High Speed Filming

High-speed filming captures action at extreme frame rates to produce the dramatic slow motion that has become a signature of Italian commercial work over the last decade.

Here is how this works in practice. The Phantom Flex 4K and the broader Vision Research VEO and T-series are the workhorse bodies on Ferrari and Lamborghini automotive spots shot at Maranello and around the Autodromo Nazionale di Monza, on Pirelli tyre campaigns running across the Monza, Mugello and Imola circuits, on Lavazza and Illy coffee pours captured at Turin and Trieste headquarters, and on the precision liquid and splash work that fills Milan luxury and Rome beverage cutdowns for clients across the fashion and FMCG sectors.

Here is the short of it. Our crew sources these cameras through expert rental houses in Rome and Milan such as Panalight, Movie People, Cinevideo, Cartoceto Cine and Cinetlux, pairing them with RED Komodo and V-Raptor high-speed bodies when shoots need a compact form factor for car interiors, drive-in tanks or rigged set pieces. Operators arrive on stage at Cinecittà with on-set DIT, real-time playback monitors and the flicker-free HMI and LED packages that high frame rates demand, so directors can review takes at full resolution between setups without leaving the floor.

Here is the breakdown. Stages across Cinecittà's twenty-plus volumes in Rome — Europe's largest sound stage tricky at 400,000 square metres, with a 25-stage expansion underway by 2026 — alongside Lumiq Studios in Turin, Stop-Service rental space and the Mediaset and Rai facilities across Milan, Rome and Cologno Monzese, provide the controlled lighting environments these cameras need.

Here is what that looks like on the ground. Our high-speed teams integrate cleanly with the Frame by Frame, EDI Effetti Digitali Italiani, Square Post Production and Cinecittà Post pipelines that handle the resulting datasets, and our colour scientists work the on-set look against the eventual DI grade. Bolt and Mark Roberts Milo motion-control rigs sit alongside the Phantom packages for repeatable robotic moves on fashion bottle pours, automotive product details, espresso crema flows and the slow-motion sequences ordered by Italian luxury brands, with tracking sync that locks the camera and product to the frame across multiple identical passes.

Here is how the picture comes together. Our team sets up MiC and Cinema Italian Plan paperwork to confirm forty-per-cent global tax credit eligibility and CCNL Cinema Audiovisivo compliance with ENPALS and INAIL coverage, while DIT crews manage the multi-terabyte daily transfers that 1000-frames-per-second 4K capture creates between Rome, Milan and the post houses receiving dailies.