Two ways aerial earns its place.
Aerial Photography
High resolution stills that put a project in its landscape, reading site boundaries, approach roads, orientation and architectural scale in a single frame. Shot in HDR brackets and graded to hold detail in both roofline and shadow, so the same file works for a tender document, a hero banner or a printed board at full size.
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Aerial Videography
Story led 4K aerial sequences flown to a shot list, not a hover and hope. Reveals that open a brand film, orbits that show a finished build in context, and slow technical passes for progress claims and site review. Cut to sit inside your wider edit, with vertical versions pulled from the same flight.
Explore drone videography →Melbourne, from above.
Four jobs aerial does better.
Site context, finished builds, brand film openers and progress claims. Everything else is usually better shot from the ground.
CASA Remote Pilot LicenceLicensed, not hobby flown.
Every flight is conducted under a CASA Remote Pilot Licence. That is the difference between footage you can put in a tender document and footage that exposes your project to a regulator, and it is the first thing a risk-conscious client should ask any operator to produce.
$20M public liabilityThe number most sites require.
Twenty million public liability, with a certificate of currency supplied on request. Most commercial sites and venues will not let a drone leave the ground without seeing it, so it goes across with the induction paperwork rather than being chased on the morning.
Airspace approvalsChecked before the day, not on it.
Melbourne has a lot of controlled airspace. I check the site against it when the job is booked, and where an approval is needed that process starts immediately, because it carries lead time and it is the single most common reason an aerial shoot slips.
High resolution stillsBig enough to print.
Shot in HDR brackets and graded to hold detail in both the roofline and the shadow under it, so one file works as a tender exhibit, a hero banner and a printed board at full size without being re-shot for each.
4K video, flown to a shot listNot hover and hope.
Reveals that open a brand film, orbits that put a finished build in its context, and slow technical passes for site review. Planned as shots before the battery goes in, which is why the footage cuts into an edit instead of sitting in a folder.
Vertical from the same flightOne take, both aspect ratios.
Nine by sixteen versions pulled from the same flight and framed for it, so the socials cut is not a crop out of the middle of a landscape frame with the subject half missing.
Progress and inspection passesRepeatable, claim by claim.
The same altitude and the same headings each visit, so two months compare cleanly side by side. Useful for progress claims, roof and facade review, and anything that would otherwise need a scissor lift booked for the afternoon.
Twilight exteriorsThe twenty minute window.
Shot in the short window after sunset when the interior lights balance against the remaining sky. It is the frame that sells a finished building, and it cannot be faked in a grade, which is why it gets its own slot in the plan.
Melbourne's specialist in aerial media.
All flights are conducted by a certified RePL operator using the DJI Mini Pro 5, ensuring safe, legal and high calibre results across Melbourne and regional Victoria.
Technical precision with creative art direction. Whether you need commercial drone videography for a brand film or aerial site inspections for construction progress, every frame is captured safely and professionally.
Servicing Melbourne CBD and regional Victoria, delivering 4K assets built for web, social media and broadcast. Add scale to your project with aerial work that highlights location, ambition and finish.
The things people ask first.
Are you actually licensed?
Yes. I hold a CASA Remote Pilot Licence and fly commercially under it, with $20 million public liability behind it.
It is worth asking every operator you speak to for both, because a lot of commercial drone work in Melbourne is still flown on recreational rules, and the client carries more of that risk than they realise.
Can you fly in the Melbourne CBD?
Parts of it, with planning. The CBD sits under controlled airspace and is dense with people and buildings, so it is assessed shot by shot rather than answered yes or no.
Tell me the exact address and what the shot has to show, and I will come back with what is flyable, what needs an approval, and what would honestly be better captured from a high floor or a rooftop instead.
What needs a CASA approval, and how long does it take?
Controlled airspace near an airport is the common one. Flying closer than 30 metres to people outside the operation, above a populous area, or at night are the others.
Allow a fortnight where an approval is required. It is usually faster, but building the shoot date around the approval rather than the other way round is what stops a job slipping.
What weather stops a flight?
Rain stops it outright, and so does sustained wind much above 20 knots. Heavy overcast does not stop it but will flatten the footage enough that a reschedule is often the better call.
Weather calls are made the day before wherever possible, and there is no charge for one.
How high can you actually fly?
120 metres above ground level is the standard limit, and it is far more than most jobs need.
Site context frames usually sit between 40 and 80 metres. Higher is not better, it just makes the subject smaller.
Do I need permission from the council or the landowner?
Launching from and landing on private property needs the landowner's permission, and that is the easiest one to sort out since it is usually your own site.
Councils control their own land, so a launch point in a park or reserve can need a permit. National parks are their own regime and generally do not permit it. Tell me the launch point early and I will tell you which of these applies.
What gear do you fly?
A DJI Mini Pro 5 for most work. It shoots 4K video and high resolution stills, and its sub-250g class opens up sites where a heavier aircraft would need more paperwork for the same frame.
Where a job genuinely needs a larger sensor or a longer lens, that gets quoted rather than substituted quietly.
Can the aerial footage cut into video we already have?
Yes, and it is worth saying so at booking. Tell me the frame rate and the colour profile your existing footage uses and I will match it on the day.
Delivered at 25 or 50fps PAL as standard, graded to sit inside your edit rather than jumping out of it. Raw files are available if your editor would rather grade it themselves.
“Jordy was responsive and very flexible. He did a great job on the drone video and photos for our latest project, even providing extra shots and photos.”
Add scale to your next project.
Send me the site address, the stage the project is at, and what the footage needs to prove. I will check the airspace, map the flight plan and come back with the deliverables and a date.
Book your drone projectKeep going.
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