Mo-Sys broadcast robotics systems are engineered for high-performance live broadcast and remote production, combining precision mechanics, advanced stabilisation, and robust construction. These robotic camera systems support a wide range of payloads and integrate seamlessly with real-time graphics workflows. Designed for reliability and control, Mo-Sys solutions enable consistent, high-quality output across studio automation, events and live sports environments.
Yes, sports broadcast robotics is one of the main use cases for our broadcast robotics range. The U50 acts as a dedicated live event and sports broadcast remote head for box lenses following fast action such as football, ice hockey, golf, tennis or motorsports, while lighter heads and rails cover studio and pitch-side coverage. Across the range, robotic cameras for sports rely on the same low latency camera robotics that keeps a fast-moving subject in frame without visible lag.
Remote camera control lets an operator move pan, tilt, zoom, and focus from a control room or OB truck using devices like hand-wheels, a pan-bar, or a joystick, with the camera replicating those movements accurately at the other end. This is what makes true remote production possible: Mo-Sys camera robotics are designed as a full remote production camera system, connected by bus cable, ethernet, or fibre for long-distance runs, so broadcast automation can extend well beyond the studio floor.
Broadcast robotics covers the motorised camera systems that let a studio or live production run shots without an operator physically handling every camera. Mo-Sys builds this as complete broadcast automation, from robotic rails and remote heads to fully encoded cranes, all working as one connected broadcast camera system so producers can repeat, program, or remotely control shots across a show rather than resetting each camera manually.
Backlash is the small delay or play between a motor's input and the camera's actual movement, which shows up on screen as judder or lag. Mo-Sys broadcast robotics are built to be zero backlash - backlash-free using precision gear drives instead of worm gears, which is what makes them genuinely. This is the foundation of our precision camera robotics and low latency camera robotics approach, giving operators instant, delay-free control however heavy the payload.
A 2-axis remote head gives pan and tilt control, which covers most standard broadcast camera moves without the added complexity of a roll axis. Mo-Sys offers 2-axis remote head options within the broadcast range, such as the ultra-compact L20, built for tech-less, everyday studio and location ENG use. These heads use the same remote camera control principles as our larger systems, so a broadcast can standardise on one control approach across a mix of remote head camera sizes.
A remote head for box lens work is designed to control the largest, heaviest telephoto lenses used in sports and long-range production. The Mo-Sys U50 is our remote camera head built for exactly this: a high payload remote head rated up to 50kg, with a U-shaped double frame for stability during fast whip pans. As a sports broadcast remote head, the U50 is used for robotic cameras for sports such as football, ice hockey, and motorsport, giving operators the same precision and control as being on-site, but from a control room, which is at the core of Mo-Sys sports broadcast robotics.
Outside broadcast robotics covers camera systems built to be operated remotely from an OB truck or control room rather than on location by hand. As an OB production robotics system, Mo-Sys remote heads like the U50 support full remote broadcast operation, moving cameras and lenses from a distance with the same precision as manual control. This is central to what we mean by remote production and a remote production camera system: fewer people needed on-site, without any compromise on responsiveness or image quality.
Newsroom broadcast robotics needs to be reliable, repeatable, and simple enough to run without a dedicated technician on every camera. Mo-Sys newsroom camera robotics, led by MoRail and our smaller remote heads, brings together broadcast automation, an automated camera movement system, and PTZ camera automation in one setup, so producers can pre-program shots and rely on consistent, accurate coverage, show after show, whether it's a traditional studio, greenscreen, or LED volume environment.
An encoded camera crane system tracks its own exact position at all times, which is essential when real camera movement needs to line up with virtual graphics. The Mo-Sys e-Crane is our encoded remote head for AR graphics and virtual production remote head solution, built as a rigid, fully encoded robotic camera crane so there's no drift or "floating" between the real and virtual image. As one of our virtual production crane systems, the e-Crane remembers its position even after power-down, making it a reliable broadcast robotic crane system and virtual production camera movement system for studio-based AR and XR work, right down to close-up graphics like sports analysis tables.
A PTZ rail system like the Mo-Sys MoRail is a camera rail system built specifically for automated, repeatable studio motion rather than manual dolly pushes. As a broadcast camera rail system, MoRail supports major PTZ and ENG cameras up to 15kg, with motorised, height-adjustable legs and an automated camera movement system that lets producers program pan, tilt, zoom, focus, and rail position in advance - ideal for newsroom broadcast , PTZ camera automation and wider broadcast camera systemautomation.
