We test a piece of gear that assists you in capturing your own RC photos and videos at times when a second person isn't available.

It is often said that the number one rule of photography is “Get the shot.” Sure, I understand the point that being at the right place with a camera in hand is more important than any technical or artistic aspect of the resulting photo. But whoever came up with that mantra never watched a cellphone video of an RC plane in flight, which often ends up looking like a housefly buzzing around a baby blue wall. Getting the shot isn't just about being at the right place, at the right time. Sometimes you need certain equipment and techniques to make the effort worthwhile.

I do not claim to be an expert RC photographer by any stretch. But I have shot enough photos and videos of tiny aircraft to know that capturing consistently good media of RC aircraft is a two man job:

A pilot who understands the lighting and positioning needs of the photographer, and has the willingness/ability to fly the model accordingly (usually low, slow, and with precision) A photographer who understands the performance limitations of the subject model and is also comfortable tracking a small object moving in three dimensions while composing flattering shots.

I’ve often had a difficult time finding people with the skills and disposition to fill either role. Factor in weather constraints and dynamic personal schedules and it’s a wonder that any of my RC photo shoots ever panned out. So when I saw an advertisement for the SOLOSHOT 2, I immediately recognized an opportunity to fill the photographer role with a robot. I’ve now been using SOLOSHOT 2 for about two months. Although it has not completely replaced my need for a warm-blooded cameraman, it has certainly lessened my dependence.

What is a "Robot Cameraman?"

SOLOSHOT 2 (SS2) is essentially a two-part system that starts at $400. On the camera end is a motorized two-axis gimbal called the “base” that pans and tilts the attached camera so that it is always pointed at the desired subject--wherever it moves. On the subject end is a device called the “tag”. The radio signals emitted by the tag are the key to keeping the subject under the camera’s unflinching eye.

SS2 was created by surfers as a way to automatically film themselves. Like me, they often lacked someone who was able or willing to man the camera while they were out enjoying their hobby. Although the SS2 developers recognized the potential value of the system for other sports, filming RC aircraft was not on their radar. When I contacted SOLOSHOT, they told me that they were very surprised by the amount of interest they were receiving from RC flyers.

SOLOSHOT 2 HAS TWO PRIMARY COMPONENTS: THE BASE WITH A 2-AXIS GIMBAL FOR THE CAMERA, AND THE TAG THAT STAYS WITH YOUR SUBJECT.

Knowing full well that I intended to use the SS2 in ways that it was never intended, SOLOHOT provided a “Camera Bundle” for me to review and experiment with. The bundle includes the base and tag previously mentioned as well as a tripod, a Camera Controller, and a Sony CX240 video camera. The Camera Controller provides an interface between the camera itself and the SS2. This opens up additional features such as automatic zooming as the subject get further away and also the ability to start/stop recording remotely via the tag.

SS2 can be used with pretty much any camera that has a standard 1/4"-20 tripod mount. This includes video cameras, DSLRs, and action cameras. Not all cameras, however, are compatible with the functions of the Camera Controller. Obviously the CX240 included in the bundle is one that plays nice. SOLOSHOT maintains an ever-growing list of compatible cameras on their website. The majority of the current crop consists of Sony and Canon models.

THE CAMERA BUNDLE INCLUDES THE BASE, TAG, CAMERA CONTROLLER, TRIPOD, AND A SONY CAMCORDER.

The only concern that I had prior to using the SS2 was that the tag transmits signals in 2.4GHz--the same frequency band used by my RC equipment. I also knew that in most cases, the tag would be located within a few inches of the aircraft’s receiver. This situation created potential for interference between the two systems. SOLOSHOT assured me that they had not heard any reports of radio problems from RC users.

Thus far, I have used SS2 in conjunction with 2.4GHz radio equipment from Futaba, Spektrum, and Tactic. I performed a thorough range check for each system (with SS2 active) prior its first flight. Those checks and every subsequent flight have failed to generate any noticeable impacts to the operation of either system. This initial success is encouraging, but I remain cautious.

Configuring SOLOSHOT 2

The SS2 system requires a few minutes of dedicated set-up prior to each recording session. I found the instructions are easy to follow. The tag needs a few minutes to warm up and configure itself, so my first step is to get it powered on. While the tag is doing its thing, I position the tripod and attach the base, camera, and camera controller.

Without getting too deep into the configuration process, I’ll tell you that a key aspect is configuring the base to aim the camera precisely on a distant “centering object”. By the time I’ve completed that task, the tag is usually ready…or nearly so. The final steps involve calibrating the tag and linking it to the base. Now that I’ve gone through this process numerous times, I can complete all of the steps in about 10 minutes. I don’t have to repeat it for the rest of my outing, even if I use SS2 to film multiple aircraft throughout the day.

There are numerous configuration options to tailor how the SS2 behaves. Of particular use are the tilt options. The idea is that the base can track more precisely when less tilt motion is required. By scaling back the allowable tilt, you can get tighter framing of the subject. Unfortunately, filming RC models requires plenty of tilt, so I wasn’t able to take advantage of that feature, although I tried.

When using the Camera Controller, you have three different zoom options as well. You can decide how tightly the camera will keep the subject zoomed in as it moves closer or further away from the camera. The selections that you make for any of these options are indicated by the color of the six LEDs on the rear of the base.

