22ANTARCTICA Seaworld Unleashes Game-Changing Trackless Technology

#48 • volume 9, issue 3 www.inparkmagazine.com

22ANTARCTICA SeaWorld unleashes game-changing trackless technology. How does it work? 13 did smartphones kill the turnstile? | 18 TASC: red-hot technology

www.inparkmagazine.com et set for the new arrival experience. Everything Gabout the way we enter parks, rides, resorts, retail venues, character meet-n-greets and other ticketing/entry interactions is shifting because of technology.

State-of-the-art ticketing technologies are facilitating #48• volume 9, issue 3 changes in guest behavior in ways that foretell, as Cedar Fair CEO Matt Ouimet puts it, “the beginning of the death of the turnstile.”

It’s also the beginning of a new, intriguing dialog between technology, once upon a shuttle architecture and master planning. PGAV Destinations helps tell the NASA shuttle story for Kennedy 6 In talking with both Matt Ouimet and Rob Decker from Cedar Fair Space Center Visitor Complex • by Ben Cober for this issue’s feature on ticketing, it was clear that for years they had the vision to see a new, breakthrough kind of entrance experience. It was waiting to be created, but a huge departure from tradition. Tying beyond the gate the funding into a major roller coaster attraction cleared the way – Gatekeeper was born and Cedar Point’s front gate was transformed. 11 connecting with guests through social media technology • by Daniel Burzlaff The story of Gatekeeper is much more than the story of a great new coaster – it’s the story of a major evolution in park design and guest interaction. The technology supporting the ticketing and admissions tickets to ride process has advanced - and consumer behavior has changed with it the technology behind the ticketing and admissions process is - to the point that the design process is, in its turn shifting. This opens 13 having a dramatic effect on park architecture and planning • up all kinds of new vistas for designers and architects, and will have by Martin Palicki a ripple effect as time goes on. More and more areas of the park will be affected, and guest behavior and buying patterns will continue to adapt. park dashboard I’m not complaining. There’s amazing potential here for how guests networking controls expand possibilities inside parks and 17 will be able to enjoy their time in parks, and new creative options attractions • by Jeremy Scheinberg for designers. If Disney is any indication, considering the millions of dollars it has invested in its new RFID-based Magic Band system, the next-generation systems also stand to to capture more revenue for Ron Griffin & Attraction Services the parks. all fired up about creating great visitor experiences • interview 18 This issue of InPark Magazine is your guide to the technological by Judith Rubin breakthroughs that are visibly shaping the future of our industry – if you know where to look. It’s impossible to foresee all the ways that they will impact the entire guest experience in future – but they will. cool moves Special thanks to my co-editor Judith Rubin for her expertise and insight. SeaWorld’s new Antarctica attraction unleashes the versatility of 22 -Martin Palicki trackless vehicle technology • by Martin Palicki advertisers versatility in motion Attraction Services 16 27 advances allow for more realism in animatronics • by Bill Butler Diamond Ticketing 14 Electrosonic 31 Garner Holt 8 slide sensitivity 30 using technology to keep waterpark guests safe • by Sam Baker Goddard Group 2-3 IAAPA Attractions Expo 29 IAAPA European Attraction Show 26 The Nassal Company 9, 23 staff & contributors InPark Magazine (ISSN 1553-1767) is published five times a year by Martin Chronicles Publishing, LLC. Oceaneering 24 EDITOR CONTRIBUTORS 2349 E Ohio Ave. Milwaukee, WI 53207. Shipping address: 2349 E Ohio Ave. Milwaukee, WI 53207. OmniTicket 7 Martin Palicki Sam Baker Phone: 262-412-7107. Fax: 414-377-0769. Printing Daniel Burzlaff by Crescent Printing in Onalaska, Wisconsin PGAV Destinations back CO-EDITOR Bill Butler Contents © 2013 InPark Magazine. All rights Ride Development Company 4 Judith Rubin Ben Cober reserved. Nothing in the magazine may be reproduced or used in any manner without the Siriusware 15 Jeremy Scheinberg prior written permission of the magazine. InPark Magazine is not responsible for unsolicited SR Instruments, Inc. 20 CONTRIBUTING EDITORS manuscripts, photographs or illustrations. Such Joe Kleiman material must be accompanied by a self-adressed Utopia Entertainment, Inc. 25 Mitch Rily SALES and stamped envelope to be returned. WhiteWater West 10, 12 Kim Rily Martin Palicki Postmaster: Send address changes to InPark Magazine 2349 E Ohio Ave. Milwaukee, WI 53207. Subscriptions are available annually for $30 per year DESIGN ($40 international). cover mcp, llc Opinions expressed in editorial matter are not necessarily those of InPark Magazine or its publishers, Martin Chronicles Publishing, LLC. Cover photo courtesy SeaWorld Orlando Editor’s Photo credit: David Lauersdorf www.inparkmagazine.com Shuttle Atlantis on display at Kennedy Space Center Visitor Complex. Photo by Delaware North Companies/ Joe Casico once upon a shuttle PGAV Destinations helps tell the NASA shuttle story for Kennedy Space Center Visitor Complex by Ben Cober, director of business development and research for PGAV Destinations

oug Nickrent of PGAV Destinations is a good story isn’t simple. There are no sure-fire throughout the new Atlantis attraction? First and Dthe chief exhibit designer for the new formulas, no outlines – because each story is foremost is that the orbiter Atlantis is a hero – a Space Shuttle Atlantis attraction, opened at unique. “It’s about finding the drama, not just revolutionary vehicle that overcame millions of the Kennedy Space Center this June. Nickrent the facts – what are the essence and emotions challenges to exist and work (it’s a rocket, a space is spinning stories throughout the entire new of the story?” says Nickrent. craft, a glider - even a temporary home and a 90,000 square foot exhibit space in an attempt to laboratory). Another is that the entire program capture just a glimpse of the millions of inspiring Emily Howard, project manager of the new is made up of people - very driven, passionate, stories that weave together to tell NASA’s tale. orbiter home exhibits, explains that just as there Doug Nickrent “In our opinion, the role of a science center is are many vehicles to get astronauts around to inspire, motivate, and interest its guests and space, there are many vehicles to tell stories in generate lifelong curiosity in the subjects it the Atlantis attraction. NASA’s stories are told teaches,” says Nickrent. “Museums have been through movies, theatrical presentations, fun adopting ways to tell their stories in personal, interactives (like the orbiter simulator), docents exciting ways that keep guests connected.” He who help explain concepts, and traditional explains that it shouldn’t be that a child just walks graphics and text. “Different ages, genders, away knowing how a shuttle lands, but that the and cultures have different ways of learning,” child should be amazed at how a shuttle lands says Howard, “and by presenting these stories and wants to learn more. in a variety of ways, the lessons become more inclusive for everyone.” For any of us who’ve tried to recount an adventure to family over dinner or tell the truth about the Every good story has a theme (this story’s theme size of the fish we caught, we know that telling is ‘storytelling’), so what themes are found www.inparkmagazine.com Emily Howard brilliant, and real people – what are their stories? The new exhibit also tells a lot of stories about training for missions; because when you boil it down, astronauts spend a much greater portion of their time in training simulators rather than in space. Lastly, the new exhibit tells a lot of stories about speed – as the shuttle and astronauts sail around Earth at more than 17,000 m.p.h., the notion of “floating through space” just simply doesn’t exist.

