New tech for museums, parks & rides #53 • volume 10, issue 3 • 2014 www.inparkmagazine.com

18 Tommy Bridges, industry connector 22 The theme park brains behind Caesars’ High Roller 24 reinvents itself

www.inparkmagazine.com  © SHOW: ECA2 - PHOTOS: JULIEN PANIE

THINK SPECTACULAR! SPECIAL EVENTS I THEME PARKS & PERMANENT SHOWS I EXPOS & PAVILIONS

“WINGS OF TIME” I ISLAND, . STARTED IN JUNE 2014.

TEL: +33 1 49 46 30 40 I CONTACT: [email protected] I WWW.ECA2.COM I FACEBOOK.COM/ECA2PARIS www.inparkmagazine.com #53• volume 10, issue 3

Wings of Time 6 ECA2 creates new Sentosa spectacular• by Martin Palicki

IAAPA Beijing 10 Asian Attractions Expo: Martin Palicki reports

Civil war surround 13 BPI produces video diorama for Kenosha museum • by Martin Palicki

Leave it to Holovis 16 Modern tools of & visualization• by Stuart Hetherington

Building Bridges 18 Tommy Bridges = technology + opportunity • by Judith Rubin

Caesars’ High Roller 22 Theme park savvy reinvents the wheel

Tomorrow’s Vegas 24 The new investments: Joe Kleiman reports

RFID changes everything 29 Disney’s MyMagic+ gets off to a strong start • by Martin Palicki

The museum network 31 Artifact Technologies introduces Mixby platform• by Joe Kleiman

Immersion with dinosaurs 33 opens The Lost Temple • by Judith Rubin

Gamification and dark rides 36 Innovations from Triotech, Sally & Alterface Projects • by Joe Kleiman

staff & contributors advertisers EDITOR DESIGN Alcorn McBride 35 © SHOW: ECA2 - PHOTOS: JULIEN PANIE Martin Palicki mcp, llc Alterface Projects 29 Artifact Technologies 34 CO-EDITOR CONTRIBUTORS Judith Rubin Stuart Hetherington All Things Integrated 19 Super 78 Boston Productions Inc. 14 CONTRIBUTING EDITORS ECA2 2 Joe Kleiman SALES Mitch Rily Martin Palicki Holovis 5 THINK SPECTACULAR! Kim Rily IAAPA Attractions Expo 28 SPECIAL EVENTS I THEME PARKS & PERMANENT SHOWS I EXPOS & PAVILIONS Medialon 20 Polin 32 COVER: Tommy Bridges, executive VP of All Things Smart Monkeys 21 “WINGS OF TIME” I SENTOSA ISLAND, SINGAPORE. STARTED IN JUNE 2014. Integrated, stands in front of the widescreen digital signage his company installed at Hard Rock Hotel & Super 78 back Casino Las Vegas. Full story on p 18. Photo credit Triotech 27 Judith Rubin. WhiteWater West 12, 37 Zebec 15 TEL: +33 1 49 46 30 40 I CONTACT: [email protected] I WWW.ECA2.COM I FACEBOOK.COM/ECA2PARIS www.inparkmagazine.com  Themed entertainment’s Sin city: the remix great new storytelling tools

Judith Rubin, Martin Palicki, IPM co-editor IPM editor

elcome to InPark’s annual Technology issue, here is one thing I greatly admire about Las Vegas: Wexploring visible and invisible realms - such Tthe city is able to reinvent itself constantly. While as binary, electronic, electrical, audiovisual, digital, the city rose out of gambling fortunes, the 2013 engineering, networking, storage and control Visitor Profile Study commissioned by the Las Vegas - associated products and processes, and their Convention and Visitors Authority shows that only application to storytelling for visitor attractions. 71% of visitors gamble during their visit, part of a downward trend spanning several years. Only about You can hardly build an attraction or put up a 15% of visitors come for the purpose of gambling. structure without these ever more sophisticated Roughly 20% arrive for a convention, and 41% (the products and processes. They are critical to telling the largest group) come purely for a vacation. stories, realizing the concepts, building the buildings and running the show. Appreciate your great new Vegas is responding to these trends much as it did storytelling tools and appreciate the technical 20 years ago when it began building theme parks specialists who are there to harness those hardware and themed resorts. While that trend wasn’t long and software components to help deliver a seamless lasting, the city didn’t flinch. Properties doubled- storytelling experience. down on their core business: promoting gambling and providing cheap everything else. More recently, Just as the movie sector is remaking many classic a wave of luxury experiences and high end venues pictures with the new tools of cinema, theme parks have taken over, catering (wisely) to that large chunk are re-inventing visitor attractions with the new tools of visitors who are either in town seeking a pampered of interactivity, immersion and media production. getaway or impressing clients on a corporate expense account. It’s not just a matter of staying on the level of tech the average visitor now expects, but a matter of Today, Vegas is starting to feel more balanced. The differentiation. The features of specialty cinema are introduction of media-enhanced visitor attractions, being incorporated into the multiplex and that’s a such as the High Roller observation wheel, is able to clear signal to theme parks to up their game when provide the entertainment options and excitement it comes to media based attractions. Transmedia has that any visitor to a vacation destination expects. been embraced, with IP owners holistically visioning Downtown is catering to local entrepreneurs and their properties rolling out in many platforms. The visitors alike; the city is beginning to recognize its theme park platform must bring something unique own cultural identity in the context of the bigger Las to its dimension of the unfolding story. • • • Vegas destination image.

While Vegas is only one town, it is a model for InPark News Editor Joe Kleiman reinvention. Right now, Sin City is experiencing ([email protected]) corresponds for IPM online and in print, specializing another renaissance, driven by demand and powered in design and technology for attractions, by technology. Every themed entertainment and museums and giant screen cinema. cultural attraction professional should take note. • • • He lives in Sacramento with his dog, Bucky.

InPark Magazine (ISSN 1553-1767) is published five times a year by Martin Chronicles Publishing, LLC. 2349 E Ohio Ave. Milwaukee, WI 53207. Shipping address: 2349 E Ohio Ave. Milwaukee, WI 53207. Phone: 262-412-7107. Fax: 414-377-0769. Printing by Short Run Printing Contents © 2014 InPark Magazine. All rights reserved. Nothing in the magazine may be reproduced or used in any manner without the prior written permission of the magazine. InPark Magazine is not responsible for unsolicited manuscripts, photographs or illustrations. Such material must be accompanied by a self-adressed and stamped envelope to be returned. Postmaster: Send address changes to InPark Magazine 2349 E Ohio Ave. Milwaukee, WI 53207. Subscriptions are available annually for $40 per year ($55 international). Opinions expressed in editorial matter are not necessarily those of InPark Magazine or its publishers, Martin Chronicles Publishing, LLC.

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www.inparkmagazine.com www.inparkmagazine.com ©ECA2 Wings of Time by Martin Palicki here’s a scene in Wings of Time where the show’s starring The catwalk behind the set leads to the rear projection house Tbird appears on a giant water screen and appears to fly The off into the distance. It is convincingly real. The ability to convey depth on an oftentimes-challenging water screen Journey surface is one of many treats showcased in ECA2’s latest “The idea of a outdoor production on Sentosa Island. journey is central to the story,” said Smith. “Because Called in by Sentosa to redevelop their Thea Award honored show everyone is a visitor here, Sentosa is , ECA2 built on the basic structure of the original show always a journey for people, and this helps to create an entirely new production, taking advantage of the latest the to connect with the show.” in show technology. The foundational concept for Wings was to visit all the continents “Songs of the Sea ran for seven years and had over eight million visitors,” - an idea both visually strong and easy to communicate. The team explained ECA2 CEO Jean-Christophe Canizares. “Sentosa didn’t want selected places and times from around the world and found ways to the show to become dated. It was time to refresh the offering.” support the story with technology.

To create bigger and better effects, Wings of Time combines existing As the story goes, the teenagers meet Shahbaz, a bird who, intrigued technologies in brand new ways. All the effects used already by their curiosity about the world, helps transport them through time existed (many in ECA2 productions), but for this new show they and space. He takes them to visit his garden of origins, and to various needed to become bigger, more surprising, more spectacular. And times and locations in history, some more specifically referenced than while projection has long been a part of the company’s signature others. The European industrial revolution is one of the more dramatic multimedia spectaculars, combined with a host of other effects such scenes in the show. Projection mapping on the triangular surfaces as pyrotechnics, water features, lasers, lighting, sound and flames, shows machines and gears developing, while rear-projected lasers Wings would be the first time that video mapping came into the slice through the surrounding mist in the shape of giant mechanical mix. presses, moving up and down with the beat of the music.

The Venue and Staging “This show forced all of us to think outside of the box…literally,” said Wings of Time plays two shows nightly on Sentosa Island, Singapore’s Smith. With the multiple projection surfaces and image sources, the playground, which is also home to a casino, multiple resorts, a Universal show allowed Smith to escape from the traditional frame and move Studios park and a wide array of attractions and entertainment. ideas and imagery among different formats and screens.

