The combination of using the latest technology for applications and the in depth knowledge of Happy Finish’s automotive team really meant we could produce something new for Mercedes. Our 3D team used CAD data to make sure every inch of the 360º augmented van was a completely accurate representation of the final product.

Happy Finish have been absolutely brilliant throughout the whole process. It's been great working with an agency who sees our potential and who worked with us to deliver a truly engaging experience for our customers.

It was important to us to come up with a shooting method that captured the exhibition in the highest quality, and allowed the user both a sense of freedom to look around and also an opportunity to focus on what the curator wanted to highlight from particular pieces.

These images had various looks and locations. Some were shot at outdoor locations with natural lighting and others were shot in a studio, but they all needed to look consistent. For the studio images, this required separating the athletes from the background and creating a new one that could be used across all the images. This also meant new shadows had to be created where needed.

We believe in live, and using the latest VR technology we can showcase our live experiences to O2 customers in our stores across the country. Through a combination of world first CGI characters and unique interactive gameplay, each experience has been designed to give the user unprecedented access [….] to our relationship with the England Rugby team. We’re excited to roll our new virtual reality into O2 stores nationwide, Twickenham Stadium on match days and The O2.

Our work with Happy Finish allows us to connect with consumers in new innovative ways. We want people to have fun whilst engaging with our brand, and the ‘Tame The Track’ project has done just that. The quality, commitment, availability and dependability of everyone at Happy Finish is astonishing. The team is an absolute pleasure to work with!

It was a fantastic set of images to work on and a pleasure to be involved in the process. These shots required a deft touch to really sell them in as being absolutely believable and tangible. The models including Richard Branson were all shot in studio environments without neons and we added in the neon lights in post production. So the challenge was very much integrating these two to combine into an effortless and seamless image. I like to think we ended up with an iconic and beautiful campaign helped along by the retouching".

We were extremely pleased with the quality of the film and the imaginative pairing of location and artist voice. Through creative editorial content like this film, we are able to capture our audience’s imagination and to in turn, drive ticket sales to the exhibition. We keep striving to tell stories in surprising ways and experimenting in the newest digital formats for our audiences.

Working with Happy Finish was a joy from beginning to end. They were excellent at deciphering precisely what is was that we wanted as our first foray into VR, whilst offering a guiding hand to make sure that the things that we were asking for were realistic! The outcome was a beautiful 360° VR experience that hundreds of people took part in at Stylist Live 2017 and there’s the prospect to produce many more in the future and extend the experience even further.

It was important for me to do some research into what the Derry Wall and Corner looked like - the murals are very significant and of their time, and it was vital to get them exactly right.

I’m not sure I’ve ever spoken so frequently and casually about death..! It’s been a weird and wonderful journey. One which will hopefully continue. This has never just been about goggle content – Happy Finish has always got what we’re trying to do and worked hard to integrate the content with our other multi-sensory elements. It’s been very challenging at times, but it’s certainly been fun and immersive!

I loved Norbert’s concept of creating a story, which contained within it portals into other dimensions – in the physical sense, as well as metaphorically. With its pagan presence, the ancient stone circle at Stonehenge has served as a portal of sorts for millennia. What better setting for Norbert’s unfolding, multidimensional reverie? My job on this project was to help define the visual language of the story through grading, colouration, retouch, and glitch effects. By exploring the imaginary line which separates, what could be described as analogue and digital aesthetics, we tried to create a playful piece, one which operates on more than one level, without taking itself too seriously. In the process, we wanted to steer clear of traditional techniques of digital make-belief, and instead, have a go at the surface of the images in an almost mechanical manner, as if cut with a kitchen knife. The idea was to help capture a story of glitched realities, visually arresting, and gloriously irreverent.

I was very excited to work with Chris for the first time. Seeing the images printed just so beautifully and without complication was a real pleasure.

It’s truly been an inspiring experience for me and something I’ve felt lucky to be a part of. These designs are such an exciting way to raise support for a foundation that forever changes the lives of children and the people that rally around them. Each one of these designers exuded such an exorbitant amount of light and positivity, it was an honor to aid in showcasing that.