It started with a camera that looked more like a technical measuring device. A thick cable led from the "camera" to a computer. No viewfinder monitor, no battery operation. The first digital high-speed cameras were like the first vacuum cleaners. Although reasonably functional, but still expandable in handling. We weren't fighting a weak spot, the whole camera was a weak spot. But we were intrigued by the images it produced and so we continued.
Cameras have become more user-friendly today, but one thing has almost not changed. You need light for high-speed photography. Lots of light. Even more light. And above all: light of good quality. So we invested in appropriate headlights.
As minimalist as we are often on the go. Here we don't go small scale. You'll be happy to take out your glacier goggles, because a look into one of these headlights is enough to brighten up your eyes for the rest of the night. UV filters were also needed - it's said to have happened that one or the other actor got sunburned in the evening.
Nach vielen Versuchen und viel probieren wissen wir nun wie der Haase läuft. Wie man Dinge bewegt, damit sie schnell genug sind, damit sich im Highspeed bei 1500 Bildern pro Sekunde – also 60 mal langsamer als in Echtzeit – überhaupt noch etwas bewegt. Die Faszination der schnellen Bilder hat uns bis heute nicht losgelassen. Sie werten jeden Film ungemein auf. Zwar nicht ganz billig, dafür aber lieb und teuer.