2018 Digital Shorts


On the eve of human time travel, Jack faces and unknown future – and past, and risks all he loves to make history.

Length10 min.


Pitch video


Humans are on the brink of time travel. After successful tests, a team of scientists are about to send their first human back 60 years: Jack Sloan. As the launch grows near, Jack’s wife, Lauren, helps steady his usually cool nerves. Amidst excitement and fear, she is there to witness her husband’s historic voyage and (hopefully) welcome him home. It’s a simple plan: upon arrival in the past, Jack will bury a small device in the ground. Once it appears in the present – indicating he made it, he’ll get pulled back via the link connecting his capsule to both time periods. All is ready. The countdown begins. “Five. Four. Systems Go. Two. One.” Energy surges and Jack’s capsule disappears in a ball of light. Now all Lauren can do is wait and see what Jack’s future – and past, will hold.

The team

Our team includes award-winning filmmakers with the vision and experience to tell compelling stories. The filmmakers have collaborated on several projects, and have the production chops to pull this off.

Profile picture of Gordie Haakstad
Gordie HaakstadDirector, Writer, Producer
Profile picture of Sarah Card
Sarah CardProducer, Production Manager
Profile picture of Chris Beauchamp
Chris BeauchampProducer, Camera Operator, Lighting
Profile picture of Laura  Beauchamp
Laura BeauchampProduction Design
Profile picture of Aaron Hultin
Aaron HultinCamera Operator


Production Design

The main control room overlooks the launch room, in which sits the time travel Capsule. The two are separated by a large window. Steam vents from the multitude of hoses connected to it to the pod.
The “soccer ball,” as it is affectionately called. A truncated icosahedron which ferries itself and everything within it back in time. It is “linked” to the present, a requirement of the technology to bring it back. We'll engage a team of artists and fabricators to build this important set piece.
Shelves full of unused circuitry give way to larger, more impressive infrastructure. Bands of thick cable run throughout. Cutting-edge technology meets hand-wrought infrastructure. The Warehouse is the primary location for the film and much of it will be dressed to create a feel of a "lived in" world: advanced technology cobbled together with older stuff.
Technology and mechanics blended together with a make-it-work attitude. Thick welds, corrugated metal, and advanced circuitry run alongside heavy, banded cables that snake throughout the complex. We will use a mix of an existing industrial location and original production design and construction to realize this vision.
Overhead fluorescents and other practical sources will motivate the cool colour palette. Pools of light in some areas, and heavily-lit rooms in other areas. Exterior nighttime will be source-motivated lighting from the sodium vapour fixtures mounted to the building.
There are two primary VFX shots. 1) At the time jump, the control room erupts in light. A visible ripple of energy careens across the screen. 2) Autonomous tractors farm the field. The tractor will be modelled and them composted into a live action plate that will have been shot on location.
Cool blues for the interior of the warehouse complex. Vivid reds in the lights and displays of the various control surfaces. Bio suits are in white, yellow, and blue. Most other colours will be muted.
Outside the warehouse complex is a massive field being tended to by large, autonomous tractors operating 24-7. In this vision of the future, many much manual labour has been replaced by automation. We'll achieve this with a mix of VFX compositing and practical effects.