InPark Magazine Issue #55 (November 2014) by InPark Magazine

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#55 â&#x20AC;˘ volume 10, issue 5 â&#x20AC;˘ 2014 www.inparkmagazine.com

32 InPark looks back at ten years

22 the immersive ingenuity of Attraktion!

8 Ocean Kingdom roundtable

V I S I T U S AT T H E G A L L E RY OF BIG IDEAS

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DESTINATION RESORTS

COMING SOON TO LOTTE WORLD

THEME PARKS

ATTRACTIONS

LIVE ENTERTAINMENT

#55 • volume 10, issue 5

8 12 18 22 29 32 68 70 72 75

Chimelong Ocean Kingdom, game changer

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An InPark roundtable • edited by Judith Rubin

Alcorn McBride

From Shanghai to Yeosu to Milan

Alterface Projects

Attraktion!

BaAM

BRC

The Business Creative

How creative teamwork and private funding saved the US Pavilion • by James Ogul

VR: It’s back for good

Themed entertainment’s “golden age” is just warming up • by Brent Young

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Markus Beyr’s companies redefine international entrepreneurship and themed entertainment genres • by Judith Rubin

Cost of Wisconsin

ECA2

Bumping up the bumper car

Entertainment Design Corporation

Electrosonic

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The immersive ingenuity of Attraktion!

New advances in bumper car tech appeal to operators

InPark’s 10th anniversary section

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Intellectual property values

The industry speaks out on the evolution and future of IPs • by Jan Shaw & Jim King

Cinematic experiences for all ages

Exploring Wanda’s increasing role in the evolving Chinese themed entertainment landscape • by Joe Kleiman

Finding the “big idea”

IPM asks Gary Goddard about reurbanization, Central America and how to succeed in the industry

Curious about everything

Meet Dennis Tanida, hospitality and themed entertainment architect

staff & contributors EDITOR Martin Palicki

DESIGN mcp, llc

CO-EDITOR Judith Rubin

CONTRIBUTORS Jim King James Ogul Jan Shaw Brent Young

CONTRIBUTING EDITORS Joe Kleiman Mitch Rily Kim Rily

COVER: Markus Beys stands surrounded by four of his company Attraktion!’s innovations: Cinesplash 5D, Dome Ride Theater, Playoke and WeRobots. Full story on p 22. Cover credit: Attraktion!

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FUNA

Gary Goddard Entertainment

2-3

Gateway Ticketing

IAAPA

Iconpath

JRA

Ken Saba

Morrow Sound

Nolan Heimann

Ontario Ministry of Tourism

PicSolve

Polin

Ray Hole Architects

RDC

Rhetroactive

Rick Rothschild

Sally

Super 78

TEA

Technifex

Thorburn Associates TPG

13, 31, 63, 69 40, back

Utopia

Visual Terrain

VOA Associates

WhiteWater West

21, 76

WyldBlue Entertainment

Zebec

Thank you for ten years

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Martin Palicki, IPM editor

Judith Rubin, IPM co-editor

hen people ask me what it was like starting the magazine I frequently tell them that my original business plan was woefully inadequate in predicting how the publication would evolve. As many entrepreneurs in this industry are well aware, the landscape changes constantly, and the more flexible and nimble an organization is, the more likely it is to survive. I’d like to take full credit for navigating the waters, but I can’t. Great partners like Bill St. Yves, Mitch & Kim Rily, Brian Szaks, Eric Sandigo, Ed Wills, Mattheis Carley, Joe Kleiman, Paul Williams and countless others have helped chart the course when needed and unloaded and distributed thousands upon thousands of magazines. The very first issues were mailed by hand. I rounded up a group of friends and supplied beer and pizza while we all slapped on labels and sealed envelopes. But I truly believe InPark would not be so successful if it weren’t for the assistance of Judith Rubin. She has helped carve out InPark’s niche and edited more articles than you could possibly imagine. This issue is a celebration for everyone - those on the back end as well as our supporters, advertisers and readers. You have all helped to bring InPark to the ten year mark! Thank you, and I look forward to serving you for another ten years and beyond. • • •

inTHEMED ENTERTAINMENT inWATERPARKS inMUSEUMS inDOME THEATERS inAMUSEMENT PARKS

what are you into? Subscriber for free @ inparkmagazine.com

uiding Light, the now-canceled daytime TV series, was the subject of my first contribution to InPark Magazine, in 2005. I lived for a few years in Richmond, Virginia. I’d gotten into the habit of following the show, and several stars of Guiding Light were making an appearance at Paramount’s Kings Dominion. Marty liked the light-hearted report I turned in. Our professional alliance – and our friendship - grew from there. Marty leans toward hard rides and waterparks; I specialize more in technologies and media. When we met, he was fairly new to the industry. He had business education, writing talent and graphic design skills. (But if you know Marty, you know that his real genius is for friendship – creating and maintaining relationships.) For my part, I was 20 years older with connections, publishing experience and knowledge of the trade shows. We continue to learn from each other. Together we were able to expand InPark’s coverage to overlapping markets such as museums and world expos, and to explore many layers, trends and issues within the industry while showcasing its people, companies and projects. InPark today has a strong dual presence - online and in print. I love being part of this team. InPark is like no other trade magazine and you, our business community, have recognized and validated it with your outpouring of support over the years. • • • InPark News Editor Joe Kleiman (joekleiman@gmail.com) corresponds for IPM online and in print, specializing in design and technology for attractions, museums and giant screen cinema. He lives in Sacramento with his dog, Bucky. InPark Magazine (ISSN 1553-1767) is published five times a year by Martin Chronicles Publishing, LLC. 2349 E Ohio Ave. Milwaukee, WI 53207. Shipping address: 2349 E Ohio Ave. Milwaukee, WI 53207. Phone: 262-412-7107. Printing by Short Run Printing Contents © 2014 InPark Magazine. All rights reserved. Nothing in the magazine may be reproduced or used in any manner without the prior written permission of the magazine. InPark Magazine is not responsible for unsolicited manuscripts, photographs or illustrations.

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Such material must be accompanied by a self-adressed and stamped envelope to be returned. Postmaster: Send address changes to InPark Magazine 2349 E Ohio Ave. Milwaukee, WI 53207. Subscriptions are available annually for $40 per year ($55 international). Opinions expressed in editorial matter are not necessarily those of InPark Magazine or its publishers, Martin Chronicles Publishing, LLC.

Edward Marks co-CEO, The Producers Group

Bob Chambers co-CEO, The Producers Group

Brian Paiva VP Business Development, FUNA International

Scott Arnold VP Design & Engineering, FUNA International

Jon Binkowski Renaissance Entertainment

Lisa Smith Renaissance Entertainment

Chimelong Ocean Kingdom, game-changer An InPark Roundtable Discussion with The Producers Group, Renaissance Entertainment and FUNA International edited by Judith Rubin

himelong Ocean Kingdom grand-opened in March 2014 on Hengqin Island in Zhuhai, China. The 125-acre park features seven unique areas, each themed around a different part of the world’s waterways. It is the most recent venture of Guangdong Chimelong Group Co. Ltd, founded in 1989, and the operator of numerous world-class tourist complexes, including theme parks and hospitality developments. Chimelong’s stated goal is to become the top tourist organization in the world. The company is headed by Mr. Su Zhigang, Chairman. The park was awarded five Guinness World Records: World’s Largest Aquarium, World’s Largest Aquarium Tank, World’s Largest Underwater Viewing Dome, World’s Largest Aquarium Window and World’s Largest Acrylic Panel. The park is also in line for accolades within the attractions industry: There, Chimelong Ocean Kingdom is widely regarded as a gamechanger, in terms of product quality, originality and as a proving ground for east-west collaboration. InPark spoke to three companies about how they view the project and its effect on their way of doing business. The Producers Group and Renaissance Entertainment Renaissance Entertainment provided concept design and art direction to Guangdong Chimelong Group, in creating four attractions for Chimelong Ocean Kingdom. The Producers Group was subcontracted by Renaissance for technical design, project management and special effects: on three marine mammal shows - Tropical Heat (spotlighting dolphins), Sea Lions vs Pirates, and Under the Polar Moon (spotlighting beluga whales) - and for The Chimelong Ocean Kingdom Finale Celebration (Lagoon) Show, a multimedia spectacular with a simulated volcano, fireballs, stunts, water and theatrical lighting. FUNA International FUNA’s scope of work on Chimelong Ocean Kingdom encompassed the audio design and much of the integration of the park-wide audio including the open areas, animal exhibits, restaurants, gift shops, and most of the attractions, initial AV design of many of the major venues, the design and

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integration of the parade control and audio, and the design and integration of the lagoon show audio system.

out. There is a certain amount of RMB per square meter for a park of a certain quality, and Ocean Kingdom reflects that.

What is the significance of Chimelong Ocean Kingdom in the big picture of Asian theme park growth?

“A head start” Jon Binkowski Renaissance Entertainment We see Chimelong as being one of the leaders of a revolution in theme parks. Chimelong Ocean Kingdom builds on their already well-established and well-attended parks in Guangzhou. They have a head start – not just in terms of properties and operations, but in terms of mindset. They have consciously chosen - through the leadership of Mr. Su - to create original attractions and features. They have taken the time to look around them and create their own unique brand. That’s why we like working for them. They are not going to shy away from creativity. They are not interested in duplicating entertainment from other parts of the world. In fact, Chimelong will be creating things others will want to try and duplicate.

“A ‘for us, by us’ park” Edward Marks co-CEO, The Producers Group (TPG) As a ‘for us, by us’ kind of park, Chimelong is unique to any market I have seen. It’s in China, for China. They wanted some Western influence and the park is bilingual because of its proximity to Macau and Hong Kong, but the customer base is almost exclusively Chinese and the experience is very Chinese. Some current estimates proclaim China has as many as 300 parks in the development pipeline; the last number I heard that sounded more realistic was 52. Even 52 may sound like a lot – but China’s population is 6.5 times larger than that of the US, and the US has 6 Disney parks and 3 Universal Studios parks. When you consider that along with the continued growth of the middle class in China, the capacity to build and support much, much more - for many years to come - is a reality.

Tropical Heat Dolphin Arena The highly themed set for the Tropical Heat show is ready for its dolphin stars. Photo courtesy TPG

Other Western brands are also manifesting in this market: Dreamworks, Fox, Paramount… The parks and resorts that emerge from that will put an upward pressure on quality for all operators and developers. It isn’t going to eradicate ‘faster and cheaper’ [see below] but it will ripple through the region and through the industry. The full effects may still be decades away, but they will occur in Asia faster than happened in North America. Bob Chambers co-CEO, TPG Ocean Kingdom reveals the progression of Mr. Su’s vision for Chimelong. The location – a major Chinese tourism hub - provides incentive to do something special. Stepping up your game to a higher quality park doesn’t mean you’re becoming Western: It’s a Chinese park, built by the Chinese people. Going through Ocean Kingdom, there are things that feel familiar, but it’s because they’ve applied the principles of good theme park development. It flows the way a park should flow. It’s laid out the way a park should be laid

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“Strategic foresight” Brian Paiva VP Business Development, FUNA International The Zhuhai location was obviously a very strategic choice. There is the elevated bridge being built to connect Hong Kong, Zhuhai and Macau, the ongoing expansion of existing transportation options such as roads, trains and ferries, and a high capacity border crossing near Ocean Kingdom that was obviously built for future traffic. The entire area is growing. Macau is rapidly running out of space. The University of Macau relocated to brand new campus built in Zhuhai. Students from Macau commute via an underwater tunnel across a waterway between Macau and Mainland China. It is amazing to see all the development that has happened in and around Zhuhai. This has all been in tandem with the development of the park and will certainly continue for the foreseeable future. How has the Asian market shaped the way your company does business? “Going local” Ed Marks, TPG The need to do things faster and cheaper for the Asian market, which is now the primary market, has changed things forever for our company and for the themed entertainment industry. We’ve seen Western companies spend hundreds of thousands chasing business in Asia and then go away. You either learn tolerance for a process you may or may not agree with, or you don’t. Due to our involvement on two high-profile projects designed by Jeremy Railton: Crane Dance at Resorts World Sentosa, and several attractions at the Galaxy Macau, we became

the guys who figured out how to do successful, large-scale projects in Asia. That is the bedrock of our company. We invested significant time and money to develop business in China: hundreds of bids, trips, and marketing initiatives. Our experience there has borne fruit and it has also changed how we process projects in Asia. Now we are established with real Chinese contacts, projects, and local resources. It’s not competitive to ship all our resources over from the West. Having learned how to compete on pricing, and how to vet local resources, we can produce product for that part of the world that we’re proud to put our name on. The only way to do it is to get on a plane, go to meetings, visit factories, visit people – to establish and maintain a physical presence in the region. That’s how you get to build in China, for the Chinese, with Chinese resources, and locally review the process to ensure quality the same as if you were building in Hollywood. Scott Arnold, VP Design & Engineering, FUNA Several years ago FUNA defined China as an expansion priority. The result to date has been an office in Shanghai, local staff, and local fabrication. FUNA was able to establish fabrication and assembly of equipment racks, panels, and bracketry in China to western standards - and FUNA’s Ocean Kingdom work was its first, largescale theme park project to be fully fabricated in China. Design and engineering were executed in the US, and much of the equipment came from the US and Europe, but the final assembly, including nearly 70 racks, was accomplished in China, primarily by Chinese workers trained and supervised by experienced Westerners. This

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Building the Lagoon Shown here under construciton, the Chimelong Ocean Kingdom Finale Celebration (Lagoon) Show is a multimedia spectacular with a simulated volcano, fireballs, stunts, water and theatrical lighting. Photo courtesy TPG

turned out to be both effective and efficient, and has become the model for our Chinese project execution.

game. As a company, if you’re not planning to be there at least 10 years, then you shouldn’t even start. That strategy is not for the timid.

“From the heart” Lisa Smith Renaissance We gravitate toward projects that get us excited. And at a time when there are US-based projects available - plenty of stateside work to choose from – we have a strong desire to continue in Asia. Chimelong Ocean Kingdom was our first project in Mainland China. It was a good, healthy experience for us; we enjoyed it and we’re coming back for more. We’ll be jumping in with both feet over the next couple of years.

Having patience and putting in the time and effort to develop lasting relationships is key, and we’re very grateful that Chimelong gave us a chance to earn their trust.

The Chimelong Ocean Kingdom Finale Celebration (Lagoon) Show we worked on is a good example of what we found inspiring. They elected to create something original and over the top. It has mind-blowing image-mapping on the surface of an enormous Whale Shark Icon, 99 domed moving lights around the lagoon’s edge, more giant lighting effects from rigging around the Park, multiple lasers, elaborate fountains, fantastic flame, wondrous fireworks (that emit from a steaming volcano, behind the Icon from surrounding rooftops and even out of the Whale Shark’s mouth), PWC stunt drivers with pyro, kites with pyro, water cannons, flyboarders from out of nowhere… all set to a dynamic, original score... and that’s what they consider their ‘interim show’! The aquarium experience is another example. We love that they took a traditional omni-mover ride and put it through an aquarium – and that the whole thing was purpose-built: truly, integrally, seamlessly woven in and out of the aquarium. That takes vision. That’s why we think they’ll continue to be leaders. Paul Su, Chairman Su’s son, said to me, ‘A lot of companies act from a business sense; at Chimelong we still do it from the heart.’ It’s refreshing to be a part of that.” “Not for the timid” Brian Paiva, FUNA Chimelong was the first new-construction theme park project for FUNA in China and as such was very important for validating my assessment of the market potential there. We’ve been in China for years now and it has required a great deal of effort, resources and patience to play that long

I’ve been a big believer in the Chinese market for a long time. I enjoy working in China. I like the people, the culture, the food and the way the Chinese view and plan things in the context of the long term. China is and will be for the foreseeable future the largest market in the world for development and renovation of theme parks, attractions and museums. • • •

The Producers Group – adding bandwidth, and getting it done TPG’s client list includes SeaWorld Parks & Entertainment, Disney, Universal, 20th Century Fox, among others. The company is currently working on a new dark ride in China, and projects in Malaysia, Korea and the US. As a Gold Level Sponsor of the IAAPA Attractions Expo in Orlando, TPG will be represented at the convention by co-CEOs Bob Chambers and Edward Marks, project manager Rob Palmer, and producer Chris Homsley. Says Marks, “The company currently has 22 fulltime employees. Our strength is in the ability to annex and add bandwidth to other companies – augmenting their staff, tech specialists, ride developers, producers, tech documentation. Depending what the client wants, we ‘ghost’ or do it in our own name. We have some fantastic partners now, including established design firms that had previously brought on their own freelancers, and new firms that decided to call on TPG rather than staff up. We will be announcing new, larger offices in Glendale soon – and after that, in Beijing. In addition to expanding their presence in Asia and North America, TPG is reaching out to Europe. Says Chambers: “It’s our job to help the client with the process - because we know that process. Asia will always be part of our DNA, but we are now also exploring markets and opportunities in Europe and the Middle East. 2014 has been a good year, and we expect 2015 to be better. If you know the process you can help most anybody anywhere. It’s about getting it done.” To set up a meeting at IAAPA with The Producers Group, contact Chris Homsley, chris.homsley@producers-group.com.

