In immersive filmmaking, camera movement is a tricky subject. While traditional cinema relies on dynamic shots to add drama and depth into a scene, filmmakers creating content for headsets have often shied away from movement out of fear it would cause motion sickness. After all, in immersive, viewers control their perspective, and adding movement could disrupt that delicate balance.
But Apple, ever the pioneers of pushing the boundaries of technology, decided it was time to break that mould. Discontent with simply delivering a passive show – they wanted to, for their new Concert for One series, create something that felt truly transportive. And who better to team up with than Metallica, the band with an insatiable desire to flip the usual rock-and-roll power dynamic, offering their music in ways that would make the average diva balk.
But doing this, of course, requires some rather clever technology. To give audiences the feeling of being “in the moment”, movement was essential – and not just any movement, but the kind that feels natural and immersive without making viewers reach for their sea-sickness wristbands.
And while the production used some experimental tech – tools long employed in traditional 2D filmmaking – it was Motion Impossible’s AGITO Cine that proved crucial for static repositioning and subtle vertical movement. Evolved from the M-Series, a robotic dolly that carved its niche in VR/360, AGITO Cine is a modular, remote-controlled system tailored to high-end film, TV and immersive content. With its deep experience in this space, Motion Impossible delivered movement that felt subtle.
Typically seen tracking subjects at speeds up to 17mph and down to more deliberate movements as slow of 0.5cm/s, AGITO Cine found a new purpose in Apple Immersive Video’s Metallica. Using two systems, paired with the AGITO Column, its role was to facilitate rapid static repositioning. But it wasn’t just about getting into position and capturing the action as it unfolded; AGITO Cine also delivered precise and remote vertical movement, offering low and eye-level perspectives that deepened the scale of the performance.
Now, you might be thinking: why not just use multiple tripods? Well, the venue itself with its large circular stage and the “snake pit” (which, for the uninitiated, is a 360-degree fan zone right in the centre of the stage), required something more flexible. To have cameras littering the venue, each perched awkwardly on tripods, would’ve been both practically difficult and visually distracting. The space was already tight enough with the massive audience and adding more cameras would only have created a cluttered, chaotic environment. Rob Drewett, CEO & co-founder of Motion Impossible adds, “Not to mention, it’d be costly and time-consuming.”
AGITO Cine’s ability to zip around the venue remotely, get into position and deliver static or smooth vertical shots without a physical operator present, made it the ideal solution.
It’s also worth noting that these static repositioning shots and subtle vertical movements weren’t limited to Metallica alone. AGITO Cine and the AGITO Column also played a significant role in the Adventure series, where similar techniques were used to great effect, helping immerse viewers in the performance without overwhelming them. However, it was in Raye’s Concert for One that AGITO Cine demonstrated its full capabilities, capturing 100% of the footage. Here, it wasn’t just about repositioning the camera – it was stabilising forward and backward movements, as well as vertical shifts, all with remarkable subtlety. The result was a series of smooth, deliberate motions that kept everything feeling fluid and grounded. These careful, slow adjustments were essential for maintaining that immersive feeling, giving viewers a sense of being right there in the action, without ever feeling like the motion was jarring or forced.
Unlike traditional rigs, AGITO Cine doesn’t need tracks to create smooth tracking shots. This is crucial in immersive content, where the camera captures everything around it. Any visible rig or track would shatter the illusion and break the transportive experience. AGITO Cine, however, keeps the shot clean and unobstructed, which also means less time spent in post-production scrubbing out unwanted distractions. It’s a classic example of how technical simplicity can solve complex problems. And then there’s the stability, which is vital in immersive environments. AGITO Cine doesn’t just offer smooth motion – it’s built to ensure that motion is steady and controlled. Thanks to its solid build and an integrated suspension system designed to absorb vibrations, AGITO Cine’s movements stay fluid and stable, no matter the environment. This system, coupled with its silent operation, keeps everything focused on the performance and not on the machinery making it all happen.
As for Apple Immersive’s Metallica experience, well, it’s one of those things you’ll regret missing. Launching today – 14th of March – with a lineup of iconic songs from one of the most legendary bands in history, this isn’t just another VR experience – it’s a demonstration of how technology can shrink the distance between the artist and their audience. Don’t let the opportunity to glimpse the future of live music slip away – if you’re sans headset, you can still get a taste of it at select Apple Store locations.
AGITO Cine’s Subtle Genius for Apple Immersive Video – Metallica & More
