Some of the scenes however I began to realise that the overall feel of the track started feeing dystopic - as if this giant causing the chaos was making the world retaliate by desperately destroying itself in the process - the early 1990's youth spend their final days raving in clubs, eventually being blown up as the warfare progresses - it reminded me a lot of The Matrix Reloaded when they dance in that cave before the machines come to destroy them.
When I was listening to the track, I took in each individual sound and imagined suitable imagery:
For the main drum-loop which is pretty key for the track, I imagined something equally key t0 the story - this turned out to be the giants footsteps. After all, It's the destruction that they cause that starts this whole thing.
For the analogue synth humming I thought long, slow-motion footage would suit it, fitting with it's low pitch and rumbling effect. I ended up using a lot of slow-motion gun fire and military vehicles. A lot of the time, their movements would cut nicely with the music e.g. the flicked out, spinning shells from rifle barrels or the underwater slow-motion launch of missiles.
When there's a drop involving a raising hiss or increase in reverb, I always pictured some kind of high motion activity that would in real life contain a lot of noise, e.g. the zooms into the planet or the marching soldiers. It created an eery effect, like contrapuntal music does in scenes of violence (Reservoir Dogs, Kill Bill)
When there were drops, I often thought there should be a sudden explosion into action with footage of tanks rolling, feet stomping an cities, volcanoes getting set off, tsunamis being created and lightning flickering all over the place. The lightning and explosions were great transitions as I could key them out easily via luma-key they lay them between cuts fitting to the beat. Whenever a big drop comes in huge booms followed by dissipating lightning follow into the next shot - it's very powerful.
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