InPark Magazine Issue #75 (November, 2018) by InPark Magazine

Attraktion! wows UAE guests with Cinesplash 5D

#75 • volume 14, issue 5 • 2018 www.inparkmagazine.com

Markus Beyr CEO of Attraktion! GmbH

New attractions

From Disney’s Toy Story Land to a VR hunt for Jack the Ripper, we look at the latest themed experiences

Chinese tourists Who they are, how they travel and how to serve them

WWA in Vegas

What to expect from the annual waterpark symposium & expo

Join us at Booth #1686 at IAAPA 2018 to find out more about powerful tools for powerful experiences

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Happy anniversary!

Evolve or perish!

Judith Rubin, IPM editor

Martin Palicki, IPM publisher

usiness 101 stresses that companies must change to meet the needs of an evolving marketplace. Our industry is no exception. From Attraktion!’s product rollouts to WhiteWater’s branding initiative, new ideas have to be backed up periodically with fresh business models and strategies. The principle also applies to people. Folks like Jumana Brodersen, Mark Andrew, Yves Pépin and Geoff Thatcher all have impressive skillsets, but their success relies on being able to adapt to different environments, including navigating from being part of a corporate team to becoming an entrepreneur. Magazines evolve also. InPark certainly looks different than it did 14 years ago – for one thing, this is our largest issue ever – and I think we have learned to serve the industry in a way that is helpful, timely and differentiated from other media outlets. We also are taking the good news of themed entertainment into different markets, particularly tech and A/V arenas. Towards that end, we have shuffled our calendar around for next year in order to provide additional distribution at the Integrated Systems Europe (ISE) conference in Amsterdam. That issue will publish in December, shortly after the IAAPA expo and will also have distribution at Dubai’s DEAL show. We will be working on stories for that end-of-year issue in Orlando during IAAPA, so please come see us at booth #1771 if you have a good story for that issue. We’ll have back issues from the year available and a friendly ear listening to ideas and suggestions from you. Joe Kleiman is News Editor for the InPark website. He has 25+ years management experience: in tourism, museums and attractions, in the giant screen industries and as a zookeeper. COVER: This summer, Attraktion! opened a Cinesplash 5D theater at Yas Waterpark in Abu Dhabi, UAE. Markus Beyr, CEO at Attraktion!, talks about the evolution of the company and its various products. Full story on p. 26

have been reporting on the world of visitor attractions for three decades. I’ve been on staff with InPark since 2010, but my start was at World’s Fair magazine in 1987. A world’s fair is a major land development conceived, designed and built on a compressed schedule, with entertaining and educational exhibits, corporate sponsors, hospitality components, transportation, food and beverage and an international audience. Ideally, it’s innovative in design, guest experience and placemaking, with significant, long-term positive impact on its region… you see the connection… Thirty years in one industry is long enough to create a lot of relationships. It’s also long enough for new generations to pop up who don’t know you from Eve. The industry is a better place when we are able to pause and get acquainted to learn from and appreciate one another. Today’s technology simplifies the job. Someone can quickly research who you are and what you have done. That is assuming you’ve taken steps to ensure there is something to find – your profile, case studies, photos, industry ties, awards, rebrands and milestones. InPark is a resource for creating such records – we’re a vehicle of institutional memory for the industry. We’ve even got our own archives project going – re-publishing online InPark’s vintage issues. As we all keep evolving and moving forward, don’t rest on your laurels - but do make sure they are documented and published somewhere.

team & contributors PUBLISHER Martin Palicki EDITOR Judith Rubin CONTRIBUTING EDITORS Joe Kleiman, News Editor Jim Ogul, World’s Fair Editor DESIGN Joshua Ayala Martin Palicki

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CONTRIBUTORS Mark Eades Maris Ensing Rona Gindin Scott Harkless Philip Hernandez Jessica Mahoney Freddy Martin Cliff Reeves Jay Rottinghaus George Walker Rick West Cindy Emerick Whitson

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FEATURE

COVER

#75 • volume 14, issue 5 6

A Lotte water Creating an underwater themed playland in Seoul by Martin Palicki

Chinese tourists A primary and growing market for visitor attractions by Rona Gindin

Character building How Animax is driving innovation in animatronics by Jay Rottinghaus

Project management methodology nFusion’s program management process designed for success • by Rona Gindin

Redefining play in Disney parks Toy Story Land comes to Orlando • by Martin Palicki

Giving back Michael Mercadante prepares to take the helm as TEA’s new president • by Joe Kleiman

Mad Systems’ paradigm shift Audience targeted media delivery and LookingGlass Concierge • by Maris Ensing

Creating magic with light Focusing attention on Mark Andrew and Remarkable Light • by Philip Hernandez

From cave tours to spinning coasters A look inside Herschend Enterprises by Philip Hernandez

Photo printing snapshot A conversation with DNP’s Cliff Reeves on adding photographic value for park guests

The pearls and pixels of Attraktion! Cinesplash 5D opens in Abu Dhabi, highlighting the company’s attraction capabilities • by Martin Palicki

Looking back on looking forward Eight takeaways from eight years of ‘Design Trends’ presentations • by George Walker

Envisioning Enjoyland A development and placemaking discussion with the team from Stantec

A Desperado, with pirates Benoit Cornet’s ride from corporate finance to Alterface and interactivity • by Joe Kleiman

TPG tackles Orlando The Producers Group expands around the world, including Orlando • by Rick West

102

Cut the ribbon! Lexington employs its design-build process to bring Idaho’s past into the future • by Joe Kleiman

Fire and water Yves Pépin, artist of the spectacular • by Judith Rubin

106

Breaking waves ADG’s new wave technologies and integrated features by Jessica Mahoney

Cinematic-style Virtual Reality Jack the Ripper is virtually back in Hollow Studios’ new VR world • by Mark Eades

110

Theming beyond the theme park Jumana Brodersen and JCO - Ten years of creating immersive environments • by Joe Kleiman

Entertaining the possibilities A look inside WhiteWater’s creative process and new branding • by Martin Palicki

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Miziker’s momentum Miziker Entertainment celebrates 35 years of showmanship • by Freddy Martin

Fly us to the moon nWave’s bold journey continues • by Judith Rubin

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Inside the experience designer’s studio The Hettema Group keeps the creative spark alive by David Paul Green

Everyone loves a parade Technology that makes parades flow through a park with ease • by Scott Harkless

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Moving and grooving Dynamic Attractions’ endless possibilities, pioneering rides • by Cindy Emerick Whitson

Gordo at the park Geoff Thatcher on the experiences that led him to pen his first novel • by Martin Palicki InPark Magazine (ISSN 1553-1767) is published five times a year by Martin Chronicles Publishing, LLC. 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Shipping address: 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Phone: +1-262-412-7107. Printing by Johnson Press of America. Contents © 2018 InPark Magazine. All rights reserved. Nothing in the magazine may be reproduced or used in any manner without the prior written permission of the magazine. InPark Magazine is not responsible for unsolicited manuscripts, photographs or illustrations. Such material must be accompanied by a self-adressed and stamped envelope to be returned. Postmaster: Send address changes to InPark Magazine 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Subscriptions are available annually for $45 per year ($70 international). Opinions expressed in editorial matter are not necessarily those of InPark Magazine or its publishers, Martin Chronicles Publishing, LLC.

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A Lotte water Rethink Leisure and Entertainment helps create an underwater-themed playland for children in South Korea By Martin Palicki

otte World Undersea Kingdom began when South Korea-based, multi-national conglomerate Lotte Corporation turned their attention to the growing kids’ leisure market. According to Cara Park, Assistant of Operation and Management for Lotte, industries catering to children in South Korea experienced a growth rate of 70% from 2009 to 2014. Like many other places in the world, kids (and their parents) were seeking quality entertainment experiences, and they were willing to pay for it. With that in mind, Lotte Corp. - perhaps best known for the indoor/outdoor amusement park in Seoul, Lotte World - began to develop what Park calls “a special theme park at the level of Lotte World, but only for kids.”

Lotte wanted an interactive, deeply immersive facility. They wanted to transport their guests to a unique place, well differentiated from a normal everyday environment. That led Rethink to explore a number of possible ideas, including: • A forest setting that would allow children to view the world from the viewpoint of woodland creatures • A fantastic city where architecture is exaggerated and out of the ordinary • A superhero training camp where each child becomes the star of the show • An immersive underwater adventure

Lotte turned to Rethink Leisure and Entertainment to come up with concept designs for the park. Mike Pharr, now Interim CEO at Rethink, was Rethink’s producer on the project when he got involved in early 2015. “Lotte came to us with the idea that they were going to launch as many as 20 properties that were somewhere between entertainment centers and indoor theme parks,” says Pharr. “They wanted a number of thematic ideas that they could choose from for the initial location, with the potential to do multiple versions with different thematic overlays.”

The last idea is the one that most appealed to Lotte, and Lotte World Undersea Kingdom was born. “We chose the underwater theme to provide children with a chance to meet the subsea world in the center of the city,” explained Park. “It is a familiar and attractive subject that kids can easily conceptualize.” Undersea Kingdom contains 14 attractions spread out over two floors in nearly 60,000 square feet of Lotte Mall Eunpyeong in Seoul, South Korea. According to Pharr, Rethink started off just providing concept design, but the scope of the job expanded and evolved to include additional roles. “We were involved in an education process for Lotte to help identify program requirements and find ride systems that would work with the specific logistics of this property.” The mall was already under construction at this point, so program and creative content had to be integrated with structural and mechanical specifications that were already being built. Because the space had already been identified and structural components already determined, it was similar to working in a retrofit environment, only with a brand new building.

Kingdom • Seoul, South Korea

The completed Lotte World Undersea Kingdom in Seoul, South Korea Photo courtesy of Rethink

The building’s column grid, for example, provided challenges in design and masking. Rethink worked to incorporate ride space around the columns so that the

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Rethink’s concept for Lotte World Undersea Kingdom was designed specifically for young guests and takes them into into an ocean-inspired landscape Image courtesy of Rethink

attractions would conceal them. Those that were not able to be tucked behind rides were given full thematic treatment. “If you imagine looking up from underwater, you see things like coral and seaweed and a variety of beautiful things that would exist in that world,” explained Pharr. “While we were wrapping them with column covers, we also layered them with pieces of coral, seaweed, bubbles and other components that seemed natural and not just rigid or inorganic.” The team also used movement and lighting fixtures to help draw the eye away from nonthematic components. Rethink also worked with Lotte to help do a basic feasibility analysis, to help ensure the project would be sustainable in the long run. According to Pharr, there are not a lot of comparable projects in South Korea to draw data from, but the team made extrapolations from Lotte’s own existing properties and other parks in the region. “Once we back-filled in that data we were able to figure out the right mix of attractions, food & beverage and retail for the park,” said Pharr. Rethink provided additional creative services by developing original characters for the park. “We came up with specific characters for the undersea theme that would interact with their own existing characters and complement their stable of IP,” said Pharr. Finally, Rethink also provided guidance on vendor selection for the attractions, with a global array of leading providers including Zamperla (Italy), Sunkid (Germany), Playtime (USA) and TeamLap (Japan). A team of local contractors selected by Lotte completed the build-out and fabrication of the park, which opened in December, 2016.

Since the park opened, response has been positive from local families. The park is now also starting to see more visitors from overseas, as well as growth in visits from school and church groups. According to Park, for the period January through June, attendance increased 53.5% from 2017 to 2018. Additionally, Park stated the park began an international marketing campaign this past April and international visitors rose 1,001% from the second to third quarter of 2018. Even though the rides are the main attractions of the park, Lotte is proud of creating the immersive environment that they set out to build at the very beginning. Park cited the attention to design and detail. “We focus on the rides as well as the park interior, entertainment options, music, restaurants and shops,” she said. “This project was a new challenge for us, and we are glad we selected Rethink for their experience and skills in creating highly themed facilities.” “We love designing attractions, but if ideas just stay on paper, then no one gets to experience them,” said Pharr. “We love how Lotte was able to take our designs and truly achieve the goal of creating a fun and immersive kids’ theme park.” Lotte is looking forward to opening additional facilities as originally planned, exploring some different overlay themes to differentiate them. “We are proud of what the team accomplished in creating an undersea world in an indoor park facility,” said Park. “We are excited to create more unconventional theme park experiences for children in the heart of Seoul.” • • •

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Character building How Animax is driving innovation in animatronics By Jay Rottinghaus, Animax Designs

huck Fawcett likes to say that he’s already seen the future. He can’t reveal too much about it, for fear of altering things, but he can tell you that it involves disruptive innovation and endless possibility. After nearly three decades of successes, setbacks, challenges, and change, his company, Animax Designs, finds itself in a position to help drive that disruption, barreling towards Fawcett’s golden vision of tomorrow. In the beginning was the puppet… When 21-year-old Chuck Fawcett started his puppetry, animatronics and interactive character company in Nashville, TN in 1989, industry models were limited, but there was great, recognizable potential. This potential was visible in Jim Henson’s cinematic masterpieces such as “Labyrinth” and “Dark Crystal,” which re-imagined and revolutionized what puppetry could accomplish - and inspired Fawcett to become a puppeteer in the first place. The potential could also be recognized in the work of Walt Disney Imagineering, having re-created America’s founding fathers in stunning detail with its Hall of Presidents. And it was evident in the innovations of Nolan Bushnell, co-founder of Atari and Chuck E. Cheese, who introduced America’s first animatronic band. From that potential came opportunities, and it was Fawcett’s desire to capitalize on those opportunities that led to his creation of Animax Designs. From the start, there was no shortage of naysayers. Nashville may

Animax Designs founder Chuck Fawcett

be Music City, but it’s not exactly known as a nexus of puppetry and animatronics. The Animax team’s scrappiness and ability to adapt have been key to the company’s longevity. “We’ve just figured things out as we’ve gone along,” explains Chuck. “When the tide pulled us to the theme park industry, we took full advantage of it. When that tide receded, we concentrated our efforts on television, live shows, and whatever other creative outlets we could find. We followed the ebb and flow to wherever we could get the work.” “The through line of all that change in our company and our presence in the industry has been our desire to be the best at whatever medium we were engaged in at the time, whether it be puppetry, animatronics, or interactive characters,” says Chuck. “It also points to our willingness to experiment with higher and higher levels of engineering, while making sure not to lose the art and beauty of the characters we are creating.” Twenty-nine years later, Fawcett and Animax are at the top of their game working with a global clientele in the themed entertainment, live attractions, and location-based entertainment industries including The Walt Disney Company, Nickelodeon, NBC Universal, Warner Bros., Sesame Workshop, Viacom, Six Flags, Feld Entertainment, and SeaWorld Parks and Entertainment.

An artist applies finishing touches to an Animax character

Animax’s future-focused approach and relentless pursuit of excellence (what Chuck Fawcett wryly calls his “stupid determination”) have catapulted the company into a

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new period of explosive growth. To meet increasing production demands, the company has expanded from 35 to 130 employees and moved from a 22,000 squareft studio to an 80,000 square-ft, state-of-the-art facility. The company has also brought on new managerial and executive staff to address branding, strategy, human resources, operations, and business development, as well as “in the trenches” disciplines of project management, creative direction, engineering and production. Introducing the Innovation Lab To further position Animax as a change agent in the animatronics industry, the company has recently launched their Innovation Lab to explore new and untapped ideas. Mechanical systems engineer Jordan Neal, who has worked with Fawcett on Animax research and development (R&D) initiatives in the past, is part of a new innovation “dream team” led by Rob Gosnell, an accomplished electrical and computer engineer with R&D experience in the public and private sectors. Also joining the team is Louis Richardson, a mechanical systems designer who also has a background in concept art and illustration. As the Lab moves into its dedicated space in Animax’s studio in the coming months, Fawcett, Gosnell, Neal, and Richardson will assess the team’s needs and fill out the remaining positions. Says Chuck, “the Innovation Lab will challenge both us and our clients to think bigger about what we can accomplish.” Fawcett’s vision for the Innovation Lab rests on three basic tenets. First, the physical Lab will be separated from the rest of Animax, operating in an independent fashion so as to improve efficiency and remove typical layers of approval. Reporting directly to Fawcett, the team will be free to “blue sky” as it wants, as it will not be saddled with the burdens of production budgets and schedules.

Members of the Animax Innovation Lab team All photos courtesy Animax Designs

Sir Richard Taylor of WETA Workshop discusses servo actuators with Chuck for an upcoming collaboration

Second, electromechanical actuators will be the Lab’s initial focus. Actuators, the robotic equivalent of human muscles, often pose the greatest challenges to animatronics design and function, yet at the same time offer the greatest upside. The team will assess past and present actuator solutions, as well as what they envision for the future. In addition to evaluating its own internal processes, the Lab team will draw heavily from other industries, identifying new technologies, techniques, and materials. Creating “The Ultimate Animatronic Character” The third tenet, making robotics a linchpin of the lab, is rooted in a shift in focus taking place within the company. Fawcett doesn’t want to dispense with the studio’s live performance or puppetry roots, but instead to slingshot that legacy into a high-tech, focused product – the ultimate animatronic character. “It’s hard to formulate that into words,” said Chuck. “But if I were to try, I would describe it as ‘an organically engineered robot wrapped in a transformational character sculpt.’ That captures the essence of what we will accomplish using advanced robotics.” The Innovation Lab will be the physical manifestation of that re-branding, engineering game-changing robotic solutions for the company and its clients, and never-before-seen character technology for the industry. Exploring new realms There’s a reason Chuck Fawcett chooses not to label his unique endeavor an R&D department. “Research often lacks an end goal, and the world ‘development’ can leave you wondering, ‘for what purpose?’” he says. “Whether it’s a little idea captured from a trade show or the big disruptive one, we are making a commitment to not leave any project without an endgame or resolution. The result may often be a dead end, but regardless, we are committed to producing results.” The name “Innovation Lab” also offers a bit of intrigue: “it evokes a 007-style air of mystery, like, what is Q conjuring up now?”

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The strategic advantages of the Lab are risk mitigation and process efficiency. The Lab effectively removes the responsibilities for innovation from the studio’s production teams, as well as the risks inherent in innovation. Now, by the time new technologies are introduced into the production process, they have already undergone a rigorous process of trial and error. As Gosnell explains, “We are too often reinventing the wheel from project to project. We thought, ‘let’s help our production teams and our clients find ways to reduce project schedule and cost implications with our already vetted solutions.’” The Innovation Lab’s advanced solutions have the potential to turn the shop into a showroom. Fawcett, Gosnell and team have the intent to build up a new line of breakthrough products that will be state-of-the-art yet fully factory tested. They see it as a win-win approach that will result in new products and new ways of developing business. “Imagine state-of-the-art bipeds, animated drones, and robot hexapods parading around the shop floor during client visits. The Lab, and the products derived from it, will enable us to introduce clients to solutions that they didn’t even know existed,” says Chuck.

An Animax technician programs a talking character head

“The world of animatronics isn’t dying out – the way physical characters are used is just evolving,” says Gosnell. “Instead of being the sole focus, they’re being used in conjunction with other technologies to add depth and reality. No matter how realistic a VR environment is, you still know that you’re in a VR room. You need something physical to fully connect you with the IP and the story.” “Steve Jobs and that branch of the tech industry have done a major service to the animatronics sector,” adds Chuck. “Our entire society is so used to having twodimensional media in their laps that it has become commonplace, almost boring. People crave ‘different,’ so when they go to a theme park or location-based entertainment experience, they want something other than flat media. Physical characters and environments fill that need and craving. Our challenge now is to stay ahead of that curve and try to predict the next trends that will inform tomorrow’s character types and storytellers.”

Director of R&D Rob Gosnell studies a robotic spider

The future of animatronics As industry technology becomes increasingly sophisticated, and the demands of clients and audiences become increasingly rigorous, the question remains as to where animatronics will fit into the future of themed entertainment. To Fawcett and team, what they perceive to be the excessive use of such digital technologies as AR and VR only serves to solidify the case for authentic, tangible, characters - and Fawcett foresees a pivotal role for animatronics for many years to come.

As far as what else the future holds? Chuck Fawcett is keeping his predictions to himself. “For now, I’ll just smile, keep dreaming, and watch it all unfold.” • • • Jay Rottinghaus (j.rottinghaus@ animaxdesigns.com) is VP, Strategy and Business Development at Animax. He leads the company’s strategic initiatives across the entire firm, ensuring that client objectives are met with creative and operational solutions and that innovation drives future growth. Contact Jay to schedule a meeting at the IAAPA Attractions Expo, November 12-16.

