©2026 Tyrone
ANTMAN
CLIENT
Marvel
OVERVIEW
CREDITS
A mix of 2D design and 3D, with most of my work focused on the Celesium consoles. I worked mainly as a 3D artist, while also designing additional elements across the project.
A mix of 2D design and 3D, with most of my work focused on the Celesium consoles. I worked mainly as a 3D artist, while also designing additional elements across the project.
Tyrone Magnusen — Motion Designer
Sam Keehan — Creative Director
Dan Herlihy — Art Director
Ashton Hertz — Lead Producer
Matt Dippenar — 3D Lead
Aaron Stelfox — Motion Designer
Jacob Wrigley — Motion Designer
Pedro Ramos — Motion Designer
Toby Haslam — 3D Modeller
SHOWREEL
PROJECT OVERVIEW
Towards the latter stages of the cinematics, the Territory team and I began shifting our focus to the intro load movie. These sequences introduced the main characters and helped set the tone for the game. With our deconstructed visual style already well established, this was an opportunity to push it further, experiment with new ideas and develop fresh assets for the title sequence.
We carried over the same hands-on, tactile approach from earlier stages, creating textures by hand using arts and crafts tools before scanning them in to build our own custom library. Fingerprints, smudges, copier misalignments, scratches, paint splats and paper grain all became part of the visual language. These elements helped give the intro its gritty, grounded aesthetic, maintaining a consistent look throughout.
We began with clean, graphic compositions before gradually breaking them down through misalignment, distortion, layering and imperfections. This gave the visuals a sense of weight and history, making them feel like a natural part of the game's world.
The final sequence above features a selection of work I contributed to, combining 2D and 3D workflows depending on the needs of each shot.
Below is a behind the scenes video put together by a good friend and colleague at Territory Studio, offering a closer look at the creative process and development of the visuals.
Further down, I've included a selection of individual shots that I personally created and led, highlighting my contributions to the sequence in more detail.
For the Black Ops 6 intro, we built a hand-made visual language from scanned textures, rough type, and layered imperfections.
CELESTIUM CONSOLES
I had the pleasure of being part of a team that conceptualised, designed, and animated on-screen displays and user interface graphics across 11 sets and 250 shots. My goal was to create an authentic glimpse into the elusive Quantum Realm while staying true to the renowned aesthetic of the Marvel Cinematic Universe.
At the visual climax of the film’s tech language stands Kang’s control room, where we had to design interfaces that felt part of the Quantum Universe while showcasing Kang’s advanced power.
It was a rewarding challenge especially when designing consoles that had to fit the actors’ movements (who, unsurprisingly, didn’t always keep our graphics in mind). It was a great exercise in problem-solving and design instinct.
The tools used here included Cinema 4D, Illustrator, and After Effects.
CELESTIUM CONSOLES
I helped design and animate interface graphics across 11 sets and 250 shots, creating an authentic Quantum Realm visual language within the Marvel Cinematic Universe.
For Kang’s control room, we designed powerful interfaces that worked naturally with the performers. Cinema 4D, Illustrator, and After Effects supported the final system.
CELESTIUM CONSOLES
I had the pleasure of being part of a team that conceptualised, designed, and animated on-screen displays and user interface graphics across 11 sets and 250 shots. My goal was to create an authentic glimpse into the elusive Quantum Realm while staying true to the renowned aesthetic of the Marvel Cinematic Universe.
At the visual climax of the film’s tech language stands Kang’s control room, where we had to design interfaces that felt part of the Quantum Universe while showcasing Kang’s advanced power.
It was a rewarding challenge especially when designing consoles that had to fit the actors’ movements (who, unsurprisingly, didn’t always keep our graphics in mind). It was a great exercise in problem-solving and design instinct.
The tools used here included Cinema 4D, Illustrator, and After Effects.
To facilitate post-production, we provided separate elements for the console: the console itself, reflections, and glow effects. This allowed compositors to easily incorporate them into the final composition. Alongside these elements, we delivered a pre-assembled slap comp, simplifying the compositing process and ensuring efficiency while maintaining quality.
ON SET GRAPHICS
ON SET GRAPHICS
TEXTURE
Some of the textures we created came from experimenting with Letraset, paint, scanned acetate and various other arts and crafts techniques. These hands-on processes allowed us to explore different materials and build a library of unique textures to incorporate into the visuals.
TEXTURE
Some of the textures we created came from experimenting with Letraset, paint, scanned acetate and various other arts and crafts techniques. These hands-on processes allowed us to explore different materials and build a library of unique textures to incorporate into the visuals.
HAND SCAN
These hand scans began with vector graphic forms created by the 2D team in Illustrator. As one of the 3D artists on the project, I extruded and animated them in Cinema 4D, adding undulating line-based energy waveforms that wrapped around the hand. In production, the waveforms were delivered as alpha channels for the compositing team to integrate seamlessly with the actors’ movements.
More works
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