Nikon has announced that it is selling its stake in Mark Roberts Motion Control, a global provider of motion control equipment for media production.

Nikon agreed to a share purchase agreement with MRMC Bidco Limited, an entity established by Blandford Capital LLP to manage the company.

Nikon acquired MRMC in 2016. In a move to up its profile in the digital cinema camera market, the company also acquired cinema camera maker, RED, in 2024.

In a statement, Nikon said: “Since acquiring 100% of MRMC’s shares in October 2016, Nikon has been developing business by utilizing MRMC’s robotic motion control solution together with Nikon’s imaging related technologies and its broad sales channels.”

The company added that it has now “reconsidered its business portfolio. As a result, Nikon has concluded that transferring all of its shares in MRMC to MRMC Bidco Limited is the most appropriate course of action, and has entered into this agreement.”

MELVILLE, N.Y.—In a notable example of Nikon’s push into video following its 2024 acquisition of RED Digital Cinema, Nikon has announced their first cinema camera made for filmmakers, the Nikon ZR.

"We aren't holding anything back – our first Nikon camera developed with RED has all the creative controls that filmmakers need, with features that have never been seen in this level of handheld cinema camera," said Fumiko Kawabata, senior vice president of marketing and planning, Nikon Inc. "The Nikon ZR is the camera that will challenge the established video market and will demonstrate Nikon's commitment to advancing the tools available to video production professionals."

The launch significantly heats up the competition between camera makers like Sony, Canon, ARRI and others who have long offered digital cinema cameras and highlights Nikon's intention of being a major player in the space.

More specifically, the ZR is an ultra-lightweight, relatively inexpensive full-frame camera priced at around $2,199 that features a number of tech synergies between Nikon’s expertise in optics and autofocus technologies and RED’s expertise in color science and cameras for cinematographers and high-end content producers.

It is the first camera in Nikon’s new Z Cinema series, a collection that Nikon said will meld the best technologies from both companies. Designed for emerging cinematographers and high-end content producers, the supremely capable Nikon ZR packs an unparalleled amount of professional video production features at a price that puts cinematic quality within reach for all types of filmmakers.

Nikon also stressed that the Nikon ZR offers a multitude of original and class-leading capture and workflow features never seen before in a camera at this price.

The new Nikon ZR can record up to 6K/60p (59.94p) and incorporates the new R3D NE1 RAW video file format with RED color science based on RED's popular R3D RAW codec, with 15+ stops2 of dynamic range.

This new codec uses color science and exposure standards of RED cameras to ensure accurate color matching, even for multi-cam shoots. The impressively huge 4 in. DCI-P3 LCD is bright enough to be used even in direct sunlight, while often eliminating the need for an external monitor.

Nikon also said it has class-leading audio capabilities such as 32-bit float audio from built-in and external microphones, plus OZO3 directional audio. The ZR also has 7.5 stops of built-in image stabilization (IBIS) and unlocks a whole new world of optical versatility, since the wide Nikon Z mount enables a large variety of lenses to be adapted using third-party lens adaptors.

The new ZR features a full-frame sensor for excellent depth of field and video quality and supports internal recording up to 12-bit RAW 6K/60p. This is the first camera to use the new 12-bit R3D NE RAW codec, a new RAW format which REDCODE RAW users will find familiar. By leveraging its broad 15+ stop dynamic range, it achieves well-balanced image quality from highlights to shadows. Support for Log3G10 and the REDWideGamutRGB gamut reproduces exposure standards and colors consistent with RED color science, with true RED color tonality, skin tone integrity and tonal roll-off – similar to the output of RED's cinema cameras such as the V-RAPTOR [X] and KOMODO-X. Two base ISO sensitivities are available, ISO 800 and ISO 64005, allowing users to choose the best option for a particular scene or situation such as bright daylight or low-light interior scenes. However, just like REDCODE RAW, ISO in R3D NE files is fully adjustable in post for maximum flexibility, Nikon reported.

