Moving Beyond the Gridlock: Camera Robotics and Setup Planning for BT Cyber Security
When The Gate Films and director Dominic O'Riordan came to us for the BT Cyber Security campaign, the camera movement itself was the core of the creative brief. The camera needed to act like a digital data stream, moving fluidly through different rooms and sets.
Executing this look inside a studio required a practical approach to set planning, a flexible hardware setup, and some smart physical maneuvering on the studio floor. Here is a straightforward breakdown of how we did it.
Matching Set Builds Directly to Virtual Data
Because the success of this commercial relied entirely on the specific look and feel of the camera paths, the prep work started early. In pre-production, we worked closely with the director to build and test the camera moves digitally. Because our robot programs translate exactly to the physical world, the production design team could build the physical studio sets to match our virtual paths down to the millimeter. On shoot day, everything lined up perfectly on the first take.
Stitching Invisible Moves Through Base Mirroring
The jewelry store scene required a deep, continuous tracking shot that actually exceeded the physical space available inside the studio walls. The script called for the camera to pull entirely out of a dark safe, move past a couple at a table, and then dive into a tight macro shot of a woman's eye.
To get that amount of travel without running out of room or hitting the studio walls, we split the shot into two parts using a physical mirroring technique. First, we filmed the camera tracking out of the safe with our 3.1m Longboy robot anchored on one side of the room. Then, our crew physically unbolted the robot, moved its entire base to the opposite side of the set, and mirrored the setup in our software.
Crucially, at the exact frame where the two moves meet, the camera’s physical position, angle, and height stayed exactly the same. Because the robot’s internal software automatically recalculated the arm's joints based on the new base position, the camera picked up the path with perfect mathematical alignment. This gave the editing team two perfectly matching plates that stitch together seamlessly, creating the illusion of a single, massive room.
One single robot move with two robot poisitons.
Bringing the Right Rigs for Production Speed
The production department originally requested just a single camera robot for the entire shoot. However, looking at the layouts for the three distinct sets—the jewelry shop, a veterinary clinic, and a creative studio—we knew a single rig would create a massive bottleneck during set changes. Because we own and maintain a large fleet of robotics, we decided to provide a two-robot setup to save time:
The Jewelry Boutique Set: Shot using our high-reach 3.1m Longboy robot arm to achieve long travel.
The Office & Vet Clinic Sets: Shot using our agile 2.1m Stealth robot arm on linear tracks, allowing the camera to glide quickly past actors, desks, and a live fish tank.
By having both rigs ready to go on the stage, we could adjust and test the programming on one set while the art department dressed the next, turning a complex multi-set shoot into a highly efficient two-day block.
Why Work with G6?
We position ourselves as practical production partners. Our strength lies in our ability to offer different styles and sizes of robots to match your project's specific needs, while maintaining quick programming speeds and reliable technical support on set.
Credit List
Client: BT
Creative Agency: Dentsu
Creative Director: Woody Woods
Creative Director: Owen Evans
Account Director: Laura Sylvester
Business Director: Kath Bryan
Agency Producer: Hanna Lowy
Production Company: The Gate Films
Director: Dominic O'Riordan
Producer: Hollie Newton
Production Manager: Alice Briers
Production Assistant: Hannah Porter
Socials: Sasha Belford
1st Assistant Director: Chris Malin
2nd Assistant Director: Ben Eve
Production Runner: Lewis Faithfull
Runner: Sean Vita
Runner: George Morris
Director of Photography: Joe Douglas
Focus Puller: Jeff Vine
Camera Assistant: Liam Lyall
Playback: Matt Hewitt
DIT: Faisal Muhammad
Motion Control: Rammy Anwar & Calvin Tam (G6 Motion Control)
Motion Control (Previsualisation): Andy Rider
Gaffer: Joe Macdonald
Spark: Wes Smith, Harry Cohn, Paul Dempster
Art Director: Liz Melinek
Art Buyer: Anna Boase
Standby Art: James Davison
Set Dresser: James Mac, Gabby, Sophie Little, Zoe Boston, Guy Flaunker, Callum, Jack Henshaw, Nick Wolfenscroft
Photographer: Will Cornelius
Digi: Henry Jackson
Lighting Assistant: George Read
Stylist: Steven Spencer
Stylist Assistant: Gordon Webber
Make Up Artist: Paul Fletcher
Make Up Artist Assistant: Clarissa Crooks
Medic: Lee Tait
Catering: Bobby Tonge
Animal Handler: Paula Stuart
Creative Studio Hero: Katrina Brennan Wright
Vet: Theodore Griffiths
Vet Nurse: Amoakwaa Augustine
Supporting Artists: Lance P, Adam Z, Katey W
Animal Talent: Betty, Spyro
