EPIC VISUALS FOR ANY PRODUCTION APPLICATION
– 5K Resolution –

COMMERCIALS AND
ADVERTISING

FILM AND
TELEVISION

FASHION AND
MUSIC VIDEOS

PRODUCT MARKETING AND
WEB PROMOTIONS

RIG OPTIONS

 

Full 360° Rigs
10′ diameter / 3m diameter
13′ diameter / 4m diameter
16′ diameter / 5m diameter
18′ diameter / 5.5m diameter
19.5′ diameter / 6m diameter
23′ diameter / 7m diameter
30′ diameter / 9m diameter
33′ diameter / 10m diameter

Arcs
45° / 60° / 90°
135° / 150° / 180°
225° / 270°

Straight Rig
Sections up to 60′ (20m)

 
Since standard footage is 24 frames per second, most bullet time shoots are done in increments of 24 cameras (1 second of real-time footage per 24).

24 cameras = 1 second
48 cameras = 2 seconds
72 cameras = 3 seconds
96 cameras = 4 seconds
120 cameras = 5 seconds
144 cameras = 6 seconds

We have 130 cameras in-house and ready to go. They are all teched out and fully matched. This also allows us to do shoots with multiple bullet time rigs running at the same time.
For studio, commercial and film shooting in RAW + JPEG format, we can shoot about 1 full set per minute. Full image capture and download with our system for a 96 camera rig has been timed at 55 seconds with our latest software build.
We can film anywhere that an airplane or cargo van can get to. We have filmed internationally and in the US from California to NYC.
We capture RAW imagery at 5K resolution and export the final video files at 4.7K resolution in ProRes format or TIFF image sequence.
We usually add motion integration with the RED Epic Dragon for optimal quality – but we can work with a variety of cameras to get the needed results.

For added options with visuals and editing, we can add multiple motion cameras to the rig; this allows different stop/start points for the motion footage.

Alignment for the motion integration footage is done after the shoot.

On-set review videos take about one minute to create once the files have been downloaded.
It is suggested to allocate a full day for set up. This allows for full testing, adjustments, and lighting.
Technically, yes. Slowing down footage in post-production may have varied results though. We encourage you to get an opinion from your post-production house about it – but whenever possible, it is a great idea to shoot everything so that real-time footage is created. Trying to fix problems with frame interpolation might cost more time and money than doing it right in-camera.

Some of the biggest problems with slowing down footage in editing include, distortion of the background, weird visual blurs on details, a distorting “tearing” effect when parts of a visual element is either revealed or obscured.




“A high performance life is, at its core, a balance of physical and mental well-being. But it also entails an appreciation for style, cuisine and culture. To bring this philosophy to life, we collaborated with the game-changers who truly embody that ethos. The result is a unique series of animated GIFs that represent the intersection of lifestyle and science.” – Furthermore from Equinox