combined made it difficult to not get muddied into a sonic mess. It took very careful tweaking and sound selection to make it work[,] I recall spending a couple days just on a 10-second span of sound and music. Methodology The method of time in the film is "a lot more thought and trickery" from the predecessor Timelapse of the Entire Universe, where every second is 22 million years, and that every frame is approximately 958,000 years, thus having 13.8 billion years in nearly 10 minutes. Boswell chose a different methodology in Timelapse of the Future, saying that:It could have been every three seconds, and the video would have been over in fifteen minutes. But then you're really cramming a ton of stuff into the first few minutes. Everything from the present day to the death of the earth would've occurred in one minute instead of three to four. That would've made it really hard to breathe. But then you have to apply that same rule to the rest of the video, and ensure you've got enough stuff in there to fill the time. It's a balance.In Timelapse of the Future, the time per frame reduces to approximately 0.5 months per frame (film is 24 fps) at the beginning, increasing as it evolves. It uses the calculation: , in which: months, frames rate, and months. Release The first known tweet regarding the film was a tweet on July 21, 2018, about Pangea Ultima, an event featured on the film. The first tweet explicitly mentioning the production of the film was posted on October 10, as well as another tweet indirectly mentioning the film's ending eight days later. The first teaser was posted on Boswell's Patreon and Vimeo on February 1, 2019, followed by an announcement on his Patreon, mentioning the film "my most ambitious release yet." A photo of a scene in the film was leaked on Boswell's Twitter on March 15, followed by a 70-second teaser the next day. The film was released on Boswell's YouTube channel Melodysheep on March 20, 17:15 UTC, with the premiere being a paid ad-free viewing available on his Patreon nine hours earlier. The film screened at event venue 393, New York City on May 2, using the multi-monitor format but the year counter invisible; his Patrons offered free tickets. Another screening in the Exploratorium, San Francisco, on July 25 at 9:30 pm PT