We’ll be at Cinegear Expo in LA on the 2nd and 3rd of June where will be teaming up with our friends Camera Control Inc. We will have the Titan on display – the largest telescopic motion control arm in the world! (8.7m arm reach). The Titan has been used for Hollywood features such as Pan, Kingsman (first and second), and others as well as for commercials and music videos.
We will also have the fastest camera robot in the world, the Bolt High-Speed CineBot, on the show.
So don’t miss out, come visit us at Booth 15 at the show.
Queen’s Award for Enterprise: International Trade
We’ve had the great honour of being awarded the highly prestigious Queen’s Award for Enterprise: International Trade 2017.
Here’s what our CEO had to say about the award:
“This is Britain’s highest business award and it is a great honour to receive. Our company is among the lucky few businesses to achieve the UK’s highest trade accolade.
Last year we celebrated our 50th anniversary, so the timing of this award seems somewhat serendipitous. We’ve been creating robotics for over 50 years, and as a company have always striven to break new ground with our technology. Our engineering has taken us to the forefront of our industry, with international trade making up a large portion of our revenue. I feel this award is definitely a testament to that.”
Mark Roberts Motion Control has won numerous awards for its company’s achievements and engineering skill, including an Academy Award. It now has the honour of the Queen’s Award.
To read the full press release click here
Miami-based film production company, Robot Studios who specialize in high-end visuals recently worked on a project that involved shooting a very complex shot for NASA. Brian Karr, President of Rockledge Design Group, Inc. and former Lead Engineer of NASA’s Advanced Imaging Lab during the Space Shuttle Program, called Robot Studios with a unique requirement:
To read the full case stduy, view it on-line by clicking on the image below. For more information about the Milo Motion Control Rig click here
A great video made a few years back by Nikon Ambassador John Wright for Nikon featuring the StudioBot with a Nikon D810 recently won Best Advertising Award at the 2016 BAFTA Qualifying.
The video features the StudioBot and ex Pussycat Doll Kimberly Wyatt performing a kind of ‘dance off’ together. The production was shot entirely on a Nikon D810 and demonstrates the level of creative control available using both Nikon and MRMC’s robotic solutions. The StudioBot controlled through Flair software is animated to dance with Kimberly. No CGI was used in the making of this production and all camera positions where robotic or static.
Behind the Scenes – Making of Robo-Trumble
You can also see behind the scenes video which delves into the different aspects, including: the thought process; humanising the robot; and of course demonstrating the quality and precision of the equipment used.
For more information and to see other films visit The Aesthetica Short Film Festival website here
Flair and Motion Control Training
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
For more information on upcoming Moco training courses visit: www.mrmoco.com/cranes-rigs/training/
John Redfern of Redfern Animation specialises in a unique combination of antique timepieces and film-making, to produce some of the most mesmerizing and beautiful footage of watches and clocks you have ever seen. With a client base ranging from museums to collectors and watch manufacturers, John has honed his skills for over 40 years to work with some of the finest and most interesting clocks in the world.
Several years ago John came to MRMC so that they could supply him with the tools needed to take his macro film-making to the next level. As John says:
“Using RED cameras and a 9-axis motion control system built using the technology and components from two of the cinema industry leaders: Ronford Baker Ltd for the slides and Mark Roberts Motion Control Ltd for the rotation and overall control system (An SFH-30 was used as a model mover, along with some MRMC lens motors).
We can track in, pan and rotate to fill a cinema screen with an area of less than 10mm wide. All repeatable for multiple overlay takes.”
This allows him to create shots where the viewer can really see the action inside a watch, while marvelling at the incredible attention to detail and engineering on a miniature scale.
SFH-30: THE CREATIVE'S MINI HEAD
The SFH-30 is precise enough to be completely pixel accurate with HD cameras yet compact and lightweight for ease of use and transportation to any location. It is a fast-moving head but also easily capable of macro filming. Its robust design accommodates a wide range of cameras and lenses with a maximum payload of over 13kg
Brain Candy Films were tasked by creative agency Tinker Taylor to create an epic film for the police to be shown in cinemas nationwide. The filmmakers decided to put the viewer right in the heart of the action, giving them a first hand insight into the demanding and diverse role of modern-day policing. They wanted to give the audience a unique view into the extraordinary job that police officers do and they chose a rather extraordinary way to do it.
