IN SOMEONE ELSE’S SHOES
VOLUMETRIC AR NARRATIVE EXPERIENCE

CLIENT Santander
PROJECT Transform a 16G volumetric capture into an impactful augmented reality narrative experience that’s compact enough to run on a phone.
DELIVERABLE An AR app available across iOS and Android.
ROLE Experience Design
PRODUCED BY Arnold Worldwide (concept and strategy), Bravo Media (volumetric capture) and Havas NY (user experience, post-production and build)

LAUNCHES NOVEMBER 2018.

SUMMARY
In Someone Else’s Shoes tells the story of Jen, a nurse's assistant who lives in her car, through an AR app that portrays Jen in life-size volumetric video capture. As the UX lead for this project, my task was to develop a framework that would transform a 16G volumetric recording into an AR experience small enough to run on a phone, while still preserving the impact of the narrative. The project raises awareness about how the increase in rent costs while wages have remained stagnant has increased the employed homeless population across the US.  It will be available in the App store in November 2018. 

ABOUT
A program conceived by Arnold Worldwide, In Someone Else’s Shoes is a Santander-sponsored CRS initiative made to raise awareness about the increase of homelessness across the US- specifically as a result of the rise in rent, but not income.

The four-part narrative aims to portray what it’s like to be homeless while employed through following Jen, a nurse’s assistant who lives in her car. The experience includes a short video filmed from Jen’s perspective, then transitions to three scenes that depict Jen’s story in full-size volumetric AR. Jen’s voiceover provides narrative context for every portion.

USER EXPERIENCE
The design problem in this instance was to transform an enormous five-part volumetric recording into something compact enough that users could easily download it onto their phones, while still preserving the emotional impact and informative value of the experience.

Our team mapped out multiple iterations of the experience, leveraging devices like voiceover and location-activation to dynamically trigger clips of the volumetric capture. We ultimately chose to provide statistical context between each shortened volumetric clip, presented as faded-in dark overlay interludes, to provide an impactful and informative framework to supplement the narrative. The experience opens with a first-person video to establish a connection with Jen that might otherwise be overshadowed by the use of volumetric video.