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 Completed shots from our cameras can have a variety of different looks depending on the production and post production techniques used. That's because the process of creating a Timetrack shot involves more than just shooting it. To produce crisp, stable imagery it's important to shoot at high shutter speeds (or with strobes or Unilux), to do high-resolution (2K) film scanning when transferring the film to digital, and to use the best artists, hardware, and software tools throughout the post production process.
Timetrack cameras record a series of 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 or film scanner sequentially as well. This makes post production considerably easier and more consistent than it would be if each camera required a separate roll of film. Another significant advantage of our cameras is that our lenses are very close together, allowing for very smooth virtual camera movement that integrates naturally with regular motion picture footage.
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 the shoot -- by any motion picture film lab. Our larger cameras -- now up to twenty feet long, with up to 160 lenses -- shoot 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.
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