The film shows four frozen moments in time. Each moment is seen as a single, continuous shot that allows the viewer to take in every glorious detail, taking you on a journey through a singular, explosive moment. This approach allowed the filmmakers to put the viewer right in the middle of the action, highlighting the cohesive efforts of the police and all the officers involved at one crucial moment in time. They achieved this effect with the help of motion control
Motion control was used in three of the scenes to move through the frozen action in a smooth, fluid path, making it possible to drip feed information to the viewer and allowing each scene to slowly unravel until the big picture comes into focus. The films use cinematic visuals to grab the audience’s attention but they feel grounded in realism with meticulous production design. Everything from the props, to the costumes and the lighting gives the feeling that you’re witnessing a real moment in time. Careful and precise art-direction and seamless CGI effects give complete authenticity to the scenes.
One of Brain Candy’s main aims with the film was to capture a much in camera as possible and rely on CGI as little as possible. The level of precision that motion control provides meant that they could fill the frame with real details and just use CGI to supplement what was already there, with a few exceptions! CGI was superbly handled by Manchester based Flipbook Studios and the fact that they were able to do multiple passes meant that they had clean plates, which dramatically reduced the VFX workload.
Three of the four scenes were shot on Alexa using motion control rigs supplied by Mark Roberts Motion Control, with the fourth scene being shot on steadicam with the RED Dragon. Cinematographer James Stoneley chose to use a combination of the Talos and Titan motion control rigs on the shoot, as each of the scenes had its own unique challenges. The reason the filmmakers chose to use motion control is that it allowed the camera to follow a perfectly orchestrated, pre-determined path through the action. They were able to cover huge areas, change camera level & repeat the move perfectly – making tweaks every pass until happy.
The mighty Titan was used in two of the four scenes, the Raid and the Riot, where the filmmakers needed the full 9 metre extension to cover a lot of ground. The Titan is unrivalled in its size and this made it possible to convey a sense of scale in the scenarios that was imperative to create the sense of a cohesive effort between the police and the community. For example, in the Raid scene the camera booms out of the back of a van, passes along a street, around a corner, down an alleyway and up passed a team of armed police officers on a fire escape, before descending back to ground level to land on a person being arrested. All in one shot. There is simply no other tool that would have been able to achieve this.
James Stoneley, cinematographer and Creative Director at Brain Candy Films, commented on a particularly tricky scene:
"I have worked with the Talos before so it was an obvious choice for the House scene. The scene was shot on set but space was still a consideration because of how we chose to film it. In order to make it feel like we’re really stuck in the corridor with the officers in the midst of the commotion, we wanted the camera to physically be inside the walls of the set and we also wanted to be able to look back at the end of the scene and see the corridor walls. This meant building a set with a “floating” wall that could be swung in and out of the set, allowing the Talos and camera to pass through the corridor where the wall ends up. This took some careful choreography from our stage hands!"
The four individual films are playing in cinemas across the country in over 800 feature presentations.
Brain Candy’s website – braincandyfilms.com
We have recently created a series of straightforward quick start guides for numerous MRMC robotic systems. These technical equipment manuals are in the form of short illustrative booklets that will take you from ‘straight out of the box’ to ‘up and running’ in no time!
Bolt Quick Start Guide – download here
Talos Quick Start Guide – download here
SFH-30 Quick Start Guide – download here
SFH-50 Quick Start Guide – download here
AFC Quick Start Guide – download here
Monorail Quick Start Guide – download here
Joystick Controller Quick Start Guide – download here
MSA-20 Handwheels Quick Start Guide – download here
Mini MSA Quick Start Guide – download here
LFP Quick Start Guide – download here
Trigger Box Quick Start Guide – download here
Precision Track Quick Start Guide – download here
FLAIR Quick Start Guide – download here
We are delivering training for a range of Mark Roberts Motion Control robotics. Join our in-house training, and get hands on tuition and experience using our latest technologies. We deliver beginner, intermediate and advanced robotic courses.
Training dates for 2016 are:
|March||Tuesday 1st||Wednesday 2nd||Thursday 3rd|
|June||Tuesday 28th||Wednesday 29th||Thursday 30th|
|Sept.||Tuesday 6th||Wednesday 7th||Thursday 8th|
|Dec.||Tuesday 6th||Wednesday 7th||Thursday 8th|
For more information on what each level (beginner, intermediate and advanced) cover, click here.
Rocket Inc. are making waves in the Far East with their latest showing at InterBee in the Makuhari Messe exhibition centre near Tokyo, Japan. The film & TV rental company had on display the Bolt High Speed CineBot, which generated a lot of interest at the show. The high-speed rig was setup on a track giving viewers a full demonstration of its speed and accuracy up and down the track. Fascinatingly, Rocket Inc., claim they are the only company in the world who have a team of grips made up entirely of women! Sounds like a great team!! www.rocketjapan.com
See a few photos of the Bolt and some of the Rocket Inc. team below: