Carlito, MD
OPERATOR SPOTLIGHT
Redefining how filmmakers and scientists use cinema robots. From the operating room to commercial sets, Carlito blends medicine, motion, and artistry through Motorized Precision’s EVO, MIA, and Colossus.
The Doctor Behind the Camera Robot
Carlos Peinado, known in filmmaking circles as Carlito, MD, is a physician who pioneers the use of cinema robots in surgery and scientific research while also building a successful career in commercial motion control. He has collaborated with leading directors and cinematographers on high-speed campaigns for global brands, bringing the same precision and creativity that define his medical work to every production. Whether he is filming a tutorial for a new surgical device or shooting a commercial for a Chipotle sauce, Carlito connects these seemingly different worlds through one constant: the principles of motion control.
From Medicine To Motion Control
Carlito’s path into filmmaking was anything but traditional. He didn’t come from film school or set out with dreams of Hollywood. His journey began in medicine, where he envisioned using cinema robotics to transform how surgical stories are told.
“My vision was always to bring into surgery the same cinematic motion control techniques that make commercial filmmaking so engaging and impactful.”
Carlito first discovered cinema robots in 2018 while still in medical school. His introduction came through a Marques Brownlee, MKBHD, video titled “Dope Tech: Camera Robots!” featuring Motorized Precision. The moment he saw the robots in action, something clicked.
“I was immediately captivated by their creative potential and by how MP Studio could deliver fluid, precise, repeatable moves both quickly and intuitively.”
Those qualities resonated deeply with him. As a physician, he saw how precision, repeatability, and speed could translate directly into the world of medical documentation.
“Every time I scrubbed into the OR, I imagined how these tools could transform surgical documentation not with static overheads, but with dynamic motion that could track, reframe, and elevate the surgical narrative.”
That idea became the foundation of his creative mission: to merge the artistry of cinematography with the rigor of science. Within months, Carlito connected with Motorized Precision’s founder, Sean Brown, and got hands on with the MIA robot his first step into the world of motion control.
“From then on, every time I was in surgery, I couldn’t stop thinking about how these tools could change what I do. Once I got to use MIA, the rest was history.”
Learning the
Language of Motion
Before adding EVO to his toolkit, Carlito built his foundation on Motorized Precision’s larger systems, MIA and Colossus. Each project deepened his understanding of motion, timing, and the technical finesse required to blend robotics with cinematography.
“Working with MIA taught me how to think in movement, to visualize motion as part of the storytelling process, not just a camera path.”
With Colossus, the scale expanded. The system’s power and range opened doors to high-speed, cinematic work for major commercial clients, helping Carlito refine his approach to precision timing and complex multi-axis motion.
“Every time I worked with a larger system, I came away with a new respect for what these machines can do, but I also started to imagine what might be possible if that same precision could fit inside a smaller, more flexible package.”
That thought became the spark for his next chapter and the moment EVO entered the picture.
The Story Behind Choosing EVO
the Missing Piece
For, Carlito, EVO was the breakthrough he had been waiting for. After years working with large cinema robots, he found their size and rigidity limiting, especially when clients asked to use them in tighter or more unconventional environments.
“For me, EVO represents everything I had been waiting for,” Carlito explains.
While large systems like Colossus, KIRA, and KINO continue to lead high-end productions that demand extreme reach and speed, EVO answered a different need one built around flexibility, travel, and creative freedom, while remaining far more practical and budget-friendly to own and transport.
“Large cinema robots have their proven place, but for someone like me, with a vision that could only be realized at a smaller scale, their size and limitations made true flexibility impossible. So when EVO was announced, it was an immediate pre-order. I knew a smaller, safer, and more accessible system powered by MP Studio would finally make my personal vision of a surgical use case possible.”
A New Way to Move Moco
Pack, Fly, Shoot
For Carlito, EVO was the missing link in his workflow. Compact yet powerful, it bridges the gap between large cinema robots and the freedom of on location filmmaking. With EVO and MP Studio, he can bring motion control anywhere, from operating rooms to moving vehicles. Once limited to big productions and heavy trucks, motion control now fits in a single case, runs on standard power, and travels wherever the story goes.
Traveling With EVO
For Carlito, EVO represents a turning point. The moment motion control became as mobile and adaptable as the stories he wanted to tell.
“For me, traveling with EVO has been surprisingly straightforward,” Carlito explains. “I use the MP fitted rolling hard case, which holds the robot, control box, cables, and accessories. Packed, it comes in just under the 100-pound limit for media bags, which most airlines check for around $50-$60 dollars.”