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Redefining play in Disney parks

The larger-than-life entrance to the new Toy Story Land at Disney’s Hollywood Studios in Orlando, Florida

Toy Story Land’s North American June 2018 debut marks a sea change in the guest experience at Disney parks By Martin Palicki

oy Story Land at Walt Disney World Resort in Orlando, Florida is the company’s fourth installation of the land themed on the popular Pixar film franchise. Walt Disney Studios in Paris, Hong Kong Disneyland and Shanghai Disneyland each have a version of the land, customized with varying assortments of themed rides and shops. The Orlando iteration seems the most fullyrealized, taking guests into a scaled-up version of Andy’s backyard that enables visitors to experience it from the toys’ perspective (Andy is the human character in the films who owns the collection of adventurous toys). It also marks a formal change in how attractions are presented at Disney’s Hollywood Studios, and across its theme parks. And with the addition of a new in-park app, guests can immerse themselves even further in the worlds of their favorite characters and stories.

Slinky Dog Dash According to the backstory, Andy had been playing in the yard, assembling a model coaster for his Slinky Dog to ride, when he got called away. That is the moment we enter the scene, and are allowed to roam around the backyard while green army men perched around the perimeter are on the lookout for Andy’s return. To understand the scale of the land, these green army men, normally about two inches tall, are the size of humans. Tinker toys and Christmas lights tower above the walkways, and giant footprints in the ground indicate Andy has been through here recently. “We always start with the films,” said Walt Disney Imagineer Ryan Wineinger. “We take the themes and values of the films and brainstorm tons of new ways to bring those stories to the land.”

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Two new attractions are unique to Orlando among the four Toy Story Lands and complement the existing Toy Story Mania! interactive dark ride, which was expanded to allow for additional throughput. They are a spinning flat ride, Alien Swirling Saucers, and Slinky Dog Dash, which is the new centerpiece of the land.

“Everything in the land has to have the authenticity of a real toy you could find at your local toy store,” said Wineinger. Although Disney is typically pretty quiet regarding vendors, Wineinger acknowledged “it takes a village of experts from around the world to bring each one of these experiences to the guests.”

“We wanted to celebrate the multigenerational family experience because we knew that was something Disney’s Hollywood Studios would greatly benefit from. So every experience we developed touched on that,” explained Wineinger. “It just so happens that in this case one of those experiences is a coaster. We thought it would be wild to imagine Slinky Dog wrapped around a toy coaster play kit.”

The Bigger Picture Toy Story Land marks the beginning of a transformation of the Disney’s Hollywood Studios park, as well as a shift in how guests will experience Disney parks. Instead of observing a story, Disney wants guests to find themselves within the world of their favorite characters. As opposed to a linear approach like the original Fantasyland dark rides (Peter Pan’s Flight, Snow White’s Scary Adventures, Pinocchio’s Daring Journey, etc…), non-linear storytelling experiences create a moment in time, allowing guests the opportunity to discover elements, treats and surprises on their own terms. Design focus turns to placemaking and creating an environment suitable for guests to engage in a bit of roleplay. You don’t get to be Mr. Potato Head, but you get to hang out in his world for a while.

With just enough thrill to keep adults interested, but not too much speed to frighten away kids, Slinky Dog Dash hits that perfect middle ground of appeal to a wide range of ages. “Slinky Dog is charming,” said Kathy Mangum, Senior Vice President, Walt Disney Imagineering. “It’s fun watching kids come off the coaster - they look like they’ve conquered the world, because it’s not an extreme coaster, but they have taken on something big.” Disney’s trademark attention to detail is evident throughout the land. Giant “Cooties” toy bugs inhabit the area surrounding the bathrooms. A large wrench in the queue for Slinky Dog Dash is sized precisely to fit around the columns supporting the “toy” track for the coaster.

“We are not trying to tell you a story with a beginning, middle and end,” explained Mangum. “[Disney’s Hollywood Studios] is still about movies, but we want you to experience movies by putting you into them.” Toy Story Land is what WDI considers Phase One of the park’s transformation. Next year, guests will be able to walk onto a different planet at Star Wars: Galaxy’s Edge and step

Human-sized green army men keep a lookout for humans while Slinky Dog Dash passes by in the background

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into a cartoon with Mickey & Minnie’s Runaway Railway, continuing the metamorphosis of the park. “When I worked on Cars Land for Disney California Adventure, we learned that walking through Radiator Springs and Route 66 was something people love doing, even if they haven’t seen the films,” said Mangum. “That told us we were on to something. So you see that with Avatar (Disney’s Animal Kingdom), Toy Story Land and we will see more of that in the future.” “The great thing about Pixar films is they create really appealing places that you want to visit – it’s not only the characters but the actual locations in the films,” says Mangum. “When we are doing our blue sky brainstorming and start to come up with more ideas than we possibly have room for, then we know we’ve got a really good premise to work with. ‘Toy Story’ was exactly that kind of situation where we had to edit down our many ideas - that is a rewarding process.” • • •

The Slinky Dog Dash roller coaster moves like a Slinky during this portion of the ride.

Play Disney Parks This summer, Disney unveiled a new app to help turn wait time into play time while guests are visiting their parks. The app contains five core components: • In-line entertainment (activities, games) • In-line special effects (guests trigger special effects as part of game play) • Apple Music integration • Achievements for completing certain activities • Disney Trivia The trivia and music can be accessed anywhere, but the remaining components are available only while at Walt Disney World and Disneyland. Most of the in-queue games are designed for pass-nplay so only one phone is needed per group. While only a limited number of attractions currently offer games, the team is planning on continually rolling out new experiences and special effects to trigger within the parks. Within the app, there are similarities between the California and Florida parks, but the experience is not identical. Peter Pan’s Flight in Florida is unique in that

it has a lantern in the queue guests can activate to see Tinker Bell. In the Florida Space Mountain there is a space race where guests can build a spaceship and see it launch on the projectors in the ceiling overhead. The app is a collaboration between many groups including WDI, the Disney Parks digital experiences group and various design teams. “We are always interested in how we can give our guests the ability to interact and engage more deeply with the stories and the undiscovered secrets of our lands,” said Josh Gorin, Executive R&D Imagineer, WDI. “Now we take this device that people are already bringing into the parks and instead of it being something distracting or isolating, we can get them to look up and around and engage with the world.” In addition to adding more games, future plans include augmented reality experiences and more levels of interactivity. “We think this is the start of a really cool way to add a new layer of storytelling and activity for those guests who want it, without impacting guests who don’t,” said Gorin. •

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Every project begins with a story Our team of wildly talented design professionals create compelling and memorable guest experiences.

Contact:

Greg Meyer, PLA, ASLA Stantec I Principal (407) 496-8328 Gregory.Meyer@stantec.com

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Mad Systems’ Paradigm Shift Audience targeted media delivery and LookingGlass concierge By Maris Ensing, Mad Systems Mad Systems rolls out a new, state-of-the-art system designed to give museums and visitor centers great flexibility in programming, customizing media delivery and generally enhancing individual and group experiences.

magine an exhibit where the media is delivered in a way that reflects your preferences and needs as a visitor. Content is presented in your preferred language. Exhibits become accessible to you regardless of limitations such as height or visual impairments. Your skill level and interest in a certain topic are taken into consideration when you experience an exhibit. All of these preferences are selected by you, the visitor, at the beginning of your museum experience, and audience targeted media delivery ensues using a variety of trigger methods. This paradigm shift creates a user experience truly unique and meaningful to you and to each visitor, and leaves a lasting, positive memory to be shared with friends and loved ones. Introducing QuickSilver™ The Mad Systems team had been doing experiments with micro-miniature, non-proprietary computers that - with the right software - can perform amazing feats. Combined with the availability of less expensive monitors and the cost reductions of laser projectors, as well as the increased stability and performance of WiFi systems, the first ideas quickly turned into reality. These innovations allowed us to produce and introduce the QuickSilver™ audiovisual system. The rule-based, QuickSilver™ system displays content based on a variety of pre-determined trigger methods, including buttons and infrared sensors and tags. However, our team also considered the new-age audience that essentially demands a unique experience in order to create that lasting impression, and we knew that more had to be done. How could we shift the paradigm in the way we deliver exhibits? Then came the next bright flash of an idea, and the thought of using Facial Recognition or Color Recognition technology to control media delivery in our industry.

All images courtesy of Mad Systems

Unique simplicity QuickSilver™ is a free-standing system, as is the Facial Recognition system - but used together, QuickSilver™’s simple component list creates a uniquely flexible audiovisual system that allows for personalized media delivery. The basic QuickSilver™ system itself is considerably more affordable than traditional AV systems. All hardware components are non-proprietary, have internal memory, and can be controlled and updated using WiFi. Components include: • Micro-miniature media server capable of producing hidef or 4K media. Support for 10+ subtitle languages. Audio configuration allowing for multi-channel audio or a number of audio tracks with capability to switch between different tracks (languages) even while media is running. Plug it in the back of a monitor or projector, and it needs no further attention. Control is through WiFi. • Audio server, even smaller, with optional built-in 25W amplifier that not only does all the things expected from an audio replay unit, but also allows generating realistic sounding, non-repeating, randomizing audioscapes - to replace the aggravating monotony of looping audio.

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• Minuscule sensor/button/LED/input/output adapter; easy to hide in a reading rail or behind a motion sensor. Allows up to a dozen button or sensor inputs, can drive LEDs for feedback, can take other, unusual input signals without having to be wired back to the server or other equipment it controls. • Programmable show control system to tie it all together - so when a button press or a motion detector activation is reported, it dims the lights, starts a show, sets the volume, and deals with a host of other possible inputs and outputs to create a coherent response. • Media storage unit that allows end user to just change media files: simply update the master media files and the system handles the rest. • Mesh-based, wireless power control network allows system to be turned on and off automatically. • Solid, commercial quality WiFi backbone Content everywhere With these components in place plus low-cost laser projectors and monitors, things change. Dramatically. The QuickSilver™ media server and the other components fit in the palm of your hand; plug into a laser projector or monitor - the other essential ingredient - and you can now run different media onto a simple, painted surface. With memory now no longer an expensive ingredient, the media server can accommodate several high-quality video files, so no need to run extenders. The system elements are essentially autonomous - they contain all their own media, and can be programmed to loop their content, so that even without the control system there is content everywhere. Infrastructure is now minimal, and cost reductions significant, with some WiFi points around the space, and some cabling for more complex interactive solutions, but enough of a change that the installation of conduit is potentially massively reduced. The need to coordinate details between the EC and AV installation teams is

A schematic for some of QuickSilver’s wireless possibilities.

reduced, cabling costs are reduced, and cable installation costs are more or less gone. With no physical contact between components, even power phasing is not really an issue anymore. The QuickSilver™ wireless network only carries control commands during the normal day, so control bandwidth is not a problem. Visitor experience QuickSilver™ facilitates customizing the visitor experience. A simple push of a button on a smartphone or tablet can change all the content, or the content of specific exhibits. If there’s a need to run subtitles in English, Spanish, or any other pre-programmed language in the theater – once selected, the system takes care of the rest, even if the show has already started. With the addition of the patent pending, facial recognition option, the delivered content can be fully personalized, based on preferences selected by each visitor. If a visitor selects their preferred language as Spanish, their show will be presented in Spanish, or if it is a mixed audience, possibly English with Spanish subtitles. A visitor who prefers physics to history? No problem, physics it is. Limited time? The system will run the shorter version of the media file. Accessibility needs? QuickSilver™ will lower the buttons on the touchscreen. With other accessibility options such as higher audio volume, or high-contrast media, QuickSilver™ helps meet ADA requirements. If needed, nearby exhibit experiences can be paused, for instance to allow for a docent introduction. If, for some reason, a facial recognition based control system is not acceptable, a secondary option in the form of our patent pending Color Recognition Controlled Media Delivery allows you to deliver content to a group

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• Help family members locate one another other using signage or personal devices, and even give progressive directions (lost kids, etc.) • Help venue operators to ensure that parents cannot leave the facility without their kids • Help operators and parents to ensure that kids stay with their family or group and do not depart the facility with unauthorized persons • Help visitors to retrieve pictures, videos, prizes, and purchased merchandise for the entire group when convenient during their visit of visitors, such as kid-friendly content to a school group who arrive in matching uniforms or baseball caps. Flexibility and future options The flexibility of this system can apply beyond visitor interaction and personalization. QuickSilver™ gives a facility the opportunity to make changes to their programming at their leisure, whether a holiday presentation or adding new research to a science exhibition. QuickSilver™ media may be updated by simply changing the content on a central drive. Change a file, and QuickSilver™ detects the revision, uploads it to the relevant device and the updated content is instantaneously displayed. You can continue to refresh the media without needing to change hardware.

• Assist with venue traffic control and visitor flow • Help members achieve the best use of the facility and their member privileges • Support ADA compliance • Help with exhibit, show or ride control by allowing access to certain shows/events/objects based on time of day or other criteria • Accommodate VIP guests by providing recognition and/or additional privileges • Boost earned revenue

The QuickSilver™ solution replaces fixed graphics and signage. With cost-effective, ultra-short throw laser projectors now offering many years of service, QuickSilver™ helps you make the most of available technology. These different technologies have allowed us to start thinking about developing other great options for our clients that thus far have not been possible, and we have been working to build on that with new concepts that continue to shift the paradigm for experiencing audiovisual and interactive exhibits, and in particular the way that we welcome visitors and give them options to enjoy, learn and create memories. Through the LookingGlass The next element that the Mad team has been working on is the patent pending LookingGlass Concierge, using facial recognition to help visitors in a range of venues including museums, parks, or even stadiums. Benefits:

• Enhance visitor satisfaction and promote return visits In these and other ways, the LookingGlass Concierge system provides a number of services to enhance visitor experience that also work to the benefit of the venue. Mad’s Facial Recognition and Color Recognition Controlled Media Delivery Systems can, in principle, be integrated with any audiovisual or interactive systems, however, our QuickSilver™ audiovisual solution was specifically designed to elevate the experience for the user. LookingGlass is intended as a free-standing system, but it provides a possibility to integrate the Media Delivery system with the capabilities offered by the LookingGlass Concierge option. • • •

• Recognize visitors and allow groups - families, friends, school groups, clubs, conference visitors etc. - to be associated as groups

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Maris Ensing is the founder of Mad Systems, Inc. For more information about Mad’s Paradigm Shift: 21stcentury technologies providing customized content to each visitor, visit www.madsystems.com or email maris@madsystems.com.

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From cave tours to spinning coasters How did Herschend Enterprises go from a single, underground walking tour in the 1950s to the ever-expanding entertainment company it is today? By Philip Hernandez

erschend Enterprises was founded as a family business and remains family-owned to this day, and it had a vision and purpose that haven’t wavered. For nearly six decades, the company has operated with the motto: Creating Memories Worth Repeating® and the purpose of bringing families closer together. While upholding this vision, the company has expanded from a single walking tour of a cave in the Ozarks to the multifaceted business it is today.

term vision of the company.” Everything in the diverse HE portfolio shares this core purpose, and Herschend companies cultivate deep ties within the communities they serve even as the business continues to innovate and diversify. Stated Wexler, “As Herschend Enterprises expands and grows, we’re focused on leveraging new platforms and expanding the ways that we intersect with families.”

The Herschend Enterprises (HE) of 2018 comprises 19 properties in seven states in the US, including Dollywood (co-owned by country music superstar Dolly Parton), waterparks, aquariums, a safari, campgrounds, lodging, adventure tours, a showboat, a media business, and an exhibition basketball team, The Harlem Globetrotters. Operating companies of HE include Herschend Family Entertainment (the nation’s largest, family-owned themed attraction corporation), Herschend Studios, Herschend Live and Pink® Adventure Tours. Vision, tradition, and family It was a few years after World War II that Hugo and Mary Herschend visited Marvel Cave, a cavern in the Ozarks that extends 505 feet below sea level. That single trip began the Herschends’ journey into the attractions industry. Hugo negotiated a 99-year lease from the owners to start their first attraction: tours of the underground cavern. Hugo’s and Mary’s sons, Jack and Pete Herschend, helped with the cave tour business, becoming more involved following Hugo’s death. The Herschends soon built a theme park above ground called Silver Dollar City (it opened in 1960), modeling it on a long-gone, 1800s mining town that had once stood near the cave entrance. Over the ensuing decades, the two brothers created what is ranked the most extensive private amusement park and entertainment company in America. They retired in the 1990s and turned over management to non-family members. In the words of Andrew Wexler, CEO and Director of Herschend Enterprises: “The original vision of the Herschends guides both our daily work and the long-

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Talking Rocks Cavern Photo courtesy of Talking Rocks Cavern

The spinning roller coaster Time Traveler opened this year at Silver Dollar City Photo courtesy of Silver Dollar City

Herschend Live Harlem Globetrotter President Howard Smith was appointed to lead the Herschend Live division that was rolled out in August 2018. Purchased by Herschend in 2013, the Harlem Globetrotters are the first Herschendowned property under the Live banner. “We’re excited to launch the next phase of our business with the launch of Herschend Live,” stated Wexler in the official announcement. “The success of the Globetrotters touring the world and staging consistently thrilling and profitable live events has served as the inspiration for this initiative, which we are confident we can replicate on various levels for other brands in the live event business. We will look to acquire or manage other live event proprieties under the success of the Globetrotter model on a global level.” Herschend Studios Herschend’s media division bolsters the brand’s IP, a tactic that’s been hugely successful in the industry (Disney, Merlin, Studio 100) with the stated goal of the company to “create emotional connections using characters and stories by developing and producing family entertainment for television, film, digital and publishing.” To that end the company is forming a variety of partnerships and creative collaborations for its owned IP, as well as options and acquisitions to expand its character and story-driven portfolio.

