Drone usage in site explorations implies direct sensations for the pilot/planner. Footage from drone filming, following post-production editing, also implies direct kinesthetic and synesthetic effects that occur when working ‘on’ the filmic material, leading to affection. Through one drone post-production film, this presentation discusses how the interplay of vision, rhythm, and sound work as a set of gestures forming a sensation as a self-affection modus when engaging with the moving images on the screen. The article examines an extended sensing practice and defines a (new) point of view and extended sensibility emerging from person, tool and site entanglements,—amplifying a sensibility of the unseen affection arising through motion/gestures of editing.