KINGS PARK, N.Y.—MultiDyne Video & Fiber Optic Systems is acquiring the assets of MRMC (Mark Roberts Motion Control), a pioneering developer of robotic camera systems, motion control solutions and automated camera tracking technologies for broadcast, digital cinema, sports production and live events.

Nikon announced in April that it was selling MRMC.

As part of the transaction, MultiDyne has established MultiDyne Robotics and Motion Control, a new company that will maintain the well-known MRMC brand.

The acquisition brings MRMC’s core technologies, intellectual property, manufacturing capabilities and key engineering expertise into the MultiDyne organization, creating a powerful combination of complementary technologies that extend MultiDyne’s reach to the very beginning of the content creation chain.

"MRMC is a world-class brand with an exceptional reputation for innovation, engineering excellence and customer success," said Frank Jachetta, CEO of MultiDyne. "This acquisition represents a natural and highly strategic extension of our business. MultiDyne has long been focused on the transport, processing and management of video, audio and data signals. MRMC places us at the point of image acquisition itself, allowing us to participate in a much broader portion of the production workflow. Together, our technologies create a powerful end-to-end ecosystem for content creators, broadcasters and live production professionals worldwide."

MRMC has been recognized as a pioneer in camera robotics and motion control for six decades, developing award-winning solutions that enable precision camera movement, automated tracking, virtual production workflows and cinematic motion control for some of the world's leading broadcasters, filmmakers and content creators.

The move comes during a milestone year for MultiDyne as the company celebrates its 50th anniversary, marking five decades of innovation and strategic growth across broadcast, digital cinema, Pro AV and live production markets.

The MultiDyne and MRMC product portfolios have virtually no overlap. Instead, the two companies serve many of the same customers, channel partners and markets with complementary technologies.

MultiDyne's fiber-optic transport, camera interface and signal processing solutions are widely used throughout professional production environments to move video, audio and data across complex infrastructures. MRMC's robotic camera systems, tracking solutions, motion control rigs and automated production technologies complement those workflows by controlling the physical movement, positioning and automation of the cameras themselves.

The combined portfolio will strengthen MultiDyne's position across broadcast television, sports production, digital cinema, virtual production, corporate AV, houses of worship, live events and emerging content creation markets, the company said.

The acquisition also significantly strengthens MultiDyne's international presence, particularly in Europe, where MRMC has built a respected global brand and loyal customer base. MultiDyne plans to maintain MRMC's operations in the United Kingdom while preserving the engineering expertise, product innovation and customer relationships that have made the company a trusted partner throughout the industry.

Neil Maycock, a member of the MultiDyne leadership team, will run MRMC as Managing Director and emphasized the importance of continuity for customers and partners.

"MRMC has earned tremendous loyalty throughout the broadcast and cinema industries because of its innovation, product quality and commitment to customer success," said Maycock. "Our priority is ensuring continuity for customers, partners and ongoing projects while creating a strong foundation for future growth. We see tremendous opportunities to expand the reach of MRMC technologies through MultiDyne's global sales channels, customer relationships and long-term investment strategy."

The acquisition represents the latest in a series of strategic growth initiatives that have expanded MultiDyne's technology portfolio, geographic reach and market presence over the past decade.

EVS has announced the launch of Choreon, a next-generation robotics controller for media production that is part of its T-Motion solution.

Making its debut at the 2026 NAB Show, Choreon introduces a unified orchestration layer that brings various robotic systems together under a single intelligent platform, supporting setups that range from compact, single-operator workflows to complex, large-scale environments with multiple robots and operators.

“Choreon represents a significant step forward in how robotic systems are deployed and managed in live production,” said Benoit Dentan, vice president of T-Motion Robotics Solution at EVS. “We are moving beyond controlling individual devices to truly choreographing motion across an entire production. This makes it easier for teams to expand their use of robotics while preserving the human creative control that remains essential in live storytelling.”

EVS said that Choreon represents a major shift in how indoor and outdoor multi-robot environments are managed.

Where operators previously relied on separate interfaces for each device, the platform enables simultaneous control of multiple robotic systems within a single workflow. This unlocks new creative possibilities, enabling smooth, complex camera movements that are difficult to achieve with traditional, isolated systems. At the same time, it reduces operational complexity, lowers the risk of human error, and improves both speed and overall production quality.