Furthermore, users also have the option to shoot in N-RAW, ProRes RAW, and other formats to best suit their production and workflow. The camera also features a new view assist function which allows the user to store and select from up to ten LUTs in the camera. This will let the filmmaker preview the effect of the color grade in real time using the monitor. Three types of LUT data (17-point, 33-point, 65-point6) can be loaded into the camera. RED's Creative LUT Kit is available for free via the RED website here.

The ZR features a new Cinematic video mode, a user preset for those who want to easily enjoy the RED cinematic look with a faster workflow in less data-intensive non-RAW formats. Cinematic mode automatically adjusts the shutter angle to 180 degrees, changes the frame rate to 24 fps, and applies the RED Cine Bias Picture Control for gorgeous yet simple cinematic color. What's more, nine RED-curated cinematic Picture Controls based on RED creative LUTs will be available for free download via Nikon Imaging Cloud, expanding possibilities for more diverse imaging expression.

In announcing the camera, Nikon also touted its audio capabilities and the launch of a new ME-D10 is a 32-bit float shotgun microphone compatible with the new digital accessory shoe developed for the ZR.

Nikon is billing the ZR as the world's first cinema camera to support 32-bit float audio recording with both built-in and external microphones, as well as through the 3.5mm microphone jack. This unique ability enables the recording of clear, distortion-free sound from quiet to loud, without requiring on-location gain adjustment. It supports recording a wide range of sound sources, from interviews to live concerts, with maximum audio flexibility in post. The three high-performance mics built into the camera use Nokia's OZO Audio technology to realize cutting-edge audio recording.

The ZR is also the first Nikon camera to feature a digital accessory shoe, which enables two-way digital communication between the camera and compatible accessories, allowing for advanced functionality such as tally lamp and microphone LED control. Additionally, the camera can supply power directly to supported accessories, eliminating the need for separate batteries or cables. The newly designed rubber shoe cover provides excellent dust and drip resistance, ensuring reliable performance in a variety of shooting environments. Going forward, Nikon will collaborate with third-party accessory manufacturers to offer a wide range of solutions that meet the diverse needs of filmmakers.

Nikon also highlighted the impressive processing power of the EXPEED 7 image-processing engine installed in Nikon's flagship camera Z9 and AI technology that utilizes deep learning, enables more accurate subject detection and tracking for optimal image processing in accordance with the subject, scene and situation.

This makes capturing the intended subject with greater accuracy much easier, significantly expanding possibilities for film production. The camera also detects nine types of subjects automatically, including people, animals and vehicles. It even detects small faces occupying as little as 3% of the long side of the frame for precise focusing on distant human subjects. Users can also adjust AF speed and sensitivity to suit their creative style, enabling a slow rack for cinematic effect or fast-paced focus for action.

More information and specifications is available here.

FOOTHILL RANCH, Calif.—Red Digital Cinema will make its V-RAPTOR [X] and KOMODO-X camera systems available with Nikon’s premier Z Mount, providing filmmakers with greater flexibility in lens choice and a complete capture solution from lens to sensor to codec.

“This marks the beginning of Red and Nikon’s collaborative products, and it is the exciting first step in a new Z Cinema Series,” Red Digital Cinema CEO Keiji Oishi said. “By integrating the Z Mount, Red is providing more lens choices than ever before, empowering filmmakers with greater artistic flexibility. This development grants filmmakers the versatility of Nikon’s innovative Z lineup and PL options, as well as access to F Mount glass and many popular vintage lenses.”

With a shallower flange depth and a wider diameter, the Nikon Z Mount enables lens designs with higher sharpness and superior aberration control. The Z lenses deliver superior low-light performance and edge-to-edge detail as well as autofocus performance on both the V-RAPTOR [X] and KOMODO-X cameras, the company said.

Red’s V-RAPTOR [X] Z MOUNT 8K VV global shutter large-format sensor camera system is available for a suggested retail price of $29,995.

Red’s KOMODO-X Z MOUNT 6K S5 global shutter camera system is available for a suggested retail price of $6,995.

