When it comes to capturing breathtaking aerial shots against the backdrop of some of the world’s most stunning landscapes, few can match the capability and innovation of drone specialist The Helicopter Girls. 2025 brings new tech, European permissions, a strategic partnership in Colombia and a drone that can fly in the rain.  

EU permissions 

Under new regulations in Europe, The Helicopter Girls is set to be the only drone company with authorisation to operate drones over 25kg in European territories. Founder Emma Boswell explains the move is significant for cinematographers shooting in Europe who want to fly multicam array systems or payloads like the ARRI Mini LF with full frame lenses. “We can now provide our clients with unparalleled flexibility, cost savings and continuity for productions shooting in popular European film hubs including Malta, Spain and Italy.” 

The company’s extensive experience shooting some of the most ambitious projects around the globe, including Fast X, Jack Ryan and The Rings of Power has set the stage for its latest venture in Colombia—one that showcases not only the team’s technical prowess but also a commitment to supporting and investing in local talent.  

A global reach with local expertise 

Colombia’s extraordinary landscape is the backdrop for major British and US projects like Dora The Explorer, Jack Ryan and Night Manager. The Paddington in Peru production team approached Boswell in Spring 2023 to start planning for eight weeks in Colombia’s remote rainforests. The Helicopter Girls’ existing investment in a local company meant not only cost savings for the production but a unique team comprising expertise from both sides of the globe.   

Co-founder, and former camera operator, Kat Nelhams-Wright spent 12 weeks shooting Jack Ryan in Colombia in 2018. “We were hosted by local drone operator Andrés Sotomayor who set up all the permissions. His local knowledge and planning made shooting possible with our specialist heavy lift kit in exceptionally remote locations where rope lifts were sometimes the only access for kit and crew. Andres is an excellent drone producer, and a very good camera operator for his own company, Eagle Films, he was a real asset to our team. Returning home, I discussed with Andres how we could further our work together as, at the time, there was no heavy lift drone team or kit in the country.”  

“Colombia was rapidly developing its film industry in 2018 and was still catching up in aerial cinematography,” Sotomayor explains. “At that point we weren’t prepared to manage large projects because of the lack of experience and equipment. The Helicopter Girls has always been a role model. Every time I get a chance to learn something from Kat and her team, I do so, as I know they have built their amazing company over the years by doing things right; being professional, respectful, supportive and at the forefront of the industry.”   

“To date we have imported a full fleet of heavy lift, Inspire 3 and FPV drones into Colombia, providing training and support to Andres and his crew,” says Nelhams-Wright. “In return, Eagle Films provide full pre-production and ground support and enable our pilots to operate in the country when productions require. We foster local knowledge and talent and invest in Andres’ teams on the ground. It’s a mutually beneficial relationship which continues to evolve. As a company owner I’m proud to be at the forefront of this effort, supporting the growth of Colombia’s drone industry while expanding the global reach of our own services.”  

The collaboration is a testament to the company’s philosophy of blending world-class expertise with local knowledge. Large productions benefit from the reassurance of working hand-in-hand with a world-class drone team coupled with the cost savings that arise from Colombia’s generous tax incentives. 

Up to the challenge 

Thus far Paddington in Peru is the largest collaboration between the two companies. The plate shoot was led by 2nd Unit Director/DP John Sorapure and its ambition went further than anything Sotomayor had seen in Colombia before. “The scale of the production and the creative brief had a huge impact on our approach, especially in three main aspects: logistics, rigs and the team, putting our creativity, planning and problem-solving abilities to the test.”  

Six months before shooting, prep began with a mammoth 15 day location scout across 80% of the Colombian territory using Sotomayor’s drone team. “Each night we slept in a different town, assessing risks and identifying potential ways to meet all the safety requirements for our next location. I was able to feed back to Kat and the UK drone team critical information about what to expect from hazardous flying conditions, logistics and the special equipment they would need to be able to fly the various aerial platforms successfully. 

