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This is when you threw dan into these mousetraps? yes. they way they all just sort of triggered from the outside inwards, just amazing — and that was all within, you know, a few milliseconds when that happened. right, here comes the science bit. now, whereas normal video cameras record something like 25 still images orframes per second, gav uses cameras that capture thousands per second. if you play these back at 25 frames per second, that's where you get your slow—mo. they have filmed at over! million frames per second and at that speed, they only have enough storage space to capture two ...

To happen and you don't quite know when, very difficult to get that. hence, slow—mo has only really been accessible to the industry on digital cameras. now, these continually record over their own footage and instead of a start button, you get a stop button. instead of trying to predict when the things gonna happen and hitting startjust before, when the thing happens, you hit stop and you get to keep the last few seconds. that's actually the most stressful part of it, is, "i hope i don't miss the beginning by waiting too long and i hope i don't trigger too early". so, for example, if there's...

Into these mousetraps? yes. they way they all just sort of triggered from the outside inwards, just amazing — and that was all within, you know, a few milliseconds when that happened. right, here comes the science bit. now, whereas normal video cameras record something like 25 still images orframes per second, gav uses cameras that capture thousands per second. if you play these back at 25 frames per second, that's where you get your slow—mo. they have filmed at over! million frames per second and at that speed, they only have enough storage space to capture two seconds. so, how do you mak...

Of triggered from the outside inwards, just amazing — and that was all within, you know, a few milliseconds when that happened. right, here comes the science bit. now, whereas normal video cameras record something like 25 still images or frames per second, gav uses cameras that capture thousands per second. if you play these back at 25 frames per second, that's where you get your slow—mo. they have filmed at over! million frames per second and at that speed, they only have enough storage space to capture two seconds. so, how do you make sure it's the right two seconds? that's actually one ...

To get that. hence, slow—mo has only really been accessible to the industry on digital cameras. now, these continually record over their own footage and, instead of a start button, you get a stop button. instead of trying to predict when the things going to happen and hitting startjust before, when the thing happens, you hit stop and you get to keep the last few seconds. that's actually the most stressful part of it, is, "i hope i don't miss the beginning by waiting too long and i hope i don't trigger too early". so, for example, if there's an explosion, you want have everything land, but yo...