Red also is introducing all-new Z-to-PL Adapter Packs, which provide a robust PL mount solution and added flexibility for V-RAPTOR [X] Z MOUNT and KOMODO-X Z MOUNT shooters. Currently, there are four different Z-to-PL Adapter Pack options:

• Red V-RAPTOR [X] Z to PL Adapter Pack ($1,500)
• Red V-RAPTOR [X] Z to PL with Electronic ND Adapter Pack ($3,500)
• Red KOMODO-X Z to PL Adapter Pack ($1,500)
• Red KOMODO-X Z to PL with Electronic ND Adapter Pack ($3,500)

Both the RF and the all-new Z mount versions of the V-RAPTOR [X] and KOMODO-X cameras, and Z to PL adapter packs are available now on RED.com or through Red Premium Dealers.

Filmmakers also now have the option to convert their RF mount versions of the V-RAPTOR [X] and KOMODO-X cameras to the new Z Mount systems. This transition costs $1,695 for the V-RAPTOR [X] and $1,595 for the KOMODO-X.

Red also has announced the return of its trade-in program, now available for the latest generation of Red cameras, including the new Z Mount models. Customers can trade in their existing Red DSMC, RAVEN, SCARLET-W, DSMC2 or RANGER cameras and receive a credit towards the purchase of a new, eligible Red V-RAPTOR XL [X] Pack or Red V-RAPTOR Pack [X] Pack, with either the new Z Mount or RF Mount.

More information is available on the company’s website.

LAS VEGAS—Virtual production tech provider Disguise has announced that it will be working with Nikon and its subsidiary MRMC on a “Studio Extreme” demo that will showcase a turnkey virtual production studio.

Studio Extreme will take participants on a journey into virtual production, the companies said. As they step into the activation, participants will be transported to a location just outside Vegas, where they will be tasked to deliver a live news report. As a twist, the showcase will see if they are prepared for all the weather conditions that Vegas can offer.

Designed for brands looking to tell powerful stories through immersive content, the showcase or “activation” will leverage Studio Pro by Disguise, a preconfigured solution. Studio Pro combines the most advanced virtual production technology with best-in-class creative and technical services, including 24/7 support, training and installation, enabling brands to shoot commercials, social media content, internal training material or important keynote or investor presentations — all from one stage on the same day, Disguise said.

“We’ve helped deliver 400 virtual production studios in more than 100 countries, and know just how transformational they can be for brands,” Alexandra Coulson, vice president of marketing at Disguise, said. “Traditionally, however, LED technology required significant upfront training and investment, making it reserved for Hollywood studios. We are changing that. Together with Nikon and MRMC we are showcasing the possibilities at CES 2025. Attendees will experience firsthand how they can take their brand’s story to the next level, producing a versatile offering of content with our comprehensive powerhouse solution, Studio Pro.”

The technology behind the Studio Extreme activation will include:

• Studio Pro — a turnkey studio solution by Disguise
• Studio Bot LT — MRMC’s most compact robotic camera arm solution
• RED Komodo 6K camera
• Lighting by Kino Flo
• L-Acoustics spatial audio

Once they complete their weather report, visitors will receive a personalized video downloadable via a QR code.

"MRMC Broadcast is proud to be leading the development of robotic camera solutions alongside the ongoing growth of virtual production technologies,” MRMC Deputy Head of Marketing Amanda Dixon said. “The Studio Extreme activation at CES will be a fantastic demonstration of how broadcast studios can seamlessly integrate robotic solutions into their virtual and augmented reality workflows while providing precise and repeatable motion. We are excited to once again be working with Disguise to deliver this immersive experience."

The virtual production activation takes place at the Nikon booth 19504 in the Las Vegas Convention Center.

SAN FRANCISCO—MRMC, a supplier of motion control, automation, broadcast robotics, volumetric and remote image-capture solutions, has added Tom Shelburne as key account manager, Americas, for the broadcast market.

Separately, the company said it will continue its push for growth in the Americas by signing audiovisual equipment supplier JB&A as its U.S. distribution partner.

