls his keys out of his pocket and dangles them from a finger, while Bradley straightens, with sudden coordination, to his full height. Out of the corner of her eye, Natasha has paused mid-sip, watching with unadulterated interest, like Rooster and Hangman were the most interesting thing on television. Bob offers her the popcorn again, and Natasha takes a handful. 

“You’ve been drinking.”

“I stopped an hour ago, and I only had two.” 

“She doesn’t know you.” 

“Did you not just say you haven’t seen her in five years?”

“She’s not going home with you.” 

“Jesus Christ…” Jake scrubs a hand over his face, his growing irritation plain. “It’s a ride home, not an invitation to bed. You’d rather put her in a cab with a stranger than have me drive her home? What’s your problem?” 

“My problem is – ” 

Well. This is… rapidly descending into a testosterone fest.

She can feel a dull ache developing in her temple, a heaviness to her lids that is becoming harder to ignore. She needs a strong painkiller, about three and a half glasses of water, and a bed. Preferably tonight. 

“Alright, I’m calling an Uber.” 

 She reaches for her phone, and Jake raises a placating hand.

“Don’t waste money on an Uber. I’ll take you home,” Jake repeats, looking pained, and then, Bradley Bradshaw opens his mouth and takes a big breath, gearing up to restart this idiotic argument. 

“Bradshaw, I swear…” Nora presses her fingers to her forehead and closes her eyes. “In about five minutes, I might sleep on that pool table, so please, I will take what I can get. I’m staying at…” Did Warlock ever give her the address? Goddammit. “It’s… It’s like a blue apartment building next to the beach. It’s not far from here. Know what I’m talking about please.” 

Exhaustion makes her blunt, but Jake looks amused again.. More amused than Nora would give herself credit for inspiring with her drunken rambles.

“I know it. We all live there.” 

Oh. Oh no. 

“Oh. Great.”  

She really will see them every day, even on her days off.  

Something flashes across Bradley’s face, too quick for her to clock it, but Nora is focused on putting hands on her phone, wallet, and keys. Hoisting her bag onto her arm. 

“Well, I’ll come with you.” 

“Rooster. Seriously?” 

“No, I should probably call it a night too, and I caught a ride with Phoenix here anyway. I’ll come back with you guys.” 

Jake and Bradley share a long stare-down that Nora is too tired to even process. It is some sort of telepathic conversation that must be exclusive to Top Gun graduates, or a silent dick-measuring contest. One of the two. 

“Oh,” Phoenix observes, tossing another piece of popcorn in her mouth. “This’ll be interesting.” 

Yeah, Nora thinks. It’ll be something alright. 

It is a short ride back to the apartments. Bradley hums the words to ‘Great Balls of Fire’ under his breath the whole time, over and over in an unending loop, while Nora presses her forehead to the window, breath fogging the glass with the late night temperatures, and closes her eyes. 

It does little to alleviate the weight of Jake’s gaze, dashing off the rearview mirror at every red light. He casts a sideways glance at Bradley, then opens his mouth to say something, but then Nora’s eyelids flutter closed and Jake remains silent, reaching for the radio knob to turn the volume down.

His truck finally rounds the last bend in the road and pulls into the lot, and Nora is damn near crawling out of her skin. She drank two full glasses of water at the bar before leaving. She isn’t buzzed enough at this point to blame the heady warmth on the alcohol. It’s him.

“Now, ladies and gentlemen,” Jake expertly steers the truck, one-handed, into a spot along the front row of apartments. She can see her door from here, spotlighted under a second-floor flood light like a safe haven. “Please keep all hands and feet inside the vehicle until I’ve come to a full and complete…” 

He’s barely tapped the brakes when Nora mumbles a good night and makes a run for the staircase. 

“Alright then,” Jake calls after her through his open window, accent thick from drowsiness. “Good night to you too, sweetheart.”

She shuts her door on his raspy chuckle. 

It echoes in her ears all the same, even after splashing freezing cold water on her neck, stripping off her clothes, and climbing into the bed with the slightly scratchy sheets. Lingers, like the brush of his fingertips down the side of her neck. 

Nora heaves a sigh in the blue dark. “Goddammit.” 

end note: likes, comments, and reblogs are always appreciated. and if you have thoughts and feelings, please shout in my asks or my messages. i'd love to hear from you!

read the next chapter!

[jocia92]

Dan Stevens couldn't say no to Godzilla x Kong: The New Empire. Part of the reason was that he loved the character he got to play; the other part was that the role was literally written for him.

