Eternal Sunshine

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Title

Eternal Sunshine

Type

Style Frame Sequence

Programs

Photoshop, Lightroom, After Effects

Description

Memories aren't deleted; they dissolve. Created with Jonathan Kusnadi, this sequence visualizes erasure through the physical breakdown of the Alexander Pope poem that gave the film its name. We traded digital shortcuts for the weight of reality, filming real ink as it lifts off submerged cards. Like a slow-motion tea steep of loss, the typography drifts into the water—mimicking the fluid, fragile way we lose the people we try to forget.

Programs

Cinema 4D, Redshift, After Effects, Premiere Pro, Wolvenkit

We needed to figure out exactly how a memory falls apart. Jonathan sketched the initial storyboards to lock in the pacing, grounding the sequence in the clinical, melancholic vibe of the film’s memory-wiping procedure. The mood boards were all about finding the right visual rhythm—deciding exactly how heavy a thought should feel right before it disappears.

Practical effects rarely follow the script. When real ink refused to lift off the submerged cards naturally, we cheated it. I built different stages of typographic decay in Photoshop, and we shot fountain pen ink hitting the water separately. Jonathan dropped the ink while I manned the camera. In post, he dialed in the grade while I handled the compositing—marrying the digital text with the physical ink to get the exact bleed we wanted.

We needed to figure out exactly how a memory falls apart. Jonathan sketched the initial storyboards to lock in the pacing, grounding the sequence in the clinical, melancholic vibe of the film’s memory-wiping procedure. The mood boards were all about finding the right visual rhythm—deciding exactly how heavy a thought should feel right before it disappears.

Practical effects rarely follow the script. When real ink refused to lift off the submerged cards naturally, we cheated it. I built different stages of typographic decay in Photoshop, and we shot fountain pen ink hitting the water separately. Jonathan dropped the ink while I manned the camera. In post, he dialed in the grade while I handled the compositing—marrying the digital text with the physical ink to get the exact bleed we wanted.

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