InPark Magazine Special Issue: Guide to AV 2020

The IPM Guide to AV

2020

special ISE & DEAL issue, 2020 www.inparkmagazine.com

Attracting fun

Waterpark Tech

Dubai 2020

A smarter way to approach show Ten technologies transforming AV has impacted Expos, including control and attraction infrastructure the waterpark this year’s Expo 2020 Dubai

special ISE & DEAL issue, 2020 The IPM Guide to AV, 2020 Welcome! This special edition of InPark was curated to serve two major industry events:

• Integrated Systems Europe (ISE) Amsterdam

• Dubai Entertainment Amusement and Leisure (DEAL) Here are some of our top recent stories connecting technology, Europe and the Middle East. The United Arab Emirates is a nexus of new development and innovation in the attractions industry, frequented regularly by tourists from Europe. Expo Dubai 2020 will be a high point, attracting global attention when it opens in October.

Technology is key to development, attractions and tourism today. The customer base demands ever more engaging and sophisticated media, interactivity and immersion. The marketplace must keep pace with these expectations and needs.

InPark is here to serve you. As an established, specialized pipeline and connector for the attractions industry, InPark brings together technology developers and creative designers to serve owners and operators. We foster networking and awareness that helps convey accelerating emerging tech from R&D into the marketplace. Please enjoy this special edition and then continue your exploration with InPark online - you will find much more material on our website and in our weekly email and social media channels. Subscribe online for free at inparkmagazine.com.

-Martin Palicki, Publisher

-Judith Rubin, Editor in Chief

-Joe Kleiman, News Editor

Systems simplified

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ISE 2020 Mike Blackman shares highlights for Integrated Systems Europe 2020 • by Martin Palicki

18 The Mad AV Quicksilver world expands with new

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All the park’s a stage Ten AV technologies transforming the attractions industry • by Freddy Martin

22 Christie technology helps spur innovation for

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Getting to know ISAAC What Smart Monkey’s state-of-the-art system portal can do for parks and attractions

by Judith Rubin

26 Ten innovative technologies for water attractions

Visualization vectors The value of Smart Monkeys’ ISAAC for smaller scale projects and standalone attractions

by Judith Rubin

31 Medialon and 7thSense close the deal • by

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COVER: At FlyOver Iceland guests soar over Iceland’s varied landscape. The attraction uses ISAAC as a platform for show control.

Photo courtesy of FlyOver Iceland

features • by Maris Ensing Framing the story

over a decade of World Expos • by Joe Kleiman Try a drop of this

by Freddy Martin AV evolution Judith Rubin

team & contributors PUBLISHER Martin Palicki

NEWS EDITOR Joe Kleiman

EDITOR Judith Rubin

DESIGN Martin Palicki

CONTRIBUTORS Maris Ensing Freddy Martin

InPark Magazine (ISSN 1553-1767) is published five times a year by Martin Chronicles Publishing, LLC. 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Shipping address: 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Phone: +1-262-412-7107. Printing by Johnson Press of America.

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ISE 2020

Mike Blackman talks about the growth of Integrated Systems Europe and highlights for the February 2020 show interview by Martin Palicki

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he annual Integrated Systems Europe (ISE) trade show for AV and systems integration will take place February 11-14, 2020 at RAI Amsterdam. ISE, which has become a key event for members of the global attractions industry, has ballooned to some 80,923 attendees and 1,296 exhibitors in 2019. The show is outgrowing its home in Amsterdam and will relocate to Barcelona in 2021. Producer Integrated Systems Events is gearing up for what it forecasts will be the largest ISE to date since the show was founded in 2004. InPark interviewed Mike Blackman, Managing Director, Integrated Systems Events.

ISE has grown steadily and successfully over the years.

How do you manage to meet everyone’s needs?

Mainly, we listen to our exhibitors and attendees. We carry out detailed research after each show to find out what people liked, and what they didn’t like so much. That feeds into the planning for the following year’s show.

Mike Blackman

Across the entirety of the ISE 2020 show floor, I’m sure that cutting-edge solutions using immersive audio, AV over IP, cloud, 4K/8K technology, voice and gesture control and the latest display technologies will all be well represented.

What else can attendees expect for ISE in 2020?

Our Opening Address will be given by Duncan Wardle, former Head of Innovation and Creativity at Disney. He has some really interesting ideas about how all businesses can tap into their resources of imagination and creativity, and I’m really looking forward to hearing what he has to say. We’re planning another projection mapping spectacle, following the success of these show features in previous years. And we’re also working on an event where we will say farewell and thank you to Amsterdam and the RAI, and also give attendees a flavor of what to expect when we move to Barcelona in 2021.

ISE has a strong focus on professional development. Why? How has ISE’s visitor profile changed over the years?

ISE is owned by AVIXA and CEDIA, two trade associations with a focus on professional development – so education and training have always been an important part of the show.

Another priority for both associations is reaching out beyond the industry, to other stakeholders within AV projects. Establishing and awarding professional qualifications plays an important part in establishing the expertise of the industry as a whole, as well as demonstrating the competency of the individuals who work in it.

Initially, our audience was almost entirely drawn from the AV channel. Increasingly, though, our exhibitors have told us that while they still want to meet with existing and prospective channel partners, they also want to engage directly with endusers. We’ve made a concerted effort to respond to that need – as evidenced, for instance, by our growing conference program. ISE has become as much of a ‘must attend’ event for end-users as it is for the AV channel.

What can we expect to see on the show floor?

What was behind the decision to move the event to Barcelona?

Although we don’t have much growing space at the RAI Amsterdam, the extension to Hall 5 has been expanded, and is now permanent. Some of this extra space will host companies in the Audio and Live Events Technology Zone. This is one of six Technology Zones, which group together exhibitors with similar technologies and/or market sectors – helping our exhibitors to zero in on the solutions of most interest to them.

The other Technology Zones are Digital Signage and DooH; Education Technology; Residential; Smart Building; and Unified Communications.

We’ve also found some space in Hall 14 for a new Innovation Zone, which is an area dedicated to exhibitors making their ISE debut with exciting new technologies.

Purely and simply, we’re running out of space in the RAI. Even for ISE 2020, we had to tell our exhibitors that they couldn’t take a bigger stand than they had at ISE 2019. So while the RAI has been a great partner for us, and Amsterdam a great location for the show, we didn’t have any choice but to find somewhere else. The Fira de Barcelona is a great choice: it’s a modern, wellequipped venue with plenty of space for us to expand into – not just on the show floor, but also with plentiful side rooms for conferences, meetings and demos. And Barcelona came out top of our attendees’ preferred cities for hotels and restaurants.

We will be sad to leave Amsterdam after ISE 2020, but Barcelona will provide us with what we need to deliver a show that meets our exhibitors’ and our attendees’ needs for years to come. • • •

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All the park’s a stage Ten AV technologies transforming the attractions industry

by Freddy Martin

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he job of theme park designers and operators is to offer audiences innovative experiences that they cannot have outside the berm. Innovation requires technology breakthroughs and availability to expand artistic and technical capabilities.

So here, in no particular order, are the top 10 AV technologies being used to revolutionize the themed entertainment industry today.

When visitors first walked through early amusement parks like Vauxhall or Tivoli Gardens they were awed by the sight of hundreds of gas lamps flickering to life at dusk. Later, when Luna Park filled the air with thousands of twinkling electrical lights, guests could not believe their eyes.

There is no question that Virtual Reality (VR) is an exciting AV technology that the industry desires to utilize as a storytelling medium for guests. At the same time, it’s unanimous that VR has its challenges. Standard themed entertainment concerns such as throughput, repeatability, and accessibility remain barriers to broad, in-park installations. Even more concerning is the fact that VR can be location-agnostic, with home applications nearly as immersive as within the berm.

Likewise, the steam calliope made its way from the riverboats to permanent homes in boardwalk amusements such as Coney Island where its sounds delighted guests and set the mood for fun. This gave way to recorded music which could be changed at will with the lift of a needle. With each new advancement in audio and visual technology, themed entertainment venues have sought to surprise their guests with new sights and sounds every time they visit.

Today’s experts are exploring and employing multiple AV platforms to entertain, educate, and wow their guests. They are combining the art forms of stagecraft and filmmaking, with advancements in robotic lights and powerful video projection, along with new-century visualization technologies.

We spoke to numerous designers, service providers, and operators – all with substantial industry credits and international experience - to share their observations and insight and to identify 10 AV technologies that are helping to accelerate the current evolution of the themed entertainment industry.

Virtual Reality

Still, standalone attractions like The Void, based on popular IP, have set an example of how the medium can enhance an out-ofhome destination. And museums, FECs, and escape rooms have adapted VR to enhance the sensory response to their existing attractions.

“These technologies enable a more intimate sensory experience,” said Alan Anderson of Smart Monkeys, a leading show control specialist headquartered in Miami. “The story is lived in a more ‘primal’ way and allows a deeper emotional connection.

The opportunities for creating meaningful attractions are exponential.”

Augmented Reality The continuing evolution of tablet and app technology is creating new ways for guests to interact with the exhibits and one

Not surprisingly, their answers focused less on specific tools, brands, or solutions, than on how the technologies work together to offer increasing flexibility and control. Like visual artists who work in mixed media on canvas, these experts recognize that a blended use of today’s available AV technologies ultimately leads to greater opportunities for creativity and effective storytelling.

“Innovation does not have to start from zero. We use what is available to mix and match, to customize and improve upon the technology,” said Bingo Tso, Senior Vice President of Advanced Communication Equipment (ACE), a major AV provider based in Hong Kong, among whose credits are “Legend of Camel Bells,” a theatrical spectacle recently honored with a TEA Thea Award. “All in all, the available products and technologies combined cannot replace the need to integrate with the artistic requirement.”

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Virtual reality has many potential applications, but also has limitations that are still being addressed.

been seen before in other events, this brilliant display revealed a new breadth of scale and scope not previously achieved. The technology was recognized in 2019 with a TEA Thea Award.

“We are excited for the possibilities of Intel drone light shows,” said Anil V. Nanduri, General Manager of Intel’s Drone Group, “not only for the awe inspiring experiences that the technology can evoke for audiences, but for the fact that it is a smoke free, pollutant free, noise free, reusable alternative to fireworks - or, in some ways, to even augment fireworks.”

