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Vinicius Araujo, Kale Group/Emrah Meshur, Jam3, art directors
Özgür Çayan/Ernie Schenck/Cihan Turan, Kale Group, writers
Mauri Vio, Jam3, motion graphic designer
Burcu Köken, Kale Group, designer
Vinicius Araujo, Jam3, lead designer
Mark Stein, associate creative director
Adrian Belina, Jam3, creative director
Murat Bodur, Kale Group, chief creative officer
Maximo Belén/Mauricio Salazar/Davson Wandja, Jam3, developers
Max Rusan/Frank Wang, Jam3, lead developers
Miguel Moraleda/Aaron Morris, Jam3, technology directors
Utku Demir, Kale Group, assistant editor
Nikola Bižić, Kale Group/Cem Yildirim, Jam3, editors
Goran Kovacević, Jam3, director of photography
Narcan Şen, Kale Group/Booker Sim, Jam3, directors
Dinahmoe, sound designer
Ahmet Yurttakal, Kale Group, associate producer
Fatma Akdağ, Kale Group/Sarah Lasch, Jam3, producers
Murat Bodur, Kale Group/Michael Dobell, Jam3/Mark McQuillan/Ernie Schenck, executive producers
Sherry Kennedy/Logan Salsberg, Jam3, production coordinators
Ginger Jarvis, Jam3, visuals editor
Jam3/Modiki, production companies
Jam3, project design and development
Kale Group, client

Launch Site

Sons of Gallipoli presents video content in a truly unique way, enabling users to have more control than ever with components like a visual table of contents and quick access to jump among chaptered content.” —juror Megan Meeker

“Endearing transitions, lovely sound track and confident typography = successful Web immersion.” —juror Gabe Kean

Overview: Over a tiny stretch of land and sea in modern-day Turkey, nearly 400,000 soldiers were killed or wounded in one of World War I’s most brutal battles, the Gallipoli Campaign. In order to preserve the memory of the fallen 100 years later, Sons of Gallipoli, an interactive documentary, was produced by digital production and design agency Jam3 for the Istanbul-based company Kale Group. The core linear story is told through the eyes of an Australian mother and a Turkish mother. Viewers can also click on hotspots throughout the documentary to access a secondary layer of rich content from historians, descendants and experts.

•A permanent digital installation—a modified, touch-screen version of the interactive documentary with additional content—is set to open in Gallipoli in 2016. A companion hardcover book will also be released this winter.
•The developers used HTML5, CSS, JavaScript, Pixi.js, WebGL, DOM, Canvas and Cockpit CMS.
•The project has received more than 335,000 visitors since launch.

Comments by Jam3:
What do you think are the project’s core features? “In addition to the linear documentary, the website houses a huge archive of historical documents, some never before released. While viewing the documentary, viewers can access this material via hotspots that pop up in context to create an interactive picture-in-picture mode. This enables users to explore the secondary content in a nonlinear fashion as they continue to watch the documentary. It’s a unique way to create a more interactive and immersive experience without detracting from the main linear experience.”

Are there any other technical features you’d like to call attention to? “Using a slew of variables on the front end and the back end—including geographic location, IP address, cookies and browser preferences—the site predetermined the appropriate default language. This approach improved user retention by decreasing the number of decisions required by the user at the onset of the experience.”

What was the most challenging aspect of the project? “Logistics. The Jam3 team is based in Toronto, but most of the project had to happen elsewhere. We had a producer with a small team traveling in Turkey and the United Kingdom for casting, principal photography and the collection of secondary assets. Although it would have been more convenient to do post-production in Toronto, the documentary had to be edited in Turkey for the Turkish-language version and in case we needed any additional footage. In addition, working with a half dozen English- and Turkish-speaking scholars meant boiling down an enormous amount of content in two languages—from multiple viewpoints—into a coherent dual-language narrative. That created some challenges, but nothing we couldn’t handle in the long run.”


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