“The digital dissemination is at a very high level”
– Sverre Amundsen, Aftenposten History.
On behalf of Østfoldmuseene , Inge Steenslands Stiftelse and State Scholar Petter Ringen Johannessen, Netron has developed digital interactive installations: “Video Table” and “Immersive Room.”
Netron was commissioned to create three of the installations for “Østfold in War 1939-1945.” This includes the design and content of the stories from concept to finished product, covering Operation Polar Bear, the attack in the Oslofjord and Østfold, and the story of the war years seen through Inge Steensland’s eyes.
The digital museum exhibition “Polar Bear” is permanently housed at Fredrikstad Museum and covers the war years in Østfold from 1940 to 1945.
The Target Audience
Unlike much else in this segment, we have worked purposefully to dramatize this for the “17-year-old who doesn’t usually visit museums.” Through smart use of 3D, animation, and film, we have developed the stories in ways that are relatable and guide the user forward. The stories are divided into short segments that invite the user to continue with clever cliffhangers. As much as possible, we have avoided using historical film clips and old photos, either by recreating them in 3D or by smart use of AI to make them authentic and recognizable for new audiences.
Physical testing of the “Stensland” room during construction.
The installations provide context for the other artifacts in the museum, which this target audience might otherwise struggle to place in a broader context. We see that by focusing on this target audience, we also reach other groups. The option to choose whether to continue or not results in the majority opting to see more.
The “table” in two of the installations is specially designed with universal accessibility in mind, making the displays user-friendly from both high and low angles. The content can be viewed from a distance and up close, the experience is subtitled in multiple languages, and accessibility considerations have been taken into account.
Here is an example of a successful campaign targeting Generation Z with high engagement:
To evaluate content placement and physical dimensions, we constructed a digital 3-dimensional test of the installation.
Gaute Jacobsen, Tor Ulsnes, and Petter Ringen Johansen at the completed installation.
Working Methodology
The use of VR for visualizing the installations has been an important tool in the project. This has given us the opportunity to assess the size, distances, and design before the furniture and interior were put into production by craftsmen, reducing the potential for errors.
This was also crucial for the placement of the installations and the overall design of the exhibition.
This has been a locally sourced delivery. With the client just a stone’s throw away, bicycles have primarily been used for client meetings.
Film shoots have been conducted in historically accurate surroundings in the local area, with short crew relocations and minimal CO2 emissions. Primarily, local extras and crew have been engaged locally.
We have also chosen to create most of the film sets in 3D instead of building them physically. This is also a consideration for the future, allowing us to reuse buildings, vessels, and scenes for future film shoots, game development, or further content development.
Several students were invited and engaged; Netron is a training company committed to social responsibility and actively collaborates with volunteer organizations.
Use of AI
The project had extensive research material. An important aspect of approaching the main target audience was to relate the time period closer to the present day. Colorizing black and white photos and enhancing portrait images thus became important tools.
AI was used for colorization and enhancement of portrait images.
