In video production, we’ve come a long way from the huge tube-based cameras that were typically found in early television studios to modern professional cameras and even smart phones. So, it’s not surprising that many people assume that robotic cameras or pan-tilt-zooms (aka PTZs) would, by now, be inexpensive, reliable, and easy to operate.
It sure seems true that if you add the label “broadcast quality” or “professional” to a piece of gear that its price increases exponentially.
So are PTZs a panacea that solve all the potential problems of live-video production? No. Will they solve yours? It depends.
Define your needs
Do you think you need a PTZ because space is limited? Do you think you’ll get by fewer camera ops? Do you think PTZs won’t be noticed by members of the congregation who seem to complain about anything new that requires electricity? Do you just think they’re cool and that fact alone will help your ministry?
If you don’t know why you need a piece of gear, it won’t be clear if it will accomplish what you want.
Add your list of non-negotiables
Also, list the things that must be true in order for it to be viable. Does it NEED to be wireless, or would that just be nice? Do you have a certain budget that has to be met? Are there other constraints that you can’t get around?
Does it NEED to be wireless, or would that just be nice? Do you have a certain budget that has to be met? Are there other constraints that you can’t get around?
If, try as you might, you cannot get anyone else to help you, a PTZ won’t solve that problem. Sure, you could direct and operate a camera, but not if you’re already running the presentations, doing sound, and/or running lights. PTZs still require people to operate.
That said, it’s a more refined skill, too. Sure, a PTZ can jump from one preset to another, but the subjects might not stay within the bounds of your frame all the time. So, an operator is essential. That presents a problem though because finding someone who has the delicate touch to operate a camera by joystick could prove more difficult than finding someone who can operate one on a tripod.
If your budget is on the low end AND you want smooth, responsive control, you might be pleased to see some USB teleconferencing cameras in the sub-$1,000 range, but remember that these cameras are designed for small conference rooms with just a few people, not a sanctuary with even 100, let alone more. Security cameras aren’t a better option either. They’re just not designed with smooth movement in mind. They’re designed to monitor an area and move quickly or repeatedly.
Remember that each PTZ needs three things in order to work. You need a way to control it, a way to get video to the destination, and a way to power it.
Remember that each PTZ needs three things in order to work. You need a way to control it, a way to get video to the destination, and a way to power it. Most of the time, this requires at least two cables (in the case of IP delivery of video and control), but three in most other cases.
The same problems that plague the network when your congregation is there could also cause problems with IP-based control and video transfer, especially latency. Controlling the cameras with other standards could prove to be a problem, too. Serial control tends to be reliable, once set up, but does suffer from cable-run limits. If you’re using RS-232, for example, you might be able to run the cable to control one camera with no problem, while another might need to swap to a different protocol to keep a solid connection for the longer cable run between the controller and the camera.
How your church was built can play an important role, too. If your sanctuary has stone walls, for example, you might have two problems to overcome. Perhaps you think that since it’s more difficult to run cables through walls, in your case, you could get by with a wireless signal.
Depending on where the receiver is, that might also be a problem. If you were planning to get the signal through those stone walls, even to an adjoining room, depending on the stone, it might not work at all. Then, there’s the problem of powering the PTZs themselves. If you can’t get video or control cables from it, you probably can’t get power to it either.
Also, don’t forget about mounting the cameras themselves. If the perfect spot is on a granite column, that’s a big challenge, too. A regular drill won’t be up to that challenge, so you might need a professional, experienced in stone work, if you can even get permission to drill the holes you need to mount the cameras there.
Inexpensive PTZs might even have trouble with consistent pans or tilt movements, so don’t get too excited if the deal seems too good to be true.
Finally, there are artistic considerations as well. The problems with getting smooth shots tends to be that they don’t start and stop by slowly accelerating, like a shot from a camera op would. Inexpensive PTZs might even have trouble with consistent pans or tilt movements, so don’t get too excited if the deal seems too good to be true.
More expensive for less return
In the end, you’re looking to pay more for less with PTZs. A Canon XA11 HD prosumer camcorder currently sells for around $1,300. A Canon BU-51H which has a similar form factor, but with a pan/tilt mechanism attached, sells for just under $20,000 and that doesn’t include the controller.
Sure, you’d need a tripod, zoom controller, and comms with a traditional operator and tripod set up, but to get a similar shot, you’re going to be spending a lot extra for benefits that might not help in your situation if you go the PTZ route.
Adjust your expectations
Perhaps you’d planned a system with only PTZs, but consider what a system with a mixture of static cameras, PTZs, and/or cameras run by camera ops could do.
If you can’t afford high-end PTZs, try adjusting shots that aren’t live and taking them as static shots or starting movements before you take the shot and taking another before the movement stops.
If you can’t afford high-end PTZs, try adjusting shots that aren’t live and taking them as static shots or starting movements before you take the shot and taking another before the movement stops.
Other options
Consider other options as well. Could you put a small tripod in your FOH location to keep from taking up additional seating space? Maybe instead of a tripod, you could use pedestal and bolt it down to a single location.
If you want movement in your shots, maybe you could use a motorized slider set to truck left and right slowly and back again.
Instead of having two or three PTZs, maybe you could have one, but spend the money that you would have spent on the second on multiple small cameras.
Instead of having two or three PTZs, maybe you could have one, but spend the money that you would have spent on the second on multiple small cameras. Perhaps aim one at the pianist’s hands. Aim another at the drummer. Use a third as a static shot of the pastor or worship leader. Then, use the PTZ to get shots that you can’t anticipate, like the pastor walking out into the congregation or a guitarist who steps forward for a solo.
Bite the bullet and pay for a high-end system
It’s not that there aren’t good PTZs out there. The problem is that if you want one that solves all the problems that many people think they solve, you’ll either have to compromise on how easy it is to use, how good the video looks, or how expensive it is.
If you’re part of a large church with a large budget, then price might be where you compromise. If you’re part of a smaller one, you might decide that difficult to control PTZs or ones that start and stop abruptly are fine for your needs.
