INTRODUCTION â€” 1
INTRODUCTION â€” 3
From reading this book the intention is that you gain a sense of who we are, what you can expect from us, and an understanding of how we commit to what it is you are trying to achieve. We know from experience that realising any project requires a combination of communication, drive, structure, technical know how and creative ambition. These are the foundation skills that every member of your delivery team should have in their tool box and which we believe our team has in abundance. Baked into our DNA is an understanding of the skills and disciplines required when the technical and the creative dance hand in hand. Those skills underpin the delivery of successful storytelling within any public space and sit at the heart of story engineering. This book shares our philosophy and methodology. We try to give you a sense of the work we are proud of, the principles that have guided us along the way and how that has given us a lens through which we are able to understand, interpret, protect and ultimately deliver an enriching emotionally visceral experience for everyone. We hope that you find our story thought provoking and that it stimulates further conversation.
â€”â€” INTRODUCTION 5 5 INTRODUCTION
THE SYSCO STORY
THE SYSCO STORY IS ONE OF A JOURNEY TO FULFIL THE DESIRE TO CREATE MEMORABLE HUMAN EXPERIENCES For 20 years we have been working at the heart of the creative industries, balancing the different dynamics to deliver great stories - the integration of art and science.
10 â€” THE SYSCO STORY
Our core skills were built years before that in the performing arts, where we learnt the craft that continues to give us the ability to empower a great narrative. We work principally in places where people gather to enjoy real life experiences such as museums, exhibitions, visitor centres, arenas and stadia. Popular Culture has evolved significantly over the last two decades driven by the growth of social media and the emergence of a digitally driven society. The accelerated development of cutting edge technology, virtual and augmented realities, robotics and artificial intelligence are generating new applications, changing the way people interact and experience their world. Through all these dynamic changes, there remains an undeniable truth that real world engagement, (those visceral, life enhancing moments that live on in our collective shared experiences), will forever sit at the heart of who we all are as people. Empowering those moments is our lifeâ€™s work.
THE SYSCO STORY â€” 11
“IT ALL BEGA N WI TH THE SI M P LE D ESIRE TO PUT ON A SH O W, TO PRODU C E EM O T IO N, TO I MPART K N O W LED G E AND L E AVE A L AST IN G IM PRE SSI ON.” HU GO ROCH E, MA NA GI NG DIRECTOR
12 — THE SYSCO STORY
IMPERIAL WAR MUSEUM: FIRST WORLD WAR GALLERIES; ENGLAND
TECHNOLOGY CHANGE COMES IN TWO FLAVOURS - EVOLUTION & REVOLUTION Technology has been ever present in the Sysco back story, for us technology has been a core enabler. We are forever being asked "What’s new?". We believe technology development comes in two flavours; evolution and revolution. Technology evolution can be readily understood; it is iteratively better, more reliable and delivers greater benefits to the end users. The technology revolution is far reaching and dynamic, redefining social structures and interaction through digital media and connectivity, constantly morphing and presenting new opportunities. Driverless cars, virtual and augmented reality, intelligent robots and Elon’s hyperloops are now rapidly approaching technologies which will become as ubiquitous as the iPhone is today. Our raison d’etre is to harness these emergent technologies, constantly challenging our research & development team to deliver relevant solutions and thus enabling our design team to create a unique, emotional and engaging narrative for your projects.
IMPERIAL WAR MUSEUM NORTH: BIG PICTURE SHOW; ENGLAND
WHY STORIES MATTER Not every engineer needs to build software or bridges to earn the right to be called an engineer. What our engineers build are memory structures in the form of stories. Stories are the building blocks of human society. Stories are like DNA, passed down from one generation to the next. In this code, are accumulated instructions for shared experiences that have educated and engaged people since the dawn of time. The work that we do with our clients reflects the scale and diversity of manâ€™s enduring desire to enlighten, entertain and inform through storytelling.
THE SYSCO STORY â€” 17
W E HAVE A FUNDA ME NTAL BELIEF IN THE POWE R O F STO RYTE L L I NG. AS H U MANS W E ARE E MOTI ONAL C R EAT URES, Y E A RNI NG FOR WO N DER , NEEDI NG STORI E S T O T EACH US HOW TO L I VE : S TO R IES T HAT DON’T E ND, B UT T RAVEL AND GROW, PAS SIN G FRO M THE PHYSI C A L T O T HE MY THI C AL .
