Heavy-Lift Cinema Drones in Los Angeles

Some shots can't be achieved with a small drone. When the aerial has to cut invisibly against the A-camera, same sensor, same glass, same color pipeline, you need an aircraft big enough to carry the real camera package. Lithium Aerials flies heavy-lift cinema drones in Los Angeles for feature films, episodic television and national commercials. Our heavy-lift platform is the Freefly Alta X, and our FAA Section 44807 exemption lets us fly aircraft over 55 lbs, which is where a full cinema build usually lands once you add the gimbal, lens, and batteries. Every flight is backed by $5 million in aviation liability coverage.

Why Heavy-Lift Instead of an Inspire

For most jobs, the DJI Inspire 3 is our go-to. It has a small footprint, it's more economical, and the image from its full-frame sensor is excellent. With its dual native ISO, night work is now on the table too. But when directors and DPs ask for heavy-lift, it usually comes down to two things.

  • The aerials have to match the ground cameras. Fly the same camera body as the A-camera and the aerial shots cut in seamlessly. Same sensor, same color science, same look in the edit. No "drone shot" that sticks out, and no grading gymnastics to hide it.
  • The DP gets their lenses. DPs are specific about glass, and for good reason: lens choice can change the look of an entire project. Anamorphics, vintage primes, a particular set of zooms. If that's the look of the show, it should be the look of the aerials too.

Put simply, heavy-lift gives you near-complete freedom over the camera package, within the aircraft's weight limit. A bigger aircraft also holds a steadier line in wind, which matters on long lenses, and plates shot on the production's own camera make life easier for VFX.

If your shot doesn't need any of that, we'll tell you and save you the day rate.

What We Fly

Freefly Alta X

The Alta X is built for heavy payloads and real flight times, and it folds down to travel. Plenty of heavy-lift systems need boom arms assembled on location. We travel ours van-ready: the aircraft unfolds, the gimbal is already built, and we pull the drone, gimbal and stands out of the van and go. That matters when the AD is watching the clock and you're moving between locations. It's our workhorse for features and commercials because it lets us match the camera and lenses used on the ground, the camera car or the crane.

Camera packages

We fly complete cinema packages, including cameras like the ARRI Alexa Mini and RED Komodo, with a wide range of lens options. The Alta X carries up to 35 lbs of camera, lens and gimbal, and we match the airborne package to your show's format as closely as the shot allows.

A three-person crew

Heavy-lift shots are flown by a team of three: a pilot flies the aircraft, a dedicated camera operator runs the gimbal and framing, and a tech/visual observer watches the sky and the set. Each person does one job well.

Choosing the Right Platform: Inspire 3, Alta 6 or Alta X

We fly three camera platforms, and the right one depends on the camera the shot needs.

DJI Inspire 3

Our go-to for most jobs. The camera and gimbal are built in, so it's the fastest to deploy, has the smallest footprint and costs less to put in the air. The full-frame image is excellent, and with dual native ISO it handles night work too.

Freefly Alta 6

The step between the Inspire 3 and the Alta X. It's for productions that want a smaller box-style camera like the RED Komodo instead of an integrated system. It carries about 15 lbs, so it doesn't need the over-55-lb exemption. We also use it for vertical-format automotive work.

On MaXXXine, we flew the Alta 6 with a DJI RS4 Pro gimbal and a RED Komodo because the shot needed both a focus pull and an iris pull mid-shot, which the integrated Inspire 2 we'd otherwise have used couldn't do.

Freefly Alta X

The heavy-lift option, carrying up to 35 lbs of camera, lens and gimbal. It's for full cinema packages that have to match the A-camera. It's also the aircraft our FAA Section 44807 exemption covers, because a full build takes it over 55 lbs.

For another part of MaXXXine, we flew the Alta X with a Sony Venice 2. It was night work, and production wanted the Venice 2's low-light ability.

The Paperwork Behind a 55-lb-Plus Aircraft

Flying something this size over an LA location is mostly a planning problem.

  • FAA Section 44807 exemption for aircraft over 55 lbs. Standard Part 107 stops at 55 lbs; a full cinema build often doesn't.
  • FAA Part 107-certified pilots on every shoot.
  • Airspace authorizations. Most of LA sits under controlled airspace around LAX, Burbank, Van Nuys and smaller fields. We request LAANC or FAADroneZone authorizations as the location requires. See our Los Angeles drone permits guide.
  • Insurance. $5 million in aviation liability coverage. Certificates of insurance are typically turned around the same or next business day.
  • FilmLA. We prepare the drone-specific paperwork and work directly with your locations team. The production pulls the permit.

How a Heavy-Lift Day Works

Prep

Send boards, the shot list, camera and lens package, locations and dates. We'll confirm whether the shot is a heavy-lift shot, what the build weighs, and what approvals the location needs. Lead time usually follows the film commission's permit timeline, typically 3 business days.

Build and balance

Heavy-lift days start with camera prep. We work with your camera department to build, balance and test the package before it ever leaves the ground.

Rehearse, then fly

We brief the 1st AD and safety, walk the flight path, keep the area clear, rehearse at reduced speed, and then fly for real. If a move isn't safe, we'll say so and offer an alternative.

Wrap

Media goes to your DIT on your workflow, and the camera package goes back to your camera team the way it came.

Where Heavy-Lift Makes Sense in LA

Big exteriors with long lenses, car work on closed roads, stadiums and backlots, desert and coastal locations, rooftop reveals downtown. For car shoots specifically, see drones for car commercials; for narrative work, drones for feature films and drones for film and television.

Our Work

Lithium Aerials has provided aerial support on feature films, network and streaming series, and national commercials. See our work, our equipment, and all aerial cinematography services. For speed and fly-throughs, FPV drone filming is often the better tool.

Get a quote or call 323-505-7104.

Heavy-Lift Drone FAQ

What is a heavy-lift drone?

A heavy-lift drone is a large multirotor built to carry a full cinema camera, lens and stabilized gimbal, rather than an integrated camera. It lets productions fly the same camera package used on the ground.

Can you fly an ARRI Alexa on a drone?

Yes. Our heavy-lift platform carries up to 35 lbs of camera, lens and gimbal, including ARRI Alexa Mini packages matched to your show's lenses and format where the shot allows.

Do you need special FAA approval to fly over 55 lbs?

Yes. Part 107 covers aircraft under 55 lbs. Heavier aircraft need additional FAA authority; Lithium Aerials holds an FAA Section 44807 exemption for aircraft over 55 lbs.

Heavy-lift or Inspire 3?

Use the Alta X when the shot must match the A-camera, needs specific glass, or is a VFX plate. The Alta 6 fits a smaller box camera like the RED Komodo. For most aerials, the Inspire 3 is our go-to: fast to deploy, more economical, and an excellent full-frame image. We'll recommend the cheaper option when it does the job.

How much notice do you need?

Usually the film commission's permit timeline, typically 3 business days. Complex airspace or a heavy build may need more.