Once again MRMC’s pan-tilt heads were operating at the Wimbledon Tennis Championships. It’s been four years since the heads were implemented at the tournament in partnership with Nikon. In 2013, renowned sports photographer Bob Martin wanted to bring a whole new dynamic to the photography at Wimbledon and therefore trialled MRMC heads mounted with Nikon D4s.
To date, there’s around 20 MRMC robotic heads covering the action from centre court to many of the outer ones that traditionally received little coverage.
Bob Martin, sports photographer, said at the time:
“The demand for new images at big sporting events is what encourages me to push the limits of photography. Using this set up, it’s proved that capturing the impossible is now possible, which is very exciting for the future of photography”.
MRMCs heads are not only used for photography at Wimbledon, they are also used by Hawk-Eye Innovations. They use the heads with their own SMART Production technology to capture footage that gets aired through the red button and BBC iPlayer app as well as other international broadcasters.
Due to the extremely smooth and quiet functionality of the AFC pan-tilt head, along with full lens control and its IP architecture that allows seamless integration into any system, MRMC heads are fast becoming a de-facto choice for many live sports productions & photography agencies.
We recently held one of our 3-day moco training courses in our HQ studio. The course was attended by students from around the world and covered all vital aspects of Flair and Motion Control, along with valuable insight and insider knowledge into the TV and film industry from our instructor Peter Rush who has well over 20 years of industry experience.
Here are a few comments from the students:
‘25 years of experience shines through Peter's delivery of this operators course. Not a question posed went unanswered. Informative while enjoyable, he converted an expert's knowledge into a layman's real world applications.’
K. C. Freelance Assistant Operator
'I was able to satisfy all the reasons I took the course [and] getting to see a Milo up close and personal was great! All of the staff that I interacted with were great.'
J. Shupe. Freelance automation/Moco operator
'I had a blast at the training. I decided to go on and start training myself with this technology because it's a solution you cannot ignore and have to be aware of whether it is for cinematographic vfx or video productions… I can tell you it was worth every penny.'
F. Gagliardi, Vandone Film
This year at IBC we will be showcasing some exciting new MRMC developments using complementary IP-based technologies to offer a greater than ever range of robotic camera control options. These controls options range from:
interfacing with ‘smart stadiums’ and venues producing real-time tracking data and enabling intelligent use of MRMC robotic camera automation.
Long distance remote productions allowing camera operators to be as far from the subject as necessary.
Interfacing with Motion Tracking technologies to allow the operator or subject’s body to direct the camera motion.
MHC, our new lightweight multi-head control interface, allowing all the functionality of a professional joystick controller in an easy to use anywhere application.
MHS Server, MRMC’s gateway to the IP world, allowing ease of connectivity and management of both MRMC and third-party IP devices and commands.
Come visit us at stand Hall 12, stand F11. See map here (Exhibition 9-13 September).
Photos and video define the communication culture we live in today. Nearly every social media platform has the means to record, send, receive and view media. This movement has defined the pixel hungry populace, and the exponential rise of cheaper technology and accessible giant bandwidth means that everyone doesn’t just want it – they crave it!
The same cravings that drive the social media world likewise drive e-commerce consumers – the impulse for instant gratification! From the casual web surfer to the die-hard digital shopper, alike they demand visual stimulus to satisfy their shopping appetite. If they can’t see what they want to see, in literally seconds they are onto the virtual doorstep of the next proprietor. It is just as one would stroll shop to shop through Carnaby Street, only in the digital world, shops are at the mercy of a simple button click and the prospect’s gone.
It is not only the ‘engaging’ of the customer with strong visual assets (videos, photos and lately 360-degree pictures) that’s important. This is definitely vital to the buying cycle, but by ensuring you are visually answering the customer’s questions, you are less likely to have your merchandise returned. Around 1/3 of all on-line items are sent back, and thus, it is of paramount importance that on-line retailers focus on how to reduce return rates – photos, videos, 360° and 3D photography are all very strong solutions to this problem.
You’ll read and hear countless stories on the percentage booms in revenue through strong, well presented visual assets on your website. Like a shop window designed to entice potential buyers, a well laid out website, with hot-spot visuals, and other cleverly positioned media and icons, will serve you well in driving through website sales.
According to a study conducted through Adobe Scene7, 91% of individuals surveyed want the ability to turn products around in full 360° spin and zoom in on any perspective. Golfing superstore Golfsmith found 30% higher conversion rates amongst products being showcased in 360° & 3D views.
TOP BRANDS GETTING THEIR PRODUCT PHOTOGRAPHY RIGHT
Nike, Reebok, Asics and many other top sports brands are all great examples of companies who’ve maximised the use of good product photography on their websites. You can peruse clothing, trainers etc. with ease, and usually get a good visual impression of what you are interested in.
Asics recently streamlined their product photography process with The Orbital Rig; a powerful, high-speed photography rig designed to dramatically decrease the time it takes to get through high volume product shots. Switching trainers and other clothing items that require the same shots can be very time-consuming. With the Orbital, you can greatly increase the efficiency of this process. As Austin Langley Photographer for Asics comments:
‘We get the same shot, every time, every product, for every shoot. No variances in position or angle, which creates the uniformity we need.’
The longevity of any company today will depend on its ability to keep pace with the competitive digital landscape and to satisfy the consumer’s voracious appetite for visual content. Organisations both big and small should consider their options in terms of how they are going to standout in the insanely cluttered e-tail market and the means of showcasing their wares – whether it is generated through their own in-house photography studio, contracting the work out or purchasing the necessary photography equipment (cameras, turntables, photography rigs etc.).
As final thought, simply Google some relevant product images and see what stands out – what image do you see first? What photo do you like? What attracted you to that one image you clicked? – How can your product be that image?
The Bolt High Speed Cinebot is a camera rig that helps makes most of your favourite movie sequences come alive
You have probably watched a gun being fired and the bullet hurtling towards the target, at an impatiently slow speed, till it hits the bull’s eye and disintegrates. Then, there is the cork ejecting out of a Champagne bottle, again at slow speed, while the frothy wine cascades out of the neck, in slow sparkling bubbles. You have seen a bottle being smashed to smithereens on the head of the villain, as the fragments fly in different directions agonisingly slowly, even as blood splatters all over.