Hire drone operators

Why the paperwork comes first

Commercial drone flying is regulated everywhere Spexster operates. In the United States, anyone flying a drone under 55 pounds for work needs an FAA Remote Pilot Certificate under Part 107, and the aircraft must be registered. Part 107 flights are limited to 400 feet above ground and 100 miles per hour, and controlled airspace near airports needs an authorization before take-off.

In Canada, Transport Canada (opens in a new tab) requires a pilot certificate and a registered drone for anything from 250 grams to 25 kilograms. A Basic certificate covers uncontrolled airspace, more than 30 metres from bystanders. Flying in controlled airspace, which takes in most downtown cores, or closer to people needs an Advanced certificate (opens in a new tab), earned with an online exam and a flight review, plus permission from NAV CANADA.

In the UK, every pilot of a drone weighing 100 grams or more needs a CAA Flyer ID (opens in a new tab), and the drone's owner needs an Operator ID. Commercial filming in a city usually runs under a CAA Operational Authorisation (PDRA01) (opens in a new tab), which requires a GVC or RPC-L1 pilot qualification, keeps the drone below 120 metres and at least 50 metres from people who are not involved in the shoot.

In all three countries the shape is the same: a qualified pilot, a registered aircraft, and permission for the airspace you are in. A pilot who cannot show you the certificate is not a pilot you can legally hire.

Why a city shoot usually needs more than the certificate

Most of the places brands want aerials, downtown rooftops, waterfronts, event venues, sit in controlled airspace or under a city film office's rules. In Los Angeles, FilmLA requires its own permit for all commercial drone work including scouts and b-roll, with a $2 million aviation insurance certificate. Toronto will not allow drones under its grid permit. Vancouver requires aviation liability insurance on top of general liability. The operator handles the airspace authorization; the city permit is usually the production's job, and a White Glove project manager coordinates that paperwork with you.

What goes in the brief

• The exact location, with a map pin. Airspace is decided by the address.
• The shots you want: a reveal, an orbit, a tracking shot, a top-down. Reference clips help.
• Deliverables: video resolution and frame rate, stills, raw or graded.
• Dates and time of day. Golden hour is a different flight from midday.
• Whether people will be below the drone. It changes the rules and the risk.
• Budget range.

Insurance and the certificate of insurance

Ask every operator for their certificate of insurance before the shoot day, and for the certificate to name your company or the production as additional insured if the location requires it. Aviation liability is a separate policy from general liability, and city film offices know the difference.

How to read an aerial reel

Smoothness is the baseline; look past it. Does the operator move the drone with intention, revealing something, following something, or just drifting? Is the horizon level, is the exposure held through the move, does the shot end cleanly? Then check the work against your job: real estate orbits, event coverage and cinematic tracking shots are different skills. Ask how they planned a shot you like: a good pilot will talk about airspace and light before they talk about the drone.

Hiring across cities

Hire local. A pilot who flies your city knows its airspace, its film office and its weather, and the aircraft travels badly. Where supply is thin, White Glove sources a licensed pilot for the market rather than flying one in.