Video Production
BeatBot
Three Machines in One Pool
Qumin engaged C&I Studios for the product launch video production behind the BeatBot rollout across North America and Europe. The campaign covered three machines across two tiers, the flagship AquaSense X and the more accessible Sora 70 and Sora 30, each carrying its own audience, palette and tone. We delivered the package out of a single day at a private pool in Florida, running a topside unit and an underwater unit at the same time, and finished three vertical films alongside roughly sixty edited stills. BeatBot builds a machine that spends its working life out of sight, so the assignment came down to making the submerged half of the job watchable.
BeatBot
Three Machines in One Pool
Qumin engaged C&I Studios for the product launch video production behind the BeatBot rollout across North America and Europe. The campaign covered three machines across two tiers, the flagship AquaSense X and the more accessible Sora 70 and Sora 30, each carrying its own audience, palette and tone. We delivered the package out of a single day at a private pool in Florida, running a topside unit and an underwater unit at the same time, and finished three vertical films alongside roughly sixty edited stills. BeatBot builds a machine that spends its working life out of sight, so the assignment came down to making the submerged half of the job watchable.
Man vs Bot
Alongside the three product films we cut a sixteen by nine piece built on a single contrast. A man wakes, looks out at a pool he is not going to clean, and carries the AquaSense X down to the water. From there the film splits in two. He makes coffee and settles under the pergola while the machine descends and works the floor, the walls and the waterline beneath him.
That structure gave the edit a rhythm to cut against. Every job he chooses not to do is answered by a shot of the bot doing it, and the two threads meet again on a wide of the pool at the end of the morning.
It also solved a practical problem. These machines are quiet and almost entirely submerged, which is a difficult thing to build a film around. Putting a person in the frame gives the audience a sense of scale and a reason to care about what is happening underwater.
One Film for Each Machine
Each machine carries its own film, cut to the two tone split in the brief. The AquaSense X piece runs slow and editorial, holding on beauty close ups of the rollers and the debris they lift. The Sora 70 film is the loudest of the three, a party countdown that runs from morning to evening and match cuts from a bare deck to a decorated one. The Sora 30 stays plain and domestic, the machine dropped in and left to work. All three were finished vertical at 1080 by 1920 for Instagram, TikTok, YouTube and Facebook.
AquaSense X
Sora 70
Sora 30
Shooting Below the Line
Half of this campaign happens underwater, and that set the shape of the crew. An underwater unit worked a housed camera in the pool for the descent, the roller detail and the debris collection, while the topside unit stayed on the deck for the lifestyle coverage and the product beauty.
Water moves both exposure and color on every frame, so the two units were matched in the grade rather than left to sit apart. The submerged shots hold the same cool neutral reading as the deck, which is what lets the films cut between above and below without the join showing.
Shooting Below the Line
Half of this campaign happens underwater. An underwater unit worked a housed camera in the pool for the descent, the roller detail and the debris collection, while the topside unit stayed on the deck. Both were matched in the grade so the films cut between above and below without the join showing.
Building the Day
One location, one day, three machines, and a shot list that ran from macro product detail through to wide lifestyle. Every unit was charged before the shoot, carried into the water by hand for each take and lifted back out between setups, because neither the entry nor the return to the dock happens on its own. Anything the storyboards showed the bot doing by itself had to be staged.
Amy Miller ran the location scout. Mike Kruger cut all three films and composited the phone interface into the app screens in post.
Building the Day
One location, one day, three machines, and a shot list that ran from macro product detail through to wide lifestyle. Every unit was carried into the water by hand for each take and lifted back out between setups, because neither the entry nor the dock happens on its own. Amy Miller ran the location scout and Mike Kruger cut all three films.