The 3,000-seat theater was built for Songs eight years ago. Sentosa During an Asian-themed scene, flowing ribbons move off the triangle wanted the venue to be inactive for as little time as possible between screens and travel (in laser form) up a nearly 40-meter fountain. The the two productions. And so, Wings of Time was installed in a effect is seamless, and challenges what the viewer considers the record six weeks. The process involved completely dismantling the “edges of the screen.” previous show, construction of the new stage, technical installation, programming, technical tests, operator training and rehearsals for Occasionally, the show journeys into the audience arena as well. Water local live performers. cannons explode on the beach, sprinkling nearby guests. Fireworks shoot off the structure into the sky, and lasers dance in patterns on The set was built on the original pier footings from the Songs stage, the sand. but everything from the catwalk flooring and up was replaced. The focal piece of the set is a series of slatted triangles overlapping one The show is driven by the effects and technology, but the strong another. They provide the main projection surface. beat of the music also pushes the production forward. ECA2 worked with Philippe Villar and Pascal Lengagne to create the show’s musical The pre-show begins with actors on the beach meeting to rehearse soundtrack. The duo worked with composers and instruments from a song. The pre-show helps the audience learn the theme music and around the world to match the feeling and sounds of each of the introduces the show’s two primary teenage characters. Two of the regions visited. actors appear in projected form at the start of the main production. Show designer Moira Smith talked about the decision to use live The Technology actors only in the pre-show. “People were an important part of the The imagery and the surrounding technology and effects are what story, but we didn’t want there to be a different scale between the drive the story forward. The 20-minute show’s plot was designed to be live actors and the screen,” said Smith. “This also allowed us to create a enjoyed on different levels. Guests may just be amazed by the visuals show with limited dialog, minimizing language barriers.” without following the story. What makes that possible is an impressive

www.inparkmagazine.com www.inparkmagazine.com  by Martin Palicki Behind the set, the two levels of catwalks house many of the water effects.

projectors were added bringing a total of 88 watts of power (10 times more than previously).

Claude Lifante laser designed the show, and was given complete creative license. The lasers dramatically emulate sparks during the industrial revolution, and create geometric patterns that move from assortment the triangle sets, to water jet sprays and to the beach in captivating, of water fluid movements. At times, it wasn’t clear what was projected s c re e n s / j e t s, image and what was laser. The blending is seamless and the effects p r o j e c t i o n dramatic. surfaces, lasers and projectors. Show Control and Maintenance Wings of Time uses a Medialon show control system to control the Water Jets entire production. ECA2 created its own interface for local techs Wings added new gear and to operate. For the new production, all the controls were switched incorporated some existing out to digital systems, and a redundant show control system was gear from Songs. The set added installed to enhance reliability. ten new moving water jets that allow 360 degrees of movement As might be expected, one of the biggest challenges for a show of on 2 axes. Six of the jets are located this type is dealing with the corrosive effects of seawater. According behind the main set and two sets of two to Technical Director Jason Fischer, while misters on the set use fresh are placed on the front catwalks that flank tap water, every other fountain and device uses filtered seawater, each side of the set. and the set is constantly bombarded by waves and mist from the sea. Luckily, ECA2 is skilled in this area, and has built up expertise from According to Michel Amann, the key was to their work not only on Songs but from The Big O Show in . create equipment that was very powerful but also Their three-pronged approach to combat corrosion includes: flexible, stopping very smoothly. ECA2 designed and engineered the jets. These state-of-the-art, moving jets • Routine maintenance – Technicians regularly clean and are said to be the most powerful of their kind in the world inspect the submerged and exposed elements of the show right now, capable of producing a 40m high stream. Said equipment. Canizares, “Before, fountains could be big and not moving, or • Equipment and materials selected and fabricated for moving and not big. Now we can do it all.” tough conditions (such as stainless steel made for sea environments) – The metal catwalk flooring, for example, 40 existing, stationary water jets from Songs were moved from the was replaced with a resin grating that is more durable and less lower level catwalk behind the set to a new second story, increasing susceptible to corrosion. Similarly, the triangle set, although the height of the jets. Additionally, all the moving and stationary jets made to look like wood, is fabricated out of a resin resistant to were outfitted with LED colored lighting, reducing lighting power sun and moisture decay. consumption for the show by 25%. • Lighting and equipment positioned and mounted in protected environments where possible – During the three Water screen weeks of programming the show, the programming equipment, An existing, key feature of the Songs production was its main water set up front and center under tents on the beach, was ruined screen, and this was retained for Wings but given a complete by the corrosion. It was expected and part of the cost of overhaul. Perched above the center of the set, the screen extends production, the projection space far out and above the set’s main triangles. ECA2 but it rebuilt a new head for the water screen, creating a more focused highlights and powerful water stream and thereby a better projection surface, why new with optimized clarity and crispness and more ability to retain those buildings were qualities even in windy conditions. Two new Christie Roadster constructed to S+20k rear projectors provide the power for the graphics, which are house additional duplicated for image quality and redundancy. projection and lighting equipment in Lasers an effort to protect the Equally dramatic is the usage of lasers in Wings. Four green lasers sensitive electronics from from the previous show were repurposed and four new color laser the elements.

 www.inparkmagazine.com www.inparkmagazine.com “Our model is to have as many in-house people work on a project as Nature ultimately wins, and the show, which is possible.” expected to have a run of around five years, will likely be the last for the set and the underwater structures that support it. Sentosa expects to eventually redevelop the area into a new attraction and create a new nighttime show elsewhere on the island when that time comes.

The Team It’s impossible to not want to compare Wings of Time with Songs of the Sea. And even after a very cursory comparison, one can tell that Wings is an of Songs. Canizares admits that their shows evolve just as their company does, building on the past and reaching towards the future.

“Between producing these two shows, ECA2 worked on a dozen other performances that provided us more experience,” explained Canizares. “Our model is to have as many in-house people work on a project as possible. We want the R&D value to remain with ©ECA2 our company, so we choose to contract out positions as little as possible.”

Contracting with other people can be a fast path, indicates Key Technical Figures Main show structure Canizares, but can reduce long-term benefits. By having an in-house • A façade of 8 triangles and a • 12 units FG 50 with a flame development team, ECA2 can show the client that the solutions diamond covered by timber height 10M required have been studied and developed by an established core of lattice: 55m long, 12m high • 1 unit FG 100 with a flame height 16M creative and technical professionals. “Our brains, ideas and flexibility • Boardwalk: 50m long, 6m high from mean high sea level are our biggest assets,” he said. • • • Lighting installation Mist installation • 10 donut 96 LED for moving MEET THE MASTER: • 4 series of mist of 48m (one on jets the beach, 3 on the catwalk) • 114 RGBW 48 LED PAR for Jean-Christophe Canizares, water effects CEO of ECA2 Water installation • 4 moving LED wash in Tempest • 10 robotic moving jets (6 x domes With 20+ years of experience in the company, 20M high, 2 x 30M high, 2 x 40M • 136 1000W submersible PAR • 10 moving heads Mac 2000 Jean-Christophe Canizares leads a team high) • 37 cannons (24 x 14M high, 12 • 6 moving heads Mac Viper that includes talents in the fields of creation, x 18M high, 1 x 40M high) Air FX engineering, logistics, project management and • 1 water screen (60m X 20m) • 8 Source Four production. • 2 cascade effects 40m long • 32 PAR • 18 halogens Geyser installation He was educated as an engineer and in his early career worked as • 5 airshoots, 20m high Pyrotechnics installation technical manager for concerts and festivals, first collaborating with • 33 Firing Modules on catwalk ECA2 in 1992 on the opening of Euro Disney. He joined the company Laser installation Other constraints full-time in 1994 and since that time has played a part in producing • 2 15W ROGB • 2 14W OGB • Seawater requires all elements all ECA2’s shows, • 2 5W green to be fabricated in high first as technical • 2 10W green grade stainless steel. All steel director, then as fabricated items needed to be corrosion and sea salt resistant. chief of operations Video projection • 6 Christie L2K1500 projectors • Special show control under and finally as CEO. for the triangles ECA2 with redundant control, • 2 Christie Roadster S+20K touch screens, and feedback projectors for the water screen information from all show elements in real time. Flame generators • 6 units FG 25 with a flame height 7M

www.inparkmagazine.com www.inparkmagazine.com  Asian Attractions Expo 2014: Trends & Features by Martin Palicki

ith 9,000 participants, the 2014 Asian Attractions Expo (AAE) in The opening ceremony highlighted, culturally, that this was IAAPA’s WBeijing broke records. That figure includes 6,500+ buyers from first foray into Beijing. According to Mamon, being the seat of more than 70 nations and regions around the globe, and represents government in made Beijing seemed like a natural choice, with growth of about 67 percent over last year’s annual gathering in many buyers having offices nearby and world-class facilities available Singapore, according to the organizer, IAAPA (International Association for attendees to explore. of Amusement Parks & Attractions), leading trade organization for our industry. IAAPA also hosts the annual Euro Attractions Show (EAS), Still, IAAPA is committed to moving the Asian Attractions Expo around next coming up in Amsterdam Sept 23-25. the region, with 2015’s show announced for June 16-19 in Hong Kong, which draws attendees from the South China region.

Andrew Lee, IAAPA Vice President for Asia Pacific Operations, explained some of the trends that have emerged in the course of the association’s activities in the region, that reflect not only on the Chinese market, but on Asia as a whole. Specifically, there are three trends to watch for:

1. Integrated resorts and multipark development will be critical for success. 2. There is a focus on local (Chinese) culture, including educational components that highlight national history and pride. 3. The scale of projects is different. The predominant “old” model IAAPA leadership opens the 2014 Asian Attractions Expo was to start small and build, but the new model, in part fueled by the massive populations in the region, is to open large Justifying the impressive numbers, AAE pointed to interesting new from the start. trends and products specifically emerging out of the Asian market. The Asia Pacific region is “the fastest growing part of the attractions industry,” as observed by IAAPA President and CEO Paul Noland during the rousing opening ceremony. It’s also a region where the leaders can surprise you with their range of accomplishments. IAAPA Chairman Mario Mamon brought a group of talented singers from Enchanted Kingdom to perform “One Voice” with Mamon and his wife Cecilia taking the lead vocals. Afterwards, Mamon announced the 2015 IAAPA Leadership Conference would be held in Dubai March 10-12, in what could be taken as an affirmation of returning activity in the Middle East markets.

Andrew Lee, Mario Mamon, an interpreter and Paul Noland field questions about the Asian market

Mario Mamon agreed, adding that China has wealth, land and a vast history, so they naturally take the lead in development and culture.

Challenges to Development Naturally, development in China comes with challenges. Two specific areas that can become particularly complicated, according to Lee, are rules and regulations, and environmental and sustainability issues.

