How it works
Captures the exact moment, in full resolution.
The DSLR rig fires up to 240 Canon cameras at a single, precisely triggered instant. Fire them together and you freeze one moment from every angle, the classic Matrix-style bullet time. Fire them in sequence and the camera moves through time across the array. Every camera shoots a full still, so what you get is the highest resolution we offer, captured at the exact moment you choose.
More than bullet time
Stills, photogrammetry and 3D from the same array
The DSLR rig is more than a bullet time rig. The same cameras capture static photogrammetry and 3D, so a single shoot can deliver frozen-time sequences and a clean 3D model or scan of your subject. And because every camera can shoot a true long exposure, you can paint with light, trails and sparks in a way that video simply cannot.
- • Bullet time / time slice
- • Photogrammetry
- • 3D Gaussian Splatting (3DGS)
- • True in-camera long exposure (light painting, trails, sparks)
If you need photogrammetry or a 3D capture on a stills shoot, the rig already does it. No separate company, no second setup.
Print-grade resolution
Shoot wide, crop in, stay sharp
At around 5.7K per camera, the DSLR rig produces stills clean enough for national print, and images from the rig have run in Vogue and GQ. Because every frame is a full-resolution TIFF, editors can push deep into a shot, well past 100 percent, and the detail holds: skin texture, fine hair and fabric weave all stay crisp. You frame loose on set and make the final crop in post.
Long exposure
Light painting, in camera
Every camera in the array can hold its shutter open for seconds at a time, which makes the DSLR rig the right tool for true in-camera long exposure and light painting. Light trails, sparks, torch drawn shapes and rear curtain flash all happen in front of the lenses, not in post. It is how we froze Emma Raducanu inside four second light trails for Vodafone, with an illuminated racket drawing the paths and a flash locking her in place.
This is one of the few things the Argus rig cannot match: a cine camera can only expose for as long as a single frame lasts. If a long exposure carries the shot, this is the rig. The full rig comparison covers the rest.
Motion around the freeze
Moving in and out of the frozen moment
The DSLR rig captures one perfect frozen instant. To fly into and out of that freeze, we place video cameras at each end of the array, so the sequence starts in real motion, hits the freeze, and returns to motion with no visible join. That is how The Cube’s game freezes were built for ITV, with video cameras at the ends and centre of a 14 metre ring.
If the brief needs the subject still moving inside the slice itself, that is continuous video work, and the job for the Argus rig.
Why art directors choose it
The right rig when the image has to be perfect
When the priority is photographic quality, a printable poster, true long exposure, or a moment you can time and repeat exactly, the DSLR rig is the right tool. It is built for the shot that has to be flawless on set, not found later in the edit.
Built and run by us
Any shape. Two-person crew. Per camera, per day.
The cameras build into click-together modules of six, so the array takes almost any shape, from a straight line to a full circle around the subject. An eighty-camera rig goes up in around two hours with a two-person crew, and that same crew runs the shoot, including a full director’s monitor system so your video village sees the live array output in real time. Pricing is simple: your brief sets the camera count, and the camera count sets the price.
