R.E.M.'s new video is the second in quick succession by Toronto design-direction team Crush Inc. The first one, for Hollow Man was very good, and this one for Man-Sized Wreath, very much in a similar style, is arguably even better.

R.E.M.'s new video is the second in quick succession by Toronto design-direction team Crush Inc. The first one, for Hollow Man was very good, and this one for Man-Sized Wreath, very much in a similar style, is arguably even better. It's a visual metaphor for a populace too distracted to notice the mayhem around them - the runaway motorcade being the most powerful element of that metaphor. "The other strand that runs through the video is a live action thread with an "everyman" figure, moving through the world being followed, surrounded and eventually chased by the bright colours and diversions of the media. His moment of realization is the denouement of the film. "Although the band and label allowed us to flesh out our ideas, the main challenges were partially time, and technical. We wanted to keep the video fluid and rough, so shooting was guerrilla style, meaning a lot of laborious 3D tracking. "We used every tool at Crush. We shot all the elements, edited with Kim Knight at our sister company, Sons and Daughters, did After Effects design and animation, Flame work, 3D Tracking and Maya CG. "The project was a huge labour of love for everyone at Crush. It is rare that we get a chance to work on a project as satisfying as Hollow Man, which allowed us to spread our wings, and then be able to develop on those themes."

It's a visual metaphor for a populace too distracted to notice the mayhem around them - the runaway motorcade being the most powerful element of that metaphor.

R.E.M.'s new video is the second in quick succession by Toronto design-direction team Crush Inc. The first one, for Hollow Man was very good, and this one for Man-Sized Wreath, very much in a similar style, is arguably even better. It's a visual metaphor for a populace too distracted to notice the mayhem around them - the runaway motorcade being the most powerful element of that metaphor. "The other strand that runs through the video is a live action thread with an "everyman" figure, moving through the world being followed, surrounded and eventually chased by the bright colours and diversions of the media. His moment of realization is the denouement of the film. "Although the band and label allowed us to flesh out our ideas, the main challenges were partially time, and technical. We wanted to keep the video fluid and rough, so shooting was guerrilla style, meaning a lot of laborious 3D tracking. "We used every tool at Crush. We shot all the elements, edited with Kim Knight at our sister company, Sons and Daughters, did After Effects design and animation, Flame work, 3D Tracking and Maya CG. "The project was a huge labour of love for everyone at Crush. It is rare that we get a chance to work on a project as satisfying as Hollow Man, which allowed us to spread our wings, and then be able to develop on those themes."

"The other strand that runs through the video is a live action thread with an "everyman" figure, moving through the world being followed, surrounded and eventually chased by the bright colours and diversions of the media. His moment of realization is the denouement of the film.

R.E.M.'s new video is the second in quick succession by Toronto design-direction team Crush Inc. The first one, for Hollow Man was very good, and this one for Man-Sized Wreath, very much in a similar style, is arguably even better. It's a visual metaphor for a populace too distracted to notice the mayhem around them - the runaway motorcade being the most powerful element of that metaphor. "The other strand that runs through the video is a live action thread with an "everyman" figure, moving through the world being followed, surrounded and eventually chased by the bright colours and diversions of the media. His moment of realization is the denouement of the film. "Although the band and label allowed us to flesh out our ideas, the main challenges were partially time, and technical. We wanted to keep the video fluid and rough, so shooting was guerrilla style, meaning a lot of laborious 3D tracking. "We used every tool at Crush. We shot all the elements, edited with Kim Knight at our sister company, Sons and Daughters, did After Effects design and animation, Flame work, 3D Tracking and Maya CG. "The project was a huge labour of love for everyone at Crush. It is rare that we get a chance to work on a project as satisfying as Hollow Man, which allowed us to spread our wings, and then be able to develop on those themes."

"Although the band and label allowed us to flesh out our ideas, the main challenges were partially time, and technical. We wanted to keep the video fluid and rough, so shooting was guerrilla style, meaning a lot of laborious 3D tracking.

R.E.M.'s new video is the second in quick succession by Toronto design-direction team Crush Inc. The first one, for Hollow Man was very good, and this one for Man-Sized Wreath, very much in a similar style, is arguably even better. It's a visual metaphor for a populace too distracted to notice the mayhem around them - the runaway motorcade being the most powerful element of that metaphor. "The other strand that runs through the video is a live action thread with an "everyman" figure, moving through the world being followed, surrounded and eventually chased by the bright colours and diversions of the media. His moment of realization is the denouement of the film. "Although the band and label allowed us to flesh out our ideas, the main challenges were partially time, and technical. We wanted to keep the video fluid and rough, so shooting was guerrilla style, meaning a lot of laborious 3D tracking. "We used every tool at Crush. We shot all the elements, edited with Kim Knight at our sister company, Sons and Daughters, did After Effects design and animation, Flame work, 3D Tracking and Maya CG. "The project was a huge labour of love for everyone at Crush. It is rare that we get a chance to work on a project as satisfying as Hollow Man, which allowed us to spread our wings, and then be able to develop on those themes."

"We used every tool at Crush. We shot all the elements, edited with Kim Knight at our sister company, Sons and Daughters, did After Effects design and animation, Flame work, 3D Tracking and Maya CG.

R.E.M.'s new video is the second in quick succession by Toronto design-direction team Crush Inc. The first one, for Hollow Man was very good, and this one for Man-Sized Wreath, very much in a similar style, is arguably even better. It's a visual metaphor for a populace too distracted to notice the mayhem around them - the runaway motorcade being the most powerful element of that metaphor. "The other strand that runs through the video is a live action thread with an "everyman" figure, moving through the world being followed, surrounded and eventually chased by the bright colours and diversions of the media. His moment of realization is the denouement of the film. "Although the band and label allowed us to flesh out our ideas, the main challenges were partially time, and technical. We wanted to keep the video fluid and rough, so shooting was guerrilla style, meaning a lot of laborious 3D tracking. "We used every tool at Crush. We shot all the elements, edited with Kim Knight at our sister company, Sons and Daughters, did After Effects design and animation, Flame work, 3D Tracking and Maya CG. "The project was a huge labour of love for everyone at Crush. It is rare that we get a chance to work on a project as satisfying as Hollow Man, which allowed us to spread our wings, and then be able to develop on those themes."

"The project was a huge labour of love for everyone at Crush. It is rare that we get a chance to work on a project as satisfying as Hollow Man, which allowed us to spread our wings, and then be able to develop on those themes."

R.E.M.'s new video is the second in quick succession by Toronto design-direction team Crush Inc. The first one, for Hollow Man was very good, and this one for Man-Sized Wreath, very much in a similar style, is arguably even better. It's a visual metaphor for a populace too distracted to notice the mayhem around them - the runaway motorcade being the most powerful element of that metaphor. "The other strand that runs through the video is a live action thread with an "everyman" figure, moving through the world being followed, surrounded and eventually chased by the bright colours and diversions of the media. His moment of realization is the denouement of the film. "Although the band and label allowed us to flesh out our ideas, the main challenges were partially time, and technical. We wanted to keep the video fluid and rough, so shooting was guerrilla style, meaning a lot of laborious 3D tracking. "We used every tool at Crush. We shot all the elements, edited with Kim Knight at our sister company, Sons and Daughters, did After Effects design and animation, Flame work, 3D Tracking and Maya CG. "The project was a huge labour of love for everyone at Crush. It is rare that we get a chance to work on a project as satisfying as Hollow Man, which allowed us to spread our wings, and then be able to develop on those themes."