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From Shanghai 2010 to Yeosu 2012 to Milan 2015 How creative teamwork and private funding saved the US Expo pavilion

n my career with the US Government (USG), working with the Department of Commerce, the US Information Agency and US Department of State, I have had first-hand experience of the creation of our nation’s pavilions at world’s fairs, beginning with Knoxville Expo 82 and continuing into the 21st century. My chronicles are published on InPark’s website. It was always an exercise in creativity to assemble funds and resources for these ventures, but US participation in world expos took a particularly bad hit when Congress restricted federal funding for them in a 1994 law (reinforced in 1999). A new model had to be developed. Federal funding, the mainstay for 153 years, was gone. Something had to be done - or US pavilions would cease to exist. The solution didn’t arrive in time for Hanover Expo 2000, unfortunately, but a new public-private model began to emerge soon after, and the US achieved outstanding pavilions at Aichi Expo 2005, Shanghai Expo 2010 and Yeosu Expo 2012. Next up is Milan 2015

James Ogul Special to InPark Magazine

Federal status without Federal money The model uses a Memorandum of Agreement to link the Department of State with a private sector organization to produce and operate pavilions entirely with non-federal money. Some key factors: • A transition of responsibility for US participation at the State Department from the Bureau of Educational and Cultural Affairs to the Regional Bureau overseeing the country where the expo

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will take place. This puts the action in the hands of the people most knowledgeable about the expo country and with the strongest interest and motivation in making the expo succeed. • Direct involvement by Secretaries of State. • Involvement of the State Department in the fundraising effort carried out by the private sector partner. • An evolving climate of cooperation and mutual respect between the State Department and the private sector, forging mutually beneficial partnerships through pavilions’ corporate participation programs. • Growing understanding on the part of the State Department that US participation in world’s fairs has a strong international diplomacy dividend. From RFP to Participation Contract The State Department authors and issues a Request for Proposal (RFP) to choose a Private Sector Partner (PSP) that will raise money for, design, build and operate a US Pavilion. A panel of experts evaluates the proposals. The winner is issued a Letter of Intent (LOI) indicating the goahead to raise money for the project.

“Innovation is the lifeblood of the United States, and as a global leader in advancing food security, we are eager to seize the opportunity to get involved in the Expo in a major way” said US State Secretary John Kerry during the groundbreaking ceremony for the US Pavilion on July 16, 2014. Featuring a fully-functioning vertical farm, the 20,000 square foot US Pavilion – designed by award-winning architect James Biber – will showcase America’s rich agricultural history and innovation-driven successes with programs and events ranging from interactive exhibits and tastings to salons, workshops and more. The Friends of the USA Pavilion Milano 2015, a 501(c)(3) nonprofit organization was selected by the US Department of State to design, build and operate the US Pavilion. Friends is a collaboration between the James Beard Foundation (JBF) and the International Culinary Center (ICC), in

Opposite Page Artists Rendering of the U.S. Pavilion for Expo Milano 2015.

TACOUSTICAL, HORBURN ASSOCIATES TECHNOLOGY, LIGHTING DESIGN AND

Once a significant amount of the money required is raised, a Memorandum of Agreement (MOA) is issued. The Department of State works collaboratively throughout the process with the private sector entity. This is not a contract, nor is it a grant. After the MOA is issued the State Department is able to sign a Participation Contract with the Expo Organizers. The Private Sector partner with State Department assistance continues to raise the necessary money while completing the pavilion project. It’s safe to say there is a new era for US pavilions and a proven – if complex - new model for realizing them successfully. The progress of the US Pavilion currently under construction for Milan Expo 2015 further backs this up. Milan 2015: Feeding the planet Milan Expo 2015 will run May 1 - October 31, with projected attendance of 20 million. The theme of the expo, “Feeding the Planet, Energy for Life,” will unite 147 countries around the challenges and opportunities facing our global food system and sustainability issues.

Helping Guests SEE and HEAR Your Vision! www.TA-‐Inc.com SAN FRANCISCO LOS ANGELES ORLANDO CHARLOTTE RALEIGH-‐DURHAM

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association with the American Chamber of Commerce in Italy. The pavilion’s management and program are directed by President Dorothy Hamilton (founder and CEO of ICC), CEO Charlie Faas, and Chief Creative Officer Mitchell Davis (EVP of JBF). Thinc Design has been selected to design the pavilion’s exhibits and the University of Southern California will coordinate the Student Ambassador Program for which 120 American college students will be selected to act as escorts and docents. The $60 million USA Pavilion is being funded entirely through the generosity of corporations, organizations, universities and individuals. Current partners include GE, Brand USA, Uvet, DuPont, illy, 3M, McKinsey & Company, Microsoft, and Fleishman-Hillard. US Ambassador to Italy John Phillips stated, “We rely on public-private partnerships to manage the American participation here. I am proud of this approach. We are grateful to the companies who have already made generous contributions towards the success of this Pavilion, and look forward to welcoming more sponsors, as we continue to put together an incredible team. We look forward to opening the doors of the USA Pavilion to you, and to millions of others.” The US Pavilion website: usapavilion2015.net

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budget to $63 million,” said Winslow. “We hit the target and were able to save a little in both construction and operations, didn’t have to use all of our contingency money and resulted in a surplus.” What spurred Winslow and Eliasoph to pursue this venture and present themselves to the State Department? It seems that the catalyst was simply seeing the need and knowing their unique capacity to meet it. Winslow is a recreational facilities and services consultant and contractor with a background in visitor attractions and feasibility analysis. Eliasoph is an attorney with relevant experience in government, the attractions business and Asia (she is currently president and CEO of Village Roadshow Entertainment Group Asia). “Ellen and I had worked together at Warner Bros., specifically on a project in China,” said Winslow. “Conversations with the US Consulate in Shanghai, the American Chamber of Commerce in Shanghai, the Shanghai Expo Authority and ECA [Bureau of Education and Cultural Affairs] at the State Department in Washington DC convinced us that a serious effort to bring about a US Pavilion was a worthy if risky endeavor. We believed an honest effort should be made so the US would not suffer the embarrassment of being the only major nation in the world not represented in Shanghai.”

The USA Pavilions of 2010 and 2012 The following are excerpts from articles at www.inparkmagazine.com. Shanghai Expo 2010 The US State Department issued a Letter of Intent on March 18, 2008 to Nick Winslow and Ellen Eliasoph, authorizing them to raise all of the necessary money for the pavilion. The funds would need to cover design and construction of the building and exhibits, plus offices and equipment, staffing, operations, and eventual disposal of the pavilion and its contents. The original budget estimate at the time the Letter of Intent was issued was $84 million. “We reduced the

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Jim Biber, architect of the USA Pavilion, provides a construction progress report to U.S. State Department Deputy Assistant Secretary, Bureau of European and Eurasian Affairs, Julieta Noyes during her first visit to the Expo Milano 2015.

Back at the State Dept., with the initial RFP process having failed we were contemplating the possibility of not participating at Shanghai. Winslow and Eliasoph formed an excellent leadership team, able to recognize and address the needs of the project immediately. As Program Officer in my role for the State Department, my work included serving as a member of the Shanghai Working Group and advising our office director on management of the program. I also coordinated the vetting of 400 potential pavilion sponsors, and reviewed submissions by the private sector partner. Following the 2008 presidential election, the new Secretary of State, Hillary Clinton, set up a group inside the State Dept. to support the effort, and named a Commissioner General, Jose Villarreal. “We began picking up steam,” said Winslow. “Thanks to the terrific effort by our project management team, and our operations team headed by Mark Germyn, we opened on time and on budget.” The creative team that helped realize the USAP at Shanghai 2010 also included BRC Imagination Arts (guest experience design) and Clive Grout Architect. Electrosonic provided AV systems. Yeosu Expo 2012 My initial role was to coordinate the RFP process, which resulted in several excellent bids, from which EarthEcho International was selected as the best. Their team was led by explorer, environmentalist, and social entrepreneur Philippe Cousteau, Jr. (Pavilion Chief Spokesperson) and his business partner Andrew Snowhite (Pavilion CEO). EarthEcho International is a nonprofit 5O1c3 organization founded in 2000 by siblings Philippe and Alexandra Cousteau in honor of their father Philippe Cousteau Sr., famous son of the legendary explorer Jacques-

Yves Cousteau. Its mission is to empower youth to take action that restores and protects our water planet. This made the organization a perfect fit to develop and operate the US Pavilion at Yeosu. Snowhite reviewed the guidelines of the RFP with Philippe, and with themed-entertainment legend Bob Ward, best known for his work as a creative executive for Universal Studios. Ward suggested approaching Phil Hettema for exhibit design, and Mark Germyn, who had recently served as COO of the US Pavilion at Shanghai. The State Dept. issued a letter of intent, and EarthEcho created sponsorship materials and began fundraising with strong support and involvement by Kurt Campbell, Assistant Secretary of State for East Asian and Pacific Affairs. At a critical point during fundraising, the abovementioned surplus from the USAP at Shanghai was a lifeline. Most of the total project budget of just under $9.4 M was received by the end of 2011 to fund the 13,000 square foot pavilion. “With the agreement set with State, Philippe and I were thrilled to attend a State lunch in October 2011 honoring Korean President Lee Myung-bak, where Secretary Hillary Clinton formally announced America’s commitment to participate at the Expo,” said Snowhite. “President Lee noted it in his remarks and I heard it many times again from the Expo committee, that the Korean Government and the Expo Committee would not have considered the event a success if America didn’t participate.” Eleven Fortune 500 companies contributed support to make the USA Pavilion a reality. Corporate sponsors included: Chevron; Citi; Boeing; Coca-CoIa; Corning Incorporated; Hyundai Motor America; Kia Motors America; Lockheed Martin; Samsung Electronics America, Inc.; GE; and Becton, Dickinson and Company. • • •

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USA Pavilion at Yeosu, 2012 Visitors wait to enter the USA pavilion and are treated to a multimedia presentation inside.

VR: It’s back for good Themed entertainment’s new “golden age” is just warming up

n October, I moderated a roundtable discussion at the Visual Effects Society about the future of media in themed entertainment. It was exciting to see two worlds colliding: theme park designers and the creators of VFX for today’s tentpole movies. We covered a lot of different topics, but there was one common thread in each conversation: virtual reality is going to cause seismic shifts in location-based entertainment. As a design tool, VR is already shaking up our world. And smallscale virtual reality attractions exist right now – there are plenty of virtual roller coasters designed for the Oculus Rift. Very soon, we could be climbing into the Iron Man suit, or jacking into our own Avatar at parks and other entertainment venues around the world. Early virtual reality theme park attractions may be limited to low-capacity, upcharge experiences, but VR could eventually create a whole new category of attractions. We may someday combine virtual reality, live digital interactivity, 4D effects, and the physical sensations of a traditional thrill ride to produce relatively inexpensive yet stunningly immersive new experiences.

Brent Young President & Creative Director Super 78

While Hollywood is dipping its toe into the virtual reality pool, the themed entertainment industry is swimming in the deep end. Disney’s DISH (Digital Immersion Showroom) was a key tool in developing the Disney California Adventure park’s new Cars Land. And soon after the first Oculus Rift development kit shipped, Super 78 created Mushroom VR™, our design development application. Mushroom was integral in the production of Movie Park Germany’s The Lost Temple attraction. With this technology, we were able to streamline and expedite the attraction’s development. More importantly, this immersive review opens up the process and creates more transparency. This is essential when working with brandholders to establish that high confidence level early in the process. In my viewpoint, this means we are no longer hamstrung by the limits of CAD drawings and 2D concept art. Experience-based attractions can now be properly “pre-experienced” rather than just pre-visualized. And by bringing down development costs, VR will help regional parks to create attractions that would otherwise be prohibitively expensive.

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Beyond the concept and production phases, the opportunities for VR-based guest experiences are almost limitless. The “Augmented Thrill Ride Project” (http://vr-coaster.com) is an intriguing look down the rabbit hole. This partnership between a European university and Mack Rides synchronized a virtual flying experience with a real roller coaster. Test subjects wore an Oculus Rift headset while riding Blue Fire and Pegasus, two of Mack’s roller coasters at their Europa Park in Germany. According to the researchers, it was a huge success. The test subjects were “totally amazed,” felt no motion sickness, and were actually more comfortable riding with the virtual reality overlay than without it. Though just a first evolutionary step, it is a bold move towards enhancing VR with genuine physical sensations – a depth of immersion that will be difficult to experience outside of a theme park (safely and inexpensively) for a very long time. Virtual worlds can be interesting to explore, but it’s only when they are populated with virtual characters that they really come to life (especially when those virtual characters are already internationally beloved). Turtle Talk with Crush, Stitch Live!, Monsters, Inc. Laugh Floor, and Donkey Live! have proven that digital puppetry is

an engaging medium that works in many different languages and cultures. This year, Super 78 is using Geppetto 2.0™ our proprietary interactive character software, to develop the world’s first stereoscopic interactive character attraction in partnership with Nickelodeon: Spongebob SubPants, scheduled to open at Moody Gardens in Galveston, TX, Spring 2015. As ticket prices indicate, the general public will pay a significant premium for this kind of experiential entertainment, more than they will for movies, television, music, video games, etc. Comcast’s recent purchase of NBCUniversal and their aggressive commitment to their theme park resort business speaks volumes, and they are not alone. Disney, Merlin, OCT Parks, Parques Reunidos, Wanda, Genting... This new arms race is global. The demand is there. The investment dollars are there. And the technology is very close. The theme park industry is right at the nexus of movies, video games and experiential storytelling. We are once again blazing trails in high-tech entertainment, as we always have been – I don’t think there’s ever been a more fantastic time to be working in this field. • • •

The immersive ingenuity of Attraktion! Markus Beyr’s companies redefine international entrepreneurship and themed entertainment genres

Judith Rubin InPark Magazine

Markus Beyr

ttraktion! GmbH, a group of companies headed by Markus Beyr and based in Vienna, has introduced four new product genres in the last two years - Playoke, Dome Ride Theater, Cinesplash5D, and WeRobots - and reports having a similar number in the pipeline for the next two years. Attraktion! products are characteristically high-tech, media-based attractions, turnkey yet versatile - and each having a new twist, a new approach to integration – and nearinstant market impact. Says Beyr, Managing Director and Owner: “All the products we develop have been sold even before we officially launch them.” This estimable track record for envisioning, creating and bringing a new product and even a new genre successfully to market shows an ability to perform well all along the pipeline. The Attraktion! business gestalt evinces a confident grasp of technology, media, integration, and manufacturing; a genius for effective collaboration, bold imagination and a knowledge of global markets and marketing. PLAYOKE (www.playoke.com) immerses a group of people in a video-led performance. The physically engaging, immersive experience is made personal, interactive and even competitive through a system of real-time, 3D group motion tracking. Attraktion! launched PLAYOKE Dance to leisure and entertainment markets last year at the IAAPA expos in Asia, Europe and the US. (PLAYOKE Courses, a version tailored to fitness markets, was introduced earlier in the year. It was well received and has already been adopted by exercise studios in Austria, Germany, Italy and Russia.)

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Designed for out-of-home commercial use, PLAYOKE (patent pending) is scalable and readily refreshed with new content, customizable and theme-able to a specific venue, brand or IP. The market response to PLAYOKE Dance has confirmed its potential of PLAYOKE in leisure markets from FECs to theme parks to science centers to nightclubs. In the month of December alone, several new installations of PLAYOKE Dance will open – at Futuroscope (Poitiers, France), Virtuality Center (Riyadh) and Dreamplay (Manila). Players, both kids and adults, will (depending on the site) be able to join the action to compete in dance clips, play entertaining and educational games or interact with characters from famous Hollywood IPs. Nicolas Mollet, project manager, Futuroscope, said “Playoke fits perfectly into our new area, ‘Arena Fun X-periences,’ as a new interactive feature. Our visitors will have a lot of fun!” Dome Ride Theater: As a producer, Markus Beyr has been involved on numerous projects that incorporated media, motion simulation and wraparound projection. Examples include Marvel Superheroes 4D at Madame Tussauds London, the Aviation Dark Ride for the Aviation pavilion at Shanghai Expo 2010, and Arthur l’Aventure 4D at Futuroscope. These attractions were one-offs for specific circumstances that helped prove the concept of integrating ride technology into an immersive dome theater for education or entertainment.

imagery. “The aim is to transport the audience into a unique, themed environment and a different place and time, in a format that can accommodate the kind of throughput needed by theme parks and large visitor attractions,” said Beyr. Guests enter a hemispherical space and are secured with shoulder harnesses into seats ringing the perimeter. The center floor descends and the theater becomes a full sphere. 26 concealed projectors seamlessly cover the sphere. The ring has a range of motion enabling it to pitch 30-degrees to either side while the entire seating area can likewise rotate. InPark Magazine spoke to Intamin Executive VP Sascha Czibulka at the DRT product launch in Beijing. Czibulka compared the ride system to a roller coaster, with the seating area spinning around on coaster track. Although a 30-degree pitch may not seem like very much to a seasoned coaster rider, Czibulka explained that a 30-degree angle in this configuration imparts significant G-forces that, if increased, would detract from a family-friendly design. Chinese real estate developer Lewa Investment is the flagship DRT client, and the flagship DRT installation is set to open in 2016 in Shaanxi LEWA

Opposite: Dome attractions and interactive exhibits Attraktion! creates different kinds of dome attractions. Visitors can either sit or stand within a dome exploring an immersive virtual environment. Interactive exhibits are developed, designed and manufactured by the Attraktion! Group of Companies. Trillian, a German subsidiary, based in Berlin incorporates an extensive factory to produce exhibitions from start to finish.

Photo: Markus Beyr, CEO and Owner of the Attraktion! Group of Companies

Next Page: Dome Ride Theater Dome Ride Theater is a new attraction genre developed by Attraktion! and Intamin Amusement Rides. The attraction is a full sphere experience bringing visitors to another world via its immersive power.

Below: Playoke Playoke is an interactive motion game experience for kids and adults. Visitors can dance along with pop music clips or mascots, play games, learn through “edutainment” and more. Players get points for their game performance in real time.

Attraktion! subsequently partnered with a top ride manufacturer Intamin Amusement Rides, to develop the DOME Ride Theater® (patent pending, w w w. d o m e r i d e . c o m ) , which had its official product launch at the 2014 IAAPA Asian Attractions Expo in Beijing. The Dome Ride Theater (DRT) design merges a steel ride structure with state-of-theart, full sphere projection to completely envelop the audience in seamless

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city, a mixed use complex, in Xian Province. Attraktion! is producing the media for the DRT, which will be part of LEWA Wonderland, a cartoon-themed park. At press time, Beyr reported that a second DRT attraction was under development and would feature a major studio IP. Cinesplash5D (www.cinesplash5D.com) is a multimedia wet-theater attraction, meant to be experienced in swimsuits. When a product is branded 5D instead of 4D, we ask what the 5th D represents. In this case, it’s water. The usual range of 4D effects – lighting, lasers, fog, audio, wind, etc. are joined by water effects that put everyone in the splash zone, allowing guests to get wetter than any theater-goer has been before. “A full range of never-before-seen effects in a 4D environment have been engineered by Attraktion! - from water explosions to theater flooding,” said Beyr.

Top: WeRobots WeRobots serve as mobile customer support informing, guiding and entertaining customers. WeRobots are the first robots product by Attraktion! Customized designs for theme park shows and attractions are also available from We Robots.

Bottom: CineSplash 5D Cinesplash5D is a newly created mediabased attraction combining a 4D theater with special water effects. Fountains, waterfalls, water explosions and many more other impressive special effects await visitors.

Like other Attraktion! products, Cinesplash5D is scalable and customizable: from 20 seats up to more than 100 seats, suitable for indoor or outdoor venues, and packaged to suit the client’s choice of media, projection, animated seats, motion base and in-theater effects. The newest Cinesplash5D installation is a 40seat theater that opened in 2014 at Ningbo Hangzhouwan Dream Hotspring Water World in Ningbo, China. Markets for Cinesplash5D include waterparks, spas, resorts, zoos, aquariums and marine parks. Some venues will elect to offer such a theater as a separateticketed, standalone attraction and the package Attraktion! provides can also include assistance with marketing, promotions and operations. Attraktion! is building a custom media library for Cinesplash5D theaters beginning with ‘Storm Riders,’ which Beyr calls “the world’s first aquatic cinema title.” A version will be available for regular 4D theaters as well, in spring 2015. WeRobots: First introduced to the retail market at the MAPIC show in Cannes (which dedicates an exhibition zone to Retailtainment), and at Euroshop 2014 in Dusseldorf, WeRobots (www. werobots.com) made their leisure industry debut in June at the Asian Attractions Expo in Beijing.

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“Retailtainment” is the new differentiator to make a shopping mall stand out – to attract retail tenants and to give consumers a reason to go offline and shop at a bricks-and-mortar establishment. WeRobots are the mobile, interactive service robots developed by Attraktion! to help achieve that.

ITCC Virtuality Center in Riyadh Developing projects from start to finish is one of Attraktion!’s competencies. Attraktion! has developed a unique combination of science center & family entertainment center called the “ITCC Virtuality Center“ in Riyadh (Saudi Arabia). Attraktion! equipped the whole facility with interactive exhibits and with its own media-based attractions like WeRobots, Playoke , 360 degrees theater, and 4D dome. Attraktion! also produced all the films and media.

At the Red Star Macalline shopping center in Shanghai, 50 WeRobots are moving around, guiding and entertaining visitors. In Dubai, is using WeRobots as visitor guides at its Customer Care Center. What WeRobots are doing for retail, they can do for theme parks, brandlands, science centers and other out-of-home attractions: Provide a differentiator, reinforce branding, raise visibility, drive traffic, garner press attention and engage and inform the customers. “WeRobots fit into any place where visitors and customers are seeking entertainment, information and guidance,” says Beyr. Beyond their diverse functions, the “guidance” feature enables WeRobots to deliver quite personalized service by accompanying visitors to their point of interest. They can also gather together and put on entertaining group performances, which Andreas Bley, Managing Director of WeRobots, points to as one of their unique, distinguishing features. WeRobots communicate with one another and interact with people in their environment. Their social skills are supported by an ability to orient themselves by measuring 3D space, identify humans and speak virtually all languages. Each is equipped for versatility with touchscreen, camera, and microphone, sophisticated content management system, RFID chip and telepresence capability. The standard shape and appearance can be customized, and WeRobots can act as central showpieces in theme parks. A new, more abstract Robot/Race Car Design will become the second version available. WeRobots will be in use at the Information Technology & Communication Complex, a world technology center for commercial and industrial business operations in Riyadh (ITCC Virtuality Center). The Virtuality Center represents the welcome hub of the 1.2 million square foot, $495 million facility is set to open in 2015. The Center’s WeRobots are loaded with comprehensive information about the exhibitions, and draw on this with their artificial intelligence resources to guide visitors. They will also engage and entertain people waiting in queue lines before the main show. • • •

Attraktion! is a specialized group of companies self-described as “permanently going through a mutation evoked by a unique, continuously growing product portfolio.” Attraktion! develops, consults on, and stages attractions such as theme parks, amusement parks, brand-lands, FECs and science centers – and also creates a wide range of experience products. www.attraktion.com

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Bumping up the bumper car

hy are bumper cars as popular today as they were 80 years ago? At our company, RDC, a leader in bumper car manufacturing for more than three decades, we believe it is because they allow people of all ages the chance to battle and bump each other in a safe and fun setting.

RDC bumpercar.com

While they’ve kept their popularity, they have also evolved with the times. “Bumper cars have come a long way,” said RDC General Manager, Tami Dean. “Most people are familiar with the classic steering wheel amusement park cars consisting of long poles leading to an electric ceiling. In the old days, dodgem car ceiling systems were expensive. With today’s existing technology, this is not the case.” Today, the industry trend is toward pneumatic tube bumper cars to cushion and better absorb the shock. RDC manufacturers three lines of highly durable Neoprene tube bumper cars: Krazee Wh!rl, Krazee Voltz and Krazee Kidz. RDC’s

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most popular tube cars are usually purchased in conjunction with the company’s patented electric floor platform. “Our electric floors are engineered to be very cost-effective,” said Dean. “Most owners see a return on their investment within the first year.” At RDC we believe the decision to purchase an electric platform is only half the consideration. The other half is the long term cost in terms of maintenance and operation. Electric floor systems offer a constant power source and unlimited ride cycle which means no batteries to recharge, replace, or recycle…. ever. Jack Canouse, Managing Partner of Stars and Strikes bowling centers said, “We are very happy with RDC’s bumper cars and their electric floors. We have had other platforms, but RDC’s electric cars and floors are certainly less expensive to maintain. Our staff is pleased with the technical simplicity of the system and our customers are thrilled with having both a bowling and bumping fun experience. The electric floor system was a long term investment and certainly worth it.” “The claim that walking on an electric floor might cause a shock is unfounded,” said Dean. “RDC utilizes a patented, low voltage (24 v DC) system that is engineered to be one of the safest in the industry. We have sold scores of electric floor systems since the 1980s.”

Photos courtesy RDC

TACOUSTICAL, HORBURN ASSOCIATES TECHNOLOGY, LIGHTING DESIGN AND

For more typical floor configurations, RDC also offers a line of battery operated cars, children’s cars and gasoline powered cars. Dean said, “RDC manufactures and sells bumper cars and only bumper cars. We strive for competitive pricing, patent-protected technology and overall reduced operating expenses along with superior product that is innovative, safe and reliable. Those elements are key to our firm’s longevity.” • • •

Helping Guests SEE and HEAR Your Vision! www.TA-‐Inc.com SAN FRANCISCO LOS ANGELES ORLANDO CHARLOTTE RALEIGH-‐DURHAM

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Photo Courtesy Sally Corp.

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Although rsapopcorn, azburning e g Since licorice, funnel v e after i nniv ann haven’t made itato rink m yUB just yet, and the e e y a a r h n r n t p i i h favorite local dish may obscure some long range views UB, Mongolia a z t z 0 s n i 1 r rs ga aga dough and boiled,10 ivefatty minside nive nnof consists mutton tucked is anonetheless known rasy “Land of the Blue Sky, ” with k n k ma a r e a h n h t p ine up. a i 10I can’t quite imagineinwhat this snack shack rs 10tover 260 sunny idays gazserves Planet, versa year (Lonelyk m a agaz 2001). The nive n m n n k a a r r y e a Not surprisingly, in mid-December, day we10visited Park, called th UB’s NationalinRecreational pa in sar inp it too was closed.10th agaz or ine iver n m Nairamdal Park (also known as Friendship Park n k a e ar ry sun beamed in the zine we weren’t 10th an 0th Although our voff-peak sary season travelsagmeant npsky sathe i 1 r a azin Children’s Park) r even as we e g e a v m ni degree coal-infused nni any of the apark’s km an-16 able 0to inhaled th asample p rk offerings,gafor ary air. ine zinethe z n s npar i 1 r a 10th e g v a a i adventurous soul, Nairamdal Park should land a spot on niv n rk m e the radar. While aor ark m ryperhaps not as sexy h an h ana wrought iron n t t p p a i z 0 0 n s n glamorous as Entering through gate from a rather i 1 i 1 r a g ve ine ninnithe k ma a parks U.S., Mongolia’s r obscure side street, the park was - for good and obvious y scene provides zsomething agaz e y a h r n t p ine i a 0 s layer of snow frosted in the ground 1much rsar aNo az reasons – empty.ivA rthin 10t e g g e v a a more rare: an unfiltered experience. fantasy i n m m n n k n k a r r a y e e a a r h n in castles 1with zi and wild pipes 0t pastel spirals greet sina and out of sewer inp the customer.agaNo inp 10thstreet dogs ducked verlarge, agaz in nithe m m n k promotions plaster brochures. No vendors hawk Tk seeking warmth. Unlike commercial parks a a r r y a th pa zineshirts or stuffed 0has sar In Mongolia, one inpsimply 10th inno 1 r a e e g animals. walks the U.S., this one no special signs, football fieldn v a i i m gaz annpark, with real a(though y e into10athreal admittedlyaz1970’s sized lots, no banners park ine inparking ary or flags, and no admission z n k ma s i rs r a r e g g e v a a v i i n m m n summer. 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However,arwhen a rk rkfind out the pricethofaeach y one US e e inpa 10th inpa dollar buys 1050 azin rs currency), and agazin 10Togrog (the Mongolian g e v a i n m m th anold Buddhist monastery park park ary zine 0year n s n admission to a nearly 200 sary i i 1 r a e e g n v a i ni ride would park m y agaz is 2000 Togrog, e y rcoaster neI don’t image a roller th an m i a z 0 n k s i 1 rsar azin a r r e g g a e v break the bank. a a p v i i in nn km rk m ann zine 0th a npar sary i 1 inpa r a 10th e g v agaz a i nclustered m m n My husband and I counted five rides together k k a r r y y e pa ar in 0th sar inpa in zone vers agaz inearea: a Ferris wheel, a1small roller coaster ininthe i iver n m a n k g a r a ry ne tear ycup-like ride, zinemouse, a twirling inpa 10th rk m rough style ofagaawild ersa gazi ersa a bike on a v a v i i n m m inpa an “aerobicycle” sort of ride that resembles n an rk rk an y e inpa 10th inpa rsar azin 10th e g v a i n m ark m th an p23 park ary ine ary z 0 n s n s i i 1 r a r e e g e v a in niv anni agaz ark m h an ry ne t m p ary i a z 0 n k s i 1 a a r r g e vers a v i i n mag m inpa n n k n k a r r a y e a a r n inp 10th inp 10th ersa gazi ry sary

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No worries, for Mongolia offers a wealth k a r y ar ine ine ha ary In UB, as mentioned inpa above, there are 10th Mongolia awaits. travelers. 10tthe happen versBut, unless you agaz to like dressing like agaz adventures for vers i i n m n n k n a r a ry ry several0impressive Buddhist monasteries worth a visit. ne neThe most Michelin inpawaiting until springtime. 10th Man, Iâ&#x20AC;&#x2122;d recommend 1 th ersa gazi ersaKhild (called â&#x20AC;&#x153;Gandan, gazi â&#x20AC;? for short), v v a a i i n significant is Gandantegchinlen n m m n an rk For more Mongolia, visit y information on ark 80 feet tall andazwas th astatue ine inpa 10th inpover rsar www.21DaysInMongolia.co.uk which houses a10gold that stands e g v e a i k m active nniv ann rlargest y consecrated by the DalaiarLama. Gandan is the e e y a a r h n n t p a i i h z t z 0 s n i 1 10 er ga ga ers we visited our senses were nniv k ma nniv and on the aday k ma monastery inthMongolia, a r a y e e a r h n n t p i i treated to10 a feast: bald-headedermonks cloaked in orange s in 10 rs az gaz robes nive niv mag n ncheeked k k ma crumbs to ine chanting, frost-bittenth red childrenpatossing a a r r y a sar inp 10th 10 gray wings flapping,inand local Mongolians agaz ine hundreds of pigeons, iver n m n k a ry par inetraditional clothing dressed silver prayer zine th an 0th sary nwheels. saspinning i 1 r a 0 azin r 1 e g g e v a a v ni m km anni y e th an park arvisit ine z 0 n s npar Having made our i 1 azin r a 10thjourney specifically g e g to my sister, we were v a a i niv ann ark m ark m near azine ry h an hhospitality also treated to Mongolian in theincountryside t t p p a 0 0 n s i 1 1 r e g )FSNFUJD 4XJUDI IBT CFFO ine writer nniv k ma a r y agaz Choibalsan,zthe e e small eastern citysainrywhich she lives. iAs a h n t p i EFTJHOJOH EFWFMPQJOH BOE 10 rsar azin a r between â&#x20AC;&#x2DC;guestâ&#x20AC;&#x2122; and nâ&#x20AC;&#x2DC;hostageâ&#x20AC;&#x2122; Jonathan Maslow said, â&#x20AC;&#x153;theivline 10t e g g e v a a i n m m vagueâ&#x20AC;? in Central n Asia, and our experience n NBOVGBDUVSJOH TXJUDIJOH BOE k n k a r r a y e e becomes held this a a r h n n i a inp 10t inp 10th ersmy gazi TFOTJOH TPMVUJPOT GPS PWFS agaz awe to be true. 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The z 0 s npar 1 azin r a 10th g e g v a a was conceived by renowned designer Ralph Appelbaum. i niv n e manager for Electrosonic, ark m ark m ry I was in charge iofnpthe h an h an n t t As a project p a i z 0 0 s n 1 i 1 r e g ine (We roadies nnivteam for the project. k mamultimedia design/build a r agaz e y a ryhave wives and azine h r n t p a i a z 0 s n can actually hold down real jobs now that we s i 1 r a r 10t e niv mag mag nive n k n k children to support.) a r r a y e e a a r h n i in inp 10t inp rsa 10th agaz agaz nive m m n k k a a r r y There are zmany r I currently do forinpa ine similarities between 0th sawhat 10th inpa 1 r a e e g n v a i i Electrosonic and my past life on the road. In today’s world m gaz ann e thintegration, parofk high tech systems ary we do is ine much ofrs what ary z 0 n k ma s i 1 azin a r e g g e v a a v i i n m m driven by the same brains that think an up the blue-sky ideas rk rk ann y ne zine productions. That’s inpa 10thbecause museums, theme forgatheatrical inpa rsar 10th gazi e v a a i n m m n centers draw from the same pool of a rk rk parks and cultural y zine people to bring saryideas to fruition. inpa 10 inpa 10th rtheir atechnical e e g creative and n v a i i z n m a n k g a r y a museum designers up ragainst ne ry ne th are pushing us right ma inpToday’s 10what ersa to tell gazi gazi ersa vhandle, a a park v i the bleeding edge of technology can i n m m n n a rk rk an y e theirastories zine in the most effective 10thways. 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theptheme operating hours ryday off th Carefree Roadie rsary aper ine are typically 12 hours Thursby npar sseasons. n ar andparks, i 10Pierce, iseason r gazi e gazper v e up to 18mhours day during the busy We a a i v i n m Thursby Pierce’ s career in live production n an rk rk that our systems y e an He was production ry generally recommend 24/7. inpa inpa 10thbe left powered up rsar azin commenced 1in0th1979. e g ersa v a i You have a considerably lower MTBF rate, (Mean Time km manager annBetween y e for a friend’s bands(Full ry Moon) touring zine everything off every 0thnight npar sarFailure), if you’re notgswitching and then i 1 azinnortheastern US forivseveral r a er a years. 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r y ry h ne ne inpa rsar here can you atake ersa gazi gazi a ride with the 10t v a i n m m kplay virtual carnivalingames, an rk Simpsons, y ry z e of a 0th npar inpa 10th rsar ainside e g escape a idragon’s lair, explore the v ersa a a i v i n m n n k n rk m y e ydinosaur or rock out a a ar Led Zeppelin? At10th a r n r with p p a i h a z t n s n s i i 10 er ga er the nation’s variety of theme parks, waterparks nniv k ma nniv a r y y e e a r h n n t p i a i and museums, of course. And in 10 rsar az rs aa zscant five years e g e g v v a a i i n m were available. annago, none of thesepaexperiences rk m e y th an park ary 0 n s i 1 in in the economy,agthemed 10th Despite changes r azin rsar e v e i v i n m n k rk AV smarket trends zin entertainment has continued th an ary inethemed entertainment th an nparto evolve and 10analyzing sary inpa i r a 0 r 1 e g e v a v i and products. by martin palicki n m ni produce new ideas ry th an park ine ary ine th an z z 0 n s i 1 a r a ersa g e g v v a a i i n n m m k Naturally, the AV systemsarrequired to produce nmanagement an on partnering ry an systems to more y AV components. np“But e ark they will start to focus sarthe i with 10thprovide that which inpadvanced and changed 10ththese attractions have azi Their installationivoferthe sa g Blue Planet Theater schools and help a iver n m n n k n a r y e y a a as well.aWe n r sat down with some ofp the creative in the10Gwinnett County Environmental and schools namely focused, th icannot, inp rsar 10th interactive agaz vers behind the themed inentertainment Heritage iveutilizes i forces n Center in Georgia a mix of rk experiences for students to learn from.” m n n n a a market to find out ry ry ne audiovisuals and10multimedia th inemuseums are working informed npa Content is king, including ihigh10th ersa gazand ersawhat trends have gazi v v a a i i n n m m n this industry k technology defivideo water- harder aexperiences, rtok provide actual learning rthe e projected onto aswaterscrim, th an and what direction ary inpa than just showcasing 10thknowledge for versary inpa 10headed. r rain az n foggers, simulated is e g based and waterfalls, rather v a i m ni ann e an increasing amount seat rumblers, lighting, rand park arya 9- students. gThat ary zinmeans th an of zine 0th specialty s n s i 1 a 0 r 1 e e v a v i foot-diameter reflecting pool which a AVrk integration, a change in the technological, nfrom anni e of application. sary e a amshift in the methodology ry h an to become ainpand ntopographical t a i z 0 s map emerges 1 r azin r a 10thcontrol is ieverything g e g v a a nive noperators and developers m mwere projection esurface- all of which isrcontrolled For a long time, n n k k a a r r y a a h h n ar sa inp 10t 10tto utilize PC’s to controlinAVpequipment. byaPC’s. hesitant gazi iver vers i n m n n k n a r y e pa ine The perceived ha ary issues of PC’s inhave sar sensingarfid sreliability 10th azin 10tthe vercostagaz veraway slowly eroded to the point that they are “Backup systems are now quite simple, i i According to gsome industry experts, n m n n k n r e ry th a ” explains greatest zine within RFID versary 0th a becoming theivpreferred inpa potential is toabe azin and completely10reliable, 1quickly gafound ersa method. mageffective ni n m MediaMation’s Dan (radio frequency rk arkidentification) technology. ry h an h an ne Jamele, whosercompany t p a i z 0 n s i 1 inpa and also provides a “More and10tmore facilities, museums e themed John Miceli, president of Orlando based ag AV solutions nfor ivthe ive a nsafety rk m corporate centers especially, do not want pentertainment y e e y market. That net has saTechnomedia, reports that there are currently th ann a r h n r n t i i a z z 0 n s 1 ga specific AV ncontrol ver projects in the aga where RFID will adjust10 to move works iver equipment anymore,i” helped encourage institutions m nnithat k n k ma a r a y e make e a r h n h t p says 1Mad Systems President Maris Ensing. a i route. zinwill s 0t in bars and conditions 10 are easily seats, lap rs gathat gazAdditionally, PC controls vaerPC a a i nive n m m “They would rather utilize where they n networked and allow for remote monitoring. for a safer product tailored to the likes of n k k a a r r y e a th zin sar inp is no stranger to10AV inpa” “We can run 10th to maintain the system. can hire an IT person and solve agadiagnostics ine ivermost the rider. Technomedia n m n k a Mad firm that problems eSystems is an AV integration y zine worked on 10th an 0th in California,” veintegration. sary They haveagrecently npar from our offices sarcultural i 1 r a azin r g e specializes in museum and projects. a v says Ensing. “That saves the client money profile on-board audio ni a number of high nni k m Their recentth arenovation rk m ry h an systems for ithe ne of the twould panew aGriffith ineamounts of time that and inordinate Hard Rock ParkainziMyrtle z 0 n s npar 1 r a 10 g e g v v a a i n m The Ride Observatory in Californiaan utilized over 80 transportation. ” Beach, anni y SC and the Hollywood e arkDream: ark m be eaten upaby r h h from the powerinpnormally n t t p a i z 0 0 n s PC’s that run everything i 1 1 r e at Universal Studios Japan, where guests can g ine nniv k ma a r choose one to agaz e during e y a ryof five songs to listen h r n t p i a in 10 equals their rsaRFID aztoinbe chosen az interaction rs 10t e g g e v a ride. could allow songs a v i i n m m n n k n k a r r a y e e a a r h n n i inp previous preferences, 10t based on the visitor’s inp rsa 10th gazi agaz asatisfaction nive m m or even be integrated with several on-board n k k a a r r Every step forward in the y zinethe themed vcamera 0th npa on-ride video sar systems, which will istore 10th inpa 1 r a e e g n evolution of a i i nn or photographyryfor the guest to viewneand gaz ark m th ahas market pentertainment i ine ary z 0 n k ma s i 1 rsa that capture on-ride a r g e purchase. agaz video a v iveSystems i n m m led toward more interaction n n k n k a r r a h as CDRide are already ne ne ary inpa available at many for avisitors. inpa 10th gazi gazi As Maris Ensing 10tsuch vers a i n m major theme parks, so integrating an RFID m n a rk rkputs it, “Interaction y e is not ary inpanext step seems a logical 10 inpa just a requirement, 10th rscomponent azin it is the tracking e e g n v a i i z n m a n k g to many. a r ne ry standard. ne ma ary inpa ” Nowhere is this more 10th gazi gazi ersa vers a a park v i i n evident than in the museum m m n n a developer, RFIDptracking rk can be rk an y e e th savvy market, where in a inpa azin rsar azin according to “To10the 10th g e g v a a i paired with a database, reporting what people m nn Brian Edwards, rk m arkPresident pathey pETI argoy and how much time zine to do, wherevethey 0th a n s n sary i i 1 r a e g museums have really started n a i ni J.rThorburn, President y agaz e ark mwith schools. 10tspend h an there,” says Steven compete directly ry ne m p i a z n k s i rsaCastro azin a r r e g g a of Thorburn Associates, Valley CA and e v a a p v i i “Of course, museums are still in nn km rk m ann zine parks president-elect 0th a of the Themed Entertainment npar sary competing with theme i 1 inpa az r a 10th e g v a Association (TEA). “Not only will the operator be k mag ni m n for that leisure market, and still k a r r y y e The Simpsons ride’s four digital projectors zin able to provideveproactive sar inpa inpa heavily fromagatheir 10th cover the 90- borrowing rsar guest services such inescreen with crystal clear digital i iver z n m a foot-tall domed renderings of the n as collecting on-ride photos and videos for the k g a r Edwards. design models, ry ne ry thbut ma p” asays amore ine courtesy of Universal aStudios. z 0 s n k s i 1 r a r r characters. Photo e guest, they will be able to effectively gazi g a e v a a v i i n m m inp n an rk an e ark ry the September inpa 10th & Communications inppermission rsafrom azin 2008 issue of Sound 10thCommunications Used with of Testa e g v a i n m m magazine. For more0information, go tonwww.soundandcommunications.com th an park park ary ine ary z n s s i i 1 r a r e e g e v a in niv anni agaz ark m h an ry ne t m p ary i a z 0 n k s i 1 a r r g e www.inparkmagazine.com vers a v i 45aga i n m m inpa n n k n k a r r a y e a a r n inp 10th inp 10th ersa gazi ry ve anni