Telling stories is not a revolutionary idea for NASA – just ask the rover Curiosity that has been Tweeting from Mars since it landed last fall. “The challenge with NASA’s stories is that they’re incredibly high level, extremely technical and deep,” says Howard. “So our job was to transform these complicated stories in a fun and compelling way that both a child and your grandmother, who know little to nothing about Hundreds of stories are told throughout the space, can understand and enjoy them.” At the exhibit, “there’s more drama in NASA’s history same time, exhibits need to be accessible to than people realize,” says Nickrent. The restoration the space and science lovers, and provide in- and maintenance of the Hubble Telescope was depth enough material that they can stay highly incredibly dangerous and challenging, full of engaged and fascinated. “It’s a really challenging tragedy and victory. What looks like the simple balance,” says Nickrent, “but not impossible.” act of landing a shuttle back on Earth is a hair- raising, nail-biting experience for everyone involved. There are 50,000 individual pieces just

Recreation of the Hubble Telescope. Photo by Delaware North Companies/Joe Casico www.inparkmagazine.com Bringing it all together Nassal creates immersive features and exhibits for new attraction From converting standard-sized images into awe-inspiring supersized Full-sized replica of Hubble Space Telescope wall coverings to the coordination and creation of a full-scale reproduction Nassal collaborated with Guard-Lee, a manufacturer of aerospace of the Hubble Space Telescope, The Nassal Company played a key role replicas, on re-creating the Hubble Telescope as it would appear in in creating virtually every visual and interactive experience visitors will space. Measuring 43 feet long and 14 feet in diameter, the replica is the enjoy at Space Shuttle AtlantisSM ,the world’s most comprehensive star attraction of the Hubble Space Telescope Theater. and interactive attraction devoted to NASA’s 30-year Space Shuttle Program. Nassal’s involvement in the project spanned 18 months, with Replica “Astrovan” the company collaborating with industry leaders to create authentic The search for authenticity took Nassal to Chattanooga, Tenn., to find an elements, displays and immersive features and exhibits for more than Airstream trailer that could become a convincing reproduction of the 60 interactive experiences. “Astrovan” that carried astronauts to the launch pads. The transformation of the Airstream included a reconfiguration of doors and windows as “This was an interesting project because the space shuttle program well as being cut in half. Visitors will find the replica Astrovan while is historic, so we had to represent every facet as both authentic and shopping in the Shuttle Express gift shop. interactive.” said Marc Kish, Nassal’s project manager on Space Shuttle Atlantis. “We worked with the best and brightest to ensure that the Relocating a 8,000-pound shuttle engine design intent of the project was realized.” Progress could be measured in inches as Nassal’s project team safely hoisted over two days a shuttle engine weighing nearly 4 tons up three Among the highlights of Nassal’s contributions to the attraction: levels of pedestrian ramps to its new home in Space Shuttle Atlantis. The engine, which flew in the maiden voyage of the Challenger, had been Billboard-size enlargements of Atlantis photos on display at Kennedy Space Center Visitor Complex since 1997. Visitors to Space Shuttle Atlantis will quickly find themselves immersed in the Atlantis story when they view the supersized photographs of the “We’re so proud to have been able to contribute to Space Shuttle spacecraft on Earth and in space. Nassal took standard-sized images Atlantis,” said Bill Nassal, Partner of The Nassal Company. “Creating a true of Atlantis and digitally stretched them, with one image in particular partnership with Delaware North and PGAV Destinations, we are very measuring over 1,400 square feet. The painstaking process required honored and excited to be a part of the team to help bring the story of each image to be digitally manipulated in sections so every detail could NASA’s Space Shuttle Program to life.” be enhanced for enlargement and rebuilt into digital file sizes as large • • • as 15 gigabytes. for the heat shield on the underside of the shuttle The Space Shuttle Atlantis is housed in a new to protect it from burning up on re-entry – and building along with other exhibits and artifacts. each of the millions of pieces of the shuttle has a Photo courtesy Kennedy Space Center. story and people behind those stories.

Nickrent and Howard came away from the project with their own life-changing stories. “When I was a kid, I watched every launch - Gemini, Apollo, Skylab - and I missed the first shuttle launch and regret it to this day,” says Nickrent. “So when I was with a video crew for the Atlantis rollout for STS 135, the final Space Shuttle mission, I had to pinch myself. As we went into the night, the officials just kept letting us do more and more – walk with the crawler, stand on the launch pad, film from the launch gantry – I had to keep saying, ‘really, we can do that?!’” Howard had the chance to get even closer to Atlantis – inside it in fact – as NASA allowed her to sit inside its cockpit before its final flight in 2011. “They let us sit in the pilots’ seats and wear the bunny suits,” says Howard. “It just fills me with pride – the new home for Atlantis almost feels like your child – you’ve worked so hard, watched it develop and grow, and you just know it’s going to impact generations for years to come.” • • •

Space Shuttle AtlantisSM at Kennedy Space Center Visitor Complex Nassal is proud to contribute to telling the story of the Space Shuttle program through the creation of authentic elements, displays and immersive features and exhibits for the more than 60 interactive experiences throughout the new $100 million, 90,000 square-foot attraction.

Welcome home Space Shuttle Atlantis

www.nassal.com www.inparkmagazine.com beyond the gate connecting with the guest through social media technology by Daniel Burzlaff, Owner & Chief Creative Officer, Utopia Entertainment, Inc. heme parks are often on the cutting edge of – just as his personal message scrolls across the Generate word of mouth interest – the Tapplying new forms of technology, whether video screens:“Will you marry me?” What follows unique social media component of this through creative show systems or operational next is a flurry of social media messaging, tweets experience will effectively feed online content achievements such as RFID wristbands. On and of course Facebook postings. The mall and social chatter. the heels of these achievements (and perhaps indirectly receives hundreds of thousands of Create a sense of urgency – specialty quickly passing them by) is the development of interested ‘hits.’ and seasonal show experiences will entice social media technology as a major platform in visitations through their ‘limited time’ offerings. the development of a new show or attraction, offering the opportunity to forever link the guest Increase sponsorship value – the social to the park or product. media component provides an accessible bridge that enables sponsors to connect Facebook, Twitter, and blogs are all accessible their product directly to expanded points of social media outlets that provide opportunities contact, and allows engaging and nonintrusive for themed attractions to tap into the world communication messaging to a vast network of direct consumer communication, enabling of potential patrons. guests to share comments, photos, and Raise per caps of food vendors & messages with their friends and families while restaurants – increased foot traffic and providing parks a way to extend the overall extended stays translates to a longer shopping guest experience far beyond the borders of experience, and a potential for patrons to add the main gate. Having the guests reflect upon snacks or a full meal to their visit. their favorite and memorable moments while at home, on the go, or with friends and families is a Increase retailers’ bottom line – increased simple way to generate buzz and interest within mall traffic, social media interest and the social world. From a marketing perspective, marketing/sponsorship drives advertisement campaigns presented upon the show system. it’s an amazing win-win situation. Artist concept of the light & sound show These translate to higher footfall, and engaged Utopia is currently designing a large multi-media There are also potential sponsorship and connected shoppers. production for one of Asia’s largest retail malls, opportunities for commercial messages and Additionally, the data capture of the hundreds with the intent to create an experience that lives product endorsements inserted between of thousands of visitors who will participate in on beyond the nightly show. The multi-show shows to a captured audience waiting to see the online conversations, sharing and reposting attraction will feature video content, concert- what the next guest VeeJay has created. The of their favorite shows and moments will be like lighting, lasers, and popular music that is potential outreach and connection opportunity invaluable. For the retail owner this generated choreographed and programmed to provide the is considerable, and in this world of instant public relations and marketing outlet is client with countless shows. The key connector communication through shared networks, the priceless. to these shows is the social media piece, which excitement generated by such an experience is will allow visitors to select themes, songs and likely to spark a viral explosion. As social media technology continues to video images through an Internet interface, intersect our life, it becomes clear that our enabling them to direct the live show content. For the client, the success of this particular show industry – that of affecting people through Photo uploads and individual messages will be attraction is formidable, as it will serve to act as memorable entertainment experiences – will incorporated into the playlist offering visitors an engine for business growth. At Utopia we continue to search for ways to reconnect these the opportunity to play VeeJay on a major scale. like to think of this process as “hitting on all eight experiences to guests. Our show production cylinders.” Here’s an example of how we envision taps into the ever-growing equation of human- When opened, the attraction will be the world’s the show will help to drive business success: meets-technology to provide a genuinely largest permanent indoor light show, presenting unique and memorable attraction experience. an unparalleled opportunity for the millions of Increase foot traffic – the light show will This experience also offers an emotional and shoppers to connect to the popular mall from become a “must-see” entertainment destination perpetual connection to the audience and a their smart phone, tablet or computer. for the region. method to engage people the world over, long Extend length of stay – visitors will extend after the doors close and the lights fade out. As an example: a young man may go online to their shopping and dining experience into • • • select a certain romantic playlist, add a photo the evening hours in order to enjoy the show of his sweetheart and finally a short message. experience. Daniel Burzlaff focuses on the creative development He then requests to have this show played at a of all projects for Utopia Entertainment, Inc. and specific time, and invites his family and friends to Increase repeat/return visits – the promise leads the design team in the creation of live shows, the mall. When “his” show is played, he turns to of encountering a unique or different show attractions, experiential exhibits and special events his sweetheart, gets upon a single knee and to experience with each visit encourages patrons for clients around the globe. the music of “their special song” presents a ring to return again and again.

