NC: "I wanted to avoid any melodramatic devices to deliver the message, but at the same time I didn't want a cold technical exercise. So I decided the best way to go was to keep the visuals very abstract and try to craft an emotional soundtrack that could reach the audience. This way I avoided having to use Super 8 footage from the 60s to express melancholy, and still be able to express the drama of having to go through this terrible sickness."

DA: How did you model the abstract representations of the brain?

NC: "From the beginning i thought that having a reactive [procedural] system would be perfect for this spot. I wanted to create the system in such a way that we could avoid keyframe animation as much as possible. I wanted the bubbles to come to life by influence of the soundtrack. So we modelled the bubbles in Maya with a reactive setup, where the sound input modifies parameters in the geometry of the bubble that makes it move and morph.

"We spent quite some time getting the setup right and doing tests. After this we just set our bubbles to dance to the soundtrack and glued the pieces together in compositing."

DA: What was the biggest challenge you faced, and how did you overcome this?