Case Studies

The desire to streamline their operations, lead to consultation with Triumph’s systems integrator partner, Key Code Media and then to MRMC Broadcast to see if there was a solution that could help. MRMC’s Auto Jib System, ASJ-1 fit the bill. Previously, the production team used a traditional crane, operated by several production staff to capture over crowd shots and wider shots of the stage. This automated jib-arm system is designed for reliable use in live event productions.

Showbolt recently departed to the sun-drenched French Riviera for the star-studded amfAR Gala as part of the Cannes Film Festival and Monaco Grand Prix festivities. An A-list and Super Model lineup of guests compiled a Showbolt gallery never seen before!

Creative agency Amplify approached the MrMoco Rentals team to help capture the new Porsche Taycan Cross Turismo. They were challenged to create a new commercial to excite a younger audience by creating a one-of-a-kind viewing experience, capturing the new Porsche in the place it feels most comfortable — the great outdoors.

Bayerischer Rundfunk is a public-service radio and television broadcaster, based in Munich, Germany. They decided to incorporate robotics and automation into their workflow building on the many years of experience they have had using camera robotics in their studios. The Studiobot was already proven in other studios of the ARD (SWR and NDR), and so they decided to add a Studiobot

Presented by Factory 42, and Based on the forthcoming landmark BBC Studios series, The Green Planet AR Experience is an extraordinary immersive experience combining captivating storytelling and cutting-edge volumetric capture technology to reveal the magical depths of our natural world. Sir David Attenborough was filmed in 4k in our state-of-the-art mobile studio, Polymotion Stage.

MRMC’s Polymotion Stage partners Dimension worked with Coldplay and Parlophone Records, part of Warner Music Group, on an ambitious volumetric music video creating holograms of Coldplay and BTS for “My Universe” – the second single taken from Coldplay’s ‘Music Of The Spheres’ album. Volumetric capture enabled both bands to be seamlessly blended together in the music video and provided the perfect approach to creating stylised holograms that fit the “otherworldly” music video concept.

The award-winning Sky Scope technology was back in action for Sky Sports’ coverage of golf’s oldest tournament, The Open. Using cutting-edge volumetric capture technology, Sky Scope 2.0 enabled Sky Sports to ramp up its on-screen performance analysis of golf’s biggest superstars.

In partnership with MRMC, Dimension and Microsoft, Polymotion Stage was used to capture models for the fashion brand Balenciaga, for one of the most innovative volumetric projects ever undertaken.

Polymotion Stage partner Dimension was approached by WOW Inc. to collaborate on their stunning short film using 4k volumetric capture shot on Polymotion Stage. Ensuring WOW had complete creative freedom to work with volumetric assets were created. Artistic lighting was achieved through the use of colour gels which filled the capture space with light to provide directional orange and blue hues. Dimension also used optical motion capture to extract skeletal data from the performances to support the post-production and VFX team.

Compared to other equipment we have used, the MRMC robotics are high-quality products and the MHC software has a lot of potential for us going forward. We recently introduced two of MRMC’s AFC 100 heads into our 8-camera set-up, which we use to film services at the Grace Church in Maryland Heights, MO, as upgrades for an older PTZ system.

How do you cover an event that photographers can’t access? Joe Biden’s inauguration would be a ceremony like no other as for the first time in history, patrons were banned from attending the event due to the high-risk security situation that arose from the storming of the capitol by protestors. MRMC’s robotic pod were designed for remote photography & video capture and were able to put cameras where it wouldn’t be safe – or permitted – for photographers to go to capture the crucial shots.

Cross section camera transitions are always a winner on the screen. Couple them with motion control for a carousel-like edit and you’ll get one of the simplest, most effective visual effects. Based on this principle the Yellow days’ music video “how can I love you?” used a camera that travels vertically 15 floors underground witnessing 15 different changes of scenarios all set in a room.

WELT (the biggest privately-owned news channel in Germany) who broadcast content 24 hours a day and based in Berlin, wanted to show panoramic views of the city as part of their daily broadcast segments. They wanted to feature live footage of the city’s iconic buildings such as Berliner Fernsehturm, so they teamed up with MRMC and Qvest Media, to provide a solution.

n this visually stunning piece, the Bolt X, Bolt Jr+, and Bolt execute a complex series of precisely timed moves that demonstrate each rig’s key features and give a visual comparison of the three systems side-by-side. With such a complex brief to show in a 90-second video the speed, precision and range of movements that each member of the Bolt Cinebot™ family is capable of, while concisely communicating the technical specs of each robot was not a simple one. With this in mind, we turned to one of Europe’s leading motion control and VFX experts, Julian Hermannsen.

Where premium car brands are concerned every visual detail is vital. The vision for Mercedes’ new car commercial promoting the release of its latest CLS model was no different, with an extremely technical brief, the production company Tempomedia brought in the incredibly talented motion control experts at Mastermoves to help realise the car company’s creative vision. Using motion control, the brief was to capture an emotional journey, celebrating the aesthetic design of the new Mercedes CLS model.

Is it possible to start wide on a zoom, dolly the camera diagonally about 50 foot, while seamlessly pushing in tight on the lens, to land perfectly square on a target about 12 x 14 inches and hold still on it for 15 seconds, then boom up & around a column about 12 feet? And the camera needs to be on its side the whole time!’ The answer – ‘You can with a Milo rig’

At the 148th Open Championship, MRMC in partnership with Dimension launched Polymotion Stage. A unique studio environment for the creation of Volumetric video, stills and avatars. Polymotion Stage is available as a Stage Dome or as a Stage Truck solution that can be transported globally to wherever the talent is enabling the quick and efficient volumetric capture of talent and artists on location.

The Museum of Slovak National Uprising in Banska Bystrica led a nation-wide project, hiring Studio 727 to undertake the huge task of digitising approximately 10 million photos. The purpose was to capture sets of photos to give viewers a full 360-degree panoramic view.