In 2016 I was grateful for the opportunity to hang some pieces in one of my favourite galleries in Australia, Altenburg & Co coincidently located in a town I often call home: Braidwood.
My aim for the show was to engage with my potential new audience, get some feedback at targeted events, and to test technology requirements and feasibility of interactive entertainment and illustration reaching mass adoption in locations compromised by poor connectivity.
For this show, a group show with Melanie Cansell and Steve Maher, I managed to showhow:
Finish 120 pieces, frame and hung them in 30 days.
Encode 40 pieces with interactive features
Publish 12 augmented reality experiences.
Braidwood experiences were hugely impacted by lack of network connectivity and mobile data limitations.
Telstra customers experienced lag and latency at 3 times that reported by Optus customers.
I then tested the same pieces elsewhere, my favourite finding:
Canberra audiences embraced the technology with 6.3 scans per unique user compared to 1.7 in Braidwood.
Canberra audiences spent on average 2 minutes per experience compared to Braidwood average 7 minutes per experience.
Canberra audiences engaged* at more than 400% more per scan than audiences in Braidwood.
*I'm funny about engagement measurement and determine engagement success equal to the commercial metric it is measured against. In this instance I wanted to understand how a scan converted to commission revenues, which is a tough and specific metric. I do measure impressions, interactions, click through, touch points and other standard benchmarks but rarely find this kind of data useful.
The show was opened by Cindy Pastel, the original Drag Muse and inspiration for 'Priscilla Queen of the Desert', a short video (above) was made again using some new AI tech tricks and hacks I wanted to test, no editor, no post, not perfect, but better than the test before. II did publish an augmented reality experience using LAYAR that was live until July 2017. I loved LAYAR as an augmented reality platform, but they have been acquired by BlippAR. So far I'm not enjoying any platform as much as LAYAR. If I republish somewhere I'll update this page!
Branding: Sam Maher
I wanted to create a new identity for my producing and writing activities. I went with postcards because I love receiving mail and with the rise of digital - rarely do; and then I augmented them. My business card I experimented with Aurasma and postcard with Layar.
Branding, Icon Design, Illustration
Master Builders Association TVCs and Web Video
A series of TVCs and a web video for the Master Builders Association. Produced with Screencraft Media. Talent - Graham Gall and the delightful staff and students at the MBA (ACT)
Advertising, Directing, Writing
One Very Big Day OB
Canberra's Centenary birthday celebrations 'One Very Big Day'.
Directing, Exhibition Design, Programming
Canberra Guide Video
How does the the Canberra Guide app work? Here's how!
Creative Direction, Storyboarding, Writing
Cinema Trailer for the first FashFest
Advertising, Fashion, Film
Sam Maher's lament to winter... string artist book
Illustration, Storyboarding, Writing
Lights and Sirens TVC and Web Content
TVC and Web Series for ACT Police, Fire and Ambulance for campaign 'Lights and Sirens'.
Advertising, Creative Direction, Writing
Better Music TVCs
3D animated stills TVC for Better Music. Produced with Screencraft Media commissioned by Inklab.
Advertising, Branding, Writing
TILLY CHARACTER DOLLS
Knitted and crochet dolls from 100% new wool (new reclaimed and end of line tapestry wools) with vintage lace and embroidered doily dresses. Each one unique and handmade in Australia.
Character Design, Crafts, Toy Design
RIFFS + RANTS Branding
Branding and logo developed for a small music and arts studio, school and shop in regional NSW Riffs and Rants... sticker now augments with Layar
Advertising, Branding, Graphic Design