Film and TV shoots move fast, and an aerial day that isn't planned like the rest of the call sheet creates delays on set. This producer checklist covers what to ask when you hire a drone pilot for film and TV production: shot planning, crew roles, safety around people and vehicles, airspace and local permits, insurance and backups. It is written for producers, assistant directors and location managers — not for wedding or real-estate listing work, which we cover separately in our posts on hiring a drone pilot for wedding and event video and hiring a drone pilot for a real estate listing.
What should be on the aerial shot list before the pilot walks in?
Treat the drone like any other camera package: lock the shots before the day starts. Share:
- The script pages or storyboards that need aerial coverage
- Desired framing (establishing wide, tracking a vehicle, reveal of a location, overhead insert)
- Whether the shots are for picture, B-roll, VFX plates or both
- Preferred altitudes, directions of travel and any "must match" angles from prior takes
- Whether a second unit will fly while first unit is rolling elsewhere
A good production pilot will push back on unsafe or illegal shot ideas early and propose legal alternatives. That conversation belongs in prep, not on the day when the whole crew is waiting.
Do we need a dedicated pilot and a dedicated camera operator?
For scripted work, yes — plan on it. One person flying and framing at the same time works for simple real-estate orbits. On a film or TV set, you usually want:
- A remote pilot in command focused on the aircraft, airspace, battery changes and safety
- A camera / gimbal operator focused on framing, focus and matching the director of photography's notes
Ask how they hand off control, how they talk to the DP and 1st AD, and whether they can feed a monitor so the director can see the frame live. If your show already has a drone package on a larger production, ask how this hire fits that chain of command.
How do closed sets and crew safety work with a drone?
Part 107 puts limits on flights over people, over moving vehicles and at night. Those limits apply on a film set the same way they apply anywhere else. Plan the aerial block so:
- Non-essential crew are clear of the flight area when the aircraft is up
- Background performers and extras are briefed and held as needed
- Vehicle moves under the aircraft are either avoided or handled under the rules and any authorizations that apply
- Night aerials are only scheduled if the pilot can legally fly at night under Part 107
For a plain-language overview of the federal rules that affect commercial flights, see DroneLaws.us federal drone law. Do not assume a closed set automatically makes every shot legal. Ask the pilot to walk through how each shot on the list complies.
What about airspace and local film permits?
Two different approvals often sit on the same day:
- Airspace authorization. If the location sits under controlled airspace, the pilot may need FAA authorization before the aircraft can fly. That process is on the pilot, but you need to know whether it is already in hand or still pending.
- Local film / location permits. Cities, parks, private ranches and studio lots set their own rules for filming, including drones. Those requirements come from the location, not from the FAA. Build them into the location agreement the same way you would for a camera crane or a generator.
Put both on the prep checklist so a missing authorization does not kill the aerial day.
What insurance and paperwork should production ask for?
Insurance requirements come from the production, the studio or the location — not from a one-size-fits-all pilot package. Before you book, ask for:
- A certificate of insurance that meets the production's liability limits and additional-insured language
- Confirmation the pilot holds a current FAA Part 107 remote pilot certificate
- Any location-specific paperwork the site requires (waivers, hold-harmless forms, park film permits)
- A short safety briefing the pilot will give before the first take
Do not treat "FAA-approved" marketing language as a substitute for the certificate and the insurance certificate. Ask for the documents.
What backups should we require on a production day?
Aerial days fail on batteries and aircraft more often than on cameras. Require, in writing if you can:
- Enough charged batteries for the full aerial block, plus spares
- A backup aircraft that can fly the same lens / sensor package, or a clear plan if the primary goes down
- Spare props, cables and media
- A weather call time and a weather hold / cancel policy that matches the rest of the call sheet
If the shoot spans several locations or units, ask how gear moves between them and who owns the schedule when the drone is the bottleneck.
Producer checklist: questions to ask before you book
- Can you cover every shot on this aerial list under Part 107 (people, vehicles, night, airspace)?
- Will you bring a dedicated pilot and a dedicated camera operator?
- Do you already hold any airspace authorization this location needs?
- What local film or location permits do you need from us, and which will you handle?
- Can you provide an insurance certificate that matches production's requirements?
- What is your backup aircraft / battery plan if something fails mid-block?
- How do you talk to the DP and 1st AD on set, and can we see a live monitor feed?
- What is your weather call process the morning of?
How much does it cost, and how do we post the job?
Rates vary with crew size, aircraft, insurance limits, travel and how many days you need. We don't publish prices here; our overview of how much it costs to hire a drone pilot explains the factors that drive quotes. When you're ready to send the brief, post your project with the shot list, location, dates and insurance requirements so pilots can respond with a real plan.
For pilots: onboard production clients without the email chase.