"Adam Wingard, the director, and I have been good friends since we made The Guest. We've been talking about many things over the years but not nearly on this scale," the British actor explained. "Usually, they were weirder, indie-sized things that have yet to come to fruition, but then Adam started getting into these big blockbuster movies. I loved what he did with the last one, but with this, I think it's fair to say that he and Simon Barrett, who also wrote The Guest with Adam, created and wrote Trapper with me in mind, hoping that I would be lured in. Honestly, it wasn't hard for them to lure me."

... Unlike frenemies Godzilla and Kong, Stevens and Hall have been firm friends for decades, which is one reason he thinks they work so well on screen.

"I loved working with Adam again, but Rebecca is involved here, and I've known her since we were about 18 or 19. We were at college together," he enthused. "Brian Tyree Henry is someone I've been friends with for many years, but we've never worked together. I adore him, and I think he's a fantastic actor. To get to come and essentially play with a group of friends in such a fun world was pretty automatic for me to say yes."

"Rebecca and I were roommates after college, but at university, I think the only thing we did together was a production of Macbeth, where we were Mr. and Mrs. M. One of my first professional theatre gigs was working for her father, Sir Peter Hall, on a production of As You Like It. We also did a movie called Permission a few years later when we were both living in New York. We go way back, so it was lovely to step into this with such an old mate and have another mate direct it. We had a huge amount of fun on and off screen, which I hope comes through the lens."

While Stevens wouldn't call himself an aficionado of Godzilla or Kong lore, he has been drawn to it since childhood.

"There was that big Godzilla movie in 1998 with the Puff Daddy track. It was prime teen time for me, and I remember seeing that in theaters," the actor recalled. "There was also the Peter Jackson King Kong movie a few years later, so the two definitely loomed pretty large in my adolescence. Also, being aware of movie history and Godzilla being very much part of that fabric, particularly the B movie world. If you look at any books relating to the history of sci-fi, whether it was Mechagodzilla or whatever, I was always aware of that."

"With so much Godzilla content out there right now, it's a great time to talk about it. The mythology endures, and it endures for a reason. It has something that speaks to our age, whatever that age is. Ever since it was created, it seems to resonate in the world."

Stevens wanted to work with Wingard again since they made The Guest a decade ago, and he recalled how his filmmaking friend sold the concept to him.

"He described the scene where Trapper goes and commandeers the HEAV, which stands for Hollow Earth Aerial Vehicle, and flies it into a flock of creatures that are humming with dangerous electricity that fly through and become sort of instrumental in the climax of the movie. He basically narrated that scene to me, and it sounded very cool," he said. "Then I read the script and to introduce a character by having him drop 60 feet off a crane into Kong's mouth to help take a tooth out, I thought. 'That is a cool way to introduce a character.' I wouldn't say the whole thing is me, but there's something in Trapper that I enjoyed bringing out in a world like this. You've got a character who's optimistic, pretty happy-go-lucky, unfazed, seen it all, and he's been around the block, and he's not going to be too freaked out by anything. That's always a nice character to have in the mix in a team-up movie like this. The whole thing was a privilege to step into a character like this that felt so easy and comfortable and do that with such great people."

Stevens knew exactly what real-world and pop culture references and influences he wanted to use to bring Trapper to life.

"A man-child was a big touchstone," he laughed." There's a sprinkling of Ace Ventura in there, and a bit of Dr. Doolittle and Bear Grylls is probably in there, too. There are a lot of fun characters in the mix. I liked the idea of this very optimistic Brit because we're not always known for our optimism. Trapper is a reasonably international character. He probably left the UK when he was quite young. We definitely had a scene where he told a story about his time in Africa, which didn't make the movie's final cut, but it gave us some context. He's been to the jungles and the desert; he's an adventurer and has that element of being pretty chipper in the face of enormous peril."

The actor, also known for Downton Abbey, Beauty and the Beast, and Eurovision Song Contest: The Story of Fire Saga, thinks Trapper has more escapades to enjoy. Like Hall, he'd love another appearance in the Monsterverse franchise, whose first four films grossed $1.96 billion worldwide.

"The adventures of Trapper would be wild, whether it's a prequel or a sequel," Stevens enthused. "I would love to see more of Trapper, and I'm very touched that you said that. He's a character I enjoyed, and I think you could send Trapper almost anywhere, and it would end up being fun, funny, and weird. There's plenty of story there."

The actor reveled in Godzilla x Kong: The New Empire's visual and sonic designs, where Wingard, a director not shy to rave about his love of the 80s, leaned into the era and what it offered creatively.