The platform supports T-Motion’s full robotics portfolio, including PTZ cameras, robotic heads, tracks, elevators, rovers, jibs, gyro systems, and the Cablecam for smooth on-air movements, as well as third-party devices for off-air positioning. These can be freely combined within a single environment, eliminating compatibility constraints and streamlining production workflows. Choreon also enables collaborative operation, allowing multiple users to work within the same setup to meet the scale and demands of any production.

Built on a human-led orchestration model, Choreon keeps operators fully in charge of the creative process. AI-assisted features, such as automated framing, path planning, and dynamic motion profiling, enhance precision and consistency while easing the operator’s workload in high-pressure live environments, all without compromising editorial intent.

Key operational parameters, such as speed, acceleration, motion curves, and fine-tuning, are standardized across all connected devices. This allows operators to adjust sensitivity once and maintain the same control “feel” across every system, eliminating discrepancies when switching between devices.

Engineered specifically for live production, Choreon features a high-brightness touchscreen, tactile control surface, and enhanced haptic feedback for fast, intuitive operation. Safety is central to the design, with multi-sensor protection, configurable safe zones, and hardware- and software-based stop mechanisms, ensuring safe deployment in environments where robotic systems operate near crew, talent, and audiences.

"The launch of Choreon comes just months after our acquisitions of Telemetrics and XD Motion," said Serge Van Herck, CEO of EVS. “It highlights strong and rapid synergies between our teams, combining decades of media robotics expertise with deep live production knowledge. With T-Motion and Choreon, we are proud to realize our vision of a fully integrated robotics solution within EVS, one that connects seamlessly with our broader live production ecosystem.”

See EVS at booth N1841 during the 2026 NAB Show April 18 to 22.

Live event production solutions specialist CP Communications has announced it will serve as the official A/V rental and sales partner for Mark Roberts Motion Control (MRMC) in the United States.

As part of the collaboration, CP Communications’ subsidiary Red House Streaming (RHS) has introduced MRMC robotic cameras into Studio C, its new, cinematic-focused production studio in St Petersburg, Fla. Studio C is now one of only two studios in Florida and among a select few in the entire country to house this state-of-the-art robotic camera technology.

The addition of MRMC’s robotic systems elevates the capabilities of RHS studios, offering cinematic camera motion, precision control and creative flexibility for productions ranging from broadcast news and corporate events to creative projects, concerts and original programming.

“With MRMC’s robotic camera systems, we’re not just adding new equipment, we’re transforming what’s possible for our clients,” said Kurt Heitmann, CEO of CP Communications. “This technology allows us to bring cinematic storytelling, consistency and efficiency into our productions, all while maintaining the flexibility and cost-effectiveness that clients demand.”

MRMC’s robotic solutions are trusted by leading broadcasters, filmmakers, and content creators around the world for their unparalleled precision, reliability, and innovation.

More information is available on the CP Communications, Red House Streaming and MRMC websites.

NEW YORK—Iris, the new cloud-connected camera control platform, has officially launched with features that turn virtually any PTZ camera into a software-connected, remotely controlled device and eliminate such traditional constraints as hardware dependencies, inconsistent control and the lack of on-site crews.

The company said that the platform is designed to remove longstanding pain points for production teams: fragmented control tools and protocols across brands, the need for constant manual adjustments and the inherent limits of on-site equipment and staffing.

Iris changes this by providing universal, browser-based control that works across camera brands and enables full production management from anywhere in the world, the company said.

In addition, the platform’s AI-powered automation is designed to handle traditionally manual tasks, like real-time subject tracking and framing, allowing operators to focus on creative decisions rather than technical adjustments. Its intuitive interface ensures that non-technical users can achieve professional results, democratizing access to advanced capabilities that deliver the production quality of larger-budget operations, the company said.

Organizations can also use Iris to scale up without proportionally increasing their costs or crew size, the company said. A single operator can manage multiple cameras across multiple locations, while remote teams collaborate in real time as if they were in the same room. This scalability opens doors to productions that were previously impractical or impossible, from small community theater livestreams to global corporate events spanning multiple time zones.

More specifically, the Iris desktop application allows production teams to quickly discover, link to, and control over 300 camera models on their local network. For those using Iris-enabled cameras, the platform is built directly into the device’s firmware, connecting instantly to the cloud without any additional hardware or complex setup.

