Tessive has produced this short sequence to show the effect of the Time Filter in a variety of shot types and situations, and to highlight the advantages of the system in a longer form. Most of our demonstration footage is designed to show the use of the Time Filter in specific scenarios, but when the frequency spectrum of the real-world is more accurately recorded, all motion takes on a new feel.
This sequence was shot entirely using the Time Filter, even for parts which wouldn't have obvious temporal aliasing problems. The truth is that nearly every camera move and character motion will cause frequencies that would alias, so properly shaping the blur will always make an apparent change to the recorded motion.
At the end of this clip are comparisons of select sequences which were shot both with the Time Filter shutter and with a standard 180-degree shutter.
This was filmed using an ARRI Alexa, entirely at 24 frames per second. The glossy motion is apparent even with a mix of handheld, tripod, and vehicle-based shots. It is interesting to note the effectiveness of the Time Filter in imparting a smooth, liquid feel even with these straightforward shooting techniques. The air-to-air sequences were shot handheld, and the tracking shots on the ground were shot from the bed of a humble Ford F150. One of the problems with camera shake is that a standard shutter will cause false edges to appear on each frame, so reducing this aliasing noise will calm the jarring effect of global camera motion.
The director of photography for this shoot was Sidney Sidell, sidneysidell.com.
Thanks to Pilots Sam Mason and Pete Mason and the Santa Paula Airport, Santa Paula, California (www.santapaulaairport.com).
The camera and lenses were provided by The Camera House (www.thecamerahouse.com), which is also a great rental house in Los Angeles where you can rent the Time Filter. They are expert in its use and setup.