Intel drones provide a showstopping moment during the 2018 Winter Olympics in PyeongChang, South Korea. Photo courtesy of Intel.

another. Augmented Reality (AR) applications put the power to influence the outcomes of the experience literally into the hands of the guests.

The Crayola Experience, a multi-location brand museum and activity center, uses AR technology in an attraction called Color Magic that allows guests to interact with the company’s core product in a unique way. Visitors color the image of a character on paper, scan it into a console, and, in seconds, their artwork comes to life on screen as an animated character they can play with.

“The use of smartphones, tablets, and apps has given all of us a new toolset that can be utilized in attractions, especially in museums and FECs,” says George Wade, President of Bay Laurel Advisors, a consultant to IP holders in the LBE (location based entertainment) space. “The key to technology is we can’t focus on technology for the sake of technology. We have to remember that we’re providing a guest experience that should be well-rounded and repeatable for the guests, and therefore more beneficial to the operator.”

Augmented reality promises to enable operators to integrate elements into the experience of the attraction or property that will far exceed guest expectations.

The combination of technologies including light-weight, LED lit drones, along with automated control software, allows show directors to create increasingly complex and precise animations in the sky. This will offer operators even greater opportunity to create unique experiences for their guests.

Credited as the inventor of the Shooting Star drone system that powered the Olympics show, Intel Senior Principal Engineer Daniel Gurdan was quick to recognize the role of the technology in the creative process. “It’s only a tool,” he said in a presentation at the 2019 TEA Summit, “so we need creative people to create something that people want to come and see.”

Projection Mapping Few recent visual effects advancements have triggered the excitement and broad adoption for location-based entertainment attractions and venues as projection mapping. Although the technology has matured to some degree, it is still advancing (see Laser Projection below). Today, the industry enthusiasm for projection mapping comes because of its flexibility to be blended with other technologies for greater effect.

“I think there’s convergence like never before between projection and show lighting. I think that we’re on the cusp of blending the two together to create some amazing illusions,” said Mark Andrew of Los Angeles-based Remarkable Light, a top attractions lighting designer. “By combining different lighting technologies–traditional show lighting, projection, fiber optics, lasers–you can create some really beautiful effects.”

“I believe in the next year we’re going to see the major theme parks reveal augmented reality components being utilized in fascinating ways,” said Cliff Warner, Chairman of Mycotoo (Los Angeles). “Imagine wearing clear goggles that enable you to see characters and effects intertwined within the area development or the scenery of the ride which will take the experience to a whole new level.”

Mass Drone Flight The 2018 Winter Olympics gave the world a chance to see the broad entertainment potential of a mass, aerial lit drone show.

During the opening ceremonies, 1,218 drones filled the sky above PyeongChang, forming and re-forming into colorful, animated shapes and characters. Although the technology had

The Universal Spectacle Night Parade utilized projection mapping on buildings and floats. Photo courtesy Universal Studios Japan.

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Laser Projection Laser projectors provide a brightness and wider color gamuts than previously achievable with traditional lamp projectors. While still more expensive than bulb projectors, they do not degrade as quickly and have lower maintenance costs over time. As the technology improves and research continues, the price point and selection of laser projectors have improved making their use much more available for operators of all sizes.

“The advancement of laser projection technology is continuing to further the ability to use projection in parks,” said Scott Arnold, Founder of TechFulcrum, a technical design company with many industry credits, headquartered in Miami. “We’re working on a project now that would potentially utilize many laser projectors, but if we had to use lamp projectors this wouldn’t even be considered, just because of the sheer number of them and the amount of maintenance needed to keep them running.”

LED Video Walls Emerging LED technology continues to push boundaries for large surface video displays. The industry sees new opportunities to replace image projection in a variety of exciting ways.

“In particular,” said Rick Rothschild, Chief Creative Director at FAR Out! Creative Direction, a creative pioneer of the industry with groundbreaking work in media-based attractions, “dome and irregular surface geometry display options are opening up new ways to tell stories and create experiences, allowing them to become more and more immersive and integrated into other forms of 3D storytelling.”

Attractions and shows like Guardians of the Galaxy - Mission: BREAKOUT! or King Kong on Broadway are utilizing the technology to a near perfect effect where projection would have fallen short of the desired effect.

Mark Andrew said, “The pixel pitch is getting tight enough, the resolution is getting better, and the intensity control is to the point where, in many cases, it is now preferable to use video walls over projections.”

Holographic Video Innovations in holographic video technology have paved the way for remarkable live show enhancements featuring CGI effects that seamlessly integrate with the action stage.

Hasbro recently announced a TRANSFORMERS electronic music festival that will include gigantic holograms of their robot characters performing (and transforming) live on stage, including real-time interactions with cast and audience members to make each performance unique and unforgettable.

“By utilizing state-of-the-art holographic technology and the latest innovations in AI [artificial intelligence], we can bring our TRANSFORMERS characters to life in the real world,” said Matt Proulx, VP of Location Based Entertainment for Hasbro.

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“This real-world connection helps to enhance the affinity for our beloved TRANSFORMERS characters and brand by creating a truly unique, one of a kind, visually impactful and emotionally compelling experience that establishes a new dimension of entertainment for our TRANSFORMERS fans.”

Low-Cost RGB LEDs The gas lamp gave way to the electric light more than a century ago, and today, RGB LEDs are revolutionizing the way our industry lights themed environments, parades, and live shows.

Although the technology has been around for some time, decreasing costs and increased availability are making it possible to utilize RGB LEDs in more ways than ever.

Chimelong Ocean Kingdom utilized one million color-changing LEDs to create a nighttime spectacular that did more with color and light than any parade had done before. Journey of Lights went far beyond a series of colorful floats and costumes – producers created a unified show from start to finish with the ability to be changed all at once.

“It used to be that when we put lights on a parade float or show set, we were limited to one color per light,” said Sean Chung, Senior Project Director for Miziker Entertainment. “But LEDs became so affordable that we could make every single one of our lights RGB. Once we made everything RGB, we had control over the color and brightness of every single light in our parade.”

This allowed the team to create moments during the parade when sweeping color and lighting changes happen simultaneously along the entire parade route. Journey of Light was honored in 2019 with a TEA Thea Award.

Immersive Surround Sound The soundscape is every bit as important as the visual landscape in theme park environments. Imagine Disney’s Jungle Cruise without the sounds of bugs, monkeys, and wild birds. Today, surround sound gives designers versatile tools to create even more immersive audio environments that add to the realism and mood of an area.

“Soundscaping is something guests expect much more than they did five years ago,” said Charlotte Huggins, President of Miziker Entertainment. “Today, we’re getting location-specific, controlled soundscaping that helps us create a holistic sound environment with more precise control than ever before.”

This kind of control is also essential in live shows, especially in large or motion-base theaters where movement and interactivity have the potential to shift the direction of sound.

“With these kind of new venues, traditional sound systems no longer fulfilled our needs,” said Bingo Tso. “Thus we had to develop our own processor that can up-mix stereo music into a multi-channel system.” Referring to “Legend of Camel Bells,” he said, “We successfully applied this technology in a large-scale, live spectacular that immersed the 3,000 person audience in a massive surround audio environment.”

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Our panel of experts ALAN ANDERSON - Managing Partner/ Co-Founder, Smart Monkeys Inc. - Known for creating solutions that focus on maximizing guest experience through innovative technology and reliable infrastructure, Alan has directed the design of many show control installations that have received numerous awards worldwide. Smart Monkeys, Inc. is a technical consulting firm specialized in feature-centric design and show control implementation.

HELMUT PROTTE - Global Business Development Manager, AV Stumpfl - Helmut is an expert in real-time video media server and show control for AV Stumpfl, an award-winning Austrian company that designs and manufactures high-performance projection hardware and show control systems. Their media servers were used for the production of the acclaimed Pigments de Lumière, a projection show at Fête des Lumières in Lyon, France.

MARK ANDREW - Principal Designer, Remarkable Light - Mark is a sought-after lighting designer whose work focuses on rides, attractions, themed restaurant and retail spaces, corporate visitors centers, and museum exhibits. His work includes Test Track at Epcot, The Shuttle Launch Experience at Kennedy Space Center, Skydeck at the Sears Tower, and BattleStations 21, a state of the art disaster training facility for the US Navy.

MATT PROULX - Sr. Director, Global Branded Experiences, Hasbro - Matt is charged with enhancing Hasbro’s global presence in themed entertainment attractions, around the world. He has built long-term relationships with a variety of entertainment partners, including Universal, (TRANSFORMERS The Ride), Carnival Cruise Lines (Family Game Night), and innovative experiences such as Monopoly Mansion, the first ever MONOPOLY-themed hotel.

SCOTT ARNOLD - Founder, TechFulcrum - An experienced technical director and business executive, Scott has a diversified background with the consultation, design, and management of themed entertainment projects around the world. He has led various technology discipline design and installation teams for SeaWorld Parks & Entertainment, Busch Gardens, Universal, Chimelong, and Disney.

SEAN CHUNG - Senior Project Director, Miziker Entertainment - Sean’s work in themed entertainment began with production on Power of Nature, a 3D giant screen attraction film for the Wanda Group. He has since led special venue and parade spectacular projects for clients such as Chimelong, Genting Malaysia and Warner Bros., including the technically and creatively complex Journey of Lights Parade at Chimelong Ocean Kingdom.

CHARLOTTE HUGGINS - President, Miziker Entertainment - Charlotte is a multi-format media and movie producer of dozens of IMAX, special venue and feature films as well as ride and attraction films for theme parks clients including Disney, Futuroscope, and de Efteling. Recent achievements include the celebrated Journey of Lights Parade at Chimelong Ocean Kingdom and Chimelong Scareadise at Chimelong Paradise.

ANIL V. NANDURI - Vice President, Intel, General Manager, Drone Group - Under Anil’s leadership, the Intel Drone Group provides solutions for drone light shows which have entertained audiences worldwide including the PyeongChang Winter Olympics Opening Ceremonies and the new Dark Arts at Hogwarts Castle show at Universal Studios Hollywood. In 2019, Intel’s Shooting Star Drone System received a TEA Thea Award for Outstanding Technical Innovation.