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1 e h a storylines nisnihow ver most attractionsghave analyze based Many themed projects are been,” ary mag and plan future zinhistorically 0tcreating sdevelopments 1 a r k r e y a a r v a e mJohn Miceli. “ It’s galways th says Technomedia’s before the guest arrives, via in np on precise data nni RFID tracking.” iversa that begin even 10the afrom a az or park the Hauntedk Mansion ve ine site allows visitors n z n n m internet. A web to become fun to go through i 10th a a g e r anni h a n it through ET’s Adventure, but they inever tRFID a i h z m 0 p t 1 a n k 0 However, rolling out full-scale projects still familiar with a storyline and follow change. With r 1 ry ne mag Interactivity starts inpathe attraction porarkexhibit. ersa the new possibilities gazi has a few challenges e to overcome. According on the horizon, the v y n i r i n z n a i n 10 rs ga y e more to Ensing, with a game or contest, experience th acontinues zinmuch nive can change and 10and abe rtosaber completely aonline k ma “The systems have n r g e y a a r v a e i p h they and can even extend10t realistic and interactiven are sensing, and they s at the museum or park, in in secure in who/what k mgiving you a reason iver beyond the visit h an multiple tags agaz parand inine the form of video nwith z 0trecognize must be able 1to and to come back in over over againrkformthat n a a n g e h ma online. 10t of sensors photos azin kavailable 0th a various signal strengths. The cost different experience.” inpa g r 1 y e a a r n p a i m n rs az park ine before they are truly i nive zdown mag also has to come inof n saryimmersion best icreated? rtotal a y e r ubiquitous.m ” aga The full integration technology throughout But how isnthat h ne v t a i 0 s n depends on which rk gaz you are er y is evident in a Mid-East1project ETI The tanswer a a r v a i p a h a property market ne n m s n i r k 10 e gazi arfor ivisecurrently h an of Amusement nGuests a t p i n z The International Association working on. will literally log considering. Waterparks, example, have 0 n n m i 1 a a y e ag parkof 10thRFID on with atheir azinand only recently Parks and genter rk mcell phones as they 10t y started to break into theinrealm e Attractions (IAAPA) utilized a r n p a i m z s n i r k a r sensors at its annual trade show in November, be able to interact with components of the themed ride experiences. With a nod to their e g e a in niv ma ary waterslides havee inptheir visit. agazguests as they entered ry development throughout h an theme park ncounterparts, vers t park unobtrusivelyrkscanning a i m zin 0 s n 1 r gaand e sign a infused with AV effects, ry a e and exited innaivclear recently0been a h m t s inpathe trade show floor r n 1 storyline to match. Technifex azin eDisney World experimented atechnology.The Walt rk Productsa e v g a i h n a t p i n of support for the emerging with (and themed z 0 n n m i 1 a y e magrolling out) such 0th aappears to currently park stands to benefit from1the waterslides outfitted iwith azian recently exhibited rsar trade show market n k g r y e a a r n p a i m in the Kim Possible World rs technology, and interior lighting e scanners, system with y agaz which replacesabar park Showcase waterscreen incode nivatethe projections z m n i n k rsar a g r y e requiring additional staff and slowing down Playtest. Inside EPCOT park, select guests were effects WWA Trade Show. e a a r h v t p a i m 0 n 1 in traffic flow intopand azin kout of a show floor. ivers given special cell n r g y a a r a phone transmitters themed a h in nn 0t vers show Kim Possible ark m in agaz pWaterpark niDisney afterathe zine(and called TimeGantz, 1owner of Noah’s Ark 0th a n n m i 1 a k g y r r h a t in thatrkguests would use atgazWisconsin Dells, WIy agrees that waterpark inpa 10Kimmunicators) rsa a a m ne p ar i nive m z n i k a seemingly benign locations throughout the theme immersion r a vers seems to be sheading y that ag ne i p i n z m n arhead i n a k r a g r For years most levels of interactivity terminated park. The phone activated audio, video and way. “We just put a giant dinosaur and y e a a r h ne iv sa npthe touch screen. Museums 10t effects in ourhTime iat nnWarp rk m especially have gazi ermechanical yhelped the guests solve sound a a r v a effects that ride, ” explains i p a n m t s n i r n 10 iveAV a parkthe utilized touch screens to provide 1visitors was completelyaintegrated Gantz, “but we have been concernedin about zine 0th a the the mystery. nnThe a g y e rk m r h a n t a i a z m 0 p s opportunity to select which direction they into the existing architecture so that guests not corrosive elements affecting [AV] hardware. ” 1 a r n k i ag ry nive zineare sensing a change npar were not aware but participating in the iprogram rk m ersa gasome e a v y h an want to pursue, a n i p r i n z m n a i n to worry, claims s k and see museums requiring rThorburn aneed in that trend, still providing There’s no aga more of thersspecial ine ary promotion, while 0th Steve npar nive from the 1 n rk m e y a a r thania touch screen cannoffer. a magical experience for those involved. The Associates’ Thorburn. “Coming v agaz i p a h n m t s i r n 0 k 1 we are well awarepofar a it earned aazThea ine San FranciscoeBay Area, nive ary in 10th project wasthso ansuccessful k g y r a n i a z m Mad Systems is banking on clients seeking out Award for Outstanding Achievement in 2007. many corrosive-resistant products that can 0 s 1 a r npar k i g e r y e v a a r i n p a i nn mechanical interaction in rs environment.”ry k m be used in a waterpark amore reasily e agaz for their guests, nive waterpark ineNew a inpa This summer, Schlitterbahn n 10th moving to more azin Nowhere has rthe k ofm what theme parks are able total integration package a g r y a a v rs th i p a i m 0 s n n 1 i r k n r e y to provide, although perhaps put at a on such a been agaz iv into better use than pnot arthe Discovery Braunfels, TX retrofitted an10existing h a slide to n m t s n i r n k e a r e Dragon’s Revenge, a highly themedinpa rythrill-based scale. “Pretty soon nearly all home10thScience Center inanSanta ncreate niv Ana, CA. Their gazi waterslide experience y touch screens, especially DinoQuest adventure ersa computers will r h a ne that utilizes waterfall t a have integrates mechanical m 0 s 1 k in gazi er r e v a a i n p i n m z sary foggers as multi-touch becomes available lifesize play structures,inRFID activated projections, lighting and sound n reffects, k a in about five effects, a r e g e a v y h a n i t p r i m will be a renewed nn a slide experience 10years,” explains Ensing. az sa and a virtual create rk“There y challenge from the inand fire effects to iver mag effects, 0th a an abandoned sarQuest n 1 inpa mechanical interactions, r k n r e y interest in actual scientists at Dino Headquarters. The that takes riders through castle a a r v a inpinteraction center nni the exhibit as a ifully 0th k ma 1 ers“interactive, a r e v y a because the touch screen video bills inhabited by a fierce dragon. h r n t p i n a in 10 az an e ers ary ” atrs home. electronic exhibit mag 10thwhere guests aare… azin k nniv will be available g e r y e v a r i n p to Splashtacular n mhas produced designs safor an characters in a video game that has in‘come gazi aplaces iverincludes a th anis already visible park slide complex ine nthat z m n i n a sary The10trend as such as life. ’ ” (www.discoverycube.org) Alien Invasion k r a g r y e a a r h v t p a i m s n 10 for rafts, fiberoptic, in in Pasadena, CA, where rk the Kidspace Museum ne iver ary rotating elevator platform nintegration th an shighly npaand i r n 0 1 e a e v y visitorsaare encouraged to play, dig, climb The complete of such a audio and projection effects. The designs i h r t park in n z 0 n n s i 1 a r a g y e e a showcased at the the many highlyrs were iv ar environments interactive exhibit required zinWorld Waterparky nexplore 10th the skills ofark m e athemed agathough ne industry designer and fabricator p ar i th an the museum offers. nivBut m return to mechanical Lexington, AV Association’s 2007 expo, an installation z n n i k a a r g e aannounced. vers y a n i p i n z m n i n 10th won’t mean AVarexperts components are no experts, and the RFID application provided by has yet to be a k rsar a g y e a r h v t p a i m 0 s n n 1 i k n which hasivrolled rMagiQuest, er out multiple RFID y ne longer needed. inpa interactive adventures rsar But waterparksnare nn throughout the country 0th a 1 e a gazi e at a point now where theme v y i h r t i z nn inp 10 amuseums, gatwenty y ecan theme ersa r h a n v and continues to partner 10 with parksm were years ago.aHow t i i a z s n r e y an e ark (or museums, fork that on new concepts.inpparks magmatter) create fully nniv rsar azintheme parks andinattractions 10th a r e g e a v h a i t p n m less While AV components may become immersive environments today? The answer in n is 10 az s park in the iver mag 0th a sary n 1 r k apparent, less visible to theinguest, nearly unanimous: projection! n r e y e a a r v n ni sa np azi 10th iver ryentertainment, they are i th an ine n a mag world of themed z 0 n s 1 a r a g y e e a started the business actually nbecoming more important, “Imax Corp. n of full ar and 10th n iv to the whole gazi giant aintegral e vers Instead of acreating ark min the 1970skby ry i n h p more process. immersion i t n m z n 0 n i a 1 a r ersa g“Being in the middle eof a fully immersive screens that filledinpguests’ a v a n i i n z m merely supporting10orthenhancing content, AV field of vision a cannot effect or control an rk agyou environmentm that sary npaactual 10thnew reach k experience is expected to help contribute to ithe and surround them with a completely r e y e anni a r v n i p a i h to make your be different time n t z s n i r n 0 a 1 g of a project. r y ” explains inThorburn, who has e astoryline ive th a nenvironment,

