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The ground can’t always get you there. That’s why we fly.

In-house we run a Shotover F1, with access to the Immortal 6-Axis system. Built to chase the impossible, from mountains to cityscapes, delivering locked, steady, cinematic frames at speed.

Specs that matter:
• Shotover F1 + Immortal 6-Axis Gimbal Systems
• Heavy-lift stabilization for cinema packages
• A-Star & Jet Ranger Helicopter Mounts

The ground can’t always get you there. That’s why we fly.

In-house we run a Shotover F1, with access to the Immortal 6-Axis system. Built to chase the impossible, from mountains to cityscapes, delivering locked, steady, cinematic frames at speed.

Specs that matter:
• Shotover F1 + Immortal 6-Axis Gimbal Systems
• Heavy-lift stabilization for cinema packages
• A-Star & Jet Ranger Helicopter Mounts

The ground can’t always get you there. That’s why we fly.

In-house we run a Shotover F1, with access to the Immortal 6-Axis system. Built to chase the impossible, from mountains to cityscapes, delivering locked, steady, cinematic frames at speed.

Specs that matter:
• Shotover F1 + Immortal 6-Axis Gimbal Systems
• Heavy-lift stabilization for cinema packages
• A-Star & Jet Ranger Helicopter Mounts

The ground can’t always get you there. That’s why we fly.

In-house we run a Shotover F1, with access to the Immortal 6-Axis system. Built to chase the impossible, from mountains to cityscapes, delivering locked, steady, cinematic frames at speed.

Specs that matter:
• Shotover F1 + Immortal 6-Axis Gimbal Systems
• Heavy-lift stabilization for cinema packages
• A-Star & Jet Ranger Helicopter Mounts

The sky isn’t the limit. It’s the canvas.

Our Inspire 3 package is built to fly faster and sharper for whatever story you’re chasing.
Fast. Flexible. Future-proof.

Specs that matter:
• 8K Full Frame ProRes or RAW codecs
• Interchangeable Lenses from 14mm - 90mm
• Dual-Op Control
• Pilots with Advanced Licences

The sky isn’t the limit. It’s the canvas.

Our Inspire 3 package is built to fly faster and sharper for whatever story you’re chasing.
Fast. Flexible. Future-proof.

Specs that matter:
• 8K Full Frame ProRes or RAW codecs
• Interchangeable Lenses from 14mm - 90mm
• Dual-Op Control
• Pilots with Advanced Licences

The sky isn’t the limit. It’s the canvas.

Our Inspire 3 package is built to fly faster and sharper for whatever story you’re chasing.
Fast. Flexible. Future-proof.

Specs that matter:
• 8K Full Frame ProRes or RAW codecs
• Interchangeable Lenses from 14mm - 90mm
• Dual-Op Control
• Pilots with Advanced Licences

The best shots don’t happen standing still. 

Our 14ft Motocrane Radical was built to chase speed, precision, and every frame in between.

Smooth. Strong. Ready for anything.

Specs that matter:

    •    Titan LT or Ronin2 Remote Heads
    •    INS2 Stabilization
    •    Toyota 4Runner or Polaris RZR

The best shots don’t happen standing still. 

Our 14ft Motocrane Radical was built to chase speed, precision, and every frame in between.

Smooth. Strong. Ready for anything.

Specs that matter:

    •    Titan LT or Ronin2 Remote Heads
    •    INS2 Stabilization
    •    Toyota 4Runner or Polaris RZR

Suspended In Space marked the beginning of our partnership with @nativefour, and this week the film was recognized across three categories at Clio Sports.

Up in the Yukon, Cam, Chris, and Zac set the tone in the mountains and came back with looks most people had never seen before. We were handed a pre-release Inspire 3, and it quickly became the perfect tool, letting a small, nimble crew capture the full essence of the north at scale.

A few of our favourite aerial driven moments from the film:

1. Inspire 3 tracking the heli → range + precision in the Yukon air.
2. Talent in scope → FPV speed + vast landscapes blended in-frame.
3. Texture vs speed → intimate details contrasted with high-speed FPV.
4. FPV as a helicopter nose dive → massive expanse in one move.
5. Roads as shapes → high-angle Inspire 3 shots to reveal scale.

