Robots for film, photography and content production

# Robots for film, photography and content production Hiring a robot for a shoot has more in common with hiring a specialist camera rig than with hiring an event attraction. The robot is a subject or a prop, the schedule is unforgiving, and the cost of a delay is measured in crew hours. ## What productions usually need Most shoots need a robot that looks right on camera and performs a specific, repeatable action on cue. That is a pre-programmed or teleoperated routine, executed identically across takes. Autonomy is rarely useful on a set, because a director wants the same movement again, not a fresh decision. Some productions need the opposite: genuine autonomous behaviour captured as documentary footage. Say which one you need in the brief, because they select for different suppliers. ## Repeatability, cue and timing Ask the supplier directly how repeatable a movement is, how it is triggered, and how long the reset between takes is. A three-second action with a ninety-second reset changes the shooting schedule. Ask who operates the trigger and whether they can take a cue from the first AD. Ask about run time on a battery and how long a swap or charge takes, then plan the shot list around it rather than discovering it at hour four. ## On camera Robots are often noisy. Fans, actuators and footfalls are all audible, and on a dialogue scene this matters. Ask the supplier about noise, and if sound is critical, plan to record clean audio separately. Ask about appearance in detail: shell finish and whether it flares under lights, whether status LEDs can be disabled or masked, whether branding can be removed, and whether the unit can be dressed, wrapped or costumed. Confirm what surface modifications the supplier will permit; some finishes cannot be taped. ## Set conditions Floor surface is the recurring problem. Studio floors, location interiors, sand, wet ground, cobbles and grass all behave differently under a legged robot. Give the supplier photographs of the actual location. Confirm temperature range and whether any of the shoot is outdoors in rain, because most of these machines are not weather rated. Agree the exclusion zone with the first AD and make sure it survives the moment the camera moves. ## Rights, clearances and the manufacturer This is where robot hire differs most from other prop hire. The robot is a recognisable, trademarked product, and a manufacturer may have views about how it is depicted, particularly in advertising or where the depiction is unflattering or implies a capability the robot does not have. Establish early whether you need the manufacturer's permission as well as the owner's, and get any clearance in writing. Agree usage and territory with the supplier explicitly: is this a one-off social post, a national campaign, or perpetual worldwide use? Also agree whether the supplier may use the resulting footage in their own portfolio, and whether they are credited. ## Scheduling and cost Productions run late. Ask what the overtime rate is, what the latest wrap is, and what happens if a weather day is called. Prep days, tech recces and rehearsal days are usually chargeable. Build the comparison the way the pricing guide describes, including both transport legs and the technician who is with the robot all day. ## What to include in the brief - The type of production, and the intended use, territory and duration of the footage. - Shoot dates, prep days, and whether a weather day is planned. - Location and floor surface, with photographs. - Interior or exterior, and expected conditions. - The specific action required, and how many takes you expect. - Whether clean audio is needed. - Whether the robot must be unbranded or dressed. - Who the production contact is, and the insurance the production carries.