Nat Geo has had a strong year of high-quality specials, from biographies of well known and diverse types of photographers, to capturing the beauty and wonder of the ocean.
If there is one thing you are guaranteed of, is stunning cinematography. always. Period. End of story.

This latest exploration focusing on the National Parks:USA is no exception. Starting streaming Sept 8th.

From sharing the experience of being together with rock climbing experts that will take your breath away, to macro photography of beehives like you have never seen before, to views from the skys of these majestic lands from one of the finest aerial cinematographers today.
This five-part series features a blend of wildlife weaved seamlessly with stories of rich culture, history and geological landmarks. In addition to illuminating each park’s beauty, set against the backdrop of dynamic wildlife, NATIONAL PARKS: USA reveals Indigenous stories from some of today’s tribes to link the past with the present, highlighting the importance these lands have had through countless generations and the need for these national treasures to remain for the future.

The question you may ask is: how do they capture all of this stunning footage?

A Grey whale comes up for air as it travels through kelp forests along the Pacific Coast. (credit: National Geographic/Alex Cooke)

The aerial footage alone is a master class in this category and I was fortunate to ask some questions of Thomas C. Miller, who was the aerial cinematographer on this series, primarily the “Zion” and “Olympic” episodes.
Below are the questions asked, and his responses.
The detail on the shoots themselves is eye opening.
Trust, timing, and patience are all key factors.
His years of experience and high quality filmmaking, are the starting point.

How do you scout locations?
I rarely scout locations for natural history series in person. Instead, I rely on resources like
Google Earth, stock libraries, and YouTube. I also consult with the director to gather specific
information about the filming location. Additionally, I use apps like Sun Surveyor and The
Photographer’s Ephemeris (TPE) to predict sunrise and sunset times and sun angles.

Always by chopper?
In the past, I filmed everything by helicopter, but drones have since become an integral part
of my aerial production toolkit. I’m a certified Part 107 Remote Pilot and have increasingly
incorporated drone work into my projects.

With a smaller drone?
The drones I currently use are the DJI Inspire 3 and the DJI Mavic 3 Pro Cine

Of course, time of day for light is a consideration for a prime shot.
What else comes into play?

Lighting is paramount. I often say, “You can always shoot in crappy light,” meaning, if you can wait for better light, be patient. Usually, I only get one chance to capture a shot, so maximizing the day by shooting in optimal light results in staying on budget and capturing
superior footage. Another saying I use is, “You never know until you go,” emphasizing the
commitment needed for epic shots. Finally, I often say, “The sun is always shining
somewhere,” similar to how it’s always happy hour somewhere. As a cinematographer,
optimism is key, and you must constantly seek out opportunities.

How many people are on the team? Positions?

A typical natural history aerial production unit includes a pilot, aerial DP, director/producer,
aerial technician/AC, and an associate producer or PA. However, for America’s National
Parks “Olympic” and “Zion,” the team was just the pilot and me. I own my equipment, so I’m
pretty self-contained. Several months before filming, I had a Zoom meeting with the director
and producer to discuss the elements they needed, timeline, and to put together an estimate for the helicopter, mount, and camera. After finalizing the details and getting production’s sign-off, it was just me and the pilot. We monitored the weather, and when a three-day window opened, I loaded up the van and headed north.

How is the shot list determined?

The shot list, or “laundry list,” is usually determined by the director and editorial department.
If editing has already begun, the editor may request specific shots needed for the storyline.
Otherwise, the director sends me a list of shots to capture. If they don’t have a list, I ask the director to give me a visual sense of the story. My job is to enhance their story visually from an aerial perspective. I’ve found that aerial cinematography is more efficient when driven by the narrative rather than specific shots. Sometimes, due to the time of day or weather, a specific shot may not be achievable, so delivering a shot with the same meaning and emotion saves time. This approach comes with experience. When I see a shot list, I immediately know what’s feasible and what might be problematic.

What is the coordination like between the teams? (aerial, macro, gimbal)

Coordination with other filming units is rare. If we do communicate, it’s usually for air-to ground shots to ensure the ground unit doesn’t interfere with the aerial shots. The ground unit may also provide information about animal sightings for aerial shots. Most of the time, the aerial unit operates independently.

How long are the shoots?

Natural history helicopter aerial film production is generally brief due to cost, typically lasting 2 to 7 days. For distant locations like the Arctic, shoots may extend to a month, but 2 to 7 days is the norm for me. For “Olympic” and “Zion,” I had two travel days and two filming days.
“Olympic” involved a total of 6 flight hours, while “Zion” had only 3 hours of actual flight time over the park. As you can see, time to capture epic shots is limited, so I have to work fast, work smart, be patient, and stay committed.

As shooting is weather dependent, what kind of contingencies are in place?

I own my Cineflex Elite System with the camera and lenses, so I’m fully self-contained. My
only concern is the weather and helicopter. For America’s National Parks, the director gave
me complete control. With no one from the production company on-site, I coordinated with the pilot and helicopter company to monitor the weather and identify good flying days. With only two entities involved, the production process becomes much more efficient. If the weather is good, the helicopter is available, and I’m ready, we roll. If we encounter bad weather, we hold off on rigging and wait—patience is key.

What gear are you using in this series?

In the America’s National Parks episodes “Olympic” and “Zion,” I utilized the Cineflex Elite 5-Axis Gimbal paired with the Red Helium 8K S35 Camera and an Angenieux 25-250 Optima Zoom .For “Olympic,” I worked with a Bell 206B III Jet Ranger operated by Northwest Helicopters in
Olympia, Washington, using an Airfilm G1 V2 mount attached to the front of the aircraft. For
“Zion,” I employed an AS350 B2 (Airbus H125), operated by Sundance Helicopters based in Las Vegas, Nevada, with an Airfilm Single Pole Mount.

Most challenging or favorite video you are most proud of in this series?

After watching my work in both episodes, I’m most proud of the trust the production placed
in me to coordinate and shoot the helicopter aerials independently. That level of trust means a lot. While on location in Washington and Utah, I had very little communication with the director—they trusted me to do what I do best. I’m proud that I didn’t let them down.

True, much of the gear may be out of your reach, but it’s what he uses. It’s the real deal.