Anzac r330 awm high_res

Than k you
Thank you for the opportuni t y to respond
to this exci t ing, nat ion-bui lding e vent.
3
We are honoured to be considered to play a part in such a culturally significant
program. Delivering a project of this scale and importance requires creativity,
flexibility, scale, depth of talent across a range capabilities, a consistent team,
boundless enthusiasm, and most importantly, a proven track record of building
successful and respectful long-term partnerships with clients. We think we are
uniquely positioned to deliver all of that and more. Imagination can provide not only
a creatively and commercially robust response to the exhibition brief, but a turn-key
solution to community engagement, marketing, digital and social media support,
and logistics and delivery roll-out.
We hope the following presentation showcases not only our broad reaching creative
and production capability, but as importantly, our passion and enthusiasm to help
you create a visitor experience that will live in Australia’s collective memory for
many years to come.
We hope you like our approach to your brief.

bac kgroun d
From 2014-2018 Austr al ia wi l l commemor at e 100 y ears
since our involvement in Worl d War 1 (WW 1).
5
For the four year period the Australian War Memorial, the Government,
and military and community groups across the country will remember the
significant role we played on a global stage, not just in WW1, but in all exercises and
conflicts since then.
The Centenary of Anzac program will be one of the country’s most significant
commemorative events in our history, and will leave an indelible mark on the nation’s
collective consciousness of the contribution and sacrifice our defence forces have
made over the last 100 years.
A key element of the commemoration is the Anzac Centenary Touring
Exhibition. This exhibition is aimed at reflecting most specifically on WW1
and Australia at that time in history.
It is envisioned that the exhibition will be an immersive experience that focuses on
telling stories that capture our audience’s imagination, and endear them to an era
when an entire nation united in sacrifice and commitment against a threat to the
freedom and values we now take for granted.
The exhibition will travel the country, and give all Australians a chance to engage
in the story, contribute to the shared journey, and take something very special away
from the experience.

th e b r i e f
The Austr al ian War Memorial (AWM ) i s seeking a Creat ive Director
to hel p conceive and del iver the creat ive v ision for the Centenary
of AN Z AC touring exhi b i t ion.
The Creative Director will work alongside the AWM to curate stories, artefacts,
treasures, photographs and large technical objects to create an experience that will
reflect on and appropriately commemorate the milestone.
6 7
The Creative Director will be responsible for the overall vision, design, content,
storytelling, community engagement, scheduling and scripting, as well as effectively
leading and influencing the wider stakeholder group – from government to creative
and production partners.

P roj e c t Ob j e c t i v e s
To creat e a n inspiring, educat ive experience to appropriately
celebr at e and commemor at e the Centenary of AN Z AC .
9
• Reach the widest possible audience across Australia, with an emphasis on
regional locations.
• Bring to life as many ‘stories’ of our proud history, including those of communities
we visit.
• Create an experience that is immersive and rich, and seeks to include and engage
our audience in stories, not just exhibit artefacts.
• Consider community engagement and programming opportunities to support
the exhibition experience.
• Create a spiritual and physical home for reflection, and invite community,
military and school groups to come and run their own programs in and around
our experience.
• Engage all age groups in the program of activities long before we arrive,
during our visit, and leave the community with a lasting legacy of the tour.
• Provide relevant communication and engagement platforms for all age groups –
from school-led programs for primary students, through social media for youth
to young adults, all the way through to means to reach the older generations.
• Provide many layers of experience to appeal to casual observers or the keenest
of history buffs.
• Deliver an exhibition and experience that takes on the stories and character of the
areas we are visiting to keep it highly emotive and relevant to the local audience.

Th e Opp or tu n i t y
We have the chance, perhaps l ike no other in the past
60 y ears, to gener at e a nat ion-wide groundswell o f posi t ive
sentiment for our proud mi l i tary h istory.
11
By taking the story to the people in a way that includes them, their town, their
families, and appropriately paints a picture of life and times in Australia at the time,
we feel that we can engage the Australian community in a way that inspires pride,
ownership and most importantly empathy for our collective story.
We intend to help you create a destination that is live and alive – that takes on the
stories of the towns and people that we meet, that will be so unique and extraordinary
that it will generate its PR as we go, and delivers an experience that will live in the
hearts and minds of all of those who visit – no matter what their age or background.
This is every Australian’s chance to connect with the sacrifice, honour, horror and
courage that protected and defined the very freedom and ideals we take for granted.

c r e at i v e t e am
We have a ssembled the bes t and brightes t creat ive
talent from across Austr al i a and the worl d to join
the Imaginat ion team for thi s project.
13
We see collaboration with experts and our clients as the secret to any project’s
success, and an event on this scale requires talent from many creative, production
and technical disciplines.
Following is an Organisational Chart of the key members of the team. This Chart
will inevitably grow if we are fortunate enough to be successful on this bid, but for
now it gives a solid foundation for creative excellence.

c r e at i v e t e am
Project Director HEA TH CAMPANARO
Project manager michele conroy
15
environmental
design
graphic
design
content &
copywriting
digital
lighting &
performance
screen sound design production
creative director
lisa taylor
creative production
Louisa ryan
creative director
adrian goldthorp
creative director
Lyndon Hale
lighting director
mark hammer
Executive Producer
sandy Madden
musical director
david carbONNe
production director
trevor smith
senior 3d Designer
latif vogel
Design Director
lea barnett
Senior Copywriter
Troy Graham
digital designer
Lee nguyen
performance director
dein perry
Creative Director
anna meister
musical director
josh abrahams
build producer
Mike Slater
3d Designer
lars wi jers
2D Designer
Nick Wright
digital producer
jon rout
Senior Motion Designer
Simon Connell
event producer
Chantelle Grubb
finished artist
Raj Kumar
technical director
slaw Jasinski
Senior Motion Designer
Chris Zwar
Producer
Chelline Nel

Ou r App roac h
We have de vised our creat ive solut ion wi t h a v ery clear understanding not just
of the creat ive chal lenge at hand, but a l so of the real i t ies of producing and
touring such a consider able exhibi t ion and experience a round the country.
17
For that reason our Creative Team has worked on every element alongside our
Production Team – ensuring that our concepts are affordable and can be toured
relentlessly over the coming years.
We have also considered the broader community engagement aspect of the project
– from Local Area Marketing campaigns and school engagement in the pre-event
phase, to launches, publicity, and community programming during the live phase, to
the legacy the tour will leave behind.
For that reason we have involved our Advertising, Digital and Social Media teams,
and have responded with what we consider to be a turn-key solution for the exhibition
– not just the live experience itself.
We feel that only by having one Agency with the broad range of skills we have under
one roof looking at the project as a whole, will you truly be able to deliver with the
synergy you need to spot the gaps, leverage assets across all elements of the project,
and deliver a seamless visitor experience – from digital to live.

