How to Shoot Slow Motion Video

Creating a true super slow-motion video requires specialised cameras like the Pixboom Spark, Phantom Flex 4K.

While various software can simulate slow motion, the most realistic results come from using dedicated high speed cameras. It’s through such tools that one can truly appreciate the visual impact of super slow-motion footage. You will be able to clearly see the difference between slow motion videos created by software and from a dedicated slow motion camera. We can help you with this.

In the realm of video production, slow motion video entails capturing and playing back footage at a pace slower than the standard 25fps, contrary to real-time recording.

While a regular video camera adheres to the 25fps standard, specialized slow motion cameras operate at frame rates starting from 500fps. Any frame rate surpassing 25fps up to 300fps is deemed as slow motion, with anything above 500fps classified as super slow motion.

The distinction between super slow motion and slow motion lies in the frame rates. Super slow motion involves shooting above 500fps.

The human eye can only see a difference in frame rates when it is doubled. Thus consider doubling your frame rates, such as from 50 to 100fps, 100fps to 200fps, 200fps to 400fps, 400fps to 800fps and so forth. In-between frame rates have little effect on visual impression.

In PAL countries, 25fps is the standard frame rate used for most videos, and 24fps in NTSC countries. It shows motion the way we normally see it: natural, real-time movement. Shooting at 25fps, fast actions happen quickly and are often gone before you can really notice the details.

This is when we need to use a higher frame rate—i.e. 800 or 1,000fps—using a dedicated high-speed camera.

A high-speed camera captures 1,000 frames every second, allowing us to slow the footage down dramatically in post-production. When played back at 25fps, this creates up to 40× slow motion, revealing fine details the human eye can’t see in real time.

This is especially useful for food, product, nature, sports and technical shoots, where timing, texture, impact or movement happens too fast for us to take notice.

Slow motion enhances the visual impact of a scene, allowing viewers to delve into the unique features and subtleties of the subject being recorded. Even an ordinary object, like a tomato, can be transformed into something extraordinary when viewed in slow motion.

Slow motion is a filmmaking technique to keep audiences engaged in the storytelling. Slow motion shots serve the purpose of highlighting intricate details and directing the audience’s attention to certain elements in the shot the director wants to convey.

Just like how icing enhances a cake’s flavour, slow motion should be used selectively to ensure it maintains its allure and enchantment for the audience. Too much of it can have the reverse effect.

While a standard video camera records 25 frames per second, slowmo/high-speed cameras like the Flex 4K or Pixboom Spark have the capability to capture 1,000 frames per second. This represents a 40× increase in the number of frames within the same time period.

The essence of super slow motion lies in the extra details captured, ensuring that nothing escapes the camera lens as compared to conventional video cameras.

Slow motion turns an ordinary product into something extraordinary.

You can be selling the simplest object, but when time slows down, details appear that people have never seen before. Texture, movement, behaviour. It reframes how the product is perceived and remembered.

What this really means is you’re not changing the product. You’re changing how the audience experiences it.

The first thing I look at is speed.

My rule of thumb: if the action happens within a second, it’s a good candidate. If it doesn’t happen in the snap of a finger, it’s usually not fast enough.

Slow motion works best when it reveals something the human eye cannot register in real time.

Yes and no.

Slow motion can be simulated in editing using software, but the result is not the same as filming with a dedicated high-speed camera.

Software has to create extra frames between the original frames. This can work for some simple shots, but it can also create artefacts, warping or unnatural movement, especially when there is fast action, splashes, smoke, hair, fabric, particles or complex motion.

When the same moment is captured properly with a high-speed camera, the movement feels more organic, natural and lifelike.

You are seeing real frames that were actually recorded, not frames created later by software.

Developed by Vision Research, widely known as VRI, the Phantom Flex 4K is a cutting-edge slow motion camera tailored for the film and video production industries.

Renowned for its exceptional capabilities in capturing slow-motion footage, the Phantom Flex 4K features a proprietary S35 CMOS sensor combined with distinctive colour science crafted by VRI, resulting in a unique visual aesthetic that sets it apart from its competitors. It is still widely used all over the world.

We currently offer both hourly rentals—minimum of 3 hours—and daily rentals for the Flex 4K camera, inclusive of Phantom Tech support services. Reach out to us for current rental options, as we also provide customized rental solutions tailored to your specific video production requirements.

It has a dynamic range of 11.5 stops and effectively maintains the black levels, all while keeping noise to a minimum. You can also set it up to shoot 25fps. While shooting at 25fps is feasible with the Flex 4K, it is advisable to avoid it due to the creation of large raw (.cine) files.

