Many companies talk about storytelling, but Group Delphi helps customers tell compelling stories, stories that move that audiences to action. When EXHIBITOR2014 attendees visit Group Delphi at booth #1437, creative directors and staff will help them answer this question by identifying key elements in their stories. Group Delphi will use these answers to follow-up with a creative brief and to give attendees the opportunity to win digital content services valued at $25,000 or one of several iPad minis. For additional creative consultation, attendees may submit their answers prior to the show by going to www.Groupdelphi.com/exhibitor. Continue reading
Last week I saw the movie Monuments Men starring George Clooney, Matt Damon and Cate Blanchett. The question asked throughout the movie was, “Is art worth dying for?” See the movie (or read the book) if you want to learn more, but just notice that the value of art is being questioned.
Unfortunately, the value of museums is often questioned, too. Today and tomorrow (February 24 and 25), hundreds will gather in Washington, D.C. for Museum Advocacy Day. The event begs the question, “Are museums worth advocating for?” Continue reading
by guest blogger Matthew Brennan
We hear a lot about the importance of social media and how businesses need to build their online network. While all of that is crucial to the long-term health of your business, there’s a very important piece to the puzzle that can often be overlooked.
We tend to do business with the people that we know and like. The best way to accomplish that is still through face-to-face interaction.
From drones to driverless cars, the 2014 Consumer Electronics Show in Las Vegas was highlighted by disruptive technology. Two of our clients presented in booths designed and built by Group Delphi, and they had these amazing words to say:
“I want to first thank you both for a very successful show. From the response that I have been receiving from my friends who work with other design firms, we can be very proud to know that our presentation was one of the best at the show. Simple, clear and focused…could I have asked for more?” — John Smith, Senior Vice President of Eton Continue reading
Group Delphi wins two 2013 Event Design Awards.
Event Marketer’s 2013 Event Design Awards recognize the exhibit industry’s leading change agents, and the award-winning projects reflect how studios are reinventing experience design. The winners were announced Dec. 10 and Group Delphi was honored to be a gold winner – twice!
Group Delphi won Best Modular and Custom Exhibit for the design and build of Pixar’s Monsters University booth. Group Delphi stretched the power of custom rental in this movie-inspired design that helped Pixar present the latest version of its must-have software RenderMan® to the Siggraph 2013 audience. Continue reading
There have been a wave of ads like these for Pepsi MAX, LG and the remake of Carrie that seem to play on the fear factor, but this spoof from ad agency John St. takes it to the next level with an awesome dose of fear and humor.
Although it is a spoof, there is something to note; your reptilian brain. A long time ago (maybe at the first Gravity Free conference) one of the authors of The Experience Economy spoke about the power of a campaign to tap into the reptilian brain in order to make an experience more memorable.
The reptilian brain is the part of your brain responsible for the fight or flight instinct, and an exfeariental experience would certainly trigger the response! The point made at Gravity Free was this: in order to make an experience memorable, it must stick–and to get it to stick it must get deeply embedded in the mind. And in the LG, Carrie and John St. videos you can certainly see how fear would leave a lasting impression (in the form of nightmares). But as we all know from branding 101, the idea is to leave a lasting positive impression.
In the case of many of these campaigns (just like in hidden camera TV), we eventually learn that it was all a hoax. For LG TVs, this works quite well since they want you to realize that the colors are so vivid and real that you actually thought there was a nuclear apocalypse happening outside the window during your job interview.
The question is where to draw the fine line. It has to be scary enough that the wave of relief in the reveal leaves a stronger lasting impression than the fearful hoax. But as the John St. piece shows, there are some things you just won’t recover from no matter how good the coffee or soda tastes.
The psychology of color often comes up in discussions about the direction of a project . Color was the subject of a previous blog post, but an infographic doesn’t really demonstrate how the use of color actually influences an attendee.
But this special feature from Cloudy With a Chance of Meatballs called “From Conceptual Paintings to Final Renderings — The Evolution of Color” brings the point home.
The video clip shows you how the art department’s color script painting creates an emotional color palette that tracks with the emotional beats of each scene. It is amazing to see how closely the final scene aligns with the color script.