Director: @cameronthuman
Production Company: @nativefour
Starring: @kajsal @celeste.pomerantz
Producer: @dilanmistry
DP: @christopherclark___
Aerial DP: @downtofilm @spatialcamera
Editor: @christianwhittemore
Composer: @liammour_
Colorist: @parkerjarvie
Sound Studio: @defactosound
Assoc. Producer: @dancounihan

Suspended In Space marked the beginning of our partnership with @nativefour, and this week the film was recognized across three categories at Clio Sports.

Up in the Yukon, Cam, Chris, and Zac set the tone in the mountains and came back with looks most people had never seen before. We were handed a pre-release Inspire 3, and it quickly became the perfect tool, letting a small, nimble crew capture the full essence of the north at scale.

A few of our favourite aerial driven moments from the film:

1. Inspire 3 tracking the heli → range + precision in the Yukon air.
2. Talent in scope → FPV speed + vast landscapes blended in-frame.
3. Texture vs speed → intimate details contrasted with high-speed FPV.
4. FPV as a helicopter nose dive → massive expanse in one move.
5. Roads as shapes → high-angle Inspire 3 shots to reveal scale.

Director: @cameronthuman
Production Company: @nativefour
Starring: @kajsal @celeste.pomerantz
Producer: @dilanmistry
DP: @christopherclark___
Aerial DP: @downtofilm @spatialcamera
Editor: @christianwhittemore
Composer: @liammour_
Colorist: @parkerjarvie
Sound Studio: @defactosound
Assoc. Producer: @dancounihan

Suspended In Space marked the beginning of our partnership with @nativefour, and this week the film was recognized across three categories at Clio Sports.

Up in the Yukon, Cam, Chris, and Zac set the tone in the mountains and came back with looks most people had never seen before. We were handed a pre-release Inspire 3, and it quickly became the perfect tool, letting a small, nimble crew capture the full essence of the north at scale.

A few of our favourite aerial driven moments from the film:

1. Inspire 3 tracking the heli → range + precision in the Yukon air.
2. Talent in scope → FPV speed + vast landscapes blended in-frame.
3. Texture vs speed → intimate details contrasted with high-speed FPV.
4. FPV as a helicopter nose dive → massive expanse in one move.
5. Roads as shapes → high-angle Inspire 3 shots to reveal scale.

Director: @cameronthuman
Production Company: @nativefour
Starring: @kajsal @celeste.pomerantz
Producer: @dilanmistry
DP: @christopherclark___
Aerial DP: @downtofilm @spatialcamera
Editor: @christianwhittemore
Composer: @liammour_
Colorist: @parkerjarvie
Sound Studio: @defactosound
Assoc. Producer: @dancounihan

Suspended In Space marked the beginning of our partnership with @nativefour, and this week the film was recognized across three categories at Clio Sports.

Up in the Yukon, Cam, Chris, and Zac set the tone in the mountains and came back with looks most people had never seen before. We were handed a pre-release Inspire 3, and it quickly became the perfect tool, letting a small, nimble crew capture the full essence of the north at scale.

A few of our favourite aerial driven moments from the film:

1. Inspire 3 tracking the heli → range + precision in the Yukon air.
2. Talent in scope → FPV speed + vast landscapes blended in-frame.
3. Texture vs speed → intimate details contrasted with high-speed FPV.
4. FPV as a helicopter nose dive → massive expanse in one move.
5. Roads as shapes → high-angle Inspire 3 shots to reveal scale.

Director: @cameronthuman
Production Company: @nativefour
Starring: @kajsal @celeste.pomerantz
Producer: @dilanmistry
DP: @christopherclark___
Aerial DP: @downtofilm @spatialcamera
Editor: @christianwhittemore
Composer: @liammour_
Colorist: @parkerjarvie
Sound Studio: @defactosound
Assoc. Producer: @dancounihan

Suspended In Space marked the beginning of our partnership with @nativefour, and this week the film was recognized across three categories at Clio Sports.

