Something I’ve been quietly carrying for a while is out in the world now.

The Dinosaurs landed on Netflix yesterday. We, the team at Lux Aeterna, built a significant portion of the visual architecture of the series: globe work, data-driven animated landscapes, low earth orbit sequences, deep space, meteor shots. The kind of work that doesn’t announce itself. The kind that needs to feel inevitable, not constructed.

Seeing it on a big screen the night before release, alongside extraordinary work from ILM, was genuinely moving. Not in a way I was prepared for.

This was the first major project I threw myself into after a difficult period in my life. I didn’t know that’s what I was doing at the time, I just got my head down and worked. The low earth orbit shots, the sense of geological scale, the patience required to make a landscape feel like it has memor, I was inside all of that before I understood why it mattered to me.

Watching it last night I remembered exactly who I was when I made those shots. And I’m glad I made them well.

Proud of everyone involved. Go watch it.

“the most complete presentation of the principles of design ever made by a modern artist – it constitutes the Principia Aesthetica of a new era of art, in which Klee occupies a position comparable to Newton’s in the realm of physics.”

via Open Culture