This direct-to-cloud capability debuts alongside broad support from leading PTZ camera manufacturers, including AIDA, BirdDog, Bolin, BZBGear, Everet, HDKATOV, Lumens, Marshall, NEOiD, Telycam, and Z CAM. Together, these integrations position Iris as the leading software standard for camera control.

“Setup now takes minutes, not hours,” said Noah Johnson, founder of Iris. “Our custom drivers unlock every camera feature—not just the common ones—and our intelligent framing tools make operating cameras feel natural, fast, and cinematic. And because Iris lives in the cloud, your cameras are now truly remote—you can manage, access, and control them from anywhere, anytime.”

As part of the launch, the company highlighted several possible use cases. Houses of worship can empower volunteer teams to deliver professional-looking livestreams using automation and visual effects. Educational institutions can manage cameras across lecture halls with a centralized, remote-control room. Corporate teams can produce executive communications and all-hands meetings across multiple offices. Media producers can collaborate in real time across locations for seamless productions. With Iris, even remote interviews become effortless: Ship a camera, plug it in and instantly access the video and controls in the Iris account.

The Iris platform is available at tryiris.ai for content producers to begin connecting cameras immediately.

SURREY, U.K.—Mark Roberts Motion Control (MRMC) has launched Flair Bridge, a compact device that transforms how operators control the company’s motion-control robots.

Only 2 inches long, Flair Bridge removes the complexity of hardware and operating system requirements, enabling seamless robot control from virtually any modern computer. 

“Flair Bridge is a game-changer for our customers,” MRMC CEO Assaff Rawner said. “It dramatically simplifies setup and expands flexibility, allowing operators to use the laptops they already rely on for everyday work without compromising performance.”

With Flair Bridge, operators gain a new level of freedom and ease of use. It works across Mac, Windows and Linux platforms—the first time Macs can be used to control MRMC rigs. There are no special operating system configurations, drivers or BIOS tweaks required, which means installation and support on new computers is faster and easier than ever, MRMC said.

Previous chipset and BIOS limitations were eliminated, enabling more laptops to be used for robot control and making workflows far more portable. Connectivity is also streamlined, allowing robots to easily run over Wi-Fi or company networks.

While compact, Flair Bridge offers powerful capabilities. Flair Bridge, powered by a simple 5V USB-C connection, is fully compatible with all existing MRMC rigs, including older models, it said.

Flair Bridge is available now and will be included with all future MRMC rigs, including the new Cinebot Nano. Existing customers can also purchase Flair Bridge separately to upgrade their current systems.

The new device enables freelance operators and production teams to work more flexibly and cost-effectively, using their own laptops, without sacrificing control or reliability.

More information is on the company’s website.

SURREY, U.K.—Mark Roberts Motion Control (MRMC) has launched the Cinebot Nano, a motion control robot designed to make professional-grade camera movement more accessible to solo filmmakers, content creators and agile production teams.

The Cinebot Nano is portable, simple and intuitive to use. The travel-ready solution delivers dynamic, repeatable camera motion. Weighing less than standard luggage air-travel limits and packing neatly into just three cases—an arm case, track case and control case—this nine-axis robotic arm system is designed for creators who shoot on location, in tight studio spaces or anywhere in between, the company said.

Capable of supporting a 15.4-pound (7-kilogram) camera payload, with a 40-inch (1-meter) reach and integrating seamlessly with Tilta’s zoom and focus control, Cinebot Nano brings high-end performance to a compact footprint, MRMC said.

It is designed for rapid deployment and effortless setup—mountable on tripods, suctioned to vehicles or even suspended upside down. The system adapts easily to a range of creative environments and comes mounted on pedestal or on precision ball-bearing track where the robot can travel at 40 inches (1 m) per second.

Cinebot Nano relies on MRMC’s simplified Flair Lite software, which demystifies motion control. Flair Lite provides an intuitive interface that strips away complexity without compromising on creative precision. The newly designed interface allows content creators to create moves even faster with its entry-level, user-friendly design. There is no software subscription. Users own the software for life, it said.

For users who want to create moves on the fly, the system, like the company’s other Cinebot solutions, features Push Moco for basic keyframing, enabling quick setup and rapid execution in minutes, it said.

Cinebot Nano will be available Sept. 1. Basic packages start from $27,098.20.

