I spent just over a year with the Territory team, contributing from concept through to final delivery on Call of Duty 6 for Activision. As someone who grew up with the franchise, being part of the visual development was a proud and fulfilling experience.

This project was an ideal fit for my skill set, requiring a broad mix of techniques including handcrafted Letraset work, 2D design and animation, as well as full 3D modelling, lighting and animation.

A major focus was on developing a distinctive visual language using tactile, hand-made textures. We used various arts and crafts tools to create a rich library of assets—fingerprints, photocopier misalignments, paper textures, hand-drawn markings, paint splatters, dust, scratches and more. Many of these elements were scanned and digitised for use in our asset pipeline.

Our approach to UI began with a clean, graphic design-led aesthetic. From there, we intentionally deconstructed the layout—misaligning elements and layering in our bespoke grunge, distortions and imperfections—to achieve a worn, authentic look that aligned with the tone of the game. This process formed the backbone of our visual methodology.

We then combined this aesthetic with 3D elements in a flexible and adaptive workflow. Some sequences were built entirely in 3D, while in others we rendered models and animations before importing camera data into After Effects for compositing. This hybrid approach allowed us to create cinematic visuals with a distinctly handcrafted edge.

The reel above features a selection of shots I worked on either entirely or predominantly, across several of the game's load movie sequences.