Henson Company and Herschend Studios, and distributed domestically by PBS KIDS and internationally by The Jim Henson Company, encourages children to learn about marine biology and ocean optimism by following the adventures of Splash, a Yellowback Fusilier, and his best friend Bubbles, a Mandarin Dragonet. In November 2017, Herschend Enterprises announced it had partnered with Sally Corporation to develop a family-oriented “Splash and Bubbles” dark ride. In the world of children’s museums, Herschend Enterprises partnered with The Magic House, a children’s museum in St. Louis MO, to create a new, family-focused, interactive “Splash and Bubbles” experience, packaged as a traveling exhibition. The exhibit, set to premier in February 2019 at The Magic House, will transport visitors into immersive, hands-on learning experiences based on the series’ characters and featuring underwater environments inspired by the show. Pink® Adventure Tours In July 2018, Herschend Enterprises announced the acquisition of Pink® Adventure Tours, a full-service, adventure tour company founded in 1960 and featuring a fleet of pink jeeps with operations in Sedona, AZ; Las Vegas, and Grand Canyon National Park. “Their values, structure, and commitment to safety make Pink Adventure Tours a great fit for our family of companies,”

An example is the use of “Splash and Bubbles.” This popular, animated TV series, co-produced by The Jim

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continued on page 24

Herschend Family Entertainment: Commmunity ties and classic fun Herschend Family Entertainment (HFE), which manages all the attractions within the brand, is expanding both its portfolio of attractions as well as the activities within its properties. Recent highlights include the introduction of the Time Traveler coaster at Silver Dollar City and Wildwood Grove, a new land at Dollywood. Again, all expansions and re-investments are true to the original vision and strategy of the Herschend family. To illustrate, let’s examine a few of the brand’s attractions, Silver Dollar City, Wild Adventures and Dollywood. Silver Dollar City Silver Dollar City in Branson, MO is the original HFE property. Brad Thomas, President of Silver Dollar City Attractions, talked about a 2015 endeavor that demonstrates how the park stays connected to its community. “In 2015, we worked with local and national volunteer firefighter organizations to tell the stories of their struggle to recruit and retain volunteer firefighters. Since the majority of firefighters in the US serve in these volunteer departments, their challenge is real,” noted Brad. “Throughout 2015, we honored firefighters from across the US. Our vision was to bring family members closer to each other through these efforts. We’re also hopeful that, through our storylines and our theming, kids and their parents will aspire to make a positive difference in their communities and the world.” In March 2018, Time Traveler, billed as the world’s fastest, steepest, and tallest spinning coaster, was launched at Silver Dollar City. Time Traveler also sets a record as the park’s biggest-ever attraction. We think journalist Arthur Levine summed it up nicely in his August 2018 review for USA Today: “Old-timey Silver Dollar City in Branson, Missouri, is sending guests back to an earlier era on its wildly innovative (and just plain wild) Time Traveler. The $26-million attraction uses an ingenious magnetic system to temper the intensity of its free-spinning cars. That allows the coaster to deliver rides that are surprising, unique, and thrilling, but remain controlled and comfortable. Toss in a 100-foot, 90-degree drop right out of the station, two giddy, mid-course launches, and three inversions, and it’s clear that Time Traveler is a ride

for the ages.” Time Traveler’s three inversions are a dive loop, a vertical loop, and a zero-G roll. The vertical loop is the only one of its kind and is 95 feet tall. Another unique feature of the ride is the double launch - 0 to 47 mph in three seconds and 30 to 45 mph in 3.5 seconds. Wild Adventures Community outreach is part of the culture at Wild Adventures theme park as for other HFE parks. Based in Valdosta, GA, the 166-acre park, acquired by HFE in 2007, features numerous rides and attractions, hundreds of animals and a waterpark. Adam Floyd, Public Relations Manager at Wild Adventures, related a story. “Not long ago we had a visit from an elderly woman living in a nursing home who’d never visited a theme park before. She was afraid that would never happen. We gave this lady the opportunity to feed breakfast to Shirley, our oldest Asian elephant on record. She came face-to-face with Oscar, our two-toed sloth, and, of course, she had up-close encounters with lions and tigers and bears. Oh my! The whole experience reminded me that creating a happy memory for someone is truly a high calling. It’s at the heart of everything we do at Wild Adventures.” In September, Wild Adventures announced a major expansion to include a new 3-acre kids’ area and immersive wildlife experiences. The new area will debut in March 2019 and will feature six rides and several opportunities to get up close and personal with South Georgia’s most intriguing native species: the American Alligator. Guests will be able to interact and even feed the amazing creatures at Alligator Alley and take brave steps into their world as they trek over the Gator Bridge, a netted rope bridge suspended over the alligators’ habitat. Dollywood Tim Berry, VP of Human Resources at Dollywood, told this story: “In late November 2016, the Smoky Mountain region experienced an outbreak of wildfires that destroyed a number of homes and businesses throughout the area. Within 12 hours of the fires starting, our team had a plan in place to provide care and support for all of our employees - especially those who’d experienced

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major losses. Within 24 hours, our leaders ensured they had personally contacted each of the 2,000 hosts we had on staff at the time to confirm they were OK and assess any needs they may have as a result of the tragedy,” Tim explained. “In addition, out of respect to our friends and neighbors, we closed the park for a few days following the fires. During the time we were closed, we paid the wages of all employees who were scheduled to work those days. The commitment of Herschend Family Entertainment never wavered during this time, and the support we provided was invaluable. While this was an extreme example, it’s not at all uncommon to see our company’s values regularly lived out in a personal way.” In August 2018, Dolly Parton announced Dollywood’s “largest capital investment ever” Wildwood Grove, which is set to open in 2019. This is the first new area of the park since 2008 and will feature 11 experiences for guests of all ages. It will also have a dining option that will offer “Southern-inspired, Southwest-fresh items.” Some of the touted features:

• A 453-meter suspended roller coaster, The Dragonflier, that will “let guests soar with a dragonfly as it dips and darts along the gushing geysers and lush landscape.” • The Black Bear Trail ride, in which riders can hop on “friendly bears for a spirited trek through their natural habitat.” • The Sycamore Swing, a leaf boat ride that “swings back and forth just like a leaf falling from a giant sycamore tree.” • The Treetop Tower, which provides guests with views at 40 feet as they ride inside giant acorns and spin around the top of a tall oak tree before being delivered gently down to the grove floor. • Hidden Hollow, a 4,000-square-foot indoor, climate-controlled climb structure with an oasis called Wildwood Creek that features pop jets, splashing pools, and other wet and dry activities, including musical instruments for guests. •

The recently announced Wildwood Grove addition for Dollywood Image courtesy of The Dollywood Company

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stated Wexler. “This acquisition expands our business into the rapidly growing market of adventure travel and gives Herschend another opportunity to intersect with families by offering unique experiences in some of the country’s most unique settings.” True to the vision Jane A Cooper, President and COO of HFE shared a detailed, personal story that exemplifies HFE’s commitment to its mission and values and how this made her feel. “What makes HFE special is the daily practice of our values. It’s the ordinary moments that employees make extraordinary that become memories worth repeating,” she stated. “One recent experience that exemplifies this is a visit to Newport Aquarium by a family with a daughter

with a musculoskeletal condition. An aquarium employee, Natalie, struck up a conversation with the daughter and learned about her condition. A smile and taking time for a conversation would have been enough for a good guest experience, but Natalie chose to go one step further to live out our values of greatly exceeding guests’ expectations and creating emotional connections. She reached out to one of the aquarium’s biologists and arranged a special meet-and-greet with a rare penguin. This penguin also suffered from a musculoskeletal condition. Meeting this penguin and learning its story was such a special experience for the entire family and one they’ll never forget,” said Cooper. “I’m so grateful to work for a company that empowers its employees to treat guests as family and go above and beyond to create emotional connections.”

Herschend Family Entertainment Properties

Theme parks

Lodging

• Dollywood, Pigeon Forge, TN • Silver Dollar City, Branson, MO • Wild Adventures, Valdosta, GA

Attractions

• Stone Mountain Park, Stone Mountain, GA

Waterparks

• Silver Dollar City’s White Water, Branson, MO • Dollywood’s Splash Country, Pigeon Forge, TN

• Dollywood’s DreamMore Resort, Pigeon Forge, TN • Dollywood’s Smoky Mountain Cabins, Great Smoky Mountains, TN • Atlanta Evergreen Marriott Conference Resort, Stone Mountain, GA • Stone Mountain Inn, Stone Mountain, GA • Stone Mountain Park Campground, Stone Mountain, GA • Silver Dollar City’s The Wilderness log cabins, RVs, and camping, Branson, MO

Aquariums

• Adventure Aquarium, Camden, NJ (Philadelphia area) • Newport Aquarium, Newport, KY (Cincinnati area)

Dinner shows

• Dolly Parton’s Stampede, Branson, MO and Pigeon Forge, TN • Showboat Branson Belle, Branson, MO • Celebration! Dinner Show, Pigeon Forge, TN • Pirates Voyage, Myrtle Beach, SC Outlaw Run at Silver Dollar City Photo courtesy of Silver Dollar City

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Herschend Enterprises consults with like-minded companies on how to bring its “Lead with Love” principles into the workplace, and offers the Leading with Love Conference, a professional development event that teaches the fundamentals that guide their corporate culture. Wexler added his comments about the Herschend vision: “No matter the delivery, our commitment to provide families with opportunities to share meaningful, unique experiences and create memories together remains at the core of every segment of our business.” • • • Philip Hernandez is CEO at Gantom Lighting, Editor-in-Chief of Seasonal Entertainment Source magazine, and Founder of the Leadership Symposium for Seasonal Attractions. Contact Philip at: philip@gantom.com

Who’s in Charge? Herschend Enterprises Management Andrew Wexler, CEO and Director Peter Herschend, Co-founder Jack R. Herschend, Co-founder Ryan Connolly, CFO Herschend Family Entertainment Management Jane A. Cooper, President and COO For more information about Herschend Enterprises, Herschend Family Entertainment, the company’s properties and subsidiaries, visit herschendenterprises. com.

Jane Cooper

Andrew Wexler

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The pearls and pixels of Attraktion!

Attraktion!’s new Cinesplash 5D theater at Yas Waterworld Abu Dhabi highlights the company’s innovation in creating next-gen media-based attractions by Martin Palicki

“W

e are in an industry that demands a constant stream of new ideas and attraction products in the marketplace,” says Markus Beyr, CEO of Attraktion!, an Austrian company dedicated to creating immersive, media-based attractions for themed entertainment. Being able to consistently and reliably develop new product concepts is key to success, but the ideas also have to stand the test of time and be adaptable to different circumstances. Attraktion! was founded by Beyr in 2012 to do just that. Drawing on his decades of experience working on multimedia attractions, Beyr created the company with the mission of creating new, customizable experiences for the industry. Four main product genres (4D/5D Theaters, Dome Attractions, Playoke and WeRobots) established the Attraktion! core portfolio, with multiple products being offered in different genres. Cinesplash 5D, for

example, is part of the 4D/5D theater family, along with a more traditional 4D/5D theater and the SeaExplorer 5D attraction. All the products and genres center on a media-based experience, which draws on the company’s core strengths in technology, media, integration and manufacturing. Building the Business According to Beyr, the ascent of Attraktion! has been deliberate and measured. “Although we work constantly to develop new ideas and concepts, we typically do not launch new products until we have a buyer,” he says. That ensures the proper level of collaboration and problemsolving has already taken place between the supplier and the buyer. In the article “The importance of collaboration and teamwork in the creative industry,” [July 11, 2017,

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Cogswell.edu] renowned composer, AV expert and Cogswell College lecturer Julius Dobos explains how creative collaboration across work groups creates desirable outcomes: “Working with people who think differently…has its own benefits: forms of creative disruption. Similar minds with similar experiences often see the same solution to a challenge — but this might be only one of the possible solutions, and not necessarily the best…This is one of the biggest gifts a creative producer can receive: the ability to see into another intellect in which solutions work completely differently, yet they produce the desired results.” Like Dobos, Beyr has worked across multiple disciplines and aggregated the knowledge gained from different work environments. He’s taken this earned expertise and applied it to the Attraktion! product development process, not only with clients, but also with other manufacturers. For example, the partnership between Attraktion! and ride manufacturer Intamin led to the development of The Dome Ride Theater. Guests experience a rotating and tilting ring of seats inside of a sphere that is also a projection surface, fully surrounding them in a virtual environment. Dome Ride Theater is a signature ride, Markus Beyr, CEO, Attraktion! GmbH

More from the Attraktion! portfolio In addition to the products and services mentioned above, Attraktion! has several other notable business lines. Touring Exhibitions Attraktion! has developed an educational and entertaining interactive experience that includes a variety of small, media-based experiences to inform guests about the importance the polar regions play in the world. “Polar Journey” includes seven interactive scenes and is currently on exhibition at Mandalay Bay in Las Vegas. The same exhibition setup can also be used with other content options like Wild Safari, so being able to renew the exhibition with fresh contents without the need to change any decoration. 4D Theaters Although developing new concept formats and venues is a company specialty, Attraktion! is also active in traditional 4D theaters, with a variety

of features including motion seats, vibration and ticklers, mist spray and atmospheric effects. Attraktion! recently debuted a 4D theater at LEGOLAND Discovery Center Birmingham and is currently working on on two major 4D theaters in Asia, opening 2019. Attraktion! Studios Attraktion! has an extensive render farm computer system to support their in-house CGI movie production team. Right now Attraktion! focuses on productions in the 270-degree format, but also creates dome and other themed entertainment films, such as “The Legend of the Lost Pearl.” The company attraction film library is available for licensing. •

For more information on Attraktion! products and services, see “The Immersive Ingenuity of Attraktion!” - InPark issue #55, November 2014

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developed by Attraktion! for medium- to large-scale theme parks, and the first installation will be announced soon. “My plan has always been to combine the Attraktion! team’s extensive knowledge of the industry and world markets with bold imagination,” says Beyr. “The result has been a growing company creating tailored experiences with the latest technology.”

Cinesplash 5D motion seats

And grown it has. Since Markus started Attraktion! with three colleagues, the company has matured into a medium sized corporation, which resides in a large office building and production facility in Austria. Today, team members come from ten different countries and speak a variety of languages. “We rely on a variety of expertises from our team members and are constantly looking to expand our team,” says Beyr. “We are particularly seeking talented new attraction engineers, 3D artists and sales representatives from around the world.” Cinesplash: a flood of effects and a pearl for Yas Waterworld One of the Attraktion! products currently experiencing a wave of attention is the Cinesplash 5D theater, designed especially for waterparks. A 3D theater is augmented with pneumatically-controlled motion seats and a generous supply of water-based special effects with the ultimate goal of drenching riders (who being at a waterpark, are already wearing swimsuits).

A scene from “The Legend of the Lost Pearl”

Beyr developed the initial concept for Cinesplash with Markus Achleitner in 2009. Achleitner is managing director of Austria’s biggest thermal bath and waterpark, Therme Bad Schallerbach. He was the initiator and initial client of the idea. Together they built the first one with a basic range of water effects in 2011 at Achleitner’s Aquapulco in Austria. A second theater with more effects then opened in Malaysia. Since then, additional theaters have opened at Hangzhouwan Dream Hotspring Water World near Ningbo, China and two 36-seat theaters at Wanda’s new waterpark in Qingdao, China. “It took a while for the initial concept to catch on,” explains Beyr, “but now that several are operational, parks are starting to see the value Cinesplash provides in diversifying an attraction lineup.”

Dome Ride theater concept illustration

At this writing, three additional Cinesplash 5D theaters were in execution in China - in Guangzhou, Wuxi and Shenzhen. The Cinesplash concept is promising for Asian markets, in part because of the sheer quantity of waterparks being built there. Cinesplash offers a differentiating factor among competing parks, and is designed to be scaled up to provide high throughput for

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parks that need the capacity. And since the Cinesplash experience is so different from that of the standard waterslide, it has the potential to be added as an upcharge to regular admission. Yas Waterworld in Abu Dhabi opened up the newest iteration of Cinesplash5D in June 2018. In addition to being the most current install, it also features new effects not yet found in the other theaters. Bathing suit-clad guests enter the theater equipped with 3D glasses and sit in molded fiberglass motion seats. Throughout the film, a variety of standard effects splash the guests. Rain falls from overhead, water sprays from the sides and front of the theater, water cannons erupt below the screen, and giant waterfalls cascade down the sides of the theater. Additional, in-seat effects include spray nozzles and feet ticklers. All of this, of course, enhances the action taking place on the screen. But the climactic moment occurs when the theater starts to fill with water until it is lapping at guest’s knees, completely surrounding the motion seats. The effect is unexpected and (so far) unduplicated in the world. Future installations will also include wave generators for the flooded theater.

We are proud to be the first waterpark to introduce the Cinesplash attraction genre to guests in the region -Bianca Sammut General Manager, Yas Waterworld

Beyr is coy when asked exactly how the effect works, but he explains that a giant pit the same size as the theater is located directly beneath the auditorium and the unique system completely floods (and, at the end, drains) the venue in less than 30 seconds. The water is treated through a standard pool filtration system and recycled from show to show. In many ways, Yas Waterworld is the perfect setting for a Cinesplash theater. The park, opened in 2013, has an extensive backstory about how the watery world was created, including the signature giant pearl perched on top of the mountain. A customized theatrical experience offers a new opportunity to pull guests into the story and enrich their experience. This made Cinesplash a good fit for the highly themed waterpark. “We wanted to offer our guests a unique aquatic experience that doesn’t exist in any other waterpark in the region, which was also a great new way to experience the park’s award-winning story, ‘The Legend of the Lost Pearl’,” says Bianca Sammut, Yas Waterworld’s General Manager. The story was inspired by the UAE’s pearl diving heritage, and had already been written before the park was built. In addition to producing the media for the ride, Attraktion!

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Inside the Cinesplash 5D theater at Yas Waterworld

Guests experience 270-degrees of projection inside the SeaExplorer 5D attraction

developed content that fit this narrative. The process included taking the pre-existing 2D cartoon characters, and rendering them in three dimensions for the new show.

world. Even smaller operators are more frequently relying on media-rich (frequently projection-based) attractions to tell stories and engage guests.

“Guests love Cinesplash,” says Sammut. “It is undoubtedly an exciting new addition to our rides and we are very proud to be the first waterpark in the region to bring this type of attraction to our guests. Providing visitors with fun aquatic adventures with local personality is at the heart of what we do here at Yas Waterworld.”

Cinesplash combines the best of both those trends, bringing storytelling and media into a waterpark environment typically void of such attractions, and to a population of guests increasingly interested in both waterplay and themed entertainment recreation.

The success of Cinesplash, and perhaps a key reason for recent renewed interest in the concept, is driven by two powerful current trends in the marketplace. First, waterparks and water play have seen continued strong and sustained growth, particularly in Asia. As Chris Yoshii, AECOM’s Vice President, Asia Pacific points out in the 2017 TEA/AECOM Theme Index, compared to theme parks, waterparks are less expensive and quicker to develop, tend to require a smaller footprint, and come with a lower price point for emerging-market consumers. They are popular destination attractions for both developers and governments. Additionally, one need only glance at the largest theme park operators to see that story-driven, media based attractions have been enjoying great success around the

Captivating audiences Beyond Cinesplash, Attraktion! has found consistent interest in several of its other product lines, especially Playoke and the SeaExplorer 5D theater. Playoke immerses a group of people in a video-led performance. The physically engaging experience is made personal, interactive and even competitive through a system of real-time, 3D group motion tracking. Playoke systems are currently operating in China, France, Philippines, Malaysia, Saudi Arabia, UAE and Vietnam. It’s become popular in family entertainment centers (FECs). Playoke is being included as part of more than a dozen National Geographic FECs planned for locations around the world. The first such opened recently in Shenyang, China, the 2nd one in Mepetec Mexico, with additional

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locations set to debut in the coming months. The next two are already confirmed for Changzhou and Hengqin, China. In addition to Nat Geo, several other groups are installing multiple versions of Playoke, including Vingroup in Vietnam and Centerparcs in France. Attraktion!’s latest product, SeaExplorer 5D, was launched in 2016 and is already operating in Indonesia, Malaysia, UAE and two locations in the USA (Chicago and Las Vegas). The next SeaExplorer 5D will debut in Cairns, Australia before the end of 2018. Attraktion! also offers non-aquatic themed Explorer 5D attractions such as Wild Safari – a south African safari in the savannah with near-photorealistic flora and fauna – and later in 2019, Mission to Mars. Each experience culminates in a 270-degree film, surrounding guests who are standing on a 3-DOF motion platform. Wind and water effects are added for even more immersion. “It’s essentially a small cave environment,” explains Beyr. The space is scalable and can achieve high throughput even in very restricted footprints. As with its other products, Attraktion! provides a turnkey system for operators, and also produces the CGI animated content. “I am proud of Attraktion!’s development during the past six years,” says Beyr. “We’ve seen our products work

A scene from Wild Safari Explorer

well in a wide range of venues and I think we have only scratched the surface of what we can create for both today’s and tomorrow’s entertainment destinations.”

Markus Beyr will be available during the 2018 IAAPA Attractions Expo (Orlando) to discuss Cinesplash 5D and the Attraktion! suite of products and services. To set up an appointment, email office@attraktion.com. • • •

The Dance Wild experience at the Nat Geo FECs utilize the Attraktion! Playoke system

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An apartment hotel overlooks the Enjoyland RD&E development with stunning views to the lake and the iconic Wheel attraction. All images created by Robert Terry for Stantec.

Envisioning Enjoyland Stantec talks about RD&E development and placemaking

tantec has been active in the themed entertainment industry for more 30 years, with a portfolio of retail, dining and entertainment (RD&E); hospitality and resort projects, and an international client list that includes Walt Disney Imagineering, Merlin Entertainments Group, NBC Universal, and SeaWorld. Recently, the company had the opportunity to collaborate with a client to develop Enjoyland, a new 260-acre RD&E in Zhengzhou (Henan Province), China. In an integrated resort or other leisure development, a successful RD&E functions as a unique experience in its own right - as a hub where visitors can shop, dine and enjoy entertainment venues - while also maintaining a sense of connection with access to other components of the property, such as hotels and theme parks. A successful RD&E prolongs the visitor experience and establishes a strong brand identity leading to increased revenue and repeat visitation. The Stantec community unites 22,000 employees working in over 400 locations across the globe. Stantec Principal Planner and Landscape Architect Greg Meyer, PLA, describes it this way, “Our multi-disciplinary team of designers explores imaginative ways to convey authentic and memorable guest experiences and create a sense of place. As trusted partners to our clients, the quality and excellence of the built environments we produce reflect our highly collaborative and vision-oriented approach. As soon as a project begins – our team of designers and visualization experts work to seamlessly synchronize the

architecture, area development and interior design to create a living model with a parallel path – ensuring the design presentation and construction models evolve and maintain consistency throughout the project.” In the following Q&A about Enjoyland and the RD&E process, we hear from Stantec’s Greg Meyer, PLA, Principal Planner and Landscape Architect; Daryl LeBlanc, AIA, Principal – Lead Design Architect; and Robert Terry, Associate – Architectural Visualization. What expertise does Stantec bring to designing a successful themed destination? What is your approach to design and why is this method effective? Daryl LeBlanc: We assemble a creative team that includes planners, landscape architects, interior designers, architects, artists, and visualization experts to work in unison across disciplines. Involving our 3-D visualization resources group Daryl LeBlanc plays a vital role in the success of our design and overall project delivery. This process gives our team the opportunity to collaborate with 3-D visualization early on – we can develop highly complex digital modeling simultaneously as the concept design evolves. We can focus on conveying our thoughts clearly while also streamlining our output to remain as efficient as possible.

