Bolt PTR: Behind The Scenes With Cutare Film
We spoke with owner of Cutare Film Cosmin Fericean and Director Damian Groves to hear their thoughts on using the new Bolt PTR head for the first time on our recent shoot with Cutare Film, capturing a story that unfolds inside the confines of the cockpit and around the exterior of the Porsche 911. The shoot demonstrated the Bolt PTR’s stability, speed, versatility, and precision in pan, tilt, and roll inputs, enabling shots that were previously difficult or impossible to achieve.
We spoke with owner of Cutare Film Cosmin Fericean and Director Damian Groves to hear their thoughts on using the new Bolt PTR head for the first time on our recent shoot with Cutare Film, capturing a story that unfolds inside the confines of the cockpit and around the exterior of the Porsche 911. The shoot demonstrated the Bolt PTR’s stability, speed, versatility, and precision in pan, tilt, and roll inputs, enabling shots that were previously difficult or impossible to achieve.
In Conversation with Cosmin & Damian
From both of your perspectives, what excited you most about using the Bolt PTR on this project?
Cosmin Fericean: For me, the stability on the Pan X axis, combined with the continuous roll of the Bolt PTR , was the standout feature. It allows movements that would normally require a Milo, moving under and over tight spaces, opening up new creative directions. The speed and stability of the PTR make it an extremely versatile tool. The speed of the axes and overall stability are major features on this product.
Damian Groves: The possibility of doing an infinite roll for sure. That opens up a lot of interesting shots, similar to what you might get on a Trinity, but with the speed and precision of the Bolt. That capability was incredibly exciting because it allows for shots that were previously very difficult to achieve.
How did the PTR help bring the father and son Porsche sequence to life?
Cosmin Fericean: Because it is a head on the Bolt, you do not need to move the whole robot to get angles that were previously difficult. In tight spaces like inside a car, it allows precise pan, tilt, and roll without needing to reposition the robot arm. That lets you achieve shots that before the PTR came along, would have been very difficult or impossible because you would have needed to move the pan axis of the Bolt or contort the arm.
Damian Groves: It gave us confidence, especially with my son in the driver’s seat. The PTR handled the majority of movements inside the car, letting us focus on framing and performance. Its nimbleness in tight spaces makes capturing detailed, intimate shots much more achievable. The arm would have had to contort through multiple axes to get the same position, which would have been much more difficult. With the PTR, we could achieve these shots precisely and safely.
Was there a particular sequence over the two-day shoot that really pushed the PTR to its limits?
Cosmin Fericean: One particular sequence is when the camera goes into the car, tilts to 90 degrees to frame the cup, and then performs a quick whip pan to the child. In such a small space, this would have been impossible to do on the robot without the PTR.
Damian Groves: I would also highlight the wheel shot. It may not be the most spectacular shot in the whole spot, but the continuous roll makes the car feel like it is launching off, adding dynamic energy. The continuous roll allowed us to achieve that in a way that would have been difficult with other rigs.
Can you talk about the handoff shot between the two Bolt X arms?
Cosmin Fericean: I programmed the first arm’s move until it reached the front of the car. Then I offset the move for the second arm to follow along as if it were the same robot. We loaded that file into the second Bolt and continued the move. It was smooth and easy, saving time and maintaining frame-accurate movement. We only had to offset it by just a few centimeters, so the shooting went very smoothly.
Damian Groves: Using two arms allowed us to create a 360-degree movement around the car that was both smooth and dynamic. The transitions between studio and on-road shots were clean and cinematic, making the final sequence feel powerful and cohesive.
Did the PTR make setups faster or easier compared to other filming gear?
Cosmin Fericean: Yes. The PTR effectively transforms the Bolt into something like a crane with an independent head. In tight spaces, it is extremely versatile, and the independent head allows us to achieve complex angles quickly and precisely.
Damian Groves: It gives you speed, precision, flexibility, and stability all at once. You can approach a shoot knowing you have full control over your camera movements.
Looking ahead, if you could push the PTR further in future projects, what sequences would you love to try?
Cosmin Fericean: I would love to see how it performs on a tabletop shoot. Speed and stability are crucial for high-speed macro moves, and the PTR’s roll and precision would be perfect.
Damian Groves: I completely agree. Tabletop work would be ideal for exploring new angles and moves. The PTR opens up new creative possibilities while maintaining control and accuracy.
The Bolt PTR head proved to be a game-changer on this promo shoot, delivering the precision, stability, and dynamic camera movement needed to bring this heartfelt father and son story to life while adding a touch of cinematic flair, in ways that were previously very difficult or impossible. We want to give a huge thank-you to Cutare Film, Damian Groves, and everyone involved on the shoot for their incredible creativity, dedication, and hard work. We hope this feature gives you a clear sense of what the PTR can achieve and sparks ideas for your own projects.