©2026 Tyrone
The Greatest Hits
CLIENT
SEARHLIGHT PICTURES
OVERVIEW
CREDITS
The Greatest Hits was a film commissioned by Searchlight Pictures for Disney+. The story celebrates the emotional power of music and nostalgia, exploring how songs can transport the protagonist, Harriet, back into past memories.
Our creative work aimed to capture this magical experience by highlighting the tactile, timeless quality of analogue music. Vinyl records were used as a visual motif to evoke the feeling of being immersed in sound, reflecting the film’s theme of memory, love, and personal reflection.
The Greatest Hits was a film commissioned by Searchlight Pictures for Disney+. The story celebrates the emotional power of music and nostalgia, exploring how songs can transport the protagonist, Harriet, back into past memories.
Our creative work aimed to capture this magical experience by highlighting the tactile, timeless quality of analogue music. Vinyl records were used as a visual motif to evoke the feeling of being immersed in sound, reflecting the film’s theme of memory, love, and personal reflection.
Tyrone Magnusen — Motion Designer
Chris Sharpe — Creative Director
Frank De Sousa — Art Director
Phoebe Lane — Producer
Tom Huxley — Artworker
SHOWREEL
PROJECT OVERVIEW
We captured real textures by filming vinyl records spinning on a turntable, testing out different pressings and label designs to find the right look. That analogue quality gave the visuals a nice bit of character. Once we had the footage, I brought it into After Effects and refined the animation with grading, light leaks, and added texture to shape the overall aesthetic.
To keep things consistent and avoid any copyright issues, our graphic designer created custom labels to replace the originals. As a final touch, I introduced a soft rainbow borealis effect — a subtle nod to the ethereal glow the director had in mind during the early style frame phase.
PROJECT OVERVIEW
We filmed spinning vinyl records and tested different pressings to find a textured, analogue visual language. In After Effects, I shaped the final animation with grading, light leaks, and layered texture.
Our graphic designer created custom labels to avoid copyright issues, finished with a soft borealis glow inspired by the early styleframes.
Project Overview
Real vinyl, filmed on a turntable and refined in After Effects with custom labels, light leaks, texture and a subtle rainbow glow.
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.
END TITLES - STYLEFRAMES
For the end titles, we recorded vinyl records from our creative director’s father’s collection. I composited the footage in After Effects, posterised time, and added effects to create an ethereal, nostalgic feel. Each record featured a unique label designed by Tom, which I integrated into the animation.
END TITLES - STYLEFRAMES
END TITLES - STYLEFRAMES
For the end titles, we recorded vinyl records from our creative director’s father’s collection. I composited the footage in After Effects, posterised time, and added effects to create an ethereal, nostalgic feel. Each record featured a unique label designed by Tom, which I integrated into the animation.
END TITLES - STYLEFRAMES
For the end titles, we recorded vinyl records from our creative director’s father’s collection. I composited the footage in After Effects, posterised time, and added effects to create an ethereal, nostalgic feel. Each record featured a unique label designed by Tom, which I integrated into the animation.
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.
PROCESS
I blocked out the sequence using primitive shapes ahead of our live action shoot to establish the pacing, timing and overall flow. This helped us plan the shots in advance, giving the team a clearer understanding of the framing, camera movements and how the live action footage would fit into the final sequence.
PROCESS
I blocked out the sequence using primitive shapes ahead of our live action shoot to establish the pacing, timing and overall flow. This helped us plan the shots in advance, giving the team a clearer understanding of the framing, camera movements and how the live action footage would fit into the final sequence.
PROCESS
I blocked out the sequence using primitive shapes ahead of our live action shoot to establish the pacing, timing and overall flow. This helped us plan the shots in advance, giving the team a clearer understanding of the framing, camera movements and how the live action footage would fit into the final sequence.
INITIAL APPROACH AND STYLE DEVELOPMENT
INITIAL APPROACH AND STYLE DEVELOPMENT
INITIAL APPROACH AND STYLE DEVELOPMENT
More works
Back to home