Camera Operators, Television, Video, and Film

Some camera work is already partly automated. For example, researchers have built AI-powered camera robots that automatically track a person and keep them centered in the shot ^[1]. In live sports, small pan-tilt-zoom (PTZ) cameras can follow players by themselves using video analysis ^[2].

These tools help with adjusting focus and movement, but usually as an assistant—the most creative decisions on framing and lighting still come from people. AI also helps in editing: newsrooms now use automated tools to transcribe, translate, and tag footage ^[3], and IBM’s Watson AI once cut a 90-minute film into a 6-minute trailer by picking key scenes ^[4]. These examples show AI can handle routine chopping of clips, but editors still choose final cuts and stories.

Other tasks like setting up studio lights, building sets, or repairing gear have no mainstream AI solution yet; they rely on human skill. In short, AI is beginning to augment camera operators by taking on repetitive or technical chores, making some workflows faster ^{[1] [2]}, while core creative and hands-on tasks remain with people.

Whether studios adopt these tools quickly depends on cost, need, and trust. Large broadcasters and sports networks invest in AI to save time and money ^{[3] [2]}. For instance, Reuters says its new AI toolset lets newsrooms work faster without huge new investments ^[3].

Similarly, robotic cameras became more common during COVID restrictions to keep crews small ^[2]. These advantages encourage use of AI. But adoption is slower if budgets or skills don’t match.

High-end robotic systems can be expensive and require experts to run them, which makes small local stations cautious ^[2]. Unions and directors also value human creativity and worry about preserving quality. In general, people accept AI when it helps without harming the story, so media are moving carefully.

Over time, AI may become a routine helper – for example, reducing “labor and time burden” on camera crews ^[1] – but it won’t replace the creative heart of filmmaking.