Tag Archives: mrmc
Our LA sister company, Camera Control Inc., recently filmed the most technically difficult job ever undertaken. The shoot was for OK GO’s ‘One Moment’ music video. The group, famous for their painstakingly rehearsed choreography, pushed the limits of motion control that resulted in a visually stunning single high-speed shot.
The entire video lasts a total of 4.20 seconds! However, once slowed down and played back at 24 frames per second, the viewer is treated to a stunning display of technical wizardry from a wall of exploding paint to guitars being blown out of the air. In total, there are 318 events that had to be triggered!
The director and lead singer of the band said about the shoot:
“We used very precise digital triggers to set off several hundred events in extremely quick succession. The triggers were synchronised to high-speed robotic arms (Bolt on track) which whipped the cameras along the path of the action”
Watch behind the scenes video below to see how technical the shoot was and how precise it all had to be to make it work. This video would have been virtually impossible without the Bolt High-Speed CineBot on track and the software to program exact and repeatable moves.
Full credits and background notes for the video can be found by click here
We thought this was just brilliant and had to post it up. The video below shows the Milo Motion Control Rig created completely out of Lego. Created by Yoursimo – a designer of all things made out of Lego. Incredibly it has full movement, running on a track with the ability to rotate, lift, arm extension, head angle (outer arm), pan, tilt and roll.
The Milo Motion Control Rig they’ve made, as you will see in the video below, incredibly has full movement – running on a track with the ability to rotate, lift, arm extension, head angle (outer arm), pan, tilt and roll.
We’d love to know how long this took to create?
The Bolt High-Speed CineBot is again in action, this time in Taiwan helping shoot a new Tiger Beer commercial. The cinematography used to create the commercial has resulted in a fun, high-octane commercial.
Taiwan-based rental company Lee Rong Film & TV Equipment Co. recently came over to MRMC HQ for some training on the new Bolt High-Speed CineBot they recently acquired. After their training, they headed back East to test out their new toy, and for one of the first productions shot a new Tiger Beer Commercial.
You can see the results of using the Bolt in the videos below. The first of the three show how they did the storyboard, while the second sees the bolt in action on some of the shots. The final video is the commercial itself.
FOR MORE INFORMATION ON THE BOLT HIGH SPEED CINEBOT CLICK HERE
Highly talented movie-making agency, RiTE Media Group, acquire a Bolt High Speed CineBot to further help them create visually stunning productions.
Mark Roberts Motion Control, industry leaders in motion control robotics have partnered up with Rite Media group, a full service production studio headquartered in Atlanta, Georgia.
Dan Brown, Mark Roberts Motion Control’s VP of Sales & Marketing for USA commented:
“The group of talented filmmakers are truly making waves in the rapidly growing Atlanta, Georgia entertainment market. With their love for technology and relentless pursuit in pushing the envelope, we couldn’t have asked for a better partner in our quest to popularize motion control robotics around the world. We at MRMC are truly excited to see what comes from this group of innovators.”
Mikey Cosentino, COO and Chairman of RiTE Media Group stated:
“For RiTE, The Bolt High Speed CineBot was of particular interest as it is the only robot of its kind that can move at such speeds with exact precision and programmable, repeatable moves. MRMC’s unrivaled technical ingenuity is embodied within the capabilities of Bolt which made it a natural fit for RiTE.”
MRMC manufacture, rent and sell motion control equipment for special and visual effects. Their robotics are used all over the world, often in major blockbuster movies – Avengers, Skyfall, X-Men and Harry Potter to name a few. MRMC’s track record in technical and engineering excellence has earned the company critical acclaim — including an Oscar for technical achievement. RiTE Media Group will be a local source in Atlanta for renting the Bolt.
Check out RiTE Media Group’s accomplishments in their Megareel here:
Mark Roberts Motion Control Bolt Showreel:
For more information on the Bolt High Speed CineBot click here
For media questions email email@example.com or call +44 (0)1342 838000
A great article published in the Hindu Newspaper about the Bolt High-Speed Cinebot.
An excerpt from the article:
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.
To read the full article click here
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
NAB SHOW 2016 REVIEW
NAB this year was definitely one of the most enjoyable shows we’ve ever had! The team had such fun using the Bolt and shooting many of the stand visitors. Theatrics including dances, jumps, celebrations and other creative displays were all caught in super slow motion!
This year we also received a nomination for Best Stand Award!
Not only was our high-speed Bolt Cinebot on display, but we also had demonstrations of the PTZ-1, our new compact 4K UHD, IP68 indoor and outdoor Pan-Tilt-Zoom unit, compatible with AJA’s new Rovocam; and the AFC-100 Pan Tilt heads showing integration with broadcast-ready real time face tracking, using our AimTrack software.
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
This year MRMC celebrates its 50th anniversary, and its rate of developing world-class revolutionary products shows no sign of abating.
MRMC had its humble beginnings 50 years ago, in 1966, when Australian-born engineer, inventor and part-time racing driver Mark Roberts decided to set up a company to service and upgrade old animation rostrum tables.
These were found throughout the TV and film industries at the time, used for everything from cell animation, to film titles and news clips. In the early days, before digital computers, he developed analogue computers to automate the movements of the tables. Eventually, he developed larger and larger tables, then gradually the camera (traditionally just pointing down at the table) was automatically moved, and finally clients requested just moving cameras without a table. Hence started the film motion control industry!
In 1977, with the release of Star Wars, the techniques of using motion control for special effects came to the world’s attention, and from then on Mark Roberts Film Services as it was then known created ever better, larger, faster bespoke motion control rigs – including floor and ceiling mounted ones, as well as portable ones.
Mark Roberts’ rigs were used on hundreds of films and commercials, but it was the decision to start making “standard” motion control rig models, not just bespoke ones, that catapulted motion control use to a whole new level. It started in 1992 with the Cyclops, the biggest, fastest and most stable studio based rig; it was then followed with the Milo in 1994 – the best portable/location motion control system to this day – for which MRMC won an Academy Award for changing the way Hollywood works. Since then the development has continued with all that you currently see on the MRMC website – from underwater systems to robotics that can move nearly faster than the eye can see, and much more that never gets a mention but is just as extraordinary.
MRMC’s Milo motion control rig was recently used to shoot a visually stunning and clever Stella Artois commercial in Spain. Produced by London’s 1st Ave Machine and locals Palma Pictures, the project entitled ‘Stella Artois – Learn how water leaves a mark’ entailed shooting nearly 400 glass chalices rotating on a modern version of a 19th-century toy called a zoetrope!
The production team created a 4-metre tall 3D zoetrope, which is based on an optical toy consisting of a cylinder with a series of pictures on the inner surface that, when viewed through slits with the cylinder rotating, give an impression of continuous motion. Each of the glasses was painted with an image and when the structure was rotated to match the speed of the camera it produced a wonderful stop frame animation! Check out behind the scenes video below.
For more information about the Milo click here