Up in the Yukon, Cam, Chris, and Zac set the tone in the mountains and came back with looks most people had never seen before. We were handed a pre-release Inspire 3, and it quickly became the perfect tool, letting a small, nimble crew capture the full essence of the north at scale.

A few of our favourite aerial driven moments from the film:

1. Inspire 3 tracking the heli → range + precision in the Yukon air.
2. Talent in scope → FPV speed + vast landscapes blended in-frame.
3. Texture vs speed → intimate details contrasted with high-speed FPV.
4. FPV as a helicopter nose dive → massive expanse in one move.
5. Roads as shapes → high-angle Inspire 3 shots to reveal scale.

Director: @cameronthuman
Production Company: @nativefour
Starring: @kajsal @celeste.pomerantz
Producer: @dilanmistry
DP: @christopherclark___
Aerial DP: @downtofilm @spatialcamera
Editor: @christianwhittemore
Composer: @liammour_
Colorist: @parkerjarvie
Sound Studio: @defactosound
Assoc. Producer: @dancounihan

Suspended In Space marked the beginning of our partnership with @nativefour, and this week the film was recognized across three categories at Clio Sports.

Up in the Yukon, Cam, Chris, and Zac set the tone in the mountains and came back with looks most people had never seen before. We were handed a pre-release Inspire 3, and it quickly became the perfect tool, letting a small, nimble crew capture the full essence of the north at scale.

A few of our favourite aerial driven moments from the film:

1. Inspire 3 tracking the heli → range + precision in the Yukon air.
2. Talent in scope → FPV speed + vast landscapes blended in-frame.
3. Texture vs speed → intimate details contrasted with high-speed FPV.
4. FPV as a helicopter nose dive → massive expanse in one move.
5. Roads as shapes → high-angle Inspire 3 shots to reveal scale.

Director: @cameronthuman
Production Company: @nativefour
Starring: @kajsal @celeste.pomerantz
Producer: @dilanmistry
DP: @christopherclark___
Aerial DP: @downtofilm @spatialcamera
Editor: @christianwhittemore
Composer: @liammour_
Colorist: @parkerjarvie
Sound Studio: @defactosound
Assoc. Producer: @dancounihan

The goal for this one was simple, let the drone and the arm car play off each other.
The arm couldn’t always squeeze into the tight roads the Trail Blazer lived on, so the drone filled in the gaps. Together, they gave us a perfect blend, shots that matched seamlessly, whether you knew it was an arm or a drone behind the camera.

1. Connecting water with land → FPV thrives in the gaps, stitching action and environment in one move.
2. Two for one → get close to the action, then pull back to reveal the full expanse.
3. The tree hallway → normally an arm move, but a reverse joust with the Inspire 3 nailed it.
4. A moment to breathe → not every shot needs to rip. Sometimes slow makes the fast feel faster.
5. Full 60s cut → the payoff.

Director: @cameronthuman
Production Company: @radketv @undefined.tv_
Executive Producer: @julianweiman
1st AD: @tnt_604
DP: @kristoferbonnell
Aerial Team: @spatialcamera
UAV Pilot: @downtofilm
UAV Op: @brodyjonescinema
UAV Tech: @kaddyfpv
U-Crane: Rapid Filmworks
Precision Drivers: @mab_stunts @helena.laliberte

The goal for this one was simple, let the drone and the arm car play off each other.
The arm couldn’t always squeeze into the tight roads the Trail Blazer lived on, so the drone filled in the gaps. Together, they gave us a perfect blend, shots that matched seamlessly, whether you knew it was an arm or a drone behind the camera.

1. Connecting water with land → FPV thrives in the gaps, stitching action and environment in one move.
2. Two for one → get close to the action, then pull back to reveal the full expanse.
3. The tree hallway → normally an arm move, but a reverse joust with the Inspire 3 nailed it.
4. A moment to breathe → not every shot needs to rip. Sometimes slow makes the fast feel faster.
5. Full 60s cut → the payoff.