"There was definitely artwork he'd created going in that they had in what they called the War Room. Wall-to-wall, there were designs of all the creatures and the worlds we would see. A lot of the time, that's green or blue screen effects that we're not really seeing, although some of the sets were real, and sometimes we were going into the jungle," Stevens recalled. "That's a hallmark of Adam Wingard, the Vaporwave synth soundtrack, the blues, purples, and pinks in the lighting. There are so many great 80s movies infused in there, as well as anything from John Carpenter and maybe some John Woo. You're in good hands when you're with Adam because it will be steeped in great and authentic movie references, have a great soundtrack, and look cool. That allows you to relax into whatever you're doing and throw yourself in. The outcome is just a wild ride."

The actor isn't just grateful to be reunited with friends and creatives he adores and admires; he's also happy that it falls during the tenth-anniversary celebration of the first film he and Wingard made together.

"I didn't realize it was ten years, but I knew it was coming on for that. They did a fun thing last April as kind of an April Fool's gag but also kind of not? They released a soundtrack to The Guest 2, which absolutely slaps. Adam is a huge fan of many of the bands invited to contribute to the first film's great soundtrack, so he invited his favorite synth acts to contribute a track to a fake sequel," Stevens explained. "They issued an LP of it, and I think Adam and Simon had worked on an outline of what this movie might be. They issued that to these various artists who had composed some great music. It really is a good standalone album."

He concluded, "The Guest is still finding an audience, and that's delightful. You can't expect that from everything you do, but it's special when one endures like that. I'm particularly fond of it. It came along at a particular time when I had an appetite to do something very different from what I'd done previously. It ticked a lot of boxes and challenged me in several ways. It stays out there as a great calling card for the kind of weird things that I like to do. I don't know if there will be a sequel to The Guest specifically. I know they've got various plans, whether it was a mini-series or a movie, but I certainly hope to work with both Adam and Simon again in some capacity, so never say never."

[mefocusuae]

Elevating Your Vision: Dubai Photography and Videography Experts

Dubai is well known for its abundance, creativity, and stunning scenery. In this colorful environment, the fields of photography and videography bloom with experts who combine cutting-edge technology with creative vision. These professionals from a leading Dubai photography company grab opportunities to create visually stunning works of art that enrich the story and significantly impact viewers.

Skilled experts improve your vision, turning momentary experiences into classic memories. They can handle the city's many scenes with a keen eye, technical skill, and local knowledge, resulting in images and movies that will stick with you for years.

The Art of Photography in Dubai

Dubai's photographers are known for their expertise in the field. Using cutting-edge tools and an acute sense of detail, they produce breathtaking photos beyond the ordinary. Every picture, from the soft desert views to the shimmering buildings of downtown Dubai, tells a different story about the city's blend of modernity and legacy. Whether covering events, taking portraits, or shooting architecture, Dubai's photographers are skilled at capturing moments that appeal to viewers worldwide.

Mastering the Craft of Videography

Dubai's videography experts are known for their ability to create visually captivating stories. These experts create cinematic experiences through editing, story structure, and cinematography. They are not only filmmakers but also storytellers. Dubai's videography talents bring ideas to life on screen, engaging viewers and making a lasting impression. From corporate movies demonstrating the city's business power to event footage capturing the thrill of cultural festivals, they truly make an impression.

Innovations in Aerial Photography and Videography

One of the most powerful aspects of Dubai's photography and filmmaking scene is using drones to take photos from above. Using drone technology, these experts can capture stunning photos above the city's well-known skyline, stunning buildings, and wide environment. Aerial photography and videography, including top-tier videography service Dubai, give the visual story a dynamic perspective, giving viewers an exclusive viewpoint and immersing them in Dubai's splendor from above.

Finding the Perfect Fit: Considerations for Choosing Your Expert

Your goals and vision will determine which of the many skilled photographers and videographers Dubai offers to help you choose the right partner. Here are some important things to consider about:

Portfolio Review: Spend time browsing potential candidates' online portfolios to understand their style and ensure it aligns with your vision. Look for a compatible aesthetic that resonates with your liking, whether a surprising, high-contrast design for architectural photography or a light and airy approach for portraits.

Knowledge and Skill: Seek out experts in your chosen field, such as architectural photography or documenting hectic events. Look beyond the number of years of experience to determine if the photographer or videographer has worked on projects or with clients similar to yours by looking through their client portfolio.

Collaboration and Communication: To provide a productive and satisfying encounter, look for somebody with whom you can share your ideas and choices. Please set up a consultation to assess their communication style and personality. Your ideal fit will be someone who actively listens to your vision, makes innovative suggestions, and creates a collaborative environment where you feel comfortable sharing your ideas.

Rates and Budget: Establish a budget in advance and ask the photographers or videographers you have narrowed down for quotations. Be open and honest about the expectations and scope of your project. Never be scared to haggle, but remember that sometimes the best deals are only those with the lowest price.