www.inparkmagazine.com 11 www.inparkmagazine.com Cedar Point’s new roller coaster, GateKeeper, soars over the park’s new spacious and barrier- free entrance. Photo by Martin Palicki

tickets to ride the technology supporting the ticketing and admissions process is having a dramatic impact on park architecture and planning by Martin Palicki pproaching the entrance to Cedar Point, It’s not just Cedar Point. Other players like of industries like concerts, skiing or sporting. But Aguests’ eyes are drawn to the new $25 Six Flags and Disney are re-designing their Dave Hutton, Vice President of Marketing for million dollar coaster flying over the front gate entrances, and often with the help of leaders in Diamond Ticketing, has what seems the most every few minutes. They might not even notice the ticketing industry. credible theory: the brand new entry plaza, or the sleek ticketing building tucked off to the side. Interestingly “Ultimately, what’s happening is customers “Ticketing probably was developed in the early named The GateKeeper, the ride actually gave are still presenting a ticket; that concept hasn’t days of rail and boat passage, where there were the park the opportunity to open up the front changed a whole lot,” says David Goldman, large groups of people that were traveling at gate area, allowing guests more freedom and President at Ideal Software Systems. “But it’s a the same time. Those that were running the mobility. The very architecture of the park’s much more efficient process now.” services needed a way to have access control. entrance has changed, thanks in large part to That’s where we started keeping track of people advancing ticketing technology and evolving Matt Ouimet and wanting to know numbers. It advanced guest trends. significantly in performance theater, with Broadway developing new ways to track and “Every year the amount of people buying tickets identify ticketholders. That’s what informs our at home jumps a large amount,” says Matt ticketing procedures today.” Ouimet, President and CEO of Cedar Fair. “We want to make it easy for our guests to come Up until the 2000’s nearly every guest to an here, and let them have fun.” amusement park or theme park purchased their ticket at the park’s entrance. Then, print-at-home Purchasing a ticket is usually the first interaction tickets arrived on the scene and guests gained a guest has with a park, and it’s something that the option to show up with their printed ticket leaders like Ouimet don’t take for granted: and have it either exchanged for a new ticket at the gate, or scanned for entry. Even that process “The first thing guests see at most regional parks is starting to become a bit passé, with the around the world are ticket booths that are well increasing use of mobile devices to allow entry. beyond their years and certainly a design feature and utility that are no longer necessary. The core function is that of presenting a scannable code, and that hasn’t changed in a “If you bought a hotel room in Hawaii on the while, although it has become more complex. internet, and you got to the lobby you either The First Tickets said, ‘I made a great purchase’ or ‘What did I do?’ Depending on whom you talk to, the field of “Scanning systems have evolved from regular – The front gate is our hotel lobby.” modern ticketing had its origins in any number barcodes to 2D barcodes (for use on mobile www.inparkmagazine.com 13 devices) to QR codes, which have the capacity chips that emit an identifiable frequency that technology. As expected, Disney is at the to store more information than just a serial readers are able to read and track. Although not leading edge, and now others will start to adapt number,” explains Melinda Arvin, Director of necessarily new technology, it is being utilized and follow their lead.” Sales and Marketing for OmniTicket Network. in new ways and currently being rolled out at all of the Walt Disney World Resort’s parks as part Actually, waterparks have been a prime Making phones smarter of their new MyMagic+ program. playground for developing ticketing technology. Clearly the trend is to use the mobile technology With wallets and waterslides not mixing well, already in guests’ hands to enhance the ticketing Only a few devices have that technology waterparks have sought out ways to pre-load and entry process. But relying on smartphones now, but that is expected to expand. How money onto wristbands that guests can use has a few drawbacks. quickly it rolls out will largely depend on as cash throughout the park. While that can phone service providers as well as banks and be accomplished with barcoded wristbands “For starters, not everyone has a smartphone,” merchants partnering together to provide all and networked scanners, some parks like says Siriusware’s President and CEO Mark the pieces. Perhaps not surprisingly, Asia is first, Waterworld in Colorado have started selling Danemann. Additionally, the variety of Europe second and the US is third for mobile RFID wristbands for that purpose, with the operating systems ensures there is no one-size- technology adoption. In Asia and in London price of the wristband helping offset the cost fits-all solution. “Nonetheless, this is a bridge people are already paying for taxis using near of the technology. At Dorney Park, Cedar Fair is moment. As phones start to be used as a form field communication on their mobile devices. running its own experiment of offering the RFID of payment, then they will start to transform the wristbands not only at the waterpark but for the ticketing procedure.” Near field is still in testing at Walt Disney World; adjoining theme park as well. the goal is to replace paper tickets with RFID Steve Brown, Accesso’s Chief Operating Officer, wristbands that function as hotel room key, The New Architecture North America, agrees. “Right now what mobile park ticket, ride reservation system, and more. As an effect of the changes in technology, devices provide is a readable image, but as Disney also touts the system’s ability to create a number of park operators have taken the devices continue to develop we expect them to customized experiences for guests, with ride opportunity to re-think and re-design the front include near field communication.” control systems able to read data from the gate experience, as Cedar Point has. Budgeting wristbands and display a Happy Birthday for these projects can be challenging, however. Near field communication technology is based message to a birthday child during a ride, for on RFID (Radio Frequency IDentification) example. Initial results from Disney indicate “We tried for years to come up with a rationale that the wristbands have for investing in the front gate,” says Matt Ouimet. increased per cap “Every time we wanted to, we decided to spend EASY & spending. those dollars on a ride instead.” OmniTicket Network Rob Decker, VP of Planning and Design for developed the system Cedar Fair, said he was looking at ways to redo AFFORDABLE in Florida, and while the front gate since he started at the company Melinda Arvin is quick to in 1999. point out all the benefits BOX OFFICE the system provides, she “When the wing coaster came along I realized also cautions parks from that was the opportunity,” says Decker. “I met TICKETING! jumping too quickly onto with Walter Bolliger [of Bolliger & Mabillard] and the RFID trend. said, ‘I’ve always wanted to fly over the front gate,’ and within five minutes the idea was born.” “The concept of making · Powerful Reporting experiences more From a design and architectural standpoint, the · Access Control interactive – and creating redevelopment of the front gate had as much more guest engagement to do with the park’s identity as it did with the · Real, Powerful Software throughout the coaster. experience – is certainly · Online Ticket Sales a big selling point of the “For us, not having theme-heavy IP, we have to · Patron Management technology, but RFID is create our own identity. If we are going to be not an option for most known as the roller coaster capital of the world, · Mobile Ticketing smaller venues,” says then we put a roller coaster at the front gate,” Arvin. “The cost for RFID says Decker. “Furthermore, it should be about Request a Free Demo Today! is still high, and most of giving the space back to guests. We tend to what is being done with shoehorn things into limited space, but now 866-323-5411 RFID can be replicated we are thinking more about the placemaking - www.diamondticketing.com using less expensive the sense of place - and making the day better Cedar Point’s main entrance, shown here just for the guest with less hassle. So we think about prior to opening, features a barrier-free entry and those things from an architectural and planning attendant-monitored ticket scanners. standpoint to make sure we deliver not just the thrills but have it be a pleasant place to enjoy the day.”

