top of page

SXSW 2018: YouTube Fairy Tales


YouTube with Bravo Media & 11th Street for MAS


Projectionist, Template Design, Systems Engineer, Technical Producer, Content


Dave Tennent, Jason Batcheller, Kurt Lorey, Kevin Nunez




DOOH, Experiential, Interactive, Dynamic


MadMapper, After Effects, Premiere, Isadora, Projectors

This was in the "grey" period of my work history - a time when I had a lot of projects going on and before I did a great job at documentation.

This was South By Southwest 2017, and beyond site visits, my only significant time spent in Austin, Texas. Lots of good bars and the music scene is tops. Pretty good food, too!

In terms of the project itself, the details are hazy, but from what I can remember there were 14 individual activations - all with varying degress of interacvity. Each activation was based on modern day interpretations of classic Fairy Tales that were created by YouTube creators. Things like "Trapunzel" for Rapunzel or "Jacky" for Jack and the Beanstock. Working with the creative agency, MAS, we developed many methods to make these static pieces of content interactive.

Basically, Dave Tennent, Kurt Lorey & Jason Batcheller produced sensor integration and logic that would trigger or modify existing content. I managed the project, did a whole of engineering, projection mapping and made the collateral content with Kevin Nunez. In places where we could, we also added content on top of everything - a good example was projection mapping GOLD on to gold products for the Goldilocks activation.

This is an example of me (me, me, me. see: me. this is all about me) being a creative engineer. I found products I could find 3D models for, bought the products, then created gold textures for them in 3D and projection mapped the textures on top of them. Another good example was adding in a projection mapped extension of the staircase from a video coming from a monitor (that's the main project image for "Jacky"). I wish I took better photos because it was pretty sweet. Our group of creative nerds contributed to each activation in a creative way.

Also worth mentioning, our agency lead, Nic Moali, was an incredible partner on this and if anyone ever google's his name and finds it here, know this: he's an invaluable creative and technology consultant.

I can't "do the numbers" on this project, but here's a list of things I can remember:

  • Bribed at least 2 restaraunt hosts because it was insane getting a table during SXSW

  • Our AV Vendor will rename nameless. I've never worked with so many high production assistants before (or since) - that said, they had a couple of MVPs who were absolute life savers (they were also high).

  • Lots and lots of sensors: proximity, weight, IR, light diodes

  • Lots of knobs and buttons

  • Lots of NUCs and Mac Minis

  • Lots of Screens

  • Lots of Projection Mapping

  • Lots of technical integration with our scenic partner

  • Fantastic group of collaborators and partners (everyone on the team I continue to work with, now [2023] 6 years later!)

After I did this project, I thought: wow, Mom and Dad, I've finally made it – I'm working for Google and I'm enjoying it too... but unfortunately, MAS bought my friend's company to do experiential in-house and I kept working for Bravo.

When asked when I would leave Bravo, I used to say something like "I'm going to die here" and I guess a part of that is true; a part of me did die when I left in early 2022.

Just killin' it on the SEO, right?

Project Gallery

bottom of page