Wacky-pack-attack

And why not?

Choosenick put me onto this wonderful little clip:



Of course, it's a gag - but comedy is always made of truth and pain. (The truth here is that we want to celebrate our cool new toy, the pain is that we can't.) So: why not?

Everything up to the point where the guy presses the red button is possible.

So why not take it that far? Then... holographic chorus girls are tricky just now, but there are a bunch of cheap and cheesy fun effects which could replace them.

What about the little melody chips you get in birthday cards? They could play an appropriately quirky tune, celebrating the purchase (no corporate jingles, please!).

How about the tiny voice recording chips I've seen? Why not hear a pre-recorded message from your guy at the store saying "Hi Adam, this is Gary. Thanks for buying this phone - if you have any problems setting it up, call me on my direct number...."

What about the clever techniques you see in modern pop-up books?

What about a little light show with supercheap LEDs? Or a smoke bomb and laser projection on your ceiling...

Erm, well, maybe the lasers are still sci-fi, but you get the point.

Whatever the gimmick is, two things would be important:

1) The manufacturer must realise it's just a gimmick, and keep it fun.
2) It must be replayable, so you can show all your friends...

Experience design e-book

It's time for a small celebration...

Today, the 2,000th reader downloaded my mini-ebook, which lists some showbiz tools that anyone can use to impress customers. Thanks, folks!

If you've not taken a look yet, you can download the book here (or via the link in the left column). Just 20 pages, and it's free!

My second e-book - The Experience Director - is still in the works. Watch this space...

2000 image by Leo Reynolds at flickr

Using opposites to emphasis experience

A burning contrast

It would be a disservice to Flash Art to describe their work as "firework displays" - they combine fire, lasers, water and music in world-class spectacles, like the closing display of the 2006 World Cup final. Here's a great tip from Flash Art pyrotechnics wizard Markus Katterle, interviewed in Focus.

"If I want the audience to experience the colour red in the sky especially intensely, I first need to colour the sky green for one minute."*

Those of you who played with a colour wheel at school will remember that red and green are traditionally considered complementary colours - perfect opposites. Mixed together, they give a dull sludge, but they can placed in opposition to dramatic effect.

Contrast is a vital tool in experience design, and Markus' quote can be applied to much more than just light. Any loud chord seems louder if it crashes out of silence, and we all enjoy that cup of piping hot cocoa most when we are truly frozen.

One of the best uses of contrast in experience design I ever encountered is in the German National Museum in Nuremberg. The lobby here is very light, warm and airy, with acres of glass and glaring white walls. At the back, you pull open a heavy door and step - Pow!- into a cold, dark medieval cloister. The contrast is quite simply startling, and the feeling of time travel inescapable. Great stuff.

Contrast need not always be extreme, and it need not always generate a feeling of surprise. Use it to draw attention to your experience's best aspects, and to provide variation in your customer's emotional curve.

Where could you use contrasting light in your customer experience? And what about sound? Texture? Temperature? Aromas? Activity? Price?

* Focus magazine, 31.12.07 pg 83. Translation by Adam.

Colour wheel from jasmic at flickr.
GNM pic from bsnu.

Virgin gets it

And finally!

I've ranted before about how dreadfully interchangeable and commoditised many airlines are, so Karl Long's Experience Curve post about Virgin America was a breath of fresh air - as well as a pleasing vindication of my own prejudices.

Virgin have invested heavily in customer-oriented technology (power sockets everywhere, seat-to-seat chat functions, computerised drink ordering, computers for everyone and lighting that's groovier than an 110-year-old engraver with a jazz collection and a frown). All very cool indeed.

But even cooler are the things they have done that cost nothing (or at least cost no more than the boring option). My two personal highlights in Karl's report were the staff who are empowered to do their own playful thing (see this article for more on such talent) and - wonder of wonders - a safety video that genuinely makes people laugh!

Extra cost - zilch. Extra effect - priceless! I'll be flying Virgin America as soon as I can.

Virgin interior lighting shot by magitisa at flickr.
Groovy! Have these guys been reading my e-book?

.

You're only supposed to blow the bl**dy doors off!