Customer Testimonials: Review previous customer reviews and testimonies to learn more about the work ethic, responsiveness, and quality of work the photographer or videographer can do.

Collaborations with Brands and Events

Dubai's photography and videography experts, particularly those from reputable Dubai photography company, are in high demand because of their prowess in working with companies, events, and brands. They adapt their talents to suit a variety of customer objectives and recognize the value of visual storytelling in marketing and promotion. From event coverage for esteemed events to product photography for high-end labels, these professionals infuse every assignment with innovation, professionalism, and a deep sense of brand identity. Their partnerships produce aesthetically spectacular content that engages viewers and increases engagement. 

The Impact of Technology and Innovation

Technology and innovation greatly affect Dubai's booming photography and videography industries. Urban experts are adopting inventions like virtual reality (VR) and augmented reality (AR) to frame immersive visual experiences. This technology gives viewers interesting new ways to interact with information by improving storytelling. Dubai's forward-thinking attitude to technology means that its experts in photography and videography are constantly at the forefront of invention and creativity, pushing the limits and setting new standards in visual communication.

The Value of Local Knowledge

A photographer or videographer in Dubai adds value beyond technical expertise with local understanding. They know the best spots for photos, the hidden treasures of the city, and the subtleties of navigating different areas. This knowledge results in more seamless shoot coordination, effective time management, and a stronger bond with the city's distinct character captured in your finished shots.

An architectural photographer at Me Focus, who is experienced in capturing Dubai's always-changing scenery, can suggest the ideal time of day to get golden light photos of the Burj Khalifa. For your sunset photos, a travel photographer may know of a remote location in the desert with stunning all-around vistas. Local knowledge also makes obtaining permits to visit particular areas easier, making the shooting process less stressful.

Conclusion: Elevate Your Vision with Dubai's Experts

The professionals at Me Focus, Dubai, specializing in photography and videography, including videography service Dubai, are more than just those with cameras. They are visionaries, inventors, and storytellers who enhance visual experiences and make a lasting impression on viewers worldwide. These professionals guarantee that every moment is turned into a remarkable visual masterpiece, whether taking breathtaking pictures that highlight the beauty of the city or creating captivating, motivational cinematic videos. In Dubai, creating art that uplifts, inspires, and unites people worldwide is the true essence of photography and videography.

[imsparky2002]

Batraculous: Director Bat

Character Name: Mona Truffaut

Miraculous Hero Name: Director Bat

Appearance: Mona, known as Director Bat, has a warm and approachable appearance. Her wavy, shoulder-length dark brown hair frames her face with a sense of casual elegance. Dark skin complements her features, and her dark amber eyes radiate depth and creativity. A chipped tooth in front adds a touch of character to her smile. Mona possesses a short but strong build, reflecting her determination and resilience. She typically dresses in comfortable and casual attire, with a penchant for jewelry that adds a personal touch to her style.

Bio: Mona prefers she/they pronouns and is a laid-back and easygoing individual with a profound passion for photography and filmmaking. She often serves as the peacemaker among her classmates, adept at resolving conflicts and diffusing tense situations. Her occasional flights of fancy may not always make sense to her friends, but her big heart and conflict-resolution skills more than compensate for it. Mona also loves to decorate her wheelchair with stickers and ribbons, adding a vibrant and personal touch to her mobility aid.

Batsuit Description: Director Bat's batsuit reflects Mona's creative spirit and her passion for photography and filmmaking, featuring a blend of comfort and style.

Cowl: Mona's cowl has a sleek and minimalist design, resembling a high-tech camera lens. It includes a built-in heads-up display with photography and videography tools, allowing her to capture critical moments during battles. The cowl also contains a communication system for coordinating with her fellow heroes.

Cape: Her cape is a deep, rich shade of maroon, symbolizing her love for storytelling and creativity. The cape is designed to resemble a film director's chair, complete with embroidered symbols of various film genres. The cape can transform into a set of wings that enhance her mobility and provide aerial maneuvers during battles.

Armor: Director Bat's armor is both protective and comfortable, allowing her to move freely while maintaining her creative edge. It features subtle camera lens patterns and film reel motifs. The armor includes reinforced gloves with tactile sensors that assist in handling her equipment and gadgets.

Gadgets: Her utility belt contains a range of photography and filmmaking-themed gadgets. Mona carries flash grenades that emit blinding bursts of light, temporarily disorienting akumas and providing her with the perfect shot. She also has a retractable tripod staff that can be used for balance, mobility, and melee combat. Her chair is rocket powered in case of emergencies.