18 — THE SYSCO STORY
MACALLAN DISTILLERY; SCOTLAND
WE ARE STORY ENGINEERS
“TH ERE IS A POWE RFU L BALANCE OF FORC E S C AP T URED W I THI N A WE L L E NG INEERED STORY THAT I S CAPABLE OF I NSPI RI NG, ST IM ULATI NG AND E NTH RALLING THE PUBL I C , THAT NAR RATI VE ARC H I S T HE ESSE NC E OF OU R ST O RY EN G I NE E RI NG.” MA RK BURGIN, CHA I RMAN
22 — WE ARE STORY ENGINEERS
MILAN EXPO 2015: UK PAVILION; ITALY
TODAY WE ARE A WORLD CLASS EXPERIENCE DELIVERY COMPANY IMMERSED IN THE RELATIONSHIP BETWEEN ENGINEERING AND STORYTELLING Whilst the context may differ and change, our ambition is reassuringly constant; to give the most moving, magical and memorable experiences possible to the public.
24 â€” WE ARE STORY ENGINEERS
The process begins by developing a clear understanding of the project demands; the budget, timeline and creative purpose. We then have to appreciate the constraints; ambient light, the scale of the space and footfall. Within the context of those demands and constraints, we are able to agree and specify the practical platform for delivering the narrative arc. It is then equally important to take into account the emotional dimensions and complexity of the story we wish to tell; the physicality of the artefacts, the presentation of the media, and the ultimate potential for real interaction. These are all elements forming the grid of decision-making with which we are constantly faced. Our ability to frame complexity within this grid and make proportionate sense of it has a real impact on the delivered product. It is our job to manage the complexity of the discrete demands of the project, in order to engineer a solution that delivers a memorable story.
THIS IS WH AT WE CA L L STORY E N G I N E E RI N G.
WE ARE STORY ENGINEERS â€” 25
TRUTH LIES I N THE RE VE AL . W H EN THE RE ’S L I GHT AN D SH ADE , THE J OY OF E NG IN EER ING BE C OMI NG A RT, EM P O W ER ING THE DE L I VE RY O F AN EN GAGI NG, E MOTI ONAL , M EM O RABLE E XPE RI E NC E . . . T HAT IS THE VE RY E SSE NC E O F O UR A MBI TI ON.
WE ARE STORY ENGINEERS — 27
THE GRID AND ITS CORE FUNCTION When we first meet a design team, they have a creative vision which needs to be evolved into a compelling story with a clear narrative. This must simultaneously deliver the visitor experience, whilst retaining the integrity of the creative vision. Our challenge is to frame that story as we develop a more detailed narrative within the discipline of the physical space. We achieve this by integrating the organic (narrative development) with the physical (constraints of the space). The tool we use to create this approach is best described as a grid. It is sometimes as simple as a uniform design interpretation of the space, but more often it is a device that is used as a framework to interpret the constraints, opportunities and the dynamic nature of the space and its objects. It is this application of a grid that creates order and structure, allowing our teams to communicate clearly and precisely to the different stakeholders across all stages of a project. Whether this is initial drawings of the design application, or the production engineering and system calibration; the grid maps our way by determining scale and content with coherent consistency.
“ T HE FO CUS SHOUL D BE TO ALWAYS TRY TO FI ND A P P RO P RIAT E TE C HNOL OGY TO CO M P LEM EN T AND E NHA NC E , RAT HER T HAN OVE RPOWE R AND D I S T RACT: O UR MA NTRA I S THAT T ECHN O LO GY IS A N E NABL E R, I T SHO ULD N EVE R DOMI NATE T H E STO RY...IF I T’S DOI NG I TS J O B CO R R ECTLY Y OU MAY NE VE R EVEN KNO W I T’S THE RE .” GRA EME BUN YAN D I R ECT OR OF TECH N OLOGY
30 — WE ARE STORY ENGINEERS
LINCOLN CASTLE: REVEALED; ENGLAND
WE NEED SPACES TO TELL STORIES
IF STORIES ARE UNIVERSAL IN HUMAN SOCIETY, SO TOO ARE THE SPACES IN WHICH THEY ARE TOLD Great stories need great settings, and often those settings speak longer and louder than the stories that they house.
