The Next-Gen Robo-Camera Pedestal Shaking Up Studios - MRMC's RPS‑LT Revealed

• Robotic Pedestal Meets Robotic Arm: MRMC’s new RPS‑LT (Roaming Pedestal System – LT) is a free-roaming studio camera pedestal with a 6-axis robotic arm on top, bringing cinematic camera moves into live broadcast studios tvtechnology.com provideocoalition.com.
• Smooth, Precise & On-Air Ready: The RPS-LT delivers ultra-smooth motion and precise repeatable shots suitable for on-air use, allowing broadcasters to capture dynamic angles that were previously challenging tvtechnology.com. It supports heavy broadcast camera setups (up to 45 kg / 99 lbs including teleprompters) without sacrificing stability provideocoalition.com mrmoco.com.
• High-Tech Navigation & Safety: An integrated LiDAR sensor (from SICK) gives the RPS-LT millimeter-accurate positioning and active collision avoidance for safe operation alongside people and sets provideocoalition.com. Multiple robotic pedestals can roam together with “intelligent choreography” and geofenced safe zones to prevent collisions provideocoalition.com rossvideo.com.
• Modular Pedestal Options: The base RPS platform is modular – you can swap the robotic arm for a motorized lift column (RPS‑C2) if only up/down movement is needed mrmoco.com. Either way, the trackless pedestal design (no floor rails) keeps the studio floor clear and safe while enabling full X/Y roaming across the studio mrmoco.com.
• Virtual Production Integration: RPS-LT was built with virtual/augmented reality in mind – its advanced scanning system outputs real-time FreeD camera tracking data, so it plugs seamlessly into VR/AR graphics systems and LED volume stages mrmoco.com. MRMC even demoed RPS-LT at IBC 2025 in a virtual set with dynamic backdrops, synced via Disguise’s XR software provideocoalition.com.
• Use Cases from News to Sports: Designed initially for high-end broadcast news studios tvtechnology.com, the RPS-LT’s roaming base and robotic arm make it equally appealing for sports studios, talk shows, eSports arenas, and other productions that crave more engaging camera motion. It can glide around an anchor desk for a dramatic 360° shot or track a moving presenter across a stage – all while the on-board teleprompter keeps talent comfortable provideocoalition.com.
• Intuitive Control & Automation: Operators control the RPS-LT through MRMC’s Robokam software or Flair interface, which provide an easy GUI for programming moves and managing multiple robots mrmoco.com mrmoco.com. It also accepts standard broadcast control panels and joysticks for manual driving mrmoco.com, and it supports triggers from automation systems – aligning with the industry trend toward automated studios.
• Expert Praise & Anticipation: Industry insiders are calling RPS-LT a “game-changer” for blending robotics and production. “The Cinebot Nano and RPS-LT showcase how we continue to evolve our technologies to meet the needs of our customers across the film and broadcast industries,” said MRMC CEO Assaff Rawner provideocoalition.com. Competing vendors are also upbeat; “every new feature we bring to market starts with feedback from the people using our systems… ensuring we’re not just meeting today’s needs but shaping tomorrow’s workflows,” notes Shotoku’s managing director James Eddershaw tvtechnology.com.
• Facing Stiff Competition: The RPS-LT enters a hot market. Shotoku’s SmartPed, Telemetrics’ OmniGlide, and Ross Video’s CamBot/Artimo systems each offer their own twist on free-roaming camera pedestals. Below we compare how RPS-LT stacks up on technology, automation, pricing, and integration (see Table 1).
• Trend: Robo-Cams on the Rise: More broadcasters are embracing trackless robotic camera systems to bring eye-catching movement to news, weather, and sports shows. These pedestals are becoming trusted co-stars in major studios – for example, a top U.S. network’s evening news now uses three roving pedestals in its daily production – reflecting a broader move to automate camera work for efficiency and creative consistency. As studios adopt video walls and augmented reality, systems like RPS-LT that can feed precise tracking data are in high demand.
• Future Outlook: Expect even more innovation ahead. MRMC’s RPS-LT is likely just the start – larger robotic arms or outdoor-capable rovers could be next. Competitors are adding AI and safety features (Telemetrics just unveiled wearable UWB tags for talent tracking and new 360° sensor “dome” for collision avoidance newscaststudio.com newscaststudio.com), while others blend rail and free-roam tech (Shotoku’s SoftRail) to expand what robotic cameras can do. With multiple vendors pushing the envelope, robotic camera pedestals are poised to become standard gear in both broadcast studios and virtual production stages in the coming years.

MRMC RPS‑LT: Roaming Pedestal + Robotic Arm for Unparalleled Shots

Mark Roberts Motion Control (MRMC) – a company known for Hollywood-grade motion control rigs like the Bolt high-speed cinebot – has aimed its expertise at live broadcast with the RPS series. The latest RPS-LT variant grafts MRMC’s compact StudioBot LT robotic arm onto a mobile pedestal, creating a hybrid system capable of both moving around the studio floor and executing complex arm movements. It’s essentially a camera rover and a jib/crane arm in one unit.

At its core, the RPS-LT consists of a stout base on wheels and an attached robotic arm (6 degrees-of-freedom) that carries the camera. Design-wise, the base uses a tri-wheel electric drive – “three steering wheel trucks, each with two driven wheels designed to deliver perfectly balanced power,” according to MRMC provideocoalition.com. This three-point wheel configuration lets the pedestal move omnidirectionally: it can drive in any direction and even spin in place, allowing very agile on-air moves. The unit can crab sideways, arc smoothly around a subject, or creep forward/backward with equal ease, all while maintaining stability for the camera above. (By contrast, some older robotic pedestals had to perform multi-point turns or couldn’t strafe sideways; RPS-LT’s drive system eliminates that limitation.)

Smooth motion and stability were top priorities in the RPS-LT’s design. The entire system is rated for a 45 kg (99 lb) payload – enough for a full-size studio camera, large zoom lens, prompter, viewfinder, and tally light mrmoco.com. This high capacity, combined with MRMC’s motion control heritage, means the pedestal won’t wobble or jerk even with a hefty camera rig on board. It delivers “class leading” fluid motion via precision motors and controls tvtechnology.com, so directors can confidently use moving shots during live broadcasts without worrying about shaking footage. MRMC specifically touts that RPS-LT enables shots that were “previously challenging” to pull off in live TV tvtechnology.com – think low-to-high sweeping angles around a news anchor or gliding from a wide studio overview straight into a close-up on a presenter. These kinds of shots, which add visual drama and polish, are now achievable at the press of a button.

