The year-long creative process behind ‘Eyes at the Specter Glass’
Eyes at the Specter Glass took around a year to animate and edit.
The whole film plays chronologically, just as it was executed. I did not reference one scene to the next and often a month or more would go by in between the completion of one scene and the begging of the next.
The sequences were looped through a series of digital filters I had created over and over, decaying each scene a bit more. This was heavily influenced by composer William Basinski’s The Disintegration Loops. There's something very satisfying about exploring repetition and slow movement in pieces of art because you aren't bombarded with noise and information that continuously keeps you at arm's length from any kind of nuance.
In this same spirit, a few weeks after locking the final cut of the film, I blindly went into recording the score without ever looking at the film. Because it's set in space, and does not reference the specificities of the thing (or things) experiencing the imagery, I knew I didn’t want any sound design that might add tangibility to a particular point of view (or place in time).
I didn't want the composing aspects to purposefully lead the audience in one direction or the another. The score was created on digital and analogue synths with only the film's total runtime to guide me. Those moments heightened by the images and music were married like that in a completely serendipitous way.