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par zine 0th npar ary sary i 1more inprovided r a rslooking gazi e g v e a a i qualitykcertification for large format also shows that same movie in what it calls a developers are to themed v i n m m n n r y ark h anlikes Dive-In theater, ry theaters and zine are entertainment 0tthe inpprojects, inpaworked on projects 1for rsar where the special aeffects 0th adesigners to work on 1 e g ersa v a i n dramatic, only a lotrkwetter. m of Lucas, Dolby and Disney. For some time no the advanced AV nless e opportunity to sintegrate ry aone ine from large screen zinsystems zaway 0th a npa saryattractions moved i 1 r a r a into what at time might have e g e g v v a a m with the arrival of eincreasingly “There are nni straightforward yapplication nni k m just been athmore kbut a a r r y projection, certain experiences that a a r h n t p r p a i 0 n s 10 in az rsa a cost-effective digital systems, iver to be natural draws foriaudiences,” says continues. mag the trend is toannseem nive k n rk m r y e y a a a r h n r t p p a i h incorporate more projection into the totally Jamele, “and when you get a product [such as a z t 0 n s n s i i 1 10 er ga er immersive experience. SpongeBob] are certainly aware all that is nniv that has a wide aappeal, k mathere are “Developers nniv a r y e e ry oflook r h n n t p i a i z there,” claims Edwards. 0 of opportunities toinutilize AV systems toagaout 1plenty rsa“They rs az all e e g v v a i i n and want to makeatsure n Both of the world’s m aspects of a project, m top theme park echains, differentiate and n n k k a a r r develop that product. ” Even y a a r h y h p in 10t not only achieves inp Universal, opened 10t rsa of projection andin3D sarproject’s Disney and the or 4D, that everything agazup sister with ivebenefits verthe i n m n n k n a r y e mission, but also a to make theminpark r be on merging zinmain th works 0ththere still seem to salimitations npa and Florida coasts saryattractions at their California i 1 r a 0 r 1 e g e v a v i n environments with rinteractive this summer that rely heavily on projection to both immersive money in the process.” That means AVydesigners ni a km r ry immersive ne involved in the project th anthat barrier is being peroded. imore athe ine Disney’s ones,1though th an z z 0 n s i a r create environment. must be a ersa to ensure g e g v v a a i i n n m m an Toy Story Mania pcombines rk the AV components rk a typical dark iride y ne th anall support thersmain ary inpa narrative in the10project. in a cars stop brieflyaginazfront 10th rsarfor that group interactive e vehicle path where People are looking In addition to being v e i v i n m n n n rk e y in the technical aryfully immersive. gknowledgeable 0th a and to have inpa game booths 1experience ritsbe azin 0th a specifications, inp rsofarscreens depicting carnival 1 e e v a v i i n from the Toy Story franchise. Guests interact Unfortunately, the designers have to, as Brian Edwards likes an average park or museum ann ark m AV ary to ineother side of their ine zmounted 0thbudget npanother sary by firing cannons with the game hasn’t had1the to pull it off, but to say, a“use i r a 10th ersbrain” gazthe e g v v a i i n n m m n on has, and it’s a group the creative component. a antheir car, while theirpaglasses rk rk allow them tozingroup y that is expected tonpaembrace e ry i 10th 10thsee in 3D their realintime rsar a grow in its use iof e g score and progress. immersive and interactive v ersa a v i n m n n k a r e an people ry The scompletely digital projection Because it’s that ry zine inpa system environments: 10th the US Military. aziifn one thing is certain, 10th and told a ersa gstill er aDisney to upgrade or seasonally v a v i i allows theme will want to be entertained n m n rk y an the attraction srelatively y e e th anBase in Illinois worked quickly, a gbenefit, itaisziinna theme park, museum, inpa story, whether rsaorr r ar azin The Great Lakes10Naval 10th e g e v v a a i i nn km according parks a host of themedr yentertainment evenaarcorporate center or retail annto Thorburn, many rk mmight not with th adevelopment. r a to create the Steve zine 0th initially np Thorburn has made1it0one sETI, i inpa out an olderagaproducers, 1have r e realized. “Changing among nthem of his goals asiversa v i m n n k n a r y r attraction sor TEA president area well h reliable interactive ntoe ensure developers ryshow meant a venue atraining ine inpawould most lifelike 10tand azibenefits r ashut 10th vers 21. The aware agthe agaz vebe i i have to down for at least a year,” says simulations, known as Battlestations of themed entertainment n m n n k n a r a ry ry ne ne 10th puts trainees on ainpaproviders can produce. 10th Thorburn,” but with ersa gazi “We will be working erasadigital system, changes gazi simulated ship experience v v a a i i n n m m n to the software the fory 12 hours hard to letareveryone know that the k athemed an or content are relatively rk quick, vessel in e middle of the ocean 0thcheap. inp 10tharchitects, ve inpa rsar disasters entertainment azin a wide range ofivsimulated easy 1and ” and throws industry, including e g a n m ni fabricators, and AV specialists, ththeansafety of the simulator park at them, all within ary writers, designers, ine ine h an ary z t z 0 s n s i 1 r a 0 a r 1 e g g e ato create the best immersive and Universal unveiled The Simpsons Ride environment. are necessary iv niv nStudios k ma ark mexperiences of atomorrow. ry the building azine h an ne ” h anof its US parks. 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If someone to gain v a i i found in beautiful Chinese paintings. k m entry to the pavilion annthrough the pavilion’s ann rk m a two hundredzinyear y continue walkingnpatarpace, e old act oblivious a r h and exit. y h t t r p a The “Peking Opera” 0 0 a s n i 1 i 1 r to no eye contact, and rs through elittle ga v e a i v making advance Many of the pavilions will just let enter i n m n theatrical tradition that k k combines music, th an ry paracrobatics. zinethe exit to get the10“passport th an stamp.” Once ininpar 0 your way throughvethe saqueue. saryperformance, danceinand 1 r a r g e a v i n m ni pavilion, you can experience rthe th anOld Man – The technique park is used the a yof pavilion ineorder. ary ine th an z z 0 s n s i 1 r a r a e Screaming in reverse Another variation the Exit g e g a iv mahighly evolved arteis by elderly men and nnuse nniAvlesser known butano k mJumper kless a a r r y women to advance to technique is to the restaurant a r h yor h n t t p p a i the “Art of Queue in 75 shop as an excuse 10 to enter via the exit. in Jumping.” 10 rsar ersline, so if you’re older than gaz v e a i the front of the v i n m n n n rk y e aryChinese norms of what’s Go 0th aup! How it works: inp inpa“right” or “wrong” 1listen rsator the front of theagazin 0th a rsThe 1 e e v v i i n m n n pavilion queue or the pavilion exit and begin Lift and Insert – Another very popular k n a r y a y for queue line are, of course,in uniquely e ne th staff and supervisors sarqueue saretiquette inpagather, technique az the Expo yelling. As10the 10th erthe gaiszito lift or crawl through erSpecial glike v v a a Chinese. events in China, i i n n m m n a an rk barrier to gain an y begin waving your line ecrank up the volumesaand position in r y park enormous crowds 0thadvanced a 10th 2010 Shanghai, caninattract r tor flag down a passinginpaline. How it works: 1Find azin arms like you’reitrying e g v a an area of the vers n m you in orders of magnitude greater thanrkwhat niqueue n n a y e e y a a r h n r n a i is no guide. 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In order order andrk m the line barriereinserting yourself directlyy n n a a y e ar in zincan even do this with sar of the pavilionsaare inpa into the queue. 10ththe younger staff members 10th as a sign of respect, gazthree versyour vforersome Wait times agaYou i i n n m m n n k k rfamily and group!0Your will usually reward ar On a good aorzisupervisors ry you by letting entire h a hours long or even ne th a chances for rsar inpa inplonger! 1to0tfour ersano further wait. g you enter the pavilion v a with success are quite high, as1many people in line i n m day, without any creativity in the art of queue nive n k n a r y e e y a a r h n r n t p a i will say very little or nothing and let it go to i h a in pavilions jumping, 10 10t then gaz versuses your avoid aconfrontation. agaz versyou might see only three i i n m n Bump and Jump – This technique a If a guide catches n k n a r aafter braving ten or sosahours ry in line! ne ine the line, but thiseisrsary 10th a distracting decoy.inpathey you may have 10th gtoazleave er gazi rolling luggage to create v a a i niv n m m ark arkvisit was (Note:aYou ry handbag quite irare. h an necan also use your umbrella, What10 would t th anyou do if a third iofnpyour p a i z 0 n s 1 r g to create the samenieffect.) ve How it works: orabody e nniv aan small rolling luggage y Design Tips zine e spent waiting insaline y for one pavilion? inpark mGo to the expo10with a r h r n t a i h t z s a 10 ga er ver your mag As you enter the queue aline, nivget nnishift k n k ma Youhmight a little creativerwith your “queue bag.ne r a y e a h n t p i a i z 2010 Shanghai vers z 0t in best queue lines atathe bag in front of you, 10not behind. As the The rs 1minimization” gaExpo as well. agaluggage niveHere are some ofrkthe m enclosed m n k queue begins to move, use the luggage bag are designed with an (solid)th queue anni a r y e a a r h best and 0 most humorous “queuenp jumping” n t p a i z 0 n s i The pavilion entrance 1 should i 1 r a structure. ine techniques we witnessed at the Expo. Many tokconstantly nivofe the person line mag push into theaheels nand r y e e y a r h n r in front of you. Be patient use constant be protected. They should not be immediately n t zi th an sa 10 r a 0 azi surprised us forivtheir rsaunique combination ofinp pressure. Continue this 1 e g g e v a a action until the accessible from ni k ma main plaza. Theinqueue audacity and nncreativity. And more km anperson e itself neyou gets annoyed 1and paarnarrow ary seriously, z 0thallows npar you shouldinbe single filegline for control. A 0th aa look at how,iveinrsorder a aziof this 1offers to serve inafront g a niv n queue. many of the rk m e If the person in sfront adiscourages international clients, atork mto advance in the ry single person width h an h an designers need n t t p p a i z 0 0 n n i 1 i 1 r a ine iveto the queue jumping techniques above. understand and design for their audiences to of you kgets magangry, shift immediately nnadvance a r y agaz e y a Constant Walking technique and in h r n t p ine i a the best guest experience possible. z in 10 rsar azthat 0t aensure rs e g g e v a a v i i the queue anyway. Other design techniques help include 1 n m m n n k n k a r r a y e e a a r h n i th you would never indulge providing ianpwell-shaded and comfortable sa 10t inp azin NOTE – We10 know agazentrance agKnow iver in these I Didn’t n m m n This Was a Line – To use this queue area, designing in separate k k a a r r y antics. However, for the0purpose of this article, we pa th zinefront of the line, wait sarlanes and seating areas inpfora visitors with special10th in technique, go to athe 1 r a e e very g n v i i are going to assume you are the visitor. Hence the n gaz anpeople. and just yourself into the flow needs, s ark m th of pinsert ary and parents with ine children ine of “you” in the examples. employment ary zsmall z 0 n k ma s i 1 r elderly a(music, a r e g g e v a a v i How it works: Find your way to the very front and providing entertainment media, i n m m n rk rk aperformances, ry of the queue,aright h aninteractive games, ne ne near the entrance t p a i th a–n The technique to etc…) z 0 n s i 1 inpa Jumping the10Kid r uses gazifor g ve a a i n m m n the pavilion. As people start to flow into the those waiting in line. 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Additional outside providers n m k a e ar ne ziConsulting th an sary Creative Technology five for one hour included (Ben sary effects, most inprendered 10tofh a feature r a 0 azinAcademy Awardsivfor rdigital 1 e g g e v a a ni m n k m recently for Avatar. film. e th an Sheldon, working parkclosely with Whitcomb), ary360 ine th an On Feb 1, KingerKong z 0 n s npar 0 i 1 azin Leff a 1 g g v a a i 3D was honored with a VESnAward from the engineering consultant Jason Taylor, niv a n e ark m Steve Leff ), 10th an ark m ry Consulting (project h Outstanding n t p p a i z 0 n s Visual Effects Society, for Visual Brain manager n i i 1 r a e ine mag Technical nniv k A-Team a Effects ininaeSpecial Venue Project. r y Electrosonic r agaz a rySystems Inc. 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Two “One of the things m 0 s n 1 k n gazi me,” er y a a r v a e i p a h n m t s n i the screen, they across per side supply Electrosonic’s a Pete 10 er rk Tinari, “is what agazin ivsubwoofers h anused anamorphic ne substantial bass. observed t p i n z 0 n n m i 1 a a y rk adapters, deployed vertically along the0lens from very simple elements aghave a perforatedascreen, zine ” Universal created 1 th to “Since weacouldn’t inpa gspeakers rk m“we couldn’t hide 10t ydifferently about those elements. eimage taller. a r n p a i stretch the noted Cuoco, by thinking m z s n i r k a r e g e a in niv ma np ” Sound design has sarybeen done before, erever agaz ry behind it at guests’ eariheight. h anNothing like Kong v t park a i m zine 0 s n 1 r k n r gaedge, Cuoco described “uncompressed was provided and even tthough a the project is cutting ryby Park Road Post. ve a e i a h n m s inpa the content as r n 0 1 azin rk - and it has e g a h a per second,” annive n a t p RGB frames running at 6010frames the technology it is based on is not i z n m i a y e mag motion baseagand 0th The pneumatic park will recognize as 1the Kong place.” azin brought us to arnew rsar which some nreaders n k i r y e a p a m zi n doors were builtatorkUniversal’s rs signature rate of a zipromising but automatic ishow y agaframe ne p nive m n i n a k rsar a g r y e a a r h v t ultimately unsuccessful special venue cinema specs by The Attraction Services Company “There were a lot of interesting logistics,”azine p a i m 0 n 1 in rs k n r e y a a r v i p a h n mag t sgallons’ worth of air ise pumped remarked Dale format, Showscan, with which an Douglas (TASC). 10,000 Mason, Universal’s Vice President in r 0 k 1 e r v a i h n agaz p nout for each show gcycle. zi For sound of Creative 0t– and Cuoco in hand n n m i 1 a a k Trumbull was closely concerned Design. “We were very concerned at y e r r a a zin 10t rsa e agathe ark mpump and exhaust ry there was going to be inp nrecently given Trumbull a isolation, the pressurized beginning whether p a i nive reported having m z s n i r k a r e a is a enough time v y We ag ne arstory. backstage lines are inpthere rsthe anni in 92 seconds toivtell rk mtour of the show.magazi y buried underground and e e r h t a 0 s n 1 inpa r n thought we weremagazin rk of solid steel plates we esystem y on top of the entire got so much more than a a r v i p a h n t s n i n 10 immersive and complete. rk e ver We asked Cuoco to parse Universal’s1statement motion base, with a thick get. 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n 0th a 1 p a i m in rs az rk e y nive mag by JudithagRubin inpa n azin rsar a y e r h ne v t a i m 0 s n 1 n rk gazi er y a a r v a i p a h ne n m t s n i r rk gazi aworking iveguest h an industry beinganrene and culture to the USC 10for me when I was a t p i n z 0 n m i 1 a ow is the attractions lectured on design as the attraction y th ark magAward Fellowship.agazine inpthe rkGetty 10t y relating to Batman for e as the Asian market10continues Annenberg invented artsdirector Warner a r n p a i m z n i r k a r e g e a a flourish? What areazithe n important cultural niv Bros. Abu Dhabierproject. mto inp sary For me - a Canadian ag ry h anof – getting to ne v t park signposts? IPM a i m 0 s n 1 co-editor Judith Rubin spoke You’re an Asian-Canadian, the child work with and interpret r k n gazaiglobally a ry ve a e i par a h n m t s n i r n 0 1 e a Harriet Cheng, nimmigrant rk for a foreign agazin to Sywa Sung, a designerth and parents. You’re based in Los synonymous Americanpaicon e v i n i z 0 n m i 1 an y aga up in Canada.aWhat Their observations are a thrill. zine audience was mgrew park 10thas Angeles butaryou rsar a project manager. n k i g y e a r n p a i enriching backgrounds languages in do you speak? park m rs y agazas their cross-cultural ine nive z m n i n a k rsaryou encouraged a g r and experience. English, French, and a little Italian. I spoke Growing up, iwere y e e a a r h v t p a m 0 n 1of it to assimilate in azin rs Cantonese fluently k n r g e y a a r v a i as a child, but lost most to leave off speaking p a h m in nn 10t ers agaz park nIivstarted zinewith basic oral eCantonese? 0th a n SYWA SUNG when school. I am left n m i 1 a a k g y r r h a in m spoken Cantonese 10t rsa inpa agaz Not at all. Integration arkenough pand ary and high functioning were ineto try as hard asethey can comprehension nive “Westernersgneed m z s n i r k a r e a is from the goals. y to not think food at a restaurant. My inpfather nnivTo let go of one’sveoriginal azininhabit the tororder k ma like Westerners, rsar roots was not zine gand h aintention. t a y Kong and my mother i macountries 0 they areersHong is from the Canton the Canada is sometimes describedgasa npar of the peopleainrkthe n 1 iminds aryKong. As a born and bred a “salad” as opposed h anto America’s “melting niv region around t s inp projects in, orhworking r n 0 k mapot.” 1 e a r thinking of establishing Hong e v a i n a t p i n 10 az h aofn Montreal, I dok not agconsider ne found that nothing reallyinmelts together inpark m with. ” ry native myself aI zhave t i a m 0 s 1 r g r ry ne nive the ultimate expert a room inpona the intricaciespofarAsian k ma in reality. I willivnever ersabe able to walkainto gazi e h an a n ryethnicity. i n z m n i n a s k Sywa Sung (www.sywa. perceptions, but I do have some insight given and not have people think of my r a g r ve ine ma sary 10th I am reminded inpa erupbringing. annofi that fact in rather rylike myself probably Sometimes vmy agaz net) Foreigners i paisrk a freelance art a h n m t s n i r n 0 k 1 a have a uniqueninsight r ve into Americanaziculture ne ary director, conceptual jarring ways. inpa 10th an i k g y e r h a n t i a z m 0 1 a rs npar k designer & illustrator as outsiders looking in. Weaare probably more i g e r y e v a r i n p a i m n rs ann gaz e contracted zin the BobiHope phenomenon. instant y park Do people aexpect nive you to be an marecently n i n 10th a to objective -- like k rsar g r y e a a r h v t p a i m Walt Disney Imagineering. expert on all things Oriental? zi 0 s n n 1 i ark ver Hope phenomenon? iBob pprovided ary h ason I can interpret rk maga n t s n i r n 0 He has design The Yes! But I am of both worlds, 1 e a v ry zine for each side. eThat’s the unique space I ithink npa 10th Bob Hope - inththat annhei was foreign m ga(UK) y services to numerous ersa born r a n i a z 0 s 1 in ga er rk y leading adesign became an American cultural zine companies yet nniv inpaicon. As more paI roccupy. rsarplays a big partry k ma And being Canadian a e g e v h a n i t i n in of it too. Canada 10 sa filmaz contemporary examples, Shania Twain and isnmulti-cultural, and that rkinmthe attractions and y iver is mag Celine Dionehave 0th a saralso n 1 inpa Pixar Animation r k n r y a industries, including Studios, become American music celebrated. a r v a inp nni 0th k ma 1 erswork a r e v y a i h r n t p i Jack Rouse Associates, The Hettema Group, icons yet are Canadians whose becomes n a in e ers ry Imagination Arts. He has 10the culture. There h ana kind of parallel agaz What are some mvibe 10twas azin things your r“outsider” rsaBRC and k nniv Thinkwell Group g e r y e v a a i n a i m inp ann viewpoint veinrsyour work? sary agaz park helps alertayou ine nito z m n i n 10th a k g r y h American culture I am always aware1of iver 0thow nmay inpa rsar k ma n r e y a a r v ne i p a h n in or mayenot be perceived by non-Americans. rs 10t th an park in frequently take nive ary z 0 n n s i 1 a r a g y e Americans it for granted that e a in niv 10th rsar agaz ark m everyone loves ne everything from America, p i th an nive m z saryand n n i r k a a r e g e a v y h a n i t p for theinsame reasons. That’s not 10 annalways the case iversar gazi rk m y a a r h t p a m 0 s n n 1 i n rk er y in either respect. ne inpa rsar nniv 0th a 1 e a gazi e v y i h r n t i z inp 10 ann gisasometimes y e that people ersa r h a n v t i i a z m 0 s n There the assumption 1 a r g e rk y an e nniv inpa abroad will pautomatically rsar k ma love an American azin 10th a r e g e a v h a n i t i n in n 10 az s km intellectual property (IP). 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It wasmbeautifully g zi done and true y e ersa ark m r h a v t i a 0 s n azin to the r k Sittinghonan the belly of a Oaxacan Armadillo, iguest thrill to the twists and 1turns of g einspired r y e v a a i n p t n m 0 nlush garden setting.agParque in[the attraction firstpappeared k at the original iversar az Festival, Guadalajara, book a r e a this1playful creature, set in a Mexico. © h n t i n m inFrancisco]. “Wild Things” 10 az Sony Metreon in San MSI Design th an park ary mag 0 s n 1 i r k r e y e a r inp rsa nniv 0th a azin 1 e a g e v y a i h r n t i n a an rk m 14 10 agaz vers ine ary 10th inpa anni e vers agaz ark m ag ine revelations from Asian-American themed entertainment creatives 10th agaz ark m ry ne