It’s the advances in technology that are allowing those conversations and design shifts to take place. Guests at Cedar Point find an open plaza at the front gate. Tickets are still sold in a low profile building to the side of the entrance, and directly below GateKeeper, the row of old fashioned turnstiles has been replaced with barrier-free between a single admission and a season pass. other identifiable features of guests,” says Collins. access points. Employees scan tickets, while It increases the park’s yield, but also depends “Right now, the ROI doesn’t make sense, but the newly installed cameras count guests as they on the price point. It starts to make more sense future is there.” come in and out of the park. when ticket prices approach the $100 mark. “Getting that card into the customer’s hands In the meantime, parks will continue to watch Although Cedar Point has hard wired scanners, is key,” says Danemann. “Then you can start how the front gate experience is changing at mobile ticket readers could also be used, tracking and analyzing their spending habits, parks like Walt Disney World and Cedar Point allowing virtually anywhere to become an while building loyalty.” and adapt their own architecture to meet the access point quickly and easily. changing technology. Danemann also sees dynamic pricing as a hot Matt Ouimet calls it “the beginning of the death topic that has yet to solidly establish itself in the “The technology and GateKeeper allowed us to of the turnstile.” attractions industry. With the majority of tickets do great placemaking with our entry gate,” says being purchased electronically, the actual price of Ouimet. “The [open] entry plaza allows for the Diamond Ticketing’s Dave Hutton thinks “most admission could change based on how busy an drama of the ride to take center stage.” • • • major parks will be turnstile-free in about 15 attraction is. “Does it play out in the real world?” years as technology becomes more affordable.” wonders Danemann. “ I’m not sure whether a $1-5 change in ticket But Steve Bell, Business Solutions Architect price will drive people for Gateway Ticketing Systems, does not see from one attraction to No Per Ticket Fees turnstiles approaching their end of life. “The another.” attraction space can experience significant loss Reservations without the utility of rigid control,” says Bell. Dave Hutton sees “With key customer locations handling 40,000 an all-in-one ticket E-Commerce ticketed guests per hour, even a 10% loss for our coming soon. “Patrons Mobile customers can translate to unimaginable and can purchase their Sales unacceptable revenue sacrifice.” whole experience from home. It will Access OmniTicket Network’s Melinda Arvin says it’s be similar to how Control the start of “transforming access control.” Where vacations are bundled feasible, she indicates, facilities are moving together, or a cruise Resource towards barrier free access. But at the same time, ship, with everything Scheduling Omniticket has sold more turnstiles this year on one card.” than in years past. Season John Collins, Strategic Passes The Future Sales Executive with F&B How can one tell where this technology is Active Network also headed for parks? One way to find out is to look sees further integration Retail at corollary industries. of biometrics with other technology on Siriusware’s Mark Danemann looks to his the market. “Using company’s work in the ski industry and a practice devices like Microsoft they call “direct to lift.” Skiers receive a card, either Kinect could allow RFID or barcoded, that they can load a lift ticket us to establish onto online or at the resort at a discount and go identification metrics straight to the lift. It’s sort of a middle ground based on height or

www.siriusware.com | 800-351-0633 16 www.inparkmagazine.com www.inparkmagazine.com park dashboard networking controls expand possibilities inside parks and attractions by Jeremy Scheinberg, Alcorn McBride he crowds are starting to gather outside the report attraction status can also serve as the When combined with the networked audio Tfront gate. Everyone is running around trying controllers that actually operate the attraction. system, it can be verified that audio is going to get the attractions up and running. There’s a through the speakers by checking the status lot of radio chatter because one of the projectors For example, take that new roller coaster about of the amplifiers. Also, by connecting turnstiles is not turning on. But it will have to wait until to be installed. It has some interesting queue or photocells to the controller, attendance for later since that technician is scrambling to the line videos, including some very cool interactive individual attractions can be tracked. All of opposite side of the park to troubleshoot a functionality that lets guests use their mobile this information can be presented on a clean problem at the roller coaster. phones to drive the queue line content. The and beautiful display on a tablet device or controller being used has two Ethernet ports. smartphone and accessed from anywhere in the The demands of operating large-scale parks park, or – with proper security – from anywhere and attractions continue to spread resources in the world. and human capital thin. But smart operators are turning to technology to help ease the burden Once access to the attraction’s controller over of limited time and talent. the network is established, it opens up a variety of options for control. Start up and shut down Through the widespread adoption of networking can be handled remotely and throughput technology and distributed control, it’s now can be changed on the attraction by varying possible to have a park-wide dashboard for the load and unload times through preshow centralized monitoring and control interface for scheduling. A shorter duration main show can parks of any size. even be chosen to move more people through the attraction. A sample display, viewable on a tablet Prior to the advent of networking, each attraction device, can provide real-time data anywhere was fully stand-alone. Whether a ride or a show, within the park. Courtesy of Alcorn McBride. While all of these features are very exciting, it’s every attraction needed its own controller to important to consider network architecture. It monitor the critical aspects of operation and a One can control the video players as well as is very tempting to lump everything onto one panel with indicators (or a PC monitor or touch the monitors and projectors that need to be network without partitioning the traffic. But screen). In order to get any information from powered up each morning. With that level of this can cause a number of problems. It makes that attraction, someone would have to be control, the controller can also get feedback it difficult to troubleshoot issues with one dispatched to read the screen. from those devices about their status (on or off), particular device or – if everything is on the projector lamp life and even its current operating audio/video network – there can be so much In many parks, the first networking application temperature. That would be very useful traffic that it overruns all of the control and was audio. Audio was sourced from a central information, but where would that information monitoring devices. By using managed switches location and distributed across the network via go? That’s what the second Ethernet port is for: and VLANs, networks can be partitioned so the a technology like CobraNet to play background it can be connected to the park-wide control traffic is used for the appropriate purpose. music (BGM) in different areas of the park. network. Audio networking also permitted rapid content The dream of monitoring and controlling a changes and zoned paging. There may have Once all of the attractions are connected to a theme park from one location is now a reality. been some hiccups in the early days, but common network, operators can decide what Through the use of distributed control and distributed audio networks are now the rule to do with the information, allowing a new networking, key elements can be monitored rather than the exception. In addition, Point of level of control. Information can be monitored and staff can concentrate on what really needs Sale (POS) systems use networks to report data with a touch screen at headquarters or in a attention – such as why that projector still won’t and credit card transactions. maintenance bay to show the status of certain turn on. • • • parameters. This can include which attractions Now that more systems are using networking, are operating normally or keeping a log of any Jeremy Scheinberg is the COO of Alcorn McBride, Inc. He is an experienced Systems Engineer with over 15 years in the it is time for operations and maintenance to items that may require attention. A monitoring audio/video industry. Jeremy has managed, designed, join the party. By setting up control networks page can show the status of all of the park’s and installed projects for the largest Theme Parks and – separate from audio and POS networks – new video projectors and their current lamp hours Museums in the world. He is responsible for overseeing worlds of functionality can make life easier for to prepare for ordering new lamps. The status of Alcorn McBride’s team of Engineers and all new product development. operators and maintenance personnel. The best BGM can also be tracked. part is that the components that monitor and www.inparkmagazine.com www.inparkmagazine.com 17 All fired up about creating great visitor experiences interview by Judith Rubin

