Bullet time freezes a moment, or slows it right down, while the camera appears to travel around the subject. It is shot on an array of cameras arranged around the action, each one capturing the same instant from its own angle. We have designed, built and operated bullet time rigs since 2001, with a fleet of around 300 cameras, software we wrote ourselves and a two person crew that sets up and runs every job.
4K Showreel
Production Bullet Time Rigs
Built for high end production work. Up to 240 DSLR cameras at 5.7K resolution give print grade stills, images from this rig have run in Vogue and GQ, with post production and grading handled in house. The trigger timing is exact, and a preview of the shot is on the director’s monitor in seconds.
Production bullet time rigs in detail →
The Argus Rig, a Cine Camera Bullet Time Array
The Argus Rig is the world’s only cine camera bullet time rig: 50 Z CAM E2 4K cinema cameras recording continuous, frame synchronised video at up to 120fps in 4K or 240fps in 1080p. Every camera records the whole event, so the moment, the speed and the direction of the time slice are all chosen in post rather than locked on set. A single frame from every camera gives a frozen bullet time still or a static 3D scan, and a run of frames gives moving 3D, volumetric capture and 4D Gaussian Splatting, so one rig covers bullet time, photogrammetry and 4D work in the same setup. It is also silent, which makes it usable around wildlife, animals and live performance.
Experiential Bullet Time Rigs
Built to go up fast at expos, brand events and corporate parties. Guest movies are ready in seconds, sharing to phones and social media is built in, and an experienced crew sets up and runs the rig for the whole event.
Experiential bullet time rigs in detail →
Lead In and Lead Out Cameras
A bullet time sequence usually sits inside normal footage. We own three Blackmagic URSA 12K cinema cameras that record the action before and after the array fires; we grade that footage and cut it onto each end of the bullet time shot, so the sequence arrives and leaves at full quality. We can also work alongside any other camera on set, including Phantom high speed cameras when a job needs more slow motion.
Why lead in and lead out footage matters →
Talk To Us About Your Shoot
Rigs are priced per camera, per day. The creative brief sets the camera count, and the camera count sets the price. If you have never used bullet time before, call us and we will talk you through what your shot needs, most of our clients start exactly there.