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Robert Terry: Integrating various disciplines at the conceptual stage and generating a comprehensive digital model for Enjoyland was a huge advantage for us - we were able to explore the space more holistically Rob Terry and in real-time. For example, we receive instant feedback of how the area development coordinates with the architecture, and the effect of the sun’s shadows at various times of day or season. With overlaid theming, we can provide the animated dynamics of a ride or attraction, so we can share the vision of the project with our clients in more meaningful ways. What is Stantec’s role in creating a sense of place and establishing a connection within the context of a larger destination that includes a resort and theme parks? How does the design for an RD&E relate to its role as a “hub” to a hotel and other destinations on the property? DL: The design approach for a RD&E must be responsive to the planned future development adjacent to the venue surrounding it. In many cases, the RD&E is not the primary attraction for guests visiting the property (i.e. hotel, theme park etc.) – however the RD&E must have the capability to be a successful venue on its own. We understand that RD&E projects need to have a distinct identity. The relationship they have within an overall

destination may be obvious in many instances - but in other instances, it might be more subtle. In the latter, smart design elements will remind the guest that this space is part of a larger collection of experiences. Greg Meyer: RD&E projects are like a microcosm of theme parks and essentially become an added gate. Our experience working with theme parks and retail destinations has led to our blending seamlessly with Greg Meyer RD&E projects, meaning the lines between park and retail and dining experiences begin to merge. The intersection of guest experiences from both worlds is exciting and allows us to communicate our client’s brand in new and inventive ways. It’s a holistic way of looking at the client’s overall design goal. How does your design team blend a cohesive, themed and branded space for your client, while addressing the individual retailers’ need to have their own branded presence? DL: Typically, larger venues are designed with flexibility as retailers will want more of their own identity expressed while smaller spaces often don’t have the same level for brand expression. If the architecture is meant to act as a backdrop, it’s somewhat easier to imagine how individual retailers can be represented in diverse and unique ways

A blend of culture, mythology, and water elements creates the compelling and immersive theme of Enjoyland.

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park. There is not the same sense of rushing around and trying to pack in as much as possible to get the most for your money. In that sense, having places to stop, take a breather, and relax become the more predominant drivers. Food and beverage venues with ample indoor and outdoor seating options are successful because they are revenue generators that allow people to relax with friends and family while taking in the experience.

Guests can view the nightly water show from the many outdoor themed restaurants lining the promenade - or get a bird’s eye view from the balloon attraction.

using signage or elaborate interventions within the façade or storefront. The RD&E owner might choose to develop a series of design standards that tell a retailer what types of modifications might be made while keeping the integrity of the RD&E intact. GM: Placemaking for an RD&E is challenging and should be successful at all levels. It begins with developing a vision for the entire project working with the client and the design team. Once we have an established vison that expresses the overall brand and sense of place, we can then begin to explore and envision how individual retailers will fit into the overall picture. Are there parallels to working with an IP (intellectual property) holder? What are the challenges of working with an IP holder vs. an owner trying to establish a new brand? DL: Yes. When working with established IP holders, there are guidelines and expectations as to how that IP should be translated into a physical environment. Sometimes the guidelines present a challenge, but more often they represent the framework for design decisions. When an owner does not have an IP, our job begins with the creation of a similar set of guidelines to help communicate what is important to the brand. Visitors need space to enter and exit, active spaces, and places to rest and dine. How are design elements applied to accommodate for a range of activity? DL: The diversity of spaces and activities is critical to the success of an RD&E. It is also important to cater to a wider variety of age-groups than those typically found in some theme parks. Also, as these are largely free-admission venues, the pace of experiences and expectations from guests are different than what is expected in a theme

GM: Outdoor spaces are equally important as the indoor spaces and are usually the first impressions for guests as they arrive and leave. Providing enjoyable outside venues for guest experiences builds expectations and provides opportunities for varied activities that today’s users expect. Incorporating water features, lighting, landscape, seating elements, outdoor dining, signage, and interactive activities in the design for Enjoyland were essential to the project’s overall success. RT: The objective of the RD&E is to continue to attract people beyond their initial destination. It should offer a smart balance of many different forms of entertainment and experiences. These scenarios could include a space to wind down and relax, for others an opportunity to engage in more active, social environments. For Enjoyland, having an accurate digital model allowed us to better understand spatial relationships based on the unique waterfront topography. We then strategically blend activities to create a purposeful flow that enhances each guest’s experience with amenities while remaining diverse enough to accommodate all visitors. How do you employ storytelling in design development for the themed outdoor realms? What inspires themes for architecture? DL: Storytelling is fundamental to what we do. It helps us take an IP or a brand and write out the parameters for the experiences we want to create. In this sense, the architecture often becomes secondary to the experience and more of a backdrop than a focal point. RT: The story is crucial to a project, it forms the foundation of our concepts, helps set the tone of the space and provokes more highly creative solutions to design challenges. Aspects of the story are subtly woven throughout, providing more meaningful connections that help guide the guests through the space. And our proven process allows us to generate multiple, accurate snapshots of each phase of the project to visually articulate the story to our clients. After all, it’s all about providing a clear picture of our design throughout the project so we can help our clients create the space they envisioned. • • •

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Congratulations TEAâ&#x20AC;&#x2122;s SHANNON MARTIN, to our very own

incoming

Western Division President for 2019!

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TPG tackles Orlando Bob Chambers, Edward Marks, and Todd Hougland talk about The Producers Group expansion to Orlando Interview by Rick West

or the third time since its founding in 2011, The Producers Group (TPG) is undertaking a major expansion, with a new office in a nexus of the themed entertainment universe. This time, it’s Orlando. The new TPG office in Orlando, headed by Todd Hougland, joins existing company locations in Los Angeles, Shanghai, and Dubai. Co-CEOs Bob Chambers and Edward Marks established TPG to provide a suite of services for the global attractions industry, leading with production and project management, and technical direction. Chambers and Marks consider one of the company’s key strengths is retaining a strong core team, rather than dramatically staffing up or down from project to project. In this exclusive interview, Hougland, Chambers, and Marks spoke to InPark contributor Rick West about this new chapter of the TPG story, and what the company’s plans are with this latest expansion. Congratulations, Todd, on your new position at The Producers Group. We want to know more about you as a person and a professional. How did it all begin for you, and what steps brought you to where you are today in your career? Todd Hougland: I am lucky to have had a number of wonderful opportunities in this great industry. I started as a performer at Walt Disney World in Orlando back in 1986; a high school summer job. I enjoyed it very much and continued to work part-time through high school and while I attended the University of Central Florida. In 1990, I had the opportunity to work at Universal Studios Florida during its opening season; first as a

The Producers Group exhibited at the IAAPA Euro Attractions Show in Amsterdam. Judd Nissen, Edward Marks and Todd Hougland will also be welcoming guests to their IAAPA Orlando booth in mid-November. All photos courtesy TPG

performer, then as Entertainment Supervisor and then as a Production Stage Manager. In 1994, I took on a project where I was the Company Manager for a few stunt shows produced at Six Flags Over Mid-America (St. Louis). This led to a number of other projects throughout the US and in Europe. In 1999, I produced a water stunt show for Six Flags Marine World (Vallejo, California), where I first met Tom Mehrmann, who was then the General Manager. Tom and I ended up working on the Warner Brothers Madrid project from 2001 to 2003. He was GM and I was on-site Entertainment Consultant. In 2004, Tom had become CEO of Ocean Park Hong Kong, and he recruited me to come in as a consultant for five months, to help take their modest Halloween event to the next level. I jumped at the opportunity and ended up staying in Hong Kong for over a decade!

Todd Hougland

Bob Chambers

Edward Marks

Half of that time, I led the entertainment team as we pushed their seasonal events to world-class level, and then the latter half I served as Executive Director of Operations and Entertainment, leading the day-to-day operations of the entire park. I thoroughly enjoyed working with Tom Mehrmann and Allan Zeman,

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Seven years, eight milestones

Chairman of Ocean Park, from 2003 until 2014, as we transformed what was a very good regional park into a world-class park that won the Applause Award in 2012. My family loved Hong Kong, but eventually we decided it was time to return to the US, which we did in 2017. Not long after that, Ed and Bob reached out, as they had a few possible projects that I might be suited for with TPG. We finalized our agreement in November 2017.

• 2012: First production in China - TPG provides services on three shows and the lagoon spectacular at Chimelong Ocean Kingdom

Why now? Why Orlando? Specifically, what drove the decision to have a physical presence in Orlando in addition to the other offices?

• 2015: First time as Global Exhibitors with IAAPA

Edward Marks: Orlando is a natural extension of what we’re doing on a global level. It’s arguably the busiest theme park market in the world. Three of the largest clients in the industry - Walt Disney Imagineering, Universal Creative, and SeaWorld Parks & Entertainment - are bi-coastal in both Southern California and Orlando. To better serve clients such as these as well as others in the market and in Eastern North America, establishing a base of operations there was a necessary and important expansion for us. From Orlando, we have easy access to clients from Georgia to Cape Canaveral, to the Caribbean and beyond. After establishing ourselves in Los Angeles and then internationally, our company was at a size that it made sense to go ahead and make the investment in the Orlando office. There is a lot of work going on in Orlando these Todd Hougland with a model of Ocean Park’s waterpark expansion project.

• 2015: TPG’s first roller coaster integration project - Cobra’s Curse for Busch Gardens Tampa

• 2016: TPG goes into production on two attractions for Dubai Parks and Resorts • 2017: Thea Awards honor two projects - at Shanghai Disneyland and Universal Studios Hollywood – on which TPG provided consultant work • 2017: Expansion! TPG moves to new, larger offices in Glendale, CA • 2018: Opening of TPG Orlando Office • 2018: Turnkey production of two new shows in Southeast Asia

days, between the existing parks, redevelopments, and new projects that will come to light in the near future. It makes strategic sense to put our team right in the middle of the action, where we can and will be available for our partners and clients for years to come. How does this new office expansion work into TPG’s history, and more importantly, what does it mean for the company’s future? Bob Chambers: We’ve based the company on our ability to collaborate not only with our partners, but with multiple offices in multiple locations. The expansion into Orlando isn’t any different than our previous moves, in that respect. We fully intend to have a collaborative, seamless connection between our Orlando office and our LA office. So, from a historical standpoint, it’s taking what we’ve always done in terms of being a premium provider, making sure everyone’s collaborating with the best tools, and carrying that forward into the ability to truly have a singular voice that is a bi-coastal service provider. Marks: The timing of Todd coming aboard coincides perfectly with our business growth goals, including talent acquisition and revenue stream. There are a lot of firms out there that TPG has a synergistic relationship with,

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many of which are in the Orlando area. A large portion of the company’s revenue comes from white label services it provides many of its industry partners. How does this speak to larger trends in the attractions marketplace? Chambers: Increasingly, clients are looking for more robust offerings - collaborative and integrated design packages and design phases - which we are very focused on, and capable of delivering. TPG feels that trend of more integration is going to continue. TPG is also very focused on efficiency, which is why the company is putting such an emphasis on seamless integration between LA and the new Orlando office. From Orlando, we are also in a stronger position to support a number of our projects in Europe and the Middle East. This way, resources can be shared internally so that it’s not a problem if a project manager is in LA, and your special effects designer is in Florida. As long as they’re seamlessly connected, it creates a more efficient use of resources, while still delivering a fantastic result. What should we expect from The Producers Group in Orlando for the rest of the year and first part of 2019? Hougland: With the IAAPA Headquarters now in Orlando, we will continue to support the Association and look for additional ways to remain involved and active.

Key contacts at each of the TPG offices • Los Angeles – Judd Nissen, Director Project Development judd.nissen@producers-group.com

• Dubai – Ammar Hussain, Business Development Director – MENA Region ammar.hussain@producers-group.com

Praveen Rao, Regional Manager praveen.rao@producers-group.com

Personally, now that I am back in the US, I look forward to continuing to develop my professional network in Central Florida via the Themed Entertainment Association (TEA), and the Florida Attractions Association, as well as IAAPA.

The Producers Group will be exhibiting at the 2018 IAAPA Attractions Expo in Orlando and will be hosting meetings at their booth, #260. Meetings can be scheduled by emailing iaapa@producers-group.com. • • •

• Orlando – Michael Turner, VP Global Business Development michael.turner@producers-group.com

• Shanghai – Faye Peng, Production Supervisor faye.peng@producers-group.com

While working at Ocean Park, Hougland (left) was tasked by Ocean Park’s Chairman at the time, Allan Zeman (center), with taking the park’s Halloween special event to the next level

Rick West (rickwestlv@gmail.com) is a creative director/show writer in the themed entertainment industry and a contributor to InPark Magazine. He is also the Creative Director of Midsummer Scream, the world’s largest Halloween and horror convention, which takes place each summer in Long Beach, California.

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Fire and water Yves Pépin, artist of the spectacular by Judith Rubin

ves Pépin is one of the great innovators and artists of themed entertainment. His work defined the modern genre of the nighttime multimedia spectacular with a blend of art, technology and storytelling, integrating projection, water, lasers, live performance, robots, music and pyrotechnics. Pépin created a modern genre of spectacle that has traditional origins in theater, performing arts and entertainment on a grand scale. The stories that unfold in these shows are simple, human stories and fables, but the production scale itself is colossal and the platform is the world stage. Over the years, Yves Pépin’s spectacles have punctuated some of the biggest international events and tourist destinations in the world, including world expos, international sporting events, major theme parks and national celebrations. He has collaborated with the likes of Yang Zhimou, Steven Spielberg, the Totonaque Indians and a Hinduist sect. The world belonged to Paris His most famous show ever was the Eiffel Tower Millennium pyrotechnics display in 2000, produced with Christophe Berthonneau (it can be viewed on YouTube at https://youtu.be/qczq5jBORBo). The turn of the century was lavishly celebrated around the globe, and fireworks were prevalent, yet this celebration stood out among many. Daniel Milikow wrote for CBS, “At midnight, the world belonged to Paris. The City of Light earned its name. The Eiffel Tower lit up like a giant firecracker, shooting sparks in every direction and illuminating the night like high noon.” PBS Nova reported, “A television audience of 4,000,000,000 around the globe watched as the Eiffel Tower was transformed into a gigantic Roman candle.” From BBC News: “…the base of the Eiffel Tower burst into a blaze of light, as if it were a spaceship taking off. A dancing mass of white stars crept up it and the tower was transformed into a column of light and shape and color in a breathtaking show that lasted in all seven minutes.” Within the global attractions industry, his influence is far-reaching. “The Eiffel Tower show totally changed everyone’s perspective about what you can do with a building, fireworks and nighttime. It was a most spectacular thing from a master of the spectacular,” said Pat MacKay, a specialist and publisher in theater, lighting

Yves Pépin

design and themed entertainment. “Yves didn’t just set the bar, he reinvented the whole idea of what you could do for audiences in the evening – whether the projection surface was a building or perhaps a waterscreen - with showmanship and flair that are an Yves Pépin trademark. He is uniquely creative with a level of execution comparable to anything that would come out of the big companies that have adopted and adapted his stuff – really big events using any and all of the tech bells and whistles currently invented to create a great guest experience. He didn’t invent projection mapping, but his techniques led to where we are.” “Yves created the very first ephemeral and permanent shows involving so many elements - technological and human - and all in perfect symbiosis, despite huge technical challenges,” said laser designer and longtime Pépin collaborator Claude Lifante of ProfilProduction.

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Lifante credited his experience with Pépin as helping found a career that has included contributing to major shows for Disney. “Yves has always been an innovator of things we take for granted now, such as the way he used large format projection,” said George Wiktor, a veteran producer in the attractions industry, most recently engaged on a project for Universal Studios Japan. “His work was a precursor of today’s 4D experiences and other multimedia presentation techniques. The level of execution and design is always world-class. His level of artistry and craftsmanship and innovation have always stood out. Basically his work just stood out.”

Waterscreens “Yves Pépin is an international treasure when it comes to stature, influence, creativity and mentorship within the themed entertainment industry,” said Monty Lunde, president of special effects company Technifex. Lunde is founder of the Themed Entertainment Association (TEA) the global organization that presented Pépin with a Thea Award for lifetime achievement in 2006. “From his development of waterscreens for large scale projections, to the many international multimedia spectaculars he has produced and directed, and more, Yves is in a class of his own.” The concept and technique of waterscreen projection is likely his most influential individual contribution to the world of entertainment. It has been adopted and adapted

Achievements Milestone Yves Pépin projects • 1998 Football World Cup, Paris: “A new type of Opening Ceremony spectacular (and at the end France wins the competition!)” • Lisbon Expo 98 night show, with a combination of animated metallic structures, 360° giant image projection and the biggest inflated body ever achieved to date • 2000 Eiffel Tower Millennium show, Paris: First pyrotechnic display installed directly on an historic monument and launched from it, designed for maximum impact in TV screen format, broadcast and acclaimed around the world • Tokyo Disney Sea “BraviSeamo,” mixing water and fire with a spectacular mechanical animated character emerging out of the water • Toyota Pavilion, Aichi 2005 World Expo, pioneering use of autonomous-driven vehicles choreographed with live dancers • Beijing 2008 Olympics Ceremonies (Artistic Director), considered as the biggest show in the world to the present day “Spirituality meets spectacular” • El Tajin (Mexico) 2002/2004: Research and enactment of the early Totonaque civilization, presented at a spectacular archeological site • New Delhi, current since 2014: Akshardham Temple Show: Enactment of an ancient Vedic story at a spectacular Hinduist site

mploying gigantic cinematic images projected onto the sides of buildings and other structures, and onto sheets of water or mist, enhanced by lasers, lighting, special effects and sound, Yves Pépin and his team created shows that transformed outdoor environments and transported audiences and defined the nighttime spectacular. Looking at his body of work, you might imagine Yves Pépin studied choreography, performing arts, and stage design along with mythology and history – then perhaps became a filmmaker. In fact, Pépin applied himself to economics and politics, then Arabic studies – then worked as a journalist. But all along that academic path he kept his hand in the arts – painting, music, theater. “Art was a way of life in my family,” he said. His father, an engineer by trade, was a violinist and painter. His mother, a homemaker, also painted. Six-year-old Yves took up the violin, intending to be a concert performer. But in adolescence, “I realized I was not good enough.” He switched to guitar and “started to play rock ‘n’ roll like a normal teenager. It opened up my mind.” Journalism took Yves to work in radio, television and communications, acquiring the “tools of expression” he eventually put to work in his shows. •

Yves Pépin is based in Paris and his website is https://www.yves-Pépin.com.

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“Lost in Space,” created in 2018, a Space-Opera designed by Yves Pépin, composed by Jeff Mills and Sylvain Griotto. Orchestre National du Capitole de Toulouse, directed by Christophe Mangou, with Jeff Mills, DJ and Prabhu Edouard, tablas. Claude Lifante, laser designer and Frédéric Faillard, lighting designer.

far and wide. “Yves Pépin made the benchmark for water projection shows - amongst other things. He created a genre,” said Jeremy Railton, founder of Entertainment Design Corp. and a fellow creator of unique international spectacle.

“His Lisbon ‘98 show was one of the most dramatic things I’ve seen; an overwhelming mix of media, visuals, fountains, lasers, effects and surprises,” said Keith James, president of JRA, a leading experience design and master planning firm.

“Innovating and discovering new ways of expression are very important to me,” said Pépin. “The waterscreen format was born when I first combined water and image projection for a show, in the La Defense district of Paris in 1989, celebrating the Bicentennial of the French Revolution. The fountain show I created was to my knowledge the first show with images projected through the air onto a screen consisting only of water spray.” Waterscreen projection was subsequently adopted by Disney, SeaWorld, Universal and many others.

Pépin remains an artist to the core, and his work has been his business. “Yves’ work combines the heart of a poet laureate, the mastery of a fine artist and the mischievous imagination of an unsupervised child,” said Bob Rogers, founder of BRC Imagination Arts, a leading design firm in attractions and branded experiences. “Deep philosophical thought, rigorous technique, technical brilliance and creative daring empower Yves’ creations and yet his work is experienced as pure joy and spontaneity, achieved effortlessly.”