pecial effects and technical integration auto racing, with the same energy, fervor and Spioneer Ron Griffin of The Attraction Services perfectionism he applies to his work. Nothing Projects like Jaws and Twister helped establish Company (TASC) is a fireball of the industry. The seems to slow him down, neither a punishing us as the go-to people for flame effects, and company is probably best known for its many production schedule nor a seemingly impossible rightly so. But clients have also always been able projects for Universal Studios parks, starting with technical challenge nor the passage of years. He to depend on us for water effects, animatronics, Twister and all the major flame effects for UIOA, holds himself to the same exacting standards he show action equipment, specialty vehicles USJ and USS, and other projects dating back to expects from his staff, and will work as long and and anything unusual or difficult. Our primary 1995. The company still does work for Universal hard as any of them, if not more so. offering, really, is problem solving. I enjoy taking – a recent standout project was King Kong 360 on a challenge and resolving it in a possibly 3D, for which TASC provided custom pneumatic The company is now in the process of expanding unusual or unexpected way that fulfills all motion bases to make the tram cars rock and to a new, larger facility in Santa Clarita. In past the creative, client, budget and other project roll as Kong battles the dinosaurs. TASC is also years Griffin and Townsend have overseen requirements. active in the museum sector, dating back to Tess as many as 150 employees, but in its present the 50-foot woman, created for the California incarnation, Attraction Services has stabilized at Looking at your recent “Time Machines” Science Center in 1996. around 20 core staff. project for the Colorado History Museum, what technologies were selected and why? As Melissa Townsend, his spouse and business In light of the long professional history of partner says, Griffin “never sits still.” He tackles Attraction Services, what do you most want We partnered with our longtime colleagues at his leisure pursuits, which include painting and people to know about the company today? Lexington Design and Production to create part

Time Machines Ron Griffin and Melissa Townsend at their Valencia offices. at the Colorado Photo by Martin Palicki History Museum Photo by TASC

18 www.inparkmagazine.com www.inparkmagazine.com We were approached by Gary Goddard’s entertainment and design company, The Goddard Group, for Insomniac Events to build a 35-foot-tall, 80-foot-wingspan, animated owl for the event, which would see an attendance of over 300,000 over three days.

The creativity of the owl concept and the plan for its use as a key element in the festival were Ron used a remote fantastic. The bad news: We would have only six control backstage weeks to design (mechanically and electrically), to animate the giant build, test, ship, and install him. We were cautious owl for Electric Daisy Carnival, and in the at first about taking this job - but it was the kind process became “a lot of big challenge that we love to solve. Working more familiar with with Goddard and Insomniac, we were able to rave music.” form a plan that we felt would succeed even in the short timeframe allowed.

of the Great Map and Time Machines exhibit that You were on the team that built the Six weeks! Our approach had to be simple, yet opened at the museum in 2011. We built a pair of gigantic, animatronic owl for the Electric provide the desired look and animation. It had to 7-foot-tall, steam punk-style Time Machines that Daisy Carnival, a 3-day music festival held use components that we could get quickly and visitors guide around a large map of Colorado. recently in Las Vegas. This was a high-profile that we knew would work. Experimenting was When the machine hits a specific location or success and images of the owl have been all not an option, mockups were not an option, and hot spot, video screens come to life with virtual over the media. Tell us about it. testing would be limited. A mere four hours of clocks winding back to stories related to the full testing is all we ended up with. history of that place.

Lexington provides stellar scenic components and we fill in the technical needs. In this case, our knowledge of vehicles and military technology came in handy. We combined top-line AV display equipment and the latest battery technology with autonomous positioning devices, automatic braking systems and wheel governors. The heart of the machine was a custom microcomputer built and programmed by TASC.

Often today’s sophisticated high tech solutions aren’t using new technology per se, but are putting together existing technologies in novel ways. The end result and its control systems are essentially new creations, but the individual TASC and Adlabs Imagica: components are proven. Chris Brown of Contour Entertainment “I met Ron Griffin in the mid ‘90s, and we have worked together from then to now on Something Lexington and TASC are especially a variety of projects for a variety of clients. When things get busy at Contour and we good at is identifying any issues or concerns need backup, he’s one of the people we call.” that may not have come up in the course of concept design – for instance, ways that an As the design/build contractor for the Wrath of the Gods attraction at the new interactive could be misused and compromise Adlabs Imagica theme park in India developed by Adlabs Entertainment, Contour performance or safety. As the Time Machines subcontracted TASC to create fire effects. “Ron is a tech specialist whom designers are large objects and are propelled around the and producers know they can trust. We know that we can give Ron generic technical map by the guests, we saw a potential for their direction and that he will come up with simple, elegant solutions that satisfy the show collision, whether caused deliberately or by requirements. Because he understands how tech supports the story, he’s on the same accident. So we developed a radio connection side as the creatives, fighting to realize the vision while working in the pragmatic world between the two machines to transmit their of materials, design and installation. There’s an atmosphere of mutual respect and the positions back and forth. If either machine is end goal is clear. He’s also a good guy to have a beer with.” being propelled in the direction of the other, the automatic braking system will apply. www.inparkmagazine.com www.inparkmagazine.com 19 TASC and Templo del Fuego: Ron stands inside the massive owl Craig Hanna that moved to the music and encased deejays with its enormous wings. Thinkwell Group CCO Craig Hanna Photo by TASC vividly recollected working with Ron Griffin and Attraction Services during the development of Templo del Fuego for Port Aventura in Spain, when Hanna was with Universal Creative. “Attraction Services provided all the flame effects and a host of other effects and show action equipment such as pop-up mummies, sinking stone, a dropping audience platform, treasure reveals, a show action door, many water cannons, smoke, fog, boiling water, and even rats in the preshow. When we started, I sat down with Ron and asked him to tell me all the flame things he’d always wanted to do but hadn’t yet. He gave me such a cool list that I tried to get all of them into the project. That was a red-hot collaboration. Ron is the kind of guy who wants to facilitate the creative vision of the team, with stuff he knows how to do best, while being very pragmatic at the same time. He is never adversarial – if something can’t be done, he will explain to you exactly why, and he will make suggestions that give you A huge engineering issue was wind load, as the could not provide the power required under new options you’d never have considered event takes place outdoors in Las Vegas, which high wind loads. Hydraulics was the only option before but make the thing you thought is a windy desert environment. The individual we had with the timeframe. was already perfect even better. That kind wings were 24 feet tall and 33 feet wide, with of collaborative nature is what I love about two pivot points each. They had to work in Were there special challenges with our industry. If you’re open to suggestions, winds up to 40 mph, and withstand any damage configuring hydraulic power for a giant the most amazing things can get even at winds approaching 65 mph. The loads could puppet that needed a subtle repertoire of more amazing.” be immense. Pneumatic or electric actuation moves?

Yes. Hydraulics can move large things, but with simple digital valves they can look clunky. Complex valves make for better movement, but the costs can be staggering and the complexity and control issues can take weeks to test and adjust. Neither option looked good. We had to find something in the middle. Again, I turned to the vehicle industry, where we found the right combination of valves and controllers.

The desired intention was to be able to puppeteer the owl with either human-powered devices or human-operated interfaces. His wings would wrap around the DJ booth that sat in front of him, then open back up to reveal the booth. His head would rotate, tilt and roll. His eyebrows and beak would move and his eyes would be electronic displays.

We determined quickly that the massive sizes would not allow for human-powered motion over long periods of time. His head alone www.inparkmagazine.com Photo © Universal Sometimes massive loads can be moved most effectively using something other than hydraulics. TASC was brought into the project to design and build four large motion bases that would move the Universal Trams around in concert with the action on the surrounding 3D films in the tram tunnel. A single section of the tram can weigh up to about 44,000 pounds with guests. Combined with the structure, you may be moving as much as 60,000 pounds around. Hydraulics is the solution most would likely turn to, but at TASC we had another idea: Air.

