House of the Dragon season two needed a launch moment big enough to cut through the noise of competing entertainment campaigns, and to push faux out of home further than anything audiences had seen. To stand out, Binge, Mindshare and oOh!media set out to push faux out of home further, creating a world-first mixed reality stunt that blurred the line between fantasy and the real world. Creative team: josh Gurgiel - Creative Director Rob Delaney - Strategy Lee Wallwork - Art Direction Madeline Della Franca - Design Maria Lorentador - Producer Thomas Carr - Motion Design, Film and Creative The idea began with a simple inversion of the trend dominating social at the time: the rise of faux out of home (hyper real OOH illusions). CGI billboards, giant objects bursting through buildings, surreal brand stunts were flooding feeds and racking up millions of views. The problem was that audiences were starting to see the seams, the novelty was wearing off. So instead of making real things look fake, we flipped the formula and made fake things look real. A physical House of the Dragon billboard was installed in Sydney’s Taylor Square, then captured through drone footage. These plates allowed CGI artists to integrate a hyper-real sequence of Vhagar unleashing fire across the billboard, creating a “faux real” video built to spread across social. Days later, a second installation appeared, showing the scorched aftermath of the dragon attack. Paired with breaking news style creatives running across oOh!’s national network, the project became the world’s first episodic mixed reality out-of-home campaign, generating huge conversation and cultural reach. My role included directing the drone capture used in the CGI integration, as well as directing the on ground “public reaction” shoot revealing the smouldering aftermath billboard. I also filmed all behind the scenes content across the installation including pre, during and post stages. Following the stunt, I produced all post campaign creative including the full case study film, social assets and award-entry videos. This included motion design, story structure, edit, and the full visual treatment for how the campaign was presented to industry and clients. The campaign delivered massive national reach, heavy influencer amplification, and contributed to Binge’s biggest premiere of the year. It has since become a defining example of innovative DOOH storytelling in Australia.