Cameras that frame the fight
The cameras that show off Warbirds — the death replay you see every time you go down, the always-on spectator stream, and the twice-daily highlight reels — all had the same fault: they pointed at a plane instead of a fight. Now they frame the story.
The killcam finally shows you
The death replay is supposed to show you — your plane, the moment it came apart. It used to park dead behind the shooter's guns instead, so the killer's own fuselage filled the middle of the frame and hid the one thing the replay exists to show. Now the camera rides the killer's high three-quarter, swung off to the side your plane is falling away toward, so your fall plays right across the frame with the shooter still in shot at the edge.
And the instant the kill lands, the camera lets the killer go: it drifts into a slow orbit of your falling wreck for the replay's last seconds — the shot you actually came to see — instead of chasing the shooter off as they fly away from your fireball. On a deck-level kill it stays above the ground now, too, where low furballs used to bury it.
An action cam on the stream, not a tail cam
The always-on spectator stream used to sit dead behind whatever plane it followed — which hides a dogfight perfectly, because the enemy is dead ahead, tucked behind the subject's own tail. Now, whenever the plane it's watching has a live foe in fight range, the camera swings out to the side, pulls back and lifts as the two planes separate, and looks at the space between them — hunter, tracers and prey all in one frame. It holds its side through the pass so there are no jarring cuts, eases back to a plain chase when the fight ends, and never fights a human spectator who's orbiting the camera by hand.
Highlight reels that don't lie
Twice a day the stream is cut down into a highlight reel, and the reels got honest. A kill now has to actually happen on camera to make the cut — close enough to read, or close enough that the fireball fills the frame. No more caption reading “Iron Annie downed Stall Warning Sam” over two other planes three kilometers away.
And a clip keeps the moment it's named after. A three-minute brawl that ended in a sinking used to get labeled “sank the destroyer” and then run out of time before the ship went down. Now each clip is built around its best beat — a few seconds of the fight leading in, the payoff, and a long enough hold on a sinking to watch it founder — and the video's chapter list points at the exact second of each one.
A camera's job isn't to follow a plane; it's to frame a fight. Every one of these was the same fix: point at the story, not the actor.