Using the SOLOSHOT 2

The tracking tag weighs about two ounces, which limits the size of the models that I can use with it. There are some pretty small RC aircraft that wouldn’t be able to haul that much payload. I have a gaggle of models in the 20-ounce weight range and they are the minimum size I’m comfortable using with the SS2. The system comes with an armband and clip for attaching the tag to a person. I had to devise a way to mount the tag in an airplane. I would normally just use self-adhesive Velcro, but that wasn’t possible here. The tag must be oriented right-side-up in the model and placing Velcro on the bottom side of the tag would have obscured the contacts necessary for charging the onboard battery. I fabricated a simple cradle out of Kydex sheet plastic. A single zip tie secures the tag to the cradle, which has Velcro for attachment to the model. When I need to charge the tag, I just cut the zip tie and remove it from the cradle.

I BUILT A CRADLE OUT OF KYDEX PLASTIC TO ENABLE MOUNTING THE TAG TO VARIOUS RC VEHICLES USING VELCRO.

As mentioned previously, the SS2 does very well tracking the model in the pan axis. It is less effective in tilt. I find that any sudden climbing or diving maneuvers will outpace the SS2. Now that I’m aware of this limitation I shape my video flights accordingly and make gradual height changes when appropriate. In the instances where SS2 does lag behind a vertical change, it catches up quickly once the maneuver is completed.

I’m very impressed with how well the SS2 tracks my models while panning…even when they’re flying pretty fast and close. You can outrun it if you really try, but it keeps the model in the center of the frame most of the time.

After quite a bit of experimentation, I’ve settled on the “Big Altitude” (largest tilt range) tilt mode and “Tight Frame” zoom mode for most of my sessions. I find that these settings maintain a reasonable zoom on the model while also keeping it in-frame for a high percentage of the flight. I’m not looking to get unbroken footage from takeoff to landing. I’m happy if I walk away from a flight with a handful of clean clips that I can piece together. Coincidentally, that’s the same goal I have when I man the camera myself.

I think the manual says it best: “SOLOSHOT is a robot…While robots FREE us from repetitive and time-consuming tasks, they do not replace HUMAN CREATIVITY.” In that vein, the raw footage from the SS2 can appear somewhat sterile at times. After all, it’s just a machine doing what it’s been programmed to do. That doesn’t mean that there is no room to introduce creativity into the process. As I’ve learned more about how the SS2 reacts to certain situations, I’ve been able to alter my flying to style to “trick” the system. For instance, I may make a low-level pass right at the lens to get a unique perspective (knowing the SS2 will lag behind as the model passes by). Other times, I may disable zoom to get a different sense of scale.

MY INITIAL TESTS OF THE SOLOSHOT 2 WERE PERFORMED WITH MY ECX RUCKUS. THE SYSTEM WORKS WELL WITH AIR OR SURFACE VEHICLES.

My biggest gripe about the SS2 is the motor/gear noise generated by the base as it articulates. The faster it moves, the louder it gets. You can definitely hear it on the resulting video footage (as seen below). That’s probably of no consequence when shooting sports since the camera is likely too far away to capture any sounds of the action anyway. It’s actually not an issue for most of my RC filming since my electric models typically make little sound. There are, however, times when I want the video to capture the “whoosh” of the model as it races by or the output of an engine sound emulator. I am considering setting up a remote microphone in those situations to avoid mixing the sounds I want with the sounds of the base unit.

THIS INSTALLATION ILLUSTRATES THE CLOSE POXIMITY BETWEEN THE TAG AND RADIO RECEIVER THAT IS TYPICAL WHEN USING SOLOSHOT 2 WITH RC AIRPLANES. THUS FAR, NO NEGATIVE EFFECTS HAVE BEEN OBSERVED.

What Else Can SOLOSHOT 2 Do?

Other than the sports recording that SS2 was designed for and the RC filming that I have adapted it for, the system has other capabilities that I’m only beginning to explore. One that I am excited to try is motion time lapse photography. You can download an application that allows you to define specific motion of the SS2 base over time. Rather than tracking the tag, the base executes the programmed motion. With the camera controller, it will also command a compatible DSLR camera to take photos at a set frequency. This capability can be used to for time lapse shots across the horizon, the night sky, or whatever.

There are also built-in features that allow you to use multiple tags in different ways. Perhaps SS2 can even be useful for non-photographic purposes. I recently brainstormed with a friend about the potential for using SS2 to aim a directional antenna at an RC aircraft equipped with FPV gear. Such a setup may provide additional range or reduce the required output power for the FPV system to be effective. It’s an idea that I am anxious to investigate further. As the system becomes more widely known, I am sure that other users will come up with novel and previously unimagined uses for the SS2.

Conclusion

When I decided to test the SS2 for RC filming, I knew that the concept had promise. I was just unsure how the performance of the actual hardware would measure up. While it isn’t a slam dunk for my application, it is proving to be an extremely useful tool. It has allowed me to capture footage that would have otherwise been impossible. In other words, it has helped me find new ways to “get the shot”. I am still learning different nuances of the system, and I fully expect that I will discover more and better ways to utilize it effectively. Considering my own success using SS2, I am particularly excited to see how other people apply this tool in creative and industrious ways.

Terry spent 15 years as an engineer at the Johnson Space Center. He is now a freelance writer living in Lubbock, Texas. Follow Terry on Twitter: @weirdflight