©2026 Tyrone
Shanghai Fortress
CLIENT
Netflix
OVERVIEW
CREDITS
Phonon Films approached Territory to develop a visual language that captured the futuristic military setting and impending alien invasion, while maintaining a high standard of graphic design quality.
Phonon Films approached Territory to develop a visual language that captured the futuristic military setting and impending alien invasion, while maintaining a high standard of graphic design quality.
Tyrone Magnusen — Motion Designer
Andrew Popplestone — Creative Director
Dan Herlihy — Art Director
Simon Carr — VFX Supervisor
Alexandros Gotsis — Motion Designer
Tyrone Magnusen — Motion Designer
Andrew Popplestone — Creative Director
Dan Herlihy — Art Director
Simon Carr — VFX Supervisor
Alexandros Gotsis — 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 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.
Project Overview
I had the pleasure of crafting on-screen graphics for numerous screens and shots, blending 2D graphics with 3D holographic renders from Cinema 4D. 2D graphics, used as cards within Cinema 4D, were combined with 3D models featuring a glassy material to create a holographic look. For some screens, I integrated Adobe Illustrator icon designs into Cinema 4D, incorporating them as holograms to add depth and reinforce the futuristic aesthetic. This layering of elements helped create a more immersive and visually cohesive final look.
Project Overview
I had the pleasure of crafting on-screen graphics for numerous screens and shots, blending 2D graphics with 3D holographic renders from Cinema 4D. 2D graphics, used as cards within Cinema 4D, were combined with 3D models featuring a glassy material to create a holographic look. For some screens, I integrated Adobe Illustrator icon designs into Cinema 4D, incorporating them as holograms to add depth and reinforce the futuristic aesthetic. This layering of elements helped create a more immersive and visually cohesive final look.
UI Design and Animation
I was brought on mainly as an animator and to design a few bespoke widgets for the screens. I animated loops and interactions across the majority of the holograms, matching them to the movement of the plates provided. Working alongside another designer, Alexandre, we designed and animated screens throughout the movie, which were then picked up by the compositing team.
UI Design and Animation
I was brought on mainly as an animator and to design a few bespoke widgets for the screens. I animated loops and interactions across the majority of the holograms, matching them to the movement of the plates provided. Working alongside another designer, Alexandre, we designed and animated screens throughout the movie, which were then picked up by the compositing team.
UI Design and Animation
I was brought on mainly as an animator and to design a few bespoke widgets for the screens. I animated loops and interactions across the majority of the holograms, matching them to the movement of the plates provided. Working alongside another designer, Alexandre, we designed and animated screens throughout the movie, which were then picked up by the compositing team.
More works
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