<the machine I was using at this time was a Mac llfx running system 7, with 20Mb of RAM.. It was only really feasible to have one image open at a time and layers were still a dream in the distant future. Had the film actually gone into production it would have been a serious challenge to create these effects which are simple and commonplace today.../>

<there are four animated layers in this still, three of which are 2D: the blue 'womb' background started out as a deep undersea sponge creature, the hands are my own, scanned in b+w [this was 1991] and colourised, as was the photo of the face. The hands are a second womb layer, nurturing the image of a baby which has been mapped onto a sphere in InfiniD and rendered out with a transparent background.All the layers were then composited in Photoshop, which was on generation 2 at the time.../>

<the earlier parts of the film called for a very oceanic quality. The wonderful new world of Photoshop filters provided an opportunity to progressively distort the image using definable parameters. The soft layering of subliminal images, such as the eye, was achieved by doing a percentage paste into feathered selections. Before the days of layering and dynamic previewing the preproduction phase involved a great deal of trial and error as well as patience. Using the computer wasn't any easier than more conventional film-making techniques; it was equally tedious. However the availibility of designer-friendly digital manipulation software on affordable desktop machines would enable a new visual language to evolve ../>
<it was now possible to dream up ways of animating with large areas of background texture that could be blended seamlessly with the foreground elements. Here the mask is being progressively desconstructed and dissolved into the background as new forground elements emerged from the visual melting pot. The dancing figures are taken from one of the birthday cards I received as a child, illustrating the ongoing theme of moments of childhood innocence counterpointing a sense of encroaching entropy. The animation of the figures was to have been created by traditional means and subsequently colourised and composited in Photoshop before being constructed into sequences in Director. When I started experimenting with this production methodology a Director script could only hold about 12 PAL resolution images.../>
<I experimented quite a lot with 3D modelling techniques for use in the film. To add further dimensions to the surreal quality of the imagery, whole animated sequences were to be attached to solid objects and viewed through a virtual camera moving along a path within the scene. This would have involved massive amounts of rendering time since a single frame was taking well over an hour to generate. There was a great sense of anticipation in watching the image slowly drawing itself raster by raster, often to discover after 30 minutes that I had forgotten to switch the virtual camera to invisible and find its image reflected in the scene.../>