“The first two videos take place in the Pacific Northwest, starting with some distant, futuristic views of a city before moving into the forest. Art Director Sandra Lanz had some concepts of all our characters and in the first two videos, in the forest, there’s pine trees and stuff. We had a limited amount of materials to produce for the environment. We also had cars, car interiors, and devices the characters interact with. But with episode 3, things change. The backgrounds have these really garish, bright colors. It’s almost as if the drug trip itself is affecting the viewer.” – Deep Sky’s Creative Director Barret Thomson
“The first two videos take place in the Pacific Northwest, starting with some distant, futuristic views of a city before moving into the forest. Art Director Sandra Lanz had some concepts of all our characters and in the first two videos, in the forest, there’s pine trees and stuff. We had a limited amount of materials to produce for the environment. We also had cars, car interiors, and devices the characters interact with. But with episode 3, things change. The backgrounds have these really garish, bright colors. It’s almost as if the drug trip itself is affecting the viewer.” – Deep Sky’s Creative Director Barret Thomson
"Anno Satana" is another jump into this rich and creative landscape, created by The Smashing Pumpkins. As we witness a concert-like ritual, lighting and color take on a more physical presence. From hinting at emotion to providing stability, we now use color and light to assert dominance. It’s no longer just a tie to reality or a subtle hint. It’s evolving. Each change of color and lighting takes on a manifestation that frames each shot: from bars to beacon.
“The first two videos take place in the Pacific Northwest, starting with some distant, futuristic views of a city before moving into the forest. Art Director Sandra Lanz had some concepts of all our characters and in the first two videos, in the forest, there’s pine trees and stuff. We had a limited amount of materials to produce for the environment. We also had cars, car interiors, and devices the characters interact with. But with episode 3, things change. The backgrounds have these really garish, bright colors. It’s almost as if the drug trip itself is affecting the viewer.” – Deep Sky’s Creative Director Barret Thomson