Me thodo logy
01. Pitch initial concepts
02. Workshop concepts with client
and key stakeholders
03. Refine overarching concepts
04. Define details and begin curating artefacts
19
and stories
05. Begin detailed design on environmental
installations and all film and digital content
06. Begin community outreach and public engagement
to source further content
07. Begin detailed scoping, feasibility studies
and costing of concepts
08. Continue to test concepts with project
steering committee
09. Refine concepts based on steering committee
feedback, and touring/financial feasibility
10. Begin construction drawings and documentation
11. Begin film, digital and performance production
12. Begin Local Area Marketing
and engagement campaign
13. Begin fabrication and travelling cases
14. Begin recruiting and training key staff
15. Trial set-up – sound, projection
and lighting design completed
16. Hit the road!
To undertake a project of this scale and complexity,
it’s important to setup a robust, collaborative
methodology from the outset.
We are experienced at delivering these kinds of
projects and can guide you through the process as it
unfolds. It will inevitably evolve as time goes on, and
flexibility is paramount on a project of this scale, but
following is a guide to the methodology we would
follow to deliver a project of this nature.

The Imaginat ion
3 6 0 f r amewor k
We pride ourselves on being col l abor at ive,
flexibl e and easy to work wi th.
20
Our rare integrated blend of branding, design, digital and production talent makes
us uniquely placed to deliver a project of this complexity and scale - from creative
and concept development, to production and touring.
Imagination is experienced in delivering end-to-end solutions for projects of this
scale and larger. For you that means we can help take you from a blank page all
the way through to the final realisation of your dream, on every element of the
project – from design and construction, film and motion graphic production, digital
interactivity and installation, marketing, digital and social media, community
engagement and any other launch and live activity, plus of course, the tour.
DISCOVERY & STRA TEGY CONCEP T DEVELOPMEN T DESIGN & CON TEN T PRODUC TION & DELIVERY IMPLEMEN TATION & TOURING
Brand &
Communication
Campaign
Global and local strategy
and insight
Dedicated in-house
advertising and
communication team,
including art directors,
copywriters, graphic and
digital designers
In-house research,
copywriting, design and
artwork production facility
In-house campaign, digital,
DM, and print management
In-house implementation
and measurement team
Experience
Design
Dedicated experience and
environmental strategists
Integrated team with
interior designers, 3D &
2D designers, performance
directors, lighting and sound
designers, engineers and
construction producers
In-house research,
copywriting, design,
artwork and construction/
CAD production facility
In-house construction and
fabrication, print, event,
logistics and touring
managers
On-site creative management of build
and installation, and ongoing oversight
of localised elements of content
Digital & Film
Content
Dedicated digital team,
including campaign, web,
social media and interactive
Award winning digital
creative team, including
dedicated creative director,
strategy and design team
Award winning digital
creative team, including
dedicated creative director,
strategy and design team.
In-house screen department
specialising in film and
motion graphics
In-house technical and
development team, with
experience building web,
social, advertising and
interactive assets on a local
and international scale
Ongoing community and digital support
- to manage campaign elements, and
localised content being pushed to digital
interactives
Events &
Communit y
Engagement
Dedicated event team,
with experience in
running nation-wide event,
exhibition, PR, school
and community
engagement programs
Integrated team with
interior designers, 3D & 2D
designers, show callers and
PR managers to develop the
concepts and program of
activity
In-house research,
copywriting, design,
artwork and construction/
CAD production facility
In-house construction
and fabrication, print,
event, logistics and
touring managers
On-site creative, production and
event management
Touring &
Logistics
Dedicated production and
logistics team to manage all
aspects of the tour
aspects of the tour
aspects of the tour
aspects of the tour
Dedicated production and logistics team
to manage all aspects of the tour
20

P roj e c t Cons i d e r at i o n s
Del iver a turn-ke y solution that
can b e bui lt and toured on budge t.
23
• Design an experience that can be built-tough to withstand years on the road,
variable and challenging conditions, and up to 100 installations.
• Design an experience that can be built in a modular fashion, limiting bump-in/
out times at each location to maximise ‘open’ time, and minimise labour costs.
• Deliver an experience that generates enormous PR and goodwill thanks to its
unique design and interactivity.
• Design an experience that is self-contained and doesn’t rely on local services/
utilities to run.
• Design an experience that appeals to all ages and backgrounds, is accessible, and
doesn’t alienate any age group based on technological ability.
• Deliver more than a museum – deliver an experience than is live and alive, that
takes on content from the communities we visit, and that leaves behind a legacy
and memory that will last another 100 years.

p r e - e x p e r i e n c e
25

name & I d e n t i t y
Coming Home is about bringing the spiri t of Anz ac home – some of our men
came home, some d idn’ t – a ll o f them lef t a n indel ible mark on our col lect ive
psyche – w e’re bringing all o f thei r s tori e s back to li fe and to the people.
27
Coming Home also talks to the experience itself
coming home to the very cities, towns and villages
the stories and people came from. It is poignant,
emotional and gives every destination ownership of
the exhibition.
We have added Anzac Centenary Experience to the
name, as we want it to be clear to visitors exactly
what it is. We intentionally chose ‘Experience’ over
‘Exhibition’ as we feel we’re delivering a much more
immersive experience than a any typical exhibition
or touring gallery/museum.
Our proposed identity is bold and simple, and
incorporates the combined military symbol most
identified with the spirit of Anzac.
You will see in the following pages that the design
incorporates the rising sun motif, and a series
of subdued but strong colours that represent battles,
seasons and years. For both campaign/marketing and
environmental design we have used an intentional
mix of bold typography, handwritten script,
and hand painted signage (used specifically for
way-finding).
We have also used silhouettes as a key design feature
throughout the work, with the negative space being
filled with photography or other 2nd level content.