We have done a lot of animation and show action equipment over the years using pneumatics, and I was convinced we could do these motion bases with a customization of that same simple technology. Working with Universal we built a mockup, and that demonstration showed that a pneumatic motion base could work beautifully, weighed around 5,000 pounds. So we looked From Billboard, June 24: “The festival’s delivering motions that were lifelike and real. at each motion individually and determined the best year yet was all about the owl, not the It’s another example of taking a robust existing best option for realizing it. We ended up with two talent. The blue owl’s head bobs, gently but technology, applying it in a new way, and sets of small joysticks that allowed two people unmistakably - which taking into account getting a novel result that is also the right result to operate the Owl completely, including full its massive size is already a bit of a wonder. - a dependable and simple to maintain system control of the electronic eye motions. This gave Up and down, side to side it goes, its plasma that fulfills the creative vision. the owl a total feeling of being alive and reacting retinas brightening or narrowing in reaction to the crowd and show. to the music; part mood ring, part intensity I prefer to stay away from hydraulics if at all meter. When one DJ finishes playing, its giant possible. They are expensive to build initially, One of the ways I ensured that things would wings close and envelop the booth below it, and they are costly to maintain, and sooner or stay on schedule and that the project would allowing for discreet changeover between later you will have leaks. I have a saying, “I prefer operate reliably was through my own personal artists and the anticipation/release of a big not to use something I have to mop up.” Don’t involvement at every level. I was working seven reveal for every set.” get me wrong, there are cases where hydraulics days a week right along with my outstanding are the best choice - but I have seen plenty of crew during the production process. I was there On another project requiring motion cases where other technology could have been throughout the entire install, and did most of control, King Kong 360 3D for Universal used. the control system programming myself. And Studios, you specified a pneumatic system, • • • I worked all three nights of the actual show as rather than hydraulic. Tell us why that was For more information, contact Melissa at one of the operators. While Rick Bentley [TASC the better choice for that particular job. [email protected] senior tech, on staff since 1997] and I controlled the wings from behind stage, Bill Grayson and TASC and Eli Roth’s Goretorium: John Dunn [respectively, project manager and William Grayson Production Services technical director for Goddard Group] controlled Bill Grayson, an industry veteran with a background in scenic production, was construction the head, eyes and beak from the lighting stand and technical manager for Eli Roth’s Goretorium, a 15,000-square-foot, year-round haunted in the crowd area. In our own way, I think we had house on the Las Vegas Strip. “Ron thrives on a fast paced, on-the-fly kind of situation. as much fun as any of the festival patrons. And The guy’s brilliant and knows every part of his business backwards and forwards. In other I’m now a lot more familiar with rave music. words, he was a perfect fit to deliver the effects we wanted for Goretorium. We had a list of desired effects and we had three months. Ron accepted the challenge and within those To ensure smooth, elegant motion of the three months, he had it all built, shipped and installed. He programmed everything, and it massive wings, we had looked at the normal all worked exactly as designed. We opened on time with all effects running as expected. Hydraulic Power Unit (HPU) technology and The client was thrilled, and has continued to call on TASC to augment things further. Ron decided on some unique modifications to the is a true problem solver, interested in finding the real, best solution and always ready to system. Additional mechanical animations embrace a better idea, whether it is his or someone else’s. He doesn’t waste time on power used pneumatics. The system came together struggles, and he is honest about limitations. As a producer, I know I can push him: He’ll beautifully and TASC was able to bring to life give me whatever he can, and if he says something can’t be done within the parameters the creative vision for Insomniac Events and the of the project, I can trust him.” Electric Daisy Carnival.

www.inparkmagazine.com 21 Vehicles glide into the unload area at cool moves Antarctica. Photo by Martin Palicki SeaWorld’s new Antarctica attraction unleashes the versatility of trackless vehicle technology by Martin Palicki

ehind the scenes, watching the trackless main business, as its name implies, is as a deep Sure, there have been other trackless rides Bvehicles silently gliding across the floor to water submersible provider. Remember the Gulf before, but most all of those still rely on a buried dock at the loading platform at Antarctica seems oil spill a few years back? It was Oceaneering’s guide wire to follow. Antarctica’s ride paths can like a well-choreographed ballet. The cars, each remote operating vehicles that helped stem be changed in about fifteen minutes. It’s just capable of carrying 8 passengers, are round and the flow of oil into the water. The company also one of the things that makes this technology larger than one might think. But there’s a lot has a division focused on advanced technology different. going on “under the hood” of each vehicle. “And,” for NASA, the U.S. Navy, and other government says Bill Bunting, half-joking, “we have to have a units. “I forbade all the old rules of theme park design place to store all the batteries.” from entering my creative studio,” asserts Brian They got their start in the entertainment market Morrow, Senior Director Attraction Development Bunting is the Manager of Business Development after Universal Studios Orlando was opened. The and Design at SeaWorld Parks & Entertainment. for Oceaneering Entertainment Systems, the initial Jaws attraction (now gutted to make way design, engineering, and manufacturing firm for a Harry Potter expansion) wasn’t performing “I told my staff: If you walk through this threshold responsible for the revolutionary ride system reliably, so Universal asked Oceaneering (which to participate on this project as a team member, behind SeaWorld’s new Antarctica: Empire of the knew two things really well: robots and water) you have to leave everything you believe to be Penguin attraction, recently opened in Orlando. to step in and fix the mechanical sharks. That true behind. Because we are going to reinvent Determining how to power the vehicles proved led to more work for Universal, including several everything and by doing so - removing those to be one of the main challenges in creating the projects at Islands of Adventure, and from there, handcuffs of old design philosophy - we were attraction. the company found itself entrenched in the able to really release preconceived notions of entertainment market. what was possible and create the incredible.” “The typical battery storage solution,” says Bunting, “is to build a vehicle with a giant battery But it was the other arms of Oceaneering The attraction begins with several preshow pack that runs all day and charges all night, that played a big role in Antarctica. The space scenes, each room designed to be slightly colder similar to a golf cart.” But there are limitations, technology wing had plenty of data and than the previous, to help acclimate guests from and that type of system requires huge batteries research on battery options and helped develop the Florida sunshine to the 30-degree Penguin that create other restrictions. the solution: essentially a battery charging point habitat they will be in shortly. at the load and unload stations that “top off” the In order to solve the problem, Oceaneering battery every time a vehicle is stationary. But the Guests enter a small chamber with their group combined solutions developed in other batteries only scratch the surface of this first of of riders to watch a short final video preparing industries in a new way. It makes sense, given its kind attraction. them for the story ahead, and reminding them the company’s background. Oceaneering’s that the adorable penguin, Puck, will be meeting

Multiple vehicles in each scene allow for different ride paths and experiences for each vehicle. Photo courtesy SeaWorld

22 www.inparkmagazine.com them on the ride shortly. A wall vanishes and targeted to one specific point while the vehicle is in a coffin, I want to ride in an open vehicle and before riders sits an empty ride vehicle, its door moving in a different direction (that’s important see the world and look at what I choose to look open to usher riders in like a mama penguin’s for viewing 3D, even though that’s not a part at and not be told what to do by a ride. The ride wing shielding her young. Somewhat secluded, of Antarctica). Morrow didn’t think that much is not in control anymore, the guests are now in riders may not realize there are four loading control over guests’ line of vision was important. control of their experience.” docks at Antarctica, and Bunting says the system In fact, he wanted the complete opposite. He can be designed to handle more docks. wanted guests to look where they please, and Of course, there are various systems that ensure even interact with other guests, much like a real everything runs smoothly. Vehicles are highly One benefit of the trackless system is that penguin would. intelligent and recognize each other as individual vehicles can be dispatched in any order, as soon units, knowing where other units are, where as they are ready. If one vehicle is taking longer to One of Morrow’s favorite moments is when one they are going and what to do. Oceaneering load, it doesn’t hold up the other vehicles. Once vehicle turns around and sees another vehicle developed a sophisticated control system to a spot is open, a new vehicle glides in and parks and does a penguin bow. The other vehicle ensure redundant safety and reliability. Each to help keep throughput high. Incidentally, the mimics it and they start moving together. “The vehicle is equipped with an on-board guidance units have a 4mm parking precision. The margin guests are face to face and start to interact with system. It reads passive markers laid in the floor, of error during the rest of the ride varies based one another,” says Morrow. buried in the concrete just below the surface. on speed and location, although vehicles are Each marker, about the size of a quarter, helps able to come with a foot of each other. It’s clear that this experience is something create a grid pattern that the guidance system different. recognizes. Each vehicle’s position is uploaded Guests then embark on the mild or wild to a central system that monitors all the vehicles experience they selected earlier in the queue “This is not a dark ride,” says Morrow. “I think that and a third system oversees both of those sub- (the system defaults to mild unless the operator is a hideous word to use for this ride. This is a systems to make sure everything is okay. Any chooses wild). Wild or mild has a direct impact new genre that I’m waiting to have identified. one of the three control systems can shut the on how much of the vehicle’s movement We do not restrict your views. We do not have ride down. For added safety, trip tape is affixed capability is actually used. Each car offers pitch show forward motion. We have 360 experiences to the edge of all cars that immediately shuts and roll, 360-degree continuous yaw (spinning), like the real world. There’s freedom here. We down all movement when activated should a and the base unit can rotate independently of remove those old barriers of 3D glasses and big vehicle encounter any unexpected objects in the top. That means guests’ direction can be walls on ride vehicles. I don’t want to ride around the ride path.