36 â€” WE NEED SPACES TO TELL STORIES
From the domestic scene of the caveman’s painted walls to the orchestration of epic sea battles in the Colosseum of ancient Rome, it is human nature to tell stories - and to tell stories where the space itself is an intrinsic player in the story. Shakespeare’s world was just as much a reflection of The Swan or Globe Theatre’s architecture, as it was the Italy or Scotland he imagined. We always strive to engineer a relationship between a space and its story, allowing us to recreate the brutality of the First World War in a room in London or relive the 60’s revolution in a historic museum. Through the consistent application of our story engineering methodology we continue to build bridges between divided audiences, such as transforming a Shakespearean villain into a relatable King on a Leicestershire High Street.
WE NEED SPACES TO TELL STORIES — 37
THE STORY ENGINEERING METHODOLOGY
IMAGINING We understand the need to work collaboratively within creative teams and multiple stakeholders to design a solution that is in line with an agreed single vision. It only works if it all works. We are sensitive to the creative journey and the twists and turns it can take, but we can visualise the destination.
EN GINEERI N G We develop and custom build technology, blending cutting edge solutions with more traditional effects to create state-of-theart, theatrically entertaining, and interactive experiences. We love to engineer a creative challenge.
38 â€” WE NEED SPACES TO TELL STORIES
I MP L E ME N TATI O N This means planning for every eventuality to ensure that we execute on time and in full. The iterative development of flexible solutions and the possession of a practical, creative mindset are fundamental.
SY N TH E SI S Here we bring all the elements together, fully engaging with every component and phase of the delivery process to meet deadlines consistently. Ensuring the final experience is seamless in order to maintain standards post public opening, offering ongoing support for longevity and quality control.
WE NEED SPACES TO TELL STORIES â€” 39
IMPERIAL WAR MUSEUM: FIRST WORLD WAR GALLERIES CONNECTING A 100 - YEAR - OLD CONFLICT TO A MODERN AUDIENCE
IMAGIN I N G Showcasing the conflict of the First World War through the eyes of those who lived and died during this period, with the vision of engaging the attention of a younger audience, thereby connecting contemporary visitors to a 100-yearold story.
ENGIN E E RI N G Working closely with the curators to understand the importance and significance of the harrowing story that they hoped to convey in order to evoke authentic emotions through technological solutions that firmly connect visitors of all ages to the sensitivity and sheer scale of the First World War.
IMPLEM E N TATI O N Strong collaboration with the interactive and creative teams during implementation to ensure that technology solutions coherently align with the content development.
SYNTH E SI S Complete immersion with the design and client team to process the entire content of the most comprehensive collection of First World War artefacts to commission a solution that complements and successfully balances objects, text and audiovisual materials.
WE NEED SPACES TO TELL STORIES â€” 41
EDGE B LENDED PRO J EC T I O N MULTIPLE PROJECTION INSTALLATIONS THROUGHOUT THE EXPERIENCE REQUIRED EDGE BLEND CAPABILITIES TO CREATE SEAMLESS IMAGES.
“ I SP EN T 1 1 Y E ARS AT TH E SCIENC E MU SE U M W HERE G RO UNDBRE A KI NG MEANS USIN G THE NE WE ST T E CHN O LO GY THAT PE OPL E H AVEN ’ T SEEN Y E T. WHAT W E’ VE DO NE HE RE I S G R OUN DBREAKI NG – NOT J UST T HR O UG H TH E TE C HNOL OGY BUT VISUAL S TOO.” J O S AULL, I NT ERPRETAT ION MAN AGER, I WM
44 — WE NEED SPACES TO TELL STORIES
DIGITAL I NTERACTI V ES USING PROPS COMBINED WITH A NUMBER OF TECHNOLOGIES INCLUDING HIDDEN CAPACITIVE SENSORS AND IR CAMERA TRACKING.
P ROJECTI O N MAPPI NG MAPPED PROJECTION ONTO FLOOR MOUNTED MANNEQUINS SHAPED LIKED ADVANCING SOLDIERS.
MILAN EXPO 2015: UAE PAVILION CONSTRUCTING AN IMMERSIVE LANDSCAPE OF THE UAEâ€™S PAST, PRESENT AND FUTURE
IMAGIN I N G Understanding the creative ambition of the client to create a world class Expo pavilion, taking inspiration from the UAE culture, landscape and traditions to educate and engage visitors with the core theme of the Expo: ‘Feeding the Planet, Energy for Life’.
ENGIN E E RI N G Creating a state of the art, theatrically entertaining, and technologically interactive ‘Main Show’, engaging the audience in the narrative whilst validating the importance of the client’s story by weaving the UAE’s rich heritage into an inspiring vision of the country’s future.
