In 1945 the talent at Bletchley Park tipped the fine balance into Allied hands.
So 73 years later we looked to the gaming community for the next generation of talent.
Every gamer hates to lose, loves to solve problems and cares for nothing more than the sweet taste of victory.
The perfect sort of talent we need in the cyber security industry.
So Fridge Raiders partnered with the release for Call of Duty WW2 to educate on an overlooked element of the WW2 and recruit some serious talent while doing so.
Roles: Concepting/Art Direction/UX/Copywriter
Code Strike Case Study
CODE STRIKE - The General
CODE STRIKE - Private Beasley
CODE STRIKE - Lieutenant Bishop
MIRO SHOT are a global collective of musicians, designers and coders.
Over the past year and a half the collective has created the CONTENT Experience - an augmented, multi sensory, mixes reality live music concert, using cutting edge virtual reality and projection mapping technology.
A crowd constructed world built by the MIRO SHOT collective.
Introducing F.R.H.A.N.K, a robot who learns from a social community - from new vocabulary to emotions and even new appendages.
What better way to speak to gamers than giving them a robot they can all own and develop. With years of UGC uploaded and millions of views on F.R.H.A.N.K content Fridge Raiders first and last robot truely won a place in gamers hearts.
F.R.H.A.N.K was the first campaign at Saatchi & Saatchi London to start as a digital-only brief and end up above the line.
For their Electronic Beats Festival, Deutsche Telecom wanted to create an identity that would tie their series of shows together.
Using Kinect and live projection mapping to fuse together music and art, festival guests are reimagined as dynamic geometric live visuals.
Toyota and ECB
Innovation is important to both to both Toyoto and cricket. For this campaign we set out to crowd source the next Hawkeye directly from cricketing fans.
How would you make cricket better?
How could we maximise the role of the 400 Rolex clocks that sit across the web.
We wanted to show how we can turn these clocks into media properties that distribute syndicated contextual content, as well as providing a portal back into the World of Rolex (partnerships and content) and in turn increase Rolex’s visibility through search.
Creative Strategy/Art Direction/UX
I co-founded the Honest app, a community where you can ask for, receive and give honest helpful advice whilst remaining anonymous.
The concept was born out of the stigma attached to talking about your problems, even within family and social groups.
If like me you're a Michael Douglas aficionado, you might be aware of a well kept secret from the annals of Hollywood: 'Surfin' Tha Topaz'. It's an unfinished 'surfer dude' film that Michael Douglas both produced and starred in. Michael was in his early 60's with a body on the verge of structural collapse, but convinced all involved he could pass as a tousled thirty-something stalking the beach. A woeful early screening bought home the stark reality of this fantastical vanity project, which had somehow achieved escape velocity to break free from it's makers mind. Everybody involved quit the project, and I was left with this theme tune. To finish the whole soundtrack remains an ambition.
A2 - Copper Seizure
An image of a sculpted, chromed horses hoof ending at the knee and mounted on some kind of presentation stalk came to mind on completion of this track. Like something you might find in an Innovations catalog that sits on a managing directors desk as a talking point / demonstration of bad taste. So this one was originally called 'Chromium Hoof', but changed the name as a shortened version was used for a band name. So 'Copper Seizure' it is, which still has a metallic element to it and that stripping of copper wiring from train stations was an interesting news piece, right?
B1 - L'Escargot Dynamique
Seeing how uneducated attempts at the French language scan is an occasional pleasure, which comes from a lazy appreciation of the language. It's the earliest track recorded to DAT tape I have - everything previously was was mixed to cassette. It seems so slow now, but that's from liking the beats from mid 80's Hip Hop so much, which probably exerted a stronger influence then than now. Or it might just be another 20 years of music has been injected into in my head since then, so as you make music with more references available, specific genres get more mashed up and less recognizable.
B2 - Pleasure Industry
Retrospectively it sounds like a lighthearted homage to the 80's sound & time. There's been a glut of 80's revisiting for years now but I'll always love that time when electronic instruments became cheaper and more integrated into pop music, peoples home studios and so on. That alchemical mix of electronic and live instruments where companies like Simmons / Yamaha / Sequential / Dynacord / Synclavier / Fairlight etc. bought previously unimagined power to the table - you hear some of that excitement printed down onto the tape, or even that early digital recording system that's mentioned in Greg Milners' brilliant book called 'Perfecting Sound Forever'.
C1 - Cheese / Lightning
Once the track gets going it reminds me of a Detroit techno track, just with cheaper sounding instruments and a bit less strict on the arrangement. That's not an attempt at reflective glory by mentioning Detroit btw. The name is supposed to describe the cheap but rush-y nature of the track. The RZ1 and SDE made a good rhythm section partnership. Using cheap and sometimes not fully functional instruments is integral to the 'crapness' of sound and aesthetic with Kruton. Waste annoys me and I'm driven to get something usable out of a box that someone else might leave going mouldy in the cellar. Dampness and mould sometimes brings interesting surprises to equipment anyway - not very often I know.
C2 - Reassuringly Depressing
A drawn out encapsulation of a couple of tough years. '97-'99 I think.
C3 - Concentration Mint
For when your in a car driving and you don't smoke but want a concentration aid. Good on long journeys. A habit I resisted for a long time but finally assimilated from my Dad.
D1 - Prize Goblet
Medieval synth, samples from a fantasy film set in another time. A couple of unjustified minuets were edited out for the record.
D2 - Seafarer’s Casket
If you found one of these washed-up time capsules, you might find a leather pouch containing some carved bone figurines, dusty parchment, maps, a pair of decorative goblets and maybe a biscuit. This is what's playing in the back round as you go through the personal effects and imagine their story.
D3 - 1 & 3/4 I.P.S
I.P.S. stands for 'Inches Per Second' found on reel to reel tape machines. I was given an old Tandburg consumer machine from the 50's or something, naturally it didn't work but it had a very slow speed setting - 1 & 3/4 I.P.S. if I remember correctly. Anyway, the warbling bass line on the track was from a half working synth called a Powertran Transcendent 2000 (bought from the Notting Hill music & video exchange instrument shop for £100, which closed many years ago unfortunately) which was then recorded on to my working 4 track. There are versions of the bass line running at normal speed (15 I.P.S.) and Half speed (7.5 I.P.S.), so the track name is just a reference to tape speeds.