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.