Sir Michael Caine on experience design

I'm reading the autobiography of one of my favourite actors, and it turns out he is also a restaurant owner with some snappy ideas on experience design. From the conceptual:

"A restaurant should be like a show where you are the star when you come in, and the audience when you sit down."

To the practical:

"You should never be able to see a lightbulb."

You get your money's worth with Sir Michael.

PS There's a prize for the first reader to recognise the quote that titles this post. My money is on Andy Nulman. At the very least, he should like the picture. ;)

.

Green magic

Using colour to draw people inside

I was leaping about in the rainforest today (I'm in Dominica again), and ended up taking a detour which left me standing on a moss-covered rock in a deep ravine. The emerald stream was splashing around my feet, the vibrant green jungle was above and all around me, and a hummingbird flew past my head as the rain began to fall. Wow.

In terms of colour, it was the greenest moment of my life.

A living green is a powerful colour, as it suggests refuge, peace and refreshment. We are drawn to it, as the pictures on the right show. Who could resist stepping through these doors?

When planning the physical part of a customer experience, we need to set highlights at carefully chosen intervals. Some of these might be what Disney call "wienies" - things that we glimpse from afar and which draw us in. Others might be areas of quiet reflection or refuge. The living green of plants can fulfil both these functions.

If you want to draw people into your location, place a powerful display of greenery (human size, if possible) where they can glimpse it from the entrance - but not see it in it's entirety. You are trying to suggest a secret garden, or a hint of paradise. Light it brightly with sun-coloured light and keep it glowingly healthy.

Or, for a relaxed moment in the experience curve of a large location, create a leafy place to rest - and adding water if possible.

You will be amazed by the power of green.


PS A pocket-sized alternative for smaller locations can be a well maintained, thickly planted and brightly lit aquarium...


P.P.S. I saw this effect vividly after hours at a recent trade show. The Degussa stand had a central staircase leading up to the hospitality area. It was decorated with ferns and looked incredibly inviting - especially with the "landing lights" on the ceiling drawing the eye inwards, and the staircase spiralling up out of sight. This lousy picture (on the left) shows the stand, but you will have to look hard to find the green - I snapped it just after the cleaning lady turned out the light... sigh!

Garden pics by siegmar sommer, tahoe sunsets and wok at flickr.

Another point of view...

Stealing an idea from Hollywood

I was working with some first-time movie directors recently, and noticed that they soon figure out not to watch the actors directly. Instead, they learn watch their monitor. It shows the point of view that the film-goer will have in the cinema.

Crucially, the view through the lens is often very different to what we expect to see. That "focussed" view blocks out distractions and really tells the truth - warts and all!

So, next time you walk through your location, looking for little problems and potential improvements to the experience, try this:

1. Get a video camera and walk through, filming. Scan from side to side, up and down. Don't forget the toilets and the carpark. A day or more later, watch the film (preferably in slow motion) and see how many potential improvements you spot. Pause the film now and then. I bet you see stains on the paintwork you had forgotten you had. I bet you can tell now if that sign really is prominent enough... (Interestingly, if you have a way to reverse the film, you will notice even more details.)

2. Repeat the exercise on your knees, or in a wheelchair. This is the visual experience a child, smaller person or wheelchair user will have. (Behaviour guru Temple Grandin uses this technique when checking out abbatoirs for animal welfare approval. It gives her the "animal-eye-view", and she spots lots of potentially spooky stuff other inspectors miss).

3. If you haven't got a video camera, use a still camera, or even an old viewfinder. You needn't even take pictures - just walk slowly.

4. If you haven't got a normal camera, cut a hole in a piece of cardboard and stare at parts of your location through it. Don't laugh - this works!

5. Try it blindfold - with a guide - and pick up the auditory and olfactory experience far more sharply than usual. Where is it too loud? Stinky? Too echo-ey and cold?

Try it. You will be amazed. But don't trip.

Viewfinder pic by Rutty at flickr.
.

Work•Play•Experience: get the book

My e-book is ready to download

Twelve show business tools for your business:

• Storyboarding
• Showing hidden values
• Prequels and sequels
• Depth and meaning
  
• Stagebuilding
• Backstage
• Light
• Costume
• Rehearsal
• Getting the lines right
• Letting stars be stars
• Timing

Download the 20 pages here. It's free.