Flying with a cinema robot used to be complicated. Now, everything Carlito needs fits into a single case that rolls through the airport, loads into a rental car, and sets up on location in minutes.
“If you are new to traveling with media bags, always double-check your airline’s requirements. Otherwise, you might end up paying oversized or overweight fees that are much higher,” he says. “TSA will open the case along the way, so use TSA-approved locks. I also request fragile stickers, although it is anyone’s guess if they actually help.”
That portability gives him a kind of freedom that no other system has provided. Instead of coordinating trucks or freight shipments, he can simply pack EVO, fly to a shoot, and start working. The result is less cost, less setup time, and far more flexibility.
“Before EVO, access to professional motion control meant big setups and bigger budgets,” Carlito says. “Now I can roll the robot into a location myself, power it on, and be shooting within minutes.”
For Carlito, the change is not only about convenience. It is also about creative freedom. EVO’s compact design lets him bring motion control to spaces and projects that would have been impossible with larger systems.
“Recently, I operated EVO inside a train car. No larger robot could have managed it, given the tight space of the aisle and the logistics of getting into a working train yard,” he recalls. “The agency knew it was a first, and they documented a lot of behind-the-scenes footage, which I thought was pretty telling.”
Amtrak
CASE STUDY
Director: Warner Shaw | DP: Cam Riley | Producer: Bo Butterworth | Motion Control: Carlito Peinado
Philadelphia, PA • September 17, 2025
Motion Control
That Fits Anywhere
When the Amtrak creative team planned a new campaign inside a freshly built train car in Philadelphia, space quickly became the biggest challenge. The aisles were narrow, the interior pristine, and the car itself sat six feet off the ground, which made bringing in traditional film equipment nearly impossible. For Carlito, EVO was the obvious solution. Its size, safety, and versatility made it the only robot capable of performing in such a confined environment.
“EVO was the clear choice for the Amtrak shoot because it was the only robot small and safe enough to operate inside a train car,” Carlito explains.
He knew that larger rigs simply would not fit or could risk damaging the new interior.
“Getting a traditional motion control rig inside would have required industrial equipment, if it was even possible. Once inside, the aisle between seats is about as narrow as an airplane’s, which ruled out larger systems altogether. EVO fit comfortably in that space and allowed us to achieve the precise, repeatable shots the director and DP were looking for. It was exactly the right tool for the job.”
The Setup That Tested Everything
The Amtrak shoot took place inside a brand-new train car parked in the rail yard, which made simply getting to the location an adventure of its own. The team needed a chaperone to guide them safely through the yard, and every step of the process had to be carefully planned. Carlito recalls how EVO’s compact size instantly simplified what could have been a logistical headache.
“Being able to roll EVO’s case in without heavy machinery was a game-changer,” he says. “My prep space was limited to the cafeteria car, which was the most open area we could find, so having a compact robot was essential before moving into the tighter shooting environment.”
Once inside, space was extremely limited. The crew worked side by side with talent inside a spotless, newly built train car, where safety and avoiding any damage were top priorities. EVO’s design made it the perfect fit for such close quarters, offering smooth and precise movement without compromising control.
As the day came to an end, the weather added one last challenge. Heavy rain poured across the yard as the team packed up, soaking everyone and everything except the robot itself.
“I was completely drenched,” Carlito says. “But EVO’s watertight travel case gave me full confidence. The case was soaked, but the robot inside was completely dry. That unintentional stress test proved I can roll EVO anywhere and know it will be protected.”
The Software That Makes It Possible
MP STUDIO
The Amtrak project was more than just another shoot, it was a real-world test of how far motion control can go when powered by reliable software. Inside a brand-new train car with no room for error, every move had to be programmed, tested, and executed with absolute precision. For Carlito, that precision always comes back to one constant: the reliability of MP Studio.
“Because this was a brand new train car, we had only a limited window of time to capture the shots we needed,” Carlito explains. "That’s why MP Studio was essential. Its reliability and efficiency meant we could work quickly without worrying about troubleshooting or losing time to technical issues. MP Studio gave us the confidence that every move we programmed would execute precisely as the director wanted, keeping the shoot on schedule."
MP Studio’s built-in targeting tools gave him the confidence to operate in such a tight, unforgiving space.
“Keeping the point of interest exactly where you want it, not just at the start and end of a move, but throughout — is everything,” he says.
Because the software was designed with filmmakers in mind, it also made collaboration simple.
“Directors can look at the timeline and instantly understand the move,” Carlito notes. “They’ll say, ‘Can you make this stop a little longer?’ It’s that intuitive.”