World Expos and artistry Pépin’s work was in high demand in the 1990s for shows at world expos in Europe and Asia. George Wiktor commented, “At Taejon Expo 93 and Lisbon Expo 98, his work combined huge mechanical structures, big things moving, lighting, projection, music. He took waterscreen projection in multiple directions; he used inflatables as screen surfaces; he created environments that rose out of the water.”

“In the midst of all his spectacle, he always saw himself as an artist, however commercial the work was,” said Wiktor. “Yves is highly creative, and yet he is pragmatic,” said longtime industry colleague Michel Linet-Frion, Creative & Innovation Director of Pierre & Vacances Développement. “He ends up with the right solution and there’s a whole thinking process behind it; he has the intuition and the experience. You know he’s going to find the right answer, that he’ll get there – that the end

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Seven minutes of spectacle and a new century Yves Pépin and Christophe Berthonneau on the Eiffel Tower Millennium fireworks show

“I met Yves around 1996 or ’97 and was doing a lot of theater and events,” said pyrotechnic artist Christophe Berthonneau, of Groupe F. “We established a good relationship – he was very professional, an artist who was clever and efficient in business. He can manage very big and complex stories.” A few years later, Berthonneau was recruited to produce the Eiffel Tower Millennium fireworks show, which would be broadcast live – a global television event as well as a live spectacle. “I brought Yves onto the project, and we built the event together.” Pépin said, “The story concept was challenging. For me, the Eiffel Tower, for this unique celebration, might dance, then take off, as a rocket going up into the sky, made fantastic with fireworks.” Berthonneau said, “ I felt that the best conclusion to the show was to end with darkness at midnight, the moment the year 2000 began. Ultimately, we told both stories at the same time, with the same object!”

“Christophe’s goal for the finale,” said Pépin, “was that it have such a powerful light that it would appear as a big, bright flash, burning the image on camera. He achieved this perfectly with a huge amount of magnesium, so one TV director was sure that we had blown up the Eiffel Tower!” Berthonneau said, “Working with Yves over the years, we took a lot of risks, but at the end of the day were always able to deliver something very special.” Pépin said, “Christophe is a totally inspired artist, taking fireworks to new levels of expression, creating characters, stories and new experiences based on light and fire.” “In the production of multimedia events, Yves is a master,” said Berthonneau. “He knew how to mix video and light and water and fire. It is tremendously difficult to integrate all that together to make something elegant, and he was there at the beginning, inventing the process and always creating beauty, telling an authentic story, making it real.” •

Photo courtesy of Groupe F.

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result will be powerful yet feasible, and each show will be unique, and it will create emotions. Considering the scale of his work, this is particularly impressive. His shows are huge and very technical, yet they touch people deeply and simply, they evoke emotion. Yves understands what the audience is experiencing and communicates to them. In a lifetime you only meet a few people like Yves, with this kind of deep understanding and vision.” Large international audiences Creating shows for international crowds requires the story supersede language barriers. “The story must be able to be understood by anyone, whether the audience is mostly local, such as ‘BraviSeamo,’ which I wrote and staged for Tokyo DisneySea Resort, or international, such as for Lisbon Expo 98 or ‘Songs of the Sea’ for Resorts World Sentosa,” said Pépin. “Told through visuals, music and effects, through action, characters and gestures, the story speaks by itself. The flow of the music - the feeling the music is giving to the audience - is a kind of narration.” “Yves’ shows are always upbeat, with a popular accessibility and a brightness and lightness – like a circus or parade - awe inspiring and happy, easily accessible to a large demographic,” said Wiktor.

Pépin refers to “BraviSeamo” as a “nocturnal fairytale” while also saying “There was no need to explain to the audience in words.” A giant, animated structure in the form of a fire breathing dragon emerges from the depths to encounter the water spirit, an aquatic sculpture floating across the lake. The show achieved cult status at DisneySea and ran every night for six years (2004-2010). “If a show does have dialog, it must be easy to understand,” said Pépin, “not just in terms of the language but in how it is said; not too heavy. Language can be a powerful element, like stones marking a path.” “There’s something in the way Yves tells a story,” said Railton. “He is totally sincere and serious about what he does; he’s also incredibly generous and inclusive.” Music, lasers and pyro Pépin makes the most of music in storytelling. “Music and soundtrack are key elements, and there are great musical artists who have worked with me for years to help realize my vision, such as Philippe Villar and Pascal Lengagne,” he said. “They first became a team when I brought them together to work with me on the soundtrack of the 1998 Football World Cup event.”

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“Where other directors would have chosen composers known for such events, Yves chose to trust our new duo that he had only just created!” said Villar. “It was our first big production with Yves. We subsequently composed 90% of his shows. With Pascal, we are now working on many French and international productions. Thank you, Yves for making us meet!” “Between Philippe’s rock and pop background and Pascal’s more traditional background, they developed a unique way of expressing the situations, the actions and the characters of my shows through themes, rhythms and melodies,” said Pépin. “To dare to bring us together for our differences was daring to create new colors in the music, a successful musical laboratory for Yves’ innovative shows,” said Villar. Shows on which he and Lengagne collaborated with Pépin have been honored with some 15 awards, including seven Thea Awards. The duo also create music for other clients in theme parks, cinema and advertising. The 2008 Olympics opening ceremony captivated the world with its artistry, “Yves is passionate about music – as a storytelling and choreographed performances Photograph reproduced courtesy of Stufish young man, he was a brilliant classical violinist,” said Villar. “It’s a pleasure to work with him. It is very rare to work with a director who Pyrotechnics and lasers are frequent tools of storytelling so perfectly understands composition and musical terms!” and spectacle for Yves Pépin productions, and Claude Lifante (laser designer) and Christophe Berthonneau “I have also had the honor to work with Christophe (pyro designer and producer) have often been on his Mangou, Conductor and Music Director,” Pépin said. team. “Yves is my favorite storyteller, and he sees the “Together with the internationally famous Jeff Mills (who laser as a full-fledged media element,” said Lifante, who composed the musical piece), we created the project ‘Lost began collaborating with Pépin in 1977. “His sense of in Space’ in Toulouse in spring 2018, also featuring the staging, and the dynamics and dramaturgy of the shows brilliant tabla player Prabhu Edouard and the renowned correspond to my own sensibilities. Yves knew how to Orchestre du Capitole de Toulouse (60 musicians channel my energy, and how to integrate lasers effectively conducted by Christophe). Christophe is also a top-level into the shows.” conductor and plays with the best orchestras in the world. He is a mentor and an inspiration, especially with his own “Claude flew an aircraft for the first time with me, when musical group Amalgammes, for which I am honored in 1977, he was junior laser designer on my first show to have been chosen as parrain [English translation: in Hong Kong (an international fashion show for the ‘godfather’ or ‘spiritual sponsor’].” Hong Kong Trade Development Council). He went on to become one of the best laser designers in the world, “Music gives everything a heart, tells the story and pulls working internationally in music concerts (with Jean your heartstrings,” said James. “Everyone can get the big Michel Jarre tours, for example), also with Disney parks. effects - but story is at the heart of everything Yves does.” He conducted all the laser design in my shows and took a central role in our 2018 ‘Lost in Space’ in Toulouse.”

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“Yves’ artistic direction did much to bring out the potential of lasers as an artistic, theatrical and storytelling medium, and I thank him greatly every day,” said Lifante. “We continue to create together - shows that are particularly close to my heart because of their spiritual universality, such as our work with the Akshardham community in India. These shows are small jewels of artistic expression.” In the late 1990s, Christophe Berthonneau was a pioneer of using a computer to program fireworks. “The Eiffel Tower Millennium show owes the major part of its success to him,” said Pépin. Earlier collaborations were on the show for Lisbon Expo 98, and the football World Cup. “Christophe is the best pyro master in the world, and much more than that,” said Pepin. [See Eiffel Tower sidebar on p. 44.] Always start fresh Building upon decades of award-winning international successes and creative collaborations, today Yves Pépin continues to actively seek new challenges, although he no longer heads a large production firm (he founded ECA2 in 1974 and departed in 2008, and the company continues to flourish and create spectacles in the same style).

key ingredient,” he said. And creativity is still foremost. “It’s important to always start fresh. Forgetting is the condition for reinvention. Don’t be too full of what happened in the past if you want to be free and to go further.” Advances in technology have greatly simplified the process, but these also open the way to fresh innovation and challenges. “I know the effort that was necessary to do what we did in the past, said Pépin.” Today it is like nothing. Technology has evolved. Audience expectations have evolved. Don’t say, ‘look what we did before, it’s so great.’ Build upon it, improve! That is the culture. Forget everything and start fresh.” “Yves has always been ahead of things, invented things that over time were adopted by many others, and he is certainly still doing that right now,” said Linet-Frion. “Yves Pépin is an icon in the industry, and everything he does has been iconic since the first,” said James. “Kudos to the man!” “Yves expanded the possible, leaving a much larger playground for those who try to follow his lead,” said Bob Rogers. “The rest of us would imitate him, if only we could.” • • •

“I’m still consulting on big projects for big international organizations, and supporting projects with music as the

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Cinematic-style Virtual Reality Jack the Ripper is virtually back in Hollow Studios’ new Virtual Reality world By Mark Eades

ollow Studios recently rolled out a new, customizable, turnkey virtual reality (VR) experience package. In its first installation, “Wax House: The Legend of Jack the Ripper,” the experience engages guests by blending elements of an escape room with a macabre, problemsolving mystery. This is a departure from the usual format of a first-person, shooter-style VR game. “I thought we could mix a cinematic approach with virtual reality,” said Hollow Studios founder David Love. “Wax House” is currently running at Mountasia Family Fun Center in Santa Clarita, CA. It opened there in September, in time for the Halloween season. The experience accommodates up to four people at a time for a 35-minute adventure, including pre-show. “People want a chance to explore things,” said Love, who brought his background in specialty filmmaking, theme parks and high-tech experience design to the task. Hollow Studios is marketing the new VR attraction package for theme parks, amusement parks, FECs, shopping malls and other venues. To that end, Hollow Studios will be exhibiting at the 2018 IAAPA Attractions Expo in Orlando in November, to demonstrate the product and the “Wax House” show. Hollow Studios’ new VR experience is designed to scale up or down in size, and with options such as a pre-show and a complement of special effects. Love pointed out that “Wax House” could be a good fit for museums focusing on crime and crime solving. “The VR content could be changed to accommodate a facility, along with reconfiguring the preshow, and of course customized for seasonal attractions including but not limited to Halloween,” Love said. Ideas and craft Love got the idea for the VR attraction a year ago, after taking the Jack the Ripper walking tour where the murders took place in London’s Whitechapel area. He brought the idea back to his Hollow Studios team in Simi Valley, CA, where they came up with the idea of placing it inside a Victorian-era wax museum depicting five of the gruesome murders with VR displays of wax figures.

David Love, owner of Hollow Studios, and creator of Wax House: The Legend of Jack the Ripper, the VR Escape Room, stands outside the entrance of the experience at the Mountasia Family Fun Center in Santa Clarita Photo by Mark Eades

“Wax House” is not the first VR production for Hollow Studios. They worked on a few VR projects for Cedar Fair and others before deciding to tackle this one on their own. The full-service media company also has experience in producing ride films, and large format dome films; recently completing production on two films (titled “Walk Through the Bible” and “Wings Over Israel”) for a dome theater at the Morris Cerullo Legacy Center under construction in San Diego. Those films will premiere when the center opens in the latter half of 2019. Love founded Hollow Studios following in the footsteps of his father, Jim Love, who worked as a film editor and occasional director at Disney. Four-year-old David even got the chance to briefly meet Walt Disney in 1963 [See “Hello, young man,” InPark issue #65, November 2016]. Eventually, Love got his first job in the Disney studios mailroom, advancing into film shipping, then moving into set lighting as an active member of the Set Lighting Union. It was while working in set lighting that he got his first experience on theme park films working on Disney’s 3D attractions, “Captain EO” and “MuppetVision 3D.”

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Love rode “Star Tours” when it opened at Disneyland in 1987, and was inspired to start Hollow Studios to produce a range of themed entertainment projects. In 2008, the studio rolled out a successful turnkey attraction at the IAAPA Attractions Expo, where it received an award for Best Exhibit 600-1000 Sq. Ft. After that they built up a library of six ride films that are licensed to several companies, including SimEx-Iwerks. Preshow immersion For “Wax House: The Legend of Jack the Ripper,” Hollow Studios designed a themed entrance and preshow to virtually transport people in time and place to Victorian London. The theming starts outside the entrance, made to look like the exterior of an old brick building of the period. Once inside the building, guests see wooden crates, one holding an old-style phonograph, and posters on the brick walls depicting characters from the gruesome crimes. The five-minute preshow begins in that space when the phonograph comes to life and a recording of the lead detective on the Jack the Ripper case is heard. He briefs guests on the history of the unsolved crimes and, once they are admitted into the wax museum, how they are

expected to find clues that can help them discern the identity of Jack the Ripper. When the detective finishes his introduction, a character seen in one of the posters on the wall comes to life through digital projection. The character depicted gives guests additional information about Jack and the murders. In the course of the preshow, all the characters on the posters come to life in similar fashion, speaking to them and sharing additional clues and background. A silhouette of an ominous sculptor of the wax exhibits is seen working on his next gruesome display depicting one of the bloody deaths. Entering the virtual environment The preshow closes, and a wooden gate opens, allowing four guests at a time to wander into a large (900 square feet of actual space, though 3,000 sq. ft. of VR space) black space where technicians gear guests up with backpack computers (called BackTops) that also contain the wireless communication technology that makes it all work. “We packed as much of the data onto the BackTops, so we could get as much detail as we could in the experience,” Love said.

One of the areas of Wax House: The Legend of Jack the Ripper, a virtual reality Escape Room at the Mountasia Family Fun Center in Santa Clarita. While searching the VR experience, visitors will see five different characters all made of “wax.” The four visitors at a time will also discover clues and from that must discern which of the five is the “real” Jack the Ripper. Photo courtesy of Hollow Studios

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The mysterious preshow space for Wax House: The Legend of Jack the Ripper, a virtual reality Escape Room at the Mountasia Family Fun Center in Santa Clarita. During the preshow, the “paintings” and “photos” on the wall come to life to help set up the experience. Photo by Mark Eades

To complete their preparation to enter the virtual world of the wax museum, each participant is fitted with a headset and two handheld devices. One device will appear as various objects carried through the virtual environment, such as a lantern, or a magical orb that triggers things to happen in the museum. The other handheld device is a triggering device that appears as a claw in the VR museum, providing the guest with a method to open wooden chests, find hidden compartments, open drawers or pick objects up, such as slips of VR paper with clues scrawled on them. “What sets this experience apart is you have to take time to search, find clues and think your way to a solution,” said Corey Drake, a technical artist and game programmer on the project. Guests spend a healthy 25-plus minutes in the VR experience, exploring the virtual four floors of the wax museum, all filled with wax displays of the various murders, and a variety of other objects such as furnishings from the crimes and more, all within a virtual world. There are real-world physical cues to support the virtual experience and help keep guests immersed. To travel between the virtual reality “floors,” guests board an “elevator” in the VR world that carries them up or down. To enhance that VR experience, guests actually stand on a wood platform placed above transducers in the mockup space, simulating the impression of traveling up or down. Drake noted that, “Throughput is a primary challenge in group VR,” explaining how the Hollow Studios team

designed the experience to help keep people moving through. A limit is placed on how much time they have to explore each floor and solve its puzzle. When the maximum time has elapsed, a virtual door to the elevator opens and they must move on. If they solve the puzzle in less than the allotted time, the door opens to take them to the elevator immediately. The final moment in the VR wax museum is when guests are asked to pull a lever and identify which of five suspects is Jack the Ripper. Choose wisely! Production, installation and operation Love acknowledges that there’s a lot of variation in VR image quality out there. “We are on the high end of the quality spectrum, in terms of production values and technology,” he says. “Everything in the package supports that, from the original content to the final display.” The content was created in-house by the Hollow Studios team using a combination of Modo CG software, and the Unity Realtime Render Engine. Hollow Studios also provides, integrates and installs the full technology setup as part of the package, along with training and some post-installation support. Production on “Wax House” began about a year ago with the development of the storyline. Hollow Studios’ Chadd Cole was assigned as lead animator and producer.

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Image courtesy of Hollow Studios

This character could be Jack the Ripper as seen in one of the areas of Wax House: The Legend of Jack the Ripper Photo courtesy of Hollow Studios

When the storyline was finished, digital capture images of actors against a green screen were shot so that Cole and his animation team could incorporate them into the VR experience. Then it was time to integrate and install the entire experience. Operationally, it takes two people to run the VR part of the project, plus one out front to deal with questions, sell on-site tickets, and the operation of the preshow. With very few moving parts the entire experience is, according to Love, very easy to maintain. At Mountasia, the cost of admission to “Wax House: The Legend of Jack the Ripper” is $29.95 per person for an experience that lasts 35 minutes including the preshow and gear up time in the VR space. Hollow Studios provides operators with additional tips and support to keep operations flowing smoothly. For instance, it is suggested for groups to form ahead of time - as a solo guest is unlikely to find all the clues on each virtual reality “floor” in the time allotted. The studio also suggests locations use an advance reservation system for guests to book their visits.

Love envisions VR experiences as something that can allow smaller operators to be competitive and make the most of a limited footprint. With a relatively small amount of physical space, state-of-the-art equipment, a great story and compelling content, operators can open the door for their customers to roam through entire worlds that feel authentic. “I see great potential for amazing experiences.” Emphasizing that the experience is flexible and customizable, that Hollow Studios brings a full complement of media production capability to the table, and that sometimes a first-person shooter experience is exactly what the situation calls for, Hollow Studios will showcase art and a video teaser from a new VR idea as part of its IAAPA Orlando exhibit this November, in addition to its “Wax House” demo. “Survivors of the Citadel” (working title) is a sci-fi, first-person shooter type experience. For more information or to set up a meeting, contact dave@hollowstudios.com. • • • Mark Eades (markaeades@aol. com) is a freelance writer residing in Southern California. He was a journalist for the Orange County Register for 14 years covering theme parks, along with stints covering Coto de Caza and breaking news. Prior to that, he worked at the Orange County Newschannel, a 24-hour cable news channel. Before switching to journalism in 1997, he worked as a writer and producer in the theme park design business working on projects for Universal and Warner Bros. He also worked at the Walt Disney Company including 11 years at Walt Disney Imagineering on projects like Star Tours and Muppetvision.

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Entertaining the possibilities A look inside WhiteWater’s creative process and new branding By Martin Palicki

f WhiteWater were to release a compendium of the company’s ride products, in the style of the classic printed product catalogs of yore, there would have to be extra pages at the back to allow for new ideas and concepts yet to be created. “Our business is really about getting clients excited about their dreams and then helping them achieve them,” says Paul Chutter, WhiteWater’s Chief Business Development Officer. “The possibilities are limitless.”

A good majority of people there came to work for WhiteWater by chance. Many had been familiar with founder Geoff Chutter’s original WhiteWater Waterslide and Recreation Complex in Penticton, BC, Canada, but discovered an industry more expansive than what they had imagined, once they started working with the team. The discovery parallels WhiteWater’s own expansion in the industry and into becoming more than just a product manufacturer.

Of course, WhiteWater doesn’t print a product catalogue – in part because the company views itself as offering more than just a slate of rides and attractions. In fact, WhiteWater sees itself as a service provider more than anything else – and in reality, that’s what they have become. They sell slides, play structures and dry attractions, of course, but they also sell expertise, creativity and partnership potential with park owners and operators.

“Knowing that one of the world’s largest waterslide creators was just down the road was a giant magnet for me,” says Kelly Sall, Project Manager for Water Rides and self-proclaimed industry fan. “I watched job openings here for almost 10 years until I found the perfect fit for my skillset.”

People make up a team We visited WhiteWater’s corporate headquarters outside of Vancouver, Canada earlier this year and saw firsthand the team’s collaborative, solutions-based approach to business. The workplace was frenetic and full of dynamic energy. Teams of designers, engineers and salespeople got together, broke apart to work and regrouped later to discuss the latest projects, plans and ideas. In a digital world it was refreshing to see so much communication happening face-to-face.

WhiteWater’s Slideboarding combines a competitive game with a traditional waterslide. Photo courtesy of WhiteWater.

