Getting the creative juices flowing, the Splice Boys teamed up with renowned Photographer, Justin Cooper, to create the magical art piece Metalepsis. Using a combination of Phantom shooting, Multi-camera array with Flash Frozen and Motion Blur. The team created a vibrant resonating and unique video piece for the Shanghai art scene. Shot at Central Studios Shanghai.

Early testing from 2012 of various Light Painting techniques. Just a single night of shooting, anything and everything went as we explored the deeper creative possibilities available the the multi-camera array system.

Using lighting painting, multiple strobe and flash with frozen and progressive techniques. This gives just a taste of whats possible with this system.

In 2013 the Splice Boys teamed up with Irresistible Films to create some of the most ambitious multi-camera shots ever made. A 100 camera, 30m rig was built 10m in the air, kung-fu and stunt specialists flew out of a 4 story building, swords flying to create a truly unique, in-camera capture of amazing stunts. Rise of the Legend was one of the biggest action films of 2014 in China. A Special Thanks to Irresistible Films for teaming up with us to create something truly amazing!
This highly innovative piece was shot for the Sydney Dance Company. Collaborating with photographer Peter Greig, we experimented with, flash, stop-motion and motion blur techniques to create this evocative end product.
ShotbySound is a fashion project in collaboration with Daniel Johns and David Jones. Using a customised set and telemetric-style cabling, the band was in control of 42 cameras. The cameras were triggered by their voices and instruments. With every sound from the live performance of the artists, imagery was captured, creating the first fashion and music campaign that is Shot by Sound.

We took the rig around China, shooting everything from stills, film, time lapse and lenticular 3D photography. we shot in many locations, including Tibet, Beijing, Shangrila in Yunnan Province and Dunhuang on the edge of the Gobi Desert. We set it up at 5000 metres in blizzards, got borderline hypothermia working though the night at -23 degrees Celsius, [shot in] freezing rain in lakes and rivers, covered the rig with mud and burnt ourselves to a crisp in the desert.

The equipment is all packed in custom boxing and transported either in a van or on our backs. One of the biggest difficulties is just in the sheer size of the rig, and all the interconnected and delicate parts that make it work. In a studio, this is relatively easy; in the rain or at altitude, not so much.

Some shots could take up to 10 hours to set up when working in extreme conditions because our bodies were pretty much frozen.

A little cut of some super fun work we did a little while back. Shot with 18 cameras using a variety of lighting and sync techniques.