Another standout feature is the integrated LIDAR navigation system. Borrowing a page from self-driving cars, MRMC built a scanning laser rangefinder (from sensor-maker SICK) into the RPS platform provideocoalition.com. This LIDAR constantly maps the surroundings in real time, giving the pedestal “eyes” to know its exact position in the studio and to detect obstacles or people nearby. The result is pinpoint positioning accuracy and safety: RPS-LT always knows where it is (within millimeters) without relying on external floor markers or ceiling trackers, and it will automatically slow or stop if an obstacle encroaches too closely provideocoalition.com. The system’s software includes “intelligent choreography” to coordinate multiple pedestals – so you could have two or three RPS units roaming the floor in sync without bumping into each other provideocoalition.com. This is crucial for studios running several robotics at once (for instance, different cameras covering a talk show from various angles).

From a studio integration standpoint, RPS-LT is built to slide right into modern broadcast workflows. It provides a FreeD output – a standard protocol that feeds camera position/lens data to virtual graphics systems in real time mrmoco.com. This means if the station is using augmented reality (say, a 3D graphic floating in the studio), the RPS-LT’s exact X, Y, Z location and lens zoom/focus are broadcast to the graphics engine to perfectly sync the AR elements. In other words, virtual set and XR applications are plug-and-play with RPS-LT, with no need for third-party tracking add-ons. (MRMC also allows integration with external tracking systems if needed, but the built-in approach means many users won’t require extra gear mrmoco.com.)

Noise is often a concern for robotic gear in studios – you don’t want robot motors whirring loudly on-air. MRMC specifies the RPS platform at NC40 noise level at full speed (300 mm/s) mrmoco.com, which is reasonably quiet (roughly equivalent to a hushed office). In practical terms, the pedestal can dolly around relatively silently, especially at the slower speeds typically used when cameras are live. Operators can also program moves to be even slower/quieter during on-air segments and faster when off-camera.

On the robotic arm side (the “LT” in RPS-LT), MRMC’s StudioBot LT is a compact 6-axis arm specifically tuned for camera work. Unlike a simple up/down column, this arm can pivot, extend, and lift the camera in a variety of complex paths. It essentially gives jib crane and even slider-like moves to the pedestal. For example, the arm could push the camera forward over a news desk, then swing up for a top-down shot – all while the base remains stationary. Or it could subtly boom the camera up or down a few feet while the base rolls forward, creating a dramatic parallax effect. MRMC’s robotic arms are known for their precise repeatability (important if you want to hit the exact same mark every time for a preset shot or when synchronizing with graphics). The StudioBot LT arm has a ~1.2 m reach (per MRMC) and can handle smaller camera payloads on its own, but when mounted to the beefy RPS base, it benefits from the pedestal’s high payload capacity and added stability.

In terms of use cases, MRMC is clearly targeting broadcast studios first and foremost. “Designed for high-end broadcast studios” is how they describe the RPS system tvtechnology.com. News programs can use RPS-LT to add cinematic movement to their set: imagine a morning show with the camera gliding from a wide shot of the presenters couch to a tight two-shot, or a weather segment where the camera circles the meteorologist as they walk to the big video wall. The fact that RPS-LT can carry a teleprompter and keep it perfectly readable during moves is a huge plus for news anchors – MRMC explicitly offers a prompter mount so that “on-camera delivery” isn’t disrupted by the camera roaming provideocoalition.com. This means the anchor can maintain eye-line with the prompter (and thus the audience) even as the robot moves, which is critical for live news workflow.

Beyond news, sports and event productions are on MRMC’s radar. At trade shows, MRMC has showcased their robotics in a sports studio context – for example, at IBC 2025 they had a dedicated sports robotics demo area alongside the RPS-LT launch tvtechnology.com. In a sports studio (like halftime shows or analysis programs), an RPS-LT could be used to dramatically swoop around analysts as they stand in front of a virtual graphics display, or to fly in a camera for closeups on trophies, etc. There’s also potential for eSports and concert productions, where dynamic camera motion adds energy – an RPS-LT could roam a stage or arena floor, autonomously capturing angles that a human cameraperson might struggle with (especially since it can be pre-programmed for precision moves).

Even in film and commercial production, one can imagine uses: for instance, a virtual production stage where an RPS-LT moves a camera through a simulated environment displayed on LED walls. MRMC actually demoed this kind of scenario – their IBC setup showed an RPS-LT working inside a virtual backdrop that shifted from day to night provideocoalition.com. Because it provides exact tracking data, the camera’s perspective and the 3D background remained perfectly aligned through the move. This appeals to high-end cinematography needs, blurring the line between “broadcast” and “film” robotics. (It’s worth noting MRMC’s parent Nikon and partner RED Digital Cinema joined them in that demo provideocoalition.com provideocoalition.com, highlighting a convergence of cinema and broadcast tech.)

Control Interface and Automation Features

Controlling a device as sophisticated as the RPS-LT might sound complex, but MRMC has developed user-friendly interfaces to make it straightforward. The primary control software is Robokam, a modern touchscreen GUI designed for studio operators mrmoco.com. With Robokam, an operator can drive the pedestal manually, program motion paths, set camera positions, and recall presets – all through an intuitive graphic interface. According to MRMC, no specialized programming skills are needed to use Robokam mrmoco.com. Operators can simply select a camera robot (or a group of robots) and use on-screen controls or a joystick to maneuver it. They can then save positions and even choreograph a sequence of moves (a “playlist”) that the robot will execute on command. For example, you might program Camera 1 (an RPS-LT) to move from Position A to B over 5 seconds while tilting up, then cut to Camera 2, etc., all pre-set.