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The OCT chain spends money on n 10t azi nniv rk m Digital Technologies. glandscaping ersa She close y parks every day because a a r v a i p a h ne n m t s down most of items with no inherent ROI, like and n i 0 gazi ark iver h an nethat contain no magic 1theming. a t p i n z 0 n n m i 1 a a previously worked as project them are thrill ride parks In America, we talk about “experience” y rk ag ne 0th 1Shanghai k mkids inpa But gazi rfor 10t yus, includes all those intangibles. e a a r coordinator, or wonder to love. which to n p a i m z s n i r k a r e g e a v Chinese say, “thesgrass p ry in at Walt Disney nithe Disneyland no one ma er a is not a ride, agaz ry Then a stronger storyincore is needed1to h an pays to see grass. ne v t park Imagineering Creative a i m z 0 s n a r k Entertainment. 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They n might of industries like concerts, skiing or But nive n m m n k k a a r r y e a in sar the brand new entry Hutton, Vice President of Marketing for10th inp inpa 10thplaza, or the sleek ticketing agaz ine iver Dave n m n k building tucked off to the side. Interestingly Diamond Ticketing, has what seems a e ry ry zine the most th an 0th satheory: npar saride i 1 r a 0 azin The GateKeeper, r 1 e g g e named the actually gave credible v a a v ni m Matt Ouimet k m the park the opportunity anni to open up the y e th an park arfront ine z 0 n s npar i 1 azin r a 10th g e g v v a a i gate area, allowing guests more “Ticketing in the early anni ann freedom and park m e ark m ry probably was developed h h n t t p a i z 0 0 n s n i 1 i 1 r a e days of rail and boat passage, where there were g ine mobility. The very architecture of the park’s nniv large groups ofrypeople that were traveling k ma a r agaz e at e entrancein has changed, thanks in a large part to y a h r t p sa in 10 rtime. azin the az ticketing technology rsand evolving 10t e g g e v a a v i advancing the same Those that were running i n m m n n k n k a r r a y e e a a r h n i in inpto have access control. 10t services needed a way inp guest trends. 10th rsa agaz agaz nive m m n k k That’s where we started keeping track of people a a r r y zine 0th buying tickets sar to know numbers. inpIta advanced 10th inpa 1 r a e e g “Every year the amount of people and wanting n v a i i n m gaz at home jumps ry theater, awith th an significantly einrsaperformance park inea large amount,e” rsays aryMatt zine z 0 n k ma s i 1 a g g v a a v i i n m Ouimet, President and CEO of Cedar Fair. “We Broadway developing new ways to track m ann ark informs and ark to make it easy10forthour ry h anticketholders. That’s ne ne t p a i z 0 n s i 1 inpwant r a guests to come identify what our agazi g ve a i n m m n a rk rk here, and let them have fun.” ticketing procedures y today.” y e inpa 10 inpa 10th rsar azin e e g n v a i i z n m a n k g a r ne ry ne ma Purchasing a ticket sary every guest toaan inpa 10thUp until the 2000’s ernearly gazi gazisi usually the first ninteraction ersa v a park v i i n m m n a guest that amusementapark or theme park purchased k with a park, and it’sthsomething rhas an y e e h park their 0tthe inprint-at-home inpa like Ouimet don’t take azin rsar azin 10for granted: g e leaders ticket1at park’s entrance. Then, g v a a i m m nn the park park aryscene and guests gained zine tickets arrivedveon 0th a n s n sary i i 1 r a e g n a i show up with their printed ticket zi thing guests see at most regional parks “The the option annto y agafirst e ark m nebooths that are well rsary thhave m p i z 0 n k around the world are ticket and it either exchanged i 1 rsaforr a new ticket at agazin a r e g a e v a p v i i in n km k mand certainly a design annfor entry. 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n ary i n 0th a s 1 r a y e e r h n v t i ni “Scanning systems regular Near field communication technologyaisnbased using less expensive expected, 10 rsa have evolved afrom agaz technology. As ne others nivtoe 2D barcodes (for m th s rony mobile on eRFID (Radio Frequency 10IDentification) inow npar z r n k a e a r barcodes use Disney is at the leading edge, and v g a a th ve zin that emit an identifiable inp 10devices) anni have the capacity rk mtheir lead.” anni agachips to QR codes, frequency that will start to adapt and follow ne th which a i h z m 0 p t 1 a n k 0 i 1 agto read and track. Although ry ne to store more information than ijust able npaar serial readersaare rk m ersa not gazi e v y n i p r i n z n a i ” explains Melinda waterparks have a 10 rs anit is being utilized Actually, gnumber, y Arvin, Director of necessarily new technology, e been a prime arOmniTicket 10th being rolled outhatanallniveplayground for developing azinticketing technology. rsfor k ma Sales and Marketing r Network. in new ways and currently g e y a r v a e i p a n m in rs 10tas part With wallets ann gazi well, of thezWalt parks amixing parkand waterslides knot ine Disney World Resort’s nive n n m i 10th a a g e r h t a ways to pre-load 10th an Making phones10smarter waterparks have sought zin aprogram. k mofa their new MyMagic+ inpout g r y e a a r n p a i m s in Clearly the trend money ontoy wristbands that guests can use az e is to use the mobile technology iver park ntechnology mag ar infew n azininguests’ hands to enhance rsthroughout a g already the ticketing Only a devices have that as icash the park. While y e that can e a r h v t a m 0 s n 1 to expand. Howh anbe accomplished withagbarcoded azin wristbands e r rk and entry process.nBut erelying y now, but that is expected a r v on smartphones i p a m t s n i zin galike arkscanners, some parks iver h an ne out will largely depend10on and networked a t p i n has a few10 drawbacks. quickly itazrolls n n m i a g y rk zineas banks and Waterworld 10th in Colorado have k maservice providersaasgawell inpastarted selling rphone 10t y e a r n p a i m z s n i r k a r e g “For starters, not everyone has a smartphone, ” merchants partnering together to provide all RFID wristbands for that purpose, with the e a v in ma inp not surprisingly,hAsia sary helping offset annisi first, price of ithe erwristband agaz ryCEO Mark the pieces. Perhaps nethe cost says m Siriusware’s President s and v t park a 0 n 1 r k n gaziCedar Fair is ine a technology. 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As phones e to be used as a form field communication a a n start on p i z m n a i n rs a rk y e agathey will start to transform of payment, nive 10th inpa azin rsar the k mthen n r g e y a a r v a i p a h m in ticketing procedure.” h ann 10tNew Architecture ers field is still in testing neat Walt Disney World; The agaz park nivNear zipaper 0t n n m i 1 a a k g y e the goal is to replace tickets with RFID As an effect of the changes in technology, r r h a n t m 10Officer, rsa inpathe gazi key, a number aroom arkthat ryof park operators have taken ne Accesso’s Chief Operating Steve Brown, wristbands function as hotel p a i nive m z s n i r k a r e y ag niv zine now what mobiley park ticket, ride reservation to re-thinkrand the front e inpasystem, and more. sarre-design anopportunity ga“Right rk m North America, agrees. e a r h n v t a i m 0 s n 1 inpa r k devices provide is a readable image, but as Disney also touts the system’s ability to create gate experience, as Cedar Point has. 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Initial results “Every time we0wanted ve agaz i par a h n m t s n i r n k 1 a e ve from Disney dollars on a ride instead.” inpar ary 10th azin indicate those anni k g y e r h a n t i a z m 0 that the wristbands ga 1 rs npar k i e r y e v a a r i n p a i m Rob Decker, VPerof s Planning and Design in have increasedpaper az for ann rk cap e niv mag n i n 10th azin saryto redo k rways a g r y e spending. Cedar Fair, said he was lookingivat a a r h t i p a m 0 s n 1 i ann at the company magaz iver park ary hstarted the front gate since0he n t s n i r n k 1 e a r v ry ine OmniTicket gazNetwork in 1999. e inpa 10th anni y ersa r h a n t i a z m 0 s 1 in developed er rk the system maga e ry nniv ininpaFlorida, and while rsacame k “When the wing coaster azin a r e g e a v along I realized y h a n i t p r i in nn 10 az sa rk m h aopportunity, iver “I met Melinda Arvin is quick to that was ” saysnDecker. mag 0tthe sary n 1 inpa r k r e y a a r v inp with Walter Bolliger [of Bolliger rsaout all the benefits nni 0th & Mabillard] andpark ma 1 epoint a e v y i h r n t i n a in ’ 10 az an the system provides, always y ers inewanted to fly over the front gate, mag she said, ‘I’ve 10th azfive rsar k nniv g e r y e v a a r also cautions parks from and within minutes the idea was born. ” i n i m inp rsa ann agaz park ine jumping too quickly onto nive z m n i n 10th a sary k r a g r y e a a r h v t p a i m the RFID trend. From a design 10and architectural standpoint, in rs k ann the ne nive thhad sary npar i r n 0 1 e a redevelopment of the front gate as much e v y i h t park in n ar z 0 n n s i 1 · Powerful Reporting a r a g y e e to do with the park’s in identity as it did with the ma niv 10th “The concept aofrkmaking rsar agaz ne Control p i th an nive m experiences more coaster. z sary n n i r k a · Access a r e g e a v y h a n i t p 10 rsar ann gazi rk m yinteractive – and creating in e a a r h v t p a i m 0 s n n 1 theme-heavy IP, wehhave i · Real, Powerful Software n to rk er more guest engagement y “For us, not having ne inpa rsar the createneour own identity. If we are 1going nniv 0t ato be e a gazi v y i h throughout r t i 0 inp az ann – is certainlymagknown y · Online Ticket 1Sales ecapital of the world, ersa r h n v t i i a z experience as the roller coaster 0 s n 1 a r e rk an e ag coaster at the front ry ” nniv inpofa the then wepaput rsagate, kamroller a big selling point azinManagement 10th a r e · Patron g e v h a n i t i n n n be about vers 10 az km technology, but RFID is says iDecker. “Furthermore,thitashould mag 0 sary npar· Mobile Ticketing ni 1 i r k r e y e a r v n giving the space back to guests. We tend p a i ni not an optionveforrsmost thtoan z n i n 0 a 1 a g e y ni ” says shoehorn ar ma smaller avenues, but now zinthings into limited space, 10th ryRequest a Free Demo h“Thencost for aaregathinking ne placemaking vers t i i a Today! z m 0 s n 1 a r Arvin. RFID we more about the k n r a ve ag ry ne inpofa the sense of place 10th anni rk- mand making the day ersa gazi e is still high, and most better a v h a n i t p i n z m 0 n i with less hassle. So hweathink n about 1 ga ark ry done with for the guest whatrs isabeing 10t inpwww.diamondticketing.com k ma r e y e anni a r v n i p a i h n t z s RFID can be replicated those things from an architectural and planning n i r n 0 a 1 a ve ag ry ne 10th anni gazi y e ersa ark m r h a n v t i i a z m 0 s n 1 ga er rk y an e nniv inpa rsar k ma azin 10th a r e g e a v h a n i t p i n m in 10 az th an park ary mag 0 s n 1 i r k r e y e a r inp rsa nniv 0th a azin 1 e a g e v y a i h r n t i n a 10 an rk m agaz vers ine ary 10th inpa anni e vers agaz ark m zine

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Tickets are still sold ainz a low profile thevfront e g e g v a a i i n n m m anbuilding rk entrance, to the side p ofathe and directly y th an park ary ine z 0 n s i 1 in the 10th below GateKeeper, r a rsar e g v e a i row of old m fashioned v i n n n rk ark barrier-free zine th an turnstiles 0th a sary npwith sary has been replaced inpa i 1 r a 0 r 1 e g e v a v i n ni scan tickets, nwhile y ark m shown hereazjust ry ne th anCedar Point’s main pentrance, aEmployees i e th an access points. z 0 n s i 1 rsar r a efeatures g i prior to opening, e g newlyninstalled cameras count m guests as they v v a a i i n m n scanners. and aticket rk attendant-monitored y a barrier-free entry e y h an in and out of theinpark. park inpa 10th 10tcome rsar azin rsar e g v e a i v i n m “Getting that card into the customer’s hands In the meantime, parks will continue to watch n n a rk y ry Point has hard wired zinegate experience is10changing th an at 0thDanemann. inp inpascanners, is key,” 1says rsarcan start how athe afront rsaCedar Although “Then you e g e v v i i n m n n k n a r a mobile ticket readers e and Cedar Pointsary ry could also be used, nWorld ine tracking and analyzing inpa parks like Walt aDisney 10th their spending habits, r 10th allowing virtually gaziarchitecture to meet ersaanywhere to become gazan v a i while building loyalty. ” and adapt their own nivethe n m m n n k k a a r r y e ry ar in access changing inpa technology. 10th inpa 10thpoint quickly and easily. vers ersa agaz i v i n m n n k a dynamic pricing as aarhot r Danemann also tsees y an ne ary zine inpa 10 h 10thus to ers in the “The technology gaziand GateKeeper allowed erscalls v a Matt Ouimet it “the beginning of the death topic that has yet to solidly establish itself v i i n m n an rk placemaking withziour y an y e th majority pagreat ine industry. With of tickets in do 10the a n entry gate,” saysiversar azattractions 10thof the turnstile.” iversar g g a a n n m purchased electronically, the actual anthe rk m entry plaza allows y price Ouimet. “The a[open] h an thfor pride park “most being aron ine could z 0 n ar s i 1 inthinks 10tTicketing’s r a e g Diamond Dave Hutton of admission change based how drama of the to take center stage. ” • • • v a i vers i n m n n k n a r y y a in aboutin15 pa busy an attraction1is. ine ine major parks willerbe arturnstile-free 0th“Does it play out vinerthe sar 10th agaz agaz v s becomes more affordable. i sure i n m years as technology ” real world?” wonders Danemann. “ a I’m not n n k n r a ry ry ne ne inpa 10thprice will drive whether 10th ersa gazi ersa gazi a $1-5 change in ticket v v a a i i n n m m n n k k people from oneinattraction But Steve Bell,thBusiness Solutions Architect to another.” ar y z e 0th a 0 a npar s npar i 1 i 1 r a e g v e a i for Gateway Ticketing Systems, does not see nniv rk mHutton sees 0th ann y e e y a a r n r n p a i i h a z t z s turnstiles approaching their end of life. “The Dave n i 1 rs 10 er ga ga iveexperience nniv k ma nncan k ma attractiontspace significant loss an all-in-one ticket a r a y e e a r h n n h t p i a i z “Patrons in 10 rs rs 10the utility of rigid icontrol, without agaz agasoon. nive n ve ” says Bell. rkcoming m m n n k a a r y e No Per Ticket Fees a h thESIGN “With key customer handling 40,000 ACOUSTICAL, TECHNOLOGY, AND LIGHTING sar inp 10D inpa can purchaseagtheir 10tlocations azin ine iver n m ticketedeguests per hour, even a 10% loss for our whole experience n k a ar ary zineReservations 10th an sary inphome. 10th r a azin can translateivetorsunimaginable customers and from It will e g g v a a ni m k m unacceptable revenue ann y e e be similar tozinhow th an park E-Commerce 0 n npar i 1 azin a 10th sacrifice.” iversar g g a a vacations are bundled niv n ark m ark m or a cruise azine ry h an h an Arvin says it’s intogether, t t p p a 0 0 n s Mobile i OmniTicket Network’s Melinda 1 1 r e g ine nniv k ma a r the start ofin“transforming access control. ” Where ship, with peverything y agaz e Sales e y a h r t a in ” 10 rsar azin azshe indicates, facilities rsare moving on one card. 10t e g g e v a a feasible, v i i n m m n n k n k a r r a y e e a Access a r h n in th But at the sameetime, inp 10t inp towards barrier free rsa 10access. gazi aControl agaz iv year nthis m m n Omniticket has sold more turnstiles John Collins, Strategic k k a a r r y a zine 0th sar inpa 10th inpExecutive 1 r a e e g than in years past. Sales with n v a i i n Resource gaz rk m Active Network th an paalso ary ine ary zine z 0 s n k ma s i 1 r a a r Scheduling e g g e v a a v i i n m m The Future sees further integration an rk ann y e arkcan one tell where ne inpa 10th inpHow azin 10ththis technology ivisersofar biometrics with gazi g Season a a n m m n a rk rk on y y e headed for parks? 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e a nni inp 10th azin a g y rk m r h a ne t a i a z salutes m 0 p s 1 Charles Morrow Productions LLC a r n k i r ag ry ne New York Los Angeles Helsinki London Berlin nive inpa rk m ersa gazi e a v y h an a n i p r i n z m n a OR i rs an gaSan Francisco Portland rk y Barton VT ine nive 10th inpa rsar+1.212.989.2400 ary k ma n r e a a v agaz i p h n m t s info@cmorrow.com www.cmorrow.com n i r n 0 k 1 a r e ve ary inpa 10th azin anni k g y e r h a n t i a z m 0 1 a rs npar k i g e r y e v a a r i n p a i m in rs az ann e y park nive mag n i n 10th azin k rsar a g r y e a a r h v t i p a i m 0 s n n 1 i agaz iver park ary h an n m t s n i r n 0 k 1 e a r v ry ne inpa 10th anni gazi y e ersa r h a n t i a z m 0 s *LSLIYH[PUN `LHYZ VM SPNO[PUN KLZPNU MVY (YJOP[LJ[\YL ([[YHJ[PVUZ HUK [OL (Y[Z 1 in ga er rk y e nniv inpa rsar k ma azin a r e g e a v y h a n i t p r i in nn 10 az sa rk m iver mag 0th a sary n 1 inpa r k n r e y a a r v inp nni 0th k ma 1 ersa a r e v y a i h r n t p i n a in 10 az an y e ers mag 10th azin rsar k nniv /(77@ )09;/+(@ g e r y e v a a r i n i m nn inp rsa agaz park ine nive z m 0th a n i n a sary We1congratulate InPark Magazine k r a g r y e a a r h v t p a i m n 10 in rs k themed ne on 10 years of covering nive th an sary npar i r n 0 1 e a e v y i h t park in n ar z 0 n entertainment and the amazing n s i 1 a r a g y e e a in niv 10th rsar agaz ark m ne p i th anpeople andanprojects nive that make m z sary n i r k a r e g e a v y h a n i t p our industy place in 10 such an exciting rsar ann gazi rk m y e a a r h v t p a i m 0 s n n 1 i n rk er y neto work. inpa rsar nniv 0th a 1 e a gazi e v y i h r n t i inp 10 ann gaz y e etorsayour next 10 r h a Here’s years… n v t i i a z m 0 s n 1 a r g e rk y an nnivfun movingagazine inpa rsar k ma 10thIt only gets thmore a r e e a v n i p i n in n az s km forward! 10 iver mag 0th a sary npar n 1 i r k n r e y e a a r v n ni sa inp azi 10th iver ry th an ine n a mag Best wishes, z 0 n s 1 a r a g y e a ve in ar 10th anni e vers agaz ark m ry i n h p i t n m z n 0 n i k a 1 a r ersa g e a v h a n i t p i n z m 0 n i 1 Green Lisa Passamonte an ga rk y 10th inpa rsar k ma r e y e anni a r v David Green n i p a i h n t z s n i r n 0 a 1 a ve ag ry ne Terrain ry saVisual 10th anni gazi e erat ark mand your friends h a n v t i i a z m 0 s n 1 ga er rk y an e nniv inpa rsar k ma azin 10th a r e g e a v h a n i t p i n m in 10 az th an park ary mag 0 s n 1 i r k r e y e a r zin inp rsa nniv 0th a a^^^ ]PZ\HS[LYYHPU UL[ 1 e a g e v y a i h r n t i n a • Lotte Jook z South Korea • Photo by Dongwook 10 an Dragons Wild Shooting rk m agaWorld, vers ine ary 10th inpa anni e vers agaz ark m