Director Bat's batsuit embodies Mona's artistic and creative spirit, adding a touch of storytelling flair to the Miraculous heroes of Paris. With her unique perspective and ability to capture pivotal moments, she plays a crucial role in documenting and narrating the team's adventures. Whether it's through photographs or her insights, Mona brings a fresh and artistic perspective to the heroics of Paris.

Thanks to ChatGPT for assistance. Make sure to reblog, reply, post and ask for more. @artzychic27 @msweebyness

[byneddiedingo]

'Farley Granger and Cathy O’Donnell in They Live by Night (Nicholas Ray, 1948)

Cast: Cathy O’Donnell, Farley Granger, Howard Da Silva, Jay C. Flippen, Helen Craig, Will Wright, William Phipps, Ian Wolfe, Harry Harvey. Screenplay: Charles Schnee, NIcholas Ray, based on a novel by Edward Anderson. Cinematography: George E. Diskant. Art direction: Albert S. D’Agostino, Alfred Herman. Film editing: Sherman Todd. Music: Leigh Harline. 

Though usually remembered as a precursor of another, more celebrated lovers-on-the-lam movie, Bonnie and Clyde (Arthur Penn, 1967), They Live by Night stands on its own, largely because of novice director Nicholas Ray's attention to characterization and detail. This is a film with texture, rising above its melodramatic core by constantly introducing peripheral detail. Instead of opening, as a conventional movie might have, with a dramatization of the prison break by Bowie (Farley Granger), Chickamaw (Howard Da Silva), and T-Dub (Jay C. Flippen), it begins with an aerial shot of the stolen car speeding across the landscape -- a daring early use of what has become routine in filmmaking, namely, a helicopter shot. Ray continues to fill his frames with the unexpected: As Bowie hides behind a billboard, waiting for Chickamaw and T-Dub to return with another car, a small dog appears and hangs around the young fugitive. Later, when Bowie and Keechie (Cathy O'Donnell) begin their flight on a Greyhound bus, Bowie is seated beside a woman who is determined to ignore her crying, squirming baby, leaving Bowie to try to quiet the infant. Neither dog nor baby is essential to the scene, but by their very presence they lend a quality of innocence to the boyish fugitive. Bowie and Keechie decide on the spur of the moment to get married in a quickie ceremony conducted by an anything-for-a-buck justice of the peace (Ian Wolfe), who calls on his standby witnesses. After the perfunctory ceremony, the woman witness hugs Keechie, but the male witness declines because he has a cold. Again, the witness's cold is irrelevant to the plot, but it serves to add a subtle note of disorder to the scene, a hint that Bowie and Keechie will always be subject to forces as far beyond their control as the common cold. I don't know whether dog and baby and cold were present in the novel by Edward Anderson, Thieves Like Us, on which the film is based, or if they were introduced in Charles Schnee's screenplay or in Ray's revisions of it, but the fact that they were either introduced or retained in the film speaks volumes on the kind of director Ray was: one attentive to the contingencies that bring a film to life. Granger and O'Donnell are incredibly touching in their performances, and the rest of the cast rise about the stereotypes they could easily have become. Anderson's novel was filmed again, under its original title, by Robert Altman in 1974, and I remember liking that movie. But unless another viewing of Altman's version changes my mind, I think They Live by Night is better.

[genesismedia]

The Rise of Drone Videography in Delhi Video Production Industry

Drone videography has transformed the video production industry in Delhi, enabling filmmakers to capture stunning aerial views and immersive visuals. This technology elevates storytelling by providing unique perspectives, essential for industries like real estate, tourism, and events. As demand for dynamic, high-quality content grows, drones have become indispensable in Delhi’s video production industry, setting a new standard for creative visuals and innovation. Discover how drones are reshaping visual storytelling in Delhi's competitive market.

[appu143]

Gimbal Robot in USA

A gimbal robot is a kind of robotic system built to keep its mounted equipment—usually a camera or sensor—in a steady orientation or position. To counteract undesired movement or vibrations, the "gimbal" mechanism is made up of a number of motorized, revolving rings or frames. This configuration keeps the robot's core level and steady while enabling it to counteract motions, whether they are brought on by vibrations, the surroundings, or deliberate movement. In essence, even in high-motion scenarios, the gimbal robot maintains a balanced position, producing stable, fluid photos or data acquisition.

Key Applications of Gimbal Robots in the USA

Production of Film and Media In the American film industry, gimbal robots have proven indispensable, especially for cinematographers who need steady, fluid shots. Gimbal robots, in contrast to conventional stabilizing equipment, are able to accurately control intricate movements, giving filmmakers hitherto unattainable dynamic, cinematic pictures. Gimbal robots are transforming the way that movies, ads, and live events are recorded with their simple, incredibly portable designs that enable complicated camera angles, fluid panning, and effective transitions.

