In the world of professional aerial filmmaking, the way we describe perspectives often borrows from traditional cinematography, but the unique capabilities of a drone require a more specialized vocabulary. When a filmmaker asks for a shot looking at the “back of the neck” of a subject, they are referring to one of the most powerful storytelling tools in the drone pilot’s arsenal: the Third-Person Follow Shot, also known as the Nape Perspective or the Trailing Tracking Shot.
This specific angle, positioned directly behind and often slightly above a subject’s head or “neck,” creates an immersive experience that mirrors the “over-the-shoulder” shots of traditional cinema while adding the kinetic energy of flight. Mastering this perspective requires a deep understanding of gimbal physics, flight path synchronization, and the psychological impact that this viewpoint has on the audience.
The Anatomy of the Follow Perspective: Why the “Nape” Shot Matters
In aerial cinematography, the “back of the neck” shot serves as the bridge between the audience and the subject’s journey. By positioning the drone at the nape—the anatomical point where the head meets the spine—filmmakers create a sense of shared experience. The viewer is no longer just an observer; they are a silent passenger following the protagonist into the unknown.
The Psychology of the Rear Perspective
The reason this shot is so evocative lies in human psychology. When we look at the back of a subject’s neck as they move forward, we are invited to see what they see while remaining grounded in their physical presence. This perspective creates a sense of “proxemic” intimacy. In narrative filmmaking, it is often used to build suspense or to emphasize a character’s determination. In action sports, such as mountain biking or downhill skiing, this “back of the neck” framing provides a visceral sense of speed and terrain difficulty that a wide shot simply cannot convey.
The Technical “Nape” vs. The Traditional Follow
While a standard follow shot might simply track a subject from a distance, the “nape shot” requires high-precision proximity. The drone must maintain a consistent distance from the subject’s head, often within a range of five to fifteen feet. This requires the pilot to account for the “prop wash” (the downward air pressure from the propellers) to ensure it doesn’t physically disturb the subject, especially if the subject is a person on foot or a light vehicle.
Technical Execution: Camera Settings and Gimbal Control
Achieving a professional-grade rear tracking shot is not as simple as hitting “record” and flying forward. It requires a synergy between the drone’s flight telemetry and the camera’s imaging settings. Because the drone is moving in the same direction as the subject, any micro-jitter in the gimbal or inconsistency in speed becomes magnified.
Managing Motion Blur and Shutter Speed
When filming from the “back of the neck” perspective, the background often moves past the frame at high speeds while the subject remains relatively static in the center. To achieve a cinematic look, the “180-degree rule” for shutter speed is essential. If you are shooting at 24 frames per second (fps), your shutter speed should be locked at 1/50th of a second. This creates a natural motion blur in the periphery—the trees, the road, or the landscape rushing by—while keeping the subject’s “neck” and shoulders sharp. To maintain this shutter speed in bright daylight, the use of Neutral Density (ND) filters is non-negotiable, allowing the sensor to capture the correct exposure without overexposing the highlights.
Gimbal Pitch and the Horizon
The “neck” shot is defined by its angle of depression. Typically, the gimbal is pitched downward between 10 and 25 degrees. If the gimbal is too flat, the drone captures too much of the horizon and loses the intimacy of the subject. If it is pitched too steeply, it becomes a “top-down” shot, which loses the forward-moving momentum. The goal is to keep the subject’s head or the “nape” in the lower third or the dead center of the frame, depending on whether you want to emphasize the subject or the environment they are entering.
Focal Length Selection
While most consumer drones feature a wide-angle lens (equivalent to 24mm), professional aerial filmmakers often prefer a narrower field of view for the “back of the neck” shot. Using a drone with a 70mm telephoto lens—such as those found on advanced multi-camera systems—compresses the background. This compression makes the environment feel more imposing and brings the background “closer” to the back of the subject’s head, heightening the drama and making the movement feel faster and more controlled.