28 29
the silhouette
encasing memory
graphic details graphic details
Horizon lines
Marching men
Frank Hurley collection
Fatality statistics
The ‘Rising Sun’, inspiration, hope, the
dawning of a new era and bringing in
the new day.
design approach design approach

loc a l e ngage m e n t
t- 6 months t-3 months t-1 month t-2 weeks l aunch l ive
Local
engagement
begins
local
content
cur ation
local
campaign
& PR BEGINS
30 31
ma jor
L aunch
e vents
prepare
the
Town
local
programming
L ive
Like any good military campaign, this project needs to run with exacting precision
based on a robust communication strategy. We have developed a T-minus campaign
that counts backwards from every town visit, ensuring we have adequate time to
properly inform and engage with each community we visit.
Each visit requires its own dedicated program of work, and each will be very much
personalised to the area. Activity ramps up closer to each visit, as teams leap-frog
each other as we begin engaging school and community groups face-to-face, and
planning town events and our launches.

t - 6 months
Local Engagement Begins
school
packs
t-6 months
32 33
School kits are sent out to local schools.
Commonwealth Bank branches and Telstra stores go live to seek stories and
memorabilia from the community (more info following).
We begin engaging with local councils, community groups and local defence groups
(reservists etc).
community
activations

t - 3months
Local Cur at ion Begins
At thi s s tage our cur ators wi l l col lect a ll o f the s tories ,
memor abi l i a and other content we have received, in order to
cur at e i t into the experience for the town. We want each v isi t
to be hugely rele vant, and based on s tori e s from the area .
t-3 months
34 35

t-1 month
t - 1 month
Local Area Marke t ing Campa ign Begins
36 37
A comprehensive marketing, digital and PR campaign will begin in each town
1 month out from launch – giving people plenty of time to get online and book their
spot, register their group and download the app.
The campaign will feature (at a minimum):
• Door drops
• “This space is reserved for fit men” - Pop-up ‘Enlist’ information zones in
areas of heavy footfall, such as shopping centres. Sign up to receive up-to-date
information on what’s coming
• Local Newspaper – series of full wraps depicting the news of the day “WAR is
Coming” etc
• Information on how and where to book local area Facebook advertising
newspaper wrap press ads

38 39
website
t-1 month t-1 month
JOIN THE COMING HOME
RECONNAISSANCE DIVISION
In the run up to the Coming Home Experience arriving
in your town, we will recruit the youth of the town in
to a Reconnaissance Division.
We need a crack reconnaissance team to survey the
town and ensure a smooth arrival for the Coming
Home Forces.
Join the team and complete the virtual missions well
and progress to Private 1st Class and you could make
the grade for a flight simulator training lesson at the
The Coming Home Experience.
A mobile app that engages the youth in the town pre
the arrival of ‘Coming Home’. We would set several
reconnaissance style tasks that the players can use
their phones to document.
Potential tasks:
• Orienteering around the town and
Geo-tagging certain spots.
• Finding and documenting local war memorials
• Recruiting other members to
the reconnaissance team
• Taking images of the area using an instagram
style filter that makes the image look war era
• Take a picture of yourself and use the
“ArmyUpYourself” function that takes your face
and comps it on to a old style army photo.

t-1 month t-1 month
40 41
facebook
advertising
pop-up
Enlistment
ZOne

T - 2 w e e k s
This period will concentrate on getting the town ready for the grand opening of the
Experience. It will build local excitement using traditional mediums, such as local
newspapers and radio, as well as dressing the town itself as follows:
• Bunting and banners down the main street in the colours of the master device,
leading to the showground where possible
42 43
• Period motorcycles riding through town pulling advertising hoardings.
• In the nights leading up to the opening, public buildings would feature projections
of some of the local WWI war heroes’ images, letters, poetry etc.
• Ramping up of bookings – times available etc.

T-2 weeks T-2 weeks
44 45
bunting
& Banners

T-2 weeks T-2 weeks
period newspaper wrap
motorcycles
46 47
press ads

N i g ht b e fo re l au n ch
The night b efore the opening of the Experience, a publ ic
service wi l l b e h eld outside the Town Hal l /War Memorial ,
hosted by the Mayor of Bathurst and att ended by leading
digni taries , service men and women, re t ired and serving.
49
Candles will be handed out to the public. Projections of fallen heroes will be projected
on the walls of major public buildings, along with other poignant imagery. Poetry
and letters will be read out by local school children of varying ages.

NIGHT before launch NIGHT before launch
50 51

Gr an d Op e n i ng
On the morning of the gr and opening, a procession of
some of the younger members of the communi t y wi l l b e l ed
through the main s tree t of Bathurst by a marching band,
cheered on by the res t of the publ ic, waving fl ags.
53
A number of activities will feature immediately outside the experience. Vendors
will sell food similar to that of the era. A basic training course will be set up where
tests of strength and endurance competitions will be held. An assault course will be
established that has to be completed carrying a backpack. Target practise and drill
training will also be available. A local fair modelled on fairgrounds of the period
will provide additional fun and entertainment.

th e e x p e r i e n c e
54 55

THE E X P ERIENCE
56 57
We have designed and specified a bespoke structure that large enough to house
a substantial experience, yet modern enough to look great, and be fast to bump-in
and out.
Our experience follows a narrative from pre-war Australia to post, and features
a blend of stories, artefacts, LTO’s, projection, technology, simulators, narration
and performance.
The experience and content will be tailored to every location we visit (more about
that to come), and will feature a hero as our guide - someone with who we live, learn
and love with.
We have considered potential venues, audiences, expectations, stakeholders and
production realities when designing our concept, and we think we have devised an
experience that we believe will be world-class in every respect.
We hope you like the journey.
THE EXPERIENCE
We have designed a n experience that i s part museum,
part memorial , part performance and ent i rely i nspi ring
and engaging.

THE EXPERIENCE THE EXPERIENCE
58 59

THE EXPERIENCE THE EXPERIENCE
MEMORABILIA
WELCOME
60 61
BACK OF HOUSE
HORRORS
OF WAR
SIMULATOR
BUT FOR THE
GRACE OF GOD
PEPPERS GHOST
MEPHISTO
TRENCH
TO HELL
AND BACK
DIARAMA
MARK IV
BAPTISM
BY FIRE
LEST WE
FORGET
POPPY WALL
FIRE
FOUNTAIN
MOVING
FORWARD
LEGACY AREA
SOUVENIR
SHOP
BRIEFING
ROOM
FLAG
WELCOME
WE SALUTE YOU
ANCESTRY
SALUTE WALL
BACK OF HOUSE
AUSTRALIA
WELCOME TO THE
LUCKY COUNTRY
THE BRIEFING ROOM
AUSTRALIA – WELCOME
TO THE LUCKY COUNTRY
BAPTISM BY FIRE
TO HELL AND BACK
THE HORRORS OF WAR
LEST WE FORGET
WE SALUTE YOU/ANCESTRY
LEGACY AREA/GIFT SHOP
THE LAST POST/FLAG
BACK OF HOUSE/STAFF AREAS
94000
30000
18300
18000
85000
THE WELCOME
AUSTRALIA TO BAPTISM TO THE LEST WE LEGACY THE BACK FLAG
BRIEFING
ROOM
AUSTRALIA
WELCOME TO THE
LUCKY COUNTRY
WELCOME
BAPTISM
BY FIRE
BACK OF HOUSE
TO HELL
AND BACK
HORRORS
OF WAR
LEST WE
FORGET
LEGACY AREA
SOUVENIR
SHOP
BACK OF HOUSE
WE SALUTE YOU

