Last Days on Mars
Last Days on Mars
Client: Universal Pictures
Agency: Painting Practice
Role: Motion Design Director
Teams: Leadership team, 3 Designers
Duration: 6 months
Goal: Interface design, playback systems, on-set integration, visual language development
Outcome: Successful screen graphics for vehicles, space station systems, and scientific interfaces
Client: Universal Pictures
Agency: Painting Practice
Role: Motion Design Director
Teams: Leadership team, 3 Designers
Duration: 6 months
Goal: Interface design, playback systems, on-set integration, visual language development
Outcome: Successful screen graphics for vehicles, space station systems, and scientific interfaces
Project Introduction
Project Introduction
Designing interfaces for film often involves balancing realism, storytelling, and technical execution, but stepping into a leadership role introduces an additional layer of responsibility—ensuring that design not only looks correct on screen but functions within the physical realities of a film set. On The Last Days on Mars, I took on my first role leading the design and implementation of on-screen graphics, creating UI systems for vehicles, space station environments, and scientific monitoring systems.
The film’s setting required a believable vision of near-future space exploration technology. Interfaces needed to reflect systems used for navigation, diagnostics, medical analysis, and the study of unknown organisms, all while aligning with the grounded, realistic tone of the film. My role involved not only designing these systems but also ensuring they were physically present and functional during filming through playback systems integrated into the sets.
This was an opportunity to move beyond purely digital design and work directly within the production environment, collaborating with set designers and technical crews to bring the interfaces into the physical world.
Designing interfaces for film often involves balancing realism, storytelling, and technical execution, but stepping into a leadership role introduces an additional layer of responsibility—ensuring that design not only looks correct on screen but functions within the physical realities of a film set. On The Last Days on Mars, I took on my first role leading the design and implementation of on-screen graphics, creating UI systems for vehicles, space station environments, and scientific monitoring systems.
The film’s setting required a believable vision of near-future space exploration technology. Interfaces needed to reflect systems used for navigation, diagnostics, medical analysis, and the study of unknown organisms, all while aligning with the grounded, realistic tone of the film. My role involved not only designing these systems but also ensuring they were physically present and functional during filming through playback systems integrated into the sets.
This was an opportunity to move beyond purely digital design and work directly within the production environment, collaborating with set designers and technical crews to bring the interfaces into the physical world.
Project Story
Project Story
At the start of the project, the challenge was to define a visual language for the film’s technology that felt grounded in real-world science while still supporting the narrative. Unlike highly stylised sci-fi, the interfaces needed to feel functional, utilitarian, and believable as tools used by astronauts and scientists.
The design approach drew inspiration from real-world aerospace systems and scientific equipment, focusing on clarity, hierarchy, and purpose. Interfaces were developed across multiple domains, including navigation systems for vehicles, environmental monitoring, medical diagnostics, and biological analysis of unknown organisms. Each of these required a slightly different visual treatment while still maintaining a cohesive system.
Medical and organism study interfaces, for example, needed to communicate detailed analytical data, often requiring layered information and structured layouts that could represent complex biological processes. In contrast, navigation and control systems prioritised clarity and speed, ensuring that key information could be read instantly.
Beyond design, there was also the practical challenge of preparing these systems for use on set. Unlike post-production UI, these interfaces needed to be displayed live on monitors during filming, meaning that playback systems had to be designed, tested, and integrated into physical environments such as spacecraft interiors and vehicle cockpits.
At the start of the project, the challenge was to define a visual language for the film’s technology that felt grounded in real-world science while still supporting the narrative. Unlike highly stylised sci-fi, the interfaces needed to feel functional, utilitarian, and believable as tools used by astronauts and scientists.
The design approach drew inspiration from real-world aerospace systems and scientific equipment, focusing on clarity, hierarchy, and purpose. Interfaces were developed across multiple domains, including navigation systems for vehicles, environmental monitoring, medical diagnostics, and biological analysis of unknown organisms. Each of these required a slightly different visual treatment while still maintaining a cohesive system.
Medical and organism study interfaces, for example, needed to communicate detailed analytical data, often requiring layered information and structured layouts that could represent complex biological processes. In contrast, navigation and control systems prioritised clarity and speed, ensuring that key information could be read instantly.
Beyond design, there was also the practical challenge of preparing these systems for use on set. Unlike post-production UI, these interfaces needed to be displayed live on monitors during filming, meaning that playback systems had to be designed, tested, and integrated into physical environments such as spacecraft interiors and vehicle cockpits.
The most significant phase of the project came during on-set implementation at Elstree Studios, where the designs moved from digital assets into physical systems embedded within the set. This was the first time I led not just the design, but also the execution of how those designs would function in a live production environment.
Working closely with set crews and technical teams, I helped ensure that playback systems were installed and functioning correctly across multiple sets, including vehicles and the space station environment. These systems needed to run reliably during filming, synchronise with scenes, and display the correct information at the right time.
