Panasonic PTZs make motion simple

Consumer expectations have never been higher within the landscapes of broadcast and pro AV. Viewers have become accustomed to and, quite simply, expect cinematic visuals, fluid motion and creative angles. Production teams face the opposite reality: lower budgets and smaller crews, all part of an overarching demand to do more with less.

As Guilhem Krier, head of new business and market development at Panasonic Connect Europe, puts it, “the demand is to create more intricate and dynamic movements. That’s really the key reasoning behind what we’re doing. People want shots that look more professional, emulate more expensive systems without needing the same level of manpower or investment.”

This pressure is driving innovation across the industry and Panasonic is meeting it head-on. From introducing new camera systems and robotic solutions, its AI-powered automation tools are enabling smaller crews to deliver broadcast-quality productions that rival big-budget operations.

From static to cinematic

Panasonic has long been a leader in PTZ (pan-tilt-zoom) camera systems. PTZs allow operators to control zoom and framing remotely, but the movements are often constrained by the fixed placement of the camera. That’s no longer enough.

“In the past, you could get away with four studio cameras on tripods around a set. It was static and, frankly, a little bit boring,” says Krier. “Today, everything has to be fast and dynamic. Producers want constant movement, new angles and the ability to cut between multiple shot types quickly. To get that, you need to employ robotics.”

This is where Panasonic’s ecosystem shines: pairing PTZs and box cameras with robotic platforms like Panatrack, Panapod and Tecnopoint Tuning. These tools enable cameras to glide along on motorised dollies, rise on robotic columns and move in ways that mimic human camera operators – all at a fraction of the traditional cost.

Introducing Robyhead D2

One of Panasonic’s most exciting new offerings is the Robyhead D2, a pan-tilt head designed to bring large-sensor cameras into the PTZ ecosystem. “The D2 and its accompanying box cameras represent a large-sensor addition to our PTZ line-up,” explains Krier.

“That was one of the missing pieces. Everybody’s asking for full-frame right now – it’s the buzzword of the moment. But it’s not just about offering a full-frame sensor. The real value is in giving customers a line-up of options that they can swap depending on production needs.”

The Robyhead D2 is compatible with both the AW-UB50 (full-frame) and the AW-UB10 (Micro Four Thirds) box cameras. This flexibility is crucial. Full-frame delivers that coveted cinematic look, including shallow depth-of-field and rich low-light performance. It’s perfect for close-up shots of presenters, singers or performers. Meanwhile, Micro Four Thirds offers a balance of cinematic quality and zoom range, making it ideal when cameras need to be positioned further from the action without resorting to bulky, expensive lenses.

This approach allows production teams to choose the right sensor for the job, or even mix and match, while keeping the entire system integrated in Panasonic’s broader ecosystem.

“Customers can easily swap the camera head depending on what they need,” emphasises Krier. “Close to the action? Use the UB50 full-frame. Located 15 metres away? Go with the UB10. The beauty is, it all works seamlessly with the same controllers and software our customers have been using for years and are now familiar with. It’s a no-brainer.”

Doing more with less

The other major pressure point that exists in today’s market is manpower. Productions that once required crews of ten or more are now often run by just one to three people.

“Budgets are tight, and are getting tighter,” says Krier. “The more that production companies can automate, the better. Pre-programmed camera presets, robotics and AI tools allow small teams to do intricate things that used to require large crews.”

Panasonic’s Auto Framing and Auto Tracking technologies are prime examples. These AI-driven tools automatically detect and follow subjects – adjusting framing in real time. Instead of needing an operator to be dedicated to each camera, one person can monitor multiple shots while the AI ensures smooth, professional tracking.

Krier acknowledges the challenge that automation must be reliable enough for live production.

“Auto Framing and Auto Tracking can’t just work 50% of the time. They have to work 99% of the time, so that producers can trust them to be used in a real show. That’s why we’re investing heavily in AI – to make automated movements feel more natural, almost indistinguishable from a human operator.”

The robotics ecosystem

Beyond AI, Panasonic’s suite of robotic solutions is transforming how PTZs are deployed.

• Panatrack: A motorised camera dolly system of rails to move PTZs along smoothly, for dynamic tracking shots.
• Panapod: Motorised column that raises and lowers PTZs, for vertical motion that adds cinematic depth.
• Tecnopoint Tuning: Modular robotic system with a range of dolly and column configurations for flexibility.

“Today, directors want five, six, even ten different camera angles,” Krier explains. “But they can’t afford to buy ten high-end cinema cameras like they could 20 years ago. Our robotic PTZ solutions make it possible to achieve those varied, professional shots at a price point that scales.”

Interestingly, while picture quality remains critical, it’s no longer the sole focus. Today’s customers assume excellent image quality, and Panasonic’s reputation guarantees that. Instead, Krier stresses that what matters most is workflow integration.

“People aren’t just asking if the picture is good. They’re asking: Can I use NDI? Can I integrate ST 2110? Can I mix different camera types seamlessly?” This is why Panasonic designs its systems as part of an ecosystem. Whether a team is using traditional PTZs, box cameras on the Robyhead D2 or robotics platforms, everything integrates with the same controllers, software and workflows.

Ultimately, Panasonic sees automation and AI as the future of production. Operators will shift from actively controlling cameras to monitoring systems and making subtle adjustments.

“Nowadays, it’s often a one-man show,” says Krier. “It’s just one person who installs three cameras, sets presets, runs the switcher, manages streaming and monitors everything as well. They don’t have time to operate every camera live. That’s why AI is so useful. It handles the basics, so the operator can just fine-tune and ensure everything looks natural.”

Krier concludes that “the goal is to emulate expensive, high-end systems, but affordably, flexibly and in a way that works for small teams. That’s where Panasonic is focused, and where the industry is heading.”

Find out more at panasonic.com

This feature was first published in the Autumn 2025 issue of FEED.