Shelburne brings extensive industry experience to MRMC Broadcast, having held senior sales roles with such companies as Vu, Mo-Sys, Pixotope and Vizrt. In his new role, he’ll be tasked with developing MRMC’s presence with strategic broadcast customers in the Americas.

“Tom’s exceptional industry knowledge and understanding of the Americas region, together with his extensive technical expertise, make him a valuable addition to the MRMC global team,” MRMC Head of Broadcast Paddy Taylor said.

The deal with JB&A is meant to bring value and reach to MRMC’s robotic product line, which has seen significant expansion over the last 18 months, the company said. JB&A was acquired by DCC Technology, an FTSE 100 firm based in Ireland, in 2020 and joined the DCC-owned JAM Industry family of distributors in 2023.

“With over 20 years’ service in the creative industries, JB&A has the experience and drive to help us expand MRMC's U.S. customer base,” Taylor said. “These appointments demonstrate our strong commitment and ambition to continue to grow in this highly competitive market.”

Added JB&A VP, Technology and Marketing Nicholas Smith: “We are pumped to have MRMC as a part of the JB&A family. It has been at the forefront of auto-tracking technologies and building world-class robotics for the broadcast and pro AV industries. The team brings a world of knowledge and expertise to the industry as well as a massive complement of robotics to support our customers’ needs. As the PTZ market has matured in the last few years, MRMC is creating the most diverse catalog of PTZ enablement tools, giving customers new and unique viewpoints for their cameras.”

MRMC, which stands for Mark Roberts Motion Control, is owned by Nikon Group and provides robotic and software solutions used worldwide by film studios, sports broadcasters, football leagues and others, it said.

SURREY, U.K.—Mark Roberts Motion Control (MRMC), a Nikon company, will showcase the new Studiobot LT for broadcast workflows, as well as the Cinebot range for cinematography at IBC 2024, Sept. 13-16, at the RAI Amsterdam Convention Center.

The company will unveil its range of technological innovations in two stands covering both motion control (Stand 12.C20) and broadcast (Stand 11.C28). Both booths will show examples of seamless workflows involving MRMC, Nikon and Red. 

In MRMC’s broadcast stand, which Nikon Europe and RED will share, the company will highlight the launch of the Studiobot LT. Designed for permanent or semi-permanent studio productions, the new robot is easy to get up and running. A flexible solution, Studiobot LT supports a wide envelope of motion to enable content creators to improve output quality in a small footprint, the company said.

The Studiobot LT supports up to 22 pounds (10kg), it is well-suited for box cameras with a typical studio lens. Offering native support for broadcast serial lenses, Studiobot LT can drive external lens motors. It also comes equipped with numerous safety features and a tally lamp for studio deployment, it said.

There is also a choice of base and mounting for floor, ceiling, or a track. The system is easily controlled via an industry-leading software interface, provides FreeD positional data and offers an API for integration with studio automation systems, which makes it suitable for integration into VR environments and advanced broadcast workflows, it said.

The company’s motion control stand will feature the new Cinebot Max. User-friendly and portable, the 3.3-foot (1.75m) arm of Cinebot Max makes it well-suited for on-location filming. Building upon the PushMoco technology developed for the Cinebot Mini, the Max’s arm can be maneuvered into any position by hand. Camera movements can then be played back seamlessly.

See MRMC at IBC 2024 Stands 11.C28 and 12.C20.

More information is available on the company’s website.

Nikon Corporation announced on Thursday that it has completed its acquisition of RED.com, LLC (RED). Financial details were not disclosed. 

RED's President Jarred Land is now a “close Advisor” to the company, along with RED's founder James Jannard. Keiji Oishi, of Nikon's Imaging Business Unit, assumed the role of CEO and Tommy Rios, Executive Vice President of RED, moved into the role of Co-CEO.

Apart from the new leadership roles, Nikon said there  will be no changes to RED's current product lineup, partners, and relationship with the dealers. RED will continue to support its policies with warranties, repair services, customer services, and overall product support, Nikon said.

