Round Table: What’s Next for PTZs?
Posted on Jan 9, 2025 by Admin
As the role of pan-tilt-zoom cameras continues to expand in production workflows, experts consider the trends & tech ahead
The panel
- Kriss Hampton‑Joyce, head of technology, Holdan
- Claire Lam, category head of network camera and professional monitors, Sony Europe
- Dan Miall, ceo, BirdDog
- Graham Payne, product marketing manager, ISB Product, Canon UK
Definition: What advancements in PTZ tech do you think will have the biggest impact on film production workflows over the next few years?
Dan Miall: The biggest game changers will be AI-driven automation and cloud connectivity. Advanced AI tracking systems are making dynamic, precision-driven shots possible with minimal input, while cloud integration enables seamless collaboration between on-set and remote teams. Features like Wi-Fi 6 connectivity and innovative e-ink labels in our BirdDog X series are streamlining multicamera workflows, reducing set-up time and clutter.
These advancements simplify complex set-ups, allowing filmmakers to focus on storytelling rather than technical challenges. As PTZ cameras continue to integrate into traditional cinematic pipelines, they will redefine both studio and on-location production, reducing costs and opening doors to more creative possibilities.
Claire Lam: Innovations like AI-based auto framing stand out for their ability to analyse complex scenes and adapt dynamically. This reduces the reliance on manual adjustments, making them well suited for fast-paced or multicamera productions. We can expect AI to integrate even further into workflows for live and cinematic productions.
Graham Payne: The quality of PTZ cameras is and has been rapidly improving over the past few years. People used to view them as glorified surveillance cameras with very little difference in image quality.
However, since coming to market with products, we have seen them used in a wide spectrum of environments – ranging from football stadiums to music festivals. With evolving lens, processor and sensor technology, the image will continue to improve.
For Canon, PTZ cameras can be used over the same network as large-sensor cinema cameras, providing not only shot variation but also a huge amount of remote control. PTZ cameras can all be remotely controlled, and cinema cameras can be managed remotely as well, utilising Canon’s XC protocol. This allows operators to control all camera settings and zooms with appropriate lenses. Remote heads allow cinema cameras to operate like PTZ cameras, giving directors various shot types and centralised control while maintaining colour and sensor detail.
Kriss Hampton‑Joyce: Although these developments are still in their early stages, they hold great potential to significantly impact film productions as they mature, resulting in highly versatile and powerful PTZ systems.
Key advancements to note include wireless transmission, portable power options (such as internal rechargeable batteries or external V-Mount power plates), and on-board recording capabilities. These innovations complement ongoing improvements in sensor technology, colour science and optics, further enhancing the overall performance and flexibility of PTZ cameras on-set.
Def: How have PTZ cameras been influencing creative choices in cinematography and production design?
CL: PTZ cameras open creative possibilities by offering perspectives that would be challenging or costly to achieve with traditional set-ups. Their compact size and remote capabilities allow for seamless integration into unconventional filming spaces. AI-based framing technology supports directors in capturing dynamic shots effortlessly.
KH-J: PTZ cameras significantly lower the barrier to entry for multicamera productions, particularly when dealing with limited physical space. For instance, what would traditionally be a static shot from a small cine camera tucked in a tight corner can now, with a PTZ camera, offer greater flexibility and movement in framing. Thanks to integrated robotics, PTZ cameras can both replicate precise movements and repeat them consistently, making them ideal for shots that require exact duplication. Ultimately, like any camera choice, the shot must serve the narrative, and where PTZ cameras excel is in offering a wide range of creative options – all delivered in an incredibly compact and efficient form.
DM: PTZ cameras are unlocking new levels of creativity with unmatched flexibility in shot composition and movement. Advanced robotic controls enable smooth, repeatable motions that previously required costly rigs, while their compact form factors allow for discreet placement and integration into set designs. Filmmakers are using PTZs for immersive shots, dynamic event coverage and even virtual production, blending live action with CGI in real time. Quick set-up and remote control also make them ideal for second-unit shoots or previsualisation, reshaping camera placement and movement in ways that expand creative possibilities.