Noland further observed the need to attract operations talent. “Parks Cecilia and Mario Mamon sing during the opening ceremony start off as real estate developments but they become operating entities that need talented people to run them,” he said.

10 www.inparkmagazine.com Still, Mamon feels the challenges are not insurmountable. “You are going into the fun business, but behind the fun there is a lot of blood, sweat and tears involved to make your dream a reality that hopefully sustains to the next generation,” said Mamon.

The Residential Question Many parks in the region are designed as part of residential developments, in part to benefit from government incentives. But the trend hasn’t been around long enough to gauge its success, and opinions are split.

“It’s a risky proposition, because residents will not go to the parks every day,” said Mamon. “The scale and proportion of the venues will Denise Weston shows off WhiteWater’s slideboard prototype be important for that model to be successful.” WhiteWater is currently in the third testing sequence for the concept, Good planning combined with population density would help which is, as Weston said, “all about the thrill, and also about the skill.” minimize the risk, based on Noland’s remark that, “Since parks tend Weston announced that the company is hoping to have a live demo to draw from a two-hour travel radius, it doesn’t seem too particularly for industry professionals before the end of the year. risky.” Attraktion! With all the talk about park development, it seemed like IAAPA was Officially the party booth of AAE, Attraktion! bordered between being focusing exclusively on park development in the Asian market, and a night club and an exhibit booth. It was all business when Attraktion! not the other attractions sectors IAAPA represents, such as museums, and announced their partnership to bring the Dome Ride Family Entertainment Centers (FEC), casinos, etc. Andrew Lee Theater to Lewa Wonderland in Xian, China. Guests will enter the explained that it isn’t that IAAPA does not want to pursue those other attraction and see a of seats on the perimeter of a dome screen. markets, but specifically in China, the government owns almost all After guests are secured in shoulder harnesses, the center floor will the cultural attractions, making them much less likely to get involved descend down and reveal a nearly complete sphere. Riders will be in the association. situated along the “equator” of the sphere.

Additionally, there really is no concept of an FEC in China. The idea of an arcade is not a family location. And so, for now, IAAPA will continue to focus on the massive growth in the Asian theme park and waterpark markets.

From the Show Floor The sold-out trade show floor featured exhibitors from around the world. Busy all three days, several exhibitors took some time to share the latest products and projects reaching the market.

Birket Engineering Joe Fox introduced IPM to the company’s new Firelinx product, a pyrotechnics control system that introduces a new level of safety – to Intamin’s Sascha Czibulka (L) and Attraktion’s Markus Beyr (R) the point that continuity tests can be completed while technicians pose with a representative from Lewa Wonderland are working in proximity to the fireworks. The system went through additional testing over the Independence Day holiday (USA) and is 26 projectors hidden behind unobtrusive openings in the dome will expected to be installed at a major Orlando theme park this fall. illuminate the full dome surface, surrounding guests’ entire field of vision. Once the show starts, the ring will pitch 30-degrees to either WhiteWater West side while the entire seating area can rotate in either direction at a The much-anticipated Slideboarding concept from this leading maximum of six rotations per minute. supplier to water parks now has a prototype. Denise Weston of the company’s Apptivations arm showed off the riding device, which The initial media for the Lewa install will be created by Attraktion! and looks more like a boogie board than a raft. “I refuse to use an inner take guests inside a thunderstorm that transports them around the tube,” said Weston. “I want you to feel like you are boarding, or going world. New patent-pending technology will take live camera feeds down a luge.” from inside the dome, detect where the ring is located and create

www.inparkmagazine.com “You are going into the fun business, but behind the fun there is a lot of blood, an instant mask in the projection sweat and tears involved to make your does apply current technology in to prevent images from being new ways to create the virtually projected into riders’ faces. dream a reality that hopefully sustains autonomous system. According to the next generation” - Mario Mamon to Project Manager David Clina, Triotech “It’s pure FUNA magic!” Triotech’s Christian Martin was busy showing guests the company’s IDR dark ride vehicle, which was one of the floor’s more popular The audio system is prepped for further advances in technology experiences. The attraction, which was in development for two years, by being built on a fiber backbone. All the networking gear follows was unveiled in Orlando at IAAPA 2013. industry standards and can be changed out as new tech is created, without having to dig up sidewalks, explained Arnold. Triotech powers the media, motion and game play for the IDR, and works with other vendors such as ETF and to provide the Alterface Projects vehicles and track. Announced to the industry at AAE, Alterface Projects will be partnering with Ubisoft to produce a dark ride gaming experience based on the “China is a huge market for us,” explained Martin. “So many parks and “Rabbids” game and TV show franchise (see p 36). The attractions will attractions are being built. As an example, Audi is selling a lot of cars take advantage of Alterface Project’s 4D Shooter HD (which stands for here and it’s the same situation for us. There are a lot of buyers here.” Hi Definition AND Head Detection). This means that it will appear to players that the objects they are shooting (in this case, toilet plungers, FUNA International “deboucher” in French) are emanating from the device on their car. It’s Scott Arnold showed InPark information on the company’s recently a next generation system that Alterface Project’s Benoit Coronet says completed integrated audio system for Chimelong park. The park’s improves accuracy for the player as well as realism. parade route (which happens to be the world’s longest) is part of the audio system, and automatically transitions music based on the float The Rabbids brand already has a dark ride at Futuroscope park, but moving through each area. The floats can be in any order or left out as this will be the first interactive game style to be partnered with the needed. Although it isn’t utilizing any specifically new technology, it IP. • • •

12 www.inparkmagazine.com www.inparkmagazine.com A living, breathing Cyclorama technology powers 360-degree theater at Civil War Museum by Martin Palicki

Cyclorama: a panoramic painting on the A round theater was constructed but the original exhibit consisted inside of a cylindrical platform, designed of a laser map presentation that broke down by state and year the to provide a viewer standing in the middle battles in which Midwestern troops fought. Beneath the presentation, of the cylinder with a 360° view of the exhibit cases showcased period artifacts. painting. The intended effect is to make a viewer, surrounded by the panoramic image, Telling the Story feel as if they were standing in the midst The Museum decided to upgrade to a 360-degree cinematic of an historic event or famous place. experience, and issued an RFP in February 2013. After selecting Boston Productions Inc. (BPI), the team assembled in March of 2013 to begin hen the Kenosha Civil War Museum was in development, developing the script and treatment. Filming took place in June, with WMuseum Director Dan Joyce knew he wanted to create an post-production starting immediately until the new film opened in experience to help visitors understand what it was like to be a soldier January 2014, less than a year after starting the process. during the Civil War by immersing them in the environment of the battlefield. “We chose BPI because of their experience with living history actors,” explained Dammann. “BPI also was very detailed in explaining how Development for the museum began in 2005, with the doors first the film would be produced, installed and maintained.” opening in 2008. Although a cinema experience was part of the vision and the facility design, its realization was put on hold until the Initially the museum had imagined a three-minute film. BPI suggested next phase. including characters throughout the story to add empathy and a personal touch. And so, the film introduces guests to three soldiers According to Curator Doug Dammann, Joyce was inspired by the who each explain what they believed battle would be like, their old cyclorama paintings, and wanted to create a “living, breathing experience during a battle, and the aftermath. The finished film is 11 cyclorama.” minutes long, about the maximum length for a standing theater.

The raised platform at Seeing the Elephant provides unobstructed viewing for up to 75 adults and houses subwoofer speakers that accent the film’s action.Photo courtesy the Kenosha Civil War Museum

www.inparkmagazine.com www.inparkmagazine.com 13 Authenticity was integral to the production. All the character dialog hung over the viewing area. A James Loudspeaker Power Pipe12” was based on information that the museum found in letters, diaries subwoofer provides low frequency support of the audio program. or memoirs written by Civil War soldiers. The film’s battle sequence In addition, three ButtKicker brand bass shakers are attached to the was based on the Iron Brigade’s first battle in Gainsville on August underside of the viewing platform to provide a tactile vibration of the 28th,1862. The film is titled Seeing the Elephant and references a floor during battle scenes. phrase commonly used among soldiers who had experienced battle for the first time. Naturally, a curved space creates a lot of echoes. The team discovered that by pointing the speakers down and in, the echoes are greatly Finishing the Space reduced. They also installed acoustic ceiling tiles and foam above the Because the museum had planned for a circle film since its inception, screens to help deaden the sound. most of the infrastructure was already in place. The raised platform was designed with access and power to be able to add equipment From an artistic point, the 360-degree design presents a unique beneath. During the film installation process, an small lift was added challenge in telling a story to guests, who may have their attention to the platform to increase accessibility. drawn to any of the images surrounding them. Dammann likes to say that the circular speaker array helps guests to “let their ears guide Additionally, the power needed for the projectors had already their eyes.” As sound moves to the speaker above the area the director been installed above the platform, requiring very little additional wants to feature, guests naturally focus in that direction. construction work. BPI wanted the experience to be immersive, but to not overwhelm The 11-foot high walls of the 45-foot diameter room were painted guests with special effects. BPI’s Chief Creative Officer Bob Noll asked, with four coats of Screen Goo to create a seamless projection surface. “What can we use to enhance what is happening on the screen?” Noll The theater can accomodate about 75 adults standing. and VP of AV Integration/Sr Systems Designer Chet Kaplan looked for ways to build upon the mood of the film. Applying the Tech To achieve the 360-degree film, eight Digital Projection Inc. HIGHlite Five colored LED light fixtures above the platform are enhanced with Cine660 projectors are hung off a rig over the center of the platform. a campfire lighting effect, strobe lights during the battle scene, and Each projector displays a 1920X1080 Mpeg-2 image on the screen, an air cannon conceived by BPI and built by 5Wits Productions blasts with edge blending to create the seamless image. guests with air as cannonballs whiz by on the screen.

