Project —

As a lifelong fan of John Carpenter’s The Thing, I’ve always been fascinated by its atmosphere: cold, isolating, and relentlessly tense. This project is a personal attempt to reimagine an end credit sequence that could plausibly sit alongside the original film. Rather than modernise for the sake of it, I aimed to retain the visual DNA of the 1982 classic. I approached it as a continuation, not a reboot.

The colour palette is directly inspired by the film itself. Icy blues, saturated reds, and that signature magenta glow that appears in flare light and fire-lit snow. These tones were deliberately pushed into the lighting and fog to keep the world feeling consistent and cinematic, while allowing a more stylised, abstract approach to unfold.

There’s a strong emphasis on silhouette and shadow, building unease without showing too much. Some of the creature designs incorporate fingerprint-like textures, a subtle visual motif used to reinforce the film’s central themes of identity, imitation, and the fear of the unseen. That constant question, "who is still human?" felt like the perfect undercurrent to explore through distorted, unfamiliar textures.

Using a mix of personal model builds and a few pre-existing assets as a base, all lighting, texturing, design and composition are my own. The grain and low-light falloff are intentionally stylised to feel closer to 1980s practical cinematography. Imperfect and analogue, almost like found footage that belongs in the same universe.

This is still very much a work in progress, archived here in Labs as an unfinished study. But for me, it’s a reflection of what I love most about horror and title design. Finding ways to tell emotional stories through shape, colour and atmosphere. It’s not just about recreating scenes. It’s about translating tone into motion.

Below are some stills from the sequence I created, including the sequence itself and some development examples.

Project role:

Art Direction, 3D modelling, texturing, lighting and comping