RICK ROTHSCHILD - Chief Creative, FAR Out! Creative Direction - Blending a unique set of entertainment skills developed over 40 years of experience as a filmmaker and director, Rick brings together a strong creative perspective with deep technical knowledge to provide both vision and direction to themed entertainment projects worldwide. He is currently providing creative direction for the Chimelong Group and the FlyOver attractions by Pursuit.

BINGO TSO - Senior Vice President/CTO of ACE International - A 40-year veteran in the pro-audio industry, Bingo has introduced many new technologies to the market and trained hundreds of engineers. He has been involved in the production of many significant events in China, including the Beijing Olympics and the Shanghai World Expo. The live, multimedia stage spectacular Legend of Camel Bells received a TEA Thea Award in 2019.

GEORGE WADE - President & Chief Advisor, Bay Laurel Advisors - A recognized leader in the development of high-end, mixed-use entertainment projects, George is an expert in brand development within the location-based entertainment industry. His company helps clients bring unique experiences to consumers in outof-home real estate environments. His clients include Crayola, Halo/X-Box, Peanuts Worldwide, and Hasbro Toys.

CLIFFORD WARNER - Chairman, Mycotoo Cliff is known for being one of the top producers of award-winning experiences including Universal Studios’ WaterWorld Stunt Show, FiestaAventura’s Templo Del Fuego, Bollywood Park and Motiongate - including TEA Thea Award recipient DreamWorks Animation Zone.

He co-founded Thinkwell Group and Mycotoo, a leading entertainment design and development company.

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Show Control Platforms Although we’ve listed nine innovative and revolutionary AV technologies so far, it is clear that no single technology does the work on its own. Advances in show control systems create opportunities for two, three, or all of these technologies to work together within one attraction or show.

“We have to create flexible and open platforms,” said Helmut Protte of AV Stumpfl GmbH (headquartered in Austria) “which allow operators and show managers to combine all that new technology under an easy-to-use interface, while reducing the technical limitations for their creativity.”

For some applications this amounts to control over elements within a show, such as multi-screen video or projection mapping.

“What is serving up the video is improving as well,” said Scott Arnold. “We went from having a box that simply spit out video to playback platforms that can do mesh correction, masking, layering, blending, motion tracking, and all kinds of cool things that can now be done at the server level.”

technologies, the park or zone is designed with discreet and specific control over every speaker and every light, then we can do immersive and theatrical park-wide events.”

AV Unleashed Our survey of leaders in the themed entertainment industry paints a clear picture that AV technology is often treated as a means to an end, a tool toward better storytelling. At the same time, designers, engineers, and operators appear to be united in their desire to develop the technology of sight and sound to create ever more immersive environments for guests that help them escape reality for a brief moment in time.

“One of the goals of AV technology is to take away the limits,” said Sean Chung. “Instead of being confined to a theater or attraction, now the entire park has become a largescale controllable theatrical environment capable of creating breathtaking new guest experiences on a completely new scale. I like to say that the whole park is our stage.” • • •

Show control systems are also now being used to create interconnectivity across the lighting and sound matrix allowing for park-wide, location-specific control.

“When we create a parade or parkwide event, we include lighting and audio,” said Charlotte Huggins. “But now, with today’s new

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Freddy Martin (freddy@themedattraction.com) is a writer, storyteller, and independent consultant.

He began his theme park voyage as a skipper on Disneyland’s Jungle Cruise. Freddy co-hosts the Themed Attraction Podcast with Mel McGowan of Storyland Studios, and is a regular contributor to InPark as well as ThemedAttraction.com. He blogs at FreddyMartin.net.

Getting to know ISAAC What Smart Monkeys’ state-of-the-art system portal can do for parks and attractions

by Judith Rubin

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hen the Tom Bradley International Terminal opened at LAX in 2013 and was honored by the Themed Entertainment Association in 2016 with a TEA Thea Award (as an Outstanding Environmental Media Experience) it brought wider exposure and recognition in the attractions industry to the system known as ISAAC. Short for “Integrated Scheduling and Automation Control,” ISAAC is the state-of-the-art, supervisory system from Smart Monkeys Inc. that manages and updates the wide variety of media and content streams running on the Tom Bradley Terminal’s many displays.

attractions tech specialists become conversant with ISAAC and the industry continues to evolve toward IT type infrastructure models and enterprise systems.

Operators, technical integrators and system designers saw what it could do, and ISAAC was recently adopted as the facility-wide content management platform for two new theme parks in the Middle East, as well as a high-end parade system for a major operator in North America. One of those Middle East parks is Warner Bros. World Abu Dhabi, open since 2018 and named to receive a TEA Thea Award in 2020. For WBW, ISAAC provides the hosting and supervision platform for all show control for attractions, shows, retail, restaurants and parkwide entertainment.

More such applications are anticipated in the near future as

“In a nutshell, ISAAC is a scalable platform that relies on IT technology, namely virtualization,” says Villet. “We create systems, mainly clusters, that are sized specifically for hosting certain applications. For example, a theme park today may have dozens of show control systems to run its various shows, attractions and parades. ISAAC would host all those systems using a series of networked PCs loaded with specific software - a familiar model in our industry. The difference is that the PCs aren’t physical machines, they exist as virtual machines – as software configurations within a secure, on-premises data center.”

Redefining the field Theme parks and attractions are already making use of enterprise systems, data centers and networks for ticketing, data collection, security, food service, hospitality, wristbands. Stephan Villet, Managing Partner at Smart Monkeys, presents ISAAC as a logical step for running attractions as well.

ISAAC (Integrated Scheduling and Automation Control) received wide exposure in the attractions industry when the Tom Bradley International Terminal at LAX was honored with a TEA Thea Award. ISAAC supervises the multiple dynamic display systems in the terminal. Photo courtesy LAX.

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This is an industry that’s always in a technology revolution, and right now it’s happening front-of-house and back-of-house. In visitor attractions, the trend is toward guest experiences that are media- and effects-laden, interactive, gamified and immersive.

The themed, immersive environment contains projectors, screens, speakers, ride vehicles, lighting fixtures and other devices. At the operations end are the systems of hardware and software driving those attractions.

A portal system such as ISAAC has the power to streamline, automate and virtualize many aspects of show control and content management, but it doesn’t necessarily have to stop there.

It can (and in the field, currently does) also extend to supervising such functions as lighting control, building management, irrigation systems, parking management systems, security systems and more.

Concerning the Tom Bradley Terminal, the TEA Thea Awards Committee wrote in 2016: “The base idea is not new, but the Integrated Environment Media System at LAX has been executed with such creative and technical excellence that it has redefined the field and is fast becoming a widely-admired and replicated achievement. It has also improved the airport visitor experience: Studies show that travelers tend to arrive early at the terminal to enjoy the media.”

You have already met ISAAC The Smart Monkeys client list is an intriguing mix of high-profile tech names and attractions industry standouts, such as MGM, the Bill & Melinda Gates Foundation, Google, Universal Studios and The Shed.

ISAAC and virtualization combine to shrink, secure and centralize the equipment room. Photo courtesy of Smart Monkeys

Though ISAAC may be relatively new in attractions, as noted by the Thea Committee the base concept is not new. Similar platforms have long been adopted in other sectors, and we are constant users of them in our daily lives.

ISAAC works within the model of a data center – essentially, a sophisticated version of what in the attractions industry is known as the equipment room or rack room. The data center is a central facility where the data (content and control software) are stored and the critical gear is housed. Because of virtualization and the capabilities of the system and network, it can dramatically reduce the amount of real estate needed to contain it.

Data centers fall into two basic categories. Internet-facing data centers are usually browser-based; they power the data streams we consume in our daily lives and are open to many users. The type of data center that a system integrator or technical designer would configure for a park or attraction – where an ISAAC system would reside - is an enterprise or internal data center, tied to operations and customized to a specific, restricted user base with appropriate layers of security.

Stephan Villet, Managing Partner at Smart Monkeys, which counts among its clients MGM, the Bill & Melinda Gates Foundation, Google and Universal Studios.

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Villet explains, “The system includes a web app that works as a portal for users. Any authorized and credentialed user anywhere in the park can connect to the ISAAC system and schedule

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Look who’s talking about ISAAC

Chris Conte, Electrosonic: “ISAAC supports the creation of a better dynamic experience.”

Eric Cantrell, Medialon: “ISAAC makes it possible to consolidate multiple machines into a small server.”

anything in any part of any system. A global lock system and alert system are set up to communicate by email when any type of problem occurs. All the activity is tracked so the operator can decide who has access to what part. The system provides the ability to directly access - from anywhere and at any time via a web browser - machines for tasks such as programming, maintenance or show modification. This access is extremely secure and is based on individual user credentials.”

To learn how ISAAC is being received in the attractions tech design community and how it fits into the big picture of attractions in terms of design, installation, operations, maintenance and guest experience, we spoke to several top technical specialists in themed entertainment who are familiar with the system.

Electrosonic and ISAAC: Guest experience “This is becoming a standard for us in designing theme parks instead of multiple boxes,” says Chris Conte, VP New Business Development, Electrosonic Inc. which specified ISAAC for Warner Bros. World™ Abu Dhabi. Electrosonic was recognized in 2019 with an AV Magazine AV Award for Themed Entertainment and Attractions Project of the Year, for its role on WBW. “Electrosonic was the first integrator in the attractions industry to embrace the platform - the very first one to really see it as the future for theme parks,” says Villet.

“Electrosonic is all about guest experience,” says Conte. “Using all the tools in the toolkit, we deliver tech solutions that support the guest experience, and ISAAC is a very powerful tool. We work often with creative producers, and because ISAAC allows access to all media assets available on a project, it supports the creation of a better dynamic experience. It consolidates tasks and elements that have traditionally been represented with a variety of different boxes. Media producers want a playback video; they want the ability to collect assets from which the guest can create memorable experiences or even a takeaway (such as a mandala) that can be stored and accessed later. As a virtual environment,

Scott Arnold, TechFulcrum: “It’s time to grab this tool and see what we can do with it.”

ISAAC can access all that content, manage and deliver it, wherever it is stored.”