The main sound monitors are eight JBL Control 28 speakers, evenly The control room for the show is housed on a different floor in the spaced around the 360-degree projection screen. Additional overhead museum. EAW DX1208 DSP’s are used for sound processing and sound is provided by three SoundTube RS500i pendant style speakers matrix mixing of the audio signals and five QSC CX-302 amplifiers send audio to the various speakers.

An AMX system was used for all aspects of show control which includes overall daily power schedule, and providing different modes of operation via a Modero NXD-700i touch panel. Additional show elements are controlled by two Dataton Watchout systems which control all lighting cues and effects. The show is set to run automatically every hour, although museum staff can run the show on demand as needed.

The $1.3 million project has already shown results for the museum.

“We are on pace to exceed our annual attendance figure of 75,000 visitors,” said Dammann. “And most of that is due to this 360-degree film experience. It truly is a cyclorama brought to life.” • • •

14 www.inparkmagazine.com Visit us at EAS Booth #7102

www.inparkmagazine.com the art of simulation

Holovis develops next- generation tools for dark ride experiences and project visualization by Stuart Hetherington

Stuart Hetherington, CEO of Holovis, has product is a case in point. Based on our background in industrial been engaged for the past 15 years in and military training and simulation, InterAct™ is a creating immersive virtual reality solutions software and hardware platform that works alongside our range of to improve business efficiency and transform unique player devices to help achieve seamless, intuitive multi-player sensory experiences. Hetherington founded experiences in 2D and 3D synthetic worlds. This technology is now Holovis ten years ago and has worked applied to any of the immersive systems, from flat screens to curved to build global recognition for expertise or our full 360° domes. in creating next generation immersive and engaging motion, media and interactive based rides Immersing the audience is key, either through 180° wrap around driven by specialist real-time software and game-engine screens or 360° dome projections. When synched with subtle motion applications. and other key sensory effects, this can be extremely powerful, making people feel like they have traveled much further than they actually Ride development have. ver the past two decades, the art of simulation has evolved and Oour industry has learned how powerful subtle motion can be Domes or partial domes are increasingly popular for creating when properly sychronized with the visual immersion. We’re creating interactive theater environments because a dome literally surrounds better experiences that cater to all the senses in a connected way. A the audience. And domes are a Holovis specialty when it comes to ride is most compelling if its component systems are applied with the making an attraction come to life. If you visited the Holovis booth at correct experiential design at all stages – to put the story at the heart the EAS or IAAPA trade shows last year, you had a chance to experience of the experience. our demonstration of MotionDome™, an immersive motion based ride able to incorporate real time, responsive data and interaction Interactivity is a key element that now can truly begin to live up to its within a fulldome environment, creating attractions where no two promise thanks to technological advancements that have improved user experiences are the same, depending on the paths riders choose responsiveness, accuracy and control. Our company’s InterAct™ to take.

16 www.inparkmagazine.com We see this technology becoming a core part of the design, engineering,

Being able to customize an simulation, testing and training the Holovis VR CAVE environment, experience to respond on the fly to process in the future. a structure with four or five rear- the rider’s input and choices is one of projected surfaces. There, rides can those elements that today’s technology has brought to our fingertips. be experienced in real time and from any seat position, with different This is driven using another Holovis proprietary technology called perspectives calibrated for varying heights and ages. Factors such as In-Mo™, part of a suite of software modules that integrates real-time sight lines, eye points, ingress and egress around the ride envelope interactive media into any multi-channel immersive display. The and load/unload issues, maintenance tasks to emergency evacuation unpredictability and the chance to have a different experience each testing can all be assessed and monitored. time stimulates ride repeatability for increased visitor engagement and higher throughput. This kind of pre-visualization is good for client relationships and is a time- and money-saver, accelerating the design process, reducing Scale model visualization the number of physical prototypes needed and supporting decision Virtual reality is not just a focus for the actual attractions, but something making. It also has applications for focus group assessment, and that we are also championing behind the scenes to visualize and for testing in regard to health and safety requirements as well as facilitate design solutions. Our company’s RideView™ design and operations and maintenance. Different layers can be added or simulation software delivers an immersive VR environment enabling subtracted including structures, utility services, HVAC systems, users to engage with any aspect of a park or attraction from the ride theming, media and lighting effects. This flags any potential design experience level to being able to explore an entire master plan layout issues much quicker in the design cycle than on a CAD drawing and through a 1:1 scale model/dataset. ensures everyone fully understands how something will look and feel. We see this technology becoming a core part of the design, RideView™ was created with the help of Holovis Directors with engineering, simulation, testing and training process in the future. experience creating new VR solutions for R&D and testing in the automotive industry. It takes the CAD data from the ride designers At the 2014 EAS and IAAPA exhibitions Holovis will be launching and master planners and repurposes it for volumetric 3D viewing. The Lost Cove, the latest interactive, multi-player game title in its Wearing head tracked 3D glasses, designers and engineers enter DomeRider™ series. • • •

Holovis goes behind the scenes of theme park development with RideView™ which allows designers to experience their rides in real time 1:1 scale

Previous Page: MotionDome™ is the next generation dark ride experience, linking immersive visuals with subtle motion and real time responsive media

www.inparkmagazine.com Building Bridges

Dedicated to raising the tech bar in themed entertainment, Tommy Bridges brings in solutions from nightclubs and by Judith Rubin

here creative design, AV integration and show control come Nightclub caliber sound Wtogether in a state-of-the-art visitor attraction, you may As Las Vegas courts the Millennials and their penchant for clubbing well find it’s a project that Tommy Bridges - Executive VP ofAll and concerts, Las Vegas based ATI has been busy providing top-end Things Integrated, (ATI) and member of the Themed Entertainment AV systems to high-profile nightclubs, “dayclubs,” restaurants, retail, and Association (TEA) International Board - has touched. outdoor stages for casinos and other developments downtown and on the Strip. Within the Downtown Project spearheaded by New tools and solutions migrate into themed entertainment from founder (see p. 24 of this issue) recent ATI installations other sectors, helped by innovative tech specialists, such as Bridges, include Inspire Theatre, The Scullery and the Container Park. On the a well-known figure who cares deeply about the industry that’s been Strip, recent ATI installations can be found at Hard Rock Hotel and his field for 27 years. Casino Las Vegas (Body English, Vanity, the Vinyl live music venue, and the widescreen digital signage behind the check-in counter), Bridges has helped lead significant advances in video for the attractions at Caesars’ (FAME Asian Fusion and The Style Lounge hair industry, such as projection mapping. But currently, he perceives the salon), and (Chateau, Sugar Factory). business as overdue for an upgrade in audio - with nightclubs setting “People in the nightclub business the example. And, he sees the time “Tommy opens doors for us. He know how important good sound as ripe to move away from PC-based was one of the first to grasp what design is and that understanding systems to enterprise solutions along with their skillset and and cloud storage, making cozy we were doing and find ways it equipment knowledge are bedfellows of show control and IT. assets they can bring to themed can be applied.” - Stephan Villet entertainment projects,” says With Tommy as our guide and Las Bridges. He’s a man with a well- Vegas our setting, we looked at recent ATI installations and spoke with developed ear, and he knows nightclubs as well as he knows themed two frequent collaborators: show control specialists Smart Monkeys entertainment. A professional jazz musician since his youth and still and Medialon, to glimpse the future of electronic design. active on the performing and recording circuit today, Bridges pursued both music and AV tracks in his education and career. “I was lucky to have studied with some of the music industry’s best early on - not just in recording studios - and with some real jazz legends including

18 www.inparkmagazine.com Bridges joined ATI in late 2011. The firm will soon open an office in Orlando.

For theme parks, Bridges forecasts multiple applications of the kind of sophisticated audio ATI puts into its Vegas venues - including background music, rides, retail and restaurant spaces and media- based attractions. “These are systems that sound better and cleaner and produce less fatigue on the ear,” he said. He cites robust new technologies such as high-resolution audio files that provide the ability to capture at a higher bit rate for mixing, steerable line arrays that combined with computer modeling enable the creation of quiet zones and support outdoor amplification that doesn’t bother the neighbors, better speakers and better speaker placement strategies. “Both Boomers and Millennials are demanding better aural environments, whether for clubbing or for socializing in a family group. Theme parks should take note and kick up the guest experience accordingly. Audio integration should help drive design.”

Enterprise solutions “Because of Tommy and Bob, ATI is an integrator pushing technology to the next level,” says Stephan Villet, co-founder of Smart Monkeys, Bridges with Stephan Villet of Smart Monkeys whose new ISAAC system is one of the products that ATI is currently marketing to transform show control in the attractions sector. “Tommy Milt Hinton, Doc Cheatham and Wild Bill Davison. Then at college opens doors for us. He was one of the first to grasp what we were at Syracuse University, I was getting business advice from guys like doing and find ways it can be applied.” Cy Leslie, Chairman of MGM/UA, John Sykes founder of VH1 and Stanley Gordikov, the President of the RIAA, the parent organization of the Grammy awards. These were top music industry executives in Hollywood,” said Bridges.

Bridges recorded his first vinyl album at age 14, on the Delmark jazz label in Chicago (at Gary Hedden’s studio). In 2003, he released what has been lauded as the first-ever traditional jazz music CD recorded in 96K/24bit resolution. “It was definitely on the cutting edge back then and was a technological feat, as we had perfect separation in the way SIMPLY Our work consistently trumps the competition I set the studio up.” thanks to a dedicated team of industry BETTER professionals that goes above and beyond to create live entertainment systems with the His big break in electronics came in 1987 at Univisions video highest quality equipment. systems in Syracuse, selling GE Talaria “Light Valve” projectors, Barco and Electrohome projectors, and then-new Sharpvision (for home and classroom) and Kodak classroom LCD units. “This is all ancient technology by today’s standards! We were the king of the hill of large screen projection, in upstate New York at the time. We did this all long before anyone ever heard of Christie Digital!”