More information is available on the company’s website.

Local newscasts don’t exist in a vacuum. News directors and station management constantly evaluate what’s working, what isn’t and perhaps most importantly, what’s working for the competition.

Many are starting to take note of competitors that have introduced striking camera movements into their news programming—something that more closely resembles what viewers see at the movies, not traditionally on their TV screens.

A good case in point is ABC News’ “Good Morning America,” the morning news staple that’s using more cameras and cuts than ever as well as cinematic camera movement to create drama—even when stories seem run of the mill and not particularly dramatic—and engage viewers more deeply in stories.

Many local news directors have noticed what GMA is doing and are getting serious about adopting similar techniques with the help of next-generation camera robotics from MRMC to help replace the typical lean-back news viewing experience with one that pull viewers into their stories..

Midwestern Mid-Market Station
One mid-sized station group recently deployed three MRMC robotic systems with lift, pan and tilt capability, including one in a studio some 60 miles from the station under centralized remote control to make the most efficient use of station personnel.

The units, which almost always are moving, enable the broadcaster to integrate a wide range of shots into its productions, including those typically associated with studio camera robotics as well as a more dynamic wide shot that emulates one from a traditional jib that is much slower and drifts.

The never-ending stream of shots from this robotic unit as the camera slowly ping-pongs up and down to capture video from different elevations and angles is frequently switched into news programming to hold the attention of viewers. A long-time producer of the show estimates the addition of this setup has enabled 40% to 50% more cuts to heighten viewer engagement than were typically used in the same show 15 years ago.

Large-Market East Coast Station
One large-market station on the East Coast has deployed an MRMC StudioBot XL robotic arm in its news studio to replace a Steadicam rig and operator with a fully automated alternative that can reliably and repeatedly capture interesting moving shots designed to attract and hold the attention of news viewers.

The broadcaster now relies on the robotic arm to integrate camera movements around physical objects, news anchors and reporters and virtual objects into its newscasts, effectively bringing camera movement to its production that were only available in top tier productions a few years ago.

Knowing the camera moves it wanted, the station pre-programmed the StudioBot XL to automate desired movements when launched by an operator who also attends to other duties. At present, the station is at work on integrating the robotic arm into its MOS-driven news automation system and control.

The news studio where the StudioBot is deployed is three studios in one. As multiple StudioBot robotic arms are deployed, the station will have the ability to do so-called “down-the-line” shots from different studios and make it look to viewers as if the talent in the shots are in the same studio.

Large-Market Southwest Station
Attracting attention and engaging viewers doesn’t simply have to be confined to newscasts. A large-market station in the Southwest has deployed an MRMC StudioBot to do double duty. During newscasts, the StudioBot XL robotic arm is used to add striking camera movements to stories to drive viewer engagement.

When sweeps occur, the station pairs the same robotic arm with a high-frame-rate camera to create high-speed whip pans around anchors and other presenters that are used in interstitials and promos.

The station has setup two software profiles for StudioBot XL—one a broadcast profile for everyday work and the other for the high-speed moves—making it fast and easy to modify operation of the robotic arm to match the task at hand.

Cashing in on Robotics
Another call letter station has deployed MRMC robotics and motion control to drive production and commercial revenue. By integrating cinematic camera moves into its production services portfolio, the station is now able to offer local and regional advertisers production techniques typically associated with national spots.

The station has combined its StudioBot robotic arm with an LED stage, making it possible for clients to unleash their creativity. Not only does this mean more billable hours for production services, but it also has given the station a powerful way to incentivize clients to book commercial time and drive higher revenue.

Regardless of a station’s size, local newsrooms face a similar challenge. How can they hold onto existing viewers and encourage those who have left to return?

Adding cinematic camera movement into the mix of shots making up a newscast can set a station apart from its competitors and give viewers a new way to experience the news. MRMC is helping many stations to realize these goals with the addition of the company’s next-generation robotic pedestals, arms and lift systems.

Each delivers the repeatability, workflow integration and performance stations can rely upon to achieve the dramatic visual flair they require to capture the audience without disrupting ongoing operations.

With the help of these next-gen camera robotics and the fluid motion control they deliver, call letter stations are attracting audience, building viewer loyalty and opening up new opportunities to enhance their standing in the highly competitive news marketplace and grow commercial revenue.