Drone and Aerial Technology Gimbal robots are essential to the drone industry because they preserve steady video and precise measurements while in flight. Gimbal-equipped drones produce excellent images, which makes them perfect for use in emergency response, agriculture, real estate, and wildlife conservation. For example, the gimbal mechanism stabilizes the camera under extreme wind situations, allowing precise mapping, surveying, and real-time monitoring.

Surgical Support Gimbal robots in the medical profession help ensure accuracy during sensitive surgical procedures. These robots support surgeons during microsurgeries and other intricate procedures by stabilizing hands and minimizing hand tremors. They reduce surgical risks and improve patient recovery rates by stabilizing equipment to enable minimally invasive treatments. The use of gimbal robotics in surgery is growing and is improving healthcare results all around the United States.

Industrial Inspection and Maintenance Gimbal robots are used for maintenance, inspection, and monitoring in the industrial sector. They can be used in dangerous settings, such as nuclear power plants, oil refineries, and construction sites, where they provide steady, accurate imagery and data collection even under extreme conditions. Outfitted with cameras and sensors, these robots can identify problems such as corrosion, cracks, or leaks, guaranteeing efficiency and safety in high-stakes industrial settings.

In the USA, gimbal robots have solidified their position as indispensable instruments, promoting efficiency and innovation in a variety of sectors. They have revolutionized not only the film and drone industries but also vital domains like industrial inspection and healthcare by providing unmatched steadiness and accuracy. Gimbal robots have the potential to become increasingly more essential to the American economy and technology environment as the need for flexible, accurate, and dependable robotic solutions increases.

To know more click here

[remoteeee]

The Ultimate Guide to Drones: Everything You Need to Know with Remote Flyer

In recent years, drones have become a hot topic among tech enthusiasts and hobbyists alike. Whether you're a beginner looking to explore this fascinating hobby or an experienced pilot eager to learn more about the latest drone technology, you’ve come to the right place. Welcome to Remote Flyer, your go-to resource for all things drone-related!

At Remote Flyer, we are passionate about flying drones and have dedicated this platform to bringing you the best advice, reviews, and information on drone models, tips for beginners, flying techniques, and much more. If you’re considering diving into the world of drones, this guide will help you understand the basics, the best drones for various uses, and how to fly like a pro!

What Are Drones?

Drones, or Unmanned Aerial Vehicles (UAVs), are aircraft that don’t require a human pilot onboard. They are controlled remotely and can be equipped with cameras, sensors, and other specialized equipment. Drones are commonly used for aerial photography, surveying, mapping, deliveries, and even recreation. They come in various shapes, sizes, and specifications, making it easier than ever to find one that suits your needs.

Why Fly Drones?

Flying drones is more than just an exciting hobby. It’s an experience that allows you to see the world from a completely new perspective. Whether you’re capturing stunning aerial photographs, exploring remote landscapes, or simply enjoying the thrill of flying, drones offer endless opportunities for fun and creativity.

At Remote Flyer, we believe that flying a drone is a serious hobby for many, but it can also be a lucrative career for those looking to enter industries such as film production, agriculture, surveying, or real estate. The drone industry is booming, and now is the perfect time to get started. Whether you want to make a hobby of it or turn it into a profession, there’s something for everyone in the world of drones.

Types of Drones

When shopping for your first drone, it’s important to understand the different types available. Drones can vary greatly in terms of size, features, price, and intended use. Here’s a breakdown of the most common types:

Recreational Drones

If you’re just starting out, recreational drones are a great choice. These drones are lightweight, easy to fly, and often come with beginner-friendly features like altitude hold and automatic takeoff. They're perfect for casual flying, and many come with cameras to capture photos and videos from the sky.

Camera Drones

If your goal is to capture high-quality aerial photos or videos, then a camera drone is the way to go. These drones are equipped with professional-grade cameras that offer incredible resolution and stability, making them ideal for photography enthusiasts or even aspiring filmmakers.

Racing Drones

Racing drones are designed for speed and agility. These drones are built for enthusiasts who want to compete in drone racing events. They are highly customizable, allowing for precise tuning to suit individual racing styles.

Professional Drones

These drones are meant for serious professionals working in fields such as surveying, agriculture, mapping, or cinematography. They often come with advanced features like thermal cameras, GPS, and long battery life, making them perfect for commercial use.

Toy Drones

If you’re looking for an affordable option to start your drone journey, toy drones are a good choice. While they may not have the advanced features of higher-end drones, they provide a fun flying experience at an entry-level price.

