MRMC Debuts Cinebot Max Camera Robot At NAB 2024

The Cinebot Max builds upon the Cinebot Mini’s capabilities with increased payload, reach, and range of motion. It has a maximum camera weight capacity of 20kg (44 lb), a camera height of 3.2m (10.5 ft), and a 1.75m (5.7 ft) reach. The compact unit can be quickly assembled and operates on battery power, making it easy to transport and enabling portability. It is slim and lightweight and ideal for shooting in tight locations that are difficult to reach. It has a large operating envelope for such a compact lightweight solution.

As with all MRMC solutions, the Cinebot Max has been designed with simplicity in mind, offering filmmakers and content creators precise and smooth control over camera movements and fluid tracking shots. The Cinebot Max uses the same track as the Cinebot Mini, so it can be added as an additional robot for Cinebot Mini users who want to add more range of motion.

Cinebot Max also incorporates the revolutionary Push Moco control, an interface allowing operators to keyframe camera movements in a motion control setup manually. This process gives operators hands-on control over the creation of camera moves, allowing for fine-tuned and precise adjustments and expanding creative possibilities. This feature makes creating custom motion control simple, enabling repeatable pre-programmed camera moves to support complex sequences. Alongside push moco control is directed through MRMC’s Flair Software or the MRMC tracker app.

The Cinebot Max provides cinematographers, grips, and camera operators with a full arsenal of motion control capabilities and accommodates a wide range of cameras and existing grip equipment. It is built for various shooting scenarios, from independent, low- or big-budget productions, to studio setups, and outdoor or on-location environments. Both the Cinebot Max and the Cinebot Mini can be integrated with visual effects (VFX) and computer-generated imagery (CGI) pipelines, allowing for seamless integration of live-action footage with digital effects. It also allows for more creative freedom, empowering operators to explore new techniques.

You might also like...

Next-Gen 5G Contribution: Part 1 - The Technology Of 5G

5G is a collection of standards that encompass a wide array of different use cases, across the entire spectrum of consumer and commercial users. Here we discuss the aspects of it that apply to live video contribution in broadcast production.

Virtual Production At America’s Premier Film And TV Production School

The School of Cinematic Arts at the University of Southern California (USC) is renowned for its wide range of courses and degrees focused on TV and movie production and all of the sub-categories that relate to both disciplines. Following real-world…

Why AI Won’t Roll Out In Broadcasting As Quickly As You’d Think

We’ve all witnessed its phenomenal growth recently. The question is: how do we manage the process of adopting and adjusting to AI in the broadcasting industry? This article is more about our approach than specific examples of AI integration;…

Designing IP Broadcast Systems: Integrating Cloud Infrastructure

Connecting on-prem broadcast infrastructures to the public cloud leads to a hybrid system which requires reliable secure high value media exchange and delivery.

Shooting Apple TV Series ‘Constellation’ With Cinematographer Markus Förderer

We discuss the challenges of shooting the northern lights in the winter dusk and within the confines of a recreated International Space Station with cinematographer Markus Förderer.