The hallmark of Sean Pecknold’s work is a handmade quality that results in wonderfully atmospheric and surprisingly poignant films. He first came to critical prominence with his woodsy stop-motion video for “White Winter Hymnal” by Fleet Foxes (his brother is the lead singer). He’s since directed more abstract piece for that band, as well as clips for buzz bands Beach House and Grizzly Bear.

His latest work for Fleet Foxes, “The Shrine/An Argument,” employs a method of animation called multiplane. “You basically have several planes of glass stacked up with a camera pointing down,” says Pecknold, adding that it was utilized by the greats of stop-motion like Lotte Reiniger and Yuri Norstein. “And Disney used it for a while to add dimension to their cell animations and sets.”

The video highlights the story of a lonesome elk that journeys through a gruesome world before undergoing a radical transformation at the hand of a double-headed sea monster — that involves dancing gods, laser-shooting owls and warring sea monsters.

(via Fast Company)