360° Video: The Future Of Content Marketing

The landscape of content marketing has changed significantly over the years. In today’s fast-paced world, video provides the flexibility and relevance that on-the-go consumers want; 360° video has taken this to a whole new level.

360° video has the potential to relay much more powerful advertising messages than linear communication which uses text, still images, and traditional video. With 360° content, consumers take the messages to heart in deeper and more long lasting ways.

“Access to VR experiences is surging. It’s getting easier to try it out, driven in large part by both VR180 and 360 formats. It’s a gateway to larger experiences.” Explained to Abigail Posner, Head of Strategy for The Zoo at Google. “People try this flavor, dive into new worlds, pique their senses, and then want to try more and more complex kinds of immersive experiences. So brands need to start playing around with the unique VR story framework, blaze new trails and truly show what they’re about to their users. It’s a new way to make a deep impression about what the brand stand for.”

Brands have a revolutionary new format to use, but does it actually drive more engagement than standard video advertising? Or is it just a passing fad that will soon make its way into the technology graveyard?

360° Advertising Is More Effective

 With most people encountering a barrage of advertising on a daily basis, it’s getting harder and harder for brands to cut through the noise. Initial experiments with 360° video have demonstrated that this format might be exactly what brands need to push through. Hong Kong Airlines found its 360° ad was 35 times more effective than the equivalent traditional ad. James Hill, a commercial director at video advert marketplace Teads, found click through rates for 360° commercials were double what they were for standard video. The adding layer of interactivity that 360° video provides is engaging and for some, there is still a novelty factor in play.

A 360° trailer for the movie Fifty Shades Darker performed ten times better than a static control advert, with viewers staying in the virtual ballroom experience for an average of two minutes. Broadway musical School of Rock launched a 360° video to promote ticket sales during the Christmas season, and it was viewed 1 million times in just three days. Thanks to this, traffic to the show’s ticketing website increased by an impressive 160%, while traffic to the show’s website increased by 550%.

Google recently conducted an in-depth study into the differences between 360° advertising and its standard video counterpart. They found that 360° advertising didn’t manage to increase an advert’s viewership, but that those who did watch were more likely to click through to see a longer version of the video. They were also more likely to share it, subscribe to the channel and view other videos by the brand. This increased level of engagement can be traced back to interactivity – viewers know a 360° video will be a better experience for them, so they stick around for longer, as they enjoy being able to control what they see. It’s no surprise that these factors lead to tangible results.

360° Advertising Can Be More Practical

In September, John Lewis became the first UK brand to advertise a homeware collection in 360 degrees on Facebook. The advert gave viewers the chance to view goods from all angles, attempting to recreating the shopping experience at home. Hilton achieved similar results when they created a 360° advertisement for a Barbados holiday, taking users closer to the destination than any brochure ever could.

The implications for 360° advertising in the travel sector are clear, particularly given its ability to transport users to locations before they actually visit it. However, there’s another even more important reason brands are making use of 360° advertising for their businesses.

John Lewis Busters Garden_1360° Advertising Positions Brands As Industry Leaders

While 360° video technology is still relatively new in the advertising space, it is important for brands with one eye on the future to get involved. Marriott was hailed as a “forward-looking and relevant brand within the travel market” after its 360° advertising campaign was launched. It is essential for any brand that wants to be seen as creative and innovative to appear as such in its advertising, as well as its products.

360° advertising can also help companies outdo their competitors in revenue. With digital ad revenue outpacing traditional ad revenue, 360° advertising will become more commonplace soon and its value will become stronger, for viewers and brands alike.

With numerous examples of how 360° video can help drive engagement, increase shareability, and position brands as industry leaders, I don’t think it’s going anywhere soon. In fact, this is just the beginning.

You can read Sol’s previous piece for VRFocus about AR’s position versus VR in 2017 here.

