In part two of my recent conversation with Adrian Scott, head of Vancouver-based Go2 Productions, we discuss why the real power of 3D projections like the ones shown in the highlight reel above isn't the display itself—it's what you (and passersby) do with it afterward via social media.
We'll also hear about some of the emerging technologies that will see 3D projection evolve into something closer to the Star Trek Holodeck—or at least like a certain scene in another fabled space opera.
I've posed the question before, and more and more, it seems like the answer is an emphatic "Yes!"
While TV is still the dominant form of media, digital outdoor in general - 3D Projection Mapping in particular - creates an blockbuster experience for all within eye shot.
For the uninitiated, 3D Projection Mapping is very much what it sounds like: Projection that uses 3D technology to transform buildings, geographic structures and other (typically but not exclusively outdoor) 2D surfaces for maximum effect. I'm talking office buildings that literally come to life to astonishing effect.
Indeed, 3D Projection is coming into its own, most often used at large scale brand or campaign launch events. But more importantly, it's what smart brands do after the event that matters most. Think the kind of video that goes viral very quickly, eliciting many "oohs" and "ahs" along the way.
And no other company in North America seems to be as prolific at the art and science of 3D Projection as Vancouver, British Columbia-based Go2 Productions.
Over the last few years, Go2 has developed 3D experiences for Southwest Airlines, Genie, Sports Illustrated, Pepsi, Trukfit, Hyundai, LG Electronics and more - usually on behalf of ad agencies in need of expertise in this amazing new milieu.
In fact, we've collaborated with Go2 on brand launch experience for LoopNet and Seagate Technologies.
In part one of a recent interview with Scott, we talk about two new initiatives. Watch the videos featured in this post, and listen as Adrian describes what 3D Projection Mapping is, and how he and his team have even engaged other senses to create not just 3D, but 4D experiences.
Can someone who has never worked in advertising really cover it?
Or is it even better that way?
In the conclusion of my recent "exit interview" with legendary New York Times ad industry columnist Stuart Elliott, we discuss what it was like to cover such a idiosyncratic industry without much first-hand experience in the business.
How did being one step removed hinder - or help?
As Elliott says goodbye to the Times, we'll get his views on that topic.
And we'll try one last time to get his predictions for what's next in the world of advertising. His response is worth noting even for those of us who do work in this crazy, wonderful industry.