v i s ua l l a nguage
se tt ing the v isual scene for the interpre tat ion
of s tories, artefacts, information and emotion.
The fol lowing el ements bring together the inspir at ion to inform
the d e velopment of an interpre t ive l anguage for the exhibi t ion el ement
of the Coming Home experience.
62 63

the creative
trench signage observation
TYPOGRAPHY
& MATERIAL
Reinforcing the improvisation of the Australian
spirit, these handmade street and trench signs make
reference to the ingenuity and improvisation of
using what was at hand from bits of metal and wood.
They emphasise the Australian sense of humour in
the perils of war while reinforcing the need to be
typographically fashionable on the front. A bit of
beauty in a small sign.
trees
the creative
the observation tree
Invention and discovery .
The observation tree was an ingenious invention
allowing soldiers to observe the enemy at a safe
distance in the overwhelming barren terrain created
by constant bombardment.
We intend on using the trees throughout the
experience as wayfinding devices, using the
manholes as viewing spaces for further content.
the war artists
The Memorial has an extensive
collection of art, which we wish to
give the public the chance to view, and
perhaps purchase prints of.
We intend to showcase some art
throughout the exhibition as graphics,
but also provide a digital service to
scroll through a selection, and order
prints.
64 65

the creative the creative
Black and white
to colour
In an effort to make as much of a connection as possible
between the stories throughout the experience and the
visitors - particularly the younger visitors - we suggest
taking as many of the major images throughout and
professionally retouching them in colour.
Younger members of our audience can find black and
white images incredibly foriegn, so much so that it
becomes a barrier to empathy and therefore learning.
We feel it’s incredibly important to stress to visitors that
these are in fact images of real people, very much like
themselves. They are people from a time in Australia not
so long ago with the same hopes and dreams, thoughts
and feelings as us today. We believe a great way to achieve
much more of a connection is to bring colour into these
amazing photographs, removing a certain perception of
time and distance.
Professionally retouched Professionally retouched
66 67

the creative
Palette inspiration
Building Emotion Through Colour
The palette draws predominantly on
the heritage colour palette of the WWI
epoch. Focussing on the uniforms and
military equipment of the period, these
colours are reinforced in the artifacts
and imagery of the time. They help
evoke the austerity and sombre mood
of the experience.
The highlight colours draw on more
detailed descriptions of the period, the
red/poppy emphasising the horrors of
war and the great losses of 1917 and
paying tribute to the signature poppy
that defines our rememberance. Spring
yellow celebrates the spring and our
impending victory, reinforcing hope
and the ultimate home coming.
68 69
colour palette
HIGHLIGHT COLOURS
1918 / SPRING
OFFENSIVE
VICTORY
HERITAGE DRAB
HIGHLIGHT COLOURS
1917 / POPPY
HORRORS OF WAR
AWARDS AND
HONOURS
HIGHLIGHT COLOURS
1916 / METAL
EQUIPMENT
1915 / MATERIAL
UNIFORM
EQUIPMENT
1915 / BATTALION
SWATCHES
1914 / MATERIAL
UNIFORM KHAKI
typographic style
Identifying the chapters of our story
The typography utilises various type
styles and sizes in combination with
the quirky details of the period, evoke
the era in which the war was situated.
Script is used to evoke the personal.
the creative
Typography
Nosa consequo bernatum sinum
simolorro molor aceat qui tem.
Ut aut de sunte nonserrum
evelibus et eius.
None qui inus et essequamus,
ullam qui officius, consent
essequa erchil inveles sectiat
aquatur simagniet hillabore,
corissequis ressitet quibusam rem
volupta doluptas accumquisci tet
est, omnis sectati sinimendit et
fugia corunt aceriti bustibus, con
ex este ped moluptatium ipsamus

INTRODUCTORY TITLE
the creative
70 71
central wall elevation – 3 rooms
4200
2400
2000
1800
1400
800
CingHeBathurs Bathurs
HeBathurs CiBathurs
CingBathurs CingH
Bathurs CiBathurs Cing
HeBathurs CingH
Bathurs Bathurs HeBathur
CiBathurs CingBathurs
CingHeBathurs CiCing
HeBathurs CiBathurs
CingBathurs CingH
HeBathurs CingH
Icate sumque omni cus soluptatios volum idebis dipis
millibus de sundipsae re vel maxim denis volorem am
restia commolo rereseque ped mil moluptatis nonsequi
idici beaquas sitati conseru menditas maio cumquis as
re dollab ium dici coreiundipis aut aut et et es int harcit
aut ipient offic tent que voluptati iusam el moloressit
que delland andelig enisqui dolorem fuga.
3000
BATHURST
COMING HOME
4200
2400
THE HORRORS
OF WAR
BUT FOR THE
GRACE OF GOD
THE
WAR HORRORS OF
INTRODUCTORY TITLE
Bathurs Cing He…Les w

f
ge
1800
INTRODUCTORY T I T L E INTRODUCTORY T I T L E
INTRODUCTORY TITLE
2000
1400
800
HeBathurs CiBathurs
CingBathurs CingH
HeBathurs CingH
CingHeBathurs CiCing
HeBathurs CiBathurs
CingBathurs CingH
HeBathurs CingH
Icate sumque omni cus soluptatios volum idebis dipis
millibus de sundipsae re vel maxim denis volorem am
restia commolo rereseque ped mil moluptatis nonsequi
idici beaquas sitati conseru menditas maio cumquis as
re dollab ium dici coreiundipis aut aut et et es int harcit
aut ipient offic tent que voluptati iusam el moloressit
que delland andelig enisqui dolorem fuga.
3000
BATHURST
COMING HOME
THE HORRORS
OF WAR
BUT FOR THE
GRACE OF GOD
THE
WAR HORRORS OF
INTRODUCTORY TITLE
Bathurs Cing He…Lesw

f
ge
INTRODUCTORY T I T L E INTRODUCTORY T I T L E

th e b r i e f ing room
72 73
BRIEFING
ROOM
WELCOME
THE BRIEFING ROOM
BAPTISM BY FIRE
TO HELL AND BACK
THE HORRORS OF WAR
LEST WE FORGET
THE LAST POST/FLAG
This are a is designed a s a n educat ional space. Visi t ing school s
can use thi s space a s a mee t ing room. Experts can take lectures on
speci fi c topics, and communi t y groups can begin thei r v isi t here
to gather and bri ef b efore entering the e xperience.

