is made in an aesthetic manner rather than an accessible manner, in which closed captions are made for the audibly impaired. Boswell, like several of his films, was supported by computer scientist Juan Benet, thus having his company Protocol Labs, an open-source R&D lab, credited. He also clarified that the video/film is in no way entirely and meant to be scientifically accurate, and that "It's guaranteed you're going to have to do a lot of speculation anyway, so I'm not too concerned about scientific accuracy when it's impossible to predict the future." In the film, he also disclosed, "We may not know [the future] for certain." Sound and music Boswell stated to have used several stock audio on Spitfire Audio, Komplete, 8dio, and Omnisphere as well rather than solely original soundtrack composed using Ableton Live; synths played using the Yamaha CS-80 and Moog Sub 37. Piano tunes were played by a Gulbransen upright, an instrument he repeatedly uses. He considers the album/LP, The Arrow of Time, to be his album with "unique sonic and musical challenges." He stated that the idea behind the theme is to "feel huge, open, at times lonely and eerie — in short, to reflect the future of the universe itself," and that he "also wanted to convey some sense of melancholy, as this story foretells the fate of our species in a pretty somber way." The soundtrack's first track, "Sun Mother," uses a 120 beats per minute rhythm, increasing as the time evolves to "highlight the accelerating rate of [the time-lapse]." The music's timing is also taken into consideration, saying that "It was important to me to have moments where the music, visuals, and sound effects could breathe, and the viewer could take in what they have seen."The line between sound design and music is blurred throughout the experience. From the onset, the [year] counter [in the video] acts as a metronome driving the first piece of music. In many places, the deep rumbles of black holes take the place of synth bass lines, creating a symbiotic bond between the music and the visuals. I often didn't distinguish between whether I was sound designing or composing; it all came from the same place — the need to create a mood, a sense of being present at an alien time and place. [...] The intensity and variety of the events, the interplay with the music all