ROUND TABLE
cameras and cinematic imaging systems. The AW-UE160 and AW- UE150A demonstrate how PTZ cameras can deliver significantly improved image quality through larger sensors, advanced processing, sophisticated colour reproduction and the imaging philosophy behind Panasonic’s broadcast and cinema cameras. Filmmakers are also increasingly looking for modular solutions that allow them to choose the right combination of camera, lens and movement system. Panasonic’s UB series cameras, including the AW-UB10, AW-UB50 and AW-UBX100, provide this flexibility by pairing high- performance imaging with robotic pan and tilt heads, motion-control systems and other remote camera platforms. Another major focus area is intelligent automation. Panasonic’s approach is centred around bringing together PTZ cameras, robotic systems, professional controllers, AI-assisted tools and IP production platforms such as KAIROS to create connected ecosystems, helping creators achieve higher production values with greater efficiency. GB: Film and broadcast productions can be set up more quickly and reconfigured by using IP with PoE, providing single cable and central control. We are also seeing independent webcasters using tracking PTZ cameras on a desktop, allowing for freedom of movement. DEF: AI and automation are becoming increasingly important. What role do you see them playing in the evolution of PTZ technology, and what benefits will filmmakers see in practice? KS: AI and automation will continue to play an increasingly significant role, as features like intelligent subject tracking and more advanced preset capabilities reduce repetitive manual operation, improve consistency and minimise the intervention of dedicated camera operators. This allows production teams to focus more on creative decision-making while maintaining reliable camera coverage, with a single operator potentially managing multiple cameras and feeds. CL: AI will play a key role in making PTZ
FILMMAKERS’ EXPECTATIONS have changed SIGNIFICANTLY”
cameras more intelligent and easier to operate. The objective is intelligent assistance that helps production teams achieve better results more efficiently. Features such as AI-powered auto framing, subject tracking, face recognition and application-specific tracking technologies allow cameras to maintain consistent and natural- looking shots while reducing the need for continuous manual adjustment. In live sports, for example, AI-based tracking can help follow athletes and the movement of the ball, enabling smaller production teams to capture professional-quality coverage. In corporate events and presentations, AI can automatically keep speakers framed as they move around the stage, allowing operators to focus on overall production management. AI technology will become a valuable assistant for camera operators, helping them deliver consistent results while leaving creative decisions in human hands. DM: Auto tracking is only the beginning. AI is gradually becoming an operational layer across the entire production workflow rather than simply a camera feature. We’re already seeing AI improve autofocus, exposure, colour consistency and subject recognition. Looking ahead, AI will assist with shot suggestions, production analytics, predictive maintenance, system diagnostics and workflow optimisation across connected IP production environments. The goal isn’t to replace operators but to automate repetitive tasks, allowing creative teams to focus on storytelling rather than technical processes. MD: AI is moving from a ‘future concept’ to a mainstream buyer expectation. In practice, filmmakers will see presenter and group locking, ie cameras that can
distinguish between subjects, ensuring the ‘right’ person is always in frame without manual intervention. They’ll also see audio-visual synergy, with greater integration with beamforming microphones allowing cameras to automatically switch and frame based on who is speaking in a room. Another thing to look out for is automated metadata: AI can generate real-time captions, scene descriptions and production prompts (like scoreboard recognition in sports), streamlining the indexing and post-production process. BG: The key is that these technologies are there to support the operator, not replace them. At Canon, features such as Auto Tracking help production teams capture smooth, professional shots with greater consistency, particularly when working with smaller crews or in fast-paced environments. This allows operators to focus on the bigger picture while the camera takes care of more repetitive tasks. Looking ahead, we see AI making PTZ systems even smarter and more intuitive, helping filmmakers and content creators work more efficiently while remaining in complete creative control. Ultimately, it’s about removing technical barriers so they can spend more time focusing on storytelling. GK: AI and automation will be among the most important developments shaping the future of PTZ technology. However, the most successful applications will be those that enhance human creativity rather than replace it. The role of AI in production is changing from simple automation towards intelligent assistance. Rather than only performing predefined actions, future camera systems will increasingly understand their environment, support
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DEFINITIONMAGS
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