Antarctica: Empire of the Penguin™ at SeaWorld® Orlando With the creation of the icy landscape of SeaWorld Orlando’s Antarctica: Empire of the Penguin™, The Nassal Company helps tell the story of the penguins and the environment in which they live in ways that are meaningful, enjoyable and most important — memorable.

Congratulations SeaWorld!

www.nassal.com www.inparkmagazine.com

But why trackless? “Why not trackless?” responds them they might not even notice their vehicle Mike Denninger, Corporate Senior Director slowly gliding away to pick up the next group Antarctica Rocks: Behind of Rides and Maintenance for SeaWorld Parks of riders. the scenes with Nassal and Entertainment. “With all the flybys and all the interactions [with the other vehicles] the “The technology is clean and it’s invisible,” says 1) What are some fun facts about SeaWorld’s Antarctica? trackless system with the motion base on top Morrow. That was important to the park in • We had 352,922 feet of rebar for the project of the transport was a perfect complement to creating an attraction designed for the entire (almost 67 miles!) what we were trying to offer for the overall guest family. And what’s next for this technology? • Approx. 1800 cubic yards of concrete experience.” In other words, going trackless was Morrow thinks it may be possible for riders to • Approx. 200 tons of rebar cage· the best way to allow guests to feel like they are actually control the movement of their vehicles • Approx. 1300 gallons of paint a penguin slipping and sliding along the ice. in future iterations. Bunting thinks the sky is the • Approx. 300 cubic yards of stucco limit. • For the Ice – close to 1500 gallons of acrylic And, in reality, the team pretty much achieved that. The vehicles silently glide around on the “There is nothing prototypical about this 2) How did you become skilled in recreating rockwork? industrial grade flat cement floor as if they were technology,” says Bunting. “We simply brought Rockwork is a skill and artistry. Nassal is on ice (at speeds up to 6ft/second), and the 4- together proven technologies from other fortunate to have some of the most talented ton motion simulator replicates the penguin industries and combined them in a new way.” rockwork carvers, artists, and painters in the waddle to guests’ amusement. The vehicle tracking system, for instance, came industry on our team. Real-world experience, directly from automotive assembly factories training, and a natural skill for creating realistic The ride is quick, with open-space scenes that and the battery systems originated in space rock that mimics the icy landscape of Antarctica the vehicles traverse, each one choosing one of exploration equipment. or the savannas of Africa (to name just a couple), several programmed routes, nearly guaranteeing makes Nassal artists and carvers hands-on and a different ride experience each time. The ride “Once the creatives in our industry understand talented. ends with a dramatic reveal of the live penguin how this system works and sees it firsthand 3) What exciting projects are you working environment before the vehicles spin around a at SeaWorld, then we will start to understand on now? corner and drop guests off in the middle of the exactly what this system is capable of and how We are working on some major projects in snowy habitat, where they can get almost close it can grow,” says Bunting. “Until then, we’ve Orlando and around the world that we will be enough to touch the birds. Guests are likely only scratched the surface of trackless vehicle able to talk about soon. to be so transfixed by the penguins in front of technology.” • • •

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Advertisement 8.25x10.5inches.indd 1 01-08-13 WK31 15:42 The dark ride portions of Radiator Springs Racers is filled with animated vehicles.Photo ©Disney. versatility in motion advances allow for more realism in animatronics by Bill Butler, Creative Design Director, Garner Holt Productions, Inc.

n June, Walt Disney’s Enchanted Tiki Room at and Mystic Manor, to Universal’s Harry Potter and Farm by designing all-new show scenes and IThe Disneyland Resort in California turned the Forbidden Journey, plus countless smaller- populating them with nearly 60 animatronic 50—half a century of singing birds, crooning budget attractions at parks around the world. people and animals. In May, Mystic Manor at flowers, and drumming, winking, chanting tikis. Guests have come to expect figures in themed Hong Kong Disneyland opened with more than The attraction was the world’s first to feature experiences both inside and out of theme park a dozen GHP animatronic figures and animated real, full-fledged animatronic figures controlled gates, leading designers to look to animatronics props, and the company just completed work by early reel-to-reel tape (the “audio” in “Audio- as a unique method of engaging visitors. on an interactive dark ride for a park in Seoul, Animatronic”) animation systems and powered South Korea, design for animatronic elements by linear pneumatic cylinders. The Tiki Room Garner Holt Productions, Inc. (GHP) has built for a major grocery store chain in the eastern US, proved that dimensional animation was both more animatronic figures than any other and is in the midst of creating a new interactive feasible and popular with guests. For Walt Disney, organization in the world, some 4,000 individual animatronic exhibit for the Walt Disney Family visionary behind what the figures would mean figures over 36 years of business experience. In Museum in San Francisco. for his Disneyland audience, animatronics were just the past year, the company’s creations were never tiring, flexible, and appealing mechanical put to use in just about every type of themed Moving figures are nothing new in the actors. For themed attraction designers, an venue imaginable. Last summer, a dozen of the entertainment, educational, and retail world. In entirely new form of storytelling technology was company’s animatronics debuted as the stars the mid-nineteenth century, many clockmakers born. of Radiator Springs Racers at Disney California also created automata (clockwork moving figures Adventure. The attraction is purportedly the representing people and animals) for magicians, Fast forward half a century to today, and most expensive ever created. At the same time, theaters, and wealthy collectors. At the dawn of animatronics are ubiquitous in theme parks, on an entirely different budget model, GHP the twentieth century, a number of companies themed shopping and dining, museums, built an animated jazz band—each member in the United States and Europe specialized casinos, and many other places. They are a is 30 inches tall and heavily caricatured—for in motorized figures for store windows. Their versatile medium capable of a wide range of ROSHEN Confectionary in the Ukraine, and an customers ranged from tobacconists and guises and performances drawn from an infinite exceptionally lifelike Morgan horse for the Fort grocers to toy shops, barbers, and department array of character and story sources. Today, Sill Museum in Lawton, Oklahoma. stores. The same manufacturers were enlisted almost all major show-centered rides open with to create figures for the nascent themed use of animatronic technology in one form or This year, GHP re-imagined the classic Timber entertainment industry: simple motorized another—from Disney’s Radiator Springs Racers Mountain Log Ride (1969) at Knott’s Berry characters for early dark rides and “scenic www.inparkmagazine.com 27 lot of savvy companies are starting to do that sort of thing in stores.”