Choosing the Right Drone

With so many options available, choosing the right drone can be overwhelming. At Remote Flyer, we recommend considering the following factors to help you make the best decision:

Purpose: What do you plan to use the drone for? Are you interested in aerial photography, racing, or just casual flying?

Skill Level: Are you a beginner or a seasoned drone pilot? Some drones are designed specifically for beginners, while others are made for more experienced pilots.

Budget: Drones can range in price from under $100 to thousands of dollars. Determine your budget before making a purchase.

Camera Quality: If you’re interested in aerial photography or videography, look for a drone with a high-quality camera and stabilization features.

Flight Time: Consider how long the drone can fly on a single charge. Flight time typically ranges from 20 minutes to over an hour, depending on the model.

Tips for Flying Your Drone

Flying a drone can be a thrilling experience, but it’s essential to do it safely and responsibly. Here are some tips to help you become a skilled drone pilot:

Start Slow: If you're a beginner, take the time to practice flying in an open area away from obstacles. Start with basic maneuvers, such as hovering and slowly moving forward, backward, and sideways.

Understand the Controls: Familiarize yourself with your drone’s remote control. Most drones have two sticks for controlling altitude, direction, and rotation. Practice until you feel comfortable with the controls before attempting advanced maneuvers.

Follow Local Regulations: Always make sure you're flying in accordance with local laws and regulations. This includes flying below a certain altitude, staying clear of restricted airspace, and respecting the privacy of others.

Pre-Flight Checklist: Before each flight, check the drone’s battery, propellers, and camera (if applicable). Make sure everything is in working order to avoid any issues during flight.

Fly Responsibly: Drones should be flown in safe, open spaces. Avoid flying over crowds, near airports, or in weather conditions that could make flying unsafe.

Why Choose Remote Flyer for Your Drone Needs?

At Remote Flyer, we’re committed to providing you with all the information you need to make the best decisions about drones. Our blog covers a wide range of topics, from drone reviews to flying tips, so you can stay up-to-date with the latest trends in the drone industry.

We also participate in the Amazon LLC Associates Program, meaning we earn a small commission on products purchased through our links, helping us continue to provide high-quality content for you. Whether you’re buying your first drone or upgrading to a professional model, Remote Flyer is here to guide you every step of the way.

Conclusion

The world of drones is vast and exciting, and at Remote Flyer, we’re here to help you navigate it with ease. Whether you’re a beginner or a seasoned pro, drones offer endless opportunities for fun, creativity, and even career growth. So, grab your drone, head to the skies, and let your journey begin!

Stay tuned to Remote Flyer for more tips, reviews, and everything you need to know about flying drones. Happy flying!

[film--pro]

Video Production in San Antonio: Elevating Your Content with Creative Excellence

In today’s digital-first world, video content has become a powerful tool for communication, marketing, and storytelling. Whether you're a business looking to expand your brand, an artist seeking to make your mark, or an individual wanting to capture life's important moments, video production in San Antonio offers an exciting array of opportunities to bring your vision to life. With its unique blend of rich cultural heritage, modern urban landscapes, and natural beauty, San Antonio has emerged as a thriving hub for creative video production. Local filmmakers, skilled crews, and high-quality production facilities are at your disposal to help transform your ideas into professional, polished content that engages and resonates with your audience. Why Choose San Antonio for Video Production? San Antonio is an ideal location for video production for several key reasons, from the city's stunning visual backdrop to its affordable rates and creative talent. Here’s why you should consider this vibrant city for your next project:

Diverse Locations & Scenic Backdrops San Antonio offers a variety of stunning backdrops for any type of video production. From the historical Alamo and the iconic River Walk to the natural beauty of Hill Country and the San Antonio Missions National Historical Park, the city is a visual feast for filmmakers. Whether you're filming a commercial, music video, or documentary, you’ll find no shortage of unique and diverse locations that can add an authentic touch to your project. Some popular filming locations in San Antonio include: • The San Antonio River Walk – Ideal for dynamic, scenic shots with urban flair. • The Alamo – Perfect for historical narratives or patriotic themes. • La Villita Historic Arts Village – A charming location for cultural or artsy projects. • Natural Bridges Caverns & Hill Country – For breathtaking nature shots.

Affordability Without Sacrificing Quality One of the major advantages of filming in San Antonio is the relatively lower cost of production compared to larger cities like Los Angeles, Austin, or New York. Whether you’re an independent filmmaker, a small business, or a corporate brand, San Antonio provides a more cost-effective solution while still offering high-quality video production services. From rental equipment to crew fees, you can get the job done efficiently and at a fraction of the cost of other metropolitan areas.

