Over the next five weeks, the Transistor team set about arranging these images so that they flowed from one scene to the next as a psychedelic, almost stream-of-consciousness journey.

“Due to the way I designed, which was very much ‘scene by scene’, coming up with the transitions was tough,” admits Price.

“We had to think about how to put the scenes in a sequence so that there was a logical reason to move from one to the other. Jamie Rockaway [Transistor art director] really brought a lot to this part of the project. He wrapped his head around the style and tone of the piece early on and really worked hard to create transitions that felt effortless.”

He continues: “The most difficult transition was probably the move from the beast scene to the fish and up to the marketplace scene. The timing of that transition was hard, because it was tough to come up with some logical reason to go from the fish to the market.

"Jamie came up with the idea of a fisherman pulling the fish into the marketplace – it was genius, and really tied everything together.”

The spot has a flat, handmade feel to it – the characters are like cardboard cut-outs that move through a series of tiny theatres.

“I like to give a lot of my work a textural feel,” says Price. “I like the idea that you could hold the work... I like old things – there’s something to be said for things that stand the test of time. To achieve this effect, I worked with a lot of textures to give each element a more aged feel.”

Because of the 2D feel and determinedly low-tech aesthetic of the spot, the team’s software demands were straightforward.

“We use After Effects, simply because it’s the best animation tool to move from the other products we design in, Photoshop and Illustrator,” says James Price.

“We also used Cinema 4D to create elements in 3D. We use this because it’s an intuitive program for designers to work in – at least, as far as 3D packages go.”

However, despite the simple animation style and linear development of the trail, the project had a few curve balls for Transistor to deal with. “The toughest part for us was having to work with so many elements – there are literally hundreds of elements in the final spot, most of which are animated,” says Price.

“Trying to synch all of that to music was really tough.” Synching the action with music was problematic, not least because the team had been so keen to get their teeth into the project.