"Welcoming RED, a company that has been at the forefront of innovative technology, to the Nikon family is sure to expand the possibilities of imaging expression, and further delight the market with its innovation," comments Hiroyuki Ikegami, Executive Vice President and General Manager of Nikon's Imaging Business Unit. "Combining the best of both companies and working together to develop new, distinctive products, is our goal and for the brand to remain the choice for fans of Nikon and RED, and possibly reach out to an even wider audience."

"I believe it is my mission as the representative of RED to develop the market in a way that will pay respect to the corporate cultures of RED and Nikon," says RED CEO Keiji Oishi. "You can look forward to RED's future product development which will aim to meet and exceed the expectations of cinematographers around the world."

"We are the pioneer in digital cinematography, and the synergy with Nikon will only help us to continue to evolve," says RED Co-CEO Tommy Rios. "We'll continue to deliver cutting-edge technology that no one has ever seen before. We remain committed to working together with the RED dealers around the world."

Newly appointed RED Advisor James Jannard comments, "It is a proud moment for me to see RED, a brand that I have nurtured with passion for over 20 years, gain the opportunity to achieve new heights with the help of Nikon, a company that I also love."

RED Advisor Jarred Land shared his excitement, stating, "By joining the Nikon family, a company that is known for the advanced technology that it has been cultivated over many years, I am confident that RED will bring a new era to the professional digital cinema camera market. It is an honor to be a part of this new chapter."

TOKYO—Nikon is acquiring digital cinema camera manufacturer RED.com LLC for an undisclosed amount. 

Founded in 2005 by Jim Jannard, who previously founded Oakley, famous for its sunglasses, RED gained a reputation as a non-traditional outlier in the professional camera business given its rapid rise amid more traditional camera makers like Sony, Panasonic, Canon or even Grass Valley (which had acquired Philips cameras when purchased by Thomson). The question over whether Nikon was planning on entering the professional digital cinema camera market is not new—speculation has been around for several years now. 

Over its nearly 15 year existence, RED has introduced a number of industry-defining products such as the original RED ONE 4K to the cutting-edge V-RAPTOR [X] with its proprietary RAW compression technology. RED's contributions to the film industry have not only earned it an Academy Award but have also made it the camera of choice for numerous Hollywood productions.

“This agreement was reached as a result of the mutual desires of Nikon and RED to meet the customers’ needs and offer exceptional user experiences that exceed expectations, merging the strengths of both companies,” Nikon said in a statement. “Nikon's expertise in product development, exceptional reliability, and know-how in image processing, as well as optical technology and user interface along with RED’s knowledge in cinema cameras, including unique image compression technology and color science, will enable the development of distinctive products in the professional digital cinema camera market.”

MELBOURNE, Australia—Nikon has released a firmware update for its flagship mirrorless Nikon Z9 camera that adds support for Atomos AirGlu BT. 

The Nikon Z9 3.0 firmware update, which offers 20 features for video and photography, includes capabilities that allow the Z9 to synchronize timecode accurately and wirelessly over Bluetooth (BT) with a range of compatible devices and software applications. 

This collaboration between Nikon and Atomos breaks new ground by further expanding the appeal of Nikon’s flagship camera to video producers and by creating a new category within the Atomos ecosystem for the Z9.

“Our partnership with Nikon demonstrates our commitment at Atomos to innovate and solve all manner of technical challenges faced by filmmakers,” explained Trevor Elbourne, CEO Atomos. “Even when a camera can record video internally, Atomos can add value by connecting devices and in this case, providing wireless timecode sync. This patented wireless technology was developed with just this scenario in mind, and we’re really pleased to find a new home for the Z9 within the expanding Atomos ecosystem.”

The Z9, which offers 8K video recording, is powered by an advanced 45.7 megapixel stacked CMOS sensor and the next generation EXPEED 7 image processing engine. It features an electronic shutter and an advanced auto-focus system that uses a subject detection algorithm developed with deep-learning technology, as well as 3D-tracking.

