InBroadcast
Camera robots can empower the cameraman, motion control
operator and photography director to get the camera exactly where it needs to
be for unique tight choreographed camera angles
Broadcasters increasingly rely on robotic camera systems to
drive operational efficiencies through automation. While 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 have
become integral to overall workflow automation.
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.
Key buying criteria include speed, smoothness, payload
capacity, safety, and reliability. Live productions have the added challenge to
make cameras as invisible as possible to the live audience.
“Another area of growth for robotic cameras has been the
rise of remote productions,” says Mark Roberts Motion Control CEO
Assaff 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.”
MRMoCo 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.
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. MRMoCo’s Polycam
Player, for example, provides automation for certain camera positions in
football using robotics.
“Integrating robotics in existing workflows allows for the
best of both world – great storytelling and emotive shots from manned camera
positions and consistency of coverage, space saving and unique angles from
automated cameras,” says Rawner. “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.”
Telemetrics designs robotics products and remotely
controlled systems for broadcasters to get the most out of the available studio
space. Small studios get that ‘big’ look with a single operator and automation
technology such as the RCCP-1A STS Control Panel which includes software that
locks cameras onto the talent and automatically trims the shot and the PT-LP-S5
– pan tilt head system which enables multiple cameras to be quickly configured
as pan, tilt and pedestal parameters are accessed via buttons on the camera
base (thus eliminating the need for a dedicated control panel). In addition,
LED indicators provide real-time warning if the load is out of balance.
Twenty years ago, when Mo-Sys introduced the
industry’s first automatic, real-time optical camera tracking system, it was
working with active LEDs and a fluorescent optical amplifier for a sensor. The
latest versions of StarTracker works with low-cost reflective stickers on the
ceiling for tracking while software provides enhanced smoothness, larger tilt
capability, faster recovery, IP data output and a networked user interface.
It argues that competitive systems are triple the cost and
employ several high-cost infrared cameras, while StarTracker uses a single
optical sensor on one navigation camera and retro-reflective stickers that are
peeled from a roll and placed as a ‘constellation’ on the studio ceiling. LED
light reflected by the ‘stars’ is detected by the navigation camera. The camera
transmits the location data to the graphics engine which produces the virtual
environment. Initial set-up can be achieved in hours, after which no further
calibration is required. It works equally well mounted on pedestals, cranes,
jibs or for use with handheld cameras.
Ross Video offers a wide range of robotic camera
systems including track-based dollies, free-roaming pedestals, and standalone
pan & tilt solutions. Furio Live, for example, has the capacity
to support full-sized cameras and teleprompters (unlike most jibs or other
specialty camera systems) giving it the flexibility to deliver beauty shots,
while also serving as the primary production camera. All Ross studio robotic
solutions communicate natively over IP, making its robots easy to implement and
manage, simplifying installation into new and existing studios.
Shotoku’s TR-XT is a camera control system which can store a
virtually unlimited number of shots since they are held on the hard drive of a
computer at the heart of each system. Shots are stored with a thumbnail
image, captured (in SD/HD-SDI) and may be displayed in small, medium or large
format depending on the operator preference. Shots may be displayed in a random
mode (any grid position for any camera shot) or column mode (shots from a
camera arranged vertically below the relevant camera selection button). Our unique
single camera mode enables live video of the selected camera to be broadcast on
the touch screen, along with all stored shots for the camera.
As on all Shotoku control panels a three-axis joystick
enables smooth control of PTZ axis at with Pan and Tilt response speeds
automatically compensated according to the zoom angle such that even on very
narrow angle shots head movement is smooth and under close control.
The TR-T connects to all Shotoku camera systems via Ethernet
network connection, and to third party devices either by serial, or Digiport
protocol convertors. Paired with the firm’s automation software
users can control the system from an external third-party computer, managing
everything from lights, cameras, graphics, and video rendering.
Shotoku also offers the SmartPed Robotic Pedestal, a fully
robotic XY pedestal, for on-air environments; the SmartRail which supports
floor or ceiling operation and can optionally provide tracking data for AR/VR
graphics applications; and the Free-d2 Absolute Tracking System which uses
simple ceiling markers and video processing algorithms to determine the exact
position and orientation of the studio camera.
Already claiming the world’s fastest robotic camera system
in Bolt, MRMoCo debuted a junior version earlier this year. The Bolt
JR rig is a compact 6-axes camera robot arm developed for film studios,
photographic studios, and table-top work where studio space and budget are a
key criterion.