MRMC’s broadcast control ecosystem also supports physical control panels and joysticks for those who prefer a tactile experience. A dedicated broadcast panel with joystick and pan-bar controls can be attached, letting an operator drive the pedestal as if it were a traditional studio camera, only with motors doing the work mrmoco.com. The system is designed such that you can seamlessly switch between robotic mode and manual intervention. For instance, an operator could let the RPS-LT run an automated move, but if something changes (say a presenter walks somewhere unexpected), the operator can grab the joystick and override the motion on the fly. After manual override, the system doesn’t lose its place – thanks to constant internal encoders, the robot “continues to track its position” even during manual moves, so it doesn’t need re-calibration afterward rossvideo.com. This is similar to Ross’s and Shotoku’s approach, which also allow “seamless local/remote changeover” so camera operators can take control at any time shotoku.co.uk shotoku.co.uk.

Integration with automated production control (APC) systems is another important aspect. Many broadcasters use APC software (like Ross OverDrive, Viz Mosart, etc.) to automate their live newscasts – essentially triggering cameras, graphics, lighting cues via a newsroom rundown. MRMC’s RPS-LT can fit into such workflows; it offers networked control (via Ethernet) and an open API so third-party systems can command it mrmoco.com. Ross Video, for example, has made its CamBot pedestals tightly integrated with OverDrive APC rossvideo.com. MRMC’s system, while newer, can be expected to interface similarly (likely through the MOS protocol or a dedicated plugin).

One of the more exciting possibilities is AI-driven automation. MRMC is a pioneer in automated subject tracking – their Polymotion Chat software uses computer vision to track presenters and steer robotic cameras automatically. Pairing Polymotion Chat with RPS-LT means the pedestal could literally follow a person around the studio on its own. The StudioBot line features built-in “Autotracking – automatically tracks presenters” mrmoco.com, which suggests MRMC has enabled these robots to work with their vision tracking system. This is analogous to Shotoku’s AutoFrame (face-tracking that automatically corrects camera framing) tvtechnology.com tvtechnology.com and Telemetrics’ reFrame talent tracking newscaststudio.com newscaststudio.com. All these systems aim for the same goal: reducing the need for manual camera operation by letting AI keep the shot composed. In practical use, an RPS-LT could lock onto a specific presenter (via facial recognition) and keep moving and adjusting the arm to maintain a well-framed shot as the presenter moves – hands-free operation that’s especially useful for smaller studios or multi-camera productions with limited staff.

Safety is paramount when you have robots moving in human-centric environments. Beyond LiDAR, the RPS likely has traditional safety features such as manual emergency stop buttons (visible as big red “E-stop” buttons on the unit) and possibly pressure-sensitive bumpers. Indeed, competitor Shotoku’s pedestal touts dual safety with “multi-zoned ultrasonic proximity detection” (for far-field) and “pressure-sensitive bump strips” (for contact) shotoku.co.uk. Telemetrics has introduced a new TeleSense module using time-of-flight sensors for 360° coverage newscaststudio.com. While MRMC hasn’t publicly detailed all the RPS safety layers, the LIDAR plus manual E-stop and likely some bumper system would align with industry norms for safe robotics. All these systems also have the concept of “safety zones” you can define in software (Shotoku’s control shows a live studio map with no-go zones tvtechnology.com). For example, you might geofence the area right in front of the anchor desk to prevent any robot from ever intruding too close. MRMC’s intelligent choreography likely incorporates similar zone control.

In summary, the RPS-LT’s control scheme is built to be flexible: whether you want fully automated moves triggered by a playlist, semi-automated tracking of a person, or direct manual joystick control, the system supports it. And because it is network-based, a single operator in a control room could manage multiple RPS units at once (for instance, Camera 1 move to Position A, Camera 2 to B, etc., all from one console). This flexibility is exactly what modern broadcasts demand – the ability to do more with fewer hands, while still enabling creative, complex shots.

Recent Debut and Industry Reception at Trade Shows

MRMC pulled back the curtain on the RPS-LT in 2025, aligning its rollout with major industry trade shows. The system had its first public preview at NAB 2025 (Las Vegas) in April, and then a full launch at IBC 2025 (Amsterdam) in September alongside MRMC’s booth partners Nikon and RED tvtechnology.com provideocoalition.com. By showcasing at these shows, MRMC squarely targeted broadcast professionals and early adopters in the market for cutting-edge robotics.

At NAB Show 2025, MRMC set up a special “kitchen-TV studio-style” demo area to simulate real broadcast environments newscaststudio.com. They showed off the RPS in action as part of an integrated studio workflow: a Studiobot XL arm on a fixed base, an RPS with PTA-2 arm (the prototype RPS-LT) roaming the floor, plus other MRMC heads and rail systems working in unison newscaststudio.com. The demonstration highlighted how the RPS could be used in a typical studio set with virtual production elements – Form Volumes provided an LED volume and virtual set integration for MRMC’s booth newscaststudio.com. This gave attendees a glimpse of RPS-LT performing complex moves while the virtual background adjusted in real time, underlining its strengths in an XR setting.

The feedback from NAB was positive, setting the stage for IBC. At IBC 2025, MRMC officially launched the RPS-LT and gave attendees hands-on demos. Their stand in Hall 11 was a collaborative space with RED Digital Cinema (which makes sense, as high-end RED cameras were mounted on MRMC robotics for demo). MRMC’s demo included both the RPS-C2 (pedestal with lift) and the RPS-LT (with arm) side by side tvtechnology.com. Visitors could see the difference – the RPS-C2 moving a camera up and down on its column, and the RPS-LT moving a camera with the articulating arm.

Trade press coverage from IBC highlighted RPS-LT as a key “next-generation” product in the robotics category tvtechnology.com. TVTechnology’s show report noted it is “mounted with the compact Studiobot LT 6-axes arm” and “brings MRMC’s core technology of robotic camera arm platforms to a roaming pedestal”, which nicely encapsulates its novelty tvtechnology.com tvtechnology.com. The article also emphasized that it provides “smooth, class leading motion” for high-end studios tvtechnology.com. In the same piece, MRMC’s integration of the SICK LIDAR and the unique three-wheel drive design were called out as key selling points aimed at solving common issues of other pedestals (like floor targeting or uneven power distribution) tvtechnology.com provideocoalition.com.

Another point of buzz was MRMC’s assertion that RPS is a “product-defining evolution” addressing issues with many free-roaming pedestals on the market provideocoalition.com. This was a clear shot at competitors – essentially MRMC signaling, “we’ve learned from others’ shortcomings.” Industry folks reading between the lines took this to mean features like marker-free tracking (no need for barcodes on the floor or ceiling), balanced stable drives (no twitchy caster wheels), and integrated safety – all things we discussed in detail above.

