platforms like Panatrack, Panapod and Tecnopoint Tuning. These tools enable cameras to glide along on motorised dollies, rise on robotic columns and move in ways that mimic human camera operators – all at a fraction of the traditional cost. Introducing Robyhead D2 One of Panasonic’s most exciting new offerings is the Robyhead D2, a pan-tilt head designed to bring large-sensor cameras into the PTZ ecosystem. “The D2 and its accompanying box cameras represent a large-sensor addition to our PTZ line-up,” explains Krier. “That was one of the missing pieces. Everybody’s asking for full- frame right now – it’s the buzzword of the moment. But it’s not just about offering a full-frame sensor. The real value is in giving customers a line-up of options that they can swap depending on production needs.” The Robyhead D2 is compatible with both the AW-UB50 (full-frame) and the AW-UB10 (Micro Four Thirds) box cameras. This flexibility is crucial. Full-frame delivers that coveted cinematic look, including shallow depth-of-field and rich low-light performance. It’s perfect for close-up shots of presenters, singers or performers. Meanwhile, Micro Four Thirds offers a balance of cinematic quality and zoom range, making it ideal when cameras need to be positioned further from the action without resorting to bulky, expensive lenses. This approach allows production teams to choose the right sensor for the job, or even mix and match, while keeping the entire system integrated in Panasonic’s broader ecosystem. “Customers can easily swap the camera head depending on what they need,” emphasises Krier. “Close to the action? Use the UB50 full-frame. Located 15 metres away? Go with the UB10. The beauty is, it all works seamlessly with the same controllers and software our customers have been using for years and are now familiar with. It’s a no-brainer.” Doing more with less The other major pressure point that exists in today’s market is manpower.
motion that adds cinematic depth. Tecnopoint Tuning: Modular robotic system with a range of dolly and column configurations for flexibility. “Today, directors want five, six, even ten different camera angles,” Krier explains. “But they can’t afford to buy ten high-end cinema cameras like they could 20 years ago. Our robotic PTZ solutions make it possible to achieve those varied, professional shots at a price point that scales.” Interestingly, while picture quality remains critical, it’s no longer the sole focus. Today’s customers assume excellent image quality, and Panasonic’s reputation guarantees that. Instead, Krier stresses that what matters most is workflow integration. “People aren’t just asking if the picture is good. They’re asking: Can I use NDI? Can I integrate ST 2110? Can I mix different camera types seamlessly?” This is why Panasonic designs its systems as part of an ecosystem. Whether a team is using traditional PTZs, box cameras on the Robyhead D2 or robotics platforms, everything integrates with the same controllers, software and workflows. Ultimately, Panasonic sees automation and AI as the future of production. Operators will shift from actively controlling cameras to monitoring systems and making subtle adjustments. “Nowadays, it’s often a one-man show,” says Krier. “It’s just one person who installs three cameras, sets presets, runs the switcher, manages streaming and monitors everything as well. They don’t have time to operate every camera live. That’s why AI is so useful. It handles the basics, so the operator can just fine-tune and ensure everything looks natural.” Krier concludes that “the goal is to emulate expensive, high-end systems, but affordably, flexibly and in a way that works for small teams. That’s where Panasonic is focused, and where the industry is heading.”
TUNE UP Tuning is the first robotic system on tracks for PTZ cameras
Productions that once required crews of ten or more are now often run by just one to three people. “Budgets are tight, and are getting tighter,” says Krier. “The more that production companies can automate, the better. Pre-programmed camera presets, robotics and AI tools allow small teams to do intricate things that used to require large crews.” Panasonic’s Auto Framing and Auto Tracking technologies are prime examples. These AI-driven tools automatically detect and follow subjects – adjusting framing in real time. Instead of needing an operator to be dedicated to each camera, one person can monitor multiple shots while the AI ensures smooth, professional tracking. Krier acknowledges the challenge that automation must be reliable enough for live production. “Auto Framing and Auto Tracking can’t just work 50% of the time. They have to work 99% of the time, so that producers can trust them to be used in a real show. That’s why we’re investing heavily in AI – to make automated movements feel more natural, almost indistinguishable Beyond AI, Panasonic’s suite of robotic solutions is transforming how PTZs are deployed. Panatrack: A motorised camera dolly system of rails to move PTZs along smoothly, for dynamic tracking shots. Panapod: Motorised column that raises and lowers PTZs, for vertical from a human operator.” The robotics ecosystem
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