Our Team
Katya co-founded The Helicopter Girls with a background that is genuinely unusual in the industry: a Harvard film graduate and award-winning theatre director who grew up on film sets and became the first woman in the world to build and fly heavy lift cinema drones. That combination — deep creative understanding, technical mastery and a filmmaker's eye — is what has shaped the company's approach to R&D from the beginning.
Today, Katya leads the company's technology development and engineering programmes, overseeing an in-house team who design, manufacture and adapt drone systems for specific production requirements — developing bespoke solutions that don't exist anywhere else. Current projects include Hydra, the world's only cinematography-grade rain-capable heavy lift drone built on the Acecore Noa platform, and an aerial motion control system designed to replicate any drone and camera move with centimetre-level accuracy at any location in the world.
Her philosophy on innovation is straightforward: "Our attitude to new technology has always been to embrace it, test it and see if we can improve it. It's the bedrock of everything we do and enables us to bring new and innovative ways of working on set."
Emma came to aerial cinematography from television production — over 50 hours of prime time arts, science and documentary television for the BBC and Channel 4. That background gave her something rare in a technical industry: a producer's instinct for what a cinematographer actually needs, and what it takes to be genuinely useful to a production under pressure.
Over the past decade she has built The Helicopter Girls into an organisation people come back to — not just for the quality of the work, but for how it feels to work with them. That has meant investing in the team as much as the technology, building relationships with productions and cinematographers that are rooted in trust, and maintaining a rigorous approach to health and safety that has earned the confidence of the CAA's UAS Sector and key industry stakeholders.
Emma leads the company's client relationships, operations and people strategy. She has spent the past three years deepening her leadership practice — an investment that has sharpened her focus on the development of senior leaders in the creative industries, and the conditions that allow them to lead with clarity and confidence.
Amy came to The Helicopter Girls from features and drama production — working as a Production Coordinator for major studio clients, on many of the same productions The Helicopter Girls shoots for. She knows those teams, understands how they work, and has sat on the side of the table where the brief comes from.
That experience is what makes her effective in the role. When a production calls with a complex brief, a tight turnaround or a last-minute change, Amy already speaks their language. She reads shifting schedules quickly, pre-empts what's needed before it's asked for, and keeps The Helicopter Girls nimble in situations where speed of response matters. She joined in August 2024 and quickly became the person productions rely on to make the process feel effortless — from first conversation to the moment the drone is in the air.
Pete is the most experienced film pilot in the UK, with a background in elite acrobatic flying that gives him an instinctive command of the aircraft in conditions that would ground others. But what sets him apart from other exceptional pilots is what happens before the drone is in the air.
Pete has an engineer's mind. He designs and manufactures bespoke solutions in-house — building the kit that doesn't exist yet when a brief demands it. When Hijack 2 needed a police helicopter searchlight sequence requiring a narrow, high-intensity beam, Pete engineered a purpose-built torch mounted to a drone to deliver exactly the quality of light DOP Ed Moore BSC required.
That combination of flying skill and engineering instinct is what makes him the pilot that the world's best cinematographers come back to. Martin Ruhe ASC — who worked with Pete on The Boys in the Boat under director George Clooney — put it directly: "Pete and Phil are great craftsmen, understanding, efficient and artists with drones. They like a challenge and deliver."
His credits include Wicked, Paddington in Peru, Peaky Blinders: The Immortal Man, The Boys in the Boat, Hijack 2, Back in Action and Downton Abbey: The Grand Finale — among many others.
Aaron is a two-time Junior World Champion aerobatics pilot, sponsored by Align and ranked 6th in the world in 2024. That level of competitive flying develops a precision and physical control of the aircraft that simply cannot be taught — and it translates directly to the quality of his work on set.
He joined The Helicopter Girls in 2020 and has built a strong credit list that reflects the trust productions place in him. His credits include The Beekeeper 2, Adolescence, Bridgerton (seasons 3 & 4), The Capture S3 and Fast X.
In 2016, at the age of 15, Luke Bannister won the World Drone Prix in Dubai — one of the most prestigious drone racing championships in the world. It announced him as one of the most naturally gifted pilots of his generation.
Luke is widely acknowledged as one of the top three cinematic FPV pilots in the world. What makes him exceptional isn't just speed or precision — it's his understanding of the shot and his technical mastery of the aircraft. He builds and tunes his own rigs to carry payloads that other FPV pilots simply cannot fly smoothly, works closely with DOPs and directors from the outset, and brings a creative instinct to FPV that goes well beyond flying.
His credits include Supergirl, Stuntnuts, Wicked, Fast X, Back in Action, Gran Turismo, Road House and Meg 2: The Trench.
Will came up through the camera department and has found his natural home in aerial cinematography. He knows cameras and lenses the way a cinematographer does — not just how to operate them but what they can do, and how to get the best from them in the air. That depth of knowledge, combined with his mastery of stabilised remote heads and his instinct for crafting the shot, makes him a natural and sought-after collaborator on major productions.
