The idea started, as some do, by staring at a rubber duck.

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From there came the story, set in an abstract Brighton built around the track, with the duck becoming a mysterious guardian. I mapped out the journey, then designed the characters, environments and key stills that would bring it to life.

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I used generative AI to bring parts of those stills into motion, treating it as one animation tool in the process rather than the starting point.

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Everything then came back into After Effects to be cut, composited, reworked and layered with my own animation, textures, transitions, masking and effects. A lot of the final film was found in the back-and-forth of designing, generating, editing, cutting things up and putting them back together again.

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It ended up feeling a lot like digital collage: a mixture of techniques, happy accidents and plenty of hands-on tinkering, all pulled together for the same visual mission.

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Club Magic already have a really digital visual identity, so this felt like the right project to mess around with a new tool and see where I could take it while keeping the ideas, design and final decisions very human.