‘Making Minerals’ is a fun and educational interactive experience that visitors to the Museum can explore on three dedicated touch screens contained in a mineral-inspired thematic centrepiece, designed for accessibility in an inclusive form without diminishing the experience for users.

We produced seven story locations, including volcano, caves and magma chambers, with animations to ‘see’ key steps of the mineral formation process and interactive elements for users to choose from and determine the mineral’s outcome.

We developed a multi-user interactive touchscreen experience that reflects and reinforces the surrounding gallery themes, showcases a selection from the Museum’s world-leading Pasifika collection of over 60,000 objects and invites visitors to go further into the Museum’s collection and learn more about the sea of islands that make up the Pacific.

The experience is presented as an interactive map where visitors to explore up to 48 Pacific locations from Aotearoa (New Zealand) to West Papua. There are approximately 600 sets of item images and over 2000 individual images of the Museum’s collection items within the interactive, in addition to the display of 300 physical items together with newly commissioned objects by prominent Pacific Island artists and knowledge holders.

We produced the 3D game ‘DemocraCity’ using Maya and Unity, achieving a compelling and educational interactive experience for deployment on large touchscreens designed for self-directed learning. The game is built as a 3D world full of buildings, unique characters, vehicles and interiors. We developed multiple minigames that feature drag and drop, tabletop and role-playing mechanics to deliver learning through fun as a user’s newfound knowledge is put to the test.

Student groups are challenged to design a biodome that will enable life on Mars, with the key to creating the perfect biodome discovered as they follow a multi-stop physical and in-app interactive trail throughout the iconic indoor rainforest of the Bicentennial Conservatory – with a little assistance from the in-app guide Wat-L Bot.

The spatial narrative design takes ‘Futurenauts’ (aka the students) on a free-roam adventure as they explore the Conservatory’s living collection across nine Project Space Botany stations, logging their learnings onto the app that is deployed on iPads. Suited for a Year 4 to Year 10 Science Curriculum, Project Space Botany is the most fun you could have while learning.

We delivered the 10-minute animated, interactive VR journey as an app available to be downloaded from the store and experienced on a smart phone contained in a fold-out cardboard viewing headset, allowing for easy accessibility and distribution. A brief questionnaire presented before and after the experience asks the user their opinions and knowledge of smoking, providing insight on any knowledge shift and prompting the young person to reflect and bring their new knowledge home.

Working with the Victorian Aboriginal Health Service team, we formed a narrative designed to connect to young people with familiar voices and visual images that they respect. Knowledge is shared through progressive stages of the experience on virtual Country by ‘Auntie Julie’, an elder who guides the user throughout the journey, and the people from the community the user engages with, listening as they share their lived experience stories.

This film offers an unrivalled immersive experience that will leave viewers in no doubt about the devastating effect of climate change. This project fits right in the middle of our lens to produce positive social consciousness projects that entertain, engage and educate audiences. It also ties together our skills in storytelling, interactive, experiential, animation, live-action production and simulation.

Visit the Thin Ice VR website

Major Partner: Torrens University Australia
Financed and developed with the assistance of: South Australian Film Corporation, Screen Australia and Adelaide Film Festival Investment Fund
Supported by: Kathmandu, One Ocean Expeditions and Documentary Australia

We developed ElectionSim as a 3D world in the Unity engine, featuring 2D and 3D animations to create the gamified content that includes multiple environments, interactive characters, information cards and learning modules.

Designed for approximately 200 of AEC’s operational leaders, ElectionSim allows users to experience a simulation of the busy, stressful, time-pressured environment of a federal election in a self-directed learning style. Learners are taken on an authentic narrative arc as they free roam and explore the space in real-time 3D, practicing various election activities and scenarios. Learning modules are completed within the 3D world, with the learners interacting with multiple characters across all development levels, responding to queries and demands, and taking on tabletop challenges. The system was successfully deployed and used by staff throughout Australia in preparation for the 2022 federal election, establishing a new-age system with unlimited potential.

When the pandemic forced the closure of interstate borders, we were presented with the challenge of how to design the exterior; a set of perspective based animations that required very specific placement to deliver the audience experience, the interior; a user-triggered storytelling space to be used by BAE executives, how to test everything and make sure that the exhibition company could install the Cube on location in Queensland… all without any of our staff being able to leave South Australia.

With no way for our team to be on the ground for bump-in adjustments typical of a project like this, we built a VR-based pre-visualisation system in Unity to instruct the Cube’s physical and digital relationship, and interactivity – providing a way to build and test real world solutions without the boundaries of location.

Our ‘Curious Creatures’ birds, co-created by Jimy McGilchrist, that fed out of your hand or took a snap if you came on too strong and ‘Feeding Frenzy’, developed as part of the ‘It’s Complicated’ exhibition at MOD. (who generously allowed it to be used at Light Creatures), the school of fish that are always one step ahead of the kids who attempted tirelessly to catch one, saw children and adults alike discovering the joys of interacting to the point where you forget this isn’t a real-life creature in front of you.

We are lovers of anything that combines innovation, technology and entertainment to create an unforgettable experience. Light Creatures was no exception. The project demonstrates what we refer to as ‘technical artistry’, in this case, the combination of intricate animation and gaming elements with high-spec projectors and innovative sensor technology developed from games consoles.

NUN HIT WONDER’s story was written by Peter Monaghan, and adapted for screen and directed by Jasper St Aubyn West and Anthony Frith. The narrated animation, formatted as a large-scale projection piece, ran at approximately 5 minutes with supporter logos and was accompanied by a psychedelic animated countdown screen. The entire project was developed and approved in consultation with those who held the rights to the Mead Estate.

Major Sponsor: Epson.
Presented in partnership with: ANAT, State Library SA, Wakefield Press and Writers SA.
This project has been assisted Arts South Australia.