Despite the time constraints and limited space, the results spoke for themselves: smooth, repeatable motion in a location no traditional rig could have entered. For Carlito, the Amtrak shoot proved what’s possible when hardware and software work together, showing that with EVO and MP Studio, cinematic motion control can go anywhere.
The Robot That Moves with you
“What I love most about working with EVO is how easily it adapts,” Carlito says. “One day it’s inside a train car, the next it’s mounted to a vehicle or set up in a studio. What stays the same is the confidence I have in MP Studio to deliver, no matter the challenge.”
Toyota TV Spot
CASE STUDY
Director: Nick Martini | DP: Cam Riley | Producer: Brian Bell | Motion Control: Carlito Peinado
Denver, CO • June 18–20, 2025
EVO On The Open Road
The Toyota commercial, filmed on location in Denver, Colorado, called for dynamic, cinematic vehicle shots across multiple models all captured off grid and in motion. The production, directed by Nick Martini with cinematography by Cam Riley, relied on EVO’s portability and MP Studio’s software to bring the shot concepts to life.
Why EVO Was The Right Choice
EVO was chosen for its rare blend of portability, strength, and flexibility. Three qualities that aligned perfectly with the production’s technical demands. “It was light enough to mount safely onto a moving vehicle, strong enough to support a cinema grade camera with precision, and flexible enough to run on portable battery power for off-grid driving shots.” Carlito explains.
traveling with EVO
Carlito flew with EVO as checked luggage using the Motorized Precision hard rolling hard case. Fully packed, including the arm, control unit, Mitchell mount, camera adaptor and cabling. It weighed in at 98 lbs, safely under airline limits. The system arrived intact and ready to shoot, a testament to EVO’s travel ready design.
Mounting EVO
On set, EVO was mounted to a Toyota Corolla, Camry, Sienna, and Highlander, often in custom orientations. With its standard Mitchell mount, the grip team integrated it as naturally as any other camera rig. “EVO itself was ready in 15 minutes,” Carlito recalls. “The rest of setup time came from customizing mounts and routing cables safely.”
MP STUDIO PRO
Carlito ran the shoot on MP Studio Pro, leveraging its advanced control features to coordinate complex vehicle shots. The software’s stability was key to operating in motion, letting him adjust moves live without compromising safety or precision.
“Having MP Studio Pro means I can walk into any production scenario confident I have every tool I need,” Carlito says. “It’s reliable, fast, and never gets in the way of creativity.”
Process & Challenges
The team needed to capture dynamic, cinematic vehicle shots across multiple models, all while moving between urban streets and open mountain roads in Denver. EVO’s setup proved to be both fast and reliable, making it ideal for a production schedule that left little room for error.
Each configuration was unique, with EVO mounted on a Toyota Corolla, Camry, Sienna, and Highlander in different orientations to achieve a wide range of motion and perspective. Carlito recalls that the environmental conditions became an added layer of complexity.
“We had to account for everything,” he says. “Acceleration, wind drag, vibration, even small terrain bumps any of those could trigger faults or throw off timing.”
To minimize risk, the crew conducted pre-production tests in a parking lot using portable batteries to simulate real-world conditions.
“Those quick tests saved us hours once we hit the road,” Carlito explains. “It gave us the chance to refine the moves and make sure everything was perfectly repeatable before shooting began.”
Despite the challenges, EVO handled every condition. Its portability, strength, and smooth operation made it the right tool for capturing the fast, controlled tracking shots that defined the commercial’s visual style.
By the end of the shoot, both the director and DP were impressed by what the compact robot achieved under such demanding circumstances.
“I’ve been shooting car commercials for over a decade,” said director Nick Martini, “and these are the coolest shots I’ve seen.”
For Carlito, seeing EVO perform on a moving vehicle was deeply rewarding. It proved that motion control could be both mobile and production-ready, capable of delivering high end results without the logistical burden of larger systems.
“Seeing EVO mounted to a car, executing complex moves on the road, and keeping perfect timing, that’s when I knew it was more than just a smaller robot,” he says. “It’s a fully capable filmmaking tool.”
RESULTS
The Toyota spot showed how the Motorized Precision EVO motion control robot expands on location options without the footprint or cost of a full size moco rig. While larger robots like KINO can also be mounted to vehicles. EVO made this production more agile, airline checkable travel, fast setup, battery power for off grid moves and quick swaps across multiple Toyota models.
Inside the cars, EVO delivered precise, repeatable interior shots that larger systems could not achieve as efficiently. Outside, its low bumper and hood angles added dynamic movement that elevated the entire campaign. EVO showed that cinematic motion control can now be agile, flexible, and fully production ready.