The Flex 4K has the capability to shoot at 1,000fps in 4K DCI 1.90:1 (4096×2160), approximately 2,000fps in 2K (1920×1080), around 3,000fps in HD (1280×720), and even faster at lower resolutions.

While modern cameras can capture high frame rates, achieving consistent lighting, motion control and image quality often requires specialised planning and equipment.

We provide expert tech support on set to help you find the right frame rate and resolution for the shot needed.

There are various approaches to achieve this:

Through a 1G ethernet cable connecting the camera to a PC laptop running VRI’s Phantom Camera Control (PCC) software.

Using the onboard camera controls, which provide quick access to adjust key settings such as Resolution, ISO, White Balance, Frame Rates and navigation to sub-menus.

Utilizing wireless controls via Bluetooth or WiFi—our preferred method.

Through the integration of third-party Bluetooth wireless controllers like SEMOTE, or a basic WiFi router linked to the camera via a Fischer ethernet cable and using the iOS app, iPhantom. This setup enables remote camera operation, granting the Director of Photography and camera crew flexibility to work and manoeuvre the camera without being restricted to a laptop.

While on set, our Phantom technicians handle the camera setup and operations, allowing the DOP to concentrate on the creative process. Despite the user-friendly interface of the camera, the presence of a knowledgeable Phantom tech on set ensures smooth operations, freeing up creative bandwidth and eliminating concerns about camera configurations.

To download a Phantom CineMag, one must use the CineStation, a specialized reader designed for CineMags.

This reader is interconnected to our computers via 10G ethernet to facilitate fast offloading. For optimal performance, it is essential to have a high-speed USB-C SSD due to the large size of Phantom Cine files.

In order to view and edit .cine files, you have the following NLE (Non Linear Editing) software options:

DaVinci Resolve
Adobe Premiere
Ottomatic O/Dailies with Phantom Fuse
Silverstack with Phantom Fuse
Assimilate Scratch
EditReady
Seance

For backing up .cine footage, you can utilize PHANTOM FUSE software along with Hedge or ShotPut Pro.

Certainly! By adjusting a super slow-motion video filmed at 1,000fps to a standard 25fps speed in the post-production phase, one can effectively convert it.

Simply modify the clip’s speed to 1000% and you will obtain a 25fps video. Filming at 1,000fps offers various options for editing in the post-production stage, allowing for enhanced creative flexibility in the final result.

We always shoot at higher frame rates when possible. You get two options for the price of one.

Absolutely. Setting the sensor resolution to 2752 × 2304 on the camera will enable you to do so. The maximum frame rate will automatically default to 938fps. Our knowledgeable Phantom technicians will be available on set to provide assistance during the shoot.

We have options for:

Phantom Flex 4K
Nikon
PL Mount

Pixboom Spark
PL mount
Sony E-mount

It initially records to the camera’s internal RAM, which must then be transferred to an onboard removable storage known as CineMags. These proprietary storage solutions are remarkably fast, enabling image transfers in under 30 seconds from the Flex 4K’s internal RAM.

Efficiency is key in film and video production workflows. You don’t need to worry about the slowmo camera technicalities with us being on set.

Contact us, and we can send you a small downloadable .cine file to test your workflow before your shoot.

When shooting at 1,000fps, we need 5 stops more light to achieve the same base exposure compared to shooting at 25fps.

Thus we use bigger lighting fixtures. General rule of thumb: the more light we have, the faster we can shoot. This also helps when you would like to shoot at a deeper T-stop.

When shooting slow motion videos, it is recommended to avoid fluorescent lighting and tungsten lights below 2K.

With the significant advancements in LED technology, there is now a wide array of high-quality choices available in the market. LED lighting options such as the Nanlux Evoke 2400B and the Aputure Electro Storm XT26 are getting popular with super slow motion DPs/Gaffers.

To ensure proper lighting, it is crucial to set the fixtures to HIGH SPEED mode without dimming them.

Maintaining maximum power is essential. To reduce intensity, one can use diffusions, flags, nets, or adjust the distance of the lights from the subject.

For scenarios requiring colour accuracy, like when shooting beauty products, HMI or Tungsten lights with higher wattage are recommended, although they come with their own challenges.

Checking for flicker in LED lights is vital before shooting slow motion footage, as flickering can negatively impact the quality of the video. It is advisable to address any flickering issues during the production stage rather than relying on post-production fixes. Testing all lights for flicker using a flicker meter during the shoot can prevent potential headaches during post-production.

In addition to lighting recommendations, we provide complimentary consultations before your shoots. Feel free to discuss your requirements with us, and we will offer tailored advice on lighting solutions.