Director: @cameronthuman
Production Company: @radketv @undefined.tv_
Executive Producer: @julianweiman
1st AD: @tnt_604
DP: @kristoferbonnell
Aerial Team: @spatialcamera
UAV Pilot: @downtofilm
UAV Op: @brodyjonescinema
UAV Tech: @kaddyfpv
U-Crane: Rapid Filmworks
Precision Drivers: @mab_stunts @helena.laliberte

The goal for this one was simple, let the drone and the arm car play off each other.
The arm couldn’t always squeeze into the tight roads the Trail Blazer lived on, so the drone filled in the gaps. Together, they gave us a perfect blend, shots that matched seamlessly, whether you knew it was an arm or a drone behind the camera.

1. Connecting water with land → FPV thrives in the gaps, stitching action and environment in one move.
2. Two for one → get close to the action, then pull back to reveal the full expanse.
3. The tree hallway → normally an arm move, but a reverse joust with the Inspire 3 nailed it.
4. A moment to breathe → not every shot needs to rip. Sometimes slow makes the fast feel faster.
5. Full 60s cut → the payoff.

Director: @cameronthuman
Production Company: @radketv @undefined.tv_
Executive Producer: @julianweiman
1st AD: @tnt_604
DP: @kristoferbonnell
Aerial Team: @spatialcamera
UAV Pilot: @downtofilm
UAV Op: @brodyjonescinema
UAV Tech: @kaddyfpv
U-Crane: Rapid Filmworks
Precision Drivers: @mab_stunts @helena.laliberte

The goal for this one was simple, let the drone and the arm car play off each other.
The arm couldn’t always squeeze into the tight roads the Trail Blazer lived on, so the drone filled in the gaps. Together, they gave us a perfect blend, shots that matched seamlessly, whether you knew it was an arm or a drone behind the camera.

1. Connecting water with land → FPV thrives in the gaps, stitching action and environment in one move.
2. Two for one → get close to the action, then pull back to reveal the full expanse.
3. The tree hallway → normally an arm move, but a reverse joust with the Inspire 3 nailed it.
4. A moment to breathe → not every shot needs to rip. Sometimes slow makes the fast feel faster.
5. Full 60s cut → the payoff.

Director: @cameronthuman
Production Company: @radketv @undefined.tv_
Executive Producer: @julianweiman
1st AD: @tnt_604
DP: @kristoferbonnell
Aerial Team: @spatialcamera
UAV Pilot: @downtofilm
UAV Op: @brodyjonescinema
UAV Tech: @kaddyfpv
U-Crane: Rapid Filmworks
Precision Drivers: @mab_stunts @helena.laliberte

The goal for this one was simple, let the drone and the arm car play off each other.
The arm couldn’t always squeeze into the tight roads the Trail Blazer lived on, so the drone filled in the gaps. Together, they gave us a perfect blend, shots that matched seamlessly, whether you knew it was an arm or a drone behind the camera.

1. Connecting water with land → FPV thrives in the gaps, stitching action and environment in one move.
2. Two for one → get close to the action, then pull back to reveal the full expanse.
3. The tree hallway → normally an arm move, but a reverse joust with the Inspire 3 nailed it.
4. A moment to breathe → not every shot needs to rip. Sometimes slow makes the fast feel faster.
5. Full 60s cut → the payoff.

Director: @cameronthuman
Production Company: @radketv @undefined.tv_
Executive Producer: @julianweiman
1st AD: @tnt_604
DP: @kristoferbonnell
Aerial Team: @spatialcamera
UAV Pilot: @downtofilm
UAV Op: @brodyjonescinema
UAV Tech: @kaddyfpv
U-Crane: Rapid Filmworks
Precision Drivers: @mab_stunts @helena.laliberte

When I first got into aerial filmmaking, the dream was simple on paper but far from simple to achieve: flying helicopters with a Shotover system. My first taste of aviation filmmaking at 14 felt like yesterday, the rush of leaving the ground, camera locked on wild landscapes, and me with a sht eating grin the entire flight. A few years later I saw a Shotover rig in action, something I thought was only reserved for legends. Ten years on, what once felt impossible is now real. Chase a dream long enough and it stops feeling out of reach, it becomes your reality.

