But usually, when it's in the backyard, it's just us two because we feel we can work at our own pace.
#PHANTOM CINE TOOLKIT SERIES#
Our YouTube Original series had tons of crew, maybe over 80 people at some points, because of the large stunts we were doing. Then, every few weeks, I'll edit one of the ones that we shot after Dan's gone. We used to be able to do a few videos in one day, but now it's usually one per day or maybe one across two days. Our newer videos take longer to shoot because the ideas are much more complicated. So, I'll fly him over, and then we'll spend a week or two coming up with ideas, planning stuff, then we'll try and shoot ten videos in my backyard. I live in Austin, and Dan lives in the UK. What's your production process on The Slow Mo Guys? But then I also like watching Dan jump off a ladder into a thousand mousetraps. We filmed lightning in Singapore at 103,000 fps with a Phantom v2512 and geysers in Iceland. We did a travel show last year for YouTube Originals called Planet Slow Mo, where we got to go to some really fun locations. Our list is getting longer faster than we can shoot it. Occasionally, we'll see something on Reddit, or something will get tweeted to us or appear in a comment on a YouTube video. There's just tons of inspiration in every direction really - we have a long list. I decided to create a hosted, experimental show. There were mostly mute, slow-mo clips that were never presented in context. I noticed a small gap in the market on YouTube, where there wasn't a lot of high-speed. I got to practice things I wouldn't have been allowed to do on someone else's set. John let me borrow his cameras and goof around with them. So, I thought, might as well start a YouTube channel during the downtime. Then there was the recession, and we suddenly got much less busy. John had the only two Phantoms in the UK on the commercial circuit at the time.
#PHANTOM CINE TOOLKIT FOR FREE#
I worked for him for free for about a year and then became his Phantom Technician on a bunch of different shoots. We lived in the same town, it turned out. In 2004, I met John Hadfield, owner of Green Door Films. I also liked the concept that you're taking a bunch of still pictures, so you could apply basic still photography knowledge and do it fast. I also liked The Matrix and the fact that you ended up seeing stuff that you've seen a million times but in a completely new way. I remember watching a lot of slow-motion instant replays during football games. I always thought slow-motion was cool from a young age. What initially attracted you to slow-motion versus more traditional cinematography?
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