GP: A common fear camera operators have about PTZ cameras is that they are here to replace people – this is not the case. PTZ cameras are designed to complement existing work by providing dynamic angles in locations inaccessible to people. We have already seen this in live productions, and as sensor technology improves they will be adopted into more types of production.
Def: In what ways do PTZ cameras improve or challenge efficiency and flexibility on-set compared to traditional camera set-ups?
KH-J: The primary advantage of using PTZ cameras is their ability to reduce the number of operators needed to manage multiple cameras, while also allowing them to be placed in locations that would be impractical or unsafe for an operator to directly man. This creates the potential for more comprehensive coverage with fewer people, resulting in significant cost savings. However, unlike traditional camera set-ups, PTZs still rely on an infrastructure that includes cabling for video signals, connections for control and power, as well as a physical controller along with a live feed monitor for the operator. As a result, the flexibility of having a fully self-contained, mobile camera package is somewhat limited, as PTZ systems require more set-up and can’t easily roam freely around a location with everything managed directly on the camera itself.
GP: Aside from being positioned in locations inaccessible to people, PTZ cameras offer the advantage of remote control – either on-set or even from another country – as they run over IP networks. This means that your camera crew is not crowding a set, creating a more intimate setting. As mentioned earlier, Canon cinema cameras can integrate into the same network, allowing full remote control. With the addition of remote heads and servo zoom lenses, these cinema cameras can function similarly to PTZ cameras.
DM: PTZ cameras streamline on-set workflows with compact, multifunctional designs that reduce crew sizes and set-up times. Features like our built-in NDI decoding and AI tracking eliminate the need for extra equipment, while wireless connectivity such as Wi-Fi 6 allows for easy placement in hard-to-reach locations. Despite these advantages, some filmmakers still view PTZ cameras as less cinematic. However, modern models offer 4K/60p resolution, dynamic range adjustments and advanced capabilities that rival traditional set-ups. With proper implementation, PTZ cameras like BirdDog’s X series can simplify workflows, enhancing both efficiency and creative freedom.
CL: PTZ cameras are highly efficient for remote operation and complex set-ups where space or manpower is limited. Features like automated framing simplify operations, allowing smaller crews to deliver high-quality results. There are challenges, especially for teams accustomed to manual controls. The balance lies in combining automation with manual override options, ensuring that filmmakers retain creative control when needed.
Def: How do you see AI and automation evolving in the PTZ space, and what will these advancements mean for filmmakers?
DM: AI and automation are transforming PTZ cameras into smarter, more intuitive tools. Current innovations such as AI-driven subject tracking reduce manual adjustments, while future advancements such as predictive framing and multicamera coordination will optimise angles and movements automatically. These streamline workflows, reduce crew sizes and enable complex shots even on smaller budgets. With cloud integration, filmmakers can control and monitor shoots remotely, adding flexibility to fast-paced productions like documentaries or action scenes. Far from limiting creativity, AI empowers filmmakers by handling repetitive tasks, freeing them to focus on storytelling and experimentation.
GP: We already see AI automation coming into the PTZ world – especially in live events, where camera movements can be tracked and enable coordination with other devices like lights and microphones. This allows systems to work together as the subject is tracked, proving ideal for lecture capture and keynote events. The tech can and will benefit crews by allowing key elements and locations on-set to trigger cameras, lights and microphones automatically through the camera’s tracking system.
CL: AI is evolving to offer more precise contextual awareness. Future PTZ cameras might not only frame individuals, but also interpret actions or moods, adapting framing decisions to support the narrative. For filmmakers, this could mean reduced technical barriers, enabling more time and energy to be spent on storytelling.
KH-J: Built-in AI-based subject tracking is now a standard feature in PTZ cameras, though its performance can vary significantly between brands and models. That said, the term ‘AI’ is often overused as a marketing buzzword, and its actual implementation might not always live up to the expectations. Nevertheless, the pace of advancement in this area is rapid.