@perrygershkow hit me up. Shooting in BC’s spring is always a gamble, one ridge covered in snow, another a beach that feels like summer, clouds shifting by the minute. We lucked out with a day that gave us everything: low clouds at sunrise, a perfect tide, and a blood moon to close. 1 director, 3 DPs, 3 countries, and some of the most contrasting textures on earth, tied together for the launch of Hamilton Watch’s new lineup.

Swipe for some of my favourite moments:
1. A-Star hot, fuel loaded, cameras locked, mission ready at sunrise.
2. Macro of plane and watch against endless BC skies.
3. From BC to Tahiti: a plane buzzing overhead dissolves into a surfer underwater.
4. Vancouver Island drops you from alpine to sea in minutes.
5. Lighting cues carried from Utah to BC, seamless on screen.
6. Campbell River blindsided by a blood-red moon.
7. Portrait locked, then breaking out to scale.
8. The full film, every thread tied together.

Director: @perrygershkow
Producer / Photographer: @zachxryj
Creative Director: @ericahnebrink

British Columbia
Specialty Team: @spatialcamera
DP + Shotover: @downtofilm
Shotover Tech: @kaddyfpv
AC: @noahshumka
Pilot: @mike11klein
Fixer: @natelav
Talent: @markcunningham

Tahiti
DP: @kyle_buthman
AC: @nick_alheit
Drone: @perrygershkow
Talent: @dmosqphoto

Utah
DP: @masonprendergast
AC + Drone: @rhoddyjensen
Talent: @anniemng @kyle__lieberman

Post
Editor / Color / Sound / Music: @erikklein.me
VO Script: @hansaschim

When I first got into aerial filmmaking, the dream was simple on paper but far from simple to achieve: flying helicopters with a Shotover system. My first taste of aviation filmmaking at 14 felt like yesterday, the rush of leaving the ground, camera locked on wild landscapes, and me with a sht eating grin the entire flight. A few years later I saw a Shotover rig in action, something I thought was only reserved for legends. Ten years on, what once felt impossible is now real. Chase a dream long enough and it stops feeling out of reach, it becomes your reality.

@perrygershkow hit me up. Shooting in BC’s spring is always a gamble, one ridge covered in snow, another a beach that feels like summer, clouds shifting by the minute. We lucked out with a day that gave us everything: low clouds at sunrise, a perfect tide, and a blood moon to close. 1 director, 3 DPs, 3 countries, and some of the most contrasting textures on earth, tied together for the launch of Hamilton Watch’s new lineup.

Swipe for some of my favourite moments:
1. A-Star hot, fuel loaded, cameras locked, mission ready at sunrise.
2. Macro of plane and watch against endless BC skies.
3. From BC to Tahiti: a plane buzzing overhead dissolves into a surfer underwater.
4. Vancouver Island drops you from alpine to sea in minutes.
5. Lighting cues carried from Utah to BC, seamless on screen.
6. Campbell River blindsided by a blood-red moon.
7. Portrait locked, then breaking out to scale.
8. The full film, every thread tied together.

Director: @perrygershkow
Producer / Photographer: @zachxryj
Creative Director: @ericahnebrink

British Columbia
Specialty Team: @spatialcamera
DP + Shotover: @downtofilm
Shotover Tech: @kaddyfpv
AC: @noahshumka
Pilot: @mike11klein
Fixer: @natelav
Talent: @markcunningham

Tahiti
DP: @kyle_buthman
AC: @nick_alheit
Drone: @perrygershkow
Talent: @dmosqphoto

Utah
DP: @masonprendergast
AC + Drone: @rhoddyjensen
Talent: @anniemng @kyle__lieberman

Post
Editor / Color / Sound / Music: @erikklein.me
VO Script: @hansaschim

When I first got into aerial filmmaking, the dream was simple on paper but far from simple to achieve: flying helicopters with a Shotover system. My first taste of aviation filmmaking at 14 felt like yesterday, the rush of leaving the ground, camera locked on wild landscapes, and me with a sht eating grin the entire flight. A few years later I saw a Shotover rig in action, something I thought was only reserved for legends. Ten years on, what once felt impossible is now real. Chase a dream long enough and it stops feeling out of reach, it becomes your reality.

