©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
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 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
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 set the tone for the game. With our deconstructed visual style already well established, this was a chance to push it further and have some fun developing 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, then scanning them in to build our custom library. Fingerprints, smudges, copier misalignments, scratches, paint splats, and paper grain all made it in. These elements gave the intro that same gritty, grounded aesthetic that tied everything together.
We started with clean, graphic compositions and then broke them down — misaligning elements, adding distortion, layering in wear and imperfections. It gave the UI a sense of weight and history, like it belonged in the world of the game.
The final sequence above is a selection of the work I contributed to — blending 2D and 3D workflows depending on what each moment needed. Below that, there’s a lovely behind-the-scenes video put together by a good friend and colleague at Territory Studio, offering a closer look at the process behind the visuals.
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
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.
Initial Approach and Development
Initial Approach and Development
Initial Approach and Development
More works
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