ENTERTAINMENT TECHNOLOGY CONCEPTS GMBH Erkrath, GERMANY
Additional Company 4
RALPH LARMANN COMPANY Hadamar, GERMANY
Credits
Name
Company
Position
Michael Otremba
Hamburg Marketing
Managing Director
Svenja Holst-Runge
Hamburg Marketing
Divisional Management
Silke Sprätz
Hamburg Marketing
Projectleader
Götz Ulmer
Jung von Matt
Executive Board
Joachim Kortlepel
Jung von Matt AG
Creative Managing Director
Lutz Nebelin
Jung von Matt AG
Managing Director
Katja Kraus
Jung von Matt AG
Managing Director
Kai Heuser
Jung von Matt AG
Executive Creative Director
Gregory Namberger
Jung von Matt AG
Creative Director
Laura Galmes-Schwarz
Jung von Matt AG
Director Brand & Design
Katharina Frerich
Jung von Matt AG
Junior Designer
Fabian Mohr
Jung von Matt AG
Junior Art Director
Zoran Drobina
Jung von Matt AG
Creative Director
Grischa Mentgen
Jung von Matt AG
Senior Copywriter
Teresa Becker
Jung von Matt AG
Designer
Steffanie Mitte
Jung von Matt AG
Junior Designer
Mark Taylor
Jung von Matt AG
Art Director
Sophie Wolter
Jung von Matt AG
Creative Producer
Julia Brinker
Jung von Matt AG
Client Service Director
Alexa Doerr
achtung!
PR-Lead international
Yasmin Gouhari
achtung!
Senior PR-Manager
Jens Willers
Jung von Matt AG
Productionist
Detlef Klappert
Jung von Matt AG
Strategic Planner
Kristina Schulze
Jung von Matt AG
Senior Project Manager
Lena Sassenbach
Jung von Matt AG
Project Manager
Katharina Grimm
Jung von Matt AG
Project Manager
Niels Böse
Jung von Matt AG
Account Director
Theresa Pucher
Jung von Matt AG
Project Manager
Sina Schmidbauer
Jung von Matt AG
Project Manager
Katharina Steiner
Jung von Matt AG
Content Management
The Campaign
We transformed the Elbphilharmonie’s facade into a visual body of sound. A sound-reactive video and light show responded in real time to the music being played inside during the opening concert, translating it into colours, shapes and movements. As a result, the architecture and music merged into a complete experience – music literally became visible for everybody, on-site, digitally and through live broadcasting.
Creative Execution
We painted the music of the opening concert in real time on the building, turning the facade into a visual body of sound.
A sound-reactive video and light show responded to the music being played, translating it into colours, shapes and movements. A special algorithm analysed the harmony, rhythm, tempo, volume and instrumentation of each piece of music to express them visually. An incorporated 3D model of the Elbphilharmonie enabled us to use 3D mapping effects to interact with the architecture.
Twenty-eight high-performance projectors created the play of light and shadow, patterns, and simulations of particles and fluid. 800 spotlights extended these out into the third dimension. A computer system with 48 processor cores handled the real-time data.
The show offered Hamburg residents outside the venue and viewers watching live on TV, Facebook live, the campaign website and with Google live in 360° a complete and perfectly coordinated audio-visual experience.
Indication of how successful the outcome was in the market
The Grand Opening itself generated a reach of 10.3 billion contacts and 21,638 worldwide media reports. Today all concerts are sold out and with over 3 million visitors in just ten months, the Elbphilharmonie is the new number one tourist hotspot.
We had to address three different target groups, all with a different history and knowledge background:
1. The people of Hamburg: they were involved the most in the construction nightmare and had the most intense relationship (since they paid for the Elbphilharmonie) and were the most important target group.
2. The rest of Germany: mocking and joking about Hamburg and its apparent inability to build the Elbphilharmonie.
3. The rest of the world: The Elbphilharmonie intends to become one of the top 10 concert halls in the world. So we were not only talking to people in Hamburg and Germany but everybody everywhere.
We knew that the invited politicians, VIPs, influencers, key opinion leaders and everybody else inside the Elbphilharmonie’s Grand Hall would have a fantastic evening during the Grand Opening. But we needed more. We needed to involve everybody, in Hamburg, in Germany and around the world.