live a live
l i v e a l i v e
We want our ent ire experience to be a l ive wi th act ion and
performance. We see a series of hosts, actors, tours and
se t scene s a l l coming toge ther to creat e a space wi t h lots
of energy and inter act ion.
We assume a higher level of performance will be delivered for school groups, but
that everyone will interact with live scenes throughout their tour. We have been
careful not to trivialise, or treat the history with anything but respect, and will
continue to work with you and our Performance Director, Dein Perry, to develop a
show that is appropriate and respectful.
74 75
We also see the space featuring several graphic, digital and filmic ‘blank spaces’
that are filled with local content at every town we visit. Photographs, stories,
memorabilia collected through our partnership programs, and all number of other
artefacts we can gather along our journey will pepper the exhibition making it feel
unique and relevant to the town it’s visiting.

th e We l come room
The welcome room is the s tart ing point for the main Anz ac Centenary
experience. T icke t holders wi l l need to pre-book and confirm thei r part icul ar
t ime s lot v i a the registr at ion desk, due to l arge numbers and groups expected
at the e xperience.
• Sennheiser guidePORT smart self-guided headsets will be made available in the
welcome area for those who wish for a deeper learning experience. As visitors
move through the experience at their own pace, the relevant information will
automatically update and keep them informed, as well as a much more personalised
story narrated by our key protagonist (to be introduced soon!)
• Throughout the experience, a smartphone app can be used to dive into deeper
content on stories or artefacts that are of particular interest. We will also provide
a game-ified option for kids where they can answer a series of decision-based and
76 77
timed questions, Each decision made and the time it took will then go towards
different ranking being achieved.
This ranking – i.e Captain or Brigadier -
can also be fed through to the individual’s
Facebook page, where their rank will be
publicised for their wider social circle,
encouraging them to also come down and
get involved. WELCOME
WELCOME
THE BRIEFING ROOM
BAPTISM BY FIRE
TO HELL AND BACK
THE HORRORS OF WAR
LEST WE FORGET
THE LAST POST/FLAG

AMRST PEHNO AP P AMRST PEHNO AP P
80 81
Smart phone app
The smart phone app will consist of
functionality for before the experience
arrives and during the event.
The Coming Home Experience App
is designed to enrich the content
experience when you are at the event.
Simply by pointing the app at the
display you are looking at at that point,
the app will bring the content to life
with extra multimedia assets, video,
audio, 3D models. You can enjoy the
content there and then, or tag it to enjoy
later at home on your phone or PC.
Deeper
content
section
quiz
Smart phone app
Deeper
content
section
quiz

I nt rod u c i ng Jac k th e L a d
At the heart of the experience is our protagonist,
Jack Drury, o r Jack the L ad, and hi s fami ly.
83
We chart Australia’s experience of war through Jack’s eyes. From the pre-war growth
and energy of a burgeoning new nation, to the blind optimism and enthusiasm of our
young men who couldn’t wait to take off on adventures abroad. We see him realise
the realities and horror of war as we follow him from his town to the front line and
back again. Like the country itself, Jack is changed by war.
Jack and his friends and family give the story real character, and give our audience
a point of connection… someone to paint the picture of real life, the highs and lows
of war… someone to fall in love with, feel loss with, and connect to the humanity
behind the history.
Jack is woven into the fabric of the experience. Through graphics and stories, in
digital and film content, as our narrator, and as a real-life character performed live
(for school groups), throughout the experience.
And best of all, Jack comes from your town… wherever you are. Bathurst, Tamworth,
Alice Springs, Broome – always local, always relevant.

th e lu c k y cou nt ry
This area looks at life in Australia in the immediate years before WWI and will
concentrate as much as possible on the particular town and area the Anzac experience
happens to be in – for instance, Bathurst. What was life like in Bathurst just before
WWI? What did people do for a living? What was the health and wealth of the local
area in the early part of the 20th century?
Visitors will be able to walk through a mock-up of Jack’s family home. The house
will give visitors a chance to step back in time, showing typical living conditions
for an average family from that area. It will also look at trends and even relevant
emerging technology for the time, such as the development of stills and motion
cameras, different sorts of machinery like tractors and cars, entertainment like the
cinema, theatre, art and fashion.
84 85
At the same time this area will also highlight what was happening on the other side
of the world in Europe. This will be brought to life using old newsreels, newspaper
headlines and historical factual information to set the scene in the lead up to the
outbreak of the war, including:
• The British Empire and its allies. The German Empire. The Russian Empire.
The Ottoman Empire. Austria-Hungary. The Balkans.
• Political upheaval. Posturing, territories, arms race.
• The political and public view on the
developments in Europe and Australia’s
stance on supporting the British Empire
- “Should the worst happen ...”, Australia
would “...rally to the Mother Country ... to
help and defend her to our last man and our
last shilling.”
AUSTRALIA
WELCOME TO THE
LUCKY COUNTRY
WELCOME
THE BRIEFING ROOM
BAPTISM BY FIRE
TO HELL AND BACK
THE HORRORS OF WAR
LEST WE FORGET
THE LAST POST/FLAG

mee t jack’s fami ly the fami ly home
86 87

EHT luck y count ry EHT luck y count ry
88 89
Jack’s Rol e
We meet Jack for the first time, in real life (for
school groups), on headsets, on-screen and in the
content. Jack tells us of life at the time.
We hear from his family, and more about Jack, and
life of the times from their perspectives too.

ba pt i s m BY f i r e
It ’ s in this area we learn that war has b een decl ared in
Europe and the react ion to this at home in Austr al ia .
• The catalyst that brought about the war – the assassination of Archduke Franz
Ferdinand of Austria.
• The initial excitement and general support back in Australia. The almost immediate
preparations to send forces overseas to participate in the conflict with lines of men
and boys queuing up to enlist.
• The forming of ANZAC - Australians and New Zealanders, grouping together as
the Australian and New Zealand Army Corps.
90 91
• The first campaign that Australians were involved in was in German New
Guinea after a hastily raised force known as the Australian Naval and Military
Expeditionary Force was dispatched from
Australia to seize German possessions in the
Pacific in September 1914.
• Gallipoli landings.
BAPTISM
BY FIRE
WELCOME
THE BRIEFING ROOM
BAPTISM BY FIRE
TO HELL AND BACK
THE HORRORS OF WAR
LEST WE FORGET
THE LAST POST/FLAG

bap t ism BY f i re bap t ism BY f i re
92 93
Jack’s Rol e
Jack talks about the prospect of going to war.
He’s excited about enlisting and leaving his home
to fight for King and country as we hear him
speak, read his stories, or see him live.

