AGITO’s camera-wielding credentials are well-known in live entertainment, sport, natural history, features, dramas and even immersive content. But it’s in the hushed corridors of America’s mega-churches that this sleek, compact, modular robotic camera dolly by Motion Impossible is finding an unexpectedly devout following.  

At first glance, houses of worship might not seem like the obvious next frontier for film tech. But look closer and you’ll find multi-million-dollar AV setups, weekly productions with concert-grade lighting and, crucially, a venue layout that demands creativity without compromise. And this is where AGITO comes in – not as the showy centrepiece, but as the quietly capable workhorse.  

BLESSED ARE THE ROWS UNBROKEN

“In a church, killing seats is a sin,” says Brandon Zebell, a seasoned AGITO Pilot and filmmaker whose company, Chroma Colour (yes, that’s colour, the British spelling – a cheeky nod to his workflow speciality), has kitted out some of the biggest ministries in the US, including Gateway Church. “The moment you start pulling out pews or blocking aisles with dolly track, you don’t just disrupt the service, you upset the community,” he adds. 

AGITO’s magic lies in not needing to. Its compact, low-profile build means it doesn’t obstruct views – it blends into the background, letting the congregation stay focused on the service, not the setup. And, with its MagTrax configuration (essentially, invisible track guidance that follows magnetic strips), it can glide between rows, trace the arc of curved stages and pull off clean, stabilised and repeatable camera moves without sacrificing a single seat. “One church we worked with had a massive, curved room,” Brandon explains. “With MagTrax, we were able to match that curve exactly.” He pauses, then laughs: “Try doing that with traditional dolly track!” 

Some churches will even run two magnetic tracks – one for the sermon, another for worship – and switch between them as needed. Others opt for less structure entirely. When a production calls for spontaneity – say, following a pastor across stage or capturing audience reactions, AGITO can seamlessly switch to Sports (free-roaming) mode for more reactive, off-the-cuff shots. This dual capability means churches aren’t forced to choose between freedom and precision. They can have both.  

A SYSTEM WITH A SOUL (AND AN ECOSYSTEM) 

The charm of AGITO, as Brandon puts it, is in the “ecosystem.” This isn’t a one-box solution – it’s a modular system that plays well with others. “I’ve got vertical lifters, risers to tweak the camera height, different suspension springs for better traction… and I can swap between stabilised remote heads depending on the job,’ he explains. “It’s not just adaptable; it’s a thoughtful system built by people who’ve actually done the work.” 

In church environments where you might need to switch from low, cinematic shots of the band to high, graceful glides over a congregation mid-worship, AGITO’s mix-and-match capability really shows its worth. And thanks to its completely silent operation, it doesn’t break the spell. No whirring motors. No obtrusive operator. Just a subtle, steady presence capturing the spirit of the moment. “We usually wait a few minutes into the service, when everyone’s seated, then quietly roll it out,” Brandon explains. “It’s so discreet, no one even notices.”  

FROM SUNDAY SERVICE TO MIDWEEK STUDIO 

But it’s not just about Sundays. “A lot of churches we work with have media studios now,” Brandon says. “They’re recording video messages, devotionals, podcast clips – even music videos. AGITO just wheels out of the sanctuary and into the studio.” 

This is where return on investment really kicks in. While other pieces of ministry gear might sit idle, collecting dust six days a week, AGITO stays busy. “Because it’s so compact and travel-friendly (packing down into flight cases under 32kg), it gets used often – churches are even taking it on tour. And not small tours either. We’re sending AGITO out this summer with two of the biggest Christian artists in the US. It’ll be filming a month’s worth of worship concerts across the country,” adds Brandon.  

AGITO DOESN’T PREACH – BUT IT DELIVERS 

To be clear, this isn’t tech for tech’s sake. The creative direction often comes from within the church, and while the production savvy can vary wildly, the demand for broadcast-quality visuals is growing fast. “Some churches get it. Others… need a bit more help. But once they see what AGITO can do – technically, logistically and creatively – they start dreaming bigger. And once they’re in, they’re in.” 

And cost? Well, compared to a Spidercam setup, AGITO’s daily rental fee feels almost too good to be true. “It’s a fraction of the price and still delivers that same immersive experience,” Brandon says. “It’s quick to deploy, easy to travel with, and in many cases, you only need one person to run it.” When in Trax or MagTrax mode, AGITO can even be operated with foot pedals – freeing up your hands to control the remote head. “For a lot of churches, that’s a huge workflow win.” 

It’s also refreshingly forgiving. AGITO doesn’t demand pristine floors, elaborate rigging or a stadium-sized crew – just a bit of space and a clear idea. Which is lucky, because church venues can be anything but standard. 

So, as more churches begin to behave like broadcasters – streaming to global congregations, running multi-cam setups, building full-scale production teams – the tools they rely on need to match that ambition. AGITO doesn’t raise hands, sing hymns or deliver the sermon. But it makes sure everyone sees it – and sees it well. And in an environment where silence, subtlety, reliability and ROI really matter, that might just be its most impressive miracle yet.