Found Turns a Liability into an Asset
Found has been doing projection mapping for a while, it's becoming a sort of powerhouse for them. After launching the Nike Flyknit Program in Berlin, they brought their mastery to a Hiscox TV spot that changed the way the industry saw projection mapping. What was once an ephemeral experience just for those who attended, was now something that could live on film forever, acting as a herald for the insurance company and a calling card for Found. Each project and experience has built on top of one another allowing for the experience that creates a library of knowledge that far surpasses the casual creator.
When MTV came to Found earlier this year they wanted to work together, but it was not for a specific project. Found has the experience to execute practically anything, so they spitballed for a while to see if they could figure out the perfect project to work on together. Eventually, according to Joe Binks, producer at Found, MTV came to them and cleared the table saying, “Look, we’ve got a better idea, what about a music video for someone. Can we do that?” Found’s response: “That’s perfect!”
Projection mapping has become a marker for the savvy media watcher, it’s intricate and arresting, but even though it’s a new experience to many viewers, there are already tropes and clichés within the form. Found isn’t interested in perpetuating those tired formulas. “Let’s do something different,” Joe told MTV and his team. And then Labrinth came into the mix.
Labrinth is an English musician, singer, and producer, whose multidisciplinary work is taking Europe by storm. His single, “Let It Be” already had a music video (created by friends of Found), but they wanted to put something in the middle of Glasgow on the gothic and ornate City Chambers Building to kick off the MTV Europe Music Awards. The building’s unique architecture presented a specific set of challenges, but because of Found’s experience they were able to work with the building rather than against it. “The challenge was the canvas itself,” Joe explains. “We’ve learned to treat projection mapping in a way that it’s not a screen. You’re not creating content for a screen. So we’ve learned that there are things that don’t work on specific buildings. So we designed this kind of graphic look with this idea that Labrinth was orchestrating a type of light show.” By working with the architecture, what could have been a liability was turned into a strength as Found used architectural elements to better tell Labrinth’s story.
The only downfall to projection mapping is if you’re not there, you really only get to hear about it. There are filmed versions, but it’s not quite like being there. We can appreciate it from afar, but the experience has passed. For Joe and Found, that’s a part of the form. Joe says about the ephemeral nature of the discipline: “It doesn’t change our approach. Even though it was only being shown once, it was a moment. And we felt it was a good story for us to be involved.”