Being on set introduced a new dimension to the work. Design decisions were no longer abstract—they needed to hold up under real lighting conditions, camera angles, and performance interactions. Interfaces had to be legible from different distances, respond well to camera movement, and integrate seamlessly with the physical design of the sets.
At the same time, the visual language needed to remain consistent across all systems. Whether it was a medical display analysing biological samples or a navigation interface guiding a vehicle, the UI had to feel like part of the same technological ecosystem.
This phase brought together UX thinking, visual design, and practical implementation, turning the interface work into a fully realised part of the film’s world.
The most significant phase of the project came during on-set implementation at Elstree Studios, where the designs moved from digital assets into physical systems embedded within the set. This was the first time I led not just the design, but also the execution of how those designs would function in a live production environment.
Working closely with set crews and technical teams, I helped ensure that playback systems were installed and functioning correctly across multiple sets, including vehicles and the space station environment. These systems needed to run reliably during filming, synchronise with scenes, and display the correct information at the right time.
Being on set introduced a new dimension to the work. Design decisions were no longer abstract—they needed to hold up under real lighting conditions, camera angles, and performance interactions. Interfaces had to be legible from different distances, respond well to camera movement, and integrate seamlessly with the physical design of the sets.
At the same time, the visual language needed to remain consistent across all systems. Whether it was a medical display analysing biological samples or a navigation interface guiding a vehicle, the UI had to feel like part of the same technological ecosystem.
This phase brought together UX thinking, visual design, and practical implementation, turning the interface work into a fully realised part of the film’s world.
As filming progressed, the integration of UI systems into the set environments proved successful. The interfaces supported the actors’ performances by providing real, visible systems they could interact with, rather than relying solely on post-production overlays.
The designs held up under cinematic conditions, maintaining clarity and readability while reinforcing the realism of the film’s technology. The different systems—medical, environmental, and navigational—worked together cohesively, helping to build a believable world where each interface had a clear purpose.
Leading both the design and implementation provided valuable insight into how UX principles translate into physical environments. It highlighted the importance of considering not just how interfaces look, but how they behave in real-world conditions, particularly within the constraints of film production.
As filming progressed, the integration of UI systems into the set environments proved successful. The interfaces supported the actors’ performances by providing real, visible systems they could interact with, rather than relying solely on post-production overlays.
The designs held up under cinematic conditions, maintaining clarity and readability while reinforcing the realism of the film’s technology. The different systems—medical, environmental, and navigational—worked together cohesively, helping to build a believable world where each interface had a clear purpose.
Leading both the design and implementation provided valuable insight into how UX principles translate into physical environments. It highlighted the importance of considering not just how interfaces look, but how they behave in real-world conditions, particularly within the constraints of film production.
Conclusion
Conclusion
The Last Days on Mars project marked an important step into design leadership and on-set implementation. By leading both the creation and deployment of UI systems, the project demonstrated how interface design can extend beyond screens and become part of a physical, cinematic environment.
The work required balancing realism, functionality, and storytelling, ensuring that each system felt believable while still supporting the narrative. It also highlighted the importance of collaboration between design, set construction, and technical teams in delivering a seamless final result.
Ultimately, the project showed how UX design principles can be applied in unconventional contexts, shaping how audiences perceive and understand complex technological worlds.
The Last Days on Mars project marked an important step into design leadership and on-set implementation. By leading both the creation and deployment of UI systems, the project demonstrated how interface design can extend beyond screens and become part of a physical, cinematic environment.
The work required balancing realism, functionality, and storytelling, ensuring that each system felt believable while still supporting the narrative. It also highlighted the importance of collaboration between design, set construction, and technical teams in delivering a seamless final result.
Ultimately, the project showed how UX design principles can be applied in unconventional contexts, shaping how audiences perceive and understand complex technological worlds.
Takeaways
Takeaways
Design leadership extends beyond visuals.
Leading implementation requires understanding both design and technical execution on set.Real-world inspiration enhances believability.
Referencing aerospace and scientific systems helps ground fictional technology.On-set UX requires physical considerations.
Interfaces must work within lighting, camera angles, and environmental constraints.Playback systems are critical for film production.
Live UI on set improves realism and actor interaction.Cross-team collaboration is essential.
Working with set crews and technical teams ensures successful integration.
Design leadership extends beyond visuals.
Leading implementation requires understanding both design and technical execution on set.Real-world inspiration enhances believability.
Referencing aerospace and scientific systems helps ground fictional technology.On-set UX requires physical considerations.
Interfaces must work within lighting, camera angles, and environmental constraints.Playback systems are critical for film production.
Live UI on set improves realism and actor interaction.Cross-team collaboration is essential.
Working with set crews and technical teams ensures successful integration.
Final
Final
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