UltraSync BLUE is the first product to synchronize timecode using Atomos AirGlu BT technology to an expanding range of compatible cameras, audio recorders, and applications. Once the devices are connected, timecode is transmitted wirelessly from the UltraSync BLUE and embedded into the media files each generates, Atomos reported.

Removing the restrictions of a wired connection creates convenience and extra versatility, the company stressed. Use the Atomos UltraSync BLUE as the server to wirelessly synchronise timecode over BT for up to 6 Nikon Z9 cameras and a range of compatible devices including dedicated audio recorders from Zoom and Tascam, or apps including UltraSync BLUE Slate, MovieSlate 8, MAVIS Pro Camera, Apogee MetaRecorder, Softron MovieRecorder, and Softron Multicam Logger.

The Atomos AirGlu system was developed by Timecode Systems and provides accurate, easy-to-use sync for every production. The ability to lock cameras together and support dual system recording with separate audio devices, is incredibly important and streamlines post workflows.

AirGlu™ BT is the wireless technology for synchronizing timecode over Bluetooth for devices in relatively close proximity. 

AirGlu RF (Radio Frequency) offers a long-range option and is the wireless technology for synchronizing timecode over wider distances. Both wireless networks are designed to work seamlessly together to support different devices operating together and create maximum flexibility for each production. The UltraSync BLUE, UltraSync One, AtomX SYNC, Atomos CONNECT for NINJA V and NINJA V+, and SHOGUN CONNECT all sync and communicate using AirGlu RF, while simultaneously and independently acting as an AirGlu BT hotspot for local devices and apps. With each server able to support up to 6 BT devices, the ability to dynamically scale the system is significant.

Atomos has created an OEM Atomos AirGlu Module for third-party manufacturers. The AirGlu 2 module supports both BT and RF and the AirGlu 3 module supports RF only. AirGlu 2 is the implementation Atomos uses in the CONNECT range of products. AirGlu 3 is intended for third-party devices that already include BT support.

Smartphone cameras and DSLRs have been moving in opposite directions for the past few years, and image quality from phones will finally trump that of their single-lens reflex rivals by 2024, according to Sony.

As reported by Nikkei Japan, the President and CEO of Sony Semiconductor Solutions (SSS), Terushi Shimizu, told a business briefing that “we expect that still images [from smartphones] will exceed the image quality of single-lens reflex cameras within the next few years”.

Some fascinating slides presented during the briefing were even more specific, with one slide showing that, according to Sony, “still images are expected to exceed ILC [interchangeable lens camera] image quality” sometime during 2024.

Those are two slightly different claims, with ‘ILCs’ also including today’s mirrorless cameras, alongside the older DSLR tech that most camera manufacturers are now largely abandoning.

But the broader conclusion remains – far from hitting a tech ceiling, smartphones are expected to continue their imaging evolution and, for most people, make standalone cameras redundant.

So what tech will drive this continued rise of the best phone cameras? Sony points to a few factors, including “quantum saturation” and improvements to “AI processing”. Interestingly, Sony also expects the sensor size in “high-end model” phones to double by 2024.

The larger pixels on these sensors will, it says, allow phone makers to apply multi-frame processing that “realizes a new imaging experience”, including improved Super HDR modes and zooms that combine folded optics (as on the Sony Xperia 1 IV) with AI algorithms.

Sony also highlighted the development of its ‘two-layer transistor pixel technology’, which we heard about last year, which promises to drastically improve the dynamic range on phone cameras and help reduce low-light noise.

Similar advances are coming for video too, according to Sony’s presentation, with the higher read-out speeds of next-gen sensors supporting 8K video, multi-frame processing (including video HDR) and a general realization of “AI processing for video”. In other words, computational video techniques like Apple’s Cinematic Mode.

While it isn’t unusual for Sony to make bold predictions about a sector it’s heavily invested in, there does seem to be substance behind its predictions for the continued evolution of phone cameras at the expense of DSLRs and mirrorless cameras.