IMPLEM E N TATI O N Transforming a significantly delayed project, with an extremely challenging architectural design and environment, into a successful delivery by planning for every eventuality, whilst undertaking endless testing throughout each phase and mediating between the client and important stakeholders.
SYNTH E SI S Assisting with additional on-site support, working incredibly long hours and utilising as much of the company’s resources to ensure the successful delivery of the design and final project in time for the grand opening, despite all on-site problems and short delivery timeframe.
WE NEED SPACES TO TELL STORIES — 49
M ED IA CUBES A DUAL SIDED CUBE PROVIDED A PEPPER’S GHOST EFFECT WHICH AUGMENTED REAL 3D OBJECTS WITH OVERLAID ‘HOLOGRAPHIC’ LIKE HD ANIMATIONS AND AN AR EXPERIENCE.
“ S O M E 14 5 NATI ONS ARE PART ICIPATI NG I N THE WO RLD EX P O HE L D I N MI L A N A N D W HICH FINI SHE S ON 3 1 O CT O BER . O UR STA R OF THE S H OW WAS UN DOUBTE DLY THE U AE PAVILIO N WHI C H WAS EM O T IO NAL, C HAL L E NGI NG, TH O UG H T - PROVOKI NG, YET M AN AG ED TO E DUC ATE AN D ENGAGE .” AV MA GAZ IN E
52 — WE NEED SPACES TO TELL STORIES
P EP P ER’ S GHO ST P R O J E C T I O N THE ‘FUTURE TALK’ EXHIBIT DELIVERED AN IMPRESSIVE PRESENTATION OF MIND - BENDING SYNTHESIS OF HOLOGRAPHIC - LIKE ILLUSION, LAYERS OF MEDIA PROJECTION, AND ANIMATED STAGE OBJECTS.
C INEMATI C PROJ EC T I O N A 170 - DEGREE CYLINDRICAL AUDITORIUM WHERE VISITORS WATCH A CREATIVE MULTI - PROJECTION, MULTI - CHANNEL AUDIO PRODUCTION CAREFULLY CHOREOGRAPHED WITH SYNCHRONISED LIGHTING AND EFFECTS.
SUTTON LIFE CENTRE; ENGLAND
THE VALUE OF THE COLLECTIVE EXPERIENCE As human beings we have a basic need to come together and share collective experiences enriched through the art and tradition of storytelling. In todayâ€™s media saturated world, even though we are more connected, we are also becoming more isolated. We need powerful stories to create new shared experiences. A shared experience can often become a future story. Consider the mythology around Woodstock, a gathering of around 300,000 people in a field, which through the retelling has grown to millions. This smallish, unstructured gathering had such collective narrative power that it is seen as a decisive turning point in 20th century political decision-making and became the bedrock for a subsequent chapter of western human history. This sense of scale and transcendent ambition is important to us. We are driven not just by the satisfying methodology of story engineering, but a collective ambition to improve on previous work and find a new relevance.
WE NEED SPACES TO TELL STORIES â€” 57
Weâ€™re all trying to make sense of our lives and thereâ€™s great comfort in knowing you are not alone. Life is better as a shared experience. This shared experience can deliver a real wealth of learning both individually and collectively, and we can celebrate the strength of humanity and the power of storytelling. Public spaces, at their best, are a celebration of the collective experience over the singular, an opportunity to share a common humanity. The U.S. sociologist Robert E. Park, coined the term collective behaviour, defining it as the behaviour of individuals under the influence of an impulse that is common and collective, an impulse in other words, that is the result of social interaction. In the narration of the story in a public space, the challenge for us lies in striking the balance between the private experience and one that is collectively shared. Both have to deliver an emotional richness and a sense of wellbeing.
58 â€” WE NEED SPACES TO TELL STORIES
MILAN EXPO 2015: UAE PAVILION; ITALY
V&A: YOU SAY YOU WANT A REVOLUTION? RECORDS & REBELS 1966 - 1970 EVOKING THE 1960â€™S COUNTERCULTURE REVOLUTION
IMAGIN I N G Reimagining the 1960â€™s counterculture revolution alongside a large creative team of multiple stakeholders to conjure rather than recreate the spirit of the era in a landmark London show.
ENGIN E E RI N G Engineering custom built technology to covertly deliver music and film rendered by clandestine audiovisual techniques; harmoniously integrating equipment amongst priceless artefacts housed within this fragile and historic building.
