PTZ ComposerPreset punches become moves the director can take.
In a staffed gallery the preset punch becomes a move the director can take, and your program video never passes through the software. A flight is an authored camera move, with a planned route, framing and pace from departure through landing.
A studio gallery with a staffed switcher, a set of observer and reaction cameras nobody has time to operate, and a remote room where the person calling the show sits in another city.
Three moments
A recall the director can take on air.
The preset punch stops being a slew and becomes a composed move: a considered departure, the route you authored, a landing that settles rather than slams. Your technical director's hand does not change; what leaves the panel does.
Observer cameras that stop looking like security footage.
Reaction and observer positions get real camerawork: a slow reframe onto the guest who is about to speak, a settled two-shot, a drift that keeps the angle alive. They become shots a director will cut to instead of angles of last resort.
Camerawork a remote gallery can run.
In a REMI room the people who know the program are rarely the people with hands on the cameras. The moves are composed in advance and travel with the show, so the remote operator cues camerawork that the production already agreed.
Staffed rooms, and the discipline they already keep
This is written for crews who have a technical director and a tally discipline, and it respects both. It works on the control plane and leaves the media plane alone. Camera SDI and NDI go to the switcher the way they did before, the facility's signal-flow drawing does not change, and nothing new sits in the air chain. With a Blackmagic ATEM, the software reads which camera is on program, and that camera does not move under the cut. The other switcher paths (vMix, OBS, TriCaster, Ross, NDI tally) are planned, and each row on the integrations page states its status. Without an ATEM, your crew keeps the discipline.
Compose the show's moves
A director or senior operator shapes the route, framing and pace of the moves the format asks for: the reveal on the top, the reframes between segments, the settle on each guest position.
Rehearse on the real heads
Run each move on the cameras that will be in the rack on the night. A move the head cannot hold is found in rehearsal, with a stated reason, rather than in the middle of a live segment.
Arrange the rundown
Put the prepared shots in a rundown that follows the show's running order, and keep each flight one press away, so the gallery works from the show it is actually calling, and the same file travels to the remote room.
Perform with the program
The operator cues a flight, or rides its timing from the joystick or the wheel on the controller they already use, while the technical director keeps the cut. Prepared camerawork becomes something the director can call for by name.
Fits your room
Each row carries the state it is actually in today. Choose one to read what it does and what it does not do yet.
Cameras in this segment
- AIDA Imaging
- BirdDog
- Bolin
- Canon
- Datavideo
- JVC
- Marshall
- Panasonic
- PTZOptics
- Ross (PIVOTCam)
- Sony
Manufacturer and product names belong to their owners. A name here describes what the software talks to, and states no endorsement or partnership.
Two answers, and we always say which one applies to you. Tested means a named model, firmware and control path we have flown; supported protocol means the camera speaks a control path we read, and the software measures it and tells you honestly whether it can fly it.
Proof
Film of real flights appears here when a Tested model has one on tape. Until then, here is what the software is doing for the shot.
Shape the whole moving shot.
Perform the move with the moment.
Motion planned around your camera.
Questions
Does our program video pass through it?
No, and that is a design rule, not a roadmap item. It works on the control plane: it drives the camera heads and exchanges small packets of data about the show. Camera SDI and NDI reach the switcher exactly as they do now, so nothing is added to the air chain.
What about tally? We will not have a camera move under the cut.
With a Blackmagic ATEM, the software reads which camera is on program, and that camera does not move under the cut. A cue for the live camera waits for the cut. The other switcher paths (vMix, OBS, TriCaster, Ross, NDI tally) are planned, and each row on the integrations page states its status. Without an ATEM, the discipline stays where it is today, with your crew.
Does it add delay to the pictures?
Nothing is added to the pictures, because the pictures never go through it. Camera movement is deliberately re-timed — that is the product — while a recall that has to land immediately stays a cut-style recall.
What happens if the machine running it stops mid-show?
It is a layer on the control path, never a dependency of the air chain. Point your controller back at the cameras and the room runs the way it ran before, with the same panels and the same presets.
Will a budget head move like a broadcast head?
No, and we will not pretend otherwise. A move is planned around the head that has to execute it. The honest version of the answer comes from a rehearsal on your own cameras: the software measures the head and says what it can hold before you build a show on it.
Which cameras can you name?
Two answers, and we say which one applies to you. Tested means a named model, firmware and control path we have flown on our bench. Supported protocol means the camera speaks a control protocol we read, and we measure it and tell you plainly what it can do. Brand pages carry the detail.
How is it licensed for a studio or a truck?
Licensing is sold as a block of up to four cameras, and a block spans rooms and sites, so a facility is counted once rather than gallery by gallery. The pricing page carries the three ways to pay, and you can buy through your integrator or distributor.
Buying
Each plan covers a block of up to four cameras. A fifth camera needs a second block on the same plan. Blocks can span rooms and sites.
Put it through a real rehearsal and a real production first. Your evaluation runs fourteen days from the day your setup is confirmed. No card is needed to start.
Buy through a partner
Integrators, distributors and rental houses can sell and install this in your segment. Tell us your segment and region and we introduce one who works in your kind of room.
Take this to your engineering lead
- It works on the control plane: your program video never passes through it, and the air chain is untouched.
- With a Blackmagic ATEM, the software reads which camera is on program, and that camera does not move under the cut. Without an ATEM, your crew keeps the discipline.
- Blackmagic ATEM tally runs today. vMix, OBS, TriCaster, Ross and NDI tally are planned, and each row on the integrations page states its status.
- The three moves: a recall the director can take on air, observer cameras with real camerawork, and moves a remote gallery can cue.
- Runs on macOS and Windows. One license covers either.
- Licensing is sold as a block of up to four cameras, and a block spans rooms and sites.
- A fourteen-day evaluation, no card, planned around a rehearsal and a real transmission.
- Buy through your integrator or distributor.