This isn’t drone footage.
It’s airborne cinema.

Shot in Norway’s wildest light. Graded like a feature film. Made for those who sell awe.

Watch Reel

Berserk is a three-person airborne cinema unit based in Skjolden, Norway.
We hunt real light — not CGI — flying cinema-grade FPV rigs through places no crew can reach.
Our footage is finished like a feature film in DaVinci Resolve and mastered for both Dolby Vision and web.

Make it stand out.

  • The problem

    Most “FPV-drone videos” are disposable.
    Oversharpened GoPro. One-size-fits-all teal/orange LUT. Royalty-free hype track.

    It doesn’t feel like myth.
    It doesn’t make anyone’s heart rate change.
    It doesn’t close deals.

    You’re getting content.

  • Go Berserk

    Berserk is a rapid airborne cinema unit operating out of Western Norway

    We hunt the eight minutes of light a year no one else can even reach.

    If you just want “a drone guy,” that’s not us.

    Your world already looks like legend.
    We just prove it on screen. If you want your world to feel untouchable, call.

  • It´s for

    Berserk is for people who need something unforgettable:

    – Destination and experience owners who need one hero shot that sells the entire location.
    – CMOs and brand directors who need a launch asset that doesn’t look like advertising.
    – Directors / DOPs who need an impossible move they can cut straight into their film.
    – Tourism, adventure, energy, automotive, cruise, outdoor — anyone who needs to sell a visceral gut punch, not “content.”

What we do

  • We hunt moments, not schedules.

    That light exists eight minutes a year. We’re there.
    We stage like a recon team: Adrian lives on the road in a van, waiting out weather, chasing tide, snow, spray, cloudbreak. When the fjord breathes and the mountain opens, we launch. No scout days. No “we’ll fake it in CG later.” We take the real shot while it exists.

    Your location, your story, your experience deserves to feel untouchable.
    Instead you’re getting content.

    That’s the gap we close.

  • We fly cinema, not action cams.

    We mount true cinema sensors — 8K / 12K, 12-bit RAW — on custom FPV rigs doing 150 km/h through terrain you cannot put a crew in.
    Everyone else flies an action cam and hopes.
    We fly a camera you can cut into a feature film.

    This is not “drone footage.”
    This is airborne cinema.

  • We finish like a feature, not like social.

    We don’t slap a LUT on and call it done.
    We color grade in DaVinci Resolve in a full film pipeline: DaVinci Wide Gamut, proper skin tone density, Kodak / Fuji / Cinestill palette logic, controlled highlight rolloff, OLED black.

Make It

Who we are

  • We’re not an agency.

    We’re not a production company that shows up with a van full of interns and spends two days arguing about call sheets.

    We’re a strike unit.

    Berserk is built in Skjolden, Norway — where the longest, deepest fjord in the world hits ice, thunder, vertical granite and weather nobody can schedule. We operate like we live: light, fast, surgical, obsessive.

  • We fly cinema, not action cams.

    We use high-end tools the way a knife fighter uses a blade.
    FPV rigs tuned for cinema sensors.
    Color science normally reserved for theatrical features.
    Post production finishing designed to make a CEO lean forward and whisper “holy shit.”

  • Fast but surgical

    AI runs logistics, ensuring efficiency.
    The mountains, water and air do the rest.
    No fakery. No CG landscape. You’re seeing what was actually there, seconds after it happened.

    This is why we call it Berserk.
    Small team. Maximum violence. Zero bluff.

Make It

WHAT WE DO

01 / We hunt moments, not schedules.
That light exists eight minutes a year. We’re there.
We work like a field team, not a film crew. Adrian lives on the road in a van, chasing violent weather windows – tide, spray, snow blast, cloud break. When the fjord exhales and the mountain opens, we launch. We don’t ask nature to repeat herself “Tuesday at 14:00.” We take the real shot while it exists.

02 / We fly cinema, not action cams.
We mount true cinema sensors – 8K / 12K, 12-bit RAW – on custom FPV rigs at 150 km/h through terrain you physically cannot stage with a 20-person unit.
Everyone else flies an action cam and hopes.
We fly a camera you can cut straight into a feature.

This is not “drone footage.”
This is airborne cinema.

03 / We finish like a feature, not like social.
We don’t slap a YouTube LUT on 8-bit footage and call it “cinematic.”
We do full finishing.

We color grade in DaVinci Resolve in a true film pipeline: DaVinci Wide Gamut, controlled highlight rolloff, brutal OLED black, and palette language lifted from real emulsions – Kodak, Fuji, Cinestill.

Then we deliver two masters:

  • HDR Hero Master (HDR10 / Dolby Vision)
    Built for OLED walls, launch events, investor rooms, national campaigns.
    It’s not just bright. It’s dimensional. You can almost smell cold stone, salt spray and rotor wash.

  • SDR Web Master (Rec.709 gamma 2.2)
    A hand-tuned downmap for phones, laptops, social, in-store screens.
    Not YouTube’s lazy auto-tonemap. Ours.

We use AI to move faster, manage takes, pre-cut, and deliver in days instead of months –
never to fake reality.

Everything you see actually happened.

WHY IT LOOKS LIKE CINEMA

Other teams “grade” by dropping a LUT on GoPro and punching saturation.

We don’t do cute.

We build color like a film lab.
We steal palette and mood from real stocks:
– Cinestill 800T for tungsten winter dusk and sodium-lit ice roads.
– Fujifilm Natura 1600 for wet Norwegian greens and marine haze.
– Kodak print density for skin and highlight rolloff that feels expensive, not digital.

Then we weaponize the present.
We refuse to cosplay “vintage.”
No fake VHS grain to hide noise.
No lifted grey blacks to look “retro.”
No Instagram haze.

We keep black at OLED depth.
We carve contrast with surgical pivot.
We let atmosphere live in the mids so you feel inside the valley, not looking at it.

This isn’t a filter.
This is direction.