Client: Netflix
Territory Studio were brought in to design screen graphics for the Netflix sci-fi adventure Atlas, envisioning a futuristic take on humanoid artificial intelligence in 2043. The film follows Atlas Shepherd, a counterterrorism analyst with a deep distrust of AI who joins a military mission to capture a rogue fugitive. We collaborated with Production Designer Barry Chusid from pre-production, creating over 150 screens for on-set use. More than 300 animated graphics were delivered to five different VFX teams.
HUD Design: We designed an extensive, unified operating system for the Heads Up Display (HUD) visuals — a recognisable system throughout the film. The HUD provides pilots with real-time information including navigation, weapons systems, targeting, and communications.
AR Interface & Neural Sync: Pilots are surrounded by an augmented reality (AR) interface connected to a futuristic cockpit inspired by avionics. Our representation of AR and spatial computing anticipates Neuralink synchronisation — a two-way communication system enabling seamless brain-to-robot integration.
Smith AI Companion: Central to the storyline is the visualisation of the Smith AI assistant and its interaction with protagonist Atlas Shepherd. The design process involved studying the AI's personality to create a holographic companion that is deeply emotive, playful, and lifelike — exploring the blurred line between human and machine.
Villain Technology: Humanoid AI terrorist Harlan Shepherd and his agent Casca Decius use advanced technology on a high-tech interplanetary mission. A sophisticated, multi-layered interface was designed with visual density and complex systems accessible only by highly trained AI intelligence.
Interrogation Room: AI agent Casca Decius is captured and interrogated surrounded by holographic screens displaying her vitals and thoughts, enabling Atlas to extract information about Harlan and trace his escape route to the Andromeda Galaxy.
Production Scale: Collaborating closely with Barry Chusid, Territory worked with the art department for over two years, delivering over 200 assets for on-set screens.