Title | VRECRUITMENT |
Brand | DEFENCE FORCE RECRUITING |
Product / Service | THE AUSTRALIAN DEFENCE FORCE |
Category | B12. Use of Technology |
Entrant | HAVAS AUSTRALIA Sydney, AUSTRALIA |
Idea Creation | HAVAS AUSTRALIA Sydney, AUSTRALIA |
Production | HAVAS AUSTRALIA Sydney, AUSTRALIA |
Production 2 | FINCH Sydney, AUSTRALIA |
Production 3 | NYLON STUDIOS Sydney, AUSTRALIA |
Production 4 | SONAR MUSIC Sydney, AUSTRALIA |
Production 5 | MANIFOLD Sydney, AUSTRALIA |
Name | Company | Position |
---|---|---|
Seamus Higgins | Havas Sydney | Executive Creative Director |
Stuart Turner | Havas Sydney | Executive Creative Director |
Helen King | Havas Sydney | Art Director |
Alex Bolderoff | Havas Sydney | Copywriter |
Gustavo Vampre | Havas Sydney | Digital Creative Director |
Josh Bryer | Havas Sydney | Digital Creative Director |
Tim Barrett | Havas Sydney | Senior Account Director |
Christina Werakso | Havas Sydney | Digital Account Director |
Kate Spencer-Smith | Havas Sydney | Senior Account Manager |
Bohdi Lewis | Havas Sydney | Digital Strategy Director |
Ed Scrivens | Havas Sydney | Junior Strategist |
Darren Cole | Havas Sydney | Head of Design |
Nic Adamovich, Amanda Picman, Michael Macgregor | Havas Sydney | Designer |
Thea Clausen | Havas Sydney | Print Team Lead |
Emad Tahtouh | FINCH | Director of Applied Technology |
Hamish Pain | Havas | Development Lead / Game Design |
Andrew Timms | FINCH | Visual Lead / Game Design |
Andrew Timms | FINCH | Visual Lead / Game Design |
Hazel Gibson | FINCH | Producer |
Cara Szabo | FINCH | Technology Production Assistant |
Patrick Barnes | FINCH | Senior Applied Technologist |
Levi Jacobsen | FINCH | Developer |
Benjamin Bray | FINCH | 3D Artist / Layout |
James Hurlock | FINCH | 3D Artists / Animation |
Taylor Hinde | FINCH | Concept Artist |
Jonte Wendt | FINCH | VFX Artist / Animation |
Quade Biddle | FINCH | VFX & Concept Artist |
Stuart Welch | Nylon Studios | Sound Engineer |
Timothy Bridge | Sonar | Sound Engineer |
Damian Kozma | Manifold | CGI and Retouching |
We turned a VR experience into a media channel by tracking interactions, to serve them custom, real-time job recommendations directly in the experience. Players lead a full-scale disaster relief simulation set on a Category 5 cyclone devastated island. As they learn about us, we learn about them, making unique job recommendations based on how they play. Analysing behavioural data such as: *Risk assessment *Task prioritisation *Problem solving we generated unique and personalised job recommendations in real time. For example a player indexing highly in Multi-tasking, would be served the role of Air Traffic Controller. To capture meaningful data, the experience had to feel real, so every element was built from scratch in collaboration with the military
This isn’t a 360 video, it’s a true VR experience that’s completely interactive, tracking everything you do to serve custom job recommendations directly in the experience. Making VR interactive was how we turned the experience into a media channel. To make sure the content (our job recommendations) we served was relevant it was important to make sure the experience was realistic. VR game designers collaborated with the military every step of the way, from scoping, to design, to testing, to make the experience as realistic as possible. Every asset was built from scratch. Working with the military means everything has to be 100% accurate from the designs and scale of the tech down, to the print on the camo uniforms. This VR platform is more than a one-off activation. There are 9 custom designed kits giving specialist teams the scale to deploy the experience nationally, at universities and career expos.
Our business target was to reach a whole new audience at university trade shows and career expos and get them to the start the process of joining the Australian Defence Force. Because VRecruitment is an immersive use of technology that we turned into a directly-targeted media channel we exceeded those expectations. Post experience research found: 73% felt more positive about a career in the ADF 92% had better understanding of the ADF And most importantly: 3x increase in ‘Expression Of Interest’ forms (EOI is first step in the application process of joining the ADF. This increase is based on the average EOI forms completed per number of persons interacted with at similar university events and career expos)
Our objective with VRecruitment was to attract a new audience to the Australian Defence Force and educate them about the diverse roles available. To do this we knew a traditional media approach wouldn’t be the most effective approach. Instead we turned an immersive VR experience into a media channel by tracking everything they did in VR, learning about them along the way, to serve them relevant job recommendations directly in the experience, in real-time.
Since our objective with VRecruitment was to attract a new audience to the Australian Defence Force and educate them about the diverse roles available knew a traditional media approach wouldn’t be the most effective approach. Our strategy was to transform a new technology they are interested in into a completely new media channel. So we turned an immersive VR experience into a customisable, directly targeted media channel by tracking everything they did in VR. That way we could learn about them along the way, to serve them relevant job recommendations directly in the experience, in real-time. We worked with military personnel to make the experience engaging and realistic.