WarpSpeed™
FPV that gets inside the chase, not above it.
One camera through the whole workflow
Handheld for the tightest angles and fastest moves.
Pole mode for overhead passes, wrap-arounds, and impossible proximity.
Most productions previs with small gimbal cameras, then switch to heavy builds on set and lose the movement. We do not switch tools midstream. WarpCam® runs from previs and rehearsals through principal photography and pickups, so the movement you design stays intact.
WarpCam®: 8.1K at 75 fps capabilities, full-frame 35mm sensor, and 16-bit color with 14+ stops of dynamic range, this sensor is engineered to impress!
HyperWarpCam®: 5K 600 fps or 4K 800 fps (Nano Primes optional)
AERIAL COMBAT: THE FPV REVOLUTION
STANDARD GIMBALS DIE AT 3Gs.
When you bank a racing drone at 80 miles per hour, you aren't just flying; you are fighting physics. The G-forces generated in a hard turn will lock up a standard cinema gimbal. The motors fail, the horizon tilts, and the shot becomes unwatchable.
We built the WarpCam® to survive the turn.
This system is tuned for high-torque resistance. Unlike fixed-camera FPV drones that force the audience to tilt their heads with every maneuver, the WarpCam® maintains a perfect, independent horizon. The drone can be flying sideways through a narrow alley, but the image remains cinematic, stable, and level.
THE FAST X PROVING GROUND We didn't test this in a lab. We proved it on the set of Fast X. Working under the command of Stunt Coordinator Andy Gill, we pioneered a new category of aerial cinematography. We didn't just follow the cars; we became a projectile.
The WarpCam® allows us to fly through the explosion, not just over it. It allows us to chase a drift car from inches away without losing stabilization.
We don't just capture the aerial view. We capture the pilot's aggression.