Tommy Bridges and Bob Athey met on a project supplying a custom audio player for the Hard Rock Hotel suites. At the time, Bridges was with Alcorn McBride, and Athey was with FBP Systems. A few years later, in 2011, Athey founded ATI. Bridges was with General Projection Systems at the time, and attracted a lot of attention on the IAAPA show floor with a breakthrough example of projection mapping. “We collaborated with Christie Digital, and Adam Neale’s then-new product, the Delta Nano 2K player from 7th Sense. It was a big hit! Bob Athey really liked it, and we decided to get together soon after.

O +1 [702] 953 0550 | ATI-AV.com www.inparkmagazine.com LAS VEGAS - LOS ANGELES - SHANGHAI The first ISAAC system, built for the new Tom Bradley International Alex Carru, CEO of Medialon, and Tommy Bridges Terminal at LAX, has been getting a great deal of notice. Passenger Terminal Conference 2014 in Barcelona showcased Villet presenting “Integrating immersive media systems to create an intelligent airport environment.” In Las Vegas, Villet spoke about the system to John Huntington’s annual Geekout, an elite show control gathering during InfoComm. As of June, LAWA (Los Angeles World Airports) reported that the system had been honored with 10 awards and was in the running for six more. The accolades have come in from SEGD Global Design Awards, South By South West (SXSW) Interactive Awards, Live Design Excellence Awards, the InAVation Awards and others.

In the Bradley terminal, the ISAAC system is integral to the built environment, using some 12,000 square feet of LED tiles, hundreds of LCD screens, and some 60 ultra-high-resolution multimedia productions. It displays more than four hours of original, high- resolution, multimedia content in seven display areas (adding up to some 9,600 square feet of combined active display area), synchronizing cluster,” on a robust, industrial hardware platform. Broadcast-grade multiple features based on intelligence from live data, including flight Grass Valley servers and Moment Factory’s X-Agora software are departure and arrival information, and passenger interactions. used for content playback. Medialon software, the show controller, runs within ISAAC. The whole rig takes less space and consumes less Along with state-of-the-art content management, ISAAC delivers what power than conventional PC-based systems. The system automatically Villet calls “the holy grail of resiliency,” by replicating the advantages monitors itself and should a hardware component fail, the others step of networked PCs without the actual PCs and their accompanying up to accommodate the task. instabilities. The PCs exist virtually, in a cloud-based “virtualization “Tommy gets a flash of inspiration and comes back with, ‘Can you do it this way?’” -Eric Cantrell

Centralization of control and of data/content streams let the operator reap the rewards of big data, streamline processes and offer the kind of personalization expected by (you guessed it) Millennials. And, according to Villet, operators connected to corporations will find that IT departments readily relate to ISAAC.

“The people who understand what software really can do are often brought on too late to have a specific impact on the design itself,” said Villet. “But, because of the greater importance of software and show control in general, designers and concept creators should consider hiring the show control specialist right from the beginning. Then, the design itself will incorporate all the benefits of what the software can provide.”

Supervisory systems Where there’s themed entertainment, there’s Medialon, a leading supplier of control software. Medialon’s North America Sales Manager Eric Cantrell talked about the company’s collaborative relationship with Bridges. “We share ideas about technologies we see emerging. Tommy has a holistic view of the markets and the possibilities and is always on the lookout: he wants to do the next thing, to push the Eric Cantrell of Medialon with Tommy Bridges report, and daily log, or even send text messages or email alerts to appropriate on-duty staff. A supervisory system such as ISAAC allows access control, raw data management, and reporting tools to be separated from the individual show control systems, reducing the amount of programming in each show controller.”

Bridges, Villett & Cantrell all make the case for implementing this kind of integrated supervisory system at the outset of a project. “Working with an architect, this is something that can be designed from the start, planning a smart building from the ground up,” said Cantrell. technology. We build a product to do one thing – Tommy gets a flash “As museum and theme park AV systems become more and more of inspiration and comes back with, ‘Can you do it this way?’ and the networked, supervision and management of AV assets can take dialog changes.” advantage of that network infrastructure,” said Bridges. “ATI, Medialon, and Smart Monkeys all recognize that. It’s at the heart of our The professional music connection emerges again in the conversation collaboration.” • • • about Medialon. Bridges explained that the product is popular for shows that contain live performance elements. Its visualization of the Tommy Bridges: [email protected], 702-690-9045 timeline and the ability to manipulate things quickly using drag-and- drop make it extremely flexible and accommodating to changes on the fly, and are similar to the Pro Tools interface that is very familiar to people with a music industry background.

Cantrell described a newer Medialon product, that ties into BYOD (bring your own device) applications, personalization, tracking and data collection:

Bluetooth Low Energy (BLE) beacons are small, battery-powered devices that transmit a signal, “kind of like a miniature GPS satellite,” said Cantrell. Receiving devices – smartphones, for instance – can We design successes. pick up on this beacon signal, and an app in the phone can then react to the beacon to contact a website, receive content, or even trigger an action in a show control system. Apple calls its implementation of this technology “iBeacon.” (Still in early stages of deployment, iBeacons are currently in use at all Apple stores.) Cantrell explained that in a museum or retail outlet, iBeacons can be the means of delivering context-specific content (such as audio tours or product coupons) to visitors, micro-locating them inside their facility. In a theme park, iBeacons can be used for micro-location to track visitors playing a parkwide game overlay or augmented reality experience, or a countdown to boarding a ride. Range of operation can be limited for security purposes so that, for instance, when a guest leaves the facility, the signal is no longer picked up by smartphones. This allows developers to create apps that behave differently when in the presence of iBeacons than they do when the user is at home.

Get Smart "EYE-POPPING" L.A. WEEK All this feeds back into a bigger way of thinking about show control, so "OPTICAL CAPTIVATION" that in fact it transcends that category into a much larger, enterprise- MONDO*DR wide role in a project. “ISAAC is something for the entire industry to "MASSIVE MEDIA INSTALLATIONS" watch as an example of what we call a ‘supervisory system’ and what VARIETY it can do,” said Cantrell. “In a supervisory system, statuses and errors "BREATHTAKING" can be reported not only on the local user interface at each exhibit SKIFT.COM "A STUNNING SUCCESS" or attraction, but also appear in a system-wide status screen, daily MRA INTERNATIONAL "A PIONEERING PROJECT" SOUND & VIDEO CONTRACTOR

www.smart-monkeys.com/lax-new-tbit High Rollers: The theme park talent at the hub of Vegas’ new wheel aesars Entertainment’s High Roller transforms the Las shopping experiences. And while the benefits of this rebirth CVegas skyline and anchors the LINQ, a new 200,000 are evident to all guests as they walk down Las Vegas Blvd, square-foot retail, dining and entertainment district on the what isn’t as well known is the theme park talent that helped Strip. Reaching 550 feet high, the High Roller is currently bring the High Roller to life. certified the tallest observation wheel in the word. These are top-tier leaders and consultants whose The High Roller and The LINQ are revitalizing the central contributions over the years are significant in defining and Strip area. As Las Vegas continually reinvents itself, the redefining the theme park guest experience. new developments signal a renaissance of attraction entertainment, coupled with premium gaming and

Greg Miller oversaw design and construction of David Codiga, executive project director for the High Roller and The LINQ. Prior to joining Caesars High Roller and The LINQ, has had a storied career in in 2004, he spent eight years at Universal Studios attractions and theme park development, having Parks and Resorts group, including President of led Universal in the creation of the Jurassic Park, Spain’s Port Aventura. While at Universal, Miller Terminator 2: 3D, Amazing Adventures of Spider- was involved in the development of Universal Man and Earthquake: The Big One attractions as Orlando and Universal Studios Japan. well as heading the design and development of Universal’s Islands of Adventure.

Eric Eberhart, GM of High Roller and The LINQ, helped to choreograph the pre- and post-ride experience, staffed the operation, selected the purchasing system, oversaw the design of the uniform, and developed and managed the master schedule. Eric started as a ride operator at Disney, working his way up in the company, even helping to build another iconic tall attraction: Disney’s Tower of Terror.

Steve Alcorn Alcorn McBride’s equipment is at the heart of High Roller’s control and playback systems. Prior to founding Alcorn McBride, Steve Alcorn helped create control systems for ’s The American Adventure and Journey Into Imagination attractions. His company’s first show controller was used in Epcot’s pavilion.

22 www.inparkmagazine.com www.inparkmagazine.com Phil Hettema developed the concept design and produced High Roller. At , John Kasperowicz, AIA was High Roller’s he directed the expansion of Universal’s theme design architect. As an Imagineer with the Walt Disney parks in Hollywood, Orlando, Spain and Japan, Company, John was one of the original master and was one of the primary forces behind planners and designers of EPCOT Center, World Universal’s Islands of Adventure in Orlando. Showcase and Tokyo . After establishing Now his own company, The Hettema Group, his own firm, XPA Experiential Architecture, John helps design parks and attractions around the developed concepts for Disney’s Pleasure Island in world. Orlando and Disneyland’s ToonTown.

Lisa Passamonte Green provided initial lighting design concepts for the project. Lisa’s career spans nearly a quarter decade and her work can be seen in theme parks around the world. She and her team at Visual Terrain, Inc. have provided the lighting concept, design specs, procurement and show control integration for lighting projects in just about every architectural setting imaginable.

Frank Weigand provided engineering consulting services for High Roller. Frank has been involved with some of themed entertainment’s Randy Printz, Wheel Project Manager, started signature attractions. After a successful career as at as an economic a sought-after consultant and as top mechanical planner for Epcot and Tokyo Disneyland. In engineer at Walt Disney, Weigand formed the TWT 1994 Universal Studios recruited him to join as Group, a collaboration of many former Disney and Senior Vice President for Universal’s $1.1 billion Universal engineers. Islands of Adventure. He subsequently went on to executive manage Universal Studios Japan during the concept and planning phase.

