A Conversation With: The Creators of Grizzly Night

Where Preparation Meets Pressure:

Some productions are memorable for scale.
Some for story.
And some for the moment when everything in the air has to work exactly as planned.

Out In Space Studios recently collaborated on Grizzly Night, a narrative feature based on the true events of two fatal grizzly bear attacks in 1967. The film approaches that history with care — including the use of a trained grizzly bear to portray key moments with authenticity.

Our role focused on second unit aerial cinematography: capturing air-to-air helicopter sequences and scenic aerial plates designed to integrate seamlessly into the film’s practical and VFX-driven scenes.

“It cuts so seamlessly into the movie.”

When reflecting on production, the director and executive producer immediately pointed to the aerial work.

“Flying with you was like cherry on top,” one shared. “We even got to do air-to-air work too, which was incredible. It cuts so seamlessly into the movie. I think it elevates the quality of our film so much.”

That’s the measure of successful second unit cinematography — not standing out, but fitting in. Matching tone, movement, and camera language while operating in an entirely different environment.

Air-to-Air Cinematography: Precision Over Flash

Air-to-air filming introduces variables you can’t fake:

Two aircraft.
Multiple pilots.
Live airspace.
Limited windows.

“What we were able to capture was incredible,” they said, “especially with you on the sticks and all your expertise guiding the pilot and the different maneuvers we set up between the two aircraft.”

As the helicopter crossed frame, the moon rose on the horizon — creating authentic night visuals that intercut seamlessly with blue-screen ground unit footage.

“There’s real authentic moonshots behind this helicopter,” they explained, “and it all intercuts really well with what we shot on the ground.”

In aviation cinematography, preparation is what makes moments like that possible.

Built for VFX Integration

The aerial system used for the helicopter sequences differed from the primary camera package on the film. The result?

“It intercuts seamlessly… both have so much data and color and depth.”

Capturing aerial VFX plates requires more than a beautiful shot. It demands stable movement and framing discipline that gives post-production flexibility.

When it works, the audience never sees the transition.

They just feel continuity.

Collaboration at Altitude

Second unit is collaborative by design.

“Four of us all in the ship together, plus another helicopter,” they recalled. “For that amount going on logistically and communication wise, it was a really smooth, awesome process.”

“You were able to interpret our kind of on-the-fly direction… very professional.”

That alignment — technical execution supporting creative direction — is what allows complex aerial sequences to feel effortless on screen.

Story First

Authenticity shaped every aspect of Grizzly Night — from working with a trained grizzly bear to integrating real aerial cinematography into the narrative.

“Having a real bear on set and the real custom aerials… all ties into telling this authentic story.”

Whether capturing helicopter integration, air-to-air sequences, or aerial plates for VFX, the objective remains the same:

Serve the story.

Out In Space Studios specializes in second unit cinematography, aerial filmmaking, and helicopter-based production for narrative and documentary projects.

Watch the full behind-the-scenes conversation to hear more about the process behind the aerial work.

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