AHEAD OF THE GAME Around 70% of TV stations in the US have already invested in camera robotics
» Studios have moved away from the green-screen approach towards cutting-edge virtual sets and LED volumes «
One approach that has proven effective for Akhtar and the team at Ross Video has been through centralising graphics infrastructure so multiple studios, programmes or regional operations can all access the same tools and design resources. “In practice, this means editorial teams can work from shared templates and data sources, allowing graphics to be created quickly while maintaining consistent branding across different programmes,” he tells us. “This centralised approach also helps organisations manage resources more efficiently and adapt their production capacity when major news events require expanded coverage.” “Instead of committing entirely to one model, many organisations are evaluating how different financial and operational approaches can support their evolving production needs,” says Akhtar. “These shifts are helping newsrooms respond more effectively to changing editorial demands, while still maintaining control over long-term technology planning.” Goodbye green screens! Not so long ago, the faint green tinge outlining most news anchors (especially the weather reporters!) was simply just a part of the newsroom furniture. But now, studios have moved away from the green-screen approach towards cutting-edge virtual sets and LED volumes, making them increasingly interactive in their storytelling capabilities. As well as this, the motion and robotics enabling them have seen swathes of improvement across many mainstream news studios. Robotic camera systems are often associated with sports or entertainment; however, according to Paddy Taylor, head of broadcast at Mark
Roberts Motion Control (MRMC), data shows around 70% of TV stations in the US have already invested in camera robotics. A more cinematic approach to broadcast seems to be the current expectation; Taylor is here to explain why. “It’s part of a strong trend towards visual storytelling techniques, where sweeping reveals, parallax camera arcs, cinematic shot transitions and various creative camera moves are used to add energy and depth. Traditionally, achieving anything close to current levels of visual sophistication would only have been possible for the most well-funded productions with access to large studio spaces, rail systems, jib cranes and the like.” The arrival of robotic camera systems changed the newsroom game entirely, by bringing innovation to much smaller studio environments, including regional and local news studios. “For example, modern systems have introduced multi-axis motion, allowing multiple types of movement to occur within the same shot,” adds Taylor. News productions can also incorporate compound camera motion. For presenter shots, robotic systems can orbit around an anchor desk while maintaining framing using real-time target tracking. “This is all highly repeatable; the same shot can be executed consistently across broadcasts,” says Taylor. “These systems have established themselves as a vital part of contemporary, high-quality and creative news production.” Taylor argues that camera tracking and motion precision are quickly rising up the priority list across the industry. “Robotic camera systems are fundamental to supporting the workflows involved, particularly because of their compatibility with AR/VR tracking and ease of integration with virtual sets and digital set extensions.”
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