@perrygershkow hit me up. Shooting in BC’s spring is always a gamble, one ridge covered in snow, another a beach that feels like summer, clouds shifting by the minute. We lucked out with a day that gave us everything: low clouds at sunrise, a perfect tide, and a blood moon to close. 1 director, 3 DPs, 3 countries, and some of the most contrasting textures on earth, tied together for the launch of Hamilton Watch’s new lineup.

Swipe for some of my favourite moments:
1. A-Star hot, fuel loaded, cameras locked, mission ready at sunrise.
2. Macro of plane and watch against endless BC skies.
3. From BC to Tahiti: a plane buzzing overhead dissolves into a surfer underwater.
4. Vancouver Island drops you from alpine to sea in minutes.
5. Lighting cues carried from Utah to BC, seamless on screen.
6. Campbell River blindsided by a blood-red moon.
7. Portrait locked, then breaking out to scale.
8. The full film, every thread tied together.

Director: @perrygershkow
Producer / Photographer: @zachxryj
Creative Director: @ericahnebrink

British Columbia
Specialty Team: @spatialcamera
DP + Shotover: @downtofilm
Shotover Tech: @kaddyfpv
AC: @noahshumka
Pilot: @mike11klein
Fixer: @natelav
Talent: @markcunningham

Tahiti
DP: @kyle_buthman
AC: @nick_alheit
Drone: @perrygershkow
Talent: @dmosqphoto

Utah
DP: @masonprendergast
AC + Drone: @rhoddyjensen
Talent: @anniemng @kyle__lieberman

Post
Editor / Color / Sound / Music: @erikklein.me
VO Script: @hansaschim

When I first got into aerial filmmaking, the dream was simple on paper but far from simple to achieve: flying helicopters with a Shotover system. My first taste of aviation filmmaking at 14 felt like yesterday, the rush of leaving the ground, camera locked on wild landscapes, and me with a sht eating grin the entire flight. A few years later I saw a Shotover rig in action, something I thought was only reserved for legends. Ten years on, what once felt impossible is now real. Chase a dream long enough and it stops feeling out of reach, it becomes your reality.

@perrygershkow hit me up. Shooting in BC’s spring is always a gamble, one ridge covered in snow, another a beach that feels like summer, clouds shifting by the minute. We lucked out with a day that gave us everything: low clouds at sunrise, a perfect tide, and a blood moon to close. 1 director, 3 DPs, 3 countries, and some of the most contrasting textures on earth, tied together for the launch of Hamilton Watch’s new lineup.

Swipe for some of my favourite moments:
1. A-Star hot, fuel loaded, cameras locked, mission ready at sunrise.
2. Macro of plane and watch against endless BC skies.
3. From BC to Tahiti: a plane buzzing overhead dissolves into a surfer underwater.
4. Vancouver Island drops you from alpine to sea in minutes.
5. Lighting cues carried from Utah to BC, seamless on screen.
6. Campbell River blindsided by a blood-red moon.
7. Portrait locked, then breaking out to scale.
8. The full film, every thread tied together.

Director: @perrygershkow
Producer / Photographer: @zachxryj
Creative Director: @ericahnebrink

British Columbia
Specialty Team: @spatialcamera
DP + Shotover: @downtofilm
Shotover Tech: @kaddyfpv
AC: @noahshumka
Pilot: @mike11klein
Fixer: @natelav
Talent: @markcunningham

Tahiti
DP: @kyle_buthman
AC: @nick_alheit
Drone: @perrygershkow
Talent: @dmosqphoto

Utah
DP: @masonprendergast
AC + Drone: @rhoddyjensen
Talent: @anniemng @kyle__lieberman

Post
Editor / Color / Sound / Music: @erikklein.me
VO Script: @hansaschim

When I first got into aerial filmmaking, the dream was simple on paper but far from simple to achieve: flying helicopters with a Shotover system. My first taste of aviation filmmaking at 14 felt like yesterday, the rush of leaving the ground, camera locked on wild landscapes, and me with a sht eating grin the entire flight. A few years later I saw a Shotover rig in action, something I thought was only reserved for legends. Ten years on, what once felt impossible is now real. Chase a dream long enough and it stops feeling out of reach, it becomes your reality.

