“Nature was an inspiration for the logo abstraction. Nature is in essence due to evolution the most streamlined and efficient of all designs, it itself is art. I wanted the video to talk about nature in an indirect way. For me its about cycles in nature”

 

“Taking inspiration from Andy Goldsworthy I took the basic parts from the logo and expanded them and abstracted them in such a way as to animate their motion without movement. I wanted them to both be a part of, and stand out from their background.”

 

“The logo was architectural and I thought nature was a great way to balance out the idea of man made design against design by nature.”

 

“One of the models used was made from breaking up the different parts on separate planes so when viewed from the side would look like nothing, but from the front, it would form the logo in perspective giving depth and dimensionality to further iterate the architectural aspect of the logo.”

 

“Taking inspiration from architecture and the visual language of urban planning and urban environments.”

 

“I wanted to use the urban landscape as the setting to the logo stop motion because I felt it played into the fractal concept of architecture on top of architecture on two different scales. Also playing into the cycle of both the urban and the natural life. Growing up in New York has been a major influence on how I see the world and this affected my decision to film right here at home, for me this is where the project became very personal”

 

“I wanted to use industrial settings to complete the idea of architecture. M.C. Escher was also a major influence on this piece, and the idea of fractals building on each other, structure within structure”

 

The soundtrack was incredibly important for this project so I enlisted the help of professional musician producer and former band mate Cole Lumpkin to compose the score under my direction,

 

“The video itself is a rapid flurry of images, I wanted to complement that with a piece that kept a constant pulse (in this case sixteenth notes) I was also aiming for a very Phillip Glass-esque vibe, with a disjointed, melodically rich chord progression. And the piece concludes with a Lydian chord, held out for dramatic effect.

In terms of the mix and master, ambience was basically the key. From the lack of soundproofing during recording to the added reverb and echo, the desired sound was to utilize the natural sound of a large space.

The final product is a composition that I believe fits the vivid and fast-paced imagery of the visual.”