All comments and feedback gratefully received...
x

The presentation IS YOU!

Why you don't need Powerpoint - or at least, why you don't need it most of the time

Look, we are naturally blessed with the best presentation tools in the universe - the human face, voice and body. They are just fantastic.

But - the human eye is drawn to light. It's why we look into the fire, sit around the TV, and stare out at the sparkly ocean.

So if I'm using every part of my being, every muscle in my face, body and voice-box to sell you my idea, then the last thing I want is a large glowing rectangle behind my left shoulder.

That area of light will mesmerise you, it will suck out your attention through your eyeballs. Look at the image at the start of this post, who would look at the presenter's face or body language?

This is why you should think very carefully before deciding to use Powerpoint/Keynote or whatever.

(If I use an aid at all, I prefer a flipchart when I present. It is human-sized - I am pretty sure I could beat one in a fight. With preparation it can do almost anything Powerpoint can do, and most importantly it does not glow.)

For bigger spaces, you are going to need a bigger visual aid, I admit. But be very careful. One of the few people who gets this nearly right is Steve Jobs in his famous Apple product presentations. Looking at these from a theatrical point of view you will notice that Steve's huge Keynote screen only dominates when he wants it to dominate.

He uses black backgrounds, so there is almost no light from the screen - but Steve has a 15KW spotlight on him all the time. He wears black - like a Covent Garden mime artist - and his dark clothes emphasise his expressive face and hands. When he has finished showing us something, the screen quietens down to a simple image and we turn our attention back to Steve. And of course his slides are visually simple - often just two or three words which we can read in half a second.

The result? We are looking at Steve, not at the screen, while he is enthusing on his ideas.

The message is simple: always remember the presentation is YOU.

So avoid projected light if you can - or get yourself projected up there.


PS: If you really can't avoid using the Big Screen, then only use it when you absolutely have to, concentrating on bare bones facts (like Steve) and emotive images (like Seth Godin recommends). And as soon as you are done with each slide, TURN IT OFF!

Doors of Perception

Entrances and exits in culinary experiences

If you've seen the Kenneth Branagh film of Henry V, you might remember the young King's first entrance. He enters, clad in a huge cloak and crown, through a pair of high double doors and backed by a blinding corona of white light. It is like the second coming.

When Judi Dench, playing Mistress Golightly, saw the shot, she is supposed to have said "My God, what an entrance. Who do you think you are?" Flustered and probably feeling very young in the presence of a Grande Dame of British theater, Branagh allegedly replied, "Well, it's not called Mistress Golightly the fifth!"

I was reminded of this recently when I was doing a show in the function room of a top class hotel. Of course, most function rooms have a kitchen or service station located just next door. After all, it makes sense to have the culinary resources close by.

Now, the problem here is one of entrances and exits, and especially of lighting. Those top-class function rooms have usually been expensively illuminated with crystal chandeliers, candles and subtle indirect lamps - while the kitchens are lit with bright white striplights.

The result? When the Star Trek kitchen doors open, every eye is drawn to them (we look to the light - a fundamental law of experience design) and we see... Klaus the Underwaiter, backlit in his majesty like Harry V. And behind him? Piles of dirty plates, flustered waiters, buckets of food waste and the sous-chef screaming at the saucier.

In creating atmosphere, nothing is more important than light. And nothing kills atmosphere faster than cold, hard, white light, especially when it draws our attention to the machinery of the show.

Of course, waiters are in a difficult place, as they have to switch constantly between showmanship, and being invisible. Nevertheless, the problem here is, well, glaring.

The first step would be to get rid of that intrusive light, either by installing more doors or baffles (wings, anyone?) or by simply changing the dang lighting strip to something warmer.

The second, more exciting step, would be to use the grand entrance effect, and decide which moments deserve the Henry V treatment. Imagine the lights going up and the whole waiting staff marching in in unison with the magnificent main course under silver covers... You could add (flavourless) smoke and a fanfare if you wanted.

"Who the hell do you think you are?"
"Why, just the best damn supper in town."