MRMC Broadcast is a leading provider of camera robotics systems built on intelligent automation for virtual production and remote acquisition. As the industry shifts toward more agile workflows, MRMC Broadcast continues to deliver solutions aligned with emerging trends to enable greater flexibility, scalability, and creative freedom across studios, live productions, and hybrid environments. Learn more here.

Camera robotics and local newscasts go hand in hand. For years, stations have added robotic pedestals operating under automation control to improve workflows, save on expenses and ensure consistency.

But there’s much more to robotics and newscasts—especially if the goal is to add striking cinematic camera moves with the range and fluidity of camera motion associated with Steadicam rigs without incurring the initial cost of equipment and recurring expense of an operator.

For those types of moves, a robotic arm mounted to a robotic pedestal or track system can unlock the true potential of camera movement by enabling cinematic camera motion.

Leveraging the latest robotics technology, such as the MRMC StudioBot multi-axis robotic arm, newscasts can move cameras smoothly behind and around anchors, reporters and AR graphics to engage viewers on an entirely new level.

Similarities and Differences
The technology that creates cinematic camera movement shares many characteristics with the robotic pedestals in use at many local stations. For instance, both ensure camera movements are precise and repeatable. Both also move cameras without a heavy reliance on skilled workers and the physical stamina of operators. Both can even support a full-sized studio teleprompter.

Like the robotics used today at stations, a robotic arm or robotic arm-pedestal combination is cost-effective over time, streamlining labor and operator costs, and when it comes to MRMC’s StudioBot, the robotic arm can be integrated into a Media Object Server (MOS)-based news automation rundown.

There is one critically important difference that distinguishes a robotic arm or robotic arm-pedestal combination from traditional robotic studio camera setups: specifically, unmatched creativity.

When combined with virtual sets and augmented reality (AR) graphics, the freedom of movement MRMC’s robotics offers and their seamless integration into this virtual world create opportunities to engage viewers more deeply in stories and experience news in a way that holds their attention.

A track-mounted robotic arm or one mounted to a robotic pedestal can follow an anchor or reporter walking around a news set. They can shoot behind reporters and anchors as well as move smoothly around AR graphics to reveal critical details viewers need to understand certain types of stories. While sets may change, the range of motion and repeatability of shots allow newscasts to maintain a consistent look. Operators benefit as well because they will remain familiar with the types of shots and workflow required.

The How-To
Creating this type of cinematic camera movement on a news set requires the right combination of hardware and software. From a hardware perspective, stations will need one or more multi-axis robotic arms. They can be mounted to the floor, the ceiling or a track system. The MRMC StudioBot can also be mounted on a robotically controlled pedestal, offering maximum creative and placement freedom.

Software essential to creating cinematic camera moves in the confines of a TV studio includes AI-powered talent tracking, collision-avoidance LiDAR scanning and MOS-compliant production automation software. If multiple systems are needed, software to control multiple cameras and multiple robotic systems will also be necessary.

Understanding a bit of the back story of MRMC, or Mark Roberts Motion Control, makes it clear why the company can help broadcasters make striking cinematic camera moves part of their newscasts.

MRMC was founded in 1966 when its sole focus was building rostrum animation camera stands, which led to developing motion control camera tech for the film industry. The effort included the development of motion control camera tracking software and camera rigs as well as push motion control rigs. Since then, studios and producers have relied on MRMC solutions to make thousands of movies, episodic television shows and commercials.

For its efforts, MRMC has received multiple awards, including an Academy Award for Technical Engineering as well as the Queen’s and King’s Award for Enterprise: International Trade. The company’s technology has even made it to outer space, assisting SpaceX and Boeing with automated docking with the International Space Station.

In 2017, Nikon acquired MRMC and since then has supported the company in its mission to bring motion expertise to television broadcasters and producers. Major broadcasters now use MRMC robotic camera systems for introducing and connecting sequences between live news segments, remote VR-based productions for major sporting events and adding camera control and cinematic motion to broadcasts from small studio spaces.