His credits include The Great Beyond, The Thomas Crown Affair, Peaky Blinders: The Immortal Man, Wuthering Heights, Stuntnuts, Luther, The Woman in Cabin 10, Downton Abbey: The Grand Finale, The Beekeeper 2, Wicked, Fast X and Back in Action.
Phil has spent over a decade exploring the creative possibilities of aerial cinematography on some of the most ambitious productions in the world — and his credits speak for themselves.
He delivered the opening sequence of F1: The Movie — starting high above Silverstone, threading through the grandstands, transitioning from 1,500 feet down to track level and drawing alongside the car to end in a close-up of the driver, all in a single move. It is one of the most technically demanding and visually spectacular helicopter sequences in recent cinema, on a film that grossed over $634 million worldwide.
His background as a specialist camera technician and lighting cameraman gives him an understanding of the image that goes beyond flying — he works with directors and DOPs from the outset to help bring concepts to life in the air, finding the angles and movements that serve the story rather than simply the shot.
His drone and helicopter credits include F1: The Movie, Mission: Impossible — Dead Reckoning, Mission: Impossible — The Final Reckoning, Supergirl, VisionQuest, Luther, Peaky Blinders: The Immortal Man and The Boys in the Boat.
Will started his flying career in the Royal Navy, where he flew the Westland Lynx. After leaving the Navy he moved into commercial aviation — but flying passengers back and forth to Ibiza turned out not to be quite enough. He founded GB Helicopters, growing it from a single aircraft to a fleet of ten, all operating on AOC, within a decade.
With a fleet that size, film work was inevitable. Aerial filming became an increasingly prominent part of the business, and with it came the desire to do more — leading to the formation of The Aerial Film Company alongside aerial cinematographer Phil Arntz. GB Helicopters continues to operate alongside AFC, providing the aircraft infrastructure that underpins the whole operation.
On set, Will brings the precision and composure of someone who has flown in conditions that demand both. His most recent work includes the opening sequence of F1: The Movie — threading through the Silverstone grandstands at track level alongside a Formula One car — a sequence that required weeks of detailed risk assessment and three takes to nail.
His credits include F1: The Movie, Mission: Impossible — Dead Reckoning, Mission: Impossible — The Final Reckoning, Peaky Blinders: The Immortal Man and Jack Ryan.
Abi has a keen interest in all things aviation and is Operations Manager on the helicopters side. With a keen eye for detail she is responsible for ongoing audits, risk assessments and is instrumental in the safety of operations and obtaining ISO9001, 14001 and 18001. Abi is skilled in obtaining permissions from National Civil Aviation Authorities, ensuring our aircraft have the legal ability to fly the exact shot required without compromise.
Francesca Zerenghi is an Entertainment Publicist specialising in representing cinematographers and creative companies across the screen industry. With a strong focus on authenticity and long-term career development, her work is rooted in an inclusive mindset and a creative approach to building talent visibility, reputation, and professional reach.
Her expertise spans Talent Publicity, Networking & Engagement, Panels & Masterclasses and mentoring. Francesca is also the Founder and former Editor-in-Chief of Cinegirl, a publication dedicated to spotlighting diverse talent across the screen industries.
She has moderated panels and industry conversations at high-profile events such as Camerimage, Euro Cine Expo, and the BFI, and regularly delivers masterclasses and talks on industry access, career strategy, and inclusion. Francesca also contributes to best practices in higher education and professional development across the screen industries, with a particular emphasis on equity, inclusion, and creative empowerment.
Mike has been flying for The Helicopter Girls since 2016. He flies FPV, hybrid and heavy lift and is a self confessed camera nerd. Projects including Meg 2: The Trench, Downton Abbey and Maleficent 2.
Leo started out as an FPV racing pilot and has developed his craft as an exceptionally talented film pilot, flying our heavy lift FPV rigs on projects including The Sandman, The Lord of the Rings and Paddington in Peru. He loves adventure and when he isn't flying drones he'll be found taking to the skies with his paraglider.
As well as being a talented aerial camera operator, Andres is Head of Operations for HG South America. Based in Bogota, Colombia, he has extensive regional knowledge and relationships ensuring each job runs smoothly, safely and on budget. Andres is fluent in English and Spanish.
Nando began his career in the camera department, operating on projects in Mexico and Colombia. He started flying drones 13 years ago and went on to set up Eagle Films in Colombia with Andres Sotomayor in 2017. Nando manages the HG drone fleet in South America and all aspects of drone safety. His dedication and ability is well acknowledge and he is the only super heavy lift pilot in the region with extensive knowledge of the Freefly Alta X.
Brayant began his career as an FPV racer in 2017, participating in local and international competitions. He trained as an aeronautical engineer and his passion is building and flying drones. He maintains HG South America's FPV fleet and loves combining his knowledge and experience to creatively push the boundaries of aerial shooting for TV and cinematic productions.