And that’s significant for all smartphones, because according to Statista, Sony has 42% of the global image sensor market for phones, while teardowns of the iPhone 13 Pro Max show that it uses three Sony IMX 7-series sensors.

Analysis: Phones Continue Their Meteoric Rise
Predictions about the demise of DSLR cameras are nothing new – without saying anything explicitly, Canon and Nikon have both admitted that DSLRs are a legacy format by discontinuing some models, such as the Nikon D3500, without replacing them. But Sony’s latest statements highlight that phone cameras still have a long way to go before they hit their tech ceiling.

The biggest advances in recent years have come in multi-frame processing, otherwise known as computational photography. But Sony was understandably keen to stress the role that new hardware will play in lifting phone cameras to new photographic heights.

Its prediction that the sensor sizes in high-end phones will double by 2024 is slightly surprising, given that this is limited by factors like lenses. For example, the Sony Xperia Pro-I became Sony’s first phone to have a 1-inch sensor last year, but its lens wasn’t able to project a large enough image circle to cover the whole of that sensor, so it could only take 12MP photos rather than the native 20MP resolution.

Perhaps more significant is Sony’s new stacked CMOS sensor with two-layer transistor pixels, which effectively exposes each pixel to twice as much light as a standard sensor. This sounds like a hardware advance that computational algorithms could definitely get their teeth stuck into in order to boost dynamic range and noise performance.

But given how good the latest phones are at photography, the most noticeable advances over the next few years are likely to be in video. Sony’s presentation highlighted this with references to multi-frame processing and its Edge AI platform, which promises to boost both video performance and support for augmented reality apps.

While DSLRs and mirrorless cameras will always have an audience among hobbyists and pros due to their handling, creative control, viewfinders and single-shot image quality, the kinds of advances outlined in Sony’s presentation show that the next few years are going to be a particularly exciting time for phone cameras.

This article originally appeared on techradar.com.

LONDON—The Mark Roberts Motion Control (MRMC) has announced a new high-speed robotic arm that is designed to allow companies to enter the world of high-end motion control at lower pricepoints.

The Nikon-owned company has developed the new Bolt Mini Model Mover as an entry-level machine with a versatile, lightweight, 6-axis high-speed arm designed for payloads up to 8kg. Prices start at below £50k or under $68,000.

The robotic arm can be used as a standalone system or synchronised with a camera shooting bot and enables full manipulation of products with repeat pass precision, timing and triggering capabilities. It comes with three mounting plates, including chuck mount and cheese plate, giving users a wide range of capture possibilities, as well as a gripper option. The 42kg unit is designed to be set-up quickly, can be mounted to a table or set on the floor, and comes transport-ready in a compact flight case.

When used with MRMC’s motion control software, Flair, it allows users to shoot classic liquid pours, stirs, whirls, and splashes, or mount utensils like forks, spoons, or even sports accessories such as shoes or rackets to get the most dynamic high-end shots.

“The Bolt Mini Model Mover might be the smallest arm we do, but we have taken no shortcuts with it,” explained Assaff Rawner, managing director of MRMC. “It features the same Academy-Award-winning engineering excellence as the rest of our Bolt family. By bringing the entry-level price of high-end, high-speed robotics down to a sub £50k [$68k] price point, we hope to introduce a whole new sector of the industry to the enormous creative potential of motion control.”

For more information, visit https://www.mrmoco.com/.

BOSTON—The Boston Red Sox have installed a state-of-the-art robotic pod camera system in partnership with Nikon at Fenway Park to capture still images and full-HD video.

The remote system, from MRMC, a Nikon group company, enables operators and photographers to control the cameras from a distance, thereby minimizing the risk of exposure to the COVID-19 pandemic, Nikon said.

“In these times, we have had to adapt at a far faster pace than ever before when it comes to the way we operate, and that includes producing content for our fans, sponsors and partners,” said Billie Weiss, senior manager, Photography, Boston Red Sox. 

“We are extremely pleased with the image quality and capabilities from the MRMC Robotic Pods and are already discussing new opportunities to use the technology at all Fenway Park events in 2021.”