@perrygershkow hit me up. Shooting in BC’s spring is always a gamble, one ridge covered in snow, another a beach that feels like summer, clouds shifting by the minute. We lucked out with a day that gave us everything: low clouds at sunrise, a perfect tide, and a blood moon to close. 1 director, 3 DPs, 3 countries, and some of the most contrasting textures on earth, tied together for the launch of Hamilton Watch’s new lineup.

Swipe for some of my favourite moments:
1. A-Star hot, fuel loaded, cameras locked, mission ready at sunrise.
2. Macro of plane and watch against endless BC skies.
3. From BC to Tahiti: a plane buzzing overhead dissolves into a surfer underwater.
4. Vancouver Island drops you from alpine to sea in minutes.
5. Lighting cues carried from Utah to BC, seamless on screen.
6. Campbell River blindsided by a blood-red moon.
7. Portrait locked, then breaking out to scale.
8. The full film, every thread tied together.

Director: @perrygershkow
Producer / Photographer: @zachxryj
Creative Director: @ericahnebrink

British Columbia
Specialty Team: @spatialcamera
DP + Shotover: @downtofilm
Shotover Tech: @kaddyfpv
AC: @noahshumka
Pilot: @mike11klein
Fixer: @natelav
Talent: @markcunningham

Tahiti
DP: @kyle_buthman
AC: @nick_alheit
Drone: @perrygershkow
Talent: @dmosqphoto

Utah
DP: @masonprendergast
AC + Drone: @rhoddyjensen
Talent: @anniemng @kyle__lieberman

Post
Editor / Color / Sound / Music: @erikklein.me
VO Script: @hansaschim

When I first got into aerial filmmaking, the dream was simple on paper but far from simple to achieve: flying helicopters with a Shotover system. My first taste of aviation filmmaking at 14 felt like yesterday, the rush of leaving the ground, camera locked on wild landscapes, and me with a sht eating grin the entire flight. A few years later I saw a Shotover rig in action, something I thought was only reserved for legends. Ten years on, what once felt impossible is now real. Chase a dream long enough and it stops feeling out of reach, it becomes your reality.

@perrygershkow hit me up. Shooting in BC’s spring is always a gamble, one ridge covered in snow, another a beach that feels like summer, clouds shifting by the minute. We lucked out with a day that gave us everything: low clouds at sunrise, a perfect tide, and a blood moon to close. 1 director, 3 DPs, 3 countries, and some of the most contrasting textures on earth, tied together for the launch of Hamilton Watch’s new lineup.

Swipe for some of my favourite moments:
1. A-Star hot, fuel loaded, cameras locked, mission ready at sunrise.
2. Macro of plane and watch against endless BC skies.
3. From BC to Tahiti: a plane buzzing overhead dissolves into a surfer underwater.
4. Vancouver Island drops you from alpine to sea in minutes.
5. Lighting cues carried from Utah to BC, seamless on screen.
6. Campbell River blindsided by a blood-red moon.
7. Portrait locked, then breaking out to scale.
8. The full film, every thread tied together.

Director: @perrygershkow
Producer / Photographer: @zachxryj
Creative Director: @ericahnebrink

British Columbia
Specialty Team: @spatialcamera
DP + Shotover: @downtofilm
Shotover Tech: @kaddyfpv
AC: @noahshumka
Pilot: @mike11klein
Fixer: @natelav
Talent: @markcunningham

Tahiti
DP: @kyle_buthman
AC: @nick_alheit
Drone: @perrygershkow
Talent: @dmosqphoto

Utah
DP: @masonprendergast
AC + Drone: @rhoddyjensen
Talent: @anniemng @kyle__lieberman

Post
Editor / Color / Sound / Music: @erikklein.me
VO Script: @hansaschim

When I first got into aerial filmmaking, the dream was simple on paper but far from simple to achieve: flying helicopters with a Shotover system. My first taste of aviation filmmaking at 14 felt like yesterday, the rush of leaving the ground, camera locked on wild landscapes, and me with a sht eating grin the entire flight. A few years later I saw a Shotover rig in action, something I thought was only reserved for legends. Ten years on, what once felt impossible is now real. Chase a dream long enough and it stops feeling out of reach, it becomes your reality.

