Four days, four crew members, and an international film production with the highest standards.
Hollywood meets Switzerland once again! For the upcoming Netflix thriller “The Big Fix,” starring Hollywood stars Mark Wahlberg, Riz Ahmed, and Natalie Dormer, and directed by Baltasar Kormákur, we—as a Swiss film unit commissioned by the production company Hugofilm—had the opportunity to capture spectacular aerial shots, dynamic chase sequences, and elaborate film plates.
This international thriller revolves around a global soccer match-fixing scandal involving FIFA. Using our Cinema Drone, the Cinecar, and a specially developed camera system, we traveled all across Switzerland. What looked on paper like a four-day shoot turned into an intense production filled with technical challenges, tight deadlines, and improvised solutions.
International Film Production Meets Swiss Precision
Chasing cars at full speed, catching trains at just the right moment, and showing Zurich from perspectives you don’t see every day. The shot list was ambitious, the locations were numerous, and expectations were correspondingly high. In addition to dynamic action shots, the project included high-quality aerial shots of the city of Zurich, FIFA, and other Swiss locations.
Every detail had to be just right. Camera movements, timing, image quality, and logistics all had to work together seamlessly. And while we were still searching for the perfect shot at one location, the next challenge was already waiting for us. There wasn't much time to catch our breath.
Cinecar with a Sony VENICE and three RED KOMODO cameras
From a technical standpoint, things got particularly exciting on our Cinecar. In addition to the Sony VENICE, we installed a specially configured camera rig with three RED KOMODO cameras to capture high-resolution film plates of the Swiss landscape.
The three cameras transmitted their video signals directly into the Cinecar, where they were combined into a single image using Live Stitch. This allowed the director to review the footage live on his monitor while the vehicle was in motion.
It was a challenging setup that required synchronization, camera positions, and framing to work together perfectly. And this wasn’t done in the comfort of a studio, but on real streets, as we tracked vehicles and trains with precise camera movements. This really showcased what our Cinecar is capable of as a professional camera platform.
Cinema Drones and Aerial Photography in Complex Airspace
Things were anything but boring in the air, too. Using our Cinema drone, we captured elaborate drone footage over Zurich and at various locations. However, some of the desired angles were in the immediate vicinity of airports and controlled airspaces.
What later looks like a seamless camera flight to the viewer required a great deal of behind-the-scenes organization. Permits, consultations with authorities, coordination with Skyguide, and precise flight planning all had to be juggled.
And all of this had to be done within an ongoing shooting schedule that left little room for flexibility. New requirements called for new solutions—sometimes on the very same day. This is exactly where our experience with professional drone footage in Switzerland and our well-established network paid off. Our goal was to make even the most complicated shots possible, rather than crossing them off the list.
Four Days Pushing the Limits for the Perfect Shot
Four crew members, countless kilometers, constantly changing locations, and an equipment setup that demanded the utmost concentration. Those four days of production were quite a challenge.
We were on the job practically nonstop, reconfiguring cameras, switching between the Cinecar and the cinema drone, coordinating the next shots, and responding to last-minute requests from the producers. If the regular shooting day wasn't enough, we'd just put in an extra shift.
Sometimes the challenge was getting a complex camera setup up and running in time. Sometimes it was about taking advantage of a narrow time window for a drone flight or somehow squeezing an additional shot into the day’s schedule. Giving up was rarely an option.
Covering such a wide range of shots for an international film production with a crew of just four requires more than just good equipment. It takes people who think on their feet, can improvise, and still have the drive to make the next shot even better—even after a long day of shooting.
Swiss Film Unit for International Productions
After four days filled with action, complex technology, and some pretty long shifts, one thing was clear: “The Big Fix” was one of those missions where everything really had to come together.
From the Triple RED KOMODO rig on the Cinecar to precise vehicle tracking shots and challenging cinema drone flights in controlled airspace, we—as a small Swiss film unit—were able to demonstrate what is possible with experience, flexibility, and the right team.
At Birdviewpicture, we support national and international film productions with professional aerial photography in Switzerland, Cinecar and camera car operations, as well as customized camera solutions. From the initial permit to the final take.
A big thank you to Hugofilm and everyone involved for their trust and cooperation on this extraordinary project.
Four days. Four people. One mission. We pulled it off. 🕺🚀🚁🎥🏎️