t o h e l l an d bac k
L ines and l ines and l ines…
The tunnel
Visitors enter a giant tunnel, which features immersive
projection all around them.
Our tunnel brings to life rich imagery, and Jack’s story, as
we take our audience on a journey through time, from the
outbreak of war as seen from Australia to lines of young men
and boys, queuing up to enlist, lining up as they march out of
their towns, lining up as they board ships, as they set sail for
Europe, lining up while in basic training and lining up to go
‘over the top’. Jack appears in the crowd, and tells the story
through his eyes.
94 95
MEPHISTO
TRENCH
TO HELL
AND BACK
DIARAMA
MARK IV
WELCOME
THE BRIEFING ROOM
BAPTISM BY FIRE
TO HELL AND BACK
THE HORRORS OF WAR
LEST WE FORGET
THE LAST POST/FLAG

Tunnel
Entry tunnel Exit tunnel
97

to hell and back
Jack’s Rol e
Jack is our narrator, plays a live part (for all
experiences), leads our audience into and out of the
theatre, and is eventually seen leading the audience
out of the tunnel on crutches.
The entry tunnel experience concludes as Jack and the boys set sail from Albany…
The TRenches
From here our audience is released into a central ‘theatre’ diorama area. It is here where the action quite literally
comes to life, featuring a full-size model of trench warfare, including the British Mark IV tank facing off across
the battlefield against the German Mephisto tank.
Visitors will be completely enveloped in a full sensory experience, including lighting, projection, sound effects,
smoke, explosions, bullets whizzing by, and a dogfight playing out overhead. Barbed wire, sand bags, tunnels, rats,
mud and bodies will also be included in the diorama display.
As the visitor makes their way through this immersive experience, Australian soldiers will run by, shouting to
each other and again the character of Jack will appear to enhance the story as it plays out.
The room fades to darkness and the guns fall silent as the audience is moved back into the tunnel from where
they entered.
The Exit Tunnel features a very different story. Our lines are now of injured men being helped from the trenches,
lines of injured soldiers in hospital beds, lines and lines of crosses across muddy fields, and lines of broken
soldiers marching, and returning home.
98 99

th e h o r ro rs o f wa r
105
A tale of two worlds, this room examines life on the home front in Australia at the
same time as life on the front line.
Home front:
This area will go into detail on:
• The hopes and dreams of young men and women at the outbreak of WWI –
particularly those from the area the experience is visiting. By examining letters
and journals from the time, it will help demonstrate that these people were not
much different to the visitors of today; that their worries were similar to our
worries, their dreams similar to our dreams.
• The women left behind – mothers and sisters (including Jack’s). Stories of taking
on the roles of the men in the factories and on the land.
• Stories of the worries of fathers who may have experienced war themselves in
the past (Boer war).
• The attempt and failure of the move from enlisting to conscription, as volunteers
dried up in numbers.
• Raising money for the war effort.
Juxtaposed against
The front l ine:
This area looks in detail at the horrors of war on the frontline in battles such as:
• Gallipoli, Trench warfare on The Western front, Passchendaele and the Somme.
Campaigns in Sinai, Palestine. The final assault – The Hindenburg Line. And
finally, Armistice and victory.
• These stories will be brought to life by a live action ‘Peppers Ghost’ display.
It will introduce the ghost of one of Jack’s brothers who was killed in action.
Visitors can actually chat with this ghostly figure from the past about anything
they want.
• We meet characters and hear of stories from
all across our military commitments. We
see soldiers from all backgrounds, including
indigenous, fighting side-by-side, prejudice
aside under the same rising sun. HORRORS
OF WAR
SIMULATOR
BUT FOR THE
GRACE OF GOD
PEPPERS GHOST
WELCOME
THE BRIEFING ROOM
BAPTISM BY FIRE
TO HELL AND BACK
THE HORRORS OF WAR
LEST WE FORGET
THE LAST POST/FLAG

the home front the front l ine the horrors of war
106 107
Jack’s Rol e
In this area we will feature the world both through
Jack’s eyes, and those of his family at home. We
will hear his stories, his letters home, and hear his
father, mother and sister explaining the realities of
a very different Australia to what he left.

the horrors of war the horrors of war
Bi - plane Simulator
This room features a bi-plane simulator on hydraulics with a front facing projection wall where the public can
experience a dogfight against the legendary Red Baron.
We would feature wrap-around projection that will play Peter Jackson’s ‘Over the Front’ film while the simulator is
not in use.
108 109
Jack’s Rol e
We hear Jack narrate his own stories (real stories)
of some of the amazing miracles and survival
stories he has witnessed.

l e s t w e forge t
This part of the experience focuses on remembering the fallen. It consists of a
large format digital wall of all the fallen soldiers from the town and local area.
Where possible, photos will be included, as well as names and details. Visitors can
approach the wall to discover details that appear as a greyed out ‘etched in stone
effect’ on the wall. Once touched, the details and photograph will enlarge and
illuminate. This wall can also go into regional and national detail of all the fallen
Australian soldiers over the last 100 years.
Opposite will be a message wall where visitors can give a message of thanks. iPads
on plinths will allow people to write their message of thanks to those who have paid
the ultimate price. These will then be ‘flicked’ from the iPad to the wall where they
become individual poppies. These can also be posted to the individual’s social page.
Others can scroll through this ever-growing wall of poppies as more and more
messages are added to the experience as it makes its way around Australia.
In between these walls will be a reflection pool where the eternal flame will burn.
110 111
Australia moving forward:
This area looks at how the war affected the people of Australia and the country as
a whole in the immediate and long-term aftermath. It examines the stories of the
survivors and how they assimilated back into society. It looks at the many welcome
celebratory events for those who made it back. All around Australia it looks at the
many War Memorials erected in memory of those who died in the Great War – the
war to end all wars. It will include:
• Thousands of marriages and a fair few divorces.
• Less support for the old British Empire.
• Australia as a nation – our newfound identity
on the world stage.
LEST WE
FORGET
POPPY WALL
FIRE
FOUNTAIN
MOVING
FORWARD
WELCOME
THE BRIEFING ROOM
BAPTISM BY FIRE
TO HELL AND BACK
THE HORRORS OF WAR
LEST WE FORGET
THE LAST POST/FLAG

lest we forget
112 113
Jack’s Rol e
Here we see post-war life through the eyes of a
returned soldier. We hear of the optimism, and
see Jack re-build his life on his Soldiers Settlement
Plot, with his family, and friends. We hear of his
challenges re-adjusting, and hear from those around
him who didn’t serve to understand both sides of
the story.