Flicker is the bane of all slow motion cinematographers.

Before we shoot, we check whether the lights are flickering. If flicker is not caught on set, it can create unnecessary work in post-production and will affect the final image quality.

Our approach is simple: don’t fix it in post when you can fix it on set. Solving the problem early saves time for everyone later in the production process.

There are a few ways to check for flicker. Some apps can help, and some light meters include a flicker detection feature. On our shoots, we use the B&S Flicker Meter before filming. If we find that a light source is flickering, we either fix the issue or change the lighting fixture before we roll camera.

This is especially important when filming at high frame rates, where flicker that is invisible to the eye can become very obvious in the final slow motion footage.

Yes, you can. Just make sure you have a HS (High Speed) Ballast coming together with the lamp heads, and set your knob frequency dial on the ballast to 1000Hz.

Yes, it can. There are many software plugins for the various NLEs already built in. Although this can remove some extent of flicker, it might not be 100% removal.

This can be easily avoided on set. This is part of our prep and what we do on set.

In general, most undimmed (100%) LED lights work, and HMIs with HS ballast work. But this should be tested before the shoot.

If you need to reduce intensity, use ND filters or move the light further instead of using the LED dimmer controls.

It depends on what we are shooting. For liquids and fine elements, we generally shoot at 90-degree or 45-degree shutter angle for better sharpness and visual clarity.

For most things, we shoot at 180-degree shutter angle.

Food shots: Highlight the details of food manufacturers, restaurants, fast food chains and gourmet food products.

Commercials: Add visual flair and captivate audiences.

Feature films: Enhance storytelling and create memorable scenes.

Nature: Capture the beauty of birds, insects and animals in nature.

Documentaries: Convey stories with heightened emotional impact.

Lifestyle: Showcase everyday moments.

Sports: Higher frame rates allow us to see an athlete’s muscles contracting and tightening as they jump a hurdle.

Dance: Showcase intricate dance moves with magical elegance.

Manufacturing/Tests: Provide detailed insights to industrial designers to test and evaluate their products for quality assurance and before going to market.

The organic sweet spot for super slow motion is between 800fps to 1,000fps.

We shoot food videos using dedicated high-speed cameras, high-wattage flicker-free lighting and specialist macro lenses to capture every detail in slow motion. This setup allows us to create dramatic visuals, splashing liquids, textures, steam and movement that aren’t visible at normal frame rates.

Beyond the camera gear, food shoots are a team effort. We work closely with experienced food stylists, prop masters and production crew to design, prepare and execute unique food shots that look appetising, intentional and visually striking on screen.

No. That’s the biggest misconception.

Clients often assume slow motion takes the same time and setup as a regular shoot. In reality, true slow motion requires around 5 stops more light to achieve the frame rates we want to shoot at—i.e. 800fps to 1,000fps.

On complex setups, a single reset can take up to 30 minutes. Every adjustment matters because small errors are amplified when time is stretched.

For most commercial and product work, 800 to 1,000 frames per second is the sweet spot.

It’s slow enough to reveal detail, but not so slow that the motion feels artificial or disconnected from reality. Pushing beyond that only makes sense when the action truly demands it.

Fine tuning the action.

Lighting is critical, but shaping the movement is where time really goes. A good example is liquid flow. Too much volume and it feels like a tsunami. Too little and it loses impact. We often adjust flow rate, height or force multiple times until the motion feels intentional and controlled.

Because the work happens before the camera rolls.

We spend more time in preparation and experimentation so the shoot itself doesn’t turn into guesswork. That prep protects the client’s budget. It reduces wasted takes, unnecessary resets and creative disappointment later.

Slow motion isn’t expensive because it’s fancy. It’s expensive because it’s precise.

We understand the creative intent and translate it into technical decisions instantly. That removes trial and error. It keeps the shoot moving. Directors and DPs can focus on the idea, not the mechanics.

Good slow motion isn’t about speed.

It’s about control.

And yes, ultimately, we should have fun doing it. When the setup is right, slow motion becomes one of the most rewarding things to watch come alive.

The most useful thing you can prepare is visual references.

Share videos, images, mood boards or examples of slow motion shots you like. They don’t have to be exact. They help us understand the feeling, timing, texture and level of detail you want to achieve.

From there, we can work out the creative and technical approach. Slow motion is not just about pointing a high-speed camera at something. We need to think about lighting, movement, timing, background, props, product behaviour and what the viewer should notice.

You don’t need to have all the answers before the shoot. Show us the direction you like, and we’ll help solve the best way to capture it.

Contact us here.