IMPLEM E N TATI O N Flexibility and ongoing development of protocols, including device agnostic cabling, to allow for seamless iteration as and when creative challenges arose. Close collaboration with Sennheiser to establish precise audio tracking unfolding the journey through music and time.
SYNTH E SI S Ensuring a seamless and pixel perfect experience throughout the exhibition with a commitment to exceeding expectations. Going to extraordinary lengths to re-edit and fine tune every minute detail behind the story to ensure the spell was never broken.
WE NEED SPACES TO TELL STORIES â€” 61
P RE - VISUALI SATI ON SOFTWARE PROVIDED TO THE MEDIA TEAMS WITH THE NECESSARY CONTENT TEMPLATES FOR SOME OF THE MORE COMPLEX PROJECTION LAYOUTS.
A RTEFACT REAR PR O J EC T I O N USING SIMPLE ARCHIVAL OBJECTS AND MERGING THESE WITH DIGITAL PROJECTION TO CREATE INTERESTING DISPLAYS.
“IT IS IMP O RTA N T T O DAY T O B R ING TO GET H ER DI VE R S E T ECHNO LO GI ES I N A N EXHIBITIO N. WE WA NT E D T O PRESENT AN E X H I B I T I O N T H AT PUSHES T HE LI M I T S O F T HE EXHIBIT ION CO N CEPT.” G EOF F RE Y M ARSH, CURAT O R, V&A
WE NEED SPACES TO TELL STORIES — 65
IMMERSI VE PRO J EC T I O N AN IMMERSIVE PROJECTION WITH MULTI CHANNEL AUDIO SYSTEM, WHICH RECREATED THE ICONIC WOODSTOCK EXPERIENCE.
KING RICHARD III VISITOR CENTRE SPILLING THE TRUTH T HROUGH DYNASTY, DEATH & DISCOVERY
IMAGIN I N G Designing an engaging walk through experience and visitor centre that enhances the interpretation of the story behind King Richard III to provide an unprecedented discovery platform for the city and county.
ENGIN E E RI N G Installing edge blended projection to create an immersive walk-through experience of significant historical events and using a Pepper’s Ghost effect to create a CT scanner of Richard III’s body, transforming a lifeless artefact into an engaging and interactive exhibit.
IMPLEM E N TATI O N Producing accurate drawings and extensive design & production engineering information for the installation team to easily reproduce the audiovisual vision, whilst working long hours during the implementation phases to meet the tight programme deadlines.
SYNTH E SI S Working alongside media creatives in the artistic refinement period and during the preparation of content to construct a meticulous design capable of enhancing the strength of the reconstructed tales of King Richard III.
WE NEED SPACES TO TELL STORIES — 69
M AS K ED PROJ ECTI ON A MULTI VIDEO PROJECTION WITH ASSOCIATED AUDIO PRESENTED USING VIRTUAL CHARACTERS.
VID EO PEPPER’ S GHO ST AN INTERACTIVE EXHIBIT COMPRISING OF A SKELETON ON A CAT SCANNER, USING A PEPPER’S GHOST EFFECT.
“TH R O UGH AV WE R E - CR E AT E THIS MEDIEVA L WO R LD FULL O F P O L IT I CA L I N T R I GUE AND THE AT M O S PH ER E O F BATTL E BALA NC ED AGA I NS T THE CL INIC A L ‘ S CI EN T I FI C ’ DISP L AYS A ND T HE QU IET AND CO N T EM PLAT I VE GRAVESI D E A R E A .” IAIN G O RDO N, DIRE C T O R, RICHARD III V ISIT O R C E N T RE
WE NEED SPACES TO TELL STORIES — 73
EDGE - ABUTTED PRO J EC T I O N PROJECTION THAT LINKS ACROSS TWO EXHIBITS WITH MULTI - CHANNEL AUDIO AND LIGHTING CONTROL, DEPICTING THE BATTLE OF BOSWORTH.
THE FUTURE OF ENGINEERED STORIES
TECHNOLOGY CONTINUES TO OFFER US SIGN IFICANT OPPORTUNITIES TO PUSH THE BOUNDARIES OF STORYTELLING This choice requires careful reconstruction to ensure the illusion of simplicity whilst engaging effortlessly with the narrative.
78 â€” THE FUTURE OF ENGINEERED STORIES
PRE VI SU A L I SATI O N Very soon weâ€™ll be able to build three dimensional models of the space with a physics engine attached to them. This will enable us to build complete working models of proposed experiences with video, sound & lights all able to start, stop and play on cue as they would when the space is built. We expect this technology to have many practical and creative benefits.
