101 screens is not a design exercise. It is an operational commitment.
For Netflix's Who Is Erin Carter?, we built and sustained a complete digital ecosystem — 101 interactive systems, delivered live on set across four months of continuous production. Zero chroma. No placeholders. No substitutions.
Production Context
Who Is Erin Carter? (2023) is an international action thriller produced by Left Bank Pictures for Netflix, starring Evin Ahmad and created by Jack Lothian. The series follows a British woman living in Spain whose hidden past resurfaces with violent consequences.
For our team at Askforscreens, this project was a structural milestone: the first production where we were engaged exclusively and entirely for screen graphics — no other deliverables, no shared responsibilities. Screens were our sole remit. And the scope was significant.
The Scope
Across four months of continuous shooting — from late April to early September — we designed, built, and delivered 101 screens spanning every category of device used in the production.
The range of systems reflected the thriller's narrative breadth: a story moving between domestic life, covert operations, law enforcement, and port logistics required a digital world with genuine institutional variety.
The challenge was not building 101 interfaces. It was ensuring they all belonged to the same coherent digital universe — internally consistent, institutionally plausible, and visually disciplined across four months of continuous production.
Each category of interface operated according to its own internal logic. Police systems had to feel structurally different from consumer devices. Port logistics dashboards had to feel institutionally distinct from covert tracking tools. The variety was not decorative — it was a function of the narrative's scope.
Interactive by Default
The majority of screens were executed as fully interactive systems, operated live on set by actors or triggered in real time by the production. This was not the simpler option — but it was the right one.
101 screens delivered with a zero-chroma workflow.
No placeholders. No post-replacement. No performance gaps.
In a thriller, digital behaviour is part of the scene's tension. A fingerprint scanner that hesitates wrongly, a database search that loads at the wrong pace, a tracking application that doesn't respond with the right speed — these are not aesthetic failures. They are performance failures. The actor's reaction depends on what the screen does, and when.
Our fingerprint scanner responded in real time. Data recovery programs progressed dynamically. Search and database interactions were functional from the actor's first touch. What appeared on screen was what the actor saw — no mental adjustment required, no performance gap to bridge.
Where playback was appropriate — the port authority dashboards, for instance, which formed environmental background rather than actor-facing interaction — we used loop-based systems designed for continuous on-set running. But interactivity was the default, not the exception.
A New Pipeline, Deployed at Scale
For this production, we deployed a newly engineered interactive software architecture optimised for high-volume, real-time delivery. The system was stress-tested immediately under full production conditions — and sustained continuous performance across four months of shooting.
The new pipeline gave us capabilities the previous system couldn't match: more complex interaction flows, faster adaptation to script changes, better real-time responsiveness, and substantially higher reliability under continuous production pressure.
The architecture operated continuously across four months of production — maintaining stability under daily high-volume use.
Credibility at Netflix Scale
A global Netflix production means screens appear in high-definition close-up, under controlled dramatic lighting, in front of an international audience with no tolerance for visual shortcuts.
Generic UI — the kind that reads as "movie computer" rather than real institutional infrastructure — fails this scrutiny immediately. A police database terminal has to feel like it belongs to an actual police department. A port management system has to feel like it was built for people who use it every day. A tracking interface has to behave the way tracking interfaces actually behave.
This requires more than visual design. It requires logical system architecture: data hierarchies that make sense, interaction flows that follow real operational logic, visual languages that reflect genuine institutional conventions. The audience doesn't analyse this consciously. But they feel it when it's wrong.
On Who Is Erin Carter?, nothing was a placeholder. Every screen was built to withstand the scrutiny of a global release.
What This Project Represents
We had worked on productions with screen graphics before this project. But Who Is Erin Carter? was the first where screens were our complete and exclusive responsibility — and where the volume required sustained operational discipline across an entire production cycle.
101 screens is not a catalogue of individual deliverables. It is a digital world — with its own internal consistency, its own institutional logic, its own rules about how different systems interact and behave. Building that world, maintaining it across four months of shooting, and delivering it entirely without chroma is a different kind of work than designing individual interfaces.
It is infrastructure work. And it is the clearest demonstration of what this studio can sustain.
Sustaining aesthetic and structural coherence across 101 screens required the same discipline as building them.
