BroadcastBridge
The rise of the PTZ camera, discussed in a previous post,
fits into the wider trends for remote operation, robotic cameras, and automated
content production. We spoke with Mark Roberts Motion Control (Nikon-owned
since 2016), one of the pioneers in robotic cameras to gain insight into the
drivers for this, new applications and future developments.
The film and TV industry continues to benefit from
automation efficiencies with motion control robotics compatible with third
party products throughout entirely automated workflows. Machine vision and
real-time image analysis are helping to augment the control of moving cameras,
while robust IP architecture permits extreme remote operation. Systems are
getting smaller, saving camera footprints and opening up a wider range of
potential positions while the layers of system redundancy and control options
reduce risk in live operations
Assaff Rawner, CEO of MRMC suggests another reason for
take-off: “Taking viewers closer to the action and providing more unique
perspectives and engagement is one. Another is consistency of output made
possible through repeatable programmed moves. Also, the demand on space,
whether seats in stadiums or modular studios, is increasing pressure to reduce
the operational footprint of cameras whilst accommodating for the demand of
increasing camera angles.”
Simplicity of integration in existing production workflows
is one of the key advances of robotic cameras. MRMC has focused on a simple
plug and play approach to broadcast robotics releasing a range of Polycam and
MHC products products tailored to remove the complex user operation usually
associated with multi-head robotic camera systems.
Its acquisition of Camerobot last year, has also brought
together best of breed hardware and software to create a new level of broadcast
studio multi-axis robotic studio solutions including VR and AR integration with
all the major vendors.
With the rise in quality of small format cameras, advancing
motor technology and motion control software, together with new levels of
product design aesthetics, robotic camera positions are bringing a level of
motion usually associated with manually controlled fluid heads and in positions
that add further value to productions. Such advances are allowing robotic
cameras moves to be cut live to air (rather than just replays) and, through a
wider range of payload and mounting options, opens the possibility of more
camera positions without compromise to venue audience space.
“Another area of growth for robotic cameras has been in the
rise of remote productions (or REMIs),” says Rawner. “With the increasing
availability of stable high-bandwidth networks, the control of camera robotics
over IP is an attractive proposition to lower production costs and minimise
travel. MRMC has standardized on IP control for all of its robotic range with
built-in features such as network diagnostics, IP video encoding at the camera head
and localised user client applications for full feature remote control.”
Automated camera moves have been used in news studios for
many years. In highly choreographed productions where consistency of product is
key, robotic cameras moves are integral to the overall workflow automation.
Although this level of automation can produce highly
efficient productions, there is little room for improvisation. The company has
developed methods to provide all the functionality of studio camera automation
but with a level of tracking interaction that allows the presenter to lead the
camera position within the programmed move. These moves within moves provide a
more natural engagement between camera and presenter whilst retaining the high
production look of a fully programmed move.
Sports and live events are far from choreographed and camera
motion requires immediate response to high speed changes of direction and
unpredictable trajectory. Experienced operators understand their subject and
create the incredible shots we have become accustomed to at the top end of
sports broadcasts. Space constraints in many venues together with an increasing
demand for bespoke camera positions for broadcast and non-broadcast
applications (such as OTT add-ons, analysts, coaching etc.) is an on-going
challenge.
Automating camera motion in sports can be achieved by using
machine vision to analyse ball and player positions in real-time, feed those
positions to the robotic cameras and automate the camera motion. Advanced
algorithms working in real-time are used to frame the shots in a fluid and
highly adaptive way to provide this level of automation.
Polycam Player is one example of a system that provides
automation for certain camera positions in football using robotics.
Some automated systems use multiple cameras views
stitched together to form a panoramic view with camera motion cropped out of
the larger image. Due to the nature of the stitched image method, resolution is
lost through digital zooming and the scene is presented from a
mono-perspective.
“Robotic cameras offer the level of optical resolution for
close up action and work in real-time, fitting into existing multi-camera
productions and offer a range of angles that enhance the production,” says
Rawner. “Integrating robotics in existing workflows allows for the best of both
world – great story telling and emotive shots from manned camera positions and
consistency of coverage, space saving and unique angles from automated cameras.
However, within any automated live event camera workflow their needs to be, in
our experience, a level of a human intervention that is seamless to the
operation.”
He says that both MRMC’s Polycam Player and Chat solutions
allow users to adjust framing within the automated tracking without having to
switch off the tracking. Automation continuous to operate behind the manual
operation allowing the user to relinquish control at any time without adversely
affecting the camera motion.
“We believe augmenting manual control with auto tracking or auto
tracking with manual control is key to the level of hybrid interoperability
required to deliver the best range of options as the industry adapts to the
benefits of new technologies and workflows.”
Applications
MRMC has been involved in Sky Sports coverage of the PDC
World Championship Darts events since 2013. The productions use a range of
robotics systems, including Ulti-Heads, SFH50 and AFC-100. The robotic heads
support both full size and compact cameras (HDC-1500, 4300 and P1s) and 40x
lenses. Control is extended to a remote position and operated either by encoded
pan bars or the new dart board inspired touch screen MHC controller, designed
specifically for the two main front of stage camera positions.
Russia World Cup
MRMC provided a number of high payload Ulti-Heads, together
with multi-axis StudioBot robotics, for the Fox Sports Red Square Studio. All
of the camera moves were fully programmable will manual joystick override and
provided real-time positional data to the AR graphics engine.
Earlier this year MRMC provided rental AFC-100 systems to
Gearhouse Broadcast for their coverage of the Australian Open Tennis. The
system form factor, payload capacity and IP control, allowed Gearhouse to
integrate the robotics into their production workflow. The heads were placed on
the top of high rise buildings whilst provide stable high overhead shots of the
tournament. System control was linked to an operator position over a kilometer
away via RF, providing a completely wireless pan, tilt, housing wiper, camera
and lens control. Gearhouse subsequently invested in its own AFC-100 stock for
a fully integrated camera robotic rental service.
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