What keeps WhiteWater staff on board, however, is more than just typical job perks. Of course, company culture matters, and nearly everyone I spoke with recounted tales of special breakfasts served by management, open-door policies, and real, meaningful opportunities for career growth. More than that, however, there is a sense of being part of something important: bringing fun to millions of folks around the world, being part of a company that is driven to succeed through creating fun. “At WhiteWater we get the ability to learn about a space and then try to create something fun in it,” says Design Manager Anthony Marinakis. “All of us really get into creating spaces for kids and families to enjoy. Seeing kids’ faces light up when they are having fun in our attractions is really rewarding.” “I think everything starts from the top. The passion Geoff Chutter has for the industry and helping clients is unmatched,” says James Hansen, Manager Project Services. “Geoff ’s excitement is at its peak at major industry gatherings such as the IAAPA expos, because that’s when he’s surrounded by the industry that he loves. It filters down from there and motivates everyone to be the best at their job.”

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WhiteWater’s new No Boundaries combines play and exploration for all members of the family Photo courtesy of WhiteWater

Knowledge is power A key component of WhiteWater’s business plan has been to cultivate industry knowledge and share it with current and prospective clients. The company’s recently released “Report on Play”(play.whitewaterwest.com/register/) was the result of professional studies on the different ways people approach play. The report establishes four groups: Dreamers, Adventurers, Socializers and Challengers. Each group approaches play from a unique perspective. Subsequent WhiteWater surveys determined operators in our industry tend to predominate in two categories: Dreamers and Adventurers. So it’s important to keep the demographic difference in mind, and create attractions that cater to all four types of visitors who come to the park. Essentially, the report is a tool to help prevent groupthink from taking root. “We have to remember that no project is just about us, or our client. Every project is about the guest that comes to experience the attraction, and giving them what they want,” explains Chutter. “Thinking about how people play is an effective tool for figuring out how to implement ideas deliberately and effectively while earning returns vis-à-vis the end-customer’s ultimate satisfaction.” In other words, by taking the time to understand the market and end-use customer, WhiteWater is able to help bridge knowledge gaps for their clients and help execute their vision. The company’s latest research results produced “The Splash Factor” (whitewaterwest.com/splash-factor/).

After surveying parks of varying sizes around the globe to find out what mix of wet to dry attractions worked for them, the WhiteWater team crunched the numbers and created a program that allows park owners and developers to enter their own data and learn if they have the right proportion of water rides versus other attractions for their particular location and variables. In addition to providing real and meaningful data points to their clients, WhiteWater’s knowledge base is designed to inspire clients to have a conversation with their teams and excite them about the possibilities their project can reach for. It’s perhaps no surprise, then, that WhiteWater is unveiling an entirely new branding during the 2018 IAAPA Attractions Expo this November in Orlando. The new company tagline, “Entertain the possibilities,” is designed to inspire developers to think about what a partnership with WhiteWater really signifies. “Naturally, we like to always be talking about the latest product, but we often forget about the creativity that is involved,” says Director of Global Marketing and Strategy Una de Boer. “By harvesting that creativity and knowing our clients and business, we are able to build really incredible things. There really are endless possibilities to entertain.” Franceen Gonzales, Executive Vice President, Business Development, agrees: “What’s most important to me in the sales process is talking with the client about what their ambition is, sharing in their excitement for those ideas, and then making those ideas happen.”

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Waterslide molds are prepped in WhiteWater’s Kelowna factory

WhiteWater refreshed one of their AquaPlay structures for the Great Wolf Lodge in Gurnee, Illinois

Turning dreams into reality Moving discussions of ideas into actual plans requires a bit of work and planning. At WhiteWater, a team of more than 100 engineers takes initial designs and translates them into shovel-ready plans.

Life Floor had already successfully created a product to help reduce or even eliminate injuries in this area. Naturally, WhiteWater engaged in a partnership to provide the Life Floor solution alongside their own products.

“We are happy to entertain all possibilities with our clients as we partner with them on a project,” says Chutter. “But we will not compromise our core value set in the process of turning those dreams into reality.” Topping WhiteWater’s list of values is safety. “For us, safety is a non-negotiable,” says Gonzales, who also serves on a variety of industry safety committees and organizations. “Without a commitment to safety, we break trust with our customer.” Each attraction at WhiteWater is put through multiple ride simulations to check for potential problems, and subjected to a full range of internal assessments to ensure complete rider safety. Additionally, WhiteWater displays that it is committed to innovating preventive safety measures, and developing industry partnerships to help achieve that goal. WhiteWater recognized that slips and falls are the number one safety concern at waterparks, and industry supplier

Paul Chutter

“The partnership with Life Floor not only helps address a major industry safety concern, but it opens up additional possibilities for us to think big in our product development,” explains Chutter. Second on WhiteWater’s value list is quality. Slides and attractions are subject to extreme conditions. Harsh chemicals, fluctuating temperatures and intense sunlight all work to deteriorate composite materials. But WhiteWater is committed to innovating and creating the best materials for the job. The company’s main fabrication facility is a wholly-owned subsidiary called FormaShape, located in Kelowna, BC. The team there also provides composite products for other industries, most notably signage and retail building exteriors (think gas stations and convenience stores). “Quality control is the name of the game for us,” says Christine Stewart, Senior Quality Manager at FormaShape.

Franceen Gonzales

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Una de Boer

Nathan Jones

“Every piece is 100% inspected and held to our strict criteria and specifications. Everything from the raw materials to the finished product is tracked and checked.” “Ultimately, people make purchase decisions on the element of quality,” explains Chutter. “People view our brand promise as synonymous with the quality of the WhiteWater product lines.” Finally, though equally important to the other values, is WhiteWater’s commitment to creativity. “We are a hugely creative company,” says Gonzales, “but that side of the business isn’t always seen.” Even though a ride package may include the same slide products, no two parks are the same. “Our team is here to help differentiate our clients’ parks and create tailor made experiences for each situation – fulfilling client needs instead of sales quotas,” she says. More than fiberglass Perhaps the best example of how WhiteWater has already leaned in to its new “Entertain the possibilities” branding is with the No Boundaries play structure. Incorporating a variety of dry play elements and a variety of challenging obstacles, No Boundaries allows children and families of all ability levels to play together. Viewing platforms permit parents to enjoy play with their kids without having to climb, crawl or slide alongside them. No Boundaries attractions are already operating in Asia and the Middle East, with more under construction. “No Boundaries highlights how we have been able to dream up new concepts outside of the traditional waterpark attraction,” says Nathan Jones, President, Park Attractions Division. There are other examples too. The company’s Slideboarding product, which overlays a simple game onto a waterslide using RFID technology, helped create an entirely new genre of waterpark attraction. Slideboarding

Anthony Marinakis

WhiteWater’s Attractions team experiences one of their rides

received a Thea Award in 2017 for its innovative technology and game-changing effect on the industry. Looking to the future, the team is currently working on the latest WhiteWater product: Vantage (www.vantage.co). WhiteWater will be introducing Vantage to the industry during the IAAPA Attractions Expo in November, but has hinted in advance that Vantage is a technology tool that will help operators understand their park operations better and enhance the whole guest experience. “Vantage will show the industry that WhiteWater has a much broader understanding of what a park can be than people might expect,” says de Boer. “Because we see the wider potential for parks and think outside the box, we are able to bring Vantage to the market.” It’s clear throughout the company that the entire team is working to create spaces where fun thrives, and in turn, parks succeed. The company’s new branding is designed to reflect that, and remind both employees and clients that what collectively is accomplished is truly exciting. “We want to celebrate the passion and creativity in our industry,” says Chutter. “We want people to dream and think bigger…because with WhiteWater, you can.” • • •

Christine Stewart

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James Hansen

Kelly Sall

Fly us to the moon nWave’s bold journey continues by Judith Rubin At the 2018 IAAPA Attractions Expo, nWave will demonstrate its content on nWave VR headsets as well as onscreen, showcase new releases and roll out a new online, 3D-only streaming platform. The company recently announced a change of ownership structure, and new executives will be on hand along with more familiar faces.

t has been exciting and instructive to watch the progression of nWave Pictures, the production and distribution company Ben Stassen, Eric Dillens and Caroline van Iseghem co-founded in Brussels in 1994 to serve specialty cinema exhibition and attraction markets with entertaining and educational 3D content. nWave has been influential, controversial and disruptive, and a model of innovation and success in the quest to embody the standard of great stereoscopic 3D and lead the charge in multi-platforming. Distribution is the heart of the matter. Cross-platforming enables a wider range of operators to dip into the nWave content library, resulting in more butts in seats, more eyeballs, and, ideally, more satisfied customers and repeat business. Recognizing viable new markets and expanding distribution to those markets has driven company growth over the years at nWave, bringing its content to more markets and keeping pace with exhibition technology.

Distribution and growth continue to be the driving vision as the company boldly enters a new phase, with new partners and new target markets. “We’re always ready to move on when it is time,” said Stassen. What time is it now? According to nWave’s distribution clock, it is time to move into VR, gaming, flying theaters and consumer markets, among other things. The two Matthieus In June 2017, nWave parted ways with Studiocanal, ending a partnership which, when it began in 2010, had been a milestone ushering nWave into the feature film business. In the dissolution, nWave regained full control of its content. New opportunities and milestones were on the horizon. Effective September 2018, MZM production group and Belga Films have acquired a majority stake in nWave. Under the deal, MZM’s Matthieu Gondinet is nWave’s new COO, and MZM founder Matthieu Zeller is the new CEO and co-chair, sharing the latter position with Dillens. Stassen will continue to work on productions and van Iseghem will continue to run the studio. “The two Matthieus,” who were both formerly with Studiocanal, bring new resources and expertise to guide the company into new markets and its content onto new platforms

“The Queen’s Corgi” is a fun CGI animated film following the playful lives of the royal dogs by nWave All photos courtesy of nWave

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– notably VR, gaming, flying theaters and streaming while continuing to serve and develop existing markets and formats such as giant screen cinema, feature films, attractions, museums, zoos and science centers. Janine S. Baker, SVP, distribution and development, and Goedele Gillis, sales director EMEA, remain in place. Giant screen pioneers Cross-platforming seems obvious enough today, with digital assets the norm. But 15-20 years ago, this was not the case. “We were one of the first companies to crossplatform everything we were doing,” said Stassen. Not everyone saw digital conversion of theaters as inevitable, and the process was more formidable when it involved cross-printing to film. nWave was and continues to be a leader in showing how digital assets can be tapped to configure content for multiple platforms and versions, and that’s been the key to a boutique animation studio serving themed entertainment markets with 3D content, having grown into the nWave of today. When Ben Stassen and Eric Dillens met and started to click, business-wise, Eric owned the largest independent TV production company in Belgium. He also owned the rights to broadcast a number of independent game shows in that country and the Netherlands, including “Jeopardy” and “Wheel of Fortune.” For his part, Ben had been making motion simulation films popularized by Showscan, notably the runaway hit “Devil’s Mine Ride (1991).” Together, the partners built nWave and expanded its market reach, adding one niche platform after another, from rides to attractions, to giant screen and the cineplex. “They always recognized they could break out a portion of a feature to keep serving attraction markets,” said Baker. The company vision didn’t always match the industry status quo. Ben became known as an outspoken, controversial pot stirrer. People remembered his words, whether with anger or annoyance, amusement or respect. These days, it’s mostly respect, as their vision proved true and their models influenced the markets they entered. “The giant screen cinema business was evolving,” said Ben. “It was exciting to be the black sheep and stir things up. We ended up doing eight films in seven years’ time – it was a crazy, very productive time, especially for 3D films.” nWave went on to build a solid library of entertaining and educational evergreen titles - and a solid clientele of museums, science centers, zoos and aquariums. An entire generation has grown up on nWave’s “Turtle Vision”

Film poster for nWave’s “Hurricane 3D”

series and its beloved protagonist, Sammy. Today, nWave is a prestigious player in the giant screen sector, with high-profile premieres at leading institutions such as the California Science Center, and Smithsonian properties. Thanks to a growing number of distinguished production partners, the nWave library has expanded to include live action titles such as “Hurricane 3D” (2017), “Planet Power” (2018), “Snow” (coming in 2019) and “Feathered Dinosaurs” (coming in 2020) alongside animated work such as “Son of Bigfoot” (2017) and the newest release, “Queen’s Corgi.” “We changed the culture of the special venue markets,” said Baker. VR and the headset Plain and simple: if nWave is distributing content on a platform – be it HDR video, 1570 film, fulldome, AR or VR, or a theater in an underwater cave, you can safely assume that the display quality has caught up with the promise of the medium. One of nWave Pictures’ all-time, top titles, “Fly Me to the Moon,” (2008) is experiencing a booking surge museums and planetariums alike plan to feature it in 2019

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to coincide with the 50th anniversary of the first moon landing. Most planetariums have replaced or augmented their classic optomechanical (“starball”) projectors with digital dome (“fulldome”) projection. That “Fly Me” is available for distribution to planetariums indicates that nWave recognized a viable market sector and invested accordingly to serve it. It’s likewise a validation of virtual reality that nWave has now made its entire library available for VR. And with this innovation, the company has taken an additional step to serve VR markets and ensure quality presentation of its content – partnering with a hardware provider to develop and offer the nWave headset. A great deal of testing and R&D went into customizing a headset that would deliver a premium 3D viewing experience in a synchronized, group setting to fit the needs of nWave customer sites. The big selling point of VR delivery is that it can impart a theatrical experience without the theater. The headsets cost less than building a theater, and the venue can be moved around and expanded by adding more headsets.

Meet the Matthieus Matthieu Zeller nWave CEO and co-chair After having headed luxury brands in the l’Oréal group, Matthieu Zeller joined Studiocanal in 2012 as Deputy General Manager, International Distribution, Marketing and Development. He contributed to the international expansion of the studio, including creation of a subsidiary in China. He founded MZM production group in 2016 to develop and produce high-end European content. MZM regroups the production labels Octopolis, Bamboo Films and now nWave.

The city lights of Dubai as seen in a still from nWave’s film “Planet Power”

“It’s more affordable,” said Baker. “There is no real footprint - you don’t have to build a theater to get our content.” It’s also mobile. “A children’s museum that doesn’t have a lot of space, for instance, can move a headset or group of headsets around to different classrooms or with exhibits. Either way, the experience is just as immersive.” “To watch an nWave 3D film with a good VR headset is an experience comparable to seeing it in giant-screen 3D,” said Stassen. “Your field of view is filled, the visual

Matthieu Gondinet nWave COO Matthieu Gondinet is a seasoned manager in distribution and production, with a background in corporate finance and a 15-year tenure at Studiocanal. He was recently with Vivendi, focused on business development for digital content, before re-joining MZM production group in 2018 and becoming COO of nWave.

Ben Stassen

Eric Dillens

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Janine S. Baker

“This headset is not about 360, but about how we can show our 3D content at its best and satisfy the user,” said Baker. “This is a headset that will work for almost everyone. nWave has overcome the quality and comfort issues generally associated with VR headsets. We look forward to introducing it to the industry.”

A still from nWave’s powerful film “TurtleVision”

quality is great, the 3D is fantastic. We’re excited about being able to bring this even to tiny venues. We feel good about moving forward with this. We’ll have demonstration headsets at our IAAPA Orlando booth and have remastered all our films for VR display. The VR headsets were something I believed in before anyone else in the company. The others said it wasn’t going to work; I knew it would arrive, although it took longer than expected.”

Based on past performance, we expect that nWave will deliver on its new promise. While continuing to stoke new growth with new partners and new platforms, nWave will continue to be a leader, to provoke change and build its brand. We’ll see VR like we’ve never seen it before, and we’ll see nWave take a larger stake in other new markets while continuing to do well in all the other sectors. We’ll also be seeing and hearing from some new people, while Ben and Eric allegedly will dial it back a bit, enjoy the fruits of success and all that. “nWave is nWave; we keep doing what we’re doing,” said Ben.

Visit nWave at booth 1066 during the IAAPA Attractions Expo. Contact sales@nwave.com to book an appointment with the nWave team.• • •

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Everyone loves a parade Technology that makes parades flow through a park with ease By Scott Harkless, Alcorn McBride

ith their elaborate floats, live performers, and engaging soundtracks, parades are often star attractions within theme parks. However, since they operate within the common areas of the park and involve a widely distributed audience, they can also be one of the most technically challenging attractions to build. The best way to avoid having your parade rained on (technologically speaking!) is to understand the key concepts behind how they work and leverage the right tools to overcome the common challenges. Audience and audio First, we have to consider the sheer size and location of the audience. Parades usually travel through the heart of the theme park and are one of the most highly anticipated attractions. Dense crowds are inevitable. Although the show experience originates from the parade floats, the crowds make it impractical for the floats to provide all of the show audio. If they did, the floats would either be too quiet for most guests to hear, or so loud that the devoted fans waiting in that premium spot would rupture their eardrums! In order that everyone have an enjoyable experience, the floats need the help of the parkwide audio system. The parkwide audio system is the network of cleverly hidden speakers you hear throughout the park. During normal daily operations, this system provides background

music and sound effects to enhance the themed experience. It also gives the staff the ability to page and make announcements. Since the job of the parkwide audio system is to distribute audio to everyone in the park, it’s the perfect vehicle to distribute the parade audio as well. Sounds easy, but there’s a catch; in order for that concept to work, the parkwide system needs to synchronize with the floats as they pass by. Why is this so difficult, you ask? Well, to start, audioto-audio delay is one of the most unforgiving scenarios when it comes to synchronization. The human brain is quite sensitive when it comes to perceiving sound. Minute variations in audio delay, amplitude, and frequency are carefully analyzed by our brains to perceive such things as which direction a sound is coming from, and how far away it is. If the audio playing from the parade floats is out of sync with the parkwide audio, the result can be quite unpleasant. Although the amount of delay that affects each person varies, a common goal is to try to keep these audio systems synchronized to within 10ms of one another (10ms = 10 milliseconds; a millisecond is onethousandth of a second). Synchronization So… what we’ve got is a parkwide audio system that runs from playback equipment that’s locked away in an equipment room somewhere in the depths of the park,

Parades can excite and engage guests in meaningful ways. They can be daily occurrences or special events such as this Chinese New Year parade at Ocean Park Hong Kong in 2012. Photo courtesy Shankar S. via Flickr and Wikimedia Commons

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and a bunch of battery-powered vehicles with their own separate audio playback systems. Keep in mind that there is no wired connection between these systems and that the floats will be moving throughout the park during this experience. Under these circumstances, how in the world do we achieve synchronized playback with a precision better than 10ms? While there are many approaches to solving this problem, the more effective ones revolve around the idea of having a shared reference clock that’s distributed wirelessly. In the earlier days of parades, this clock would be broadcast using DTMF tones (dualtone multi-frequency signaling, such as those used in touch tone phones) or SMPTE longitudinal timecode (LTC). The floats and parkwide playback systems would both receive this transmission, lock to these distributed clocks, and trigger simultaneously with a respectable level of precision. Nowadays, the same shared clock principles still apply, but the distribution methods typically adhere to more modern industry standards. This includes methods such as GPS and network-based clock standards like NTP and PTP (network time protocol and precision time protocol). As long as the floats and parkwide systems are equipped with audio playback equipment that can precisely lock to these standards, they can all share a clock that is accurate, and perform to within microseconds of one another. The idea is that all systems can be scheduled to begin playback at a very specific time based upon this clock value. Even though it may take some time for control packets to bounce around network switches and fly through the airwaves on wireless networks, it doesn’t matter. Every system readies itself to start playback at the scheduled time and, as a result, they are able to achieve microsecondsynchronization. Loops, floats and control Once the parade system has this ability to synchronize audio playback between the floats and the parkwide system, it has the ability to provide the foundation of a parade show: the parade loop. To elaborate, most parades are designed around the concept of a show, typically several minutes in length, that is designed to loop seamlessly. Although the show elements would vary greatly, the duration of the show on a given float would be the same as that of the other floats. These shows would all be designed to loop synchronously along with the parkwide audio and repeat until the parade is over. Thanks to the shared clock, the parade system can retrigger the parade loop in perfect sync every time.

elements for each float, each with corresponding, unique audio tracks that the parkwide system will need to play, and play only from speakers near the float as it moves along the parade route. This requires the parade system to track the position of every float so that it can route audio to the speakers that are nearby. To do this properly, there must be an intelligent control system onboard the float that is capable of interfacing with technologies like wheel encoders, GPS, and/or RFID scanners to determine position. This control system must then relay that position to the control system that’s managing the parkwide audio system so that it can route to the appropriate speakers. By deploying the right show control systems in conjunction with the flexible routing and mixing capabilities of a modern DSP (digital signal processor) platform, the complexity of this task is greatly reduced. Equipment and environment Last, but not least, the unique environment of the float itself should be considered. As with pretty much anything else in theme parks, story and theming come first so the technology equipment for a given float will inevitably be housed and concealed in its dark, cramped, in-between spaces. Space, power consumption, and equipment weight are, therefore, significant factors of float design. Other factors to take into account include the constant vibrations and exposure to outdoor elements; factors that mainstream A/V equipment is not designed to handle. Given these considerations, when making equipment choices, ideally those choices should point to something that is compact, efficient, DC-powered, and specifically made for this type of application. These types of solutions empower operations and maintenance staff to keep the parade running at its best. When you combine the power of distributed clocks, float tracking, flexible show control, and float-friendly hardware, you have a solid foundation for an amazing parade that not only looks great, but sounds great too. • • • As Chief Innovation Officer at Alcorn McBride, Scott Harkless (scott@alcorn.com) works closely with clients to determine their biggest areas of need and leads a team of problem solvers to come up with creative solutions. He draws upon experience in product development, system commissioning, client training, marketing, and sales.