In MRMC’s own press communication, the company’s CEO Assaff Rawner expressed excitement: “The Cinebot Nano and RPS-LT showcase how we continue to evolve our technologies to meet the needs of our customers across the film and broadcast industries” provideocoalition.com. This quote, included in ProVideo Coalition’s coverage, conveys MRMC’s strategy of cross-pollinating tech between film motion control and broadcast robotics. If the RPS-LT is any indication, that strategy is yielding impressive tools.

The broadcast and AV press widely reported on RPS-LT around IBC. Outlets like TV Tech, SVG Europe, ProVideo Coalition, and others all picked up the story, indicating significant interest. It also got mentions in multi-brand press releases (e.g., Global Broadcast Industry News) as part of MRMC’s IBC lineup globalbroadcastindustry.news broadcast-infrastructure.news. Many noted that MRMC was exhibiting with Nikon (its parent company) and sibling company RED – underlining how the ecosystem of capture (Nikon cameras), cinema (RED cameras), and robotics (MRMC) were being presented as a unified solution. For instance, MRMC had a RED V-Raptor camera mounted on an RPS unit in their demo, emphasizing that even top-tier digital cinema cameras can be used on these pedestals tvtechnology.com.

It’s also worth noting MRMC’s Cinebot Nano (a small portable motion control arm) was launched at the same shows tvtechnology.com. While a different product category, the Nano attracted a lot of interest from filmmakers; MRMC cleverly leveraged that interest to pull folks into their booth, where they’d also see the RPS-LT. The synergy of showing motion control for filmmaking (Cinebots) alongside broadcast robotics (RPS, Studiobot arms) sent a message: MRMC is covering the spectrum from big-screen production to nightly news.

The timing of RPS-LT’s emergence is no accident either. Broadcast studios globally are in the midst of a tech refresh cycle – many are building new IP-based facilities, adopting LED video walls, and looking to distinguish their on-air look. Robotic camera systems are a part of that modernization, so MRMC entered the market at a moment when potential buyers are actively evaluating new solutions. It’s also a time when competitors have fairly fresh offerings (as we’ll discuss next), so MRMC generated buzz by positioning RPS-LT as the “new, improved” option with all the latest bells and whistles.

Overall, the reception to MRMC’s RPS-LT has been enthusiastic, with commentators praising its versatility (being able to configure arm or lift column) and the injection of motion control sophistication into broadcast. Some broadcast engineers have noted that having a trusted brand like MRMC (with 50+ years in robotics) enter the broadcast space is a vote of confidence in where the industry is headed – towards more robotics and automation. As one industry article’s headline put it, MRMC is “breaking boundaries” with this system (quite literally, as one of MRMC’s slogans for RPS is “capture the impossible shot”).

Let’s now compare how RPS-LT stands relative to the competition in robotic pedestals, and where the overall market is trending.

RPS‑LT in Context: Competing Systems and How They Differ

MRMC is joining a competitive field of robotic camera pedestal systems. Several established players have been refining free-roaming pedestals for years, each with a slightly different approach. Here we’ll compare MRMC RPS-LT with three notable rivals – Shotoku SmartPed, Telemetrics OmniGlide, and Ross Video’s CamBot/Artimo – highlighting differences in technology, features, and integration.

Table 1 – Feature Comparison of Trackless Robotic Pedestal Systems

Table 1: A comparison of MRMC’s RPS-LT and notable competing robotic pedestal systems. (Ross’s legacy CamBot and new Artimo are listed separately; Artimo is a next-gen product that overlaps with CamBot’s domain.)

As shown in the table, each system has its unique strengths and design philosophy:

