Vauxhall created two Murals, one in London and the other in Manchester. They also created a third at home experience to maximise the reach of the campaign. By tracking the digital behaviours of users, Metalitix was able to overlay the digital experience onto the physical location and provide world first insights that combines the digital session with its real world location.
By combining a Polycam scan of each Mural site with the digital experience mural we were able to recreate a model that represents both the physical and digital worlds. This was then uploaded into Metalitix so that we could capture all of the sessions information into one project. Below you can see the combined model with its textures, the same model (with no textures) with the heatmap (gaze of users) and then positional pins of where they were located.
In the Sessions Tab of Metalitix we were able to see the sessions playback in either third person or first person viewpoints. This allowed us to see the varying view points of the Vauxhall experience and group behaviours and analyse how they interacted in the session. In the example of the London experience it quickly became apparent that there were three predominant viewing angles and distances.
Furthermore, this allowed Metalitix to calculate the viewing ration to inform us of exactly where users could be placed subject to the size of the mural, the users device and their real world location. This basic calculation allowed the Metalitix Team to understand how far back the users will need to be to have a positive viewing experience.
This world first access to such a level of data allowed us to conclude some fascinating findings.
The overall behaviour of users in the OOH experience users differed greatly than those at home. Below you can see a Pie Chart splitting the experience between the two physical locations of London and Manchester versus the one at home.
Users at home were more likely to continue their online experience, where as the OOH was much more likely to stop their online experience and share their content. This behaviour should be considered when the experience is started and each session type should have slightly differing UI to maximise on these behaviours.
From understanding the sessions, we can see that more than 90% of all sessions came from less than 45 degree projection from the QR code.
In order to maximise reach we recommend additional QR code placement to capture all areas of the street which did not encounter successful sessions. In the London example we would recommend and additional QR code located on the other side of the Mural. This would work to increase the top of funnel.
When assessing the site for a Mural we would recommend a measurement of the Optimal viewing space available on that site.
In the both sites, we found that the Optimal projection was less that 45 degrees of the QR code placement, with a viewing distance (relative to the width of the Mural) to be between 0.7:1 - 1.1:1 ratio.
From this formula we can measure Manchesters Optimal space was approximately 16 sq meters.
In comparison to London which was 60 sq meters
The net result of this Optimal Space difference was a difference in total session numbers. Despite Manchester having a higher overall traffic flow past that mural, it was London that outperformed Manchester due to the available viewing space.
As an AR experience is a 3 dimensional experience it needs to be thought about differently to a 2D experience.
In London the QR code was located on the left side of the poster, meaning users were more likely to see the AR experience from the left side. From here they could see the text, imagery and a front ¾ of the vehicle. The digital experience was also located close to the ground meaning a better viewing point of the Mural and in particular the vehicle.
In Manchester the QR Code was located on the right side of the poster meaning most sessions came from the right side.
Due to the vehicle being 3 dimensional and raised it was a lower front ¾ viewing angle of the vehicle and it also blocked out the content behind it.
Immersive experiences are 3 dimensional in their nature, as they are also digital you have the flexibility to adjust these remotely and more easily than a 2D painted asset. There needs to be further consideration and personalisation of each AR mural in context to the expected viewing positions of the users. By doing this the overall experience for each location will be enhanced.
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