High-Octane FPV Drone Automotive Shoots
I chase cars, superbikes, and anything that moves fast. Real FPV, real speed, and the kind of angles that put you right in the driver's seat.
This is what happens when you get a drift car and a superbike on a track for a last minute session. We filmed this whole sequence in just 15 minutes, capturing the raw energy of a Lexus GS300 drifting alongside a BMW 1000rr. These are the kind of high speed FPV chase shots I live for.
There is nothing quite like the sight and sound of a 2JZ engine. Here, I'm chasing a Toyota Aristo as it drifts around the track, getting low and close to the action to capture the smoke and the speed in a way that feels raw and immersive.
For this Royal Enfield shoot, I built a custom drone with a unique back-facing camera mount. This allowed me to fly ahead of the motorcycle and capture this incredible reverse chase shot as the sun set over the race track. Getting the shot no one else can is my specialty.
About High-Octane Automotive
To get those low, sweeping chase shots of drifting cars, standard drones just won't cut it. I use custom-built 5-inch freestyle quads that can hit 100kmph+ speeds, designed specifically to match the pace of a drifting Lexus or a superbike. If you are planning a shoot, we need to sync up on the track layout first so I can plan the flight paths for the safest, wildest angles.
People often ask if I use off-the-shelf equipment for these automotive shoots. Honestly? No. When you are inches away from a vehicle drifting at high speeds, you need total control. My 5-inch quads are built in-house for speed and responsiveness, and I always bring backup units to the track.
How I Work on Track
I work directly with the DOP and the drivers. Before we fly, I do a walk-through to identify the best lines and safety zones. For high-speed chases, I use a stabilized GoPro setup to capture 5.3K footage, applying gyro-stabilization like ReelSteady or Gyroflow afterward. This keeps the footage smooth even when the drone is maneuvering aggressively to keep up with the action.
Safety and Precision
Safety is non-negotiable. I use specialized equipment for different scenarios. If we are shooting tight, indoor automotive showrooms, I switch to 3-inch ducted Cinewhoops, which are safe for proximity work. If we are on an open race track, I bring out the 5-inch rigs. I am DGCA certified, and I take flight path planning seriously—especially when filming around expensive machines or drifting cars.
My goal is to capture the raw energy of the engine and the drift, not just a static shot from above. Whether it is a music video sequence or a brand commercial, I’m ready to chase.
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