Abigail Rosen Holmes, wheel lighting designer who owns NYX Design, is a former Disney Imagineer who worked on projects including Rock N’ Rollercoaster at . Her designs can be found in the world of art, music, culture and commerce and is on display in museums, in TV productions, on concert stages and in major themed retail developments.

Kevin Ruud designed show control and AV systems for High Roller. In earlier days as a partner at Thoughtful Design, he worked on projects for Disney, Landmark Entertainment, Sea World, Bremen Space Park, The Star Trek Experience, MGM Grand Adventures, and many others.

www.inparkmagazine.com www.inparkmagazine.com Photo courtesy Nate Stiller, Wikimedia Commons23 Not your Great-uncle’s las vegas

New markets, new customer behaviors, new developers, new partnerships and growth article & interviews by Joe Kleiman

mblematic new developments on the and Downtown are targeting locals and tourists alike for a Ewidening array of activities. MGM is building up its portfolio of arenas and festival venues. Genting Group of Malaysia and Crown Resorts of Australia are both developing new resort properties. And a group catalyzed by Zappos founder Tony Hsieh is rapidly changing the landscape of downtown with new residential construction, entertainment venues and business incubators.

“Las Vegas is growing up” What aspects of the new Arena improve upon MGM’s existing Chris Baldizan, senior VP of Entertainment, arena infrastructure, such as the MGM Grand Garden Arena MGM Resorts International and the Mandalay BayEvents Center? The MGM Grand Garden Arena is more than 20 years old (December On the south portion of the Strip, across from 1993). There will be a number of improvements in our new Arena; Luxor Resort, lies MGM Resorts Village, a 15-acre with that stated, the MGM Grand Garden Arena remains one of the site open since September 2013 for festivals and best places to watch an event as a guest or, from our entertainers’ events. Nearby, the area between New York-New York and Monte perspective, to perform. There are not many 13,000-plus seat venues Carlo is being reborn as “The Park” shopping district and public space as intimate as the MGM Grand Garden Arena. that will connect to a new $375 million, 20,000 seat Arena opening in 2016. On the north portion of the Strip, near Sahara Ave., the 33- One improvement you will see in the new Arena is state-of-the-art acre MGM Resorts Festival Grounds is also under development, in seating featured in the suites, club seating, etc. The technology in partnership with Cirque du Soleil and Rock in Rio. Slated to open in the new building will be state-of-the-art, along with the variety of 2015, it will be the permanent site of Rock in Rio, one of the world’s amenities included. The MGM Grand Garden Arena and our Mandalay largest music festivals. BayEvents Center will continue to be utilized for concerts and conventions moving forward. How will MGM Resorts Village be utilized in the future? Our ultimate goal overall will be to utilize this space year-round. We Is Rock in Rio MGM’s competitive offering to Electric Daisy have actively been seeking new programming opportunities for the Carnival? venue. We recently made major announcements and went on-sale If you have been to Electric Daisy Carnival, you know there is no with several shows/festivals. competing with it. It is a unique and amazing event all unto itself. It

24 www.inparkmagazine.com definitely opened my eyes to the overall experience and the sense of community that are created at a festival the size of EDC. The type of music and/or location all feed in to that specific event, but I think there is plenty of room in the market for additional festivals and live events such as those we recently announced.

To what degree do you see the new venues appealing to locals as compared to tourists? A large number of our venues including the two Arenas, our nightlife outlets, our many restaurants, etc. attract local business. We have a great appreciation for the local community and believe the events we host will continue to be supported by the locals. When we were in the process of developing and creating our strategic plans for these venues we needed to make sure they were appealing to our local residents. We hope they look at these venues as part of the community. Las Vegas is growing up and we want to help in that process. Balcony view from the new Las Vegas arena looking toward New York-New York Courtesy MGM Resorts International

New markets, new customer behaviors, new developers, new partnerships and growth Genting and Crown come to the Strip Genting takes over the unfinished Echelon Place, which was being constructed on the site of the demolished Stardust Casino. Echelon article & interviews by Joe Kleiman A few blocks south of where MGM Resorts Festival Grounds is under was abandoned shortly after the recession of 2008 and Genting, development, two new casinos are about to be constructed. Both which in May was awarded a preliminary gaming license by the are unique in that they represent the entry onto the Las Vegas Strip Gaming Control Board, plans to integrate 80% of the existing Echelon. of major casino resort operators from the Asia-Pacific region: Genting The new property will be the first major Resorts World brand casino Group of Malaysia (best known for the Resorts World developments in North America. (Genting has an existing casino at the Aqueduct in Malaysia and Singapore), and James Packer’s Crown Resorts of Racetrack in New York and a planned Miami waterfront resort.) Australia (a partner in Macau’s City of Dreams). According to the Las Vegas Review-Journal, the initial phase of the Crown has yet to release specific plans for the former location of the $4 billion Genting project “will include 3,000 hotel rooms, a casino Frontier Hotel and Casino. Partnering with Packer is Andrew Pascal, with a combined 3,500 slot machines and table games, 30 food former president of and founder of PLAYSTUDIOS, and beverage outlets, a 4,000-seat theater and an elaborate garden which developed the social media based online gaming system attraction that will serve as the property’s front door to the Strip... myVEGAS, tied to rewards at MGM Resorts properties. This gives Genting will build a rooftop sky park and observation deck atop the Pascal expertise in both traditional and online gaming. 674-foot-tall tower, whose height already has been approved by the Federal Aviation Administration... Other attractions include a 50,000- plans. Courtesy of Genting square-foot, 58-foot-tall aquarium...”

There are also plans for Genting to add other attractions, which may include a waterpark and potential theme park. Many analysts consider Genting’s theme park partnerships with Universal and 20th Century Fox as evidence for this happening in Las Vegas. Historically, however, theme park type attractions on the Vegas Strip have been a mixed bag, with major ones being removed from the Luxor, MGM Grand, Treasure Island, Sahara, and within the past two decades. The only remaining full-scale theme park is at Circus Circus, located directly next to the new Genting site.

Genting and Crown are well known in the Asia-Pacific market. Together they mark a major influx of cash from that region into a part of the Strip that had been in decline, which is in turn expected to increase tourist visits from Asia, especially China.

www.inparkmagazine.com The Downtown Project is based on the “three Cs” of Collisions, Co-learning and Connectedness

The Scullery eatery encourages local business owners and community members to mix and mingle. Courtesy the Downtown Project

Building Downtown Sustainability particularly with Downtown Container Park. Those who do make Kim Schaefer, Head of Communications for the their way to Fremont East will find it’s nothing like the Strip or what Downtown Project most people imagine when they think of Las Vegas. It’s a place where small business owners hang out in each other’s bars, restaurants, and In 2013, Zappos, an online shoe and clothing retailer now owned shops. They support one another. It’s a neighborhood where people by Amazon, opened new offices in the former . are open, friendly, and welcoming. With a building interior designed to encourage serendipitous interactions, Zappos founder Tony Hsieh began analyzing how the What have been chief sources of inspiration? same unconventional principles could be parlayed to transform a A great deal of the work we’re doing has been inspired by the book derelict portion of downtown. “Triumph of the City” by Harvard economist Edward Glaeser. Glaeser studied the history of cities throughout the evolution of civilization Fremont East was the area selected to be invigorated as an and found that cities, places where people live and work closely interconnected place of living, working and learning. The Fremont together, can make people happier, healthier, more innovative, more East district adjoins the bustling Experience with successful. its downtown casino hotels and overhanging LED screen, and the adjacent shopping center. We’ve also been inspired a good deal by Austin, Texas. The mixture of technology companies, creatives, live music, and entrepreneurs is a The Downtown Project philosophy - based on “three Cs” of Collisions, mix that we are hoping to encourage to happen here. Co-learning, and Connectedness - is reflected in its community- oriented developments. is a residence hotel that provides Tell us about what the project has invested in so far. housing to Zappos employees and guest flats for visiting artists, Downtown Project is an initial $350 million investment in helping to speakers, investors, and entrepreneurs working with Downtown revitalize through $50 million in investments Project. Its first floor features The Scullery eatery and The Window, in small businesses; $50 million in tech startups through the a space designed to encourage communication between non- VegasTechFund; $50 million in arts, culture, and education; and $200 profits and the arts. The , a former casino hotel, has been million in real estate and development. We have invested in 117 transformed into an indoor and outdoor lounge where Downtown small businesses and tech startups over the last 2.5 years including employees and residents can work or play, and a residence for restaurants, bars, shopping, retail, live music venues. We’re invested in Zappos or Downtown Project employees. Inspire is a $5.5 million a monthly arts festival called First Friday that attracts 25,000 people to transformation of a commercial building to an intimate performing Downtown each month. We’ve also invested in a private school, 9th arts venue featuring a 200-seat theater. Downtown Container Park is Bridge, that is currently an early childhood education school through a retail center built of recycled shipping containers, to provide space kindergarten. We are still very early in our efforts, but we’ve created for artists, boutiques, and eateries and an outdoor performance space 707 direct jobs through those investments along with helping to showcasing both local and national talent. attract people to Downtown to become emotionally, personally invested in the neighborhood’s long term sustainability. • • • To what degree might tourists be expected to roam into East Fremont? Because we are in the really early stages of this revitalization, it’s hard to know. We do see some tourists engaging with the neighborhood,

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www.inparkmagazine.com MyMagic+ technology changes Disney parks by Martin Palicki

According to Tom Staggs, Walt Disney Parks and Resorts Chairman, the company’s investment in MyMagic+ technology has been huge (see InPark Issue #48, Tickets to Ride for more on how ticketing technology is changing the guest experience): changing out turnstiles at all park entrances, retrofitting 28,000 hotel room door locks, increasing attractions from 28 to over 60 property wide, and installing stationary and mobile readers at countless retail locations.

