The Matrix Resurrections

"Nothing comforts anxiety like a little nostalgia"

Client: Warner Bros

Working closely with Production Designers Peter Walpole and Hugh Bateup from pre-production through to filming in San Francisco and Berlin, Studio C concepted, designed, and delivered over 100 animated assets for onset playback across more than 20 sets. The team also worked with VFX Supervisor Dan Glass and Director Lana Wachowski to augment selected graphics and create a holographic package in post.

Showreel | Playback and GFX

Showreel | Playback and GFX

Mnemosyne Main Deck | Operators Station

Using the original trilogies iconic Operator Station as inspiration, the challenge was to pay homage to the past whilst advancing the design. We developed an entirely new visual language for how the Matrix is viewed from within the real world, as well as on-board monitoring for the Mnemosyne, aided by the infusion of "Synethient" technology.

Seq's Keyboards | Synthient Language

As well as on-screen graphics, we also developed a Synthient character set which is used across physical devices within the film.

Mnemosyne Cockpit | Flight Controls

For the cockpit, we applied the same logic as the main deck, taking what came before and creating a new Synthient infused style. As well as the classic radar and gyroscopes associated with a cockpit, we recreated a sewer system map asset from The Matrix Revolutions as a visual call-back.

Mnemosyne Cockpit | Hologram

Asked in post-production to develop a hologram for the cockpit of the Mnemosyne, we went through numerous iterations, from the classic Sentinel proximity scanner, to an onboard LiDAR system mapping the cave walls as we fly through the abandoned sewer system.

Mnemosyne Medbay | Neo Rescue

An important moment in film taking place after Neo's extraction from the Matrix, the graphics played a pivotal role in showing his body in distress, as well as the cold boot into the Dojo training program. Assets included a 3D model of Neo's internal exoskeleton, and filmed content treated to match the original's aesthetic.

Thomas Anderson's Office | Modal Experiment & Binary

As our way into the story, Thomas Anderson's office was a pivotal sequence in the film, with a clear distinguished look between his day-to-day life and the Modal. We created a bespoke games engine used by Thomas Anderson to develop assets in his day job at Deus Machina, whilst conversely, Anderson’s personal Modal programme taps into original Matrix code and content, serving as a visual ‘déjà vu’ with Easter Eggs and references calling back to the original.

Thomas Anderson's Apartment | Modal

As a 1:1 recreation of the original films opening sequence within the Modal experiment, we were tasked with painstakingly rebuilding and matching frame by frame the iconic "Wake up, Neo..." text prompts, as well as the "searching for Morpheus" screen and Trinity's "Heart O' The City Hotel" laptop.

Dilapidated Theatre | Red Pill Extraction
The theatre extraction sequence uses an eclectic mix of technology, with designs all created with the theme of tracking Neo's removal from the Matrix into the real world. As Neo takes the red pill, the graphics begin to tell the story of locating him within the 'Anomaleum'. As with much of the film, this sequence serves as a mirror to the original Matrix extraction, which is represented through modern iterations of legacy designs.

Deus Machina Games | BG Screens

Using the Deus Machina games engine interface established in Thomas Anderson's Office sequence, we created numerous 3D assets to sit within the development bullpen, all shot in camera as water rains down and floods the space.

IO | Farm and Command Centre

The new home of the surviving humans, IO was an opportunity to show how the new collaboration with the machine race has developed the technology, bringing a more organic and fluid look compared to the old industrial dystopian feel of Zion.


Creative Director

Gordon Spurs

Motion Graphics Artists

Daniel Harries | Jay Dingle | Matt Tsang | Peter Eszenyi

Motion Graphics Programmers

Harrison Kons | Richard Oldfield

Motion Graphics Supervisor

Sam Jones