PTZ ComposerThe reveal on the downbeat. The slow push through the solo.
Compose the room's moves once, and perform them through a set that changes every night while the shots do not. A flight is an authored camera move, with a planned route, framing and pace from departure through landing.
One room with a stage and a house. Two to four PTZ cameras on the balcony, the lighting bars and the side walls, a house production manager who books the crew, and a calendar of shows that stream while the room is full.
Three moments
A reveal on the first number.
The stream opens on the room and the shot travels in as the band starts. The move is composed against your own stage and your own camera positions, so the reveal lands on the band and not on a lighting bar.
A slow push through the solo.
One continuous push, slow enough that a viewer feels it rather than sees it, framed through the move the way you composed it. The push ends where the solo does, and holds.
A transition into the encore framing.
When the lights come back up, the camera leaves the close framing and arrives wide on the whole band. It is the same move on the last night of the run as on the first, which is what a run of shows needs.
Who runs it in the house
The house production manager owns the shots, and the crew that runs them changes from show to show. Composed flights travel with the room: a visiting operator cues what the house already prepared, from the panel in the booth. The switcher keeps cutting as before. 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, the operator cues moves on cameras that are off air.
Compose for the room
Shape the route, framing and pace of the house moves against your stage, your camera positions and your lighting. This is house work, done once between bookings, and every act that comes through inherits it.
Rehearse at soundcheck
Run the flights during soundcheck with the band on the stage, and refine the pace until the moves sit with the music. Each one is proven on your cameras before the doors open.
Arrange the set
Put the prepared shots in a rundown in the order the set runs, and keep each flight one press away, so the person at the desk reads the night as a list rather than remembering it. A residency or a run keeps the same list every night.
Perform through the show
The operator cues each flight on the beat it belongs to, or rides its timing from the joystick or the wheel on the controller they already use when the band stretches a number. Whoever is at the desk can hand over between sets without the shots changing character.
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
- Canon
- JVC
- Marshall
- Panasonic
- PTZOptics
- 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
Our crew changes with every booking. Who composes the moves?
The house does, once. The production manager composes the room's flights against your stage and your camera positions, and a visiting operator cues what is already there. The shots belong to the venue rather than to whoever is working tonight.
Can the same move run every night of a run?
Yes. A flight is authored once and repeated, so a residency or a multi-night run looks the same on the last night as on the first. When a band plays a number longer, the operator rides the timing along the same route instead of improvising a new move.
Does our stream or multitrack recording pass through the software?
No. Your program video keeps its existing path to the switcher, the recording and the stream. The software moves the cameras and leaves the video and audio chains alone, so a show you are selling as a stream is unaffected.
Can we use the cameras already hung in the room?
Tell us the make, the model and how they are controlled, and we say which of the two compatibility answers applies before anything starts. Tested means a model and control path we have flown ourselves. Supported protocol means we measure your camera and tell you plainly what it can do.
We run a main room and a smaller club. How is that licensed?
Licensing is sold as a block of up to four cameras, and a block spans rooms and sites, so the main room and the club sit under one purchase rather than two conversations. A fifth camera takes a second block at the same rate. See the pricing page.
Every act brings a different stage plot. Do we recompose each night?
The house moves are framed for your stage and your camera positions. When a riser or a backline move changes the picture, adjust the landing of that one flight and keep the rest.
How should we plan the evaluation?
Around shows you have already booked. It runs fourteen days from the day we confirm your setup, and no card is needed to start. Choose two weeks that include a load-in, a soundcheck and two shows, and your production manager will see whether the shots earn their place.
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 production manager
- The three moves: a reveal on the downbeat, a slow push through the solo, and a transition into the encore framing.
- Who operates: the house production manager composes the room's flights; the crew on shift cues them, and a run keeps the same shots every night.
- Your cameras: tell us the make, the model and how they are controlled, and we say which of the two compatibility answers applies before anything starts.
- Your video path does not change. The software moves the cameras; the switcher, the recording and the stream you sell stay where they are.
- Runs on macOS and Windows. One license covers either.
- Licensing: a block of up to four cameras, and a block spans rooms and sites, so a main room and a club sit under one purchase.
- Evaluation: fourteen days, no card, planned around a load-in, a soundcheck and two booked shows.
- Buy through your integrator or distributor, and ask for an invoice the venue's office can process.