Unleashing constraints
to set creativity free

Could Sony use its technologies to push the boundaries of what drones are capable of? Determined to do just that, Sony launched the development of the Airpeak: a drone that would let video creators unlock new realms of creativity.

ShimizuOur goal was to create a drone that would mount an Alpha, Sony’s full-frame mirrorless camera, and also use sensing technologies to monitor the device’s surroundings in real time, AI technologies to respond to changes, and robotics to ensure stable flight operations. Most drones capable of mounting full-frame cameras are big and bulky, so we also wanted to deliver the same kind of functionality in a more compact airframe. From the time the engineers started prototyping, we designers were on board and developing our ideas.

In designing the drone, the team focused on creating a professional-grade package that would be reliable, easy to use, and operationally efficient. That was the first order of business—and on top of that, we wanted to listen to video creators and see things from their perspective so that we could mold the drone into an optimal tool for maximizing creativity. We set out to develop our design for the airframe and UI/UX based on those two goals, all while striving to lift the limitations of the past and distill the essence of what a drone is.

Eliminating extraneous elements
to leave nothing but the essence

Developing a drone airframe was a first for the Airpeak designers and engineers, who went back and forth between the drawing board and the testing environment in search of the ideal design.

IshizuBefore the Airpeak, I’d never designed a product that could fly—but if I was going to get my feet wet, I knew I wanted to jump in headfirst and show the world that Sony was serious about making a great drone. The designers and engineers were after an airframe with specific characteristics: it had to be able to fly in a safe, highly maneuverable way, let the user get everything out of the Alpha’s top-notch expressivity, and make it possible to get aerial shots more freely than ever. Just making the drone lightweight and minimizing air resistance—basic requirements for any drone—wouldn’t be enough to do that. We’d have to go a step further and live up to Sony standards by stabilizing the camera enough so that the Alpha could deliver optimal performance in flight, for example, and outfitting the drone with multiple sensors to detect ambient conditions.

The design team decided to develop some approaches for satisfying those requirements. As we took the lead in proposing a basic structure for the airframe to get things started, we pushed for incorporating light, durable materials to minimize the airframe’s surface area and a high-rigidity structure to enable stable flight at high speeds. At the same time, we fine-tuned the arm angles and propeller positions to keep the parts from interfering with the sensors on the surface but still maintain an optimal weight balance between the airframe and the Alpha camera.

What was the hardest part of the product design?

IshizuWe reworked the design numerous times, and we felt like we’d completed a workable prototype—but the test flights showed evidence of some propeller resonance, a problem that hadn’t shown up in our pre-flight simulations. It was an issue that would definitely impact shooting performance, so the engineers looked at everything again, starting with the basic structure. The modifications consolidated the on-board devices in the center of the drone to create a rigid structure and keep the propeller vibrations from reaching the camera, and we had to reformulate the design accordingly.

We went back to the drawing board and steered our focus in a new direction: stripping away all the unnecessary elements until only the essentials were left. Without anything extra getting in the way, the core components would enhance the drone’s structural strength and come together in a sleeker package that exuded both precision and stability. From that new starting point, we came up with a geometric form around the motifs of curves and straight lines. The aesthetic upped the stability factor through a more balanced, angular aesthetic, in addition to bringing out the precision element with even more visual clarity. We also made the switch to flip-up stands for the airframe, which keeps the stands out of the frame of the shot in any configuration—even when camera does a 360-degree rotation. The design tweaks didn’t just enhance the visual dimension; they made the drone even more user-friendly, too.

Another key part of the design was the drone controller.

IshizuI’ve always believed that good tools make good results, so I wanted to make the controller something that’d fit perfectly into video creators’ hands—that way, users would be able to follow their creative sparks without any interference. We decided to go straight to the source and find out how creators around Japan and across the globe actually held their drone controllers. Through that process, we came to the realization that there wasn’t just one way to hold a controller. Every creator had their own grip. With that, we set out to craft a form that’d be easy for any user to hold.

While the form includes spherical contours for an optimal fit, it also features an edge that aligns with the base of the user’s thumb to make the controller easier to get a firm grip on. On top of that, we fine-tuned the shapes and positions of the bumps on the grip so that it’d feel comfortable in virtually any way the user decided to hold it. The finger rest is another addition that makes the user experience more comfortable, giving creators’ hands a break when they want to focus on stick operations and immerse themselves even deeper in a shoot.

Capturing the team’s mindset
in the communication design

In addition to designing the product and the UI/UX, the team also developed a communication design to help the brand get across to audiences both inside and outside Sony.

KimuraWhen a new brand takes shape, one of the most important roles for communication designers is coming up with a brand name and brand statement—a verbalization of the whole message behind the brand. Airpeak was no different. In developing a statement for the drones, we wanted to capture what drove and motivated the people on the project. Listening to what Airpeak personnel said during their meetings, we came up with a list of three frequent keywords: air, peak, and creation, which we then started weaving into an actual statement with some help from other relevant departments. Meanwhile, we also combined two of the keywords we’d selected—"air" and "peak"—into the brand name.

ShibataThe keywords were also the main components for the key visual. Embracing the “peak” element, we started hunting down compelling visuals of mountain ranges—especially elevated views of tall, craggy, imposing mountains. Our idea was that expansive views, skying over mountains, would be a better symbolic fit for the keywords in the statement than shots looking up toward mountain summits.

The Airpeak is just beginning
to climb to new heights

The Airpeak project applies the co-creation approach, actively soliciting feedback from professional drone users to drive improvements. Having already begun to translate that input into enhancements, the team is looking forward to what the future holds.

IshiiThe UI screen puts a selection of status data, like remaining battery and flight time, at the top of the screen, and we’ve adjusted the presentation of all that information based on user feedback. Drawing on detailed input from our supporters (users who have agreed to provide feedback), we changed the display to highlight the key items that users want to see mid-flight, gave certain indicators more pixel space, and took other steps to refine the design with an eye to lightning-fast decision making during shoots.

IshizuOur supporters have been a big help in enhancing the product design, too—we made so many adjustments to the airframe and controller right all the way through the final stages thanks to their feedback. Airpeak S1 is kind of a “seed” for the Airpeak product family. It’s our job to nurture that seed with care and attention. After all, the Airpeak is a step into a new future for Sony; we had to go all out.

ShimizuAs designers, I hope we continue to stay aggressive as the Airpeak starts to mature as a brand. One thing that sets us Sony designers apart is the depth of our involvement in the Sony Group’s business fields—from electronics and entertainment to finance—for both the consumer and professional markets. Utilizing technologies in areas where Group companies and the Airpeak cross paths, I’m excited to see how we can infuse drones with new value.