MUSIC IN SIGHT
|Category||D04. Spatial Brand Installation & Experience|
|Title||MUSIC IN SIGHT|
|Entrant||JUNG VON MATT Hamburg, GERMANY|
|Idea Creation||JUNG VON MATT Hamburg, GERMANY|
|PR||ACHTUNG! Hamburg, GERMANY|
|Production||MADHAT Frankfurt, GERMANY|
|Production 2||PRODUCTION RESOURCE GROUP Hamburg, GERMANY|
|Production 3||LASERFABRIK Hürth, GERMANY|
|Additional Company||SIMON & PAUL Hamburg, GERMANY|
|Additional Company 2||BEACON GMBH Hamburg, GERMANY|
|Additional Company 3||ENTERTAINMENT TECHNOLOGY CONCEPTS GMBH Erkrath, GERMANY|
|Additional Company 4||RALPH LARMANN COMPANY Hadamar, GERMANY|
|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 CampaignWe 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 ExecutionWe 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 marketThe 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.
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