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title: "Massive Science - Better Humans - Moth"
description: "Sexy yetis, scientists and neon colours collide in Better Humans: a kaleidoscopic romp through the possibilities of gene editing and body augmentation.

  One of a 7-part series commissioned by Massive Science on the lasting impact of Mary Shelley’s Frankenstein."
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    One of a 7-part series commissioned by Massive Science on the lasting impact of Mary Shelley’s Frankenstein."
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> Index of every page on this site: [llms.txt](https://moth.studio/llms.txt)

Massive Science: Better Humans

Sexy yetis, scientists and neon colours collide in Better Humans: a kaleidoscopic romp through the possibilities of gene editing and body augmentation.

One of a 7-part series commissioned by Massive Science on the lasting impact of Mary Shelley’s Frankenstein.

- **Directed**

  Moth Studio
- **Designed**

  Moth Studio
- **Produced**

  Moth Studio
- **Animation**

  Maria Morris, Keziah Philipps, Knifeson Yu, Moth Studio
- **Compositing**

  Daniele Baiardini, Keziah Philipps, Ross Plaskow, Moth Studio
- **Music and Sound Design**

  Skillbard
- **Commissioner**

  Massive Science
- **Co-Production**

  Massive and Plympton
- **Producer**

  Harriet Bailey
- **Producer**

  Nadja Oertelt
- **Executive Producer**

  Ed Finn, Bob Beard
- **Production year**

  2018

We were approached by Massive to create one out of a series of seven short films on the lasting impact of Mary Shelley’s Frankenstein. They wanted a more fantastical visual interpretation to contrast against the factual scientific voice over, so we were given full creative freedom to push that brief wherever our minds would take it.

Taking inspiration from 80’s Japanese monster vinyl toys, we mixed monsters, optimism, and scientific facts to create a look into the neon future.

We wanted the film to look loose and fun so we started experimenting with using bright coloured markers on plastic cels. As we fell in love with the texture and the look that they gave us, we decided to embrace the technique and design the whole film on physical cels. These were then scanned and used as our backgrounds to our digital 2D animation, enhancing the film with imperfections that gave it a special charm and unique result.

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  E4: Window Worlds

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