PARADISE –
Screen Graphics & Titles

Paradise is a Netflix dystopian thriller set in a near-future world where AEON, a biotech corporation, has commercialised the transfer of life years between people. Territory Studio was commissioned to develop the full screen graphics package and title sequence, with me serving as Creative Director across the production.

The governing idea behind every interface was physicality. No glowing screens, no conventional sci-fi UI. Everything had to feel haptic and tangible — surfaces with real depth, shadows suggesting elevation, materials that behave like objects rather than displays. Graphics you could almost touch.

The peripheral devices — tablets, computers, handheld screens — form the visual backbone of AEON's world. Each interface was designed to feel familiar but unlike anything that exists today: an operating system with embossed and debossed application tiles, tactile surfaces with genuine weight. Hand-animated in After Effects to match the actors' exact gestures, then composited in Nuke into the final shots.

The warroom's PC monitors and surveillance table were the most technically demanding elements of the GFX package. The table in particular required a deep sense of layered depth — parallax behaviour built into the UI so that as the camera moves, the interface shifts with real physical logic, different layers responding at different rates. The same depth treatment carried through to the PC screens, giving every surface a sense of genuine three-dimensionality rather than a flat composite.

Beyond the primary interfaces, we developed the full visual language of AEON as a corporation — animated logos, advertising, car interior UX, and environmental screens. The brief was to make AEON feel like a real institution with a real brand presence: polished, pervasive, and subtly unsettling. The animated logo system and ad campaign graphics were designed to work across multiple contexts, from in-world billboards to broadcast formats.

The title and credit sequences were an extension of the GFX visual language — the same tactile depth system, the same typographic precision, now applied to the show's opening and closing identity. Having developed the screen graphics system from the ground up, carrying that language into the titles felt like a natural and satisfying close to the project: a single coherent visual world from first frame to last.