High Speed Filming

Here is how this works in practice. High-speed filming captures action at extreme frame rates and produces the dramatic slow motion that Peruvian commercial work now leans on for pisco pours along the Ica Pisco Route. The Lunahuaná valley, ceviche and Inca Kola gastronomy spots commissioned through Mistura-adjacent agencies, and broadcast slow-mo for Universitario, Alianza Lima and Sporting Cristal matches feeding Latina, América, ATV, Panamericana and TV Perú from Estadio Nacional and Estadio Monumental.

Here is the short of it. Phantom Flex 4K and Phantom VEO bodies are not held in long-term stock by Lima rental houses — most projects import the high-speed package per shoot from Filmotechnik in São Paulo, Cinesphere in Buenos Aires or Argentina-based brokers, with our crew setting up the ATA Carnet, SUNAT clearance and DGAC paperwork needed to move the kit through Jorge Chávez. Audiovisual Project Perú, APU Productions, Chita Films and GoPeruFilms handle the rest of the package: flicker-free HMI and LED lighting sized for 1000-frames-per-second capture, on-set DIT and the Russian Arm, Techno Crane and Shotover rigs that pair naturally with Phantom bodies on automotive and beverage briefs.

Here is the breakdown. Pre-production starts with a frame-rate and lighting plan because high-speed capture demands far more light than standard cinematography — our crew specs the HMI and LED packages, validates flicker handling at the chosen frame rate and books the genny capacity needed at locations from Ica's pisco bodegas to Lima studio interiors and Cusco altitude shoots.

Here is what that looks like on the ground. Operators come from the Lima commercial pool, often with credits across Backus, Inca Kola, Field, Gloria and Tottus campaigns, and bring the on-set color science and real-time playback monitoring needed to lock takes before talent or product is reset.

Here is how the picture comes together. Data running runs through Lima-side DIT carts because a single 4K Phantom take creates many gigabytes; our team handles offload, checksum verification, redundant backup and shuttle drives to Makaco VFX and Maneki Studio for finishing, with IGV 18% invoiced under DAFO and Ministerio de Cultura registration, ANACTP-aligned crew rates and the competitive non-union 12-to-14-hour day that keeps Peruvian high-speed work cost-good against Brazil and Mexico.