Seeing further into ISAAC’s potential, Conte says, “This kind of virtual environment provides not only access to data but gives us a platform for a content management system (CMS) – something for which there is an immediate need as it has become part of content generation. Content for today’s immersive and interactive attraction goes beyond content for playback and storage to include web-based experiences, mobile apps and user-generated content. The industry needs it today, the guests demand it today and it has to happen on the spot – just as it happens on the spot for all of us when we use our devices to communicate, access, capture and share. We need to be able to collect assets of guest experience, track their experience through the park, and have access to that data at the venue and afterwards online. ISAAC’s platform enables all of that.”

Medialon and ISAAC: Storytelling Where there’s ISAAC, there is often Medialon, an industry leader in show control. ISAAC installations running Medialon software include the Tom Bradley Terminal, the George W. Bush Library, a massive LED video wall install at the MGM Macau and one or two theme park parades that can’t be specifically named.

“ISAAC makes it possible to consolidate multiple machines into a small server; you can manage huge amounts of content from a single schedule and playlist,” says Eric Cantrell, VP Business Operations, Medialon Ltd. “The effect is almost like you’re in Times Square. It looks like each display is doing its own thing but at any given moment, there could be one story on all of it.”

Cantrell emphasizes the dual benefits of storytelling support and security in such a system and points out how they can begin to blend and enhance the guest experience. “The story is the reason people buy the ticket to get in the door, but there are a lot of other things that have to happen too. You have to have a parking lot and a tram and security - they don’t have much to do with storytelling, but if you tweak the perspective of the story, they could. This is very important today, because stories now reach far beyond the ones being told to the guest in the three-minute

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ISAAC in Orlando Smart Monkeys recently added Joy Burke in the new position of Senior Manager of Special Projects, driving business development in the Orlando area, from her base in the company’s new Orlando office. “We’re committed to the themed entertainment space and that’s why we’ve opened an Orlando office to complement our Miami headquarters,” says Stephan Villet. “With her strong engineering and business background and many years’ experience in the industry, Joy will open doors for Smart Monkeys and ISAAC, facilitating better projects with better systems - and awesome guest experiences.”

At The Shed in New York City, ISAAC served as the Media SDVoE distribution headend. (SDVoE = Software Defined Video over Ethernet.) Photo courtesy of Brett Beyer.

attraction – the stories are the ones guests are telling their friends and followers on social media.”

Cantrell continues, “There’s an expectation that everything we do will have some element of personalization. There is a massive amount of data people are generating. With a modern system you can amass data points and make decisions based on them, on the fly. The ability to modify storytelling subtly is where show control can be useful: creating alternate versions of the same show on the fly, based on pre-produced content. The operator can now take input from all over the park – can use immediate feedback to take personalization to the next level. A presentation becomes an interactive experience. The park becomes a real-world environment that responds to the guest, and ISAAC provides that data center so you can really manage all of this from an easy platform. All those people are building the content that the show control can piece together to make the presentation of the moment.”

“I’m excited to be working with the team that’s using some of the most cutting-edge programming languages and technologies in the continuing development of ISAAC,” says Burke. “I’ll be using my experience in product engineering to take the lead in collaborating with ISAAC’s third-party partners and expand our network of vendors.”

Burke comes to Smart Monkeys after 16 years with Alcorn McBride, where her most recent title was Senior Software Engineering Manager. Burke earned her MS in Industrial and Systems Engineering from the University of Florida and is pursuing her MBA at the school’s Warrington College of Business. She was awarded PE certification by the Florida Board of Professional Engineers in 2017 and holds AVIXA CTS status. She sits on the board of the Society of Women Engineers of Central Florida.

Smart Monkeys Inc. Orlando is located at 6965 Piazza Grande Ave, Suite #107, Orlando FL 32835. www.smart-monkeys.com •

This should sound familiar – it’s the same kind of customization we’re accustomed to as we travel the Internet on our web browsers, but introduced into real-world, three-dimensional settings.

In terms of maintenance function, Cantrell likens ISAAC to “a spare tire on a car but you have the ability to put it on while you are driving.” He says, “Instead of going with a distributed systems rack full of computers, instead of an equipment room in every attraction, you’d have a bigger equipment room but only one per land, and everything spread out via fiber extension or another

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Smart Monkeys’ ISAAC technology is part of the massive digital media array, Spectacle, at MGM COTAI, a US $3.4 billion resort that opened in Macau in early 2018. Also on the project were Obscura Digital, Electrosonic, VER and LAB at Rockwell Group. Photo courtesy of MGM.

network of sufficient bandwidth, reducing the amount of space required in an individual attraction and enabling spares to fill in for broken or nonfunctioning equipment in any attraction in that area.”

TechFulcrum and ISAAC – a shift in thinking “We’ve been watching ISAAC for a long time,” says Scott Arnold, CEO at TechFulcrum, a system designer with an extensive theme park portfolio including numerous projects for SeaWorld. “We strive to choose the most appropriate solution for every project.

I’m working on a design right now that would utilize ISAAC as home for the master control of a theme park, and to do the scheduling for certain elements of that park.”

Arnold echoes others in pointing out that the technology is not new. “It is a shift in thinking that is the challenging part. It can be challenging to explain why it’s beneficial to take a collection of tools from the IT world and customize and combine them in a manner that serves themed entertainment, because people are used to having the physical box. For some, virtualization is the scary part. But there are aspects of it that are quite exciting, such

as the centralization of systems. We’ve run the numbers and on a larger project such as a theme park, it is more cost effective to centralize a portion of the hardware and processing. It also allows for serviceability and maintenance options to be simplified over a traditional setup while avoiding potentially undesired access.”

Digging into future possibilities, Arnold says, “As technology has marched on over the past 20 years, the connectivity of devices we use in entertainment has been converging. We started connecting all our audio and video over ethernet, pulling them all into the same kind of networked infrastructure. And every day, more and more things become part of the network we didn’t anticipate.

What ISAAC does is communicate with all those things and give tools to help manage them. Jumping to the IT world, this is already being done on a daily basis and a global scale, for instance when you are shopping online. There is always going to be a physical box somewhere - we have to house things somewhere – but things have gotten better, smaller and faster over time; better able to handle load and redundancy. Now it’s time to grab that tool that has been developed and see what we can do with it on our terms.” • • •

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At FlyOver Iceland guests soar over Iceland’s varied landscape. The attraction uses ISAAC as a platform for show control. Photo courtesy of FlyOver Iceland

Visualization vectors The value of Smart Monkeys’ ISAAC for smaller scale projects and standalone attractions

by Judith Rubin

W

ithin the themed entertainment industry, when integrators, manufacturers and designers spec project systems, increasingly they turn to something called ISAAC. ISAAC is a product from Smart Monkeys Inc. that brings stateof-the-art, IT-style, network technology to parks and attractions.

Smart Monkeys and ISAAC were recently in the news when Electrosonic was honored at the AV Awards for its work on Warner Bros. World™, a new theme park in Abu Dhabi using a network-based, parkwide control system that depends on ISAAC.

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ISAAC started to gain real traction in the attractions sector a few years ago, when the Tom Bradley International Terminal at LAX received a TEA Thea Award in 2016. It has since been adopted in large-scale, one-off projects such as those mentioned above, where the design includes multiple units and extensive custom programming. But ISAAC also has a place in smaller and standalone attractions, where operators have been reaping its benefits in smaller, off-the-shelf, plug-and-play form factors.

Recent installations include 28 Liberty - a high-end residential development in New York City; and FlyOver Iceland - a new flying theater from destination attraction developer Pursuit.

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By providing hardware consolidation, ISAAC requires less space, less power, less cabling infrastructure, and together these lead to cost reduction.

OPPOSITE: At FlyOver Iceland guests soar over Iceland’s varied landscape. The attraction uses ISAAC as a platform for show control. Photo courtesy of FlyOver Iceland

Other, enthusiastic ISAAC collaborators include leading manufacturers such as show control provider Medialon; and RealMotion, a real-time media server company. Both have partnered with Smart Monkeys to customize their own, proprietary products to be compatible with ISAAC.

ISAAC in Pursuit Destination attraction operator Pursuit, part of Viad Corp., opted to modernize the technology package for its newest flying theater, using ISAAC in the system of FlyOver Iceland, which launched on August 28, 2019 in Reykjavik. It is the third in a series of standalone “FlyOver” flying theaters that began with FlyOver Canada (Vancouver, 2013) followed by FlyOver America (Minneapolis, 2015). The Vancouver location reports 3 million attendance since opening. Pursuit operates the Vancouver and Reykjavik theaters with others soon to come in Las Vegas (2021) and Toronto (2022).

The FlyOver theaters combine dome projection, a six-DOF motion platform and special effects. The seat bank moves passengers into the dome, feet dangling, to immerse them in a scenic aerial journey through the region. Creative partners on FlyOver Iceland include such distinguished names as Rick Rothschild, Dave Mossop and Moment Factory. The ride system came from Brogent while Kraftwerk provided the ride AV system. The ISAAC show control and house AV systems were provided by Electrosonic. Local installation support was from Exton ehf.

“I was introduced to ISAAC at the Smart Monkeys booth at a past InfoComm show, and I was instantly intrigued,” said Eric Sambell, Global Director, Construction and Entertainment Technology, FlyOver Attractions. “Smart Monkeys was the only company providing a virtualization system for show control, specifically focused on Medialon, which is the core of our show control strategy. Over the couple of years leading up to the FlyOver Iceland project, we worked through the requirements to ensure all the key systems could be virtualized, which allowed us to move forward.”

Describing the role ISAAC plays in the operation of FlyOver Iceland, Sambell said, “ISAAC provides a redundant, virtualized platform for our Medialon show control, GrandMA lighting control and various secondary applications. It coordinates the operation of the ride, preshow spaces and the overall building.

Uptime is absolutely critical for a standalone attraction; if we’re not operating there’s no revenue, so redundancy is key. By using ISAAC we were able to eliminate the need to carry multiple spare machines and reduce the need for our staff to know detailed configuration steps to set them up in case of a failure.”

Unpacking redundancy, failover & virtualization Sambell pointed to virtualization, redundancy and failover as features of ISAAC that made it most appealing for FlyOver attractions. Stephan Villet, Managing Partner, Smart Monkeys, explained that ISAAC, being “redundant by definition,” does away with steps and physical equipment that have traditionally been part of backing up a complex attraction system.