Report Names AR As Possible Key To £1 Billion UK Economic Boost

As its markets continue to fluctuate with talk of Brexit a new report suggests that the UK could find a valuable tool in Augmented Reality (AR) were the technology more widely available to the public. The research, commissioned by Manchester-based tech firm DigitalBridge, revealed that potential customers were more likely to move forward with purchases items such as if they were able to see an AR visualisation of the product in their own home.

iStaging Header

This “imagination gap” as it is termed, in not being able to visualise what household products such as items of furniture or decorative products like wallpaper was found to have affected 56% of those surveyed and that people had, as a result of not being able to see what such a product would look like in their own home, decided not to move ahead with a purchase. Such a lack of spending among millions of people would have resulted in an additional £1 Billion of sales within the UK economy, according to the report.

“With so much uncertainty already swirling around about the future of UK retail, businesses need every advantage they can get to remain competitive, especially those competing for attention online.” Explained DigitalBridge’s CEO David Levine. “With as much as £1bn of revenue up for grabs in the home décor market alone, retailers can no longer overlook the value of virtual and augmented reality as a commercial tool. More than half of the consumers who took part in this survey said they would be more likely to make a purchase after using this technology.”

“These types of visualisation tools could be the ‘undo button’ to home interiors that consumers have been calling for. Just imagine the benefits a customer would get from a retailer that allowed them to preview any product they wanted using nothing more than a picture taken on a smartphone.” Levine continues. “These types of visualisation tools could be the ‘undo button’ to home interiors that consumers have been calling for. Just imagine the benefits a customer would get from a retailer that allowed them to preview any product they wanted using nothing more than a picture taken on a smartphone.

Such technology is of course being investigated and tested.  Almost a year ago VRFocus reported on iStaging, a winner of Intel’s APEC Global Challenge in October 2015. The Taiwanese-based startup won many plaudits that year for its iStaging App, which used VR and AR to aid interior design. Whilst in the same year retailer John Lewis trialled the technology, in partnership with Cimagine, at its flagship Oxford Street store in London.

As it happens John Lewis’ Buying Director for Home, Christine Kasoulis, also commented on the report’s findings.

“In areas like furniture and floor coverings we know that the majority of our customers shop across our website and our shops, and there is a long and considered journey to the point of purchase.” She added. “Customers want to see how a product will look in their own home – both for style and to understand scale. There is a gap at this point in the customer journey at the moment and it is one that visualisation tools will fill in the near future, helping a considered purchase to feel less complex.”

If you are interested in finding our more the report, entitled The Imagination Gap – Retail’s £1bn Problem can be found at http://digitalbridge.eu/downloadreport-2/. VRFocus will bring you more information on the continued development of AR and VR solutions for retail as we get it.

Dive into the John Lewis Christmas Advert with a VR Experience at its Flagship Store

Christmas is synonymous with many things food, presents, decorated trees, rubbish films on repeat and awful music, plus some jolly guy in red. But it’s also become a season where advertisers and brands pullout all the stops for some memorable Christmas adverts. UK retailer John Lewis has become quite renowned for its festive advertising, and this year was no different, employing a trampoline, animals and barrels of seasonal fun. As apart of it visual effects studio MPC Creative partnered with adam&eveDDB to create a promotional virtual reality (VR) experience which is available at John Lewis’ flagship store on Oxford Street in London.

John Lewis Busters Garden

The special VR area’s called Buster’s Garden, and features an Oculus Rift head-mounted display (HMD) combined with Leap Motion gesture controlled tracking, enabling visitors to interact with the animals, encouraging them to jump and bounce on the trampoline. The experience – which took 3,000 hours of specialist VFX artistry to develop – used Unreal Engine, but required bespoke hardware to run due to commercially available computers being unable to cope with the real-time rendering and graphics demands of the piece.

Andre Assalino, Interactive Creative Director at MPC Creative, said: “We wanted to create a premium, fun and authentic installation that would place people directly into an interactive version of the world already established within the TV ad. VR was the obvious medium, as its premise is profoundly simple: fully immersive entertainment allowing people to share a fun moment with the animals, resulting in a uniquely memorable experience.

