Tessa Kerre wins Eos audience award

Hematologist Tessa Kerre (UZ Gent) has won the Eos Audience Award Science Communication for Immuno-T, a motion comic we developed to explain to her patients, their families and friends how the immune system can be used in the fight against cancer. Professor Kerre achieved no less than 2,592 out of a total of 6,035 votes in the poll.

Congratulations, Tessa!

https://www.eoswetenschap.eu/gezondheid/tessa-kerre-wint-de-eos-publieksprijs-wetenschapscommunicatie

Election results Zapperdepiet Gent

Zapperdepiet! is an after-hours project made to showcase at Bring Your Own Beamer 2018. We collaborated with 2 nerd-friends, Jelle Vandewiele en Thomas Soreyn, to start the conversation about Black Pete.

We even went further and measured all game sessions, resulting in an election: Black Pete or Roetpiet?

During Bring Your Own Beamer 18 in Ghent,
Black Pete won with a score of 61%!
Sorry, Roetpiet! Better luck next time.

David Lebeer, bartender from the future

Belgium’s best bartender

Have you heard of David Lebeer and his famous cocktail creations? He is now officially known as Belgium’s best bartender. Hailing from Ghent, he won the Diageo World Class Bartender of the Benelux of the Year 2018.

To spice up his act during the final of World Class Bartender of the Year 2018, he contacted us to help him communicate in a futuristic fashion. We went for an augmented reality approach so he could enhance his classic menu-card. We followed his admiration for Blade Runner and Altered Carbon and delivered him the Holobar-app within a week.

Advanced Engineering 2018

Take a leap of faith

Easyfairs, a company that serves communities with live events, came with the idea to let the visitor cut a ceremonial rope and virtually open the event. They reached out to BeVirtual to host this part of the event, who entrusted the creation of this experience to us at Holofarm.

“Cutting a rope and shooting some fireworks… that makes up for a rather short experience!”, we thought, so we took the opportunity to extend the experience. After the rope is cut, a platform rises in front of our visitor. We invite the guest to take a leap of faith by walking on the platform and conquer the fear for heights. If he’s willing to surrender himself to the virtual world, we bring him to our hall where he can visit our virtual stands.

Some thoughts on bringing VR to the audience

The exhibition has always been about grabbing the audience’s attention. VR is a good medium for this, since a visitor can be transported to a virtual environment and receive a persuasive virtual walk & talk without any distractions. And in doing so, the willing visitor becomes an attraction of its own for the remaining audience: a character who’s in another reality, totally unaware of his surroundings.

Bringing VR to a broad audience remains a difficult task. Not every household wants to spend their savings on expensive hardware to bring an individual experience inside the living room. And having a VR-set at home doesn’t have the same social attraction as being the first guy in the street with a television. Conclusion for now: you shouldn’t try to reach your VR-audience at home (yet). Instead, reach out to them in public spaces.

Flashback to the arcade halls – let a group of friends play a game in the same public space, grab a soda and yell at each other, and you’ve got yourself a social event based around gaming. The same rules can be applied for Virtual Reality. Being together both in VR as physically in the same place, it’s a concept that seems to work. And not only with friends and family, but also in a setting as B2B, musea, education, …

Bare in mind however that B2B-communication is about selling a product / brand by delivering a clear message, without noise. If the learning curve of the interactions in VR is too steep, the user will not be able to proceed the story. Maybe he will feel ridiculed or frustrated, because someone is looking over his shoulder and is having a laugh.

The user should have the feeling they’re good at your experience.

The inability or unwillingness of the user to continue your experience will be the noise on your message. Therefore the experience must be self-explanatory and not too demanding. It’s the thin line between a VR experience and a VR game.

Investing in VR

When opting to use VR during your event, think about the following points:

  1. What message do I want to deliver and why do I want to do this in VR?
  2. How long will a user be inside VR?
  3. Is the experience permanent or only for one event?
  4. How much budget is available?
  5. Do we require realistic graphics?

Let’s do a fictional breakdown of a project. Company IT Buster sells IT-services. You want to tell your potential clients that you’re the guy to protect their computer network. The expo is coming up and you want to gain some attention from potential clients.

Option A – Virtual Visit
The user can visit your company in VR. Every environment is recreated in 3D and feels real and convincing. The user can teleport and discover every little corner of the building and can ask extra information on demand.

Option B – IT Buster Blaster
The user is in an office and sees a computer in front of him. A virus suddenly appears on the screen and *zap* – jumps out of the screen onto the desk.
The user is prompted to slam the virus with the controller before it duplicates itself. When the situation gets out of hand after a minute, the user gets a ‘game over’ and we see the logo of IT Buster fading in, while hearing a voice-over: “Prevent situations like these with IT Buster!”

Now you can try again, but this time your weapon is the IT Buster Blaster. Beware, evil virus!

Option A, the virtual visit, does not have a clear message and does not take advantage of being in a fictional world. In contrary: it’s a replica of a real environment. It can easily cost +50 K euro since the creation of photo realistic 3D still remains expensive. If the company would extend or replace its facilities, the experience will become outdated. But eventually it can offer an exclusive experience where users can wander around in places where they not permitted to in real life.

Option B however has a clear message, the whole experience builds up to a point, a bit like a funny tv commercial. It does not require realistic graphics, since the whole scenario is fictional and cartoony. Therefore it becomes less expensive to create the 3D assets (5 K euro). It also has replay value since you could keep shooting viruses and go for a high score.

If you want to take your users to a ‘real’ place and show that you care about production value and style, go for option A. If you want to offer a break from reality and keep it cost efficient, we would suggest option B.

To measure is to know

Whatever option one might pick, make sure that the software team is following an iterative and incremental development. Create the experience through repeated cycles: plan, build, test, review.

Don’t assume your team is going in the right direction. But let your audience try it early on. To measure is to know. Only then the experience will become something the user wants, instead of what you (think they) want.

To conclude our article, we would like to thank you for the read. Feel free to comment and to share. If you have any further questions, you can always contact us at info@holofarm.be.

Making of Immuno-T

Finding the right medium

In the beginning of 2017, professor Tessa Kerre came with the idea to develop a game in VR about immunotherapy. 

During our first meetings, we questioned ourselves if this was the right medium to tell the story. When communicating such a difficult matter, a person should be able to keep eye-contact with other people.

Perhaps AR would be a fitting medium. It’s also certified ‘fresh’ technology, something the University of Ghent was looking for to showcase during their 200-year festivities.

But during first user tests we had the feeling that the linear flow of gaming – combined with a ‘fun’ level – was missing the goal to easily communicate a very complex topic. That’s why we went looking for a way to translate a story to a mobile screen. We found a lot of inspiration in the article ‘Space into game, time into book‘ by Erik Loyer.

Look Development

A major aspect of this project was the look development. How do cells look like? And cancer cells? How will the world around them feel like? We first started the process with finding references.

Once we decided that the format would be a motion comic instead of an AR-experience, we experimented with graphic novel styles. The following artwork was delivered by Gert Stevens.

Concept Design by Gert Stevens
Concept Design by Gert Stevens

During user tests it was decided to keep in line of the original concept. The graphic novel style had a lot of production value, but a part of the audience preferred a softer visual style which would be digestible for all audiences.

Eventually, we started storyboarding with those characters.

When the storyboard was approved, we rendered the different elements and composed them to one image.

Immuno-T, from dream to reality