With synchronized parade loops, we’re ready to move on to the next major dilemma; those pesky floats that insist on moving. Most parades will have unique show

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Gordo at the park Geoff Thatcher on the experiences that led him to pen his first novel Interview by Martin Palicki

n late 2017 InPark profiled Geoff Thatcher and how he developed The Experience Model to help clients understand how to create successful attractions that resonate with guests [see “Former amusement park cleanup boy makes good,” InPark issue #70, November 2017]. In addition to working on projects around the world, Geoff has been writing a book honoring the great American regional amusement park, served with a slice of 1980s pop culture. The book will be published in early 2019. Can you tell us a bit about the book’s storyline? It’s about a skinny Baptist kid named Gordon who grew up playing and working at a fictitious amusement park in Kentucky called Lakeland Park. Right now, the working title is “Gordo at the Park,” but I really want to call it “Swim in Water Fit to Drink” because that was the advertising slogan at the amusement park’s swimming pool when I was a kid. However, people keep telling me that title doesn’t describe what the book is about, so maybe it will still be “Gordo at the Park.”

amusement park) gave several of us on the launch team name badges. I got emotional when I put a name badge back on for the first time since I left Lagoon in 1994. Where do you see the smaller regional parks fitting into the theme park industry? I would never claim to be an expert on themed entertainment economics, but smaller regional parks will thrive as long as they really understand who they are and invest in branding. And I’m not talking about advertising. I was lucky enough to spend half a day walking Holiday World with the late Will Koch, and he credited much of the park’s success and growth to branding. He knew

Geoff Thatcher (l) and writer Zane O’Gwin (r) busy at work in Abu Dhabi on a Devin SuperTramp viral video that has so far been viewed over 4 million times Photo courtesy of Geoff Thatcher

Is the book autobiographical? As you may recall from the article last year, I’m a skinny Latter-day Saint kid who grew up playing and working at a very real amusement park in Utah called Lagoon. It’s a memoir of sorts, based on the 10 years working there as well as my experiences as a young regular at its milliongallon swimming pool, penny arcade and rides. Let’s say it’s like Law & Order and just “based on a true story,” okay? Lagoon park was my childhood playground. I wouldn’t be in this industry without my time at Lagoon. I learned so much working as a clean-up boy at the swimming pool, in rides and, finally, in the park’s entertainment department. I learned from some of the best in the industry: Peter Freed and his entire family, Boyd Jensen, Dick Andrew, Ron Van Woerden, Lori Capener and more. Actually, this summer I was working on the grand opening of a new theme park in Abu Dhabi, and the General Manager (who also got his start as a teenager at a regional

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what it meant to be “First for Family Fun.” I remember just being amazed when he talked about how branding influenced everything they did (and still do) at Holiday World. I think the parks that struggle don’t fully understand their audience and brand and how branding should influence every decision. What have you learned about yourself and the industry while writing the book? I’ve learned that writing the book is quite a process! I started it over 15 years ago, and I think one thing that I’ve learned is that it’s okay sometimes for projects to take a long time. Lagoon is known for its beautiful trees, and we all know trees don’t grow overnight. The commitment to towering trees requires a long-term view and patience. Some projects require exactly the same thing. The other thing I’ve learned is that a lot of things have changed since 1982. One of the challenges of the book was how to authentically capture what it was like to work in an amusement park in the 1980s without offending today’s audience. What do you mean by that? One of the things I struggled with was how to authentically represent safety incidents—including some stupid decisions I made as a teenager (yes, I’ve still got the scars). Safety has always been a cornerstone of this industry, but times (and policies and procedures) were different back then. Similarly, there is a cultural awareness today about issues such as workplace sexual harassment and unofficial “gay days” at the park that were handled differently in the 1980s. I wanted to authentically represent the time period without appearing to be tone deaf to some really important issues. What projects have you been working on recently? I spent most of the summer in Abu Dhabi—what an incredible experience! One of the highlights was working with YouTube star and social media influencer Devin SuperTramp on a promo video for the project. That video is up to 4 million views on Facebook and is still going! I know people love to criticize social media, but it seems to me that in our industry, it’s a resource that is underutilized. Working with a social media influencer is a fascinating experience because you have two video production crews. You have the video production crew that is shooting the video that’s going on Facebook, YouTube and Instagram and then you have the crew that’s shooting the influencer

behind-the-scenes. At first, it’s a bit odd having someone constantly shooting video and stills of you working. However, I came to appreciate how valuable and easy it is for us today to document our lives. Personally, I wish there were more photographs of me working as a stuntman in the Wild West Shootout or as a zookeeper and train engineer back in the 1980s at Lagoon. Also what’s both special and exhausting is the relationship these influencers have with their fans. Devin’s five million followers are real people. That’s why brands seek him, and other influencers, to partner with. Since that project wrapped, I’ve been working on a brand experience project with Exhibit Concepts in Singapore for FM Global that’s really exciting. FM Global is a wellknown insurance company in our industry. We are using themed entertainment effects and digital technology, such as augmented and mixed-reality, to create a memorable experience. In one instance, we are using Technifex technology to place guests inside FM Global’s 60-foot tall fire lab at its research campus. We want people to feel the heat of the flames. The themed entertainment industry truly has a great reach, from small regional parks like Lagoon to large brand experiences like this one. And I still think we’ve only scratched the surface when it comes to bringing themed entertainment to brand experiences. I recently pitched a giant oversized piñata—and I mean giant—to a CMO of a big Fortune 500 company and he smiled and said, “Oh man, I love it, but we aren’t quite ready.” What’s next for Geoff Thatcher? After this book, I’m thinking about social media. I’d love to create a series of videos on The Experience Model. It will be like a documentary, but posted in small increments over 24 months. Beyond that, I’m dreaming about working with my children. My oldest daughter Zoe has already worked with me on several projects. She just graduated from Auburn University, and is designing children’s costumes in St. Louis for Weissmans. It’s my dream to one day work with all my children. My son Joel is studying writing and themed entertainment at the Savannah College of Art & Design while our youngest is hoping to head to SCAD as well. She already knows more about attractions and coasters than most adults (seriously, she knows the details of every coaster and attraction manufacturer). Where can people get a copy of your book? It will be available starting January 14, 2019 on Amazon both as an e-book and printed copy. • • •

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Chinese tourists

A primary and growing market for visitor attractions By Rona Gindin Chinese tourists have become an all-important leisure market. More than 154 million Mainland Chinese residents traveled abroad last year, and that number surges higher every year. This exclusive story for InPark explores this vital new consumer pool: who they are, what they want to experience, and how they use technology and social media to find and share information and make transactions when they visit theme parks, water parks, museums and visitor attractions in Asia, the U.S. and Europe. Introducing the Mainland Chinese traveler rom millennials through young seniors, residents of Mainland China have more disposable income than ever before, and they’re using some of it to explore their country and the world. “Fundamentally, you’ve got 1.3 billion Chinese, and about 300 million more are middle class than 10 years ago,” said Chris Yoshii, vice president and global director of leisure and cultural services for AECOM. (AECOM partners with the Themed Entertainment Association to produce the annual TEA/ AECOM Theme Index, a global attraction attendance report.) “They’re very eager to go out into the world and see different places, especially famous ones. The numbers will continue to grow at double-digit rates throughout the next decade. We’re just seeing the tip of the iceberg,” he predicted.

These active travelers like to do and see new things at a steady pace. Beyond that, they’re diversified. “There is no typical Chinese traveler,” explained Christopher Ledsham, chief communications officer of the China Outbound Tourism Research Institute, or COTRI. Wealthy residents from first-tier cities have developed a taste for adventure in locales exotic to them, he elaborated, while travel newbies from smaller markets want to stay closer to home – first exploring other Chinese cities, then nearby countries such as Thailand or Vietnam for their first out-of-country experience. Once they get started traveling abroad, though, Chinese tourists keep moving. Those venturing beyond the mainland visit 2.1 countries or regions a year, reported “Outbound Chinese Tourism and Consumption Trends: 2017 Survey,” a report by Nielsen and Alipay, which predicts the figure will rise to 2.7 in 2018. The COTRI China Outbound Tourism Research Institute profiles various niche markets in a series of short infopacked videos called China Outbound Travel Pulse on a

Guests enjoy Hong Kong Disneyland Photo ©Disney

dedicated YouTube channel. “Every niche has millions and millions of people in it, so each segment is infinite,” said Ledsham. International growth potential As big as this market is, it continues to increase tremendously every year, with a huge pool yet remaining. Only eight percent of Chinese residents have passports, according to “Thailand Loves Its Chinese Visitors, up to a Point,” a February 2018 article in the Wall Street Journal, and the percentage rises regularly. So vibrant is this market that the number vacationing out-of-country grew by double digits annually from 2002 to 2013, according to the United Nations World Tourism Organization (UNWTO), and by 2012 the Chinese secured their place as the No. 1 spenders in international tourism; that hasn’t changed since. The $261 billion they spent in 2016 was 21 percent of the world’s total, UNWTO reported. Despite this growth, Chinese citizens still face some practical hurdles in visiting numerous global destinations, with the country’s passport ranked only 67th in the Global Passport Index; 129 states worldwide still require Chinese travelers to obtain a tourist visa before visiting. But some countries have taken steps to simplify access and are rewarded with healthy, growing numbers of Chinese tourists, including the United States, Morocco, Tunisia, Japan and Indonesia.

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Political issues can drive trends By contrast, the Maldives, South Korea and Thailand all saw drops due to inter-governmental tensions, according to the Wall Street Journal story. For example, half as many Mainland Chinese visited South Korea in 2017 than a year earlier, the article reported, saying that China “blocked tour groups” because the two countries were “locked in a political row.”

New Zealand are also on their itineraries, COTRI said. Younger, more independent travelers have tighter budgets, but they are the fastest growing segment. They’re headed to Canada, Australia, the United Arab Emirates, Malaysia, Czech Republic and Spain, said the COTRI and Dragon Trail China Outbound Travel Pulse videos. They seek out local experiences and cultural immersion, and they use apps to book homestays.

That didn’t end relations, and South Korea is ranked the third most popular destination for Mainland Chinese tourists, with 27 percent of surveyed respondents having visited the country “in the 12-month period we studied,” noted Deborah Weinswig, CEO and founder of Coresight Research.

$206 per day Older Mainland Chinese travelers who haven’t been out of the country much still prefer to travel this way, while their peers who have already tried that a few times prefer to put their budgets toward custom tours or traveling solo, Nielsen reported. To this day, 34 percent of Chinese take a classic package tour, while others opt for independent travel (49 percent), semi-independent (42 percent), and customized travel (25 percent).

Politics and the economy are always factors. Weinswig observed that “the top two concerns for continued strength in Chinese tourism to the U.S. is the impact on the value of the yuan-U.S. dollar exchange rate, and if the political climate were to have any impact on security concerns in the U.S.” And it is all about safety. “Safety is always the number one concern of Chinese tourists,” she said. “Any perceived instability would have a negative impact on growth.” This does not include [Great Britain’s] Brexit decision, however: “the UK has experienced a recent increase in Chinese tourism since the decision, as Chinese tourists look to take advantage of the weaker pound,” Weinswig said. Understanding the travel patterns As mentioned above, tourists from Mainland China tend to begin by exploring within their own country first – a trend that is growing with the nation’s rail expansion – then proceed to other Asian countries, then venture farther as they gain confidence. In 2017, according to UNWTO, Chinese tourists went to Thailand in the greatest numbers, followed by Japan, Singapore, Korea, Malaysia, the United States, Indonesia, Vietnam, the Philippines and then Australia. Nielsen reported that 38 percent have seen Europe (mainly France, the United Kingdom and Germany), 25 percent North America, and 20 percent Australia and New Zealand. Once they’ve had their time in other Asian countries, Europe and the U.S., it’s all about adventure, and Mainland Chinese tourists will then put Egypt and Africa at the top of their lists, said the Fung/Coresight report. African safaris, South African glamping experiences, Antarctica forays, plus bungee jumping and sky diving in places like

Shopping has traditionally been a huge part of the experience, spending freely on luxury items. On average, each Chinese tourist spends $672 shopping during an overseas trip, according to the 2017 Nielsen report. That’s decreasing somewhat, said COTRI, which found that in 2017 Chinese international travelers spent 37 percent less on shopping while abroad and 14 percent more on dining. This is for a variety of reasons having to do with regulations, taxes and e-commerce. Since they’re shopping less, that leaves money for attractions and theme parks, among other activities. According to Nielsen, in 2017 outbound Chinese tourists averaged $5,565 per person per trip, $3,064 of that on location (not including airfare and group tour costs), with a 3 percent rise to $5,715 expected for 2018. The farther Chinese tourists go from home, the bigger their expenditures, Nielsen added. On average, they spent $3,451 in Australia and $3,064 in the United States, less in Asian countries. Chinese tourists are starting to stay in one place longer. That leaves time for local museums and other cultural venues. Still, according to “China 2016 L.A. Visitor Profile” shared by Discover Los Angeles, in 2016, 90 percent of visitors from China did indeed shop, while 62 percent dined in high-end restaurants and 58 percent visited amusement or theme parks. These visitors – whose numbers skyrocketed from 273,000 in 2010 to 1.3 million in 2018 (the last two years are estimated), spent $206 a day. Theme parks remain popular Mainland Chinese tourists don’t go abroad only to try out theme parks, but a big chunk – 41 percent – still make time for such attractions, Nielsen reported. Most are

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signage that points out your best seller, your special of the month and your premium product.” These visitors may be open to trying an attraction’s signature foods, but they’ll also want foods they know from home, Yoshii noted. “Make sure the outlet that sells it is marked boldly on a Chinese-language map, and provide a Chinese-language menu.”

Ravinside Lodge, Limpopo, South Africa Courtesy Legend Hospitality Group

married couples in their 30s traveling with children, and groups of young adults in their 20s. (By contrast, nonChinese tourists prefer natural attractions and museums.) Once they’re on the property, they buy things. Sixty-six percent spend more money inside the attraction than on admission, Nielsen said, including food (75 percent) and shopping (68 percent). While they’re in theme parks, these tourists enjoy mild rides and shows, but not thrill rides, noted AECOM’s Yoshii. “Mainland Chinese typically like colorful family rides and even the kiddie rides, including family coasters, and flat, round and dark rides,” he observed. “They also really like performance, stunt, fireworks and song-anddance shows, including spectaculars.” Welcome! Experts recommend that theme parks and other attractions adjust service styles and technology to accommodate Mainland Chinese tourists. As for hospitality, 10 years ago, Ledsham said, the basics were WiFi, TV stations in Chinese (which aren’t as important now that smartphones and WiFi are ubiquitous), and hot water dispensers, since Chinese tourists like to have that available for drinking. Today, operators would be wise to add Chinese-speaking staff, a Chinese-language map of the attraction and a Chinese-language overlay of the app to enhance the guest experience, advises Yoshii. “If you don’t want to develop a sophisticated app, create a download with maps and descriptions in Chinese of attractions and restaurants within your theme park that will interest Chinese visitors,” he said. Shopping choices can be overwhelming, so attractions should simplify retail displays, Ledsham noted. “Have

Many efforts can be taken in conjunction with other attractions and lodging facilities. Las Vegas providers joined forces after seeing the number of Chinese tourists to Las Vegas jump 13 percent in 2016, reported Kala Peterson, communications manager, Las Vegas Convention and Visitors Authority. Through a program called “China We Welcome You,” the Authority taught resorts and other tourism partners basics regarding behavior, payment methods and effective welcoming techniques. Accommodate the apps Arguably the most important thing attractions can offer is the ability to let their Chinese tourists pay with the apps they use at home. While only 11 percent of most international travelers pay with such apps, said Nielsen, 65 percent of Mainland Chinese tourists do. For tourist attractions, that number is 58 percent. They do use bank cards and cash, Nielson noted, but mobile apps are more important to them than to other travelers. The reasons: convenience, speed and familiarity; pride of seeing Chinese brands; no need to deal with currency exchange discounts; and relevant marketing promotions. Marketing Marketing to this customer community involves understanding their unique habits and mindsets. Online actions tend to be effective. Travel agents are fading out, as is print media. It’s important to have a Chinese-language version of your website, yet the most effective marketing will involve smartphones and social media. “The Chinese skipped the desktop Internet era,” Ledsham reported. “Mobile is absolutely the way forward.” Specifically, he advised creating a relationship with the Chinese online travel agency Ctrip, which acquired [the European travel fare aggregator] Skyscanner in 2016. “Those apps reach Chinese tourists where they are at the moment, allowing them to change their plans such as to see a dolphin show on a whim. Plus, they do so in the Chinese language, allowing payment in Chinese currency.” Using this media, create meaningful messages, added Ledsham. “The Chinese can ride roller coasters in Singapore without flying all the way to California. They

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can see alligators by the Yangtse River, which is closer than Florida. To reach this consumer, tell a story so you stand out. Operators should set up great photo ops that travelers will share on social media. “The Chinese believe in word of mouth, from both peers and influencers,” said Ledsham. Keeping up with trends – as they change at lightning speed – will be worth it to attraction operators, as Chinese continue to acquire passports and head for the road, the train or the skies. How the Chinese tourist chooses where to go In addition to preferring natural scenic sites and theme parks, this group cares about experience more than price, Nielsen reported. Their top five priorities are beauty or uniqueness of tourist attractions (56 percent), safety (47 percent), ease of visa procedures (45 percent), friendliness of locals to tourists (35 percent) and affordability (34 percent). All others, collectively, followed beauty and uniqueness with affordability, safety, vacation time constraints and alignment with their schedules.

The last of a system linking countries north to south, and east and west, will be completed this year, according to “China’s High-Speed Trains Are Taking on More Passengers in Chinese New Year Massive Migration,” a February 2018 Forbes article. Another 24,000 miles will likely be added by 2025. In fact, existing and new rail is expected to host 3.25 billion passenger trips this year, nearly 7 percent more than a year earlier, according to China Daily in “Rail System to Grow by 4,000 km in 2018,” a January 2018 story. Once they get used to leaving home, though, those with means quickly grow ready to leave the country for vacation. “Domestic travel is growing, and as people become more comfortable with travel they will then go to nearby countries first,” Yoshii said. “Then they are global travelers. But it happens very fast with a large number that are really free independent travelers looking for very unique places and experiences.” • • •

Once the decision is made, Mainland Chinese tourists visit an eclectic group of sites, although theme parks are popular. Here are some top choices according to Nielsen:

Providing a measure of safety on water rides worldwide.

• Hong Kong: Hong Kong Disneyland • South Korea: Chejudo (Jeju Island) • Taiwan: Riyuetan Pool • Japan: Tokyo Disneyland • United States: Disneyland • Australia: Sydney Opera House • Thailand: Phuket Island • France: Louvre Museum

•Meet manufacturer’s weight requirements •Move riders quickly and safely with Go or No Go light system •Platforms for 1 to 6 riders •Freestanding or flush mount scales

In-country rail travel expands Mainland Chinese tourists aren’t going straight from the local theme park to a country half a globe away. They start by traveling within China, and more each year are doing that thanks to regular and high-speed train lines that were recently built – a big change from the buses that have long served this purpose. “The high-speed rail system growth is phenomenal and all mid-size cities in China will be linked,” said Chris Yoshii of AECOM. “In addition, intercity and metro line systems are being built in and between major cities, and inner-city transit systems link in, forming a comprehensive network.” These systems are being extended close to theme parks’ front gates. “The impact is a greater proportion of theme park attendance by domestic tourists,” he added.

