Marcus Moresby is Creative Director at Found, where he specialises in animation and motion graphics. Here, Marcus uncovers examples of brands inhabiting the world beyond the computer screen.
Our concept of the screen is changing at an ever-increasing rate. Advancements in LED and projection technologies enable anything to be a screen, bringing the urban visions of "Children of Men" and "Blade Runner” to reality as moving content fills the visual fabric of the city.
We are becoming richly informed by moving content as visual interfaces impact on our daily lives. Spaces traditionally home to print are rapidly converting to digital technologies; providing a more efficient and updatable service and presenting new challenges. New creative decisions arise when designing for this hybrid of static and moving imagery, allowing content to catch people’s passing attention.
Affordable new technologies also allow clients to easily update their content and respond to current events and trends. The public’s basic need for information was at the heart of a pilot project for Google Outside. Digital screens were placed around London and provided interaction with local facts, weather reports and event news.
This type of environmental information is gradually filtering into our transport systems and changing the way we navigate our surroundings.
Many screens fit within certain traditional formats, but LED paneling releases the screen dimensions previously defined by film and television. By linking panels together, it’s possible to create vast surfaces at hugely detailed resolutions. The Hyundai Vision Hall in South Korea displayed beautifully animated sequences across a screen spanning over 24 meters, immersing the audience as they freely walked through the space.
This scale engages audiences on an emotional level where people can be transported to places of pure imagination.
We’re also breaking free from the limits of the physical technology. Projection mapping techniques enable anything to become a screen, from miniature objects to skyscrapers. The most successful examples integrate animation with an object’s geometry, creating a sense of depth and optical illusion. This synergy of technique and technology is broadening the possibilities of immersive experiences.
The Yellow Pencil-winning ‘Box', directed by Bot & Dolly is a perfect instance where harmony exists between all aspects and techniques of the screen. Live performance is seamlessly blended with CG animation and projected onto perfectly synchronised surfaces to create modern day magic. All captured entirely in camera for viewing within a screen based format.
Box by Bot & Dolly
Experiential events are also gradually embracing these technologies to expand the depths of illusional immersion and provoke emotional responses from their audiences.
The possibilities of this new synergy of technique and technology are pushing the boundaries of how we view the concept of the screen; so consideration should also to be given to how we document these experiences. An impressive visual event can attract a live audience of thousands but be easily extended to an audience of millions online. Factoring in the filming during conceptual stages leads to more engaging final results, completing a full spectrum cycle of the digital and physical screen canvas.
At Found we’re seeing an increasing number of client briefs requiring us to think in new ways, but all of them link back to our connection with screens. They’re challenging us to create surprising, engaging and entertaining content so stories are at the heart of every idea we develop.
In our busy world where information and entertainment is at our fingertips, people crave new experiences which excite and release their imaginations. As the concept of the screen evolves, we’re striving to embrace new technology and adapt to the future of storytelling.
If you think you have a campaign that deserves a Pencil, enter your work into the D&AD Professional Awards and see if our judges agree. When it comes to awards, nothing matters more.