A select list of attractions using the ISAAC platform • 28 Liberty, New York, NY • FlyOver Iceland, Reykjavik • The Shed, New York, NY • The dynamic guitar-shaped tower at the new Hard Rock Guitar hotel in Hollywood, FL • Easton Town Center, Columbus, OH • Liberty Center, Liberty Township, OH • St. Louis Aquarium, St. Louis, MO • Exelon HQ, Philadelphia, PA • Comcast Experience, Philadelphia, PA • Stories of the Bible at the Museum of the Bible, Washington DC

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Eric Sambell

Geoffrey Platt

Redundancy and virtualization work hand in hand. “A redundant ISAAC system eliminates the need for special programming as well as separate backup files and equipment,” said Villet. “The user checks a box in the interface to direct the platform to create the backup; everything is hosted internally in virtual form.

If something breaks down, ISAAC detects it and implements the redundancy, according to Villet. “Should there be a hardware failure, the failover response is automatic and immediate on the part of ISAAC. Most of the time - in the few cases we have seen it happen - the owner wasn’t even aware the failure had occurred until we showed them the log.”

How does virtualization work? A typical model for running an attraction is a series of networked PCs loaded with specific software. ISAAC duplicates this model but virtualizes the machines and their content, meaning they don’t exist as physical machines, but rather as software configurations on the ISAAC platform, which lives on a server in an equipment room. The amount of physical equipment and black boxes is reduced and the equipment room itself becomes more like an IT data center.

Authorized users access ISAAC through a secure web interface, from any location. Though ISAAC is relatively new in attractions, the base concept is not new. Similar platforms have long been adopted in other sectors.

The shift to using ISAAC has shifted Sambell’s approach to attraction technology. “The biggest change is the focus on networked interfaces, which is required in a virtualized environment. It’s meant changing our mindset on how we deal with things like timecode, contract closures, and RS-232. We now avoid them whenever possible, but otherwise the wide selection of reasonably priced interfaces available allow us to use them where necessary.” He reported that FlyOver Canada was being upgraded to rely on ISAAC as well, in a phased implementation.

The show had been running its original hardware from 2013.

RealMotion and 28 Liberty RealMotion servers + ISAAC is a technology combination customized within the IEMS (Integrated Environmental Media System) at the Tom Bradley International Terminal cited above - notably for the update of the iconic Clock Tower display - but is also available in a plug-and-play version for smaller attractions.

As mentioned earlier, RealMotion has collaborated with Smart Monkeys to configure its product to ensure compatibility with ISAAC, providing its clients with a full array of tools for managing and scheduling media - and supporting creative - in corporate and public spaces such as those found at 28 Liberty.

28 Liberty is the multi-million-dollar transformation of a 60-story, former bank headquarters in lower Manhattan into a high-end residential tower, owned by Sun Glory, Ltd. The project team included Gensler (architecture), Pentagram (graphic design) and Technomedia (design, engineering and installation of the LED system).

Digital content creation studio Float4 was tasked to create, produce and manage content for a 34-foot by 25-foot LED lobby display and LED ribbons in the retail area that showcase eye-catching visuals. Both of these enhancements are powered by a customizable content management system developed on the ISAAC platform, housed on a pair of RealMotion servers.

“The integration of RealMotion into the ISAAC platform allows us to easily offer a customer friendly front end for operation and scheduling of content and control through ISAAC’s content management system,” said Geoffrey Platt, Director of RealMotion. “From the video and content creation viewpoint, we are working in a real time rendering environment which allows quick access and changes to any scene or generative content piece. This also allows us the ability to easily integrate other thirdparty software and hardware to create interactive experiences.”

“By combining data driven content, refined visuals and a turnkey technological solution, the building is equipped with a 24/7

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platform that informs, entertains and engages building occupants and guests,” said Float4 Founder and Creative Director Alexandre Simionescu. “We produced an attraction in the building’s common areas, indirectly driving crowds and revenue to the owners and tenants. One of my favorite capsules is data-driven and displays visuals depicting lower Manhattan and weather conditions that are sourced in real-time. It’s a great way to convey information elegantly,” said Simonescu. “Interstitials, which we use as transitions between content capsules, were also created to echo the property’s iconic art pieces.”

A leading feature of the current version of ISAAC is what Villet termed its “new integratory content media management capability.” A drag-and-drop interface enables it to ingest new content – then distribute, manage and archive it, and make it available for editing – without the user needing to load it onto the server. “Using templates, it can be incorporated and part of the display within seconds,” said Villet. Benefits include protecting IP and brand consistency.

“We primarily work with various departments that specialize in interactivity, visual effects, live event design and general video

design,” said Platt. “From our end we have implemented Smart Monkeys’ API into our RealMotion software to ensure full compatibility with ISAAC. We love our partnership with Smart Monkeys. They share the same values we do with creativity, innovation and being on the leading edge of technology. ISAAC has absolutely changed the way we approach a project. Project teams should be considering it in the conceptual phase.”

Shopping for ISAAC Smart Monkeys offers ISAAC in two off-the-shelf configurations with smaller attractions in mind: Prelude and Nemesis. Prelude is the smallest, a one-server version with no redundancy. Nemesis is a multi-server, scalable cluster solution with redundancy.

Both Prelude and Nemesis have been on the market for some four years and appear on a new, ISAAC-dedicated website: isaacplatform.com.

Smart Monkeys’ 2020 trade show presence will include AAM Museum Expo (San Francisco, May 17-20), InfoComm (Las Vegas, June 13-19) and IAAPA Expo (Orlando, Nov 17-20). For more information or to set up an appointment, contact Stephan Villet, steph@smart-monkeys.com. • • •

In lower Manhattan, 28 Liberty uses ISAAC to provide real-time information and captivating artwork for residents. Photo courtesy of 28 Liberty

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All images courtesy of Mad Systems

Systems simplified

The Mad AV Quicksilver™ world expands with new features

by Maris Ensing, Mad Systems

N

ow that we’re two decades into the 21st Century, it’s time to look at some of the latest advances in AV, control systems, and personalized media delivery options that are likely to have an impact on the next decade or so.

Our company, Mad Systems has been attracting interest with its release of a new AV system called QuickSilver™. This new system comprises all the elements that you’d expect an AV and interactive system to have, including compressed and uncompressed video servers, audio replay units and ambient generators, lighting control, show control, a slew of input and output sensors and interfaces, power management and various interactive elements as well as an integrated tour guide capability.

One of the big differentiators of our design is that this system can be implemented with near-zero infrastructure requirements: all of the ingredients are based on non-proprietary hardware, micro-miniature, suitable for use around the world, low power and networked either through a physical connection or wirelessly.

Mad has announced new software for the system called DrinkMe as part of our “Alice in Wonderland” themed naming convention.

DrinkMe is a unique and timely design and auto-configuration

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software that will take users into the world of Mad AV where basic AV design and configuration are mostly automated. The new software allows you to take a PDF showing a plan view of any facility, and to just draw all the equipment onto that PDF. If available, also tell DrinkMe what media needs to be loaded where, as those will be immediately integrated and distributed to the correct peripherals and stored onto the CMS media drive as part of the DrinkMe configuration process.

The software then generates all the relevant files for your system, including parts lists, power/heat load, a complete network layout and IP address map and the individual configuration files needed for the QuickSilver™ AV hardware elements. It’ll produce and populate the media distribution drive structure so that it’s easy to just update media on the system by putting files into directories on that drive from where it will be distributed to all the relevant system elements, and that drive is also backed up to the cloud in its entirety as a means for disaster recovery. It’ll prepare all the files for the TeaParty show/system controller, pre-configure power management and system on/off times, and set up all the necessary devices ready for final programming.

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A key innovation of the QuickSilver™ system is that it is a fully pre-integrated AV system, representing a full convergence of AV and IT, which is what makes the DrinkMe software possible.

Other key elements: • TeaParty controls the show and the power to the system, monitors the system and provides data for trend analysis to predict maintenance needs.

• LifeSaver enables TeaParty to turn equipment to a lower power mode or off if a part of the venue is not attended, and bring it back to normal as soon as visitors get near.

• TrueCheck is used to verify that equipment has been turned back on and alert staff if there is an issue. TrueCheck can be used to check projectors, monitors, the audio system, and lighting so that it acts like an AV tech checking the system as required.

Assisted self-healing will allow clients to look after their systems using low cost, common, easy to obtain “vanilla” spares, basically non-proprietary computer hardware that will be available for many years to come. Plug and play. Remote assistance allows for long term rapid response support. Non-proprietary hardware means that you’ll still be able to get replacements twenty years from now. Assisted self-healing will be expanded to allow for a fully self-healing system as part of an ongoing development.

Simpler workflow The QuickSilver™ Workflow is different and much simpler than what we’ve seen in the past - this is possible as QuickSilver™ was designed from the start as an integrated system.

In broad strokes: 1. Open PDF of plan view of the venue, add QuickSilver™ elements, monitors, projectors and other peripherals using DrinkMe 2. Press DrinkMe’s “generate system” button to generate

power/heat load, parts lists, CMS structure, files for all AV components, show control file, power management; if DrinkMe indicates missing equipment, correct and re-iterate.

3. Procure equipment 4. Mount monitors, projectors, speakers etc.

5. Plug in QuickSilver™ components 6. Finish programming TeaParty 7. Test/commission system (set up LifeSaver / TrueCheck if included) 8. Training 9. Handover 10. Keep system clean 11. If issues arise, replace component with “vanilla” spare, system will self-heal, self-configure and start running 12. Long term maintenance - trend analysis done by system; warning issued as necessary to the client and the team at Mad for checks and remediation as required It is important to note that: a) QuickSilver™ equipment is non-proprietary, upgradable, and predicted to be available in a usable form for at least the next 20 years b) The system is near zero infrastructure - you’ve just saved a significant fraction of your budget that can go to your exhibits c) Service contracts are available if you like... but you most likely don’t really need it.

Global compatibility Another benefit that QuickSilver™ offers is that its equipment bears UL, CSA and CE marks, which allows it to be used anywhere in the world. This means that if you’re a multinational, ALL of your businesses and projects can share the same AV equipment, so that anyone on the team has the same reference and experience, and so that all of your team’s expertise is accumulative. All of your staff will gain and share their

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John Tenniel’s illustration of “A Mad Tea Party” in Lewis Carroll’s Alice’s Adventures in Wonderland.

experience on the same system. All the equipment would be common throughout all your venues. To that point, everybody is working in the same direction. It’s more efficient, because they’re all learning more about the same hardware and the same programming software. Common hardware and knowledge aids productivity and efficiency. This also affects traveling shows, where the only thing that would need to be changed are the power supply plugs.