What’s fascinating is that after watching the film (and learning where the emotional highs and lows occur), you can look at this image and see how the emotional lows are cool and dark and the emotional highs are light and warm. During the climax, the colors are dark as the protagonist must face his fears, but the addition of red adds to the sense of danger. Earlier in the film, the use of red with lighter colors during the “love scene” is used to evoke passion and affairs of the heart.
The takeaway? When telling a story within a branded experience, use color to drive the point home–but keep in mind that as the story unfolds, the color palette may change. For example, it isn’t just the corporate color palette that drives the exhibit design. The designer must also take into account the audience’s current perception of the brand–and the desired brand perception that is the goal of the experience. Colors can move the audience in a particular direction.
A year ago, a former Pixar employee combined a series of tweets into 22 story basics I’ve picked up in my time at Pixar. Since then I have used those ’”basics” to help me think about framing our clients’ stories for their customers and potential customers through events, media, exhibits and interactives. Some of my favorites really help me create a very simple story:
#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
#14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
#22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.
Or, as Dr. Hannibal Lecter put it in Silence of the Lambs:
First principles, Clarice. Simplicity. Read Marcus Aurelius. Of each particular thing, ask: What is it, in itself, what is its nature…?
What’s amazing about these story basics is that they ask questions or are simply fill-in-the-blanks so you can plug in your client’s information and start to formulate a story. But they don’t visualize, they don’t show you how to tell the story. That’s where Monty Python’s Terry Gilliam comes in. This video is a made for TV lesson on how to create his trademark cut-out animation.
Watch out at work, this is British television so the censors are not doing much work here. Around 4:45, Gilliam shed some light on item #22 above:
You want to cheat as much as possible. If people can be avoided walking in on legs, do so.
It is brilliant. He boils the story of “walking” down to “the character needs to move across the screen” and that opens up any option you want: flying, rolling on a wheel, bouncing. By thinking in this manner you can come up with all sorts of ways to tell your story through message, architecture and graphics. This is supported by a few other Pixar story basics:
#9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.
#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
Telling the simplest of stories doesn’t mean it will be the simplest thing to do, but using the tools above and thinking horizontally and vertically about alternatives can often yield the most incredible results.
Thanks to Swiss-Miss for the Gilliam tip!
Who makes the statement, “Let’s get together sometime” and really means it? If the invitation were sincere, it would not be for “sometime,” but for a specific date or specific range of dates. Being too general and non-specific will only lead to frustration for everyone involved.
Just the other day I asked someone in the office if he would start on a project “sometime soon.” As it turns out, the other person thought I meant for him to start when he got around to it. You guessed it. He hasn’t gotten around to it yet. I didn’t realize my communication error until I followed up with that person a few days later for a progress report.
I have thought of 4 simple ways to make sure that “sometime” DOES come.
- Be clear with your communication about due dates. Use specific date/time references.
- If communication is in person and verbal, make sure you follow it up with a confirming email or a phone call.
- If a colleague uses the “sometime” due date, make sure you ask for a specific date.
- If a colleague simply says they will do something with no due date, make sure you ask for a specific due date.
Too often people assume clarity has been conveyed when in reality it has not. Assumptions take over, deadlines are doomed and disappointment is inevitable.I am certain I am not alone in this experience. I would love to hear your experiences in this area of sometime. How did you deal with it?
Keep your eyes open. Inspiration can come from anywhere.
This post was inspired by my recent personal offense of wanting something done “sometime.”
Familiarity is comforting, isn’t it? Just about everything we touch is “global.” Blended. The ability to see and pin images instantly from all over the world without context or contemplation often leads to derivatives of derivatives of derivatives. The tools we use to express our thoughts and to create have become fewer and fewer. Yet at the same time, these tools are more democratized, more open, more available. Common. The ready-made, like templates and stock art in all its forms, has burgeoned in the 21st century.
All this sameness can become like comfort food, a trap with unflattering results. Alternatively, ideas become a reflection of the tools. Both are poor prescriptions for a competitive landscape.