I had gotten progressively more comfortable with our motion-control gear at the office, so I gave myself a little challenge for the B-roll in this shoot: Have a practically moving element in every shot, be it a camera, light, or prop. It took a lot of effort to set up each shot, not in the least because of how cumbersome the entire rig was, but also because I had to triple check the fluidity of the motion in each shot before hitting record. We filmed the B-roll at 120fps and mostly on a macro lens, so every little bump would be supersized.