VISUAL DEVELOPMENT FOR ACTIVATIONS
My service is multifaceted. I assist with the pitching stage of a project by developing the event's theme visually. This begins with sketching ideas alongside the studio's creatives and conducting research to structure the visual argument. Later, I turn some of the approved ideas into photorealistic illustrations using AI. Generative video can come later for walkthroughs or for videos of people experiencing the event firsthand. Today, all of this can be produced quickly.
Below is a simulation of a spec event experience for Beefeater.
The Toast of Three Cities
"The Toast of Three Cities" Beefeater Spec Mock Up Activation. The use of Gen Ai to previz events.
THE PROCESS
Creation of elements for the event is crucial. Each part must be designed separately so it becomes easy to re-prompt in case of client changes.
THE PLACE
Proper referencing is key to anchoring the generative model in place. Ideally, photography of the place at the hour and season in which it will happen.
THE ELEMENTS
Each element in the equation must be sought independently. Then, before placing it into the space, it has to exist on its own. The negative space inside the sets is essential to allow several people to move and understand its flow capacity.
THE CHARACTERS
Characters should feel like normal people, never drawing too much attention to themselves since the event is the protagonist. Sometimes this rule should be broken for a special host or a spectacle-oriented activation.
THE INTEGRATION
All the elements have to be brought together in harmony to create the illusion of existing there. The best way to do it is through a 3D mockup to guide the camera parallax.
THE EXPERIENCE
Events can be "described" as something seen from above. Yet it is much richer to dare simulating what we're going to feel once inside. This is new territory that has become reachable with AI video models. It is deeply rewarding to portray that experience.
PROCESS FLOW
HOW I WORK EVENT DESIGN
I call you on Google Meet, share my screen, and quickly draw all what is needed to be produced.
We follow up either on Slack, Google Slides or by email.
You can call me at any time during the process.
WHAT CAN I DO IN A WEEK OF EVENT DESIGN
The first day will be for establishing all the elements needed for production and positioning them within the spaces they will inhabit. Depending on the element type, I would choose one technique or another to create its character sheet.
Simple, known objects require only sketches or precise reference photography before generation. This applies to standard characters, hosts, tents, stands, and branded personnel. Even if the host wears distinctive clothing, they remain straightforward to generate.
Objects that deviate significantly from reality require 3D basic shapes with color-coded groupings so the model can differentiate textures according to my specifications. Time required depends on the number of elements and their complexity. One or two specialized objects per day is a reasonable estimate. Examples include a bar shaped like a spirit cabinet, a butterfly mounted on a vehicle, a towering faceted chess knight, and so on. These are protagonistic elements that give character to the event.
For this example, assume I need to create three special objects, a couple of stands, some people, and a host. By day 4, all elements, the location, and references would be complete. I would then orchestrate a master prompt to integrate everything. Should the composition prove too complex, I would mock it up in Blender with simple shapes.
Within a week, you would have detailed photorealistic images of your event from different angles and with your chosen crowd density. The process can stop here if images alone serve your needs.
Another week develops hosts and people experiencing the activation as you envision it. Establish a camera path or create keyframes for interpolation. Testing, refinement, and video delivery.
Overall, two to three weeks is a reasonable timeline.
TIME CONTROL
AND TIME VALUE
IN EVENT DESIGN
Day rate varies according to a private agreement between your company and me.
Factors affecting that rate are: the speed of the exchange, the deadline, and your company's maturity. The quicker the exchange, the further ahead the deadline, and the newer your organization, the more economic compression the agreement can accommodate.
I give emerging companies an advantage as I know how hard it is to start.
Every hour spent can be justified. I log everything with the Clockify app.
If a particular day is shorter or longer, you will see it reflected in the bill.
I also work with budgets once I have estimated the scope of the work.
LEGACY ART
I have been creating painterly activation illustrations over the years. With 3D and AI, this art is disappearing because it is faster elsewhere. Nevertheless, for those who prefer painterly results, I still offer the service and deliver it with joy.
Gad Weil & Alexandra Castaing, Place Grand Public et Il était une voie... Activations Projects
We are Family London. Activation Projects