Another innovation relates to QuickSilver™’s “vanilla spares,” meaning that the same non-proprietary hardware component can be configured to fulfill several different functions depending on what it needs to become, makes long term maintenance and repair simple through something called “assisted self-healing.”

Dormouse: New audio feature with museums in mind Another recent addition to the QuickSilver™ eco-system is the Dormouse Audio Storytelling and Visitor Guidance System for museums and visitor centers. Based on a portable audio device equipped with an open headset, using the same non-proprietary components as used for QuickSilver™, and controlled using barcodes, RFID and/or Mad Systems’ patent pending recognition-based media delivery systems, this is a state-of-theart audio guidance system. Polyphonic and randomizing, your

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visitors can walk around a battlefield listening to a randomized, never repeating audioscape. They walk past the cannon, hear it go off superimposed onto the ever changing battlefield sounds, and then when they reach a viewpoint, a narration overlays the background to inform them of what happened there.

Dormouse builds on the concept of the tour guide systems in that it provides audio - but it takes the tour guide experience to quite a new level. Since Dormouse can create randomized soundscapes, it’ll never sound the same twice - even when visitors return multiple times. Since it is polyphonic, it’s easy to overlay additional triggered sound effects or narrative tracks, without ever having to stop the background audio.

Some audio Dormouse features: • Support of different languages, hearing impaired (using headset or t-coil), visually impaired (as part of the QuickSilver™ Caterpillar system), or for different content depending on interests or for different age groups • Any number of audio tracks within the limitation of available memory • Triggering by barcode, RFID, location based information derived from beacons (direct or triangulation), or Mad’s recognition system with sensors built into exhibits/locations • Language/use selection by pre-configuration or by interactive display

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• Trigger other events that are part of the system (lighting/ special effects/other audio or video) • Trigger all devices in a group when an entire group (or family) reaches a certain point - and the entire group can have different content

Recognition technology In addition to the complete AV eco-system of QuickSilver™ Mad Systems has developed recognition technologies to facilitate personalized media delivery and more. This unique system does not need an internet connection, nor does it need to keep your image, to that everything is done to guarantee visitors privacy. For those that opt in, a new world of personalized media delivery, dynamic wayfinding, and a host of other potential benefits are opened up.

Mad’s recognition technologies have been extended further to reach into market segments relating not just to the world of AV, but to improvements in customer service. Mad Systems’ patented #LookingGlass Concierge technology is based on the Facial Recognition technology so that you can recognize your customers well within a second. With this system you can know who your visitors are, and - if they opted in - even what their preferences and interests are, right as they walk up.

The full integration capability between all of Mad’s new technologies supports a versatile new approach to affordable and ultra-flexible AV, with a menu of personalized media delivery options that reflect today’s needs and today’s audience expectations. Not only that, but with LookingGlass Concierge

and other new technologies such as their patent pending license plate recognition and facial recognition correlation, new market applications will arise that help invigorate the AV market by creating opportunities well beyond traditional AV. This technology has gone from science fiction to reality in only a short time. It is available now. Welcome to the third decade of the 21st Century! • • • Maris Ensing (maris@madsystems.com) is founder and creative technology consultant, Mad Systems.

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Framing the story From Aichi in 2005 to Dubai in 2020, Christie technology helps spur innovation for over a decade of World Expos

by Joe Kleiman

I

n summer 2019, Christie announced its status as official projection and display partner for Expo 2020 Dubai, the first World Expo to be held in the Middle East, North Africa and South Asia region. Taking place between October 20, 2020-April 10, 2021 and billed as the World’s Greatest Show, Expo 2020 has projected attendance of 25 million visits. Its theme “Connecting Minds, Creating the Future” endeavors to provide a platform for global innovation and collaboration.

Expo overview

Since 2005, Christie technology has been implemented in more than 650 installations at World Expos and for Expo 2020, Christie technology will be used throughout Expo 2020’s 438-hectare site. The vast, domed structure of the show’s centerpiece, Al Wasl Plaza, will use over 250 of Christie’s D4K40RGB projectors to illuminate the dome with content that can be seen from the sky (more details below).

Cities bidding for the opportunity to host a World Expo compete for available slots scheduled by the Bureau of International Expositions (BIE) – the Paris-based organization that regulates these events – and are selected through a vote of the BIE member states.

A World Expo is a large-scale, themed international event held every five years, showcasing human innovation and national achievements. Nations of the world participate by creating exhibitions and pavilions, usually government funded, with the host city putting on an extensive display, often building new, permanent structures especially for the event. Corporations and NGOs also participate.

World Expos are vehicles of international goodwill that stimulate trade, development and tourism and for attractions industry

Conceptual illustration of Christie projection technology on display at Al Wasl Plaza. Courtesy Expo 2020 Dubai

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canvases: staging and events, live shows, projection mapping, digital signage and more. It’s healthy to push technological boundaries. It’s how you expand your comfort zone; how you grow and get better. It’s how we are inspired and exhilarated. We listen to customers and figure out how best to serve them.”

Aichi 2005

In the Evening at Koi Pond Aichi World Expo, Nagoya, 2005 © photo

by Cheryl Fan (photo courtesy of Change Performing Arts)

professionals, they represent an important vertical. Everything about a World Expo – plazas, structures, landscapes, pathways, exhibitions, wayfinding systems, operations, performance spaces, corporate meeting rooms, retail, dining and more – offers rich opportunities as participants are driven to seek differentiation and innovation for their displays and guest experiences.

Creative achievement at an expo is witnessed (and tested) by a global audience, making a World Expo an ideal place to do something groundbreaking. Not surprisingly, showcasing innovations in technology has played a key role in World Expo displays – starting with some of the early stereographic photos shown at the first Expo, the 1851 Great Exhibition held at the Crystal Palace, London, to the telephone at the Philadelphia Centennial Exposition of 1876 or NBC’s launch of broadcast television at the 1939-40 “World of Tomorrow” World Expo in New York City.

Fast forward to the present day and the world has seen more than a century’s worth of technology innovation employed at World Expos as a storytelling tool to connect with visitors. These technologies have tended to show up later in the consumer sector in cinemas, museums, and attractions. This has been the case from the silent age through color, widescreen and giant screen – and, within the past few decades, the various forms of digital projection including projection mapping and dome displays.

Expo 2005 in Aichi, Japan was the first Expo in which Christie participated. One of the most spectacular visual extravaganzas was “In the Evening at Koi Pond,” which transformed the Koi Pond located next to the Expo’s theme pavilion – Global House – into a major attraction as the setting for an experimental theater. Here the video elements had to come alive on a 35m high by 90m wide (115ft by 295ft) water screen in the large audience venue, all powered by Christie Roadie 25K projectors.

Christie’s successful participation in 2005’s expo ensured that the company jumped at the opportunity to provide technology for what would become the largest expo to date, Expo 2010, Shanghai.

Shanghai 2010: “Better City, Better Life” A record 73 million visits made Expo 2010 Shanghai the largest World Expo in terms of attendance on what was also the largest site, 528-hectares that skirted both sides of the Huangpu River. Christie’s participation began in 2009, as Christie played a pivotal role at the Beijing preview exhibition “The Path to World Expo – Introduction to World Expo Shanghai 2010 China and the Retrospection of the World Expo History,” where visitors previewed the pavilions of Expo 2010 Shanghai on a 23m x 3.5m, 180 degree curved screen that used three Christie projectors to produce a single seamless image on what was then the largest dome screen in China.

The opening ceremony was the biggest audio-visual show after the 2008 Beijing Summer Games opening ceremony for which Christie was also the projection provider. Christie partner Wincomn used sixteen Christie projectors at the Expo 2010 ceremonies, four of which were the brightest in the world at

Christie’s partnership with Expo 2020 Dubai is just the latest instance of the company collaborating with its partners to bring memorable and vivid stories and concepts to life in a World Expo. The company has a substantial history powering expo displays with innovative technology, the most recent examples being Yeosu [Korea] in 2012, Astana [Kazakhstan] in 2017 and Shanghai in 2010.

These are important opportunities for Christie, not just revenuewise. Like many of the other partners, Christie welcomes the innovative and creative challenge. As stated by Bryan Boehme, Executive Director, Entertainment Global Sales and Enterprise Americas, “We’re thinking about all the different creative

Australia pavilion, Expo 2010 Shanghai. Courtesy Christie

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the time, the Roadster HD+35K. To more easily move the projectors, Wincomn installed a yoke system, important especially for the blooming of the “Flower of Friendship” where five large petals slowing blossomed to the lights and music, rotating and folding, while astonishing the audience.

three-month event in the coastal South Korean fishing village of Yeosu. With this came another new host of technical challenges and opportunities, which included projecting on the world’s largest outdoor water screen and creating the first-of-its-kind, 360-degree simulated hot air balloon ride.

Within the Expo 2010 Shanghai grounds proper, more than 600 Christie products were utilized, including within 29 pavilions.

The Information and Communications Pavilion, presented by China Telecom and China Mobile was billed as the first “MultiDimensional Interactive Pavilion,” which combined digital media, wireless connectivity, and 4D effects. The main show in the pavilion, “The Dream Big Multi-Dimensional Interactive Network Theater” utilized four sets of stacked Christie 3DLP projectors to project an image on the central 22m x 11m screen while an additional four sets of stacked Christie projectors illuminated 32 wraparound immersion screens, creating a complete 260-degree surround effect in the theater. Pavilion designer BRC Imagination Arts employed five sets of stacked Christie M Series 6,000 lumen 3DLP projectors, one of the smallest projectors of its kind then on the market, for the “Living Dream Mural” on a 26m long curved screen, and throughout the Pavilion, visitors were immersed in dynamic media environments while engaging one-on-one with the shows and exhibits.

Christian Lachel of BRC called it, “mass customization applied to experience design.”

