Skydiving Falcon Sequences for Film and Television

The sequence

Probably the greatest stunt sequence we have achieved with the birds to date: Lady the peregrine falcon chasing presenter Steve Leonard from 16,000 feet, reaching a top speed of 180mph.

Real bird, real altitude, real speed, filmed in the air. Not a composite, and not slowed down.

Planning something like this

Sequences at this end of the scale are not booked, they are built. They need months of preparation, the right aviation and safety partners, and a production willing to plan around the bird rather than the other way round.

If you are considering something in this territory, talk to us at the idea stage. We will tell you honestly whether it is possible, and what it would take. See also our base jumping sequence and our peregrine falcons.

Common questions

Can we film on our own location?

Often, but not always. Some locations will not give you the shot whatever bird you put in them — the sightlines, the light, the wind or the space are simply wrong. Send us the location, ideally with photographs, before you lock it. It costs nothing and it has saved productions a great deal.

How much notice do you need?

It depends entirely on the sequence. A perched shot, or a straightforward flight to the hand, needs far less lead time than a choreographed sequence built around a specific action. Complex work is measured in months rather than weeks. Ask us early and we will give you a straight answer.

Will the bird work close to actors and presenters?

This is a large part of what we do, and it is the reason the birds are raised and flown by us rather than sourced in. Tell us what the contact needs to be — a hand, a shoulder, a glove, a look — and we will tell you what is realistic with a sequence like this and how long it would take to prepare.

Do you travel?

Yes. Our birds have filmed across the UK and abroad, from the Scottish moors to Arco in Italy.

Is the flying real, or is it done in post?

Real. The birds fly in real time, at full speed, to camera. Nothing is slowed down, and nothing is composited.

Planning a shoot

Every job starts the same way. Tell us what you are trying to film and we will tell you honestly whether it is possible, and how — including when the answer is no.

Our birds are raised and flown by Lloyd and Rose themselves, which is what makes calm, close work with actors and presenters possible. They fly in real time rather than being slowed down afterwards. The birds’ welfare comes first on every job.

Some sequences can be set up quickly. Others cannot — the goshawk work for H is for Hawk took fifteen months of daily preparation before a camera turned. The earlier you bring us in, the more you will get.

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