Available in pedestal and on-track versions, the Bolt JR cinebot
has an arm reach of 1.2 metres and can move high-speed on-track at over 3m per
second with a camera payload up to 12kg. The firm’s Flair software offers a
variety of automated functions and precision repeat functions and Bolt JR can
also automate lighting, trigger synchronised SFX timecodes, rig movement or
model movement.
PTZ systems have entirely replaced a manual operator in many
situations such as news reporting or interview spaces, where automation allows
for a consistent product day-in, day-out. The new range of three chip sensor
PTZs offer many of the same features as broadcast cameras, with a lower price
point and with robotic movement built in, creates the opportunity for a lower
cost studio production.
Panasonic for example has partnered with Tecnopoint and
Movicom to create robotic systems, new protocols and tracking systems for
easier studio integration. Put that togetjer with a PTZ like its new AW-UE150,
which offers 4K 60p capture and fresh possibilities open up - though it does cost
€11,000.
It has also partnered with AREPLUS to link Pana
PTZ cameras to motion control robotic camera systems like the UR10 for
broadcast applications. Panasonic’s entire remote camera line-up can
be controlled via AW-RP50 controller that includes a joystick and additional
operating enhancements. Both controllers allow up to five remote cameras to be
controlled via serial, and up to 100 cameras via a switching hub. On top of
this, Panasonic now offer full integration support of NewTek’s video over
IP protocol NDI Version 3, allowing users to connect Panasonic cameras directly
into a NDI network.
Sony’s first 4K PTZ is the BRC-X1000 for remote capture of
broadcast quality images. Sony describes the large Exmor R CMOS sensor creating
“beautiful 'bokeh' effects with a shallow depth of field to suit any artistic
intention.”
“When integrated with control systems that support not only
joystick control, but also named and saved presets, motion presets, dynamic and
programmable auto-zoom and other sophisticated features, PTZ cameras can
perform as well as many human operators,” claims Rushworks president
Rush Beesley.
A number of facilities create one central control station
for camera operation. For instance, using AJA RovoControl software, one person
can control multiple RovoCams through an easy to operate GUI on a single PC.
AJA’s $2500 RovoCam offers a Sony UltraHD sensor that gives users the
ability to extract an HD raster from source and even explore pans and tilts
from a stationary camera as you scan the original UltraHD raster.
Mobile Viewpoint’s NewsPilot uses Artificial
Intelligence and either PTZs or fixed lens to automate the low-cost delivery of
content from remote locations. It consists of three PTZ cameras and the firm’s
Automated Studio control box. It also includes CameraLink, a robotic arm which
can move a 3kg PTZ camera much like a traditional dolly arrangement, offering
the same camera control normally associated with high quality news productions.
VR and camera-op robots
VR filmmakers and video production crews face the unique
challenge of needing to hide the crew and equipment in a location away from the
set. Traditional camera dolly systems often require human operators and tracks.
A solution to this has been devised at Double Robotics. Claimed as the
world's first robotic camera dolly made for 360 filmmakers, the Universal 360
Camera Mount attaches to the Double base using an industry standard ¼”-20 bolt.
An iPhone is secured in the mount and the camera operator can drive Double
wirelessly from behind the scenes via LTE/4G, Wi-Fi, or Bluetooth. A package
costing $3,000 gets you the Double 2, Universal 360 Camera Mount, and a Travel
Case. Its primarily aimed at education and telemedicine users but why not media
and entertainment?
Soloshot has an automated system that lets you film
yourself as you move through a scene, - no human camera operator required. Its
functionality is pretty straight-forward: you wear a wireless transmitter and
the Base unit automatically pans, tilts, and sends zoom commands to the camera
to keep you in the shot at up to 2,000 feet away.
With a load capacity of less than 1.5 lb, the
Soloshot3 isn’t really meant for use with DSLRs or camcorders but, rather, for
use with the Optic25 and Optic65 cameras, which are custom designed for use
with Soloshot Bases. These interchangeable cameras are lightweight, attach
directly to the Base, and provide automatic zoom and focus tracking. The
Optic65 features a massive 65x optical zoom range and records up to 4K video at
30 fps and 1080p video up to 120 fps. The system also features
built-in automated editing software and Wi-Fi to connect to a mobile app.
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