• Mobility: Telemetrics’ OmniGlide stands out with its exotic spherical wheel design, literally gliding on ball-like wheels that allow instant direction changes newscaststudio.com. This gives it extremely fluid motion (no need to pivot first), akin to a hovercraft on wheels. Shotoku and MRMC both use a three-wheel steered approach: in MRMC’s case, all three wheel units are motorized and steerable, enabling similar holonomic movement (they can vector their wheels to move sideways, diagonally, etc.). Ross’s older CamBots use a simpler two-wheel differential drive – very robust and accurate but not holonomic, meaning they behave a bit more like a Segway or tank drive (they can spin on spot and drive in any direction, but pure lateral moves involve a rotation). Ross’s new Artimo appears to adopt an omni-wheel or similar holonomic drive system (though Ross hasn’t revealed the exact mechanism), likely to match the agility of others rossvideo.com rossvideo.com.
• Vertical movement & arms: MRMC’s RPS-LT is unique in offering a full robotic arm on the pedestal. All the others primarily use a telescoping column for up/down (and then a pan/tilt head on top for framing). The arm gives RPS-LT much more flexibility in camera placement – it’s the only one that could, for instance, reach out over a table or do a low-angle swoop without moving the base. However, arms can have less payload capacity than a beefy straight column. Shotoku, Telemetrics, and Ross columns can typically lift heavy camera packages straight up and down. Shotoku’s column is notable for being non-pneumatic (older pedestals often used air pressure balancing) and still supporting 90 kg smoothly shotoku.co.uk shotoku.co.uk. Telemetrics offers various Televator column heights (often customized per client). Ross’s Artimo column is designed for a wide range (they specifically mention from “below the desk to above head height” range) rossvideo.com, giving a lot of vertical travel.
• Payload: In terms of sheer payload, Shotoku and Ross CamBot lead at ~90 kg – enough for the largest studio configurations (think a full-size teleprompter, big ENG camera, talent monitor, etc.). MRMC’s RPS-LT at 45 kg is sufficient for most broadcast setups (which often run ~25–40 kg), but might not handle some extreme cases (like a large 40× lens plus huge prompter and monitor – though MRMC could always offer a higher-payload arm if needed, or recommend the RPS-C2 column for heavy loads). Telemetrics doesn’t publish a number, but users report it handles typical broadcast cameras with prompters fine – likely in the 50+ kg range. It’s safe to say all these systems can carry standard broadcast camera packages; only edge cases (like 3D stereo rigs or very heavy box lenses) might exceed some limits.
• Tracking and navigation: Here’s where a lot of differentiation happens. MRMC’s approach: onboard LIDAR and scanners feeding directly to the FreeD protocol – effectively an inside-out tracking (the robot senses its environment and itself). Telemetrics originally went with an outside-in optical method: small reflective stickers on the ceiling and a camera on the pedestal that sees them newscaststudio.com. This gives absolute position reference without floor targets, but needs a grid of stickers overhead (Telemetrics says it never has to re-home as long as it sees those markers). Telemetrics is now augmenting that with ultra-wideband tags (TeleTags) that can be placed on set pieces or worn by talent, improving the system’s knowledge of dynamic obstacles or positions newscaststudio.com. It’s a very high-tech solution, essentially creating a local GPS-like system in the studio. Shotoku offers an optional “Absolute Navigation” system – interestingly, they partnered with Mo-Sys for a variant of the StarTracker (which uses reflective stars on the ceiling and an upward camera) shotoku.co.uk. Or users can rely on relative/dead-reckoning with periodic re-referencing. Shotoku’s SoftRail concept also helps with navigation by letting operators define paths, reducing risk of getting lost. Ross CamBot uses a clever but simpler method: an initial homing using a known floor target and an image sensor to correct drift rossvideo.com, then dead-reckoning with high-precision wheel encoders (their differential design supposedly accumulates less error than caster designs rossvideo.com). Many Ross users find it accurate enough for AR after that one-time calibration (Ross includes tracking data in all CamBots by default rossvideo.com). Ross Artimo jumps to modern tech with LiDAR and likely simultaneous localization and mapping (SLAM) algorithms – similar to MRMC’s philosophy but presumably proprietary to Ross rossvideo.com.
• Safety and multi-robot coordination: All systems implement safety stops and collision avoidance to some degree. Shotoku uses ultrasonic sensors around the base (if something gets too close, it stops) and bumper strips for physical contact shotoku.co.uk. Telemetrics had a similar ultrasonic system and now is introducing TeleSense with time-of-flight sensors for presumably more refined 3D sensing newscaststudio.com. Telemetrics also lets you manually grab the pan-bar to immediately pause motion newscaststudio.com (a “cobotic” feature for safety/override). Ross CamBot historically uses simpler methods (pressure bumpers and careful programming of collision-free paths, plus in OverDrive the cameras are automated so they don’t collide logically). MRMC’s RPS with LiDAR can likely identify obstacles in its path more intelligently (e.g., slow down if someone walks nearby rather than just emergency stopping). MRMC’s literature explicitly mentions “multiple units can operate safely… with seamless movement” through built-in collision avoidance tvtechnology.com. We saw that at IBC they ran multiple RPS units together. This likely involves a shared coordinate system and communication between robots to yield right-of-way or maintain spacing – a level of coordination that not all competitors have openly discussed. Ross, for example, often requires an external system or careful preset coordination to run multiple pedestals, whereas MRMC seems to be making it intrinsic.
• Software and automation: Shotoku’s TR-XT control software is a mature platform that a lot of operators appreciate – it gives a visual map (they showed a new StudioView at IBC 2025) and ties in features like shot presets and face tracking tvtechnology.com. Telemetrics RCCP control panel similarly provides a “Studio View” 3D map and advanced motion scripting, and integrates with their reFrame tracking and even third-party devices newscaststudio.com. Ross provides SmartShell (for CamBot/Furio) and now whatever Artimo uses (likely an extension of SmartShell) – Ross emphasizes integration with production automation (OverDrive) and new keyframing tools (MotionDirector) for smooth curved moves rossvideo.com. MRMC’s Robokam/Flair tries to bring the more advanced motion control mindset (keyframing, complex move editing) into a broadcast-friendly UI mrmoco.com mrmoco.com. It’s relatively new in broadcast, so the user base is smaller, but MRMC’s strength is in complex move programming (from the film world), which could be a boon for creative directors in TV who want signature shots that are hard to achieve with simpler systems.
• Unique features: Each system has some special sauce:
  • Shotoku’s SoftRail (introduced in 2023) is quite innovative: it lets you constrain a free-roaming pedestal to a virtual track – you draw a path and the pedestal will follow it precisely as if on rails, but you can also break out of it at will tvtechnology.com tvtechnology.com. It’s like having the best of both worlds (rail dolly predictability and free-roam flexibility).
  • Telemetrics’ Wireless OmniGlide (2022) is a major feature for studios that want absolutely no tether cables – it runs on a swappable battery and sends camera feed via wireless link, meaning the robot can roam anywhere without a cable wrangler tvtechnology.com tvtechnology.com. That’s a big advantage on large stages or when quick repositioning is needed (no cable snags). It also allows using OmniGlide in 360° sets or moving between studios.
  • Ross’s Artimo is basically reimagining the pedestal; they pitch it as a “revolutionary system” to address issues like needing perfectly smooth floors or worrying about track tapes rossvideo.com. Artimo’s ability to handle “virtually any hard indoor flooring” is a selling point rossvideo.com – meaning it might tolerate small bumps or less-than-ideal floor levelness via clever suspension or software. This could appeal to broadcasters in older buildings or multi-use studios.
  • MRMC’s RPS-LT key differentiator is obviously the robotic arm. None of the other systems can replicate moves like an arm can (e.g., reaching over obstacles, extreme low-angle shots right near the floor, etc.). It effectively brings motion control crane capabilities into live production. MRMC also has an edge in that it leverages its Nikon/RED connections – you might see packages where a Nikon camera with MRMC tracking works seamlessly for, say, live avatar or volumetric capture, or a RED cinema camera on an RPS for high-end virtual production to get cinema-quality footage in a TV production scenario provideocoalition.com provideocoalition.com.

In terms of pricing, specific numbers are typically closely held and can vary depending on configuration, support, etc. However, it’s generally known that these are significant investments in the realm of tens of thousands of dollars (or more) per unit. Ross has positioned the CamBot 600XY series as a mid-budget option vs the high-capacity 700XY (i.e. offering choices to suit budgets) rossvideo.com. Telemetrics OmniGlide, given its cutting-edge tech, is at the premium end (especially with options like wireless). Shotoku SmartPed also competes in the high end, though the company often pitches cost-savings in automation versus manual operation. MRMC hasn’t released pricing publicly for RPS-LT, but being a new high-end entrant with dual functionality (rover + arm), one can expect it to also sit in the upper price bracket. They might, however, argue that one RPS-LT could potentially replace a pedestal and a jib, giving some value justification there.