The Red Sox organization worked with Nikon Professional Service to install five Robotic Pods, a modular camera system housing that can be remotely controlled by an operator from a custom software interface, the company said.

Photographers/operators can capture high-quality photos and video for broadcast, social media and marketing with the Robotic Pod systems. The system makes it possible to cover an entire game without ever leaving the booth, Nikon said.

Cameras are positioned on the roof of the press box, on the third and first baselines, overlooking centerfield and the bullpen and directly behind home plate to provide a low-angle shot; however, the Robotic Pods can be repositioned to meet the changing needs of the team, it said. 

The Robotic Pods enable 360-degree camera movement and zooming, which makes it possible for the systems to deliver shots not available from fixed remote cameras. The photographer can remotely control zoom, focus and exposure, and the system can save preset capture points to repeat shots easily with precise consistency, Nikon said.

The pods provide a constant FTP stream of images delivered in real time that are ready to be used by authorized photographers, press agencies and on social media to promote fan engagement, it said. 

The system can also capture imagery to create GIFs and time-lapses. Cameras can be equipped with a variety of lenses to capture action on the field or the ambience of the ballpark. A single operator can control multiple pods, the company said.

More information about the Robotic Pod System is available on the MRMC website.

More information on Nikon imaging products is available on the company’s website. 

MELVILLE, N.Y.—Nikon has opted to bow out of the 2020 NAB Show in Las Vegas over concerns from the coronavirus (COVID-19). The decision also covers MRMC, a Nikon Group company.

This is the second exhibitor to announce that they will not be attending this year’s NAB Show due to coronavirus, following AJA’s exit earlier this week.

“Nikon’s first priority is always the health and safety of our employees, partners and customers,” Nikon’s statement read. “As we continue to closely monitor and gauge the impact of COVID-19, Nikon Inc. and MRMC … have made the decision not to participate in NAB 2020. We will continue to closely evaluate our travel policies, programs and activities to mitigate risk.”

NAB has maintained that the 2020 NAB Show will go on as scheduled, taking place April 18-22, and that it is not seeing an unusual spike in exhibitor cancellations and that its attendee registration is on par with past years. The organization has provided a coronavirus resource page to teach show attendees things they should know about the coronavirus and best practices. The Las Vegas Convention Center, which will serve as the host of the conference, has also announced its measures to prevent transmission. 

LONDON—Mark Roberts Motion Control, a Nikon subsidiary and supplier of robotic camera systems and ChyronHego have partnered to develop automated, robotic camera-based player and ball tracking systems for sports.

The partnership brings together key technologies, including ChyronHego’s TRACAB optical sports tracking system, which identifies and follows players as they move, while providing live game-play metrics. Also key is MRMC’s new Polycam System for synchronized movement of multiple robotic cameras, and new Robotic Pod camera system that captures video and stills of game action from multiple angles around the field.

[Read: ChyronHego To Debut Latest Broadcast Graphics Tools at 2018 NAB Show]

“ChyronHego’s graphics solutions and installed tracking systems expand the possibilities for our automated remote camera systems,” said MRMC CEO Assaff Rawner. The Robotic Pod incorporates a Nikon D5 Digital SLR camera that captures high-quality imagery, even in challenging lighting conditions, as well as live color-control technology for matching the color output of multiple cameras.

MRMC can capitalize on ChyronHego’s broad sports industry connections to market their new products, and ChyronHego can sell and distribute MRMC’s automated solutions to its own customer base. Initially, distribution will be through Nikon Inc. (USA), Nikon France S.A.S. (France), and Nikon GmbH (Germany), while MRMC will handle UK distribution directly.

TRACAB camera-based player and ball tracking systems are now installed at over 300 stadiums and “capture live tracking data for over 4,500 games every year,” said Sören Kjellin, CTO, ChyronHego. “[This] partnership is the latest example of how data-driven, innovative solutions are accelerating professional sports teams, leagues, and broadcasters around the world.”