“We had to push the boundaries of interactive VR to the limits”, Andre explains. “Creating a photo-realistic scene with believable furry animals, and natural interactions with virtually no learning curve for the user, were our biggest challenges. Add to that the complexity of making sure everything could run non-stop for the whole campaign in one of the UK’s busiest stores, and things really get interesting.”

Head down to the London store to try it for yourself, and for all the latest VR news keep reading VRFocus.

Star Wars ‘Mos Eisley’ Realised in Staggering Detail on UE4, VR Version Coming

An environmental artist with a passion for Star Wars has realised the iconic location of Star Wars’ Mos Eisley space port in jaw-dropping detail via Unreal Engine 4. What’s more, it’s coming to VR soon and you can download the demo now.

John Lewis is an Environmental Artist for Obsidian Entertainment, developers behind games such as Neverwinter Nights 2 and Fallout: New Vegas. On a whim and as a Star Wars fan, he decided it’d be cool if he could a virtual build the docking bay (No. 94 as any Star Wars fan should know) located in Mos Eisley, Tatooine, the “hive of scum and villainy” from the original (sorry, ‘fourth’) Star Wars instalment. That’s how it began.

However, Lewis’ his ambitions for the project soon expanded, and eventually he realised that he really wanted to wander beyond the docking bay into the rest of Mos Eisley and visit the other iconic movie set, the Cantina where Luke Skywalker, Obi-wan Kenobi meet the Falcon’s owners, Han Solo and Chewbacca, for the first time. He needed help, so he enlisted his co-workers from Obsidian, quite rightly all Star Wars super-fans too, to the point where up to 17 people have now contributed.

“In addition to myself, the other artists working with me on this project all currently work for Obsidian as well, from additional senior artists, to mid-range and junior artists as well, ” says Lewis, writing for 80.lv, “We even have someone on the QA team contributing some artwork as well. In total there are 17 people contributing to this project in varying capacities. This is a just-for-fun personal project that we are all contributing to for no reason other than we are all a bunch of super Star Wars fans and with all the Star Wars awesomeness going on these days, we all thought it would be a good time to jump in and produce a quality fan art project. In addition to just being a bunch of super Star Wars nerds, several of us have been wanting an excuse to learn Unreal 4 for some time now, so we figured that this was a perfect opportunity.”

x-win-fighter-starwars-ue4 mos-eisley-1 tie-fighter-1 docking-bay-94-starwars-1

The resulting environments, rendered capably using Epic’s Unreal Engine 4, are some of the most detailed and realistic recreations I’ve ever seen. Indeed, Lewis admits that his ambitions were lofty on this front.  “… my goal was to build the most highly detailed real-time Falcon that anyone has ever seen, and I think I have pulled it off, except for maybe the Falcon model from the recent ILM X-Labs VR demo …”. Tie fighters, X-Wing fighters and an Imperial Shuttle are all to be found whilst wandering around the environments.

You can find download link mirrors in the description of the video over on YouTube. I’ve included them below for reference, but it’s likely that (being Google Drive links) these will hit limits soon enough.

Mirror#1 – https://drive.google.com/file/d/0B48A…
Mirror#2 – https://drive.google.com/file/d/0BzdD…
Mirror#3 – https://drive.google.com/file/d/0B9zH…
Mirror#4 – https://drive.google.com/folderview?i…
Mirror#5 – https://drive.google.com/open?id=0BwT…

The icing on the cake of course is that, being built in UE4, the demo should be relatively easy to add virtual reality support to, and indeed this is next on the horizon for the team. “We are also working on a VR version as well as several people in the group have been playing around with Occulus and Vive VR kits,” says Lewis, “and we thought it would be cool to have a version that runs in VR, so we are currently trying to get that finished as well.”

The team have made the demo available to the public to download now. Although be quick, this kind of super-high quality work will likely draw the eye of new Lucasfilm (and therefore Star Wars) owners Disney. In the mean time, checking out Lewis’ full blog on the project is highly recommended.

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