@perrygershkow hit me up. Shooting in BC’s spring is always a gamble, one ridge covered in snow, another a beach that feels like summer, clouds shifting by the minute. We lucked out with a day that gave us everything: low clouds at sunrise, a perfect tide, and a blood moon to close. 1 director, 3 DPs, 3 countries, and some of the most contrasting textures on earth, tied together for the launch of Hamilton Watch’s new lineup.

Swipe for some of my favourite moments:
1. A-Star hot, fuel loaded, cameras locked, mission ready at sunrise.
2. Macro of plane and watch against endless BC skies.
3. From BC to Tahiti: a plane buzzing overhead dissolves into a surfer underwater.
4. Vancouver Island drops you from alpine to sea in minutes.
5. Lighting cues carried from Utah to BC, seamless on screen.
6. Campbell River blindsided by a blood-red moon.
7. Portrait locked, then breaking out to scale.
8. The full film, every thread tied together.

Director: @perrygershkow
Producer / Photographer: @zachxryj
Creative Director: @ericahnebrink

British Columbia
Specialty Team: @spatialcamera
DP + Shotover: @downtofilm
Shotover Tech: @kaddyfpv
AC: @noahshumka
Pilot: @mike11klein
Fixer: @natelav
Talent: @markcunningham

Tahiti
DP: @kyle_buthman
AC: @nick_alheit
Drone: @perrygershkow
Talent: @dmosqphoto

Utah
DP: @masonprendergast
AC + Drone: @rhoddyjensen
Talent: @anniemng @kyle__lieberman

Post
Editor / Color / Sound / Music: @erikklein.me
VO Script: @hansaschim

When I first got into aerial filmmaking, the dream was simple on paper but far from simple to achieve: flying helicopters with a Shotover system. My first taste of aviation filmmaking at 14 felt like yesterday, the rush of leaving the ground, camera locked on wild landscapes, and me with a sht eating grin the entire flight. A few years later I saw a Shotover rig in action, something I thought was only reserved for legends. Ten years on, what once felt impossible is now real. Chase a dream long enough and it stops feeling out of reach, it becomes your reality.

@perrygershkow hit me up. Shooting in BC’s spring is always a gamble, one ridge covered in snow, another a beach that feels like summer, clouds shifting by the minute. We lucked out with a day that gave us everything: low clouds at sunrise, a perfect tide, and a blood moon to close. 1 director, 3 DPs, 3 countries, and some of the most contrasting textures on earth, tied together for the launch of Hamilton Watch’s new lineup.

Swipe for some of my favourite moments:
1. A-Star hot, fuel loaded, cameras locked, mission ready at sunrise.
2. Macro of plane and watch against endless BC skies.
3. From BC to Tahiti: a plane buzzing overhead dissolves into a surfer underwater.
4. Vancouver Island drops you from alpine to sea in minutes.
5. Lighting cues carried from Utah to BC, seamless on screen.
6. Campbell River blindsided by a blood-red moon.
7. Portrait locked, then breaking out to scale.
8. The full film, every thread tied together.

Director: @perrygershkow
Producer / Photographer: @zachxryj
Creative Director: @ericahnebrink

British Columbia
Specialty Team: @spatialcamera
DP + Shotover: @downtofilm
Shotover Tech: @kaddyfpv
AC: @noahshumka
Pilot: @mike11klein
Fixer: @natelav
Talent: @markcunningham

Tahiti
DP: @kyle_buthman
AC: @nick_alheit
Drone: @perrygershkow
Talent: @dmosqphoto

Utah
DP: @masonprendergast
AC + Drone: @rhoddyjensen
Talent: @anniemng @kyle__lieberman

Post
Editor / Color / Sound / Music: @erikklein.me
VO Script: @hansaschim