MRMC Systems For Local TV
To make it possible for local stations to add cinematic camera moves in their news studios, MRMC has developed a range of technology solutions, including:

• StudioBot XL—a 9-axis robotic arm with a 5’8” reach that can support 44 pounds, including a camera, lens and teleprompter. Quick and easy deployment; enables integration into AR and VR setups.
• StudioBot LT—a 6-axis robotic arm with a 4’2” reach that can support 22 pounds. Its compact design offers exceptional flexibility, enhancing production quality in the most confined spaces.
• Prompter support, including a PTZ prompter.
• Robokam control/automation software—MOS-compliant software that enables news producers to trigger cinematic camera moves from newscast rundowns, create dynamic motion paths and control multiple robotic camera systems.
• Track Robotic Head (TRH), a lift column that runs on rails and can also carry a teleprompter.
• Rail Lift Systems (RLS), a cost-effective solution that combines lightweight lift with horizontal rails, creating jib-like motion from the floor, wall or ceiling. Perfect for adding motion to PTZ cameras.
• Polymotion Chat—AI-driven, automatic talent tracking software leveraging a computer vision engine that detects limbs and builds stick models to track subjects more reliably than face-tracking solutions. Supports multi-camera production and allows for people to be occluded by walking in front of one another.

For stations that have previously invested in robotic camera solutions and pedestals, MRMC enables stations to integrate its robotic camera arms into existing studio workflows, while offering a full range additional solutions to support PTZ, studio and cinecameras, creating a pathway to cinematic camera moves while enabling stations to fully amortize their current systems.

Affordability
Local stations have a long history of adopting technologies—some quite expensive, like news choppers—to stay one step ahead of the competition, build bigger audiences and ultimately earn higher ad revenues. When considered in the context of vital news tech investments over the years like ENG and SNG vehicles, helicopters and production control room equipment, the technology required to add striking cinematic camera moves to local news is affordable.

Not only will this technology pay for itself over a three- to five-year period, but it also offers local stations a way to compete more effectively with cross-town TV rivals and the digital platforms Americans increasingly cite as their go-to sources for news.

Adding MRMC robotic solutions to newscasts isn’t an all-or-nothing proposition. Stations can augment their existing robotic pedestals by separately adding a ceiling track-mounted MRMC StudioBot, for example, to introduce cinematic camera movement while continuing to derive the full value of their investment in existing robotics and replacing those less-capable systems when that technology approaches its end of life.

Given the highly competitive nature of local TV and the never-ending mission of building audience, stations would do well to evaluate the expense of the tech needed to create cinematic robotic camera moves not simply on the basis of its price tag, but also on the cost of doing nothing and missing out on all of the advantages these systems bring to local news.

MRMC Broadcast is a leading provider of camera robotics systems built on intelligent automation for virtual production and remote acquisition. As the industry shifts toward more agile workflows, MRMC Broadcast continues to deliver solutions aligned with emerging trends to enable greater flexibility, scalability, and creative freedom across studios, live productions, and hybrid environments. Learn more here.

AMSTERDAM—Telemetrics has unveiled a wireless video transmission and battery system for its OmniGlide Robotic Roving Platform that allows users to freely move the popular OmniGlide studio camera pedestal and avoid obstacles virtually anywhere in the studio without cables.

The company is billing the product as an industry first.  

“Being able to move the rover anywhere without worrying about cables getting caught on a set piece or having a dedicated person physically managing the cables, is a big step forward for roving pedestals.” said Michael Cuomo, vice president of Telemetrics. “Eliminating the cable loom attached to the rover further enhances our AI features such as path planning and collision avoidance.”

Going wireless with the rover still provides the same functionality customers are used to, including camera power and control, teleprompter power and video, confidence monitor power and video and full robotic control, the company said. 

In addition, the system can be run on a standard cable loom, which provides a full backup solution.  The wireless system is designed so that OmniGlides currently in the field can be upgraded to support wireless.

The new option for the OmniGlide consists of a wireless transmitter and battery system configured to the rover’s specifications. It maintains the rover’s precise, preprogrammed or manual movements. 

The lithium-ion battery system provides DC power, a long run time and is fully rechargeable, making it ideal for long studio projects, the company said. 

Users can shoot a production all day on battery power and then charge it overnight to be ready for the next day. The wireless transmitter’s robust features and low latency (sub frame delay of 7 milliseconds) ensure the reliability of exact pedestal movements.

For more information on Telemetrics’ camera robotics and control systems visit www.telemetrics.com.

ALLENDALE, N.J.—Telemetrics has introduced the PS-RM2-48 multi-function intelligent power supply unit for its robotic camera control systems.

