And here's some video at 1,000 frames per second.

On a frame by frame basis, we could actually reconstruct a 3D head that exactly matched the performance of Brad.

So this was filmed at 5,000 frames per second, and I'm playing it back at 15. And so this is slowed down 333 times.

Each frame of the movie has information about itself.

Image Per Image capture tool for making animation movies.

So, a quick strike like that. And if we slow it down a bit, this is the mantis shrimp the same species recorded at 1,000 frames a second, played back at 15 frames per second.

And so what we can do is we can lay out the frames side by side or stack them up.

Sheila Patek And so if we just take that one frame, what you can actually see there at the end of that yellow arrow is a vapor bubble.

And the software would tell us that, well, in frame 14 the left eyebrow begins to move from here to here, and it concludes moving in frame 32.

Three hundred and forty four frames, four and a half years and commissions later, what started as a one person show became a collaborative work of nineteen most talented artists.

More than 2,500 frames in both visible and infrared bands for identification of landmarks and altitude and orbit refinement were obtained. The orbital mass of the Rohini satellites was about 42 kg.

Motion pictures are themselves an illusion of life, produced by the sequential projection of still frames, and they astonished the Lumière brothers' early audiences.

And so I want to show you a high speed video sequence of a fly shot at 7,000 frames per second in infrared lighting, and to the right, off screen, is an electronic looming predator that is going to go at the fly.

Biologist Sheila Patek talks about her work measuring the feeding strike of the mantis shrimp, one of the fastest movements in the animal world, using video cameras recording at 20,000 frames per second.

So what we did was cross cut a bunch of archival footage of Johnny Cash, and at eight frames a second, we allowed individuals to draw a single frame that would get woven into this dynamically changing music video.

On the left was postscript being rendered by a conventional computer on the right is postscript being rendered from the first prototype we made, but there's no frame buffer, IO processor, any of that stuff it's just this material.

This is taken at 20,000 frames per second, and I have to give full credit to the BBC cameraman, Tim Green, for setting this shot up, because I could never have done this in a million years one of the benefits of working with professional cameramen.