•Scales can accomodate two different weight ranges for multiple rides

SR Instruments, Inc. 716-693-5977 / +1-800-654-6360 www.srscales.com / info-request@srscales.com

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Project management methodology nFusion asks the hard questions and guards the vision with a program management process designed for success By Rona Gindin

his is how it starts: a developer has land, money, and a vision. A team is formed; a theme park project is launched. What could go wrong? As anyone with project experience in this industry knows all too well, many things can go wrong, and many worthy projects don’t make it to the finish line. When a project bubble pops, time and money are wasted. Expected economic benefits and tourism are lost. Companies lose financial footing, reputations are tarnished. Ultimately, such failures are bad for the whole industry. The larger the project scale, the greater the impact. What goes wrong? The big-picture perspective, according to the team of project management specialists at nFusion, is that projects get out of alignment due to an imbalance in the development efforts. Armed with formidable expertise and a detailed methodology based on many years of experience in entertainment project management, they’re working to change that.

Nassal umbrella also encompasses Lexington, a scenic fabricator focusing on museums, casinos and hospitality, complimenting Nassal’s specialization in theme parks, zoos and aquariums. nFusion operates independently, and in fact mostly works on projects with which its sister companies have no involvement. Key members of the nFusion team are Martin Zurauskas, Managing Director, and Program Directors John Lindsay, Gina Yu, John Dreher, Daryl Parker, and Robert Wyatt. (See sidebar for details.) The relationships that led to the formation of Nassal ACM grew out of a fast-tracked LEGOLAND project in Germany, where Zurauskas, then Head of Development for LEGOLAND, brought Nassal on as construction manager.

nFusion is one of three of The Companies of Nassal brands – Nassal has been a wellestablished, Orlando-based firm serving the visitor attractions industry with fabrication and production. nFusion, which was born out of a series of project management services The Nassal Company was asked to perform in the mid-1990s, launched in 2014 as Nassal ACM (Attractions Construction Management). It is an independent program management (aka project management) consulting firm based in the Los Angeles area. Today, The Companies of

Image courtesy of nFusion

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Project Management Q&A with nFusion How would you summarize the practice of program management? Programs may be one or multiple projects. Program managers maintain alignment of the project(s) team(s) through a pragmatic process that grounds the team while addressing the development challenges against the baseline. What are some of the important ways that destination entertainment program management is unique?

The project managers are responsible for delivering specific scopes with the overall program.

Traditional development projects have 30+ divisions of work. Destination entertainment projects have 100+ divisions of work. Our program managers span both traditional and specialty disciplines and are alert to the interfaces between these divisions of work. Is a program manager the same thing as an owner’s rep? Owner’s rep acts on behalf of the Owner, whereby the program management consultancy facilitates the work in place of the Owner. The Owner’s Rep is in contrast to a Program Management Office approach which is a blended team of the Owner and the Program Manager to holistically manage the project delivery. How does the overall program manager interface with the individual project managers of the different disciplines? The overall program manager is the Program Director responsible for the integration of the project managers.

The nFusion team represents substantial collective history developing attractions and entire parks for top developers and operators around the world (including Disney and Universal, as well as LEGOLAND, SeaWorld, and many others) and extensive knowledge of the myriad disciplines involved in creating such projects. Their nFusion codified process of “Project Gates” is designed to minimize avoidable risks and usher more projects to completion and success. Asking the right questions “We bring focus and efficiencies with the pragmatic side,” said Lindsay. “How will you build, operate and manage your entertainment destination? Is there a qualified market

Why is program management an essential role in entertainment development? Don’t some projects go forward without a project manager? The Program Director is responsible for aggregation and integration of the work streams and resources. When projects move forward without such overall leadership an area of expertise / scope of work will be developed ahead of the balance of the project. This introduces significant risk into the development, often requiring rework of design or construction scope which wastes time and money. Should a project owner look for a program manager first, before assembling the design team? Yes. The Program Manager listens to the Owner, developing the brief against which the talent to perform the work is cast. Casting without a brief will lead to misaligned resources and potential for work which is not needed. •

which makes economic sense? Is the team aligned with a common understanding of ‘why’ the project is appropriate (vision), as well as ‘what’ (scope), ‘how’ (delivery), and finally the ‘protocol’ of implementing the work?” Building a multi-faceted attraction (on time and on budget, of course) involves thousands more elements than the average construction project. All the elements of designing and building an attraction are combined with the process of housing it – of permanent construction – and optimizing it for viable and lucrative operations. Planning and creating the attraction must be woven into the fabric of the construction process, from early concept development to schematics to budgets to turning on the

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electricity for the first time. Otherwise, it’s all too easy to fall into the kinds of costly mistakes that can send even the most promising concept into the theme park graveyard. Dreher, nFusion’s Program Director over project controls, said, “Knowledge of all of the elements and their component parts is critical for success. Forecasting the capital required for the vision, dissecting the program and leveraging our database of historical costs enables us to provide the team a robust framework that we then use to monitor design to budget.” “What we advocate is discipline,” said Zurauskas. “We balance all the areas involved to keep the project on track.” Project Gates Having spent many years developing successful attractions for the industry’s big players, nFusion’s executives decided to build upon best project management practices to

formulate and formalize an industry-specific, program management plan based on what they’ve seen work in the field. Together they came up with a series of steps they call Project Gates. The point of Project Gates is to keep the project and the process on track and in sync, so each element is done correctly the first time in alignment with the development process, thus minimizing the number of costly re-do’s. Communication, scheduling and budgeting are all key. As a basis of best practices, Zurauskas cited a paper presented in 2000 at the Project Management Institute Annual Seminars & Symposium in Houston, TX, “Accelerating product developments via phase-gate processes,” by H.J. Thamhain. Essentially, Project Gates are well-defined, incremental building blocks and checkpoints that maintain alignment of the flow of the development process. The procedure involves looking at all pertinent elements at once and keeping their costs in line. Otherwise, a project might derail because too much money is spent in one area before assessing what obstacles might demand that element be changed to make it viable. nFusion outlines four major stages to a project: Definition, Master Plan, Design and Implementation. At the corresponding completion of each stage, before passing through the Gate to the next stage, key questions must be asked and answered: Is the project feasible, deliverable, buildable? And finally, is it operable? From one Gate to another are many steps to execute and checkpoints to fulfill before going to the next. “We continually revisit the big questions,” said Zurauskas. “When is the attraction buildable? Are things at the point of readiness for the client to spend the big money required to take it to opening day? Is the client ready to make the hard commitments necessary to get ride suppliers, technology experts and such on board? We make sure clients pace what they’re doing and when they’re doing it. We see the vision, the ambition, but also understand the economics involved. At a certain point, one can say with confidence, ‘This is a deliverable idea; now you can hit the big green GO button to go forward and execute the idea. Now we can move into more detailed design, including all the planning necessary to understand the procurement details.” Throughout all steps, Zurauskas noted, it is critical to keep the vision consistent, and to maintain the respect of all the professionals

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Who’s Who at nFusion nFusion is staffed by attractions-industry veterans who have been through the development process repeatedly and learned from their mistakes and successes along the way. Here are key players. Martin Zurauskas, Managing Director – a 25-year industry veteran who joined Nassal in 2014 to build the program management business. Martin has worked with multiple studios and IPs on projects in Asia, Europe and the Middle East. He has had stints at Chimera Design LCC, which he founded and served as CEO, and The Lego Company, where he helped develop LEGOLAND parks. John Lindsay, Program Director - Lindsay joined nFusion in 2018, shortly after serving as Vice President, Project Management for Shanghai Disneyland, a role he began back in 2010. Over the years, he has worked on four Disney theme parks, projects at three World Expos, and with multiple Studios (Universal, Sony, MGM, and the like) on destination entertainment projects. In 2018 he was honored by the Themed Entertainment Association as an inaugural “TEA Master” in the discipline of Project Management.

Gina Yu, Program Director - For more than 20 years, Gina Yu has led and managed the creation of themed environments in the entertainment, leisure and mixed-use sectors. Her portfolio includes projects such as Universal Studios Hollywood, Disney’s California Adventure and two LEGOLAND Parks. John Dreher, Program Director - A budgeting expert, Dreher plied his trade with Walt Disney Imagineering for 27 years. He was executive director of project controls for Disneyland Paris and handled budgeting for Shanghai Disneyland. Robert Wyatt, Program Director - After a quarter century at top theme park and resort groups, Robert Wyatt brings his project executive expertise to nFusion. Past responsibilities have involved NASA, Disney, Universal and Dubailand. Daryl Parker, Program Director - An ace at construction management, before joining nFusion – where he’s currently working on Qatar’s Doha Oasis Theme Park – Daryl Parker was a key player in building Universal Studios Hollywood attractions including the Wizarding World of Harry Potter. •

The nFusion team Courtesy nFusion

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involved. A common pitfall to be avoided is spending too much money in one area and compensating by pulling from another. “That ultimately results in chiseling away at ideas,” he said. “We are deliberate, and conscious, throughout the process of staying true to the vision. We do that by being respectful of and collaborative with all the players, whether the design company, a ride maker, a contractor, an architect or an operations group.” Solid foundations The nFusion team advocates implementing their system at the very beginning of the attraction-development process for it to be most effective. “It’s all about the foundation,” said Lindsay. “If the beginning of a project is weak, the execution is weak. We make sure that as a project goes through each of the gates, from inception on, we’re building on progressively and always tying back to the foundation: the goals, strategies, economic model and creative visions, as well as what the intellectual property vision is against that. We keep on top of the means and methods the client needs to think about. Each step has to be considered holistically as you pass through each gate.” Specifically, nFusion incorporates the vast array of elements into each gate. “What makes the realm of what we do different is that in addition to traditional and wellunderstood disciplines, we look at areas like infrastructure, traffic, procurement and construction,” said Zurauskas. “We consider additional elements such as ‘Can I get the land? Are there entitlements there? What does the schematic design say? How will the specialty work be produced? Are there competitors?’ We believe we are unique in being discipline-agnostic. We focus on what needs to happen, in the right order, to ensure that clients have a balanced and complete view of the elements that need to be in place to move from one stage to the next without excessive risk.” Equality is part of the equation. “We keep everybody in lockstep as we move through the process,” Lindsay emphasized. “The operator sits shoulder to shoulder with the economist, with the land planner who figures out how the land works with adjacent land, with the infrastructure people to make sure highways, roads and rails are aligned, as well as architects and the creative vision. We ask if the utilities are a monopoly, and if the developer has negotiated rates at the same time as government subsidies. Power is very expensive and needs to be dealt with at that point in the process. All move in lockstep through completion.” Global, impartial “guardians” Ultimately nFusion needs its experts on the ground wherever in the world a project is being built, yet the

process begins in the Los Angeles area, which is a hub of industry expertise including designers, concept architects, land use planners, show designers, animators and others. While a new attraction is still simply an idea, those behind it talk with the nFusion team. “Early stages of attraction design - in particular, show and ride design - happens stateside, while local team members provide the code and statutory requirements inputs that are specific to the region,” said Yu. “We lead the integration of art and science of show and facility design to create an unforgettable guest experience.” As planning progresses toward constructing, the geographic circle starts to widen. “Then we have workshops here and on the client’s site, as necessary. That works until we reach the strategic point where we hand off the project to the production team, understanding that they’ll use local labor. That’s where the pendulum swings.” nFusion mavens are sent to the construction site, building begins, and ultimately a thoughtfully planned, knowledgeably budgeted attraction starts to evolve, infused with nFusion pragmatism. Just as it functions separately from Nassal’s other arms, nFusion has no allegiance to any one subcontractor during any given project. “We are independent of all the people that are doing all the other things on the project, and that’s the incentive for a client to bring us to the table,” said Zurauskas. “We don’t design the project. We don’t provide the money. We’re not the fabricator. We’re not providing the intellectual property and we’re not providing the construction.” nFusion’s specialties are fourfold: In addition to program management, the firm offers cost management, design management and specialty construction management, usually all at once. The offerings serve to make nFusion what Zurauskas and the team call “guardians of the vision.” Said Zurauskas, “That means we’re there to try and guide this development process to better successful outcomes. The word ‘fusion’ speaks to being a catalyst, to bringing diverse disciplines together to reach a successful project conclusion.” • • •

Rona Gindin (rona@ronagindin. com), joined the InPark community of contributors in November 2017. Rona writes about tourism, business, travel, restaurant, lifestyle issues and the leisure industry. Her work has appeared in Zagat, foodnetwork.com, Brides, Parenting, Endless Vacation and other publications and websites.

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Congratulations Chishui Dinosaur Waterpark hing

Splas hina into C n! Soo

Chishui Peninsula Resort, Changjiang Peninsula “We’re very proud that construction is now underway on a one-of-a-kind waterpark that will create an incredible themed adventure while celebrating our regional, natural beauty.” Mr. Qi, Chairman of Zhunyi Culture and Tourism Development (Group) Co., Ltd.

MASTER PLANNERS · PRODUCT STRATEGISTS · EXHIBIT DESIGNERS · ARCHITECTS pgavdestinations.com | 314.231.7318 |

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Giving back

Michael Mercadante prepares to take the helm as TEA’s new president Interview by Joe Kleiman

ichael Mercadante, President of Main Street Design, Inc. and a Senior Exhibit Designer with the firm, was recently elected to serve as International Board President of the Themed Entertainment Association (TEA), effective November 2018. Michael will be officially installed at the TEA Members Meeting held annually during the IAAPA Attractions Expo in Orlando. He succeeds David Willrich of DJ Willrich Ltd, who served for two one-year terms. In this exclusive interview, Michael talks about his firm’s work, his design background and business philosophy, and shares his perspectives on the attractions industry and the importance of giving back as a volunteer. How did you enter the business? To begin with, I’m a registered architect. After graduating from the University of Notre Dame (Indiana, US) I began my professional career in Boston working as a junior designer at several architecture firms, including TAC (The Architects Collaborative), which was a fantastic talent incubator. Purely by chance, I picked up a freelance assignment with Joseph A. Wetzel Associates, an interpretive planning and design firm in the city, which introduced me to the world of exhibit design, and I’ve really never looked back. Two of the earliest projects I worked on were the Hall of Health at the California Museum of Science and Industry and the Frank Gehry-designed California Aerospace Museum, both of which were later integrated into the California Science Center. I started Main Street Design in 1991 with Tevere MacFadyen, an interpretive planner whom I met at Wetzel. Our company is based in Cambridge, MA and works throughout North America and internationally. My role is to oversee our business operations and to lead the design end of the process. How is Main Street Design set up? At Main Street we believe that content development, three dimensional design, and graphic design are inextricably interconnected and equally critical to a project’s success. Our studio is organized to ensure that these three practice areas work collaboratively, and all three are represented in every project we do. We have a representative from each discipline on the team, and they are encouraged to overlap and interact, sharing responsibility on the team.

Michael Mercadante

Our staff includes several permanent members as well as a cohort of long-term contract employees whom we enlist for specific projects. Many work remotely from locations throughout New England. We are very fortunate to have this fantastic talent pool to draw on. This model allows us to ebb and flow with the constantly changing work environment and gives us the freedom to quickly adapt to workflow changes. What are some of the projects you’ve worked on that you’re most proud of ? What makes them unique? I worked on Think Tank at the National Zoo, which explores issues of language and cognition in non-human animals – in particular orangutans – and received the top exhibit from the Association of Zoos and Aquariums (AZA) when it opened. I also worked on the McNeil Avian Center at the Philadelphia Zoo which received an AZA award, as well as being the recipient of a TEA Thea Award. Other projects that I am proud of include the renovation of the Egyptian Museum in Cairo, our work for the National Park Service, including Zion and Everglades National Parks, and two recent zoo projects at Zoo New England’s Nature’s Neighborhoods and Zoo Miami’s Florida: Mission Everglades that were listed this past summer as two of the “15 Coolest Zoo Exhibits in the U.S. for Families” on the blog mommynearest.com.

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done. Although zoo architects and landscape architects were doing groundbreaking work creating immersive, naturalistic habitats, interpretation was still mostly “a book on the wall.” The institutions and designers wouldn’t think about interpretation until right up to the moment they were ready to open. But these days, interpretive elements are integrated into all aspects of an exhibit. Through osmosis, visitors begin to discover things everywhere they look, not just off the graphic panels.

The McNeil Aviation Center at the Philadelphia Zoo

I feel that these are all unique in the ways they present complex information in an engaging and entertaining style, in a recreational setting. When we do our job well, our guests don’t even realize how much they’re learning until they find themselves talking about it on the ride home. Specializing in museum, zoo, and aquarium design, what changes have you seen over the years? What are the important connections between the business of zoo and museum design, and attraction design? We focus on natural history and cultural heritage, which over the past decade has taken us more towards natural history and environmental education. In 1993 we were awarded an open term contract from the Smithsonian Institution, which led to work at the National Museum of Natural History and the Smithsonian Institution Traveling Exhibition Service, and also to Think Tank, which brought us into the zoo and aquarium world. Winning the AZA’s top exhibit award gave us great visibility. When we first started, the zoo and aquarium industry called all interpretation “graphics,” and that is mainly how interpretation was being

All of these business sectors are about the visitor experience, so the connections between them are really about creating experiences that take visitors on a journey that tells a story. In the zoo and museum worlds, that story is usually about environmental education or cultural heritage; a “real” story, as opposed to the usually fictional story of a themed attraction, but with a similar objective: engaging and delighting our guests. Has being part of TEA helped you as a designer? What drew you to become involved in the organization and to pursue a leadership track? Like many others, I got into this business because I went to Disneyland as a kid and was enchanted and amazed. Early in my design career I realized that I wanted to do more than just architecture. Ten or 12 years ago, I heard

The entrance to Zoo Miami’s: Mission Everglades exhibit All photos courtesy of Main Street Design

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about the TEA Summit conference, and I discovered a wonderful, creative, supportive group of peers. Main Street has built its practice around delivering effective and authentic content-based experiences. The TEA straddles the visitor experience line, including entertainment environments as well as more traditional interpretive settings like museums, zoos, and aquariums. There are many ways to interface between the different sectors of our industry, bringing together entertainment and education in our guest experiences, just as TEA does with its membership. There are crossovers. Many TEA members work in various peripheral industries such as zoos and museums. There are a lot of similarities between exhibit and attraction development. In particular, I feel that the TEA is really about all the people that it takes to develop visitor experiences. I’ve found that every project involves collaborations – each one is a team effort. The TEA helps connect designers and fabricators with one another, with other creative partners, and with owners and operators. My own company’s cross-disciplinary approach reflects this multifaceted philosophy.

I have tried to bridge the fine lines between these industry variations. TEA has enabled me to stay in touch with the parts of the industry that are more attraction focused. As exhibit designers, we bring experience with exhibit development and authentic content. There are opportunities to apply those capabilities in unexpected ways, such as what Main Street has done working with Ripley Entertainment and Universal Creative. Tell us about your commitment to volunteer service and why that is important to you. I have always felt that volunteering is essential to living a full and positive life. Giving back is important, whether to your community or to your industry. In the past, I have volunteered by tutoring at a local high school, and for more than 20 years I have been a wish grantor for the Make-A-Wish Foundation. In my professional life, I served on the AZA Conference Program Committee before getting involved with TEA. Our industry membership associations provide valuable professional development and education, and opportunities to network and meet others with similar interests, learn about what others are doing, share best practices, and find ways to collaborate. TEA’s programs also help to educate, grow and improve our industry overall. • • •

Creating magic with light Focusing attention on Mark Andrew and Remarkable Light By Philip Hernandez During some 20 years as a lighting designer of themed attractions, Mark Andrew worked on some of the most influential projects in the industry. He recently founded his own company, Remarkable Light.

ighting and lighting design create a powerful effect on the human psyche. The quality, intensity, placement, and color of light strongly affect mood - to the extent that lighting can make us feel everything from infatuated to terrified. Despite this astonishing effect on our environment and our emotions, all too often lighting design can take a back seat to the overall process. The glue “On any project, whether it’s a show or a ride, the lighting design is the glue that holds everything together - and holds everything apart,” said Mark Andrew, founder and principal of Remarkable Light, based in Los Angeles. Mark has been a lighting designer in themed entertainment for more than two decades. He trained at San Francisco

State University and the Studio and Forum of Stage Design in New York City. Mark explains the impact lighting design has on our experiences: “Initially, its purpose is to guide the attention of the audience, add dimension to scenes, and to work in tandem with the story to create Mark Andrew a fully realized experience. Lighting design brings that intent into the physical realm. In theater - where the flat scenery is lit in a way to make it appear multi-dimensional (and backdrops provide depth, time of day, and create a mood) - the scenery is held away from the actor with backlight and sidelight. Light is also used to tell the audience exactly what to look at and

The Shuttle Launch Experience preshow area at the Kennedy Space Center Photo courtesy of Mark Andrew

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Universal Studios Singapore’