we sa lut e you
117
This area will house the
Salute and ancestry area.
‘We Salute You’ uses kinect technology to count peoples’
salutes. The wall will feature a national total and a local
event total. Every salute we count goes towards a donation
for a serviceman’s charity.
The ancestry component consist of iPads on plinths where
visitors can look up
their family tree to
find out which of
their relatives may
have been involved in
WWI. MEMORABILIA
ANCESTRY
WE SALUTE YOU
SALUTE WALL
WELCOME
THE BRIEFING ROOM
BAPTISM BY FIRE
TO HELL AND BACK
THE HORRORS OF WAR
LEST WE FORGET
THE LAST POST/FLAG

THE LAS T POS T
In a dedicated zone outside the main structure we will have our own flagpole and
flag, our lone bugler will first read the Ode, then sound the Last Post, as another
man in uniform will lower the flag for the day.
Visitors and Community Groups will be encouraged to lay a wreath at the
ceremony, commemorating an individual, or an entire town’s contribution. We will
display the wreaths in our Lest We Forget area until the tour ends in each town,
where the wreaths will be placed at the local Memorial. THE BRIEFING ROOM
119
WELCOME
BAPTISM BY FIRE
TO HELL AND BACK
THE HORRORS OF WAR
LEST WE FORGET
THE LAST POST/FLAG
FLAG
At 4:55AEST each day we wi l l host a L ast Post Ceremony.

l egac y shop
We have given the Gift Shop it’s own
mini pavilion to house this retail
experience, and given you a very
small example of merchandise that
may be available. We look forward
to working with your merchandise
experts to flesh this range out. LEGACY AREA
121
SOUVENIR
SHOP
WELCOME
THE BRIEFING ROOM
BAPTISM BY FIRE
TO HELL AND BACK
THE HORRORS OF WAR
LEST WE FORGET
THE LAST POST/FLAG
We b el ie ve there wi l l b e a huge demand for memor abi l ia
and merchandise for the Coming Home Exp erience, and
the Anz ac Centenary gener al ly.

THE structure
Af ter much research, w e have selected a custom-made PentaSpan for
our ma in s tructure. The reasons for select ing this tempor ary s tructure
are mani fold and out l ined b elow.
122 123
5200
1200
3000
8000
2500
Th e St ru c tu r e
With a total footprint – 4,480sqm, including a main structure, and 5 separate mini-pavilions
all forming the one experience.
The core structure can be assembled using 12 trained crew within 24 hours, with all
components packing-down into in 2 x 40 ft semi-trailers. All the packing components
are modular and are designed to fit efficiently in a standard semi-trailer.
The PentaSpan is designed for all conditions. It is entirely wind, water UV proof
when fully installed. It can be erected on any surface using an assortment of anchoring
options. We will be integrating our own AC power system into the main structure.
In addition the lattice-work of trusses provide us with ideal mounting points for our
projectors, lights, speakers other show infrastructure. In addition, we have worked
with our suppliers to employ practical flooring options, load-adapted to zones within
and around the main structure ensuring a safe practical exhibition environment.
The PentaSpan has been designed around grand-format exhibitions displays. The
structure allows us to install a diverse multi-faceted exhibition experience including
live elements, displays interactive set-ups. The structure is capable of accommodating
2 x 15 metre low-loaders with AWM heritage tanks mounted. From this we are able to
secure our diaorama theatre 30-metre wide warfare scenario, modular curved viewing
grandstands 360 degree rear-projection backdrop screen that wraps the whole WWI
battlefield live show.
In summary, the PentaSpan is purpose-built for our application. It offers us full scope
to roll-out our Anzac Centenary Tour, safe in the knowledge our assets are in a safe,
appropriate dynamic environment, as yet unique to Australia.

Th e T o u r
Hub Spoke St r ategy
We recommend a hub and spoke touring strategy. That is selecting major regional
hubs that are within 1-hours drive of many similar sized populations.
We recommend running the tour over 2 weekends to maximise school, community
and family opportunities to visit, recognising that the experience will build
momentum as word of mouth spreads through town.
We would base our core team out of the experience, but would send outreach teams
and pop-up kits out to engage with community groups in our hub and spoke towns
once we arrive.
GULGONG
MUDGEE
LITHGOW
ORANGE
COWRA
YOUNG
124 125
PEAK HILL
PARKES
FORBES
WYALONG
DUBBO
WELLINGTON
BATHURST
CENTRAL
WEST
NSW
THE tour
Example Hub Towns:
• Bathurst
• Newcastle
• Tamworth
• Wollongong
• Wagga Wagga
• Townsville
• Mackay
• Bundaberg
• Ipswich
• Salisbury
• Onkaparinga
• Geraldton
• Albany
• Launceston
• Alice Springs
In total we recommend a 10 day stay
in 55 locations across the country over
4 years.

THE TOUR THE TOUR
ANZAC CENTENARY EXPERIENCE
100
Y E A R S
1 9 1 4 – 2 0 1 4
COMING TO YOUR TOWN
100
Y E A R S
1 9 1 4 – 2 0 1 4
100
Y E A R S
126 127
100
Y E A R S
1 9 1 4 – 2 0 1 4
1 9 1 4 – 2 0 1 4
We have designed all of our structures, and internal elements to be easily
and quickly packed up and down and locked into position.
We have specified 2 marquee outer structures in our touring kit that will leap-frog
each other on-tour to minimise down-time, and give us contingency should any
damage be done on the road.
We are assuming at this stage that we would work with Linfox to secure preferential
rates on trucking, and that our fleet of vehicles will look something like this…

An Exp e r i e n c e for a l l
We recognise that we wi l l att r act a broad cross -sect ion of the communi t y,
and that not a l l elements wi l l appeal equal ly, so we’ ve ensured that
peopl e can choose their own s t yle of v isi t to sui t thei r interes t le vel ,
comfort wi th technology, and age.
For kids and school groups we have developed the app to allow them to deep dive
into further information that interests them, and to put themselves into the action
with game-style engagement techniques. We would also assume a more theatrical
style performance would be appropriate for school groups booked in through the
weekdays. The school tours would be hosted by our guides and would begin in
the classroom adjacent to the entry, we would also incorporate actors throughout
the experience.
For adults we have a self-guided tour. We are proposing Sennheiser guidePORT
system. The system has location awareness and feeds content to you in context of
where you are standing at any given point.
For special interest and community groups we are proposing a guided tour. Hosted
by a guide, these sessions would begin in the Briefing Room adjacent to the entry.
128