Flight Maneuvers for the Perfect Rear Tracking Shot
The difference between a hobbyist follow shot and a cinematic masterpiece often comes down to the smoothness of the flight path. Modern drones offer “Active Track” or autonomous follow modes, but for high-end productions, manual flight or a “Co-Pilot” (Dual Operator) setup is preferred.
Manual vs. Autonomous Following
Autonomous modes are excellent for maintaining a consistent distance, but they often lack the “soul” of a manual shot. A human pilot can anticipate a subject’s movement, subtly adjusting the lead or lag to react to the emotional beat of a scene. In a manual “back of the neck” shot, the pilot must master “throttle management.” If the subject (such as a car) accelerates, the pilot must smoothly increase the pitch of the drone without causing the gimbal to “kick” or the nose of the drone to dip into the frame.
The Lead-In and the Reveal
One of the most effective ways to use the nape perspective is the “Lead-In Reveal.” This involves starting the shot extremely close to the back of the subject’s neck, so they fill a large portion of the frame. As the drone and subject move forward, the drone slowly gains altitude and pulls back. This transition takes the viewer from an intimate, closed-off perspective to a grand, expansive reveal of the landscape. It is the definitive “journey” shot in aerial filmmaking.
Navigating the “Vortex Ring State” in High-Speed Follows
When performing high-speed rear tracking, pilots must be aware of the aerodynamic challenges. If a drone is following a subject and needs to slow down suddenly, it can descend into its own turbulent air—a phenomenon known as Vortex Ring State (VRS). To avoid this while maintaining the “back of the neck” framing, pilots should utilize a “sliding” maneuver, where the drone moves slightly to the side while maintaining the camera’s focus on the subject’s rear. This keeps the air under the propellers clean and the flight path stable.
The Storytelling Power of the Third-Person View
Every shot in a film should serve the narrative. The “back of the neck” shot is uniquely suited for specific storytelling tropes, particularly those involving discovery, isolation, or the “Hero’s Journey.”
Creating Mystery and Anticipation
By focusing on the back of a subject, you withhold their facial expressions from the audience. This forces the viewer to interpret the character’s state of mind through their body language and the environment. Are they walking slowly toward a dark forest? The “back of the neck” shot makes the audience feel the vulnerability of the subject. Are they racing a motorbike at 100 mph? The perspective makes the audience feel the adrenaline and the singular focus of the rider.
Enhancing Scale and Environment
In aerial filmmaking, we often deal with massive landscapes. A shot of a mountain range is beautiful, but a shot of the “back of the neck” of a hiker looking at that mountain range provides a sense of scale. It gives the viewer a human reference point, transforming a “pretty picture” into a “monumental experience.” The “neck” of the subject acts as the anchor, while the vastness of the world unfolds in front of them.
Safety, Proximity, and Professional Standards
Filming from the rear perspective often requires the drone to be in close proximity to people or moving objects. This necessitates a strict adherence to safety protocols and an understanding of the legal frameworks governing drone flight.
Propeller Guards and Redundancy
When flying close enough to capture the “nape” of a human subject, the use of propeller guards is often recommended for smaller drones, or “cinewhoops.” For larger cinema platforms, the pilot must maintain a “buffer zone” and use longer focal lengths to achieve the same visual intimacy without the physical risk. Redundancy in the flight controller and a reliable link between the controller and the drone are paramount; a “signal drop” while flying five feet behind a moving subject can lead to disastrous results.
Communication and Coordination
The most successful “back of the neck” shots are the result of clear communication. Before the flight, the pilot and the subject (or the driver of the vehicle) must agree on a “flight line” and a set of hand signals or radio commands. The pilot needs to know exactly when the subject will turn, stop, or accelerate. In professional sets, a “Visual Observer” is also present to watch for obstacles like power lines or tree branches that the pilot might miss while focusing intently on the subject’s “neck” through the FPV (First-Person View) goggles or monitor.
By mastering the “back of the neck” perspective, aerial filmmakers can move beyond simple flyovers and start telling deeply personal, immersive stories. It is a shot that requires technical precision, aerodynamic awareness, and a keen eye for composition, but when executed correctly, it is one of the most compelling angles in the modern cinematic toolkit.