LOCATI O N A N D TH E I N D I V I D U A L Technology now enables us to place an individual accurately within a building, whilst apps allow us to really get to know an individual: who they are, what language they speak, what engaged them. Once you know who someone is, the richness and relevance of our story engineering can take on a whole new dimension.
AUGME N TE D & V I RTU A L RE A L I TY Public space entertainment has always been about augmenting reality, the current crop of new tech is merely another step along a well travelled path. Virtual reality is another paradigm currently unfolding as the next technological stride towards reality imitation. There will always be new technology, but through our technical aptitude and story engineering lens we always arrive at a proportionate evaluation of new technology, understanding the potential purposes, application and value that it can deliver to a project.
THE FUTURE OF ENGINEERED STORIES â€” 79
RESEARCH & DEVELOPMENT We have a dynamic approach to research and development that frames the way we look at the world, through an enquiring lens with a relentless desire to make improvements and apply developed solutions. We understand that the world is changing rapidly, the development of technology and its application are creating new expectations and people demand greater sophistication from their experiences. We have to continue to meet and exceed expectation and we are exploring the use of new technology such as augmented reality, to develop a new integrated customer experience; one that will seamlessly take them on a new journey that will bring different life to the stories we will engineer in the future. Our own research and development centre is a great place for us to test and challenge new applications and solutions, scale up and stress test, and is an important part of our unique approach.
“ST O RIES AR E FOOD FOR OUR I M AG INATIO N. THE Y C AN BE P R O FO UND, THE Y CA N BE CELEB RATORY, THE Y CAN BE P LAYFUL , BUT I T I S A LWAYS T HE STORY THAT M AT TER S ABOVE A L L E L SE . I T I S T HE STO RY THAT C A RRI E S TH E EX P ERI E NC E .” PA U L MOLYN EUX, COMPA NY DIRECTOR
82 — THE FUTURE OF ENGINEERED STORIES
V&A MUSEUM: DAVID BOWIE IS; ENGLAND
ENGINEERS AND STORYTELLERS
STORIES, SPACES AND TECHNOLOGIES ARE EVER EVOLVING BUT THE ONE CONSTANT IS THE DISCIPLINE OF THE ENGINEER As long as the world needs stories, we will always need engineers.
86 â€” ENGINEERS AND STORYTELLERS
The engineer is a polymath and an artist, who regardless of the change in context or challenge, has a method to identify and then solve the problems presented. Every environment is unique, presenting diverse and interesting engineering challenges. That is our medium and it excites us. A constraint is simply a creative avenue which hasn’t yet been explored. We thrive on solving obstacles through our understanding, sensitivity and method of thought. First and foremost we are ‘Story Engineers’. From the first spoken word to the advent of the internet, the importance of storytelling hasn’t changed, unlike the craft of delivery and the occupying of space. As story engineers, we reimagine space with technology and maximise the potential to create memories and trigger emotions in order to produce an experience that lingers with you long after the event. Art articulated through technology is the perfect fusion to help bring a story to life, evoke emotion and empathy. In perfect harmony they create a lasting and a memorable story.
ENGINEERS AND STORYTELLERS — 87
IMPERIAL WAR MUSEUM: FIRST WORLD WAR GALLERIES; ENGLAND
IT IS T HE TRI NI TY OF SPACE, ST ORY TE L L I NG AND EN G INEERI NG THAT A RE T HE T HREE PI L L ARS OF OU R AP P R OACH. THE AC HI E VE ME NT O F A DELI C ATE BAL A NC E BETW EEN THE SE E L E ME NTS AN D T HE REAL I SATI ON OF THE AM BITIO N O F OUR C L I E NTS I S O UR O N G O ING C HA L L E NGE .
ENGINEERS AND STORYTELLERS â€” 89
Sysco Productions Ltd The Rickyard Eashing Lane Godalming Surrey GU7 2QA UK +44 (0)1483 429491 firstname.lastname@example.org www.syscoproductions.com
Photo Accreditation With thanks to Graeme Bunyan Craig Gibson Wriggles & Robins Liz Artindale twitter facebook linkedin instagram Sysco Productions Ltd 2017
INTRODUCTION â€” 95
Sysco is a world class experience delivery company immersed in the relationship between engineering and storytelling. Over 20 years experien...
Published on Feb 15, 2018
Sysco is a world class experience delivery company immersed in the relationship between engineering and storytelling. Over 20 years experien...