The centerpiece of the Yeosu Expo was the “Big O,” on which Christie collaborated with show designer ECA2 and integrator Electrosonic. A permanent installation built to complement the surrounding sea water lagoon, “Big O” fused cutting edge technology with compelling show content. Inside the 41 meter high iconic “O” (as in Ocean) appeared a giant water screen onto which two sets of triple-stacked Christie Roadie projectors projected a short film on ocean conservation from a distance of 100m. Fountains designed by WET Design, located 20-, 25-, and 30-meters away from the structure, also acted as screens, with four sets of dual-stacked Christie 35,000 lumen projectors providing the images. The overall show was complemented with a variety of environment effects, including lighting, flames, lasers, and water effects. Projecting onto moving waters is a challenging task, yet even under strong wind conditions, the Christie projectors maintain the clarity and the exact image focal point.

The “Big O” remained as a legacy of the expo and to this day is considered an attraction not to be missed.

Australia’s pavilion at Shanghai 2010 also offered an interesting challenge for Christie and the design team members think!OTS. The main show highlighted Australian culture through six convex screens that rotated around a central theater in the round stage.

The screens also lowered during parts of the presentation to unveil physical props in the center of the stage as part of the storytelling process. Throughout the continual movement of the screen, images had to be kept steady and in synch. This was done with Christie media servers and nine Christie 3DLP projectors.

Yeosu 2012: “The Living Ocean and Coast” Two years after Shanghai’s success, Christie was handpicked to help another world expo, this time as content sponsor for a

Known for its entertainment business, Lotte’s Pavilion housed multi-sensory exhibits and attractions resembling its amusement park, Lotte World. Sixteen Christie WU12K-M WUXGA 3 DLP® projectors displayed visuals for “A World Full of Pleasures” which included a first-ever 360-degree simulated hot air balloon ride using 9 meter high and 22 meter long cylindrical screen displays where visitors “flew” over deep seas, icebergs, coral reefs and up into blue skies.

Astana 2017: “Energy of the Future” Held in Astana [now called Nur-Sultan], the capital of Kazakhstan, Expo 2017 Astana was laid out in a circular formation with the central focal point being the 100m-high sphere known as the Nur Alem pavilion. Within the sphere, 200 Christie Pandoras Box systems provided both real time processing and show control for 34 media installations.

The Big O Show created for the 2012 Expo in Yeosu, South Korea by ECA2. Photo courtesy ECA2, © Julien Panie

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The spherical Nur Alem pavilion from Expo 2017 Astana.

Photo courtesy Expo 2017 Astana

Christie worked closely with construction firms and integrators Sembol, Astel Electronics, Adunic, Acciona Produciones y Diseño, and Simmetrico in installing the systems during the cold Kazakh winter when temperatures dropped as low as 15 degrees below zero. Throughout the building’s eight floors, the Christie Pandoras Box units controlled hundreds of different laser projectors, displays, video walls, PCs and digital devices used to run video mappings, immersive projections, interactive installations and a wide range of additional audiovisual elements.

Expo 2020 Dubai: “Connecting Minds, Creating the Future” As Expo 2020 nears its opening date, Christie is preparing to implement various solutions including projection and displays – across the entire Expo site. A focal point of Christie technology at Expo 2020 Dubai will be Al Wasl Plaza. Designed by Adrian Smith + Gordan Gill Architects of Chicago, Al Wasl Plaza acts as the central hub and regional showcase of Expo 2020 Dubai.

Its name is Arabic for “connection,” a play on both its role in connecting the three themed districts, Opportunity, Mobility, and Sustainability as well as the larger theme. Topping the plaza is a 65-meter high domed trellis inspired by the Expo 2020 Dubai logo. More than 250 Christie D4K40-RGB pure laser projectors will transform the dome into a 130-meter wide projection surface, which, due to its transparency, will have images visible from both the inside and the exterior. Al Wasl Plaza however, is just one facet of what Christie has in store for Expo 2020 Dubai. • • •

Artist rendering of the United Kingdom pavilion, one of many themed and national pavilions planned for Expo 2020 Dubai.

Photo courtesy Expo 2020 Dubai

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Fully integrated AV/IT platform Scheduling, Logging, User Management Special ISE & DEAL issue 2020

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WWW.ISAACPLATFORM.COM

Try a drop of this Ten innovative technologies for water attractions

by Freddy Martin

A

veritable tide of versatile technologies has triggered a deluge of creative and operational advancements in waterparks and wet attractions, offering operators and designers new options for improving guest experience and safety. Based on conversations with leaders in the field, we identified ten wet technologies currently making waves in themed entertainment.

As we dive in, we keep in mind that the motive is to help people connect in deep and meaningful ways at visitor attractions.

As one of our experts, Denise Chapman Weston, Director of Imagination and Inventor, Infinite Kingdoms, said, “The park should become this place where you can play and engage in ways you never could do at home. That’s the real joy of using technology, not the technology itself.”

1.RFID wearables RFID chips embedded in wearable, waterproof devices offer freedom, security and convenience, enabling guests in bathing suits to spend money on food, beverages and souvenirs without a visit to the locker. The benefits for both operators and guests can be significant.

“We’re seeing companies provide products that interface with all the ticketing and payment companies, in all the turnstiles and all the lockers,” said Michael Turner, Vice President of Global

Business Development at The Producers Group. “They’re able to track guest movements and ridership, providing insight into park throughputs and visitor flow.”

Universal’s Volcano Bay waterpark opened with their TapuTapu™ system, which offers virtual queuing to all slides in the park. This allows guests to spend more of their vacation relaxing and playing than waiting in line. Volcano Bay was honored with a TEA Thea Award in 2019.

As RFID technology matures, parks are exploring greater opportunities for guest interactivity, tracking, and management.

“By having real-time access to more accurate data and guest profile information,” said Nick Neuman, CEO at Water Technology Inc., “we can better customize water ride and attractions experiences for different ages and experience levels.

As a waterpark designer, this creates an entirely new dimension to explore within water attraction development.”

2. Regenerative media filtration The sustainability of water-based attractions is rooted in their ability to store, clean, and reuse water. Eco-friendly technologies are necessary to maximize water usage while creating a clean and healthy environment for guests.

Guests at Universal’s Volcano Bay use RFID enabled TapuTapu wristbands to activate fountains and effects. Photo courtesy of Universal Orlando

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Polin’s Slide’N Touch combines a waterslide with an interactive game. Image courtesy of Polin Waterparks

Waterparks have high public visibility and are therefore vulnerable to criticism about their water usage. But, says Turner, “Compared to other industries that use a lot of water, waterparks are actually positioned to conserve water rather than waste it.”

Regenerative Media Filtration (RMF) is not new technology, but it is considered the industry standard for the removal of suspended particles of dirt, oil, and other contamination in highbather-load water attractions. RMF filters use materials derived from volcanic rock which is far more efficient and effective for removing contaminants. A single pass through RMF filters captures the smallest particles, including many disease-causing microorganisms. The efficiency and effectiveness of RMF filtration results in significant reduction in wastewater, chemical treatment, and energy used for heating and pumping.

3. UV disinfection While chlorine treatment remains the most effective method for sterilizing water, it is a harsh chemical and hazardous if not properly handled. “With UV sterilization that danger is virtually removed,” said Turner. Water passes under a spectrum of UV wavelengths killing microbes and bacteria and neutralizing the harmful chemical by-products of chlorine use. Even the chlorineresistant germ Cryptosporidium can’t survive UV treatment.

UV disinfection does not completely eliminate the need for chlorine treatment, but it does significantly reduce its use.

4. Gamification “Five years ago, a slide was a slide,” said Michael Turner. “Guests want something different now. Gamified slides make it really exciting for the guests to ride over and over again.”

Ride makers now include gaming technology in slides to create a sense of competition, camaraderie, and excitement, encouraging repeat ridership and repeat visitation. In some, like Slide’N Touch from Polin Waterparks, riders tap LED light panels to earn points and achievements as they speed through tubes.

In others, such as Slideboarding (from WhiteWater, honored in 2018 with a TEA Thea Award for technology) controls are built into the ride vehicle. Guests gain points by tapping the buttons according to cues in the slide. Integration with visitor management technologies encourages riders to keep record of their high scores from past visits and build upon their success in the future.

Others are integrating VR and AR technologies into slide experiences. Guests can splash down into virtual worlds while wearing waterproof VR headsets. The motion of the slide combined with timed visuals creates a unique sensation, all while targeting achievements inside the virtual environment.

Submersible VR headsets are also kicking off a wave of visually enhanced snorkeling experiences and underwater simulators that are pushing the limits of waterpark gaming.

5. LIM propulsion It wasn’t too long ago that waterslides depended on gravity for their momentum, and inevitably headed down. Engineers began adding strong water jets, speed belts, and magnetic propulsion to add ups to the downs. Today, we have Linear Induction Motor (LIM) technology taking water coasters up, up, up!

“LIM propulsion really gives the sensation that you’re defying gravity, which is what everybody wants,” said Chris Lange, Creative Director and Consultant on various international LBE projects including Europa-Park’s new water theme park, Rulantica. “I think that technology will keep getting smoother and smoother as it develops.”

Linear Induction Motors produce a magnetic field between the motor and a metal plate built into the raft to propel riders up and over hills. LIM technology is touted as giving operators exceptional control over vehicle position and speed. A prominent example is at Universal’s Volcano Bay: riders launch uphill seven thrilling times in Krakatau Aqua Coaster, a custom LIM water

coaster provided by ProSlide, based on its “Hydromagnetic Rocket.”

6. Electromagnetic control Electromagnetic control is also turning the tide for higher capacity boat rides, with a strong recent example being the ride control system used in the Pirates of the Caribbean attraction at Shanghai Disneyland (another recent TEA Thea Award recipient). Boat rides have generally depended on water jets to propel boats through narrow channels; electromagnetic control technology, however, allows for programmable control of each boat’s position, speed, and orientation. Show effects, dialog, and music cues can be timed precisely to a boat’s position, and control over boat spacing makes it possible to isolate boats within scenes giving riders a secluded experience.

“What really excites me is feeling the boat react to the action of the story, perfectly timed to the music,” said Lange. “You speed up and slow down perfectly and that really is like magic.”

According to Lange, Mack Rides “is developing and prototyping a completely different system for a boat ride that gives you even more flexibility and precise control over the boat; I think we will see them being used much more in the future.”

