DJI Inspire 3
The cinema aircraft. Full-frame X9-8K Air camera, up to 8K (8192×4320), and DL mount with 18, 24, 35, 50 and 75 mm lenses.
Drone
Drone specialists
Drone isn't an add-on to the coverage: it's our specialty. For film, series, advertising and events, with a certified pilot and the right aircraft for each shot.
Who we fly for
Film
Series
Advertising
Events
So far in 2026
329
Projects
104
Drone shoots
26
Cities
6
Countries
+2.000
Flight hours
The fleet
Not a rental catalogue: it is what flies with us, and nearly all of it can be traced in the metadata of our own archive.
DJI Mavic 4 Pro
The main platform: most of the aerial footage in the archive comes from it.
DJI Mini 5 Pro
Lightweight drone, for when the size of the aircraft matters as much as the image.
DJI Mini 4 Pro
Lightweight backup drone.
Action cameras
DJI Osmo Action 4
DJI Osmo Nano
What can be done from the air
- Native vertical from the air, no cropping
- Aerial RAW stills up to 100 megapixels
- 4K across all aerial footage
- FPV through structures and across the stage
How we fly
With a certified pilot and a safety perimeter coordinated with production. Airspace restrictions at the location are dealt with in pre-production, not on the day of the shoot.
Permits and regulations
Flying a drone at an event isn't just about having the aircraft: it's having the paperwork in order before anyone asks.
AESA categories
Registered as an unmanned aircraft (UAS) operator with Spain's aviation authority, AESA, since 2022, the year the company was founded, holding the four categories that cover almost any situation: A1 and A3 —open category flight, over or away from people depending on the aircraft—, A2 —open category flight close to people, which requires the certified pilot we have— and the two specific categories, STS-01 and STS-02, which allow flying in populated environments and beyond visual line of sight, with the safety measures each scenario calls for. Holding all four isn't paperwork for its own sake: it means never having to turn down a shot because the drone a particular framing needs —a light one to get close to people, a heavier, steadier one for a wide shot far from everyone— falls in a category we don't hold.
Liability insurance
The crew flies with liability insurance taken out for drone operations, as required by law for any commercial flight. It isn't paperwork only shown if asked for: it covers third parties in case of an accident, and any serious venue or local council requires it before authorising the flight.
Flying over the public
Flying near people isn't the same as flying over people without more: the specific categories allow operating within a controlled ground area in a populated environment —a venue with a safety perimeter, coordinated with production— not flying over the crowd without that control. That's the difference between a festival with a properly planned flight and one without.
Night flights
Outside daylight hours the drone needs approved position lights and, depending on the area, additional permits. That gets decided in pre-production, not on the night of the shoot. For us this isn't the exception, it's the rule: most of what we shoot —concerts, film work and large events— happens after dark.
Restricted zones
Near airports, military zones or restricted airspace, extra coordination with the relevant authorities is needed, and sometimes the answer is that flying isn't possible. It gets checked before a flight plan is signed off, not on the day of the event. A stadium in the middle of a city or a venue next to an airport aren't edge cases: they're exactly the kind of place we work in most, so that check is part of the regular process, not a last-minute surprise.
Types of work
Advertising
The aerial shot as part of the production, not a last-minute add-on: for MITT MOTORS we combined drone and ground camera in a single day of shooting, with the bike as the star and the landscape giving it scale. It's planned like any other shot on the script: storyboarded and the route rehearsed before shoot day, not improvised at the end of the day once the light is going.
Large events
Flying over thousands of people with zero margin for error takes the same discipline as a film shoot or a live-audience campaign, and it's where we have the most flight hours: Monegros, DURO, Fabrik, or the flight over the Metropolitano. The flight is timed to the event itself —a pyro show doesn't wait, capacity changes by the hour— so it's planned in pre-production, with the safety perimeter already sorted before arriving on site. The shot isn't just a pretty postcard of the venue: it also works as communication material for the next edition, for sponsors who want to see the real turnout, and for the event's own channels the day after.
Brand and corporate
Shots flown on our own account, not commissioned by a specific client: sunset over Cuatro Torres and the rest of the Madrid skyline, a Mallorca bay with the water changing colour by depth, the village stepping down to the sea. It's resource material, already in the can, ready for corporate pieces, advertising or brand content without waiting for someone to set up a shoot from scratch — flown taking time over the light, which is exactly what shows against a shot rushed together the day someone needs it.
Drone work
What we need to quote
The sooner we have this, the tighter the flight plan —and the quote— comes out.
Exact location
The venue's address or coordinates: it changes the airspace, the permits needed and whether there are restrictions nearby.
Dates
The event date and, if there's room, a backup in case the weather doesn't cooperate: the drone doesn't fly in rain or strong wind.
Capacity
How many people will be there, to work out the flight's safety perimeter.
Whether there's flight over the public
Whether the plan includes flying over the area where the public is, or the flight stays within the controlled perimeter.
Venue permits
Whether the venue itself or the local council requires a separate permit to fly a drone there: better to know in pre-production than on the day.
Delivery times and formats
Drone pieces follow the same timeline as the rest of the shoot: between 24 and 48 hours. They're shot open-matte, so the landscape version and the vertical cuts for Reels and TikTok come out of the same flight, without reshooting or losing quality on the crop.
Contact
Tell us what you want to shoot
The more you tell us about capacity and stages, the tighter the quote.