As has become typical for Disney, MyMagic+ has raised the bar for the and themed entertainment industry. This is the forefront of entertainment technology and I imagine that we’ll see it permeate other segments of

our lives very soon. -Dave Hutton, Diamond Ticketing © Disney At the heart of the experience is the Magic Band, a semi-rigid plastic wristband containing RFID technology encoded with guest information, hotel reservations, park tickets, Fast Pass reservations smartphone app. Each guest is allowed three pre-reserved FastPass+ and more. WDW resort guests now receive a Magic Band for their visit, attractions per day and can then set up additional passes via in-park via while visitors staying off-property receive an RFID-embedded ticket kiosks (plans call for this functionality to move from kiosks onto guests’ card that functions similarly. Those guests are also able to purchase a phones in the future). When it is time to go on the attraction, guests Magic Band for $12.95. All guests can adorn their bands with covers, wave their band by the Mickey post (similar to the front entrance) attachments and decorations, available at multiple retail locations and a green light indicates it is OK to continue in the FastPass+ line. around the parks and resorts. The technology inside the band Each Mickey post also makes a welcoming sound upon entrance that, (referred to as “magic” by Disney staff) has an anticipated lifespan of while hard to hear, is themed to each attraction. several years, although it depends on usage. Anyone of any age who sees a MagicBand is immediately Guests see the first change at the park entrance. Turnstiles are gone intrigued and wants to know how it works and how they can and guest simply wave their Magic Band (or ticket card) in front of the get one…suddenly ticketing seems pretty cool! - Melinda Mickey post, use their finger for biometric verification, Mickey turns Arvin, OmniTicket green, and the guest enters the park. Disney has moved their guest relations staff to the entrance area, armed with iPads, standing ready Guests can also use their bands to pay for virtually anything in the parks to handle problems that arise on the spot. Approximately the same and resorts, including a special lunch at the Be Our Guest restaurant number of staff are required for the new system as was needed for in . There, guests can pre-reserve a meal and dining time the old turnstiles. online. As they show up to the restaurant, RFID readers indicate to a cast member who they are. Once they enter the restaurant doors, With MyMagic+, Disney is prompting attraction operators their food order is transmitted to the kitchen. The guests choose their around the world to evaluate a range of technologies own table and within minutes their meal is “magically” delivered to that can deliver similar guest improvements to their own them. operation. - Steve Brown, accesso RFID is here to stay and MyMagic+ will help to make it more accepted and even desired by the customer base. - Staggs says already 40% more park visitors are using the Magic Mark Danemann, Siriusware Band’s FastPass+ system than the old ticket-based FastPass, which was a major breakthrough in queue management for parks when it The system is designed to evolve, and the capabilities are nearly debuted in 1999. The new program has been designed from the start endless. “[Our] vision is simple: To be the most trusted provider of to allow cast members to be more involved with guest interactions shared family travel and leisure experiences throughout the world,” than with guest transactions. explains Staggs. “And with MyMagic+ we are taking that experience to a new level.” • • • FastPass+ is completely integrated into the Magic Bands, and can be set up in advance via the My Disney Experience website and

www.inparkmagazine.com 29 THE BEST OF BOTH WORLDS ARE TEAMING UP!

NEXT-GEN FAMILY FUN!

Ubisoft and Alterface Projects are gathering their creative forces to design a state-of-the-art interactive dark-ride based on the ZRUOGZLGHYLGHRJDPHDQG79VKRZKLW¶5DEELGV,QYDVLRQ·7KDQNVWRRXUVLJQDWXUH'6KRRWHUV\VWHPIHDWXULQJKHDGGHWHFWLRQ \RXUYLVLWRUVZLOOSOD\LQWRWKHZDFN\ZRUOGRIWKH5DEELGV%ULQJWKHVXFFHVVIXOOLFHQFHWR\RXUSDUN

Alterface Projects EnterAction (US) Alterface International (Asia) [email protected] [email protected] [email protected] + 32 485 620 390 + 1 417 973 0301 + 886 983009548 30 www.alterface-projects.comwww.inparkmagazine.com www.inparkmagazine.com Cloud-based curation Mixby, museums and mobile by Joe Kleiman

useums continue to pursue new ways to integrate smartphones Mand tablets into their exhibits and venues. Techniques have ranged from static podcast tours to QR codes on exhibit signage. Seattle-based Artifact Technologies has met the challenge from a different angle. Its Mixby platform alerts the mobile device, delivering location relevant content. We talked to Artifact CEO Greg Heuss about how Mixby operates.

Mixby uses digitally ‘fenced’ areas to identify the user’s real-world location. Built-in GPS is an option to build area networks; however, it is not accurate when mapping small, precise locations or reliable when users are inside buildings.

Heuss explained that Mixby supplements GPS with BLE beacons. They are comprised of small modules about the size of an egg, a small battery and a low energy Bluetooth (BLE) transmitter. Once the transmitter detects a Bluetooth signal from a mobile device running Mixby, data is sent to the phone using either cellular or WiFi signals. tickets directly from their devices. Greg Heuss shows one Mixby updates can be done on the of the BLE Beacons The first museum application of Mixby is now active at the Pacific fly using the control panel. at the Pacific Science Center (above) and an Science Center in Seattle, Washington. As visitors enter a particular interactive message exhibit, the beacon notifications alert patrons that additional content Mixby will first integrate Facebook triggered during a guest’s is available. For example, in the museum’s Butterfly House, a Mixby and Twitter and then move on to visit (below). Photos beacon engages visitors with butterfly background information, a add Pinterest and Instagram. It is courtesy geekwire content scavenger hunt, and a coupon for merchandise in the gift designed to support on-location shop. download of content such as videos that can later be viewed at home via Apple TV or Google Chromecast, To populate content inside the app, a browser-based, administrative and set up with iTunes or Google Play to support purchases being control panel enables the Museum to create these beacon charged directly to a user’s existing account. experiences. They can change exhibit information, view and publish user-submitted photos (a photo-submission option for visitors lives Artifact charges clients a one-time setup fee for the platform, based inside the app), and create new exhibits and places. on the size of the venue, number of users, and number of beacons to be installed. There is also a hosting fee based on usage, plus a revenue Heuss cited an example of Mixby supporting attendance for the share where applicable. Operators of the platform don’t need any Pacific Science Center’s IMAX theaters. “If tickets are limited or a show additional hardware or infrastructure in deploying Mixby. Heuss has sold out, the Museum can send an immediate notification to all says, “Everything runs on our back-end and is stored in the Amazon their visitors using Mixby.” Special announcements can be sent for Cloud.” events, and a feature coming soon will allow visitors to purchase Once museum visitors leave the Pacific Science network, they step into a larger Mixby network encompassing the entire Seattle Center complex the museum is part of. There, the user is presented with content and information pertinent to the other opportunities around them, such as the Space Needle, EMP and Chihuly Glass Museum, just to name a few. This “nested network” configuration can be applied to venues such as sports stadiums, music festivals or shopping districts. Mixby’s goal, said Heuss, is to “create a more curated experience. You can walk to an exhibit, or any point of interest in a location, and we can integrate audio, video, still images, any kind of media into an entire tour of that place.” • • • more info: www.artifacttech.com

www.inparkmagazine.com www.inparkmagazine.com 31 www.inparkmagazine.com Deep inside the Lost Temple Movie Park Germany delivers media-based thrills interview by Judith Rubin

ram cars are virtually swamped by dinosaurs in - TKirchhellen, where Movie Park Germany has just launched “The Lost Temple.” This new, immersive media-based, stereo 3D motion simulation attraction exemplifies how today’s sophisticated digital tools are advancing the art, shortening the production timeline and bringing higher-end attractions within reach of regional parks’ budgets.

“The Lost Temple” takes guests on a simulated journey through a forgotten, unexplored world with prehistoric animals, temples and dinosaurs. The backstory is that the world was discovered below the Movie Park site. Part of the preshow is an elevator simulation that takes guests far underground.

Movie Park Germany tapped Riva Digital and sister company Riva Creative to develop the “Lost Temple” story, script and graphics and produce the media, scenic installation and queue areas. Riva Above: A scene from “The Digital co-owns the film with the park, and Riva’s senior producer Lost Temple.” on the project was John Kokum. Brent Young of Riva Digital was contracted in the role of media creative director, and Super 78 Below: The project team meets at the site during provided editorial, technical previsualization and development installation. support while Tau Studios did the creative pre-visulization and the Photos courtesy of Super 78 CG on the project and Yessian did the audio. Credits (provided by Riva Digital) Interview with Brent Young Wiebe Damstra – Project Manager Movie Park Germany “The Lost Temple” took slightly less than a year from concept John Kokum – Attraction Sr. Producer – Riva Digital to completion. How did digital tools help streamline its Brent Young – Attraction Creative Director / Film Director – production? We used digital pre-visualization instead of building a physical Riva Digital mockup, which saved both time and money. The client and all the Steve Rosolio – Project Coordinator – Riva Digital creatives were able to experience the ride in development by viewing it in 360 on Oculus Rift headsets. Super 78 developed software along Riva Digital – Motion Graphics and Pre Show with the help of David Sliviak from Riva Digital to create a virtual Riva Digital / Riva Creative – Script mockup that was extraordinarily accurate and incorporated all the CAD designs for the building. Riva Creative – Graphics and Story Creative Design Services – Attraction Layout and Concept art Super 78 – Animatics, technical previsualisation, Editorial, Media Installation Yessian – Attraction Music and Sound - CGI/Animation and creative previsualisation Rocas – Theming and Scenic Simworx- Ride and A/V Lost Temple Graphic Logo: By Riva Creative Photos by Brent Young

www.inparkmagazine.com 33 What is the technical configuration for the motion simulation? It uses tram vehicles on a rail, and on that rail is a motion simulation platform that takes you down into a locked position and then lifts you up to be surrounded by the near-wraparound screen. There are 7 pairs of Christie projectors. The audio system was designed with sixteen channel audio, each capable of being controlled individually for discreet audio mapping.

