Is AGITO taking your job – or creating new ones?

The notion that “robots are taking our jobs” isn’t new. Since the 1970s, production technology has been accused of displacing skilled work, a debate that erupted with the arrival of Steadicam and continues now with AGITO. 

When Garret Brown first introduced Steadicam, it was hailed as revolutionary. Iconic films like Rocky and The Shining made the device indispensable, but it also stoked fears. Camera operators and dolly grips worried they’d be phased out by a system that could provide smooth, handheld shots previously deemed impossible. Instead of making their roles obsolete, Steadicam spurred a new specialty in the industry, creating opportunities for highly skilled operators with a blend of technical and artistic finesse.  

Casino (1995) Steadicam Crane Step-Off

AGITO: A Modern Parallel 

Fast forward to today, AGITO is sparking similar conversations. This versatile, remote operated system can function as a dolly, crane, jib and even a Steadicam, switching between track-bound and free movement in a single take. Its compact design allows it to navigate tight spaces and tough terrains, making it a favourite for high-energy sequences and scenes demanding flexibility.  

AGITO’s remote control further empowers filmmakers by enabling shots once deemed too complex or too time-consuming to set up. AGITO’s mobility means it can capture dynamic angles and move fluidly through spaces that conventional equipment can’t reach, all without exhausting the operator. By reducing physical strain, AGITO lets camera operators work longer and more creatively, focusing on composition rather than awkward adjustments. 

Despite its benefits, concerns remain. Does AGITO render traditional operators redundant? Much like the initial response to Steadicam, some fear that AGITO could edge out traditional camera roles. But AGITO, like Steadicam, is an enhancement, not a replacement. Skilled operators are essential to maximising its potential, offering filmmakers creative flexibility without compromising human expertise. Steadicam operators who see AGITO as a threat may do well to remember: new tools tend to expand the toolkit, rather than diminish it.  

The future of filmmaking will likely see a blend of human skill and cutting-edge tech. AGITO, when embraced, offers filmmakers the means to push boundaries, creating cinematic storytelling that combines the best of both worlds. Far from stealing jobs, AGITO has the potential to create them, crafting new niches for operator’s adept at wielding this technology. 

ARRI BL 2 & Steadicam

Steadicam operator on AGITO: a revolution or a threat?

To explore the impact of AGITO on traditional camera work, we spoke to veteran Steadicam operator Randy Nolen, who now uses AGITO in their productions. Here’s what he had to say about its influence on the industry. 

Q: How did your first experience with AGITO compare to traditional setups?  

Nolen: “The first time I used AGITO was on a big commercial for AWS and the NFL. Setup was quick – far more efficient than a traditional dolly – and AGITO’s low profile and compact design made it ideal for moving quickly around the sports action. We even attached witness cameras to the system’s base, capturing low-angle shots that felt more dynamic and engaging than the usual remote head shots. Being that close to the ground brought a whole new energy to the footage.” 

Q: Can you share an example where AGITO’S ability to switch between track-based and free-roaming modes provided an advantage? 

Nolen: “At Coachella last year, there was only one AGITO on site, and the plan was to film a performer on this huge, 200-foot ice rink they’d built right in the desert. We had AGITO set up on a custom PVC track running around the rink’s circumference – everything was ready to go. They’d spent millions on that ice rink, but then, on the day, the performer cancelled. We had to switch AGITO from track mode to free-roaming and move to film on stage instead. That ability to adapt at a moment’s notice was invaluable. AGITO really is the Swiss Army knife of camera platforms.”

Mobsters (1991)

Q: How does AGITO enhance your creative potential on set?

Nolen: “I’ve been a Steadicam operator for over 40 years, and what struck me most about using AGITO is its impact on the actors’ performances. As a Steadicam operator, I’m often the first person an actor sees; they notice my facial expressions and gestures, which can subtly influence their own performance. If I’m not happy with a shot, my expressions can unintentionally prompt them to pause or question their take. But with AGITO, the operator is less intrusive, allowing actors to stay fully immersed in their roles without distraction. It’s led to more natural, uninterrupted performances, ultimately enhancing the creative potential on set.”

Q: What are your thoughts on the perception that robotics like AGITO could replace jobs? Have you felt any impact on job security?

Nolen: “At first, there were worries about job security, but AGITO still demands a skilled team – a camera operator, a focus puller and an AGITO pilot. It’s about complementing these roles, not replacing them. My expertise has grown to include these advanced systems, which, if anything, has added to my value. Demand is rising for specialists who can work with this technology, opening up new career paths and enhancing job security for those prepared to adapt.”

Q: Have you seen new roles or opportunities arise due to the use of AGITO in productions? Can you provide examples?

Nolen: “Yes, absolutely. AGITO’s capabilities have created new roles and opportunities in production. With its low-profile, all-terrain chassis – about 12 inches high – AGITO can manoeuvre under low headroom and reach spaces a traditional dolly can’t. This flexibility is invaluable, particularly when paired with MagTrax, which is transforming the broadcast sector. At award ceremonies, for instance, it can smoothly weave through crowds and transition safely from backstage to the main stage. SkyTrax is another signifcant advancement for broadcast. With the new Column attachment, AGITO can be underslung to support the weight of a telescoping camera – making it highly marketable.  These innovations haven’t just enhanced existing roles; they’ve created specialised positions for skilled operators in these advanced systems.”

Under the Volcano (1983)

Q: What new skills have you had to learn to operate AGITO effectively, and how do these skills enhance your value as a camera operator?

Nolen: “Operating AGITO has opened up new possibilities for getting cool shots, though I’m still uncovering all it can do. The versatility is remarkable – you can switch between Sports, Trax or MagTrax mode to handle almost any scenario. I saw a post on social media showing AGITO used in a car chase, set to Sports mode and positioned under a ramp. As the car jumped, AGITO captured the action from underneath, then chased it down. Learning to use AGITO’s different modes has made me more valuable as a camera operator. It’s all about understanding the tech and leveraging it to create different shots.”

Q: How do you see the role of camera operators evolving with the increasing use of robotic systems like AGITO in film & TV production?

Nolen: “Camera operators are certainly moving towards robotics, but I don’t believe they’ll ever fully replace traditional systems we’ve relied on for the last century, like a camera dolly guided by a dolly grip. There’s a unique relationship between an operator and their dolly grip – it’s almost intuitive, as if they can read your mind. They’re not just pushing the dolly; they’re operating the shot. That’s what an AGITO Pilot must be capable of too. It’s about capturing that same sense of intuition and teamwork, even with advanced technology.” 

Becoming an AGITO Pilot: a new path into filmmaking

Much like the specialised Steadicam operators of the past, becoming an AGITO Pilot requires a blend of traditional camera operation skills and new technical knowledge. AGITO Pilots must master the system’s controls, understand its capabilities and be able to adapt quickly to varied shooting environments. Training is hands-on, with experienced professionals guiding newcomers through the nuances of the technology. For those interested, please email info@motion-impossible.com to organise a training day.