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y ry inp 10th rsar e v ersa a i v i n n n here’s a scenepin the n a show’s starring ary rk m e y a a arWings of Time where h n r t p i h a z t T 0 n s n s i i 1 and appears to ifly a he 10 er er bird appears on a giant water screen ckatmag nn v The nniv a wa r y e e a r h n n t off into the distance. It is convincingly real. The ability to p i a i l z sary kb in 10 r a rs az e g e g v v e a a i i hi m n on an oftentimes-challenging water screen y Journey km ann convey depth y th an parof ar “The idea of ainparknd the ine z 0 s 1 10th r a surface isin one many treats showcased in ECA2’s latest rsar e g s v e a e i v i t n m n n le rk rk production on Island. journey y th an 0th a saryis central to theagazine ads to npaSentosa saroutdoor inpa i 1 r 0 r 1 e e v v i t story, ” said Smith. “Because h n m ni ry rySentosa to redevelop h an everyone is ainvisitor ne Thea Award honored tshow parkhere, Sentosa isgazinee rear p itheir th an z Called inaby 0 s 1 r a ersa e g v roj v a a i i n n m m ea show always a journey for people,aand cn an Songs of the Sea, ECA2 rk this helps rk on the basic structure abuilt y aryaudience ineof the original np the iwith 10th tion ho inpnew 10th to create an entirely rsthe azadvantage rsar e g production, taking of the latest to connect show. ” v e a i v u i n m n s n en a rk y e ary technology. inp inpa 10th rsar azin 0th a rinsshow 1 e g e v a v i i n m The foundational conceptrfor Wings was to visit all the continents n n k n a a y a ry ne arran zineover eight million visitors, inpstrong 10t”h - an idea both visually “Songs ofvthe for seven yearsaand and easy toacommunicate. The team versa 10th gazi ersSea gahad i i n n m m n a to an ECA2 CEO Jean-Christophe rk the world and found rk explained Canizares. “Sentosa ways yplaces and times fromnaround ry zine didn’t want vselected i pa 10th inpaIt was time to refresh 10ththe show to become dated. rsarthe story with technology. athe e g ersa a offering. ” support i v i n m n n k a r an ry ne ry zine inpa 10th 10th ersa gazi ersa v a v i i n m n Shahbaz, a bird who, y an To create bigger andarbetter y effects, Wings of zTime e intrigued ecombines existing As theanstory goes, the teenagers parkmeet inworld, azinthrough time iversar a ineffects used already 10byththeir curiosity about the 10th technologiesivinersbrand g new ways. Allagthe helps transportathem n m ann rk mbut for this newzishow existed He ne they and space. th an parkof origins, and to various arytakes them to visit hisigarden 0 n ar s 1 inpa 10th (many in ECA2 productions), r a e g v aspectacular. And times i and locations in history, some more specifically referenced than vers needed to become bigger, more surprising, k more i n m n n n a r y pa ar ine ine ha ary while projection is one 10th others. The European versindustrial revolution agazof the more dramatic 10t agaz vers has long been a partinof the company’s signature i i n m n n k n multimedia spectaculars, combined with a host of other such scenestin surfaces a ry h athe show. Projectioninmapping ne par on the triangular ary zine effects 10 machines 10thas pyrotechnics, water ersa gazi lasers ersfeatures, gasound v v lasers, lighting, and flames, shows and gears developing, while rear-projected a a i i n n m m n k an ark mapping cameainto ry Wings 1would the mist in theishape zinethe slice through 0th abe the first time that npar of giant mechanical10th inpvideo rsasurrounding e g v e a i presses, with nniv annmoving up and down rk m y the beat of the music. e e mix. y a a r h n r n t p a i i h a z t z 0 s n i 1 rs 10 er ga aga m nive and Staging nallniofv us to think outside k n k ma a r a y e e The Venue “This show forced of the box…literally, ” said a r h n n h t p i a i n 10the multiple projection isurfaces rs 10t vers nightly on Sentosa agaz the agaz Singapore’s Smith. With Wings of Time plays two Island, and image sources, nive nishows m m n n k k a a r r y e a a r in 0th is also home to a casino, playground,1which resorts, a Universal allowed Smith from the traditional inp frame and move 10th inpmultiple rstoaescape agaz show ine iveamong n m n k Studios park and a wide array of attractions and entertainment. ideas and imagery different formats and screens. a e zine th an 0th sary npar sary i 1 r a 0 azin r 1 e g g e v a a v ni k m off the triangle ine km anni ry eight years ago.aSentosa The 3,000-seat for th an scene, flowing ribbons parmove aSongs ine During an Asian-themed z 0 n s npar i 1 r 10th theater was built gaz e g v aThe a between screens and travel (in laser form) up a nearly 40-meter fountain. niv for as little time asrpossible m m wanted the venue to beainactive n k k anni r y e a a r h h n t t p p a i z 0 0 n s n i 1 i 1 r a the two productions. And so, Wings of Time was installed in aag effect is seamless, and echallenges what the viewer considers the ine nn”iv k mthe “edges of thethscreen. a r y agaz record six weeks. The processainvolved completely dismantling e e y a r n p i ininstallation, 10 rsar azin az rsof the new stage, technical 10t e g g e v a a v i previous show, construction i n m m n n k n k a r r a y e e a a r h n t a programming, and rehearsals forin Occasionally, the show journeys into the audience inparena as well. Water agazi inp rstraining 10thtechnical tests, operator agaz cannons explode on10the beach, sprinkling nearby nive m n local live performers. guests. Fireworks k a a r y ark m r ne th p pa a i z 0 n s n i 10th i 1 r a e e g shoot off the structure into the sky, and lasers dance in patterns on n v a i i n m gaz y e y The set was from the Songsnstage, th an park the sand. inebuilt on the originalerpier arfootings z 0 k ma s i 1 rsar azin a e g g v a a v i i n but everything from the catwalk flooring and up was replaced. The m m rk rk ann y ne th an and technology,inbut pathe zineshow is driven by the triangles strong 10effects inpa focal piece of the10setthis a series of slatted rsar overlapping oneagaThe gazi e v a i n m m n a rk rk another. They provide the maintprojection surface. beat of the music y e also pushes the production ry forward. ECA2 worked inpa 10 inpa 10 h rsato azinVillar and Pascal Lengagne e e g n v a with Philippe create the show’s musical i i z n m a n k g a r ry ne ry meeting to rehearse ma ine with actors onethe The pre-show and from 0th with composers inpa soundtrack. The duo1worked rsainstruments rsabeach gazi gazbegins vesounds a a park v i i n m m n a song. The pre-show helps the audience learn the theme music and around the world to match the feeling and of each of the n a rk an y e e ark 0thprimary inpa 10th inpintroduces azin rsar Two of the regions azinvisited. the show’s1two teenage icharacters. g e g v a a m m annof the main production. actors appear in projected form at 0 the thstart park park ary zine n s n sary i i 1 r a e e g n v a talked about the decision to use live The Technology ni azi designer Moira Smith rk m y agShow e aimagery ry ne “People were an th antechnology andeeffects m p i a z 0 n k actors only in the pre-show. important part of the The and the surrounding s i 1 rsar are what azin a r r g g a e v a a p v i i n m m in nna different scale between story, but the drive the storynforward. The 20-minute show’s th anplot was designed itonpbeark parkwe didn’t want there i e thtoabe zdifferent 0just satorycreate a enjoyed 1 inactors r a 10Smith. e g live and the screen,” said “This also allowed us on levels. Guests may be amazed by the visuals v agaz a ni m m n k k a r r y y e r show with limited dialog, minimizing language zin What makes thatvpossible sar inpa inpawithout followingathe 10th barriers.” ersa is an impressive gastory. ine i iver z n m a n k g a r a ry ne ry ne inpa 10th rk m ersa gazi gazi ersa v a a v i i n m m inpa n an rk rk an y e inpa 10th inpa rsar azin 10th e g v a i n m m ry th an park park ary ine z 0 n s n i i 1 r a e i niversa e g www.inparkmagazine.com a in 7 niv an agaz ark m ry h an ry ne t m p a i a z 0 s n k s i 1 r a a r r nive mag mag inpa nive n k n k a r r a y e a a r n inp 10th inp 10th ersa gazi ry

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At it wasn’t clear iver h an nwater t p i n z 0 n n i 1 a a y ark m sm c raege n s / j e t s , imageaand zinewhat was laser. They blending is seamless and ithe 0th peffects 1 n k g r 10t e a a r p p r o j e c t i o nrk m a in z s n dramatic. i r a e g e a p ry in niv ma inand surfaces, lasers ersa agaz ry h an ne v t park a i m 0 s n 1 r k n r gazi a ry projectors. Show Control and Maintenance ve a e i a h n m t s inpa r n 0 1 azin e a rkto control the e v g a i h n a t p Wings of Time uses a Medialon show control system i n z 0 n m i 1 an ga y e park Water Jets rk ma entire production. 10th azin ECA2 created ritsy own interface for local techs rsar n i g e a a n p a i m For the new production, s all the controlsywere switched in new gear and patorkoperate. Wings added agaz iver ine nand z m n ar i n a k a g r y e incorporated some existing out to digital systems, a redundant show a verscontrol system was th ar i m 0 s n 1 inpa azin r k n r g e y a a r v a i p gear from Songs. The set added installed to enhance reliability. a h m in rs nn 10t agaz park nive water jets thatgazine 0th a ten newan moving n m i 1 k y e r r h a n a 10t360 degrees of movement rsa allow As might be a expected, gazi one of the biggest ark m ry challenges for a show of inp ne p a i nive m z s n i r k a r e a is dealing with thencorrosive y ag ne on 2 axes. Six of the jets are located this ptype rAccording niv effects of seawater. rsaset aFischer, gazi behind the main rk m y set and two sets of two toinTechnical Director0Jason e a r h ne while misters on the use fresh v t a i m s n 1 inpa r n rk gazi eon yflank tap water, every other fountain and device a a r v a i p a h n m t are placed the front catwalks that uses filtered seawater, s n i n 10 e arksea. iver a th aside zinset inpthe 10each athe of the set. h ann and is constantly bombarded by waves and mist from g y e rk m r a n t a i a z m 0 p s 1 a r n k i Luckily, ECA2 is m skilled ag in this area, and rhas ry up expertise from ne par abuilt nive rkonly on Songs but from e sBig gazi eto Michel Amann, the keyinwas a v y h an a n i According to their work not The O Show in South Korea. p r i n z m n a i n a s rk ine ary powerful but alsoy Their three-pronged approach iver mag equipment that was 0th ato combat corrosion nincludes: 1 inpa rsvery kcreate n r e a a r v agaz i p a h n m t s n i r n 0 flexible, stopping very smoothly. ECA2 designed and k 1 ive ne th aThese state-of-the-art, par ary 10jets. azimaintenance annmoving k g engineered the jets • Routine – Technicians regularly clean and in y e r h a n t i a z m 0 1their kind in the world ark inspect the submerged a exposed elements ofrythe show rs npar i g e e v a are said to be the most powerful of and i n p a i m in rs az ann y park ine of a 40m high stream. Said equipment. nive magright now, capable n i n 10th azproducing k rsar a g r y e a a r h v t i p a i m 0 s n Canizares, “Before, i erand not moving, or sary• Equipment and materials1selected and fabricated annfor ark fountains couldnbe agaz ivbig p h n m t n i r 0 k 1 e a r moving and not big. Now we tcan do it all.” tough conditions v ry ne (such as stainless steel made for sea inpa 10 h anni gazi – The metal catwalk y eflooring, for example, ersa r h environments) a n t i a z m 0 s 1 in er rk y e aga that is more durable were moved from the inpa was replaced with a resin nniv 40 existing, stationary rsarand less k mgrating azin water jets fromiSongs a r e g e a v y h a n i t p r in lower level increasing susceptible to corrosion. Similarly, the triangle nn set, although versa 10 agtoaza new second story, ark mcatwalk behind kthemset 0thouta of a resin resistant sary jets ni 1 inpheight r the of the jets. Additionally, all the moving and stationary made to look like wood, is fabricated r e y a r v i p a h anto n t s n i r n 0 k ma 1 e a r e v y a were outfitted with LED colored lighting, reducing lighting power sun and moisture decay. i h r n t p i n a in 10 an gaz y e ers consumption 25%. • Lightingkand positioned maequipment 10th azinand mounted in ry rsar for the shownby nniv g e r e v a a i i m possible – Duringerthe sathree protected environmentsrk inp ann a where agaz pthe ine niv equipment, z m n i n 10th a sary k Water screen weeks of programming show, the programming r a g r y e a a r h v t p a i m 0 beach, was ruined ann in key feature of the rk production was nitsivmain ers water An existing, set upsa front ry and center under tents on1the ne npaSongs i r n 0th e a e v y i h r n screen, and this was retained for Wings 1but given a complete nn by the corrosion. It wasaexpected and part of the cost of1 t park i a z 0 n s i r a g y e e in sar above the center niv overhaul. production, rk ma 10th e of the set, the screen extends agaz a iverPerched nabove p i th an nprojection m z sary n n i r k a the space far out and the set’s main triangles. ECA2 but it a r e g e a v y h a n i t p m the water screen, creating in 10 rebuilt a new head rsar ann gazi a more focusedary highlights rkfor e a a h v t p i m 0 s n n 1 i n ne iver and powerful water stream andinthereby why new rsar y park a better projection nnsurface, 0th a 1 e a gazi e v y i h r n t i nn were inp 10 to retain those th abuildings gaz y and crispness and more ability e ersa with optimizedrsclarity r a n v i i a z m 0 n 1 a qualities even Two new Christie Roadster constructed to ark g y an ve in windy conditions. zine for the graphics,ewhich are nniprojectors inp rsar k ma apower 10th a r e g S+20k rear provideathe house additional a v h n i t p i n in n 10duplicated for image quality az s km ry and iver mag 0th a saprojection npar and redundancy. n 1 i r k n r e y e a a r v n ni lighting equipment inp azi 10th ersa in ivprotect ry th an ine n a mag z 0 n s 1 Lasers an effort to the a r a g y e r a ve in 0th electronics from sausage 1sensitive of lasers in Wings. anni Equally dramatic e Four green lasers viserthe agaz ark m ry i n h p i t n m z n 0 n i k a 1 a r ersa g and four new color elaser a v h a from 0 the previous show were repurposed the elements. n i t p i n z m n i 1 an ga rk y 10th inpa rsar k ma r e y e anni a r v n i p a i h n t z s n i r n 0 a 1 a ve ag ry ne 10th anni gazi y e ersa ark m r h a n v t i i a z m 0 s n 1 ga er rk y an ne nniv inpa rsar k ma aziwww.inparkmagazine.com 8 10th a r e g e a v h a n i t p i n m in 10 az th an park ary mag 0 s n 1 i r k r e y e a r inp rsa nniv 0th a azin 1 e a g e v y a i h r n t i n a 10 an rk m agaz vers ine ary 10th inpa anni e vers agaz ark m nni 0th a

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Sentosaagexpects 10th r azin to eventually redevelop rsar e structures that v e i v i n m n k rk h an show zine th an 0tnighttime sary npar and create a new sarythe area into a new iattraction inpa 1 r a 0 r 1 e g e v a v i elsewhere on the island when that time comes. n m ni ry ne th an park ary ine th an z 0 n s i 1 r a ersa gazi e g v v a a i i n n m m an an The Team park rk y e y inpa 10th 10th It’s impossible toinnot rsar azinof Time with Songsiof rsar e g want to compareaWings v e v i n m n n n y e ark comparison, one ry And even after a very th atell that saSea. inp inpcursory 10can rsar azin 0th a rthe 1 e g e v a v i i Wings is an evolution of Songs. 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Intellectual Property Values The industry speaks out on the evolution and future of IPs

dapting Intellectual Properties for the theme park industry is nothing new. From the first themed attraction at Disneyland in Anaheim, California, to Universal’s “Transformers” ride, IPs remain a lucrative aspect of our Industry. Key factors have driven the evolution of IPs over the years. As entertainment widens both globally and with new applications, opportunities for successful IP adaptations go beyond the traditional attraction rides. Non-traditional IP applications, such as resorts, live events and shows, mixed-use entertainment, immersive retail and seasonal guest engagement, have come to the forefront as a newly envisioned driving force in today’s themed and leisure entertainment markets. Additionally, there are more sources for quality IPs beyond blockbuster films and children’s properties. How people consume media has changed dramatically in the past several years. As a result, how the industry views content and how consumers use content, worldwide, is evolving to meet demand. Guests, and their expectations, have become more sophisticated. Today’s guest cares more about story and content. “The biggest evolution in the way we approach Licensed IP is a deep focus on integrating the IP seamlessly into the attraction,” says Greg Lombardo, VP Global Live and Location-Based Entertainment, Twentieth Century Fox Consumer Products. “We pay a lot of attention to storytelling that expands and supports the worlds of our franchises.” Brands with true staying power over time are the most successful. “Consumers truly engage with characters they know and love, and want an experience that re-engages them with that emotion,” says Senior Vice President Global Consumer Products, Sony Pictures Consumer Marketing, Greg Economos.