“Having Andres on the ground early meant we could come up with the right drone toolkit to cover the storyboards requirements and be ready in time for every eventuality. We had to consider altitude, humidity, temperature, flying close to waterfalls and rapids, operating from boats and in areas accessible only by foot. With full back ups we took five drones: an Alta X lifting a 3-Komodo array and another operating with a RED Raptor; two heavy lift FPV drones, and the DJI Inspire 3 RTK. With all the gimbals, lens kits, transmission systems, magliners, batteries and charging equipment a dedicated lorry was required for transport to ensure operational continuity in remote places, as well as ways to work efficiently when there was nothing but river access and nowhere on land to take off.” 

Flying in the jungle 

Sotomayor suggested a fleet of small boats to navigate the shallow, narrow rivers with additional boats remaining at base carrying the backup kit and battery charging stations. The drone and crew boats would travel up river from base to shoot, while a battery runner motored up and down, charging batteries so the drone could fly as long as needed.  

The Helicopter Girls pilots are all highly skilled at remote control flying and that skill makes working in hostile environments easier. Aaron Cole flew the heavy lift drones. “We were often working in temperatures over 35°C and 90% humidity which was incredibly demanding for the crew and the equipment, but when you got to location and started flying the scenery was absolutely breathtaking. We’d get up to 400ft to start the plate shots and I’d glance down at my camera feed, all I could see were mountains and miles and miles of uninhabited jungle.”

Andrés Sotomayor 

Crafting the shots  

None of the cast travelled to Colombia so Sorapure’s plate shoot was critical as the backdrop against which all the action took place. Cole recalls, “Our travel time to set was usually a couple of hours during which we would plan. John Sorapure had a very clear idea of what he needed and we would take that time to study the story boards and visualise our flight paths. 

“We really pushed the limit when it comes to flying low over water, especially in the areas with rapids as the water splashing would be very intense and would randomly spray at some height. I made many attempts at flying very low and fast over the rapids, while constantly thinking about an exit strategy for the drone should the water make an unexpected jump for the skies! If in doubt, full power climb out! (avoiding the power lines of course!).  

“There’s a POV shot of Paddington’s boat as it hurtles down the rapids which took very technical flying. The combination of high velocity, positioning the camera as low as possible, and the unpredictability of the rapids made it very demanding. Along the route there were a couple of big boulders that were fairly close together so to make the shot more dynamic I flew the drone right between them as low as possible.”  

Asked to summarise, Sotomayor says: “The shoot was a real test of our physical and mental endurance. I dare to say, Paddington in Peru was the largest drone operation to date in Colombia and perhaps South America, pushing the boundaries of aerial cinematography in one of the most challenging environments on Earth.” 

Boswell concludes, “The Helicopter Girls is more than just a drone service provider; we are a full-scale, global filmmaking partner with local trusted expertise. Our investment in Colombia is just the latest example of how we bring the best of both worlds together. We’ve proved that not only can we operate in some of the world’s most challenging environments, but we can do so with a high level of skill, collaboration, and respect for the regions we work in. As we continue to expand our global footprint, we look forward to supporting the next generation of filmmakers and drone operators, while delivering groundbreaking aerial cinematography for productions around the world.” 

The future 

360º view 

Our last two major productions have used the drone to capture backgrounds for the volume stage. As well as our tried and test 181º RED Komodo array we have developed the first 360º four-camera RED Komodo array which can be flown under our drones. The lenses have zero distortion, timecode, sync and run/stop and the drone has full permissions for flying in congested areas. 

Flying in the rain 

Weather is no longer a barrier for drone work. 

Our new custom made heavy lift waterproof drone from Acecore Technologies can fly in the rain with a weather protected cinema package and rain spinner. 

Come and see it and find out more at BSC Expo, stand 408.

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About The Helicopter Girls 

The Helicopter Girls is a leading global drone services company that specializes in heavy-lift operations and specialist payloads for high-end film and TV productions. Paddington in Peru, Wicked, Peaky Blinders, Wonka, Saltburn, The Witcher, Back in Action, The Agency, The Night Manager series 2, The Boys in the Boat, Fast X, The Gentlemen, The Diplomat, Bridgerton, Downton Abbey & Enola Holmes 2.