Hasta La Ideas

The current issue of CR features The Annual, showcasing the best work of the past year. Nine projects have been chosen for our Best in Book section, the ultimate accolade. We are featuring each of them in a series of posts with additional content to further explain each project. In this post, see how Dare’s Find It app will help you locate your tent at Glastonbury and the stats behind Poke’s Balloonacy project

Dare was lucky enough to be given an open brief from Sony Ericsson to come up with a variety of ways to show off the full GPS capabilities of the brand’s mobile phones. The strategy aimed to provide users with a range of free, useful applications. Dare Labs, the agency’s bespoke new product development department, came up with Find It. The application allows users to tag any object and then navigate to the pre-tagged destination via the HE-100 GPS enabler in the phone. The tagged object could be a parked car, a hotel or, perhaps most useful of all, that particularly hard-to-find tent at Glastonbury. All is explained hereVery useful in the dark, we imagine.

Poke’s Balloonacy project, meanwhile, looks like it will be a fixture at awards shows this year. This film demonstrates how the online balloon race worked:

While this fly through of the race shows the balloon characters and the sites they appeared on -very fast.

Balloonacy 40,000 balloons in 22 seconds from Mattias Gunneras on Vimeo.

And this timelapse film shows how the race panned out on Mattias Gunneras’s blog

Balloonacy time laps from Mattias Gunneras on Vimeo.

Credits

Find It
Entrant: Dare. Client: Mattias Järlevi, Digital Campaign Manager, Sony Ericsson. Innovation Director: Perry Price. Associate Creative Director: Matt Firth. Art Director: Matt Firth. Designer: Ian Fooks. Developers: Ryan McGrath, Sonia Rakotomanantso. Producer: Peter Williams

Balloonacy
Entrant: Poke: Client: Orange. Creative Director: Iain Tait. Art Direction and Design: Nicky Gibson and Marc Davies. Designers: Andrew Zolty and Dickon Langdon. Programmers: Caroline Butterworth, Nilesh Ashra, Mattias Gunneras and Greg Reed. Technical Developers: Derek McKenna and Gabriel Bucknall. Technical Director: Igor Clark. Producer: Mike Pearson. Copy: David Cadji-Newby. Planner: Lise Lauritzen. 3D Animation: JS3D

The current issue of CR features The Annual, showcasing the best work of the past year. Nine projects have been chosen for our Best in Book section, the ultimate accolade. We are featuring each of them in a series of posts with additional content to further explain each project. In this post, see how Moment Factory created an interactive extravaganza for Nine Inch Nails’ last tour

Montreal-based Moment Factory created this ‘interactive environ­ment’ for rock band Nine Inch Nails’ 2008 Lights in the Sky tour. The installation allowed the band to interact with the video and lights while performing, with the visuals reacting to their positions, movements and sound.

Moment Factory worked with the band to develop different interactive effects and styles for each song. This how it was done clip explains more:

And here’s some footage fo the show:

Credits
Created by Moment Factory Experience.
Client: NIN.
Art Direction: Rob Sheridan.
Show Designer: Roy Benett.
Video Supplier: Nocturne.
System Designer and Content: Moment Factory

Percussa AudioCubes – An Introduction from percussa on Vimeo.

We’ve seen lots of “block” type tangible sound control systems in installations and experimental student projects, but the folks at Percussa, a small electronics company in Brussels, have made one that’s got the kinks worked out enough to go to market. Their “AudioCubes” are glowing, physical blocks that hook up to a computer and map to musical structures, allowing you to unleash your inner geek DJ and play with toys all at the same time. Electronics embedded within each cube allow the blocks to sense one another’s positions and orientations, as well as the blocks’ distance to other objects, such as a hand (think four-sided mini theramin). They are networked, and scalable, so you can use any number of pieces (up to 100) together, as long as your audio hardware budget can handle it: a single block costs almost 300 bucks, though sets of multiples bring the price per block down.

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