Jan Shaw WyldBlue Entertainment

Jim King WyldBlue Entertainment

Thinking outside the attraction box The growth of immersive and interactive retail, such as American Girl and Crayola, has fueled new opinions on how IP’s can be applied by developers. “The key or absolute critical factor to developing a brand is one that delivers on the promise of the brand,” says George Wade, President Bay Laurel Advisers, and former SVP MGM Studios Resort, Las Vegas. “Consumers are looking for richer and more immersive experiences relating to the brands.” Dan Wilson, VP of Global Retail at Saban Brands, licensor of iconic IP brands, such as Power Rangers and Paul Frank, adds, “Consumers want and expect extended brand experiences. We are always identifying ways in which to deliver on this and stay ahead of the trend.” Positive results from non-traditional resort-based IP applications and branded guest engagements and seasonal programs, such as Cartoon Networks’ Seasonal Guest Engagement at Atlantis Resort and Water Park, are a growth area for IP’s as well. At WyldBlue we were recently engaged by a developer to explore the opportunities for applying licensed IP’s to a 1,500 unit lateral hotel, a premium resort development that offers a combination of hotel, condo, townhouses and private home vacation rental accommodations with amenities and mixed-use entertainment. This family-focused, non-traditional

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“The biggest evolution in the way we approach Licensed IP is a deep focus on integrating the IP seamlessly into the attraction. We pay a lot of attention to storytelling that expands and supports the worlds of our franchises.” Greg Lombardo, VP Global Live and Location-Based Entertainment, Twentieth Century Fox Consumer Products.

format is a natural fit for an IP Master License. For the private equity client, this was not merely a marketing-driven consideration, but a profit-plus economic driver. New trends like these continue to change the landscape and expand the use of Intellectual Properties.

disadvantage,” says Paul Nunes, Esq., Intellectual Property Attorney, Partner, and Chair of the Intellectual Property Practice Group at Underberg & Kessler. “If you are not at least keeping pace with what others are doing, if not surpassing them, you are not in the game.” • • •

Touring exhibits and live stage shows also have seen explosive growth in the IP world. “Immersive experiences are the future of touring exhibitions with emphasis on universal brands or ideas,” says Heidi Pinchal, Principal of Brand Image Group. “Guests want to be part of the IP, to experience it, not to just interact with it. Theme parks have known this for years.”

Jim King and Jan Shaw, Principals of WyldBlue Entertainment, veteran Master Planners, Creatives, Project Managers and Problem Solvers for the Entertainment industry, specialize in IP Adaptation. www.WyldBlueEnt.com

The business side of IP Understanding the business aspects of the IP licensing process, players and personalities have evolved, as well. Studios, networks and brands look at licensing IPs far more strategically than in the past. Commenting on Sony Pictures’ future vision, Greg Economos says, “Global expansion is our big push. We recently announced a deal in Dubai and will be expanding our footprint with several of our IPs throughout the world.” Discovering which IP is a good fit for each project is only the beginning of the process. Licensors are vastly different, each with their own internal brand strategies and business styles. Understanding how licensed IPs work and the nuances of legalities, clearing and third party fees, makes all the difference in structuring quality IP licenses. Striking a balance between the cost, consumer awareness, value and profitability is the primary concern. A poorly structured deal can result in unexpected costs to the licensee that will negatively affect the cost to gain ratio. The devil is in the details when it comes to licensing any IP. “Those who do not consider IPs in today’s market are putting themselves at a competitive

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Cinematic experiences for all ages Exploring Wanda’s increasing role in the evolving Chinese themed entertainment landscape

Joe Kleiman InPark Magazine

hen Dalian Wanda Group announced the launch of 200 Wanda Kids Place children’s “theme parks” in August of 2013, it was one small part in an overall company strategy to make the Wanda brand synonymous with out of home entertainment in China. The 200 centers, when complete, will make Wanda China’s largest operator of commercial play centers targeting children eight years and younger. On October 31 2014, the 100th Wanda Plaza opened in the city of Kunming. Wanda Plazas combine a high end shopping center, office and residential space, and upscale hotels all on prime downtown real estate. Most of the Wanda Plazas are anchored by a high end Wanda Cinema featuring an IMAX auditorium. With each Wanda Plaza that opens, Wanda Cinemas maintains its bearing as the world’s largest cinema chain, following its 2012 acquisition of AMC Theatres in the United States. Through sheer number of locations, quality of experience, and inclusion of upscale elements, Wanda plans to make its mark in China and abroad. In the works in the United States are a $226 million investment in a Chicago waterfront tower slated to house residential and commercial units along with a luxury hotel and a $1.2 billion investment in a Beverly Hills project, which will house the company’s American entertainment production offices. In the UK, the $1.1 billion Nine Oaks will bring yet another luxury hotel, housing, and retail, to an area slated to house the US Embassy. In Australia, $900 million will be invested in a hotel which will anchor Wanda’s Jewel project on the Gold Coast.

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In China, Wanda is concentrating on cultural tourism. The term, as often used in China, refers less often to the traditional defintion of tourism to locations of historical cultural significance, and more significantly to tourist destinations. One such cultural tourism location is Wuhan, the most populous city in central China. As part of its effort to reinvigorate the city center, Wanda built two new attractions, both opening in December, 2014.

under construction. The company is currently developing full scale theme parks, waterparks, indoor ski resorts, and the world’s largest aquarium, all of which will integrate with the next generation of Wanda Plaza. The strategy is simple: be everywhere, be high quality, and be Wanda. Through name recognition and high value, Wanda plans on being the name recognized with the out of home entertainment sector.

The first is The Han Show, created by Franco Dragone with set and building architecture by the late Mark Fisher. In addition to extensive use of projection mapping, the lower tier of seating mechanically separates and relocates to the sides of the auditorium, creating a theater-in-theround experience surrounding a newly exposed body of water where water acrobatics and diving take place.

Which is why those 200 Wanda Kids Places are so important. Grab them young, get them acclimated to the brand, and keep them for life. It’s a plan that’s worked well for another entertainment company about to open its first park in mainland China. • • •

Opposite Wanda opens the first Kids Place park in Dongguan

Adjacent to the Han Show theater sits Movie Park, also architecturally designed by Fisher, with the park concept devised by Forrec. Within this space are five attractions, with animation and visual effects provided by four of the world’s leading visual effects firms. According to Doug Yellin, a producer on the project, “Walking into the conference room the first time was like walking into a Thea Awards meeting. All the big players were there.” Each of the attractions is unique unto itself and has its own theme. “Unlike Space Park Bremen, where everything had a central unifying theme,” says Yellin, “Movie Park is more like Futurosocope. Shows can be changed out by switching out the software.” Movie Park will usher in specialty cinema presentations and technologies that will be novel to most of its guest community. The complex of theaters will offer 4D presentations, interactive cinema experiences, flight simulation and more on an impressive scale. In addition to Yellin’s Mathilda Entertainment, other vendors on the project include Wincomm, Mousetrappe, Rhythm+Hues, and 7thSense Design. A retail district is tied in to the ground floor of Movie Park. This strategy of combining various components into a single multifaceted destination can be found throughout Wanda’s other cultural tourism destinations

Opposite, above: The Han Show theater lights up the entire area. Inside, the lower level of seating parts and swivels to reveal a pool for water acrobatics and diving.

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Finding the “Big Idea” InPark asks Gary Goddard about Chinese urbanization, Central America and how to get started in the industry

xplain to us what you see happening with China and reurbanization projects, some of which you have worked on. What role does themed entertainment play in those developments? Whenever we’re approached to help create a residential project, we look to contribute something bold and unique that will give it the chance to stand apart from the competition, and ultimately find success for our developer clients. We think the best example of that is Shenfu New Town, an entire new city we were involved in concept design for in 2009. Its 515’ foot Ring of Life monument helped put the city in the news and on the map. You’ve been known as a company that is often getting in early to new markets and iconic projects. Describe your role in developing these projects and how has that role changed over time? Getting into a market early tends to have the best results when your clients have existing theme park experience. While it isn’t a rule for use, we tend to lean that way, and it’s made a world of difference. Groups like Haichang, KW Zone, and Hengdian Studios have been a dream to work with, because not only are they excellent seasoned operators, but more importantly, they understand certain realities of designing new parks and attractions. How has the process of creating a design presentation changed over time?

Top: Shenfu Ring The 515’ foot tall Ring of Life monument at China’s Shenfu New Town has put the city on the map, and brought the development a wave of international attention.

Bottom: Lotte World Drones Goddard’s new Let’s Dream! show at Lotte World features the entertainment world’s largest fleet of drones, and is credited with increasing the park’s evening attendance by 35%.

Digital technology has certainly simplified the act of putting together the actual presentation, and we print it right here inhouse. As for our creative process, that has remained much the same over the years. We get everyone on our creative team involved and make sure all opinions are heard and considered, but that said, one of the reasons our projects have been so consistently successful is that we have a single person, whether it be me or one of my creative directors, driving the vision, just like a director on a film or piece of theater. Nothing great ever comes from consensus, there has to be someone with passion and vision that makes the final call on the key creative, vision, story and staging decisions. How do you know what the right solution is for a client? Is it an intuition (and if so how do you share that with your other designers) or is there a process?

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Each one of our projects begins with the search for the “big idea,” and of course – as I have stated so many times in interviews and in speeches around the world -- that’s finding the right idea, at the right time, at the right place, for the right market, for the right budget. To get there, our rule is to generally get beyond the more obvious “easy answer” which means it’s either like something else already in existence and is therefore not unique. We usually throw out the first wave of ideas and push forward until we find something that stands out as different, or surprising, or unique. That’s how we search for “the big idea” – engaging, emotional, immersive and surprising. Other times, we really are working without a net, so to speak. Total invention and redefining some part of the leisure or attraction universe. I love this process the most. It’s a much more challenging process in many ways, but also much more rewarding in the end. Mexico and Central America are increasingly becoming tourist destinations but themed entertainment seems slow to take root there. Why do you think that is, and do you see evidence of change? Our team recently made an exploratory trip to South America to take the pulse of the region. What they found is a market ready to explode, but still timid to pull the trigger due to the famous struggles of Hopi Hari and other parks. In countries like Brazil, where there are 200 million consumers hungry for quality entertainment, it’s only a matter of time before you see the development of world-class attractions, but we anticipate it’ll be another five to seven years at least before that’s going to happen. That being said, let’s remember that Walt Disney created Disneyland when the industry experts said “amusement parks are dead…” Walt felt that the market was ready for a new kind of “amusement park” experience, and Disneyland proved that if you respected the audience, and if you gave them something with value, that consumers would react. I think with that huge market in Latin America, when the “Walt Disney” of that part of the world creates a quality park, great success will follow. As for Mexico, at the risk of sounding hyperbolic, we’re working on a few projects that we believe will change the face of themed entertainment in the country and throughout the world. Hopefully we’ll be able to reveal the details in the coming months.

Two things come to mind. First, getting started would have been almost impossible without the generosity of mentors like Al Bertino and Rolly Crump, who referred me to my first jobs with Six Flags and Universal, respectively. The second is that nothing great happens without a strong advocate. The Forum Shops happened because of Henry Gluck, the Georgia Aquarium happened because of Bernie Marcus, our collaborations at Universal happened because of Jay Stein, and most recently, our eight attractions at Lotte World are a direct result of the support from the President of Lotte World, Dong-woo Lee. So, looking back, it’s clear to me that all the great turning points and great advancements we’ve made over the years have been the result of visionary leaders within our client’s organizations.

Gary Goddard is known for having helped invent the 3D/4D attraction genre, creating the first major themed retail center, the first interactive live action TV Show, and the most popular integrated casino resorts in the world. GGE builds upon that legacy creating legendary attractions and resorts for clients including Galaxy Macau, Studio City Macau, Georgia Aquarium, Lotteworld, and are now creating the next generation of theme parks in partnership with Cirque du Soleil.

What advice do you have for those young creative individuals looking to start a career in the industry? Find your passion. If it truly is themed entertainment, then do whatever you need to do to make it happen for yourself. Reach out to your idols, build relationships, set up meetings, hone your skills, and pound the pavement. Get experience and build your value any way you can, even if it involves working for little or no money. And inform yourself by seeing as much of life as you can. Don’t copy existing theme park attractions – instead – find inspiration in theatre, movies, real-world destinations. Learn the foundations for what makes a theme park or attraction work, but then expand and create new ways to surprise and wow the audiences of today. The industry is in the midst of one of its greatest revolutions yet, and if you truly love this medium, now is the opportunity of a lifetime to be part of the future as it unfolds before you. To cite a famous Ray Bradbury quote, “don’t talk about it, DO IT.” • • •

Gary Goddard The Goddard Group

Looking back on your career, what are some of the turning points?

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Curious about Everything Meet Dennis Tanida, AIA, LEED AP BD+C, hospitality and themed entertainment architect and recent addition to VOA Associates L.A. office

ecently named VOA Associates Design Principal, Dennis Tanida brings nearly 35 years of experience in the design industry to the company’s L.A. office, where he is poised to help the company expand its themed entertainment portfolio. InPark asked Dennis about his rich background and opportunities for the future. You have an impressive portfolio in the attractions and entertainment industry. How will you be helping VOA grow and expand? From Los Angeles, I will help lead and manage VOA’s design pursuits on the west coast with a focus on culture, arts and entertainment projects. The L.A. office will continue to expand our reach in the themed entertainment market by establishing a presence closer to the headquarters of the major players in the industry. What markets do you think are prime for growth in the architectural design sector? Improvements in the U.S. economy have brought significant increases in hospitality, retail and entertainment projects. Asia, especially China, have an overwhelming interest and enthusiasm for RD&E destinations and theme

Dennis Tanida, AIA, LEED AP BD+C VOA Associates

parks. As individuals, we seek environments designed for places to gather that promote a sense of community and belonging. We see a great deal of success in projects that deliver a sense of place. What are some of the trends you are noticing as themed entertainment expands to a global stage? New reservation technology will enhance the guest experience by reducing attraction wait times which will significantly alter the planning and design of theme parks. The theme park’s queues, food, and merchandise venue layout will change as less waiting in lines occurs, and guests will be seeking and expecting to fill their time with more engaging things to do. What advice do you have to people looking for a design career in themed entertainment design? Be curious about everything. I imagine most people in the themed entertainment design world did not follow a prescriptive path to get to where they are today. Be knowledgeable about the themed entertainment business, dabble in everything, and seek to meet and learn from a diverse group of people in the industry. Be willing to take risks. The most amazing opportunities arrive when you least expect it. That’s been my experience. How important is building green to developers around the world? Sustainable design is essential for each project whether the client’s scope requires it or not. Designing our entertainment venues intelligently and sustainably saves developers money by reducing ongoing operational costs. Whether the features are explicit or implicit, our future entertainment venues can certainly be a showcase for great imaginative sustainable design. What are your favorite examples of architectural design that has helped push boundaries and advanced the industry?

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In themed entertainment design, there are two aspects of architectural design – iconic structures and place-making venues. As a child growing up in Southern California, Sleeping Beauty Castle at Disneyland was an iconic design that evoked fantasy, magic and wonder. Little did I know that in my career, I would be the design architect for the Fortress at Tokyo DisneySea, which is the castle icon for that Park. Spaceship Earth at Epcot is another iconic structure that provides the imagery and setting for the Epcot experience. Not only is it the symbol for Epcot, it also contains an incredible attraction inside the sphere. These kinds of buildings have contributed to the indelible iconography of themed entertainment architecture. As for place-making venues, the first totally immersive environment was New Orleans Square at Disneyland. It was not a duplication of the real French Quarter, it created a romanticized version that evoked the French Quarter with an

incredible Pirates attraction, authentic shops and themed food. It created a fully dimensional experience for guests of sight, sound, touch, taste and smell. Why did you decide to join VOA? The opportunity to do great work in a collaborative manner was the key reason to join VOA. They have an incredibly talented group of individuals who are passionate about entertainment projects. The client list is top notch and I hope to continue developing those magical worlds our guests want to inhabit. • • •

VOA Associates VOA Associates Incorporated, founded in 1969, is an international planning, architecture, interior design, and landscape architecture firm with offices located throughout the U.S., China, Colombia, and Brazil. VOA has extensive experience designing theme park attractions and entertainment venues world-wide, and has been a supporter and member of the Themed Entertainment Association (TEA) for the past seven years. Dennis Tanida, AIA, LEED AP BD+C can be reached at dtanida@voa.com.

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