“For us as much as this project was an anniversary gift to ourselves, it was also celebration of craft, of making purely for the love if it. Commercial demands make it hard to set aside time for projects like these, it almost feels like a luxury to be able to experiment. It was an utter joy.”
“The logo was the starting point—the anchor of the whole identity. Typography often plays a central role in my projects, and I design custom letterforms whenever I can, even though I’m not a type designer by trade. In this case, I began with the work of legendary Italian typographer Aldo Novarese. His typefaces—Microgramma and Eurostile—are iconic: bold, futuristic, and beautifully structured.”
“Over the years, I’ve found that resampling and reprocessing are some of the most powerful techniques in Sound Design, more so than any single plugin or piece of gear. One tiny moment in an animation might need just a single sound to hit right…or it might need 30 layers blended, smashed, stretched, and reshaped into something entirely new. That’s where the magic lives, taking something simple and manipulating it until it resonates.”
“Mark Pritchard and I have worked together for 10–15 years. Hearing his demos, even early on, the album felt special—each song demanded visual treatment. We bonded over reinvention; I don’t stick to one style, just as Mark shifts musically. The synergy deepened with Thom Yorke’s anxiety-laden vocals.”
“The goat painting represents a shift from conscious thought into subconscious chaos. It adds to the disorientation and surreal logic of the sequence. I reused a visual idea from the Season 1 intro—where Mark jumps into his own head—and reinterpreted it here. In Season 1, the jump represented the split between Mark’s “innie” and “outie” selves. In Season 2, it becomes a descent into his fractured inner world. The painting also ties back to how ‘Severance’ uses framed artwork as symbolic riddles.”
We all reach that point eventually: the satisfaction of another project or another award is replaced by an uneasy dread. You realize the old ways no longer feel fulfilling—maybe because the technology is evolving faster than you can keep up, or your expertise is suddenly less in demand.
“The goat painting represents a shift from conscious thought into subconscious chaos. It adds to the disorientation and surreal logic of the sequence. I reused a visual idea from the Season 1 intro—where Mark jumps into his own head—and reinterpreted it here. In Season 1, the jump represented the split between Mark’s “innie” and “outie” selves. In Season 2, it becomes a descent into his fractured inner world. The painting also ties back to how ‘Severance’ uses framed artwork as symbolic riddles.”
With the GeForce RTX 5090 launch and the Blackwell architecture, NVIDIA elevates Motion Design through computational alchemy. It enables real-time rendering, enhances collaboration, and automates asset creation.
This does not mean AI is replacing artists—instead, it is empowering them with creative superpowers. Today, the challenge is no longer technological—it’s imaginative.
The sky is the limit.
“We think there’s something fundamentally different in a picture shot in camera – the imperfections and the intricacies of real light and dust grounds the experience in a way that’s hard to replicate digitally.”
