TimeSlice Films – Demoreel 2009

This demoreel was cut together specifically for the Canon Pro Photo Solutions Expo 2009 – highlighting all of our combined skills, from Time-Slice® Effects through to our Moving Image Design.

If you wish to download the reel please right click and save as the link below…

Burberry Autumn / Winter Collection 2010
 
TimeSlice Films hits another milestone, delivering the world’s first interactive video array sequences.
 
Taking creative steer from director & photographer Mario Testino, we were commissioned to design & build a camera array capable of shooting full motion, high quality HD video.
 
The website navigation Burberry have applied allows each user to move across the camera array by moving their mouse left & right, additionally vertical mouse movement makes each camera from the array play video forwards & backwards in time. The end result is a new interactive experience providing freedom of movement, allowing each item of clothing to be studied not only from different angles in space but also at different moments in time.

TimeSlice Films has captured the world’s first stereoscopic camera array shots for feature film & if you have a pair of red/cyan anaglyph glasses you can view the examples shown here in 3D. The feature is called Street Dance 3D and our camera array work for the film has been well received:
 
“There’s also a pioneering 3D bullet-time moment that’s worth the price of admission alone.” viewlondon.co.uk
 
Tim Macmillan pioneered our stereoscopic work when IMAX commissioned him to deliver 3D TimeSlice sequences in 2000, the aim was to see how three dimensional a camera array shot could really look, the conclusion was very! 10 years later and we were commissioned to capture a number of different moments for this film. The end results are eye catching scenes of well known dance acts like Flawless & Diversity in mid action, jump, back-flips, spins….

Oger Telecom
 
“Oger (O-jeay) Telecome, re-defining the future, unlimited”
 
An interesting project where TimeSlice camera array plates were used as texture maps for CGI organic shapes, creating a future-gazing look to this commercial.
 
Working in Beruit with Laser Films, TimeSlice were tasked with capturing a selection of people & objects in motion. These were then treated as 3D textures for CGI elements that were roughly the same size & shape as the items we had filmed. In post-production this allowed some pretty cool virtual camera moves through each scene of the story, which would otherwise have been impossible – this is the future!

Port Aventura, resort & theme park, Spain
 
An action packed, 30 second journey through a single moment in time.
 
This was a fun project to work on – especially for the adrenalin junkies in our crew! Seamlessly combining both camera array frozen time & fake frozen time (people standing very still with CGI elements added around them in post-production), this commercial takes our viewer on a journey around the theme park highlighting various attractions along the way.
 
A special thank you to all at Only-925 for looking after us so well out there, until the next time, Adiós!

Bespoke animations for the live studio LCD screens, stairs and floors.
 
‘Over The Rainbow’ was another fabulous collaboration between Graham Norton and Andrew Lloyd Webber for BBC’s primetime Saturday night slot. This was a wonderfully magical brand to work on and our team loved designing with all the iconic imagery ‘Over The Rainbow’ and The Wizard of Oz conjures up. This was the first time Talkback Thames had worked on the Norton-Lloyd Webber combo and the result was a very polished and slick show. We even found a new Toto!!

Bespoke animations for the live studio screens through-out the show…

We were commissioned to design a graphics package which would be flexible enough to carry the variety of dance styles and music genre’s this hit primetime SKY1 show presented us. We worked closely with the lighting and creative directors producing a package which gave the lighting department the possibility to light each act as differently as possible but keeping within the ‘house’ style. We worked with some unusual resolutions and conflicting technical outputs but were able to deliver a variety of outputs from floors to walls and side screens. The final result enhances each act without detracting from them, giving each performance the space and subtly each dance demanded – a tall order with such a huge expanse of screens within the set – pixel power to the maximum!