Exp e r i e n c e P rogr ammi ng
We intend for the Coming Home Experience to be in each location for a minimum of
ten days. The VIP event will always aim to be on a Friday night and the experience
be in town for two weekends.
V I P L a u nc h Eev n t S c ho ol P r o g r a ms
131
De f enc e /Mi l i tary Programs
Town Ma rch
A f f il i at ed Communi t y
Group Progr ams
Publ ic Day L aunch
His toric a l Socie t y Progr ams
L oc a l E x hibi t ions
Conc er t Progr ams
Ma rk e t s Fa irground

I n d i c at i v e St a f f i n g
Progr am
Volu nt e e r i ng
132 133
An experience of this scale needs a dedicated, committed and well-trained team of
passionate, engaging professionals, while the length of the tour means we need to
be rotating staff at regular intervals to avoid fatigue, and to comply with health and
safety requirements
Staffing and labour costs will inevitably be the largest component of the entire tour,
so where possible we will require a team of people who can multi-task. They will be
required to help install the experience, and then to be a performing part of it while
it’s live.
CON TEN T
PERFORMANCE STAGE
MANAGEMEN T
TECHNICAL PRODUC TION
MANAGEMEN T
PUBLICI TY LOCAL
ENGAGEMEN T
TOUR MANAGER
A/V Operators (screen
show)
Screen Print Producers
Designers
Editors
Sound Technicians
V/O Artists
Actors Extras
Hosts Guides
Performance/Stage Manager
Show Caller
Project Managers
Digital Producers Coders
Lighting Designer
Audio Designer
Trades people
Electrician
Tent Crew
PR Manager
Community Engagement Manager
Travel and Logistics Manager
Whi l e the creat ive element of the tour require s scrip t ing, tr aining and a le vel
of performance expert ise, there wi l l be many roles on the tour that can be
picked up and tr ained at a local le vel wi th volunteers.
It is our intention to work with universities and performing arts colleges to source
keen, affordable talent and volunteers to help deliver the tour in a cost effective way.
We have also discussed volunteer staff with potential key partners Telstra and
Commonwealth Bank, who have shown interest in offering time from local branch/
retail staff in each town.
It is our intention to work closely with the Defence Force and Volunteering Australia
to look for further staffing programs for the tour.

Logi s t i c s tou r
ma n ageme nt
Imaginat ion are wel l v ersed in gr and- format logist ics.
We have a trusted ne twork of freight logist ical suppl iers
across Aus tr al ia .
Our internal production staff have immeasurable experience in moving diverse
freight across Australia, the Asian region beyond into key international markets.
We are global exhibition programme managers for Shell, Ford, Land Rover Jaguar,
including everything from creative concept, spatial graphic design, tech tour
logistics along with all management of fringe events that frequently surround the
exhibition roll-out.
134 135
The Imagination team have worked extensively in most cities towns across
Australia giving us broad experience of the logistical challenges that can exist. In
addition we are proficient in working with local councils government departments
to ensure a seamless delivery of events of all sizes formats.
Logi stics tour management

Cor por at e Pa r tn e r s h i p
Opp or tu n i t i e s
Imaginat ion has had great succes s at d el ivering meaningful
corpor ate partnerships for ma jor government projects.
137
We believe that even within our own network of clients that we can help offset build
and touring costs by working with you to develop win-win relationships.
Telstra – Major Partner of Sydney New Year’s Eve – Imagination Client
Notional agreement to become a major technology partner to support the digital
pre-collection of stories and the interactive elements within the exhibition, along
with supplying telecommunications requirements for the exhibition and staff.
Ford – Major Partner of Royal Australian Navy International Fleet Review –
Imagination Client
Notional agreement to provide a fleet of Rangers, Territory’s and Transit vans to
support the tour.
Commonwealth Bank – Imagination Client
Notional agreement to house and facilitate pre-tour story and memorabilia collection,
along with a substantial charitable donation to encourage as many visitors as possible
to engage with the ‘Salute the Soldiers’ digital installation.

Va lu e fo r Mone y
Va lu e fo r Mone y
138 139
The scale and length of time of this project presents several major risks to the AWM.
Scope creep, an inconsistent consumer experience across platforms, re-work and
double-ups if different agencies/suppliers work across different elements, double-handling
by your Project Director having to deal with multiple suppliers, and of
course gaps in deliverables based on multiple contractors all looking after their own
scope in isolation.
With Imagination you get an integrated agency that is experienced at delivering
every aspect of an event and comms program of this scale. You get expertise in
every aspect the marketing, design, sponsorship/partnership acquisition, film and
digital production, build and fabrication, community engagement programs, and of
course, the management and logistics of the entire tour.
All of this experience comes with the team we have delivered to you for this project.
This one-stop solution means you benefit creatively by having a seamless consumer
experience, financially as we are filling every gap and looking for economies
of scale across every platform, and from a time perspective as you are managing
fewer suppliers.
Further to these advantages, we are highly experienced in managing partnership
opportunities for projects like this. We have delivered several million dollars
worth of extra value to Sydney NYE and the Royal Australian Navy’s International
Fleet Review.
We believe we can effectively source, integrate and manage major corporate and/or
Government partners to help offset cost, and leverage off their enormous customer
bases to deepen our community reach.
In this instance we are confident that we can deliver Telstra, CommBank and Ford
partnerships based on current conversations, and we believe we can add the likes
of Qantas, Linfox, Rydges and Greyhound, to support transport and logistics costs
throughout the tour.
We can also help attract media partnership, and have helped both the City of Sydney,
and the Royal Australian Navy secure amazing coverage and reach through News
Ltd, ABC, Channel 9 and Austereo. Once secured we can create and manage the
campaign including print, digital, social media and television advertising.
A project of thi s scal e require s s igni ficant inves tment, and a creat ive
team that understands how to del iver an ama zing experience, an
engagement s tr ategy and campaign through e very touchpoint, and has
the experience and in-house expert ise to del iver on i t – from concep t
and content de velopment to fabricat ion and touring.

Wh y Imagi n at ion
Wi th Imaginat ion you ge t creat ive enthus iasm, pas s ion for
perfect ion, and a col l abor at ive approach to e very thing we do.
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You also get the peace of mind that comes from working with an Agency with 45
years experience, over 70 local staff across every discipline, and the capability and
capacity to deliver some of the most technically advanced, jaw-dropping events and
experiences across the world… All while being a very nice bunch to work with along
the way!
We feel like all of our professional experience has led us to this project. It has given
us the perfect background to deliver something of the likes Australia has never seen.
It is the perfect fit for our skillsets, but more importantly, it’s a creative brief we are
all extremely emotionally invested in.
We want to be on your team more so than any project we’ve ever delivered.
We hope that the effort we’ve gone to over the last three weeks shows our energy
and enthusiasm for this project… just imagine what we could deliver together over
the next 4 years.

Anzac r330 awm high_res

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