What else is in the attraction? There are about a dozen themed spaces including 7 preshow rooms, an elevator experience and many special and unexpected effects such as fireballs in the queue.

Tell us about the show control. Movie Park brought in the company Night Life, who are excellent programmers, to create a really slick, intuitive, Medialon-based control S78 reveals their Oculus-based attraction system. Movie Park general manager Wouter Dekkers can control the visualization tool: Mushroom™ fireballs in the preshow, and even run through full show programs “The Lost Temple” Creative Director Brent Young developed using his custom-programmed iPhone. the attraction’s storyboards, oversaw the media production, and harnessed Super 78 to provide technical solutions for the How did the installation process go? ride’s complex projection scheme. Young said, “The Lost Temple The World Cup was going on during installation, so that added a illustrates perfectly that exceptional creative and media paired unique background element to our experience – and an especially with bold leadership, like Wouter Dekkers of Movie Park Germany, intense moment of celebration when Germany won. It was great to can produce an ‘E-ticket’ attraction that regional parks can afford. be on the spot for that. • • • That’s what we want to deliver to parks everywhere.”

Super 78 contributed significant technological innovation to the pre-viz process with their new Mushroom™ attraction development tools. Using the Oculus Rift VR headset and proprietary software developed by Super 78, Mushroom virtually transports the viewer into a fully developed 3D space. They can then move through the space and experience every detail, including projected media, in realtime.

The Lost Temple’s projected 3D imagery is displayed on an enormous, curved screen that wraps almost completely around the ride vehicles. Normally, the only way to check the stereo, scale and perspective for every rider position would be to build a full- size mock-up, at huge expense in time and cost. “With Mushroom, we saved a significant amount of time and money by virtually putting everyone into The Lost Temple theater, allowing them to sit in any seat, in any row, and accurately experience the attraction from start to finish,” as Michael “Oz” Smith, Super 78’s Technical Director explained. “No matter where they were, anywhere in the world, every stakeholder could ride The Lost Temple before any construction began.”

Dina Benadon, Super 78’s CEO, added, “We are thrilled that the promise of virtual reality is finally being realized and that Mushroom is at the forefront of this revolution in the themed entertainment industry. We look forward to sharing Mushroom with all our clients. And wait until Oculus releases its consumer product; we have some big things planned!”

Saving one interactive the dark ride World at a time Triotech, , and Alterface Projects each bring something to the art of virtual shoot-em-up by Joe Kleiman

ark rides have been around as long as the amusement park industry. Over the years, a variety of elements have been Dadded to enhance the guest experience - animatronic characters, 3D film, and finally, interactivity. Each element makes the ride more like being inside a video game.

As the dark ride continues to be reinvented for new generations of theme park fans, scenarios where the rider/player saves the world (or perhaps the bakery) are popular as ever. Three suppliers each bring something special to the medium: Wonder Mountain’s Guardian, supplied by Triotech, engages riders with the world’s longest interactive screens. For Justice League Invasion 3D at Warner Bros. Movie World, Sally Corp. combined interactive video with physical targets and animatronics. And for the Rabbids product offering, Alterface Projects utilizes an innovative interface to determine where players’ artillery would actually land.

Wonder Mountain’s Guardian A rollercoaster transitions into a journey inside the mountain

Montreal-based Triotech entered the 4D market with the Typhoon coin-op motion simulator. The company went on to develop 4D theaters equipped with motion seats and interactive target shooting.

For the Cedar -owned Canada’s Wonderland near Toronto, Triotech designed the interactive elements, media content and 4D effects for the park’s $10 million attraction for 2014, Wonder Mountain’s Guardian, the first attraction to be built inside the park’s iconic manmade mountain. According to Christian Martin, Triotech’s Vice President of Marketing, “Canada’s Wonderland is always wanting to do new stuff and they always wanted to do something with that space. There had already been a coaster going around the outside of the mountain, so that’s how they wanted to start this ride. There were really three partners - the park, us, and ART Engineering, which built the coaster.”

The ride begins with a preshow video, designed as an old storybook on worn parchment, which gives the backstory of how the King fought a dragon and lost his crown in the depths of the mountain. It is the mission of the riders to head off and retrieve it. The preshow is hosted by a character, who appears again throughout the interactive portion of the ride. Boarding two car trains, with passengers facing Guests don 3D glasses and prepare to compete at the loading both front and back, riders are sent up a lift hill and station of Wonder Mountain’s Guardian. Opposite, cars ascend swoop around the mountain while rising and dipping on the new the lift into the “gaming” portion of the attraction. Photos courtesy Triotech coaster track. Finally, the train enters an opening in the side of the mountain. As a gate closes behind riders to keep out natural light, the

36 www.inparkmagazine.com www.inparkmagazine.com ride vehicles rotate 90 degrees, facing the world’s longest interactive screens, measuring 500 feet in total length. Having such long screens gives the effect that the riders are one interactive dark ride at a time continually moving and descending into the depths of the mountain. Saving the World This effect is maintained through the video image, as the ride vehicle maintains a steady elevation and speed during the dark ride segment. Distractions from surroundings and other vehicles are minimized by creating a halo effect around the real time 3D graphics, where the periphery of the immediate viewing area is blacked out. The entire experience is progressed down the screen through a continuous series of dual 3D projectors.

Triotech’s setup at Canada’s Wonderland supports interchangeability. With the need to only change the program inside the mountain and the preshow video, multiple shows can be presented. There are already plans for Wonder Mountain’s Guardian to take up a different storyline for Halloween. Martin notes that even more than one show can be programmed for the same date. He says, “The tradeoff is theming. But the general effects are there that can be used for a show - sound injection for feedback, force feedback in the guns, light, heat, wind, and smoke as our 4D effects. We don’t currently have water effects on this attraction but they could be added.”

What makes this unique over other dark ride adventures is, as Martin puts it, “Who saved the world? The people are in the game on this ride rather than just watching the game.”

www.inparkmagazine.com www.inparkmagazine.com 37 Justice League Invasion 3D Battling Starro the Conqueror alongside superheroes

Another place riders can save the world is at Warner Bros. Movie World on Australia’s Gold Coast. In Justice League, Alien Invasion 3D, an AUS$9 million attraction that opened in 2012, they join the DC superheroes in battling a menace from outer space. Designed by Sally Corporation of Jacksonville, FL, Justice League represents the latest in a long line of licensed attractions from Warner Bros.

Founded in 1977, Sally began by manufacturing audio animatronic figures. By the late 1980s, it had expanded into designing and manufacturing dark rides. Sally has manufactured dark rides with shooting elements for a number of years and has even retrofitted a number of conventional dark rides into shooters.

Working with the park, Warner Bros, and DC Comics, Sally set out to showing a negative image indicates that riders in the queue have not replace a Batman simulator with something unique and interactive. been infected by Starro’s spores. Finally, Batman appears on a screen The simulator attraction and theming were removed and the show speaking with Cyborg as riders board their cars. was redesigned. According to Sally Chairman and CEO John Wood, the villain of Starro the Conqueror was suggested for the attraction Throughout the adventure, citizens have been infected by Starro’s by DC. “He proved perfect as the starfish made perfect targets.” One of starfish and they are also thrown at riders on 3D video screens. Every Sally’s most advanced animatronic characters, Cyborg, resides in the starfish target gives a score. In the video portion, the starfish can be queue. After that, a number of simple exist on the ride. blown up. When physical targets are hit, the gun vibrates and the lights on the starfish go out. Throughout the queue, a preshow video comprised of television news stories gives the background to the ride’s story. A scanner

Justice League Invasion 3D promotional composite (above) and photo from inside the attraction. Courtesy of Sally Corporation

www.inparkmagazine.com Prototype of the Rabbids shooting device (inset) and the Maus au Chocolate attraction. Photos courtesy Alterface Projects

Rabbids Invasion Cornet says that storytelling is important in telling riders what the Multi-stage wrangle with unruly critters mission is within the first five seconds. He adds, “Without that tool in hand, it’s just theoretical.” Alterface Projects uses a combination Although the guns on Justice League were designed by Sally, the of pre-rendered video, for scenes designed to be viewed, and real- system they run on was developed by Belgian company Alterface time animation for strong action scenes. They have discovered that Projects, which is currently creating an interactive dark ride based commercial game engines tend to work best. For the Rabbids rides, on French videogame company Ubisoft’s popular characters the Ubisoft itself will handle the animation. Rabbids, a group of crazy rabbit-type creatures with an anything goes attitude. On Rabbids, a standard formula will be used for the ride. The gun will be a plunger, which fits in with the humor of the franchise. The first Since 2001, Alterface Projects has been manufacturing interactive scene will be designed to be both fun and funny, and will be used to rides and theaters using both physical and media interfaces. The instruct riders how to use the plunger. They get their first feedback company is currently in talks with a number of operators for the and then move on to the second scene, where they will spend more Rabbids Invasion attraction. The cost and footprint of the attraction time getting used to the shooting device. After that, scenes become will vary depending on the individual needs and availability of the more difficult. location. There is no standardized attraction format set for Rabbids, other than Rabbids will be similar to another next-generation interactive ride it will combine physical sets with target screens. The storyline has introduced by Alterface Projects at in Germany. Called broad appeal, and, as Rabbids don’t talk, there’s no need for regional Maus au Chocolat, it tells a story of mice infesting a bakery and it’s up dubbing. to the riders to kick them out. According to Alterface Projects CEO Benoit Cornet, the ride runs three-car trains, each with two riders on Alterface Projects developed a system called “Head Detection,” each side facing in opposite directions. During interactive segments, which tracks riders’ head movements. This allows the show system to the vehicles rotate to face six interactive screens, with two players determine where they’re looking and make adjustments as to where shooting at each screen. Speakers at the height of the riders’ ears give their projectiles will fall behind the screen. This technology is currently personal messages related to their performance. in use in both Maus au Chocolat and Sally’s Justice League and will be incorporated into Rabbids. • • •

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