For broadcasters, another aspect is integration and support. Many have legacy systems (e.g., Vinten/Radamec, an older player now under Videndum that had robotic pedestals too). Switching to a new vendor means training and possibly mixing different robotics in one studio. MRMC is likely to push that their solution is modern and network-based, hopefully making integration smoother. The company’s background in support for film industry might reassure some, but they will have to prove themselves in 24/7 broadcast environments where reliability and quick support is key. Established players like Telemetrics and Shotoku have long track records with big broadcasters (e.g., Telemetrics gear is in CNN, CBS, ESPN; Shotoku at BBC and others; Ross Cambot in many U.S. local stations). MRMC’s first adopters will be watched closely as reference cases.

Market Trends: Robots Take Center Stage in Broadcast & Virtual Production

The introduction of systems like RPS-LT is part of a broader trend transforming the production industry: the rapid rise of robotic camera systems in studios, live events, and even film sets. A decade ago, fully robotic pedestals were a rarity – now they are increasingly common in state-of-the-art studios around the world. Let’s explore some of the key trends and notable adoptions driving this shift:

• More Motion = More Engagement: Broadcasters have found that adding camera movement to traditionally static formats (like news or talk shows) creates a more engaging visual experience for viewers. With the proliferation of large video walls and expansive studio sets, dynamic camera moves help show off those sets and keep the audience’s attention. Robotic pedestals enable these moves reliably. As one Ross executive put it, “with traditional broadcast studios changing – increasing use of LEDs, more versatility… and the need to have more on-air movement to engage and entertain the audience – we designed Artimo” rossvideo.com. This encapsulates the industry sentiment: movement on screen is now expected, and robots are a key tool to deliver it consistently (you can’t rely on manual handheld cameras for silky-smooth repeatable shots, especially not in small studios).
• Automation & Cost Efficiency: Many broadcasters are automating their studios to reduce operating costs. Instead of a camera operator behind each camera, a single operator or the director can run multiple robotic cameras. Early automation often meant static PTZ cameras; now, with trackless pedestals, even the moving cameras can be automated. Networks have found that while the upfront cost of robotic pedestals is high, the long-term savings on labor and the flexibility in production can pay off. Local TV stations, always under budget pressure, have been big adopters of systems like Ross Cambots paired with their OverDrive automation, literally running entire newscasts with zero camera operators on the floor. A recent TV Tech report noted “robotic deployments are transforming local news” – citing how mid-market stations use robotic cameras to achieve high-end looks without adding staff tvtechnology.com.
• Improved Reliability and Trust: Early generation robotic cameras (from 1990s into 2000s) sometimes had a reputation for errors – losing calibration, drifting off marks, or even occasional mishaps on air (there are infamous blooper reels of runaway camera robots). Over the years, companies solved many of these issues with better sensors, battery backups, and refined software. Now, systems like Telemetrics OmniGlide or Shotoku SmartPed boast they can run 24/7 with minimal maintenance, and precise repeats day in day out rossvideo.com shotoku.co.uk. This improved reliability has earned the trust of major broadcasters. For example, when CBS News overhauled their Evening News studio in 2022, they installed a set of Telemetrics OmniGlide rovers as the primary cameras – a strong vote of confidence in the tech (and indeed, those have been roving reliably on-air each night). Similarly, British and Japanese broadcasters (BBC, NHK, etc.) have long employed Shotoku and Vinten systems for unmanned studios. With MRMC now entering the fray, it indicates that confidence in robotics is so high that even new players are willing to be judged in live broadcast scenarios.
• AR/VR and Virtual Production Synergy: The boom in augmented reality (AR) graphics and virtual sets is tightly linked to robotic camera adoption. To sell the illusion of AR objects in the studio, the system needs precise real-time camera tracking. Robotic pedestals provide that data out-of-the-box – every move is measured and sent to the graphics engine, far more smoothly than trying to manually track handheld cameras. That’s why vendors brag about tracking integration: Ross giving tracking at no extra cost rossvideo.com, MRMC and Shotoku supporting the FreeD protocol mrmoco.com, etc. Virtual production (using LED walls and game engines like Unreal) is another area where robotic cameras shine. On a VP set, often you want to program camera moves that sync perfectly with VFX – something motion control rigs did in film. Now with products like RPS-LT or Artimo, you have motion-control-level movement but in a form usable for live or real-time shoots. We’re seeing convergence of broadcast robotics and cinema tech. MRMC’s presence at events like IBC with partners like Disguise (virtual production) proves this crossover is happening provideocoalition.com. In some cases, a director might use the same robotic pedestal for a live newscast in the morning and a virtual production shoot in the afternoon, just swapping the camera and adjusting the software mode.
• Notable Adoptions: Aside from the CBS example, there are many public cases:
  • Telemetrics OmniGlide: Deployed at ABC News in Australia (ABC Melbourne studios did a big upgrade with multiple OmniGlides in 2023), at CBC/Radio-Canada, and in several U.S. network studios and megachurch production studios (like Life.Church). OmniGlides are also used in some legislative TV chambers where quietly moving cameras are needed.
  • Shotoku SmartPed: Used at BBC News, Sky Sports News in the UK, and by Al Jazeera. Shotoku often highlights that their systems are used in government parliaments too (for example, the UK Parliament’s video system uses Shotoku robotic heads – not pedestals, but shows trust in their robotics).
  • Ross Cambot: Very widely adopted in North American local news (stations in the Gray, Nexstar, Hearst groups, etc. use Cambot with automation). Also at some national studios like Discovery’s DC studios, and Ross has an installation at YouTube Space in Toronto. The new Artimo is too new for case studies, but Ross has hinted at significant interest from current clients looking to upgrade to more flexibility.
  • MRMC RPS-LT: Since it’s brand new, we don’t have public client names yet. However, given MRMC/Nikon’s global reach, we might expect early deployments in flashy showcase studios or major events. It wouldn’t be surprising to see an RPS-LT show up at a high-profile event broadcast or a tech-forward network’s studio in the next year. MRMC’s track record with high-end clients (they’ve provided robotics for the Olympics’ photo capture rigs and for Marvel movies’ VFX, for instance) suggests they’ll target flagship projects to prove RPS-LT in real-world use.
• Blending of Roles – Camera Operators and Robotics: A human element of this trend is how camera operators are adapting. Many robotic pedestals (including RPS-LT) offer pan-bar attachments or local control modes to give camera operators a familiar interface if needed newscaststudio.com. The idea of the “cobot” (collaborative robot) is emerging: devices that can operate autonomously but also be manually driven when a creative touch is needed. Telemetrics explicitly calls their OmniGlide’s manual control bar “cobotic” because an operator can grab it at any time without flipping a switch newscaststudio.com. MRMC’s and Ross’s systems similarly allow instant manual override. This means the traditional role of a camera operator is evolving into that of a robotics operator or camera director, where one person might manage an array of robots. In some high-end productions, we even see operators “performing” with the robots – pre-programming a complex move and then tweaking it live with slight joystick inputs to add a human touch (something MRMC’s motion control clients have done for film, now coming to live TV).
• Vendor Collaborations and Ecosystem: The market is also seeing partnerships across vendor lines to ensure interoperability. For instance, MRMC’s Nikon and RED alliance at IBC hints at a tight integration between camera, lens, and robot. Similarly, Telemetrics’ acquisition by EVS (a major live production technology firm) in 2022 newscaststudio.com suggests we’ll see its robotics integrated with EVS’s live replay and switching systems. Shotoku has worked with Mo-Sys for tracking; Ross partners with tech like AccuWeather or Vizrt to ensure their robotics feed those systems. Ultimately, the robotic pedestal is one part of a bigger puzzle, and success comes from fitting it smoothly into the whole broadcast chain.
• Entertainment and Film Uses: Outside of pure broadcast, robotic pedestals are finding roles in other areas:
  • Virtual concerts and awards shows: where a robot can execute perfectly rehearsed moves amid performers (with collision avoidance ensuring safety).
  • Corporate and education studios: Universities and companies are installing broadcast studios for internal productions and often choose robotic cameras for ease of use (one tech can run a studio).
  • Film/TV production: We mentioned virtual production; additionally, for multi-cam TV shows or soap operas shot in studios, trackless pedestals could allow quick repositioning between scenes without laying down track – potentially an area of growth.

