In-camera shots were then edited and animated in-house, using a staccato style and low frame rate to achieve the same analog quality. The result is a half tactile, half digital world where composited red lines, shapes, and redactions drive real-world divisions across live-captured maps, photographs, and documents — illustrating to audiences how racial discrimination in housing and community policing shaped the demographic and wealth patterns of American cities, while hinting at the oppression, surveillance, and violence to come.

Inspired by iconic Saul Bass titles for films like Vertigo, Cape Fear, and Lady in a Cage, we shot much of the sequence in-camera, experimenting with techniques like stop-frame animation, paper play, shadow work, and film degradation to create a graphic, jarring introduction using red lines as a thematic through-line that foreshadows the narrative.

In-camera shots were then edited and animated in-house, using a staccato style and low frame rate to achieve the same analog quality. The result is a half tactile, half digital world where composited red lines, shapes, and redactions drive real-world divisions across live-captured maps, photographs, and documents — illustrating to audiences how racial discrimination in housing and community policing shaped the demographic and wealth patterns of American cities, while hinting at the oppression, surveillance, and violence to come.

In-camera shots were then edited and animated in-house, using a staccato style and low frame rate to achieve the same analog quality. The result is a half tactile, half digital world where composited red lines, shapes, and redactions drive real-world divisions across live-captured maps, photographs, and documents — illustrating to audiences how racial discrimination in housing and community policing shaped the demographic and wealth patterns of American cities, while hinting at the oppression, surveillance, and violence to come.

In-camera shots were then edited and animated in-house, using a staccato style and low frame rate to achieve the same analog quality. The result is a half tactile, half digital world where composited red lines, shapes, and redactions drive real-world divisions across live-captured maps, photographs, and documents — illustrating to audiences how racial discrimination in housing and community policing shaped the demographic and wealth patterns of American cities, while hinting at the oppression, surveillance, and violence to come.

Graphic Identity

Additional branding elements further immerse viewers into the setting and headspace of Marvin’s uncanny horror anthology.

Graphic Identity

From the outset, retro Sony Pictures and Amazon Studios vanity cards take audiences back to the 1970s, the time period in which Them: Covenant’s shocking footage was supposedly “found.” After the title sequence, a minimal opening crawl inspired by 70s horror titles sets up the history, protagonists, and premise for the series.

Graphic Identity

From the outset, retro Sony Pictures and Amazon Studios vanity cards take audiences back to the 1970s, the time period in which Them: Covenant’s shocking footage was supposedly “found.” After the title sequence, a minimal opening crawl inspired by 70s horror titles sets up the history, protagonists, and premise for the series.

Graphic Identity

From the outset, retro Sony Pictures and Amazon Studios vanity cards take audiences back to the 1970s, the time period in which Them: Covenant’s shocking footage was supposedly “found.” After the title sequence, a minimal opening crawl inspired by 70s horror titles sets up the history, protagonists, and premise for the series.

As we descend into the story, jagged red lines mark out the horror that unfolds, day-by-day to the Emory family. Finally, retro-style end credits close out each episode with a nod back to the history and sociopolitical forces introduced in the opening titles.

From the outset, retro Sony Pictures and Amazon Studios vanity cards take audiences back to the 1970s, the time period in which Them: Covenant’s shocking footage was supposedly “found.” After the title sequence, a minimal opening crawl inspired by 70s horror titles sets up the history, protagonists, and premise for the series.

As we descend into the story, jagged red lines mark out the horror that unfolds, day-by-day to the Emory family. Finally, retro-style end credits close out each episode with a nod back to the history and sociopolitical forces introduced in the opening titles.

As we descend into the story, jagged red lines mark out the horror that unfolds, day-by-day to the Emory family. Finally, retro-style end credits close out each episode with a nod back to the history and sociopolitical forces introduced in the opening titles.

As we descend into the story, jagged red lines mark out the horror that unfolds, day-by-day to the Emory family. Finally, retro-style end credits close out each episode with a nod back to the history and sociopolitical forces introduced in the opening titles.