The Work
Star Wars Jedi: Fallen Order was one of the biggest game releases of 2019, and the campaign around it reflected that. We handled pre-launch, launch and post-launch content for EA across several months, covering digital out-of-home, HTML banners, an HPTO takeover and more. Assets and brand guidelines were supplied by EA, and our job was to master the files, make them fully editable and localisable, and make the creative decisions around how those supplied elements were used, which characters to feature, how imagery was composed, and where elements sat within a layout.
London Waterloo DOOH
The Waterloo digital out-of-home was one of the standout deliverables on the campaign, and the most technically unusual to solve. The screen runs at an extreme 14:1 aspect ratio, far wider than any standard video format. Which meant the supplied footage, shot and edited for conventional screen ratios, couldn’t simply be scaled or cropped to fit without losing most of the image.
The solution was to build the asset as three distinct zones: a large central creative anchoring the composition, with a duplicated, narrower version of the same comp extending to each end of the screen. This gave the full width of the display something intentional to show rather than stretched or cropped footage, while keeping the central focus clean and readable at a distance. I was given a range of clips and title card animations by EA and was responsible for organising, sequencing and compositing them into a final piece that worked within those spatial constraints.
HTML
The HTML banner campaign ran across three standard formats: 300×250, 300×600 and 970×250, and was localised into multiple languages, including English, French, German, Brazilian Portuguese, Mexican Spanish, Korean, Japanese and more. Built with HTML, CSS, JavaScript and GSAP, the banners were structured to be fully editable and localisable, with assets mastered so the wider team could work through each market efficiently.
As with all the formats on this campaign, the creative decisions within those builds, such as which characters to feature, how the key art was cropped and placed, what the hierarchy of the composition looked like, etc., were ours to make within the guidelines EA supplied.
HPTO Takeover
The homepage takeover ran across gaming and entertainment publishers, including IGN, Den of Geek and Fandom. The unit was built with safe area templates supplied by each publisher, and combined static and video elements into a custom takeover skin. The work involved both the build and the adaptation of supplied assets into the unit such as fitting EA’s campaign visuals into a format that had to work within the technical constraints and branding guidelines of each individual publisher.
Creative Approach
One of the less visible but consistent parts of the work across all formats was the creative decision-making within the supplied asset library. EA provided clips, title cards, character renders and key art, but how those were used, which characters appeared on which formats, how imagery was framed, what led and what supported, was down to us. Working within someone else’s brand guidelines while still having genuine creative input on how those assets were deployed is a different skill to either pure execution or pure origination, and the Fallen Order campaign was a good example of that balance.