Less subtle, but equally entertaining, were GHP’s efforts for the Timber Mountain Log Ride. The original 1969 cast of mostly static figures was replaced this year with state-of-the-art animatronics. The availability of true animatronics to anyone but Disney at the time the attraction was originally opened led designer and builder Wendell “Bud” Hurlbut to use largely motionless characters and taxidermy animals, punctuated in a few places by simple motorized figures. “I think Bud would have used animatronics had The stylized animatronics at the ROSHEN Confectionary. Photo by Garner Holt Productions they been readily available and affordable,” said Holt. “But, at the time, only Disney had the wherewithal to make and use them. Now we’ve railroads.” Later, the producers of world’s fair The past two decades have seen the rise of gone in and put some ‘new wine in an old bottle’ pavilions turned to these companies to make animatronics in new locations outside park in the Log Ride.” Although a successful attraction dinosaurs and other prehistoric creatures come gates, like the globally successful Rainforest for nearly half a century, animatronics allowed back to life in dramatic displays. As dimensional Cafes, Chuck E. Cheese FECs, and even in the Timber Mountain Log Ride to become an animation became more available, its popularity places like Ripley’s Believe it or Not museums. immersive themed experience on par with any and application increased. Traditionally non-theme-oriented companies of the world’s greatest attractions. like ROSHEN Confectionary are beginning to Companies like GHP carry the mantle of those embrace animatronics for their stores. The The versatility of animatronics as a technology— early animation manufacturers. But where early Eastern-European candy giant approached GHP for selling a story or a product, performing history companies began primarily as fabricators for to design a funky, funny animatronic “jazz” band or underscoring fun—has ensured its longevity, the stage and retail environments, only later for a new flagship location in Kiev last year. The half a century on. And because animatronics are making their way into theme parks, today’s characters were modeled to resemble classic the ultimate actors, they can continue to define animatronics companies usually have the musician troupes, from a pouty rock guitarist to roles in all sorts of venues. “A lot of people ask opposite experience. Much of this is owed to a soulful blues bassist and free-spirited reggae us if animatronics are getting replaced by Disney’s pioneering efforts in modern animation, drummer, fronted by a sultry singer straight other things, like video effects,” said Holt. “But replacing reciprocating electric motors with out of a 1930’s dance club. “The figures and I really don’t think that will happen. It’s an old linear, computer-controlled actuation capable of their performance are designed purely for the technology, but it still fascinates people. You more varied, smooth, and realistic performances. delight of ROSHEN’s customers,” Holt said. “They can’t do the same things without dimensional Even Disneyland’s first animated figures were reinforce an image of fun, high-quality products characters. Audiences just love animatronics.” of the old-fashioned motorized variety. With and are really a form of subtle advertising. A • • • the increase in sophistication of animation technology, the old ways seemed hokey and Knott’s Berry Farm’s Timber Mountain Log amateurish. As a result, audience expectation for Ride received a massive animatronic up- realism increased, eventually putting those early grade. Photo courtesy Garner Holt Productions animation manufacturers out of business and giving rise to a cottage industry of animatronics companies born from Disney’s efforts (and in many cases founded by its former employees).

Today, organizations like GHP and others service mainly the themed entertainment industry, but a significant portion of business comes from outside theme park gates. “For about fifteen years, I actually did more non-theme park work than I did rides and shows,” said Garner Holt, GHP’s founder and president. “Chuck E. Cheese restaurants were my biggest customer and I did a lot of work for shopping malls, like Caesars’ Forum Shops. We did a large number of projects for FAO Schwarz and others. Now, retail projects probably account for about 20% of our output.” 28 www.inparkmagazine.com R M A F O T I O

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IAAPA ATTRACTIONS EXPO 2013

Conference:ÛEgnÛ~ ¦Û~Û ÝÛ Trade Show: Nov. 19–22, 2013 FjYf_]Û:gmflqÛ:gfn]flagfÛ:]fl]jÛ ÝÛ FjdYf\gÛ=dgja\YÛLJ8 www.inparkmagazine.com @IAAPAHQ slide sensitivity using technology to keep waterpark guests safe interview with Sam Baker, SR Scales, by SR Instruments, Inc.

he World Health Organization reports that How should park operators deal with height without an audible alarm, makes work Tworld wide obesity has more than doubled and weight requirements? easy and expedient for attendants. since 1980. Of the estimated 1.46 billion Many are doing a good job stating requirements Avoiding disagreements and potential overweight adults in the world, 502 million are for specific rides on their websites. This gives a embarrassment is a key issue for keeping classified as “obese.” heads-up to visitors who take the time to check. lines moving, and customers happy. Also, signs are almost always posted at ride Waterpark operators must meet the needs entrances indicating height and weight limits. 3) Positioning the scale early on in the of larger visitors, while acknowledging safety Not everyone reads signs, however. In many rider queue helps to move riders along limitations and being sensitive to guest needs. cases, parks measure height as a way to manage with minimal delay and avoids potential We spoke with Sam Baker of SR Scales, by SR safety. Height is a fairly easy thing to measure, disgruntled customers at the end of a long Instruments, Inc. on how park operators can and often does not carry the same stigma wait and after climbing the steps of a tower. provide the best options for all their guests while associated with weight. It is very important to Many towers are the launch point for more maintaining a safe and efficient environment. note that height is NOT necessarily a good or than one ride, in some cases, rides with two accurate indicator of weight. different weight requirements launch from What concerns do waterparks have the same tower. In that case, a single scale at with accommodating larger guests on Consequently height measurement can and the beginning of the queue can meet that attractions? should be used for safety purposes on rides need, and individual scales at the launch Chiefly, parks want to ensure their guests are that actually have height requirements. For point could provide a “double check.” comfortable and enjoy their time. Operators also determining weight it represents no more than want to put as many people through an attraction a guess. For rides that have weight requirements, 4) As a visitor accommodation and good “PR” as safely possible, in order to keep lines short and the simplest and most obvious method of strategy , attendants should be prepared, if guests happy. Many manufacturers designate determining the weight of one or multiple riders at all possible, with complimentary passes rides with the easily understood “PPM” People is to use a scale. to a variety of other venues that would be Per Minute designator. This gives ride operators accommodating for visitors who do not clear expectations as to potentials for activity on Perhaps most importantly, training attendants qualify for certain attractions. A pleasant the ride as well as the very important revenue and lifeguards to deal with weight requirements and cheerful attitude for attendants will go factor. One way to keep PPM numbers high is in a careful, sensitive, and customer-friendly a long way to encourage the “fun” factor in by ensuring guests meet the rider requirements way is critical to creating a safe, fun, and non- what could be a difficult situation. before they wait in line and are turned away at threatening environment for park guests. the loading point. 5) A good purpose-built scale should What factors are important when operate well for many years with minimal What sort of accommodations can operators considering the use of a scale? maintenance. For long term use, the lowest be making? There are five tips I recommend to any operator price may not be the most cost effective, Accommodation may take many forms: wider when choosing a scale: as with any product containing electronics seats, longer catch pools, small, medium, and 1) Select a scale “Purpose Built” for use in a it is always beneficial to have competent large inner tubes, operational changes and water environment. 316 Stainless Steel and customer and technical service readily possibly even design changes for certain rides. moisture sealed components provide for a available. A warranty past 90 days should Multi-person rides continue to be popular and properly functioning and long lasting unit provide a clue to the manufacturer’s manufacturers are creating more and more in the harsh heat and humid environment confidence in the scale. spectacular rides. Those rides, by the very of outdoor water parks. Indoor facilities • • • characteristics of their design, have specific present even more challenges having weight limits. Obviously, manufacturers, insurers, more corrosive environments containing Sam Baker has been the Director - Global and operators are concerned about the safety chloramines. Development with SR Instruments for the last 5 of attractions. Operators clearly benefit from years. SR is a US manufacturer of scale systems, adhering to manufacturers recommended 2) It should be clearly obvious that used in medical applications , as stand alone scales, weight limits. The elimination of guesswork on a system showing actual weight is a for Hospitals, veterinarians, Zoos, aquariums, weight restricted rides, by the use of scales, can prescription for trouble, delays, and fitness centers, and waterparks. Mr. Baker’s career go a long way to ensure safety for everyone, potential embarrassment. A user-friendly has been in sales, marketing, and new business development. while eliminating subjectivity for attendants. red light/ green light system with or 30 www.inparkmagazine.com www.inparkmagazine.com www.inparkmagazine.com www.inparkmagazine.com 31