Looking ahead, one can foresee even more autonomous camera systems. The current systems avoid obstacles but generally still follow pre-set paths or operator commands. With advances in AI, we might soon have pedestals that can decide on the fly how to frame a shot or follow action (some experimental systems can, for example, track a sports play automatically – though those often use simpler PTZs or rail cams currently).

MRMC’s RPS-LT and its contemporaries are essentially platforms for innovation. They provide the reliable mechanical base; as software evolves (face recognition, scene understanding, etc.), they can do progressively smarter things. Mark Roberts Motion Control, being at the intersection of cinematography and broadcast, might even introduce features like multi-robot coordination to the extent of choreographing “camera dance moves” during a show (imagine two RPS-LTs doing a synchronized move around a stage for a reality show performance).

In summary, the trajectory of the market is clear: robotic camera pedestals are moving from novel extras to central production tools. They bring the ability to wow viewers with motion and give producers enormous repeatability and control. As all the major vendors – MRMC, Shotoku, Telemetrics, Ross, and others – continue to push technology (be it better autonomy, smoother motion, or integration with new workflows), the ultimate winners are the viewers who get to enjoy more visually stunning and immersive productions. And for the industry, it opens creative possibilities that were once impractical or too costly.

The MRMC RPS-LT, with its roaming base and nimble arm, encapsulates these trends – it’s a bridge between high-end motion control cinematography and day-to-day broadcast operations, offered in a turnkey package. If it lives up to its promise on studio floors, it could inspire a new wave of production techniques and even friendly one-upmanship among broadcasters (until the next big thing – perhaps drones in studios? – comes along). For now, the robotic revolution is well underway on the ground, rolling on wheels and quietly changing how our news and entertainment is captured.

Future Outlook: What’s Next for MRMC and the Competition

As we look to the future, there are several developments on the horizon in the robotic camera systems space, both from MRMC and its competitors:

• MRMC’s Next Moves: With the RPS-LT now launched, MRMC will likely gather feedback from its initial users and could iterate on the design. One possibility is offering different arm sizes – e.g., a version with the larger StudioBot XL arm for even greater reach or payload, essentially an “RPS-XL”. (Their StudioBot range already has S, M, L sizes mrmoco.com, so conceivably the pedestal could be sold with options.) Another area could be a wireless upgrade for RPS – since Telemetrics has done it, MRMC might add a battery power module and wireless video link to allow cable-free roaming. Also, MRMC has a lot of experience with high-speed robotics (Bolt cinebots); while not directly needed in news, we might see some of that DNA in future broadcast offerings (imagine a sports replay camera on a robotic pedestal that can zip around faster than current models – currently RPS is ~0.3 m/s top speed, but maybe a sports version could be quicker for halftime show excitement).
• Software Enhancements: MRMC will no doubt refine its Robokam control software, possibly taking cues from broadcast engineers’ wishlists. Features like newsroom computer system (NRCS) integration to link shots to a rundown, or plugins for popular automation systems, could be expected. Polymotion Chat’s AI tracking might be more deeply integrated as well, making the RPS-LT capable of full hands-off operation in simple scenarios (like single-person newscasts or lecture recording).
• Competing Updates: The competition isn’t standing still either. Based on announcements:
  • Telemetrics (now under EVS) will likely push more into AI and automation. They introduced TeleTags (UWB trackers) and enhanced TeleSense in 2025 newscaststudio.com newscaststudio.com – we can expect those to become standard offerings on OmniGlide, making it even smarter at avoiding obstacles and working among people. Perhaps the next OmniGlide version will integrate LiDAR too, since that’s a proven approach (they already use optical and ToF; adding LiDAR could further improve mapping).
  • Shotoku might evolve its SoftRail into something bigger – maybe a full studio mapping system or an AI pathfinding feature (their messaging of listening to customers tvtechnology.com implies they’ll add features studios ask for). Also, Shotoku showed a prototype “Absolute Navigation Interface” (AN-I) and System (AN-S) which likely use external references to give continuous absolute positioning shotoku.co.uk – in the future, those might become built-in default rather than add-ons, if the cost comes down or reliability proves essential for AR.
  • Ross Video will be busy turning Artimo from a new product into a deployed one. The success of Artimo will depend on field trials (Ross had a demo at NAB 2024 and said it’s launching, so by 2025-26 we should see first installations). Ross might also integrate Artimo with its AI “Vision[A]iry” system (they have an AI tracking product for PTZs) rossvideo.com. It’s conceivable Ross could introduce a robotic arm of their own if they see MRMC winning projects because of it – though Ross tends to stick to heads and pedestals, they do have a product called Furio that is a robotic dolly+jib on track, which covers some of that arm functionality. Perhaps a free-roaming Furio (basically an Artimo with a jib arm) could emerge, combining the pedestal and small jib.
  • Others: There are smaller players and adjacent products – e.g., Mo-Sys offers a “U50” robot arm for cameras and rail dollies (but not a pedestal), and companies like Technopoint make track+column systems. It’s possible new entrants will try building trackless pedestals given the momentum (even companies like DJI or others from the robotics realm could eye broadcast if the market grows).
• Market Adoption: We can expect more widespread adoption of these systems globally. Many news studios in developing markets or smaller regions have not yet transitioned to robotic pedestals; as prices gradually normalize and the technology proves its worth, we’ll see even mid-tier stations investing. There’s also the rental market – MRMC might leverage its rental services (they rent Bolt arms to film productions) to rent RPS units for events or temporary productions. This could open up usage in one-off events like award shows, sports tournaments, etc., where a broadcaster might not own such a system but wants the capability for a special production.
• Interoperability and Standards: With many systems providing FreeD, we could see industry standards solidify around camera tracking data and perhaps safety protocols. There might even be moves towards a standardized control interface (so that, hypothetically, one control system could drive different brands’ pedestals). That is not the case yet (vendors have proprietary control), but broadcasters might push for it if they want to mix and match gear. MRMC, being newer, might build in compatibility modes or drivers for third-party controllers to ease adoption.
• Future Models: MRMC’s RPS is brand-new, but at NAB 2025 they referred to it as “the RPS for Broadcast” newscaststudio.com, implying maybe there could be RPS for other domains. We might see an “RPS Studio” and an “RPS Sport” variant, for example. An outdoor-capable roaming pedestal (for instance, for sports sidelines or golf coverage) could be an area to explore – though challenging, since outdoor terrain and weather add complexity. Telemetrics had a product for large venue sports (their robotic systems on truss or rail for football, etc.), but a rugged self-driving camera pedestal could be interesting for things like golf courses or Olympics field events.
• Convergence with Drones and Cablecams: While separate technologies, they serve overlapping goals (dynamic cameras). We might see production workflows where drones handle outdoor aerial shots and robotic pedestals handle indoor and ground shots, all tracked into a unified AR system. EVS’s acquisition of Telemetrics hints at such synergy – EVS also works with drones and refs on sports broadcast.

In essence, the future will bring faster, smarter, and more integrated robotic camera systems. MRMC’s RPS-LT is at the forefront of this wave right now, pushing the envelope with its combination of mobility and robotic articulation. Its presence has certainly caught competitors’ attention. As they all innovate, the capabilities will grow – perhaps we’ll see pedestals that map their environment in 3D like autonomous vacuums do in homes, or ones that use AI to suggest camera shots (not just execute them).

For MRMC, a Nikon company, success with RPS-LT could mean a stronger foothold in the broadcast sector and impetus to develop a whole lineup of broadcast robotics (beyond arms and pedestals, maybe AI directing systems, etc.). For the traditional competitors, MRMC’s fresh approach might spur them to either collaborate (for example, integrating MRMC arms on their bases? Who knows) or up their own game.

At the end of the day, content creators and audiences stand to benefit. We’re entering an era where the barrier between imagination and execution of a camera move is dissolving. A director can dream up a wild shot – say, starting inches off the floor, orbiting around a host, then booming up to a wide – and tools like the RPS-LT can make it happen reliably, every time. As these tools spread, expect your nightly news or favorite talk show to start looking a lot more like a well-choreographed movie scene, with smooth Steadicam-like and crane-like shots becoming commonplace. The robotic camera revolution is here, and RPS-LT is one of the heralds of this new age in production.

Sources:

1. MRMC (Mark Roberts Motion Control) – Press Release / IBC 2025 Announcement of RPS-LT and Cinebot Nano provideocoalition.com provideocoalition.com
2. TV Technology – IBC 2025 coverage: “MRMC to Showcase New Robotics at IBC 2025” by Tom Butts tvtechnology.com tvtechnology.com
3. MRMC – Product Page: RPS Roaming Pedestal System (specifications and features) mrmoco.com mrmoco.com
4. NewscastStudio – NAB 2025 contributed content: “Introducing the RPS for Broadcast” (MRMC’s NAB promo) newscaststudio.com newscaststudio.com
5. ProVideo Coalition – Jose Antunes, “MRMC, RED and Nikon to show integrated solutions at IBC2025” provideocoalition.com provideocoalition.com
6. Shotoku – Press Release / TV Tech: “Shotoku to Feature Latest Robotic Control Enhancements at IBC 2025” by Phil Kurz tvtechnology.com tvtechnology.com
7. Shotoku – SmartPed Product Data Sheet (technical specs and features) shotoku.co.uk shotoku.co.uk
8. NewscastStudio – “Telemetrics gives studio pedestals the freedom to ‘glide’” (Telemetrics OmniGlide overview, partner content) newscaststudio.com newscaststudio.com
9. TV Technology – “Telemetrics Eliminates Camera Cables With New Wireless Robotic Camera Pedestal” by George Winslow tvtechnology.com tvtechnology.com
10. Ross Video – CamBot XY Pedestals Product Page (product details and features) rossvideo.com rossvideo.com
11. Ross Video – Press Release: “Ross Video Launches Artimo… Free-Roaming Robotics Studio System” (NAB 2024) rossvideo.com rossvideo.com
12. NewscastStudio – “Telemetrics… innovations at the 2025 NAB Show” (Press release, Telemetrics updates) newscaststudio.com newscaststudio.com
13. MRMC – StudioBot Product Range Page (features of Robokam software, autotracking, etc.) mrmoco.com mrmoco.com
14. TV Technology – “Sponsored: Robotic Deployments Are Transforming Local News” (discussion of robotic cameras in newsrooms) tvtechnology.com