Bullet time built for fashion: frozen fabric, print resolution stills and 3D garments, shot on rigs we designed and built ourselves. Our images have run inside the front covers of Vogue, Bizarre and GQ, and we have worked with fashion houses since 2001, from Prada to London and Milan Fashion Weeks.
Print grade
Frozen detail at print resolution
The DSLR rig shoots 5.7K stills, sharp enough for the front of a magazine. Fabric texture, hair and skin hold their detail at print scale, and the array runs from 12 to 240 cameras depending on the shot. For Prada we fielded 240 cameras at the Fondazione Prada in Milan, our biggest rig ever built.
Movement
Fabric that styling cannot fake
Cloth in motion does what no stylist can pin: skirts flare, coats lift, trainers hang mid jump. Bullet time freezes the exact frame where the shape is perfect and lets the view travel around it. It is how we shot Air Max Day for Nike and supermodels in fake snow for H&M.
Show pace
Backstage at fashion week speed
At Philipp Plein’s Milan Fashion Week show we built a 60 camera ring backstage and shot hundreds of looks straight off the catwalk, with aligned films and raw files handed over within 30 minutes of the final shot. The rig keeps show pace.
Fashion in 3D
From stills to 3D garments
The same arrays capture 3D. For Foot Locker’s Salomon advert the whole scene is a navigable 3D reconstruction, and for H&M’s Metaverse Design Story we shot the campaign that introduced their digital garments. Photogrammetry, 3DGS and 4DGS all come from rigs already on set.
The work
