Timetrack Cameras (click on the drawings below for detailed information) Timetrack 80 Lens 66 Deg. Curved Camera Timetrack 80 Lens Straight Camera Timetrack 40 Lens 33 Deg. Curved Camera Timetrack 40 Lens Straight Camera Timetrack 40 Lens 107 Deg. Curved Camera Timetrack 25 Lens 130 Deg. Curved Camera Timetrack cameras produce extremely sharp, stable virtual camera movement. How? First of all, our cameras' lenses are very close together. This allows our system's point-of-view to move very slowly and to get very close to the subject. Our smallest camera has a lens "frequency" of more than one lens per-inch, and our larger cameras have a lens "frequency" of one lens every inch and a half. This means we're sampling the scene from so many perspectives that we can reconstruct a virtual camera move at virtually any speed - from very slow to very fast, of a subject of almost any size - from a hummingbird to a distant landscape. Because each lens in a Timetrack camera shares a common strip of film the X, Y, and Z axis of neighboring negatives are automatically aligned. And because we design our camera parts in CAD and fabricate them using computer-controlled machinery the X and Y alignment of our lens axes are also very consistent. Timetrack lenses are also very sharp. They're three element lenses made of high quality multi-coated glass designed and manufactured by Eastman Kodak and they test about the same in resolution and contrast to a new 35mm Canon SLR prime lens. The Timetrack shutter system is also very fast and synchronous. We can shoot at shutter speeds in excess of 1/1000th of a second with perfect synchronicity. High, synchronous shutter speeds allow us to eliminate the jitter and blur that would otherwise result from shooting fast moving subjects. Finally, the Timetrack camera system design results in a consistent negative. Timetrack cameras record a series a frames onto a single strip of film, so the same sequence of frames that end up being sequential film frames in the edit pass through the developer, printer, and telecine sequentially as well.

Timetrack cameras can be used to shoot scenes which are totally frozen in time. They can also be used to stop and start time, and they can be used to slow time down and speed it up, all from a moving point-of-view. We can also integrate frozen motion and regular motion into virtually any cinematic scenario - people walking through frozen scenes, time stopping for part of a scene but not the whole scene, etc. Timetrack cameras are designed for mounting motion picture cameras on the ends. This allows for a straight cut from live action to frozen motion and back to live action again. To get the movie camera as close to the Timetrack camera as possible we designed a set of special right-angle first-surface-mirror lenses. Our large curved cameras are made to track on the radius of standard 45 degree dolly track, for shooting circular camera moves in which time stops and starts. Our straight cameras can do the same thing on straight dolly track. All of our cameras are made to be mounted on dollys or cranes. We also have the ability to shoot frames sequentially or simultaneously in-camera, for slow-motion effects and so that time can start or stop within the sequence of frames that the Timetrack camera records. Using our sequential shutter systems we can shoot at very slow, normal, or very high sequential frame rates. Our larger cameras -- now up to twenty feet long, with 160 lenses -- shoot pin-registered, vistavision format negatives. The vistavision film format is twice the size of super 35. This "extra" negative area allows you to crop, pan across the image, zoom in, rotate, or otherwise manipulate the framing in post while maintaining regular 35mm film grain characteristics. And with a vistavision telecine, available in the latest upgrade release of the Philips BTS Spirit DataCine telecine, you can view your dailies the morning after a shoot. The vistavision film format affects the negative layout only and does not require special film or processing. All of our cameras shoot regular 35mm motion picture film, in standard roll sizes (400ft or 1000ft). This means you can shoot any 35mm film stock you want and it can be developed immediately after being shot - by any motion picture film lab.