School Assignments are flooding my life, raining down and creating chaos.
Upon completing a more draining assessment, researching an emerging technology, I actually found light at the end of the tunnel; turns out, the BOLT robotic arm has my vote. -Now I just need someone to fund me using it.
B O L T
HIGH SPEED CINE-BOT ROBOTIC ARM (& relevant technologies).
THE BOLT HI-SPEED CINEBOT is licensed under
Mark Roberts motion control.
The Bolt robotic arm is the newest and most efficient in robotic film technologies.
It comprises of 6 fully rotatable joints that vaguely resemble a human arm. This in turn with it’s speed and efficiency, and ability to be precisely programmed via computer, allows the BOLT to capture videos with a precision not comprehendible to man alone.
The cine-bot is relatively streamline considering it’s weight and potential. It is simple, sleek and modern in design with a matte black casting and clean logo printed on the arm.
The bolt is a heavyweight. The Rig itself weighs in at 430 kg, and requires another 560 kg of counter weight when not secured to the floor. The power supply unit is another 60 kilos. It requires 3×400 volts, 32 amps, 50-60HZ when stable and if on track requires a generator of 14ka VA.
As well as making it’s worth known weight wise, the Cine-bot is going to let you know it’s worth financially too. Not for cheap indie flicks with low budgets, you’re averaging $5,000 dollars per shooting day, $3,000 set up and $500 in travel costs. –It takes money to look that good.
How does the cine-bot work?
6 points of the cine-bot: Rotate, lift, arm, pan, tilt, roll and track.
Each of the 6 axis can rotate at extreme speeds, turning up to 350 degrees in a given second. Each axis has a limitation of 120-270 degrees, however when combined use of more than one axis means an 870-degree movement can be created in seconds! –This means you could film someone bouncing a ball from every angle, in time for them to catch it again.
To further instil how impressive this is, the cine-bot can accomplish this at heights of up to 3 metres. This means a shot can be filmed starting from ground level, to a height taller than an average person in just one second. It has the ability to do this in height, width as well as on the diagonal, and any space in between.
It doesn’t stop there.
The BOLT arm is easily attached to a track, this is useful for high intensity shots, such as car chases, explosions, running and cinematic reveals. Not only can you watch the action unfold by following it, you can get into it and change the angle of shots whilst doing so.
When paired with a quality camera it can create mesmerizing slow motion clips, helping viewers see even more of the action described above. The possibility of cinematic shots the bolt can capture really is endless.
The bolt is programmed using Maya technology. This technology produces highly accurate programming and instructs the cine-bot on how to move whilst filming. This allows users to instruct the cine-bot on it’s actions without the manual labour of moving the device for each shot. This leads to a range of possibilities.
Stop motion capture becomes seemingly effortless with the ability to instruct the cine-bot to move mere millimetres at a time, at any pace of your choosing. Gone are the days of moving a plasticine figure, then the camera over and over. It’s precision also means the cine-bot will shoot at perfect coordinates when zooming in and out, the bolt will not accidentally move out of lineage. Having this ability to programme shots allows for efforts to be concentrated on the performance of actors with more ease. Each take is able to be executed precisely like the one before and after, meaning, once you have the right formula in place for the camera movements, it’s just a matter of the acting performances being of the best quality possible. This removes the potential for perfect performances to be filmed incorrectly, easing the stress of all cast and crewmembers.
Flair technology bridges the gap between animation and live action for the cine-bot. Real time shots can be transferred into animation packages with ease, meaning characters like Zoe Saldana in ‘Avatar’, Andy Serkis as ‘Golumn’ and Vin Diesel as ‘Groot’ can be as precise and lifelike as possible without as much effort in post production.
Moreover, animated camera movements can be imported into the cine-bot. The cine-bot can then copy these 3D camera movements accurately and seamlessly, This could come in very handy for TV shows that use formulaic filming techniques repeatedly in episodes, this is another way to programme cine-bot that is very similar but, if practical, even less hassle than utilising the Maya technology. Flair comes in handy on shoot furthermore by allowing virtual objects to be keyed in to frame, this allows for perfect realism to be depicted on screen when using CGI.
The bolt can also be programmed to react to external triggers such as explosions, noises, lighting changes and specified human movement. This makes timing a breeze and cinematographers and directors can film with ease knowing their shot will definitely be captured as intended. For scenes like explosions & car crashes with high budgets and fewer opportunities to master a shot, the ability for the cine-bot to be triggered is extra insurance.
The integrated 3rd party DMX lighting set up means, like with ‘Flair’ and ‘Maya’ the bolt can utilise other technologies of filming to create more precision and ease.
The DMX lighting set up enables control of up to 250 different lights at one time. Again this means that tracking, panning or one-shot edits can have precise lighting timed to accentuate, highlight and add mood and effect to shots.
When you think of what can be achieved using Maya, Flair and DMX lighting with such an impressive piece of technology, dreams run wild and the potential of capturing original and abstract shots becomes inspiring and motivational. As mentioned, when filmed with a camera that has the ability to capture high quality slow motion shots scenes can be created to a standard we haven’t really seen before. The cine bot can function at speeds faster than the human eye can detect so the only limitation is at that of the person programming the Bolt itself.
The cine-bot has been used in various films to achieve great shots.
In fact, the reason I chose the BOLT arm from my project was due to genuine fascination and intrigue. After watching the highly talked about ‘Humble’ video clip form Kendrick Lamar, a conversation sprouted regarding a particular scene. The Shot is short and minimal, Lamar and his crew are under a bridge looking suave. What’s interesting about the shot however, is that the camera seamlessly moves toward Lamar, out to a new position, and so on and so forth, quickly, without cuts, edits or fumbles. I contemplated how this could be achieved, and after watching an interesting review of the filmclip, learnt, it was done with a robotic arm- The BOLT.
Other films that shot using the Bolt cine-bot include:
Avengers: Age of Ultron, Jupiter Ascending, Skyfall, Maleficent, Fast and the furious 8 &Ant-Man.
To all girls on film,
I applaud you!