The new power supply includes a small LCD display for status diagnostics and Ethernet connectivity, which gives users the ability to monitor the PSU remotely within the software of the Telemetrics RCCP-2A control panel, the company said.

The new power supply also provides reliable and safe DC power for cameras, lenses, prompters, confidence monitors and fiber adapters, which eliminates the need to run extension cords across the floor that can pose a safety hazard. The low-voltage DC power supply complies with the latest safe working directives in Europe, the company said.

“The new PSU does things no other power supply can do and helps robotic camera users be more efficient with their power usage,” said Telemetrics vice president Michael Cuomo.

“It’s also great for studio applications that have multiple Telemetrics robotic camera control system operating at the same time. Now, with this new PSU, users can power all of the components with a single device. Therefore, it’s easier to use, takes up less rack space and is more fully featured than any other PSU for robotic camera systems on the market today.”

The PS-RM2-48 measures 19 inches in a 2U chassis. It also includes Ethernet connectivity, giving users the ability to control and monitor the power supply remotely. This also serves as a safety feature because now users can monitor the power that’s being drawn from the power supply, the company said.

With Real Time Network Monitoring and a lot more power than previous power supplies, the new PS-RM2-48 can be used to turn robotic camera components on and off remotely. In the past, a Telemetrics OmniGlide Robotic Roving Platform would require three or four standard power supplies, it said.

The new PS-RM2-48 power supply comes in several versions: standard - signal module dual output - (2x500W) with separate redundancy mode outputs; 1000W total output without redundancy; and optional second power module, providing a total output of 2000W—2 x (2x500W). The power supply will ship with all future systems, starting in 2022., it said.

More information is available on the company’s website.

ALLENDALE, N.J.—When the Twin Cities PBS Station headed down to Miami’s New World Center to record a presentation from financial consultant Suze Orman, part of its setup relied on a number of robotic camera control technology from Telemetrics to capture what was happening on stage.

The Minnesota station utilized six PT-LP-S5 pan/tilt heads that it had mounted throughout the New World Center, as well as two Telemetrics Televator elevating pedestals with S5 pan/tilt heads on stage. Three live cameras were placed in the audience, there was a steadicam operator at the front of the stage and two robotic operators in the control room directly controlling nine cameras with two RCCP control panels and oversaw all 14 in use by the station. There was an additional RCCP control panel to assist as needed.

The setup of the PT-LP-S5, Televator and RCCP units help ensure precise, consistent camera movement, as well as saving space, setup time and production costs.

The footage capture of the presentation, “Suze Orman’s Ultimate Retirement Guide,” was as part of a special fundraising drive that will be used at numerous PBS stations across the country. 

ALLENDALE, N.J.—Telemetrics has found a dance partner for its latest camera robotics and control products, the S5 series of servo-mechanical pan/tilt camera heads, announcing at the recent NAB Show New York that its technology works with Blackmagic Design cameras.

The company demonstrated the S5 series’ ability to work with Blackmagic’s Ursa 4K/UHD camera at the show, but it says that all of its models—PT-LP-S5, PT-HP-S5 and PT-CP-S5—feature full remote control of Blackmagic cameras and lenses in a robotic camera studio setting.

The Telemetrics technology controls the camera through an SDI stream, enabling command of features like full paint and exposure controls.

Telemetrics’ pan/tilt heads are designed to be used in broadcast studios, by government entities and for large room surveillance.

CHELMSFORD, MASS.—Broadcast Pix’s robotic camera control in its integrated production switchers now work with JVC’s new KY-PZ100 PTZ network video production camera through serial and IP connections. The Broadcast Pix technology can control pan, tilt, zoom, focus, iris, gain and preset recall for up to 12 cameras.

Broadcast Pix users can now control JVC cameras with the joystick on any control panel. The PixButtons, control buttons with LED displays, provide access to up to 100 positions and can set the speed and range of PTZ camera movements. The JVC cameras can also be controlled via touchscreen using BPview and the Broadcast Pix Commander browser-based interface. A single cable powers the KY-PZ100 and delivers IP video and control to a Flint, Roadie or BPswitch system.

The JVC PTZ camera control will be available on all current Broadcast Pix models and the new BPswitch line of integrated production switchers as part of a new system software release in late 2017.

Broadcast Pix is expected to demonstrate the robotic camera controls during IBC 2017.