©2026 Tyrone
Disclosure Day
CLIENT
Amblin Entertainment
OVERVIEW
CREDITS
Disclosure Day is the latest science fiction thriller from world-renowned director Steven Spielberg. I had the pleasure of creating the large-scale surveillance UI for the giant LCD screens on set within the control room, as well as the sci-fi brain-monitoring UI, which played a key role in the film's storytelling.
What made this project unique was that all our work had to be delivered before filming began. I was also on set throughout production to oversee the integration of our graphics during filming and respond quickly to ideas and requests from Spielberg himself.
Disclosure Day is the latest science fiction thriller from world-renowned director Steven Spielberg. I had the pleasure of creating the large-scale surveillance UI for the giant LCD screens on set within the control room, as well as the sci-fi brain-monitoring UI, which played a key role in the film's storytelling.
What made this project unique was that all our work had to be delivered before filming began. I was also on set throughout production to oversee the integration of our graphics during filming and respond quickly to ideas and requests from Spielberg himself.
Tyrone Magnusen — Senior Motion Designer
Ryan Hays — Creative Director
Jorge Almeida — Art Director
Harriet Craig — Lead Producer
Francise Long — Motion Designer
Sophie Marschner — Motion Designer
Alasdair Willson — Motion Designer
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.
WARDEX CONTROL ROOM
The set featured five giant LED screens on one side of the room, alongside over 80 agent workstations. The large LED screens were designed to monitor news feeds and television networks from around the world, essentially serving as the eyes of Wardex headquarters.
I was involved from the initial concept stage, where we were given a relatively simple brief from the art department that outlined the direction Spielberg wanted to take. He was keen to move away from the typical ‘blue sci-fi’ aesthetic and create something completely different. The colour palette needed to feel warm and vibrant, using colour to clearly communicate the different alert levels.
DEVELOPMENT
My initial concepts for these screens weren't too far from the final designs, but as you can see below, I initially leaned towards bolder titles and typography across the headlines. My colours were also more saturated to emphasise the changes in alert levels, with yellow representing the lowest state, orange indicating medium alert and red signalling high alert, all reinforced by a numbering system.
When a red alert appeared, the rest of the screen would dim to highlight the urgency of the incoming information.
I wanted the animation to feel modular, with a clear system for how new footage would enter and populate the different countries. The intention was to create something that felt like an organised operating system within the chaos of information.
DEVELOPMENT
Colour-coded alerts shaped early designs.
Red dimmed content.
Animation organised footage.
The feedback we received from renowned production designer Adam Stockhausen was that Spielberg wanted the colour palette to feature ‘cork’ as its foundation. We were initially curious about this choice, but once we saw how beautifully it complemented the rest of the set design, the reasoning became clear.
With this new direction in mind, the following rounds of development show how the designs evolved to incorporate the warmer palette, bringing the screens closer to the overall aesthetic of the set. This ultimately led to the final design, which was championed and brought to completion by our art director, Jorge Almeida.
Spielberg’s cork-based palette brought the screens into harmony with the set.
Art director Jorge Almeida led the final design.
My role then developed into exploring how we could integrate the hero graphics within the looping background elements. We were given sections of the script to help us design how the screens would react to events unfolding in the film. The aim was for these moments to feel like a natural extension of the background loop, with key information growing from the centre of the screen to become the focal point.
As these concepts developed, we worked closely with the playback team in New York to establish how the graphics would be delivered, timed and triggered on set during filming. This presented a unique challenge, as everything needed to be designed, animated and ready for the shoot, with no opportunity to rely on post-production.
Spielberg was particularly keen to have the graphics playing live during filming, allowing them to appear naturally in reflections throughout the vast Wardex headquarters. This meant our work wasn't simply something to be added later, but an integral part of the physical set and how it was captured on camera.
I integrated hero graphics into background loops.
We coordinated live on-set playback with the New York team.
Spielberg wanted authentic screen reflections.
COLD ROOM GFX
The Cold Room graphics centred around a series of brain-monitoring interfaces within the Wardex organisation's medical facility. The use of a newly discovered mind-control device placed significant strain on the user's brain, making it essential to closely monitor their neurological activity and vital signs whenever the device was activated.
My role focused on creating the 3D look and animation of the brain, capturing the shifting patterns of neural activity as the device took effect. I wanted the visuals to feel both scientific and cinematic, with intricate networks of activity responding dynamically to the increasing strain on the brain. The challenge was to communicate the intensity of what was happening while maintaining the visual language of a believable medical monitoring system.
I worked alongside Francise Long, who developed the surrounding 2D UI elements, bringing both aspects together to create a cohesive interface that felt grounded in the world of Wardex.
COLD ROOM GFX
I created 3D brain animations showing the strain of Wardex’s mind-control device.
Scientific detail met cinematic motion.
Francise Long developed the surrounding 2D interface.
3D BRAIN RENDERS IN SITU
The client wanted the brain scans to draw attention to regions responsible for processing visual information, alongside those associated with memory encoding and retrieval. We focused specifically on the Cuneus and Parahippocampal Gyrus, highlighting these areas during moments of heightened brain activity.
I created the 3D renders and a series of animated states, using variations in colour, illumination and movement to distinguish between different levels of activity. As the scans intensified, these regions became more prominent, helping to visually communicate the effects of the device.
3D BRAIN RENDERS IN SITU
I animated 3D brain scans highlighting visual processing and memory activity.
Colour and light revealed increasing strain.
BRAIN SCAN RENDER IN NORMAL AND ELEVATED STATE
INITAL CONCEPTS AND DEVELOPMENT
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.
More works
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