Our earliest recorded work was a live bullet time event at Tate Britain for the Francis Bacon exhibition, and the rigs have been in galleries ever since. We built the 96 camera array behind Sophie Clements’ How We Fall at the Barbican, and a second commission at Dolby’s headquarters that later showed in Seoul.
Installations run to different rules from commercial shoots: long exhibition periods, programmable triggering, and equipment that has to disappear into the work. We design for that.
