Dynamic FPV Drone Shots for Punjabi Music Videos
I bring high-speed, cinematic FPV flight to Punjabi music videos, from chase sequences in the desert to smooth indoor one-takes that capture the energy of every track.
This is the kind of raw energy I love to capture for Punjabi music videos. For Karan Aujla's 'MF GABRU', I chased this convoy of off-road vehicles through the dust, getting right in the middle of the action with my FPV drone to create a truly intense sequence.
Kicking up dust in the Bikaner desert for a track by Laddi Chahal and Parmish Verma. Chasing this Mahindra Thar through the dunes required fast, agile flying to keep up with the off-road action and deliver that cinematic FPV feel.
Flying in the snow-covered Himalayas for Guru Randhawa's 'MoonRise' was an epic experience. My drones are built to handle extreme conditions, allowing me to capture breathtaking landscape shots that add a massive sense of scale and beauty to any project.
Here's a behind the scenes look from a shoot with Jordan Sandhu. The director wanted dynamic indoor movements that a regular camera couldn't achieve. I flew my FPV drone through the set to create a seamless, flowing shot that follows the artists.
This video shows the practice versus the final result for an indoor FPV shot in Jordan Sandhu's 'Freeflow'. Nailing these complex one-take shots requires careful planning and precise control, flying from room to room to create a unique visual experience.
For Sunanda Sharma's 'Chandigarh ka Chokra', we mounted a whole couch on a rollercoaster. I flew my FPV drone alongside it to capture these wild, one-of-a-kind shots. If you have a crazy idea, I'll find a way to film it.
This was one of my first projects in the music industry, for a Hansraj Raghuwanshi song. I used my FPV drone to film these motorcycle chase scenes through the forest, showing how this technology can bring a new level of action to music videos.
About Punjabi Music Videos
When I am shooting, the drone is an extension of the camera rig, not just a way to get aerials. Whether it is chasing a convoy through off-road dust or weaving through tight indoor spaces during a high-energy performance, I focus on continuous, uninterrupted movement. This means I plan my flight paths alongside your director to ensure the pilot and camera operator are always in sync for that seamless, long-take feel.
High-speed FPV cinematography transforms a standard music video into a high-octane experience. My approach is simple: if the camera needs to go where a crane or gimbal cannot, that is where I fly.
Indoor Dynamics
Using ducted 3-inch cinewhoops, I can capture intricate indoor shots, moving from room to room or following artists through tight set designs. This creates an immersive, fluid perspective that feels more like a first-person experience than a static wide shot.
Chase and Action
For outdoor sequences, I switch to 5-inch freestyle quads capable of hitting speeds over 100kmph. This is perfect for chasing off-roaders, sports cars, or motorbikes on open roads. Whether we are filming in the Bikaner desert or navigating mountain roads, I maintain close proximity to the subject to capture that raw, intense energy that Punjabi music videos are known for.
Technical Workflow
- Pre-production: I attend site recces to map out flight paths, especially for complex indoor sets or pyro-heavy stage environments.
- Gear: I carry a full fleet, from light cinewhoops for proximity work to heavy-lift octocopters for RED or Blackmagic rigs.
- Post-production: All my footage is shot in 10-bit Log, stabilized with Gyroflow or ReelSteady, and ready for your editor to drop straight into the timeline.
I am DGCA certified, so safety protocols, especially around crowds or public roads, are part of the process, not an afterthought. You get the shot, and we get it done safely.
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