PTZ ComposerYour set never moves. Your cameras finally should.
The table, the chairs and the mics stay where they are, so every move can be anchored to a seat and be right for whoever is sitting in it. A flight is an authored camera move, with a planned route, framing and pace from departure through landing.
A studio with marks: a host position, two or three guest seats, mics that do not move, three or four PTZ cameras around the table, and a two-hour conversation going to your own recorder.
Three moments
A wide that breathes.
The room shot carries a barely-there drift instead of sitting dead still, so the angle you cut to for safety still looks like somebody is behind it. The drift is authored: you decide how far it travels and where it comes to rest.
A slow, steady creep on a speaking guest.
The signature podcast shot is the push-in a viewer never catches starting. Compose it against the seat rather than the person, rehearse the pace on your own camera, and it runs the same way for every guest who sits there.
Every cut lands at the top of a move.
Arrange the episode so the angles you are not on come back to their start frames while you talk. Cut to a guest and their push begins, instead of being caught mid-drift, so the cut lands fresh.
The host is the operator
Riding a joystick mid-question is how a good conversation dies. The work happens on setup day, when the room gets blocked like a set and every seat gets its shots. On show day the host cues each moment with one key on the panel beside them and goes back to hosting.
Compose on the seats
Frame each seat's shots against a picture of your own studio: the host single and its push, each guest single and creep, the two-shot, the wide. Anchored to the seats and the mics, they are right for every guest.
Rehearse before the guest arrives
Run each move on your own cameras and refine the pace until it disappears. A move is proven on your hardware before an episode ever depends on it.
Arrange the episode
Put the prepared shots in a rundown in the order an episode runs — cold open, the wide, the singles, the outro — and keep each flight one press away, so show day is a short list of keys rather than a memory test.
Perform while you host
Your guest starts speaking, you press their shot on the panel beside you, and the creep starts. When a story runs long you can ride its timing from the joystick or the wheel on the controller you already use. Nothing else is asked of you for the next two hours.
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
- OBSBOT
- Panasonic
- PTZOptics
- Sony
- ZowieTek
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 it record, or sit anywhere near my recorder?
Neither. It drives the cameras and answers your buttons; your recorder keeps recording exactly what it records today. Riverside, Ecamm or whatever you run stays untouched, and so does the path your program video takes.
How slow can the push-in be?
Slow enough that a viewer does not notice it start, on a head that can hold that pace. Compose the creep at the speed the shot wants and rehearse it on your own camera. The rehearsal tells you honestly what that camera holds, and it says so before an episode depends on it.
My camera has auto-tracking, and my guests sit differently every week. What would this add?
The moves are anchored to the seats and the mics, not to a person, so the shot that was right last week is right this week. Tracking keeps a person centered; it does not compose a move, and on a seated guest it has little to do except twitch. A composed move decides where the frame goes, how fast it gets there and where it rests, and it holds still when stillness is the shot.
Will my cameras work?
Tell us the make, the model and how they are controlled. 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.
I cut live. Will it move the camera I am on?
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, you keep that discipline in how the episode is arranged, and you cue moves on the angles that are off air.
I record isolated tracks and edit later. Is this still for me?
Yes. Cue each angle's gentle move again between cuts, and every isolated track carries living motion, so your editor always has a breathing frame to cut to instead of three locked-off angles.
What does it cost, and can I try it on my own room?
Licensing is sold as a block of up to four cameras, and the pricing page carries the three ways to pay. A fourteen-day evaluation runs on your own studio with no card; plan it around two real episodes so you judge it on your show.
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 producer
- The three moves: a wide that breathes, a slow creep on the speaking guest, and every cut landing at the top of a move.
- Who operates: the host. Each seat's shots are composed on setup day, and on show day they sit under one key each.
- Your cameras: tell us the make, the model and how they are controlled, and we say which compatibility answer applies before anything starts.
- Your recorder is untouched, and your program video keeps its existing path.
- 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 two real episodes.
- Buy through your integrator or distributor, or ask us to introduce one.