Motion control and slow motion specialists Robotface celebrates five years of business
(BOLT Cinebot on set at Dreamscreen)
In late 2019, cinematographer Tom David founded Robotface with producer Andrew Dale in the belief there was an appetite for the Australian creatives to have greater access to new age camera motion control tools for film, television, TVCs and branded content. After investing heavily in robotic camera rigs and slow motion Phantom camera technology shortly after weathering the state of Victoria’s 245 day lockdown, to going on to become recognised globally in the community as industry leader, Robotface celebrates a remarkable five year journey.
Why did you choose to enter the industry?
I was reaching my 20th year as a freelance cinematographer and I was after a new challenge technically and personally. My cinematography had me shooting many commercials and promo content, as well as television and documentary projects with BBC, Endemol Shine and jaunts with Hamish and Andy.
Before all this I left an engineering career that didn’t satisfy me creatively the same way that I knew cinematography would, however I still always had a love for science and technology and problem solving.
It was working on Legomasters with DP Matt Koopmans ACS who was exploring new ways to shoot miniatures for television that I began investigating new ways to precisely move a camera, and discovered the world of camera robotics. Turns out there were specialist crews all over Europe, Asia and the US that were pushing the perfect blend of creativity and technology to create shots for commercials and films that just weren’t practical to do via any other means.
Mark Roberts Motion Control in the UK stood out to me immediately as the industry leaders in the space of camera robotics – their rigs are all over America, Europe and Asia and are behind some of the most iconic shots in film franchises from Marvel pictures to Harry Potter. After a whirlwind visit to tour their facilities in London to explore their Oscar winning hardware and software, we committed to our first MRMC Bolt camera robot.
(Cinebot Mini recently on location at Melbourne Park)
How did the company start? Were there any unique challenges you faced in your first year?
In late 2019, Robotface opened for operation. Our robotics arrived to our Port Melbourne studio we had just leased and our team had completed a week long intensive MRMC operator training.
Then COVID hit. We like many others were classified ‘unessential’ by the then Victorian Government who put the industry in lockdown for 245 days – and a good chunk of those we were prohibited to even visit the studio. It was undoubtedly the most challenging period any business could face.
Perhaps, if we were to take anything away from that period it was that there would be no future circumstance that could possibly be as challenging as the one we had endured. This fact motivated Robotface to emerge from the world’s longest lockdown with the hunger to create, create, create.
Five years on we have three robotic rigs that run on tracks, a Phantom VEO 4K camera that offers unrivalled slow motion capture, and a wonderful group of clients who pick and choose which machine they need based on shot, location and crewing requirements. We have also generated a wealth of video references showing how camera robotics solve all types of production issues and add a dynamic freshness to camera motion and created modest social media following online.
How have you navigated the challenges of the industry over the last five years?
We have invested in the sturdiest, most robust and industry proven motion control technology that is available. There are other notable robot systems out there that aren’t sturdy enough or can’t move fast enough when required, or are not smart enough to pull focus automatically when moving forwards and backwards (which means the operator needs to laboriously plot focus points). Most other robot arms can’t run on tracks so have restricted camera range of camera reach. And perhaps most importantly many other notable camera motion control systems don’t genlock with cameras they are moving – which is vital for VFX work. The MRMC software that drives our robotics is constantly evolving off a base of 40 years of experience.
Our commitment to the highest quality technology provides our clients with the assurance they need on set. We always knew our journey would always be part education, given Australia’s relative newness with motion control.
That said, we try to show that robotics doesn’t have to be complicated. We show that simple shots can be designed in real time on location within minutes. Some shots are inherently complicated and might take longer to design and these can often be designed before shoot day. Other shots require the robotics to look organic and replicate handheld motion, so we’ve paved workflows to help DPs and directors to achieve this also.
What we’ve found is that you don’t need to be technically-minded to see the benefits of camera motion control. People who are committed to delivering quality content differently understand this. Maybe there is a specific technical shot they want to achieve and new clients reach out to us when the problem arises we can help them solve. And others reach out because they are looking to move a camera around a product in new and interesting ways.
A wonderful example of this is our collaboration with Melbourne creative agency, Tiny Disco. This partnership covers campaigns and monthly premium social retainers with brands such as Oroton, T2, and Bondi Sands. Co-founder and Creative Director, Chelsea Morley, loves how motion control elevates her team’s creative control: “Expert motion control allows us to stretch our concepts further. From wild movements only a robotic arm could do to fast frame rates, we can now create cinematic moments for any product that’s thrown at us.”
(Robotface crew on set at Tiny Disco)
What are some stand-out projects you’re proud of?
We are celebrating five years and honestly I’m proud of many different things.
The inherent trust we’ve built with creatives and technical crews can not go underestimated. We have just wrapped our 10th project with Mitch Kennedy, The Producers and Tony Luu ACS to deliver the KMART TVC campaigns from our Port Melbourne studios. Every shoot has been different and Mitch and Tony continue to think of new ideas that ultimately make their content stand out and be recognisable.
I’m proud when creatives call me and run an idea by me and later that day I’ve shot them a pre-vis of what their shot could look like and they are pumped. And we create the move as intended and the clients’ mind is blown.
“While motion control can be complex and daunting, having the team at Robotface advise and support you to bring that cinematography to life makes the process straightforward and exciting.” – Tony Luu ACS Cinematographer.
We are also very excited to have been involved in the new Robbie Williams semi biographical film “Better Man” just released in cinema and directed by Michael Gracey.
Has your work contributed to the local or global production scene? Have you introduced any innovations or helped shape trends in the industry?
Yes absolutely.
Robotface is regularly featured as a Mark Roberts Motion Control case study and other international forums for our innovation and trialing and pioneering new ideas in the motion control / film world. This work has influenced the ways in which Australian and creatives globally are educated about the boundless possibilities of motion control and their deliverables.
Many of our applications are now used by colleagues in other motion control companies – and we like that. The more that agencies and clients are aware of our capabilities, the more educated the world is on the infinite possibilities with motion control. And that’s a good thing.
(Robotface MRMC fleet: BOLT Jr, BOLT Cinebot and Cinebot Mini)
How has the company expanded in terms of team size, capabilities, or services over the last five years?
Our crew remains a small bunch of trained and now very experienced motion control operators, DOPs, camera operators, technical assistants, production and post specialists.
Beyond that, we craft each crew to the specific task at hand. Whether it is working directly with a production company or bringing in a Director to facilitate the project, it will depend on what resources are required on each project.
Our Phantom VEO 4K camera has diversified in so far as the type of project it is taken out on which is fantastic. Initially used for predominately food and other tabletop work, our slow motion camera has been utilised by Fox Sports and many different sporting codes including AFL, Rugby league, cricket, tennis as well as motorsports. The frame rate at 1000fps offer an impressive capture of all the action in a way that can not be compared.
Outside of the film and television world, Sparklebot has a life of its own. We have successfully re-purposed the Robotface crew and rigs to deliver Glambot inspired broadcast content for the most notable red carpet events including The AFL Brownlow 2023, 2024, TV Week Logies 2023, 2024, Tik Tok Awards and a host of branded activations including David Jones NGV Gala, LEGO FIFA World Cup and Footlocker Summer Jam 2023, 2024.
What’s next for the company? Any goals or exciting upcoming projects you can hint at?
Ultimately, we take great delight in fostering our existing relationships with creatives as well as meeting individuals who may be new to motion control. Regardless of their familiarity of motion control, we work collaboratively and deliver extraordinary results that are beyond their imagination.
Interested in chatting with Robotface or want to know more? Reach out to tom@robotface.com.au +61 421 176 251