Access to Professional Talent San Antonio boasts a rich arts and entertainment community with a growing network of talented filmmakers, videographers, directors, editors, and cinematographers. Many production companies in the area have years of experience working on a variety of projects, from commercials and corporate videos to feature films and music videos. This skilled talent pool makes it easy to find the right creative team for your project, whether you need help with scripting, filming, or post-production. Additionally, many San Antonio-based production companies offer a full range of services, including: • Scriptwriting & Storyboarding – Helping you create a compelling narrative before filming even begins. • Casting & Talent Management – Finding the right actors and models for your project. • Video Editing & Post-Production – Enhancing your footage with sound design, color correction, and visual effects. • Drone & Aerial Cinematography – Offering breathtaking aerial shots that give your video a cinematic feel.

Easy Accessibility and Convenience San Antonio is centrally located in the heart of Texas, making it accessible for both national and international clients. The city is home to the San Antonio International Airport, which makes travel convenient for production teams and talent flying in from outside the region. The city’s infrastructure, including hotels, transportation, and catering services, is well-equipped to support large-scale video productions, whether you’re shooting on location or in a studio. Moreover, San Antonio is home to numerous film festivals, industry events, and networking opportunities, allowing you to connect with local creators and expand your network. Popular Video Production Services in San Antonio San Antonio is home to a wide range of video production services tailored to meet the needs of different industries and clients. Whether you’re a business, artist, or content creator, you can find a video production company that specializes in:

Corporate & Brand Videos Corporate videos are one of the most common types of video production services in San Antonio. These videos help businesses showcase their products, services, and company culture, allowing them to connect with their target audience in a personal, engaging way. Whether it’s a product demo, an internal training video, or a brand video, San Antonio’s video production companies can help craft a story that aligns with your business goals.

Commercial & Advertising Videos Video content is one of the most effective ways to grab the attention of your target audience, and San Antonio's production teams specialize in creating visually compelling commercials. Whether you’re advertising on television, YouTube, or social media, a professionally shot and edited commercial can make a significant impact on your brand visibility and consumer engagement.

Event Videography San Antonio is home to numerous events, from weddings and festivals to conferences and conventions. Capturing these moments on film is a powerful way to preserve memories or promote future events. Event videographers in San Antonio offer a range of services including: • Weddings & Private Events – Documenting your special day with high-quality wedding films. • Conferences & Conventions – Live-streaming or recording events for future viewing and marketing. • Festivals & Performances – Capturing the essence of San Antonio’s cultural events and live performances.

Music Video Production San Antonio’s vibrant music scene—from Tejano to indie rock—provides the perfect backdrop for creating stunning music videos. Many production companies in San Antonio specialize in music videos, offering creative direction, cinematography, and editing services to match your sound and vision. Whether you're looking for a simple, minimalist video or a visually complex narrative, San Antonio's production professionals can bring your music video ideas to life.

Real Estate Video Tours Real estate video tours have become an essential marketing tool in today’s digital-first world. San Antonio’s growing real estate market has led to an increased demand for professional video tours and virtual walkthroughs. These videos are a great way to show prospective buyers a property’s features and layout without them having to visit in person. High-quality real estate videos, complete with drone shots and interior filming, can significantly enhance listings and increase property sales.

Documentary Filmmaking San Antonio’s rich cultural and historical landscape offers a wealth of inspiration for documentary filmmakers. Whether you’re telling the story of local heroes, exploring the city’s diverse communities, or documenting unique events, San Antonio is an ideal location to produce compelling, authentic documentaries. How to Choose the Right Video Production Company in San Antonio Choosing the right video production company is essential for ensuring your project runs smoothly and meets your expectations. Here are a few tips for selecting the right team for your video production needs:

Review their Portfolio: Look at the company’s previous work to see if their style and approach align with your vision. A diverse portfolio is often a good indicator of their versatility and creativity.

Check References & Reviews: Talk to past clients to get a sense of their experience working with the company. Online reviews can also offer valuable insights into the quality of service.

Evaluate their Expertise: Make sure the production company has experience in your specific type of project. For example, if you’re producing a commercial, ensure they have a track record in advertising videos.

Discuss Budget & Timeline: Set clear expectations regarding the project’s budget, timeline, and deliverables. A reputable company will work with you to create a realistic plan that fits within your budget. Conclusion San Antonio is quickly becoming a hub for high-quality, affordable video production, offering diverse locations, talented professionals, and creative services for businesses, artists, and creators alike. Whether you’re producing a commercial, documentary, or event video, the city has everything you need to bring your project to life. By working with one of the many experienced video production teams in the area, you can ensure that your video stands out, tells a compelling story, and makes a lasting impact.