Motion made simple
Looking to achieve pro-level broadcast with fewer cameras, smaller crews and tighter budgets? Panasonic’s Guilhem Krier sits down with FEED to tell you how
C onsumer expectations have never been higher within the landscapes of broadcast and pro AV. Viewers have become accustomed to and, quite simply, expect cinematic visuals, fluid motion and creative angles. Production teams face the opposite reality: lower budgets and smaller crews, all part of an overarching demand to do more with less. As Guilhem Krier, head of new business and market development at Panasonic Connect Europe, puts it, “the demand is to create more intricate and dynamic movements. That’s really the key reasoning behind what we’re doing. People want shots that look more professional, emulate more expensive systems without needing the same level of manpower or investment.” This pressure is driving innovation across the industry and Panasonic is meeting it head-on. From introducing new camera systems and robotic
solutions, its AI-powered automation tools are enabling smaller crews to deliver broadcast-quality productions that rival big-budget operations. From static to cinematic Panasonic has long been a leader in PTZ (pan-tilt-zoom) camera systems. PTZs allow operators to control zoom and framing remotely, but the movements are often constrained by the fixed placement of the camera. That’s no longer enough. “In the past, you could get away with four studio cameras on tripods around a set. It was static and, frankly, a little bit boring,” says Krier. “Today, everything has to be fast and dynamic. Producers want constant movement, new angles and the ability to cut between multiple shot types quickly. To get that, you need to employ robotics.” This is where Panasonic’s ecosystem shines: pairing PTZs and box cameras with robotic
NEW KID ON THE BLOCK Panasonic’s Robyhead D2 is its pan-tilt head set to turn large-sensor cameras into PTZs
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