Stack

This stack holds (mostly) commercial work. The personal, weirder stuff? That’s in Music & Art. Looking for something specific? Chances are, there's something similar in the archive. But the more interesting question is: what hasn't been made yet?

+Stories 

Coca-Cola Olympic Lyric Logos (1996)

Atlanta Olympics, Just-in-time production, Desktop Video Stone Age

In lieu of art school, Nick went to work for Coca-Cola in 1993. By ’96, he’d launched his own studio—and jumped straight into the deep end: one 30-second Coca-Cola spot per day, for 17 days, during the Atlanta Olympics. No pressure.

This was the dawn of desktop video—before nonlinear editing was standard, before high-res was easy. A scrappy team, six animators, 100+ hour weeks. (Good thing young people need less sleep.) A daily sprint to beat the headlines to air. Barely possible. Totally formative.

Deloitte Orb Toolkit (2025)

AI-Generated Prompt → Modular 3D Toolkit → Human Hands Finish the Job

Deloitte provided an AI-generated image and asked for motion. What followed was a full reconstruction—modeling, rigging, and delivering a clean, modular 3D system ready for use across formats. The image was a starting point. The work was building something flexible and usable.

The machine dreamt it. We made it workable. Still a team effort—for now.

Dish Scapes (2021)

30-minute ambient loops / Easter eggs at scale / Pandemic fever dream

At the height of Covid, we built monthly 30-minute ambient animations for Dish Network—designed to run 24/7, packed with visual gags, and cleverly looped day/night cycles. Built fast in partnership with the late, great Primal Screen crew, using every trick in the book to stretch time, budget, and sanity.

Would we do it again? No. Was it worth it? Absolutely

Neon Christ – “Neon Christ” (2021)

Atlanta Hardcore Legends / DIY Time Loop

These days, I only make music videos for music or people that I love. This is both. Neon Christ and I came up together in the Atlanta hardcore scene of the early ’80s - when DIY wasn’t style: it was survival.

For the 1984 reissue on Southern Lord and DVL, we built a kind of time loop: the band’s kids playing their younger selves. No nostalgia. No kitsch. Just raw memory and youthful fury—echoing across decades.

Yes, that’s William Duvall, now fronting the legendary Alice in Chains. But this wasn’t a prequel. It was the root system. The part underground, still feeding everything above.

I care deeply about the work. But the commercial grind builds pressure—and projects like this clear the system. Made with loudness and love.