We engineer pure precision.

Motion control is a filmmaking technique that uses a computer-controlled camera robot, also called a motion control rig, to execute precise, repeatable camera moves. Once a move is programmed, it plays back identically every time, down to the millimetre.

That repeatability unlocks shots that would be difficult or impossible to do by hand: high-speed slow motion, time-lapse with real camera movement, character cloning, and seamless compositing across multiple takes. The camera move data can also be exported and fed directly into 3D software like Unreal Engine, Maya, or Blender, making CGI integration clean and precise, with no manual tracking required.

Used in commercials, cinema, music videos, and VFX-heavy productions. Often the cleanest solution where other approaches would mean hours of post, compromised shots, or both.

The robot arm moves at up to 29 km/h. That's faster than most handheld camera moves, maintaining constant, full precision. Combined with the Phantom Veo 4K, the camera captures up to 1,000 fps in 4K, slow motion at a level that the human eye can't actually follow.

Maximum arm speed depends on payload and track configuration. At full 10 kg payload, the rig still hits its top speed without losing positional accuracy.

Our Bolt Jr+ has a repeat accuracy of 0.05 mm. That's about half the thickness of a human hair, every take lands within that tolerance, every time.

What that means in practice: takes can be layered, composited, or matched to CGI without manual tracking. Character cloning works because the camera doesn't drift between passes. Multi-pass lighting works because the angles line up frame for frame. Slow-motion match cuts work because the move is identical at 25 fps and at 1,000 fps. None of that is possible without sub-millimetre repeatability.

Yes, that's where it spends most of its time. The Bolt Jr+ is configured to roll, fits through any standard 75 cm doorway, and we're bookable across Berlin, Germany, and the rest of Europe. Studios, sets, warehouses, indoor and outdoor locations all work.

Two things we need: step-free access, since lifting the rig takes four people, and power. Regular wall sockets are fine, generators also work, as long as they deliver enough output.

The Bolt Jr+ is bookable on its own. It's compatible with all current cinema cameras, so you can bring whatever the project calls for, an ARRI, a RED, a Sony, or similar brands. Maximum payload at full speed is 10 kg, which covers most cinema setups including camera, lens, and motors.

If you'd rather not source a camera separately, we offer the rig together with our in-house Phantom Veo 4K. The bundle is built for high-speed work up to 1,000 fps in 4K and comes at a more attractive rate than booking the rig and the camera independently.

We've also shot on analog film with the rig multiple times, when the brief calls for that look.

Roughly 60 minutes from arrival to first shot. The rig is built for fast deployment: It rolls on its own wheels, fits through any standard 75 cm doorway, runs on regular wall sockets, and we come as a team of two so we can act as an autonomous team.

What can extend the timeline: long stretches of track, restricted access, or coordination with other departments on set. For tricky locations, a quick walkthrough or floor plan in advance saves time on the day.

Two of us, always. An experienced motion control operator who programs and runs the rig, and an assistant who handles setup, transport, and on-set support. Together we cover unloading, assembly, programming, and operation without slowing down the rest of the crew.

For larger or more complex shoots, we can scale up with additional operators or technicians from our network on request.

Standard 2- to 3-point camera moves are programmed in around 10 minutes. The operator sets start, end, and any keyframe positions, Flair calculates the path, and the move is ready to play back. Every parameter stays adjustable at any time, speed, easing, timing, individual keyframes, even after a successful take.

More complex moves take longer, an SFX shot with multiple keyframes and trigger sync might need 30 minutes or more, but rarely longer than the lighting setup or the SFX rigging that's happening in parallel.

For very complex shoots, we recommend a pre-production session in our Kreuzberg studio or on location, so the move is dialled in before the shoot day.

Yes, every programmed move is saved as data and can be played back exactly, the next day, the next week, or in a completely different location. That opens up real production advantages.

For campaigns and webshop content shot in batches, the same move can be reused across weeks or months of production. Same product, same camera path, same look, regardless of when or where the next batch is shot.

For talent with limited time, a celebrity who has ten minutes on set for example, we can pre-program the move with a stand-in until it's exactly right, then play it back the moment the talent steps in front of the lens. Time on set goes to performance, not problem-solving.

For shoot days with many setups, saved moves keep the rotation fast. The rig replays its choreography on demand while the crew resets lighting, props, or talent in parallel, no re-programming between takes.

Yes. Motion control is well suited to virtual production workflows, the rig streams its position data live, so a digital backplate on an LED volume can match the camera move in real time, frame for frame. The result is in-camera VFX that holds parallax, perspective, and reflections without compositing in post.

The same applies to setups with Unreal Engine driving the LED wall: the rig feeds live tracking data into the engine via standard protocols, and the digital world moves with the lens.

In theory, anything is possible. Next-day bookings have happened, and they can work out fine if the rig is available and the shoot is straightforward.

The honest answer: the more time we have, the better the preparation. A few extra days mean we can plan the moves properly, test edge cases, run a pre-production session if needed, and arrive on set with the choreography already dialled in. Short notice doesn't kill the shoot, it just shifts more of the figuring out into the day itself.

For complex setups with multiple SFX triggers running in sync, CGI integration, or tight talent windows, longer lead times pay off most. Booking a week or two ahead is comfortable for most productions.