For filmmakers, we’re not far from the day when a PTZ camera, mounted on the back of a moving vehicle, can use AI tracking to lock onto talent or fast-moving vehicles – ideal for dynamic chase scenes. If PTZ cameras begin to incorporate technologies like LiDAR-based autofocus, they could evolve into powerful, all-in-one tracking tools.
Def: What features or qualities are most important for filmmakers to consider when choosing a PTZ camera for their project?
CL: Filmmakers should evaluate image quality, control precision and system integration when selecting a PTZ camera. High-quality sensors, smooth zoom and pan-tilt mechanisms, as well as advanced automation tools like AI-based framing, ensure adaptability across a wide range of production scenarios. It’s also crucial to consider how well the camera fits into workflow, including connectivity and interoperability with other equipment.
KH-J: The initial considerations when selecting a PTZ camera are not unlike those for choosing a cine camera – with the primary focus being the look and feel of the image, which is influenced by the sensor and colour science. How well will it match with the A camera, or even the B camera, in terms of visual consistency?
Since most PTZ cameras are all-in-one units, key factors to consider include the required focal range and speed for the project, as well as the ability to easily add filtration. Does it offer the necessary I/O connections? Is the remote-control functionality sufficient? Given the fixed nature of PTZ cameras, there is limited flexibility to adjust these aspects later, making it even more critical to get the choice right from the outset.
DM: Filmmakers should focus on image quality, connectivity and adaptability. High-resolution capabilities like 4K/60p with advanced encoding ensure cinematic fidelity, while versatile connectivity options – such as 4K/60p 12G-SDI and NDI HX3 in BirdDog’s X5 Ultra or Wi-Fi 6 and completely wireless operation in the X4 Ultra – allow seamless integration across diverse environments. Intelligent features like AI tracking and customisable displays simplify operations and boost efficiency. PTZ cameras that integrate easily into existing workflows, reduce hardware needs and support evolving production demands offer the best balance of creativity and practicality.
GP: Every project is unique, and PTZ cameras can deliver shot versatility and remote control. However, seeing as they are fixed cameras rather than handheld, this limitation needs to be taken into consideration for a project.
They should be best viewed as complementary to traditional cameras, adding variety to shots and providing distinctive control options. The future of AI and automation can also provide more control to crews, allowing the technology to take over certain tasks.
Def: As PTZ cameras continue to evolve, what do you think will be the biggest challenge to adoption for high-end filmmaking?
GP: The demand for better sensor and image quality in PTZ cameras is growing, as users value the benefits of remote control, shot variation and AI automation. While advancements are likely, size and physics impose limitations. Larger sensors will require larger lenses, increasing the overall size of the solution. However, evolutions in this tech will bring size down as much as possible. Another key area is cabling. Currently, PTZ cameras rely on long Ethernet cables, but future wireless solutions could allow cameras to be placed anywhere.
KH-J: The biggest challenge with PTZ cameras is the disconnect they create between the filmmaker and the creative tool. By design, PTZ cameras are remote-operated, all-in-one solutions, which contrast with the hands-on approach filmmakers prefer.
Traditional cinema cameras – whether mounted on sticks for smooth pan-and-tilt motion, rigged on a gimbal, Steadicam or operated handheld – offer a wide range of ways to infuse character and intention into the movement of a shot, something that is much harder to achieve with a PTZ currently.
DM: The biggest hurdle is shifting the perception that PTZ cameras are less cinematic than traditional set-ups. Despite advancements like high-quality 4K/60p resolution and innovative features such as AI tracking and NDI HX3 encoding, some filmmakers still associate PTZs with live broadcast production or audio-visual applications. Demonstrating their capabilities in real-world cinematic projects is key to breaking this stigma.
Additionally, the lack of standardised control protocols can complicate integration into established workflows. Education, seamless connectivity and reliable support will be essential to building confidence in PTZ cameras as a powerful tool for high-end filmmaking.
CL: The key challenge will be to demonstrate how PTZ cameras can complement but not replace manual artistry, offering practical solutions without compromising on quality or creative intent.