7. Remote lighting As AV technologies advance, park visitors increasingly expect more sophisticated sensory experiences. For waterparks, however, electrical equipment such as lights, lasers, and projectors introduce a safety challenge when used in proximity to water.

“One thing I learned while I was working on aquariums at Sea Life for Merlin, was that ‘water will find a way,’” said Lange. “It’s crazy how water is always a little unpredictable. So using high voltage equipment in water, underwater, next to water, is really tricky.”

Water attraction designers use technologies such as fiberoptic illuminators or laser projectors to safely bring technology effects

closer to the water. Fiberoptic cable can port bright and colorful lighting effects right up to the water’s edge while the illuminator unit, the only electrical component of the system, can be operated at a safe distance. Laser projectors are reliable, accurate, and bright enough to be installed at great distances, far from where they can cause or be subject to damage.

“There are some really fantastic technology groups progressing the development of different systems to help achieve this next level of storytelling experience with water attractions,” said Neuman. “Introducing complex storytelling and theming within water attractions has created massive opportunities to make each trip to the waterpark unique, be it through music, sound effects, projection, 3D mapping, or special effects.”

8. RGB LED lighting RGB LEDs continue to revolutionize the ways in which people illuminate shows and environments. The color range and flexibility of LED systems gives waterpark operators unlimited control over underwater lighting, for both show effects and safety.

For safety reasons, it’s important to have good lighting in a waterpark’s wave pool, and to have high visibility for lifeguards.

But, “nobody wants a bright, shining wave tank, especially in an indoor environment where it reflects off the ceiling,” says Lange.

“Now we can play with the underwater lights to fit a certain mood or theme or we can adjust it according to the weather or time of day, or the situation.”

The increased availability and decreasing costs of LEDs and fountain technology also provide better opportunities for smaller operators to create compelling water shows and effects to dazzle and delight their visitors.

9. New waves in wave technology Competition in wave pool technology drives innovation - thanks to the popularity of surfing – and sends ripples through the waterpark industry. The resulting designs and prototypes are as diverse and daring as the adventurous athletes who test them.

One or more of these could one day be adopted at a waterpark near you!

• Kelly Slater’s Surf Ranch (California) prototype is a 2,000-foot-long pool with underwater hydrofoils propelled by a freight train-sized vehicle cruising down a track. The six-foot waves it generates are hyper-smooth, glassy barrels.

• The Cove by Wavegarden (Spain) is a diamond-shaped wave pool that delivers up to 1,000 programmable waves per hour.

The ability to model size and shape allows athletes training opportunities unavailable in the ocean.

Guests riding Pirates of the Caribbean: Battle for the Sunken Treasure at Shanghai Disneyland are riding in complex electromagnetically controlled ride vehicles in water. Photo ©Disney

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• PerfectSwell (Texas) uses air pressure to generate ocean-like swells for a natural surfing experience. The waves aren’t as

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Tomorrow’s wet techs 3D printing: rethinking materials and construction Aggressive chlorine use and the gases it releases into the air are notoriously corrosive. Parks and suppliers are exploring a new world of creative possibilities that can help counter this challenge by rethinking the materials used for construction, theming, and attractions. And the increased use of 3D printing technology has opened up new options for engineering components that are long-lasting and corrosion-resistant – and may well lead to more comprehensive, large-scale applications that change the way facilities are constructed.

Said Christopher Foster, Vice President of Sales and Marketing at COST of Wisconsin, “We recommend materials for this environment – especially indoor facilities - that minimize maintenance costs and maintain good aesthetic appearance over long periods of time.”

“Mechanical effects and animated figures don’t need to be made from marine steel anymore,” said Lange.

“3D printed mechanical parts made out of plastic or other new materials will make it possible to achieve cool new effects that support the storyline without using steel that rusts away.”

Energy conservation Weston poses an interesting question that her firm has embraced as a challenge. “But what if we generated energy on our own? What if the attraction actually powered itself?”

Many parks strive to be part of the energy solution by integrating solar, wind, and hydro into their operations.

The kinetic nature of waterpark environments can inspire parks to introduce energy generating technology in creative ways.

“We are working toward harnessing play as a ‘natural resource’ for powering some of our attractions,” said Weston. “Our latest inventions, which we’re calling ‘DNA,’ part of the Impact Attractions Series, are these unusual new play experiences for waterparks that are not only zero-net energy consumers, but actually give back to the grid.”

RFID alternatives Some innovators are looking at RFID alternatives for visitor management. The new frontier may be to

Trees fabricated by Cost of Wisconsin become part of the water playscape at Lost Island Waterpark. Photo courtesy of Lost Island Waterpark

ditch the wearables and make use of image or object tracking. “In waterparks, we commonly think that wearable, embedded technology is the way to go,” said Weston. “But we’re banking on a future where we won’t need that. By simply showing up and registering for the experience, guests will have access to all of the benefits the technology has to offer. We will have the ability to virtually recognize specific guests on sight and to curate really cool, interactive experiences for them with more trackability and less friction.”

Social media solutions One challenge waterparks face with technology is the selfie paradox. When guests stow their phones in lockers, they separate themselves from social media for the day and cut off one of today’s most valuable park promotion opportunities – the selfie. Neuman said, “There is a significant relevance for owners and operators to be able to tap into these networks for promotion and advertising. Waterpark users desire to capture dynamic memories and share them among their friends and families in real time. As designers we are looking to capitalize on that desire by providing platforms for it to be memorialized online.” •

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The very first installation of SlideWheel was at Chimelong Water Park, shown here. It slowly rotates to move rafts through the slide. At night a special lighting package makes the attraction dazzle. Photo courtesy of Chimelong

cleanly defined as others, but their rough texture is more like the ocean to help inlanders prep for the real deal.

• Surf Lakes (Australia) is a 1400-ton, buoy-shaped plunger that is like something out of Waterworld. Its massive body plunges down and up in the water generating concentric circles that break like real waves for dozens of surfers at a time.

and part waterslide, and creates a visual spectacle by day and night in addition to the thrill of the ride.

10. SlideWheel

Like all new technologies, it had to be built and tested as proof of concept. “To be honest, when the prototype was built and we did the first tests, nobody knew if it would really work,” said Rainer Maelzer, formerly of weigand.maelzer, the developer of the attraction. “We tested it with dummies. We had cameras in there with them and we said, ‘Hey, it could work!’ It wasn’t until it was completely built that we could really know.”

A list of revolutionary water attraction technologies wouldn’t be complete without the SlideWheel, the world’s first rotating water slide, honored with the IAAPA Impact Award & Brass Ring for Best New Product, the WWA Leading Edge Award, and a TEA Thea Award in 2019. The outrageous design is part Ferris wheel

In June 2019, Canadian firm WhiteWater gained exclusive licensing rights to SlideWheel. from weigand.maelzer (now weigand.waterrides). The first SlideWheel opened in Guangzhou, China at Chimelong in 2018, and the second opened January 10, 2020 at Aquapark Reda, in Poland. • • •

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AV evolution Medialon and 7thSense close the deal

by Judith Rubin

M

edialon recently became part of the 7thSense Design family. Matt Barton, CEO of 7thSense Design, a leading manufacturer of media servers for high-end AV applications, is now also CEO and part of the new Medialon ownership team - a leading provider of show control software for entertainment applications. Eric Cantrell, VP Business Operations, Medialon, has been the face of Medialon since 2008 and continues in that role. This marked the departure of Medialon from Barco, which had acquired the show control provider in 2016.

Adam Neale, a founder and prior owner of 7thSense, has returned to the fold to be a part owner of Medialon, which is taking the form of a sister company to 7thSense. The Medialon name is seen as an asset and will be preserved. “It’s a recognized and respected name within the industry,” said Barton. “We want to make sure people know there is separation there, while building on the complementary element of our two product lines.”

Since the initial announcement in June 2019, the alliance has been very well received by the professional community, according to Cantrell and Barton, who referred to the new arrangement as “a natural fit.”

Cantrell characterized it as a progression with benefits for all parties. “Our joining Barco helped refocus them in themed

7thSense’s Matt Barton and Medialon’s Eric Cantrell.

Photo by Judith Rubin

entertainment markets, and they are continuing to serve those markets with projection and image processing products,” he said.

Moreover, “Barco helped us approach a broader audience, which deepened our connection to themed entertainment. Medialon will now have more agility and freedom to adapt to the niche needs of themed entertainment.”

The three companies have much history together. Barton related that the 7thSense founders worked with Barco previously in flight simulation, and that the two companies held a soccer match in 2001. Over the years, Barton and Cantrell, and their respective companies have “run into each other a lot,” as Barton put it – sometimes on Twitter, as Cantrell is an active participant in a Sunday morning Tweetup, #AVinTheAM. Both are active within the Themed Entertainment Association (TEA) as sponsors and volunteers. Barton is currently President of the TEA Europe & Middle East Division Board, and Medialon was Storytelling sponsor of the 2019 TEA SATE – Seattle conference.

Meanwhile, in the 7thSense booth at InfoComm 2019, attendees could test out a demo of the latest iteration of Medialon Manager (version 7, appropriately enough). According to Cantrell, key features include enhanced compatibility with Windows 10, and improvements to the workflow that shorten show programming time. It will begin shipping in fall. And 7thSense recently introduced Juggler, a pixel processor to complement its standard-setting Delta Media Server line. Juggler received a “Best of ISE” rAVe Award in February 2019.

What’s next? “The creative sparks are flying,” said Cantrell.

The new Medialon team is committed to business as usual as they continue to develop the product range, provide ongoing customer training and support, and engage in a six-month “listening phase” as the new roadmap takes shape. • • •

Medialon show control at work for Wings of Time at Sentosa Island, Singapore. Photo courtesy of Medialon

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Great things come in small packages

Meet Showmaster Go The new ruggedized show control and audio playback solution from Medialon.

Ideal for ride vehicles and parade floats, Showmaster Go runs the new Medialon Manager V7 show control software and comes in a compact hardware form...

measuring just 145 mm Ă— 152 mm x 44 mm, and weighing in at 1.4 kg!

This little box packs a lot of punch when it comes to controlling audio, video, lighting, animatronics, special effects, interfacing with PLCs and ride controllers, and synchronizing to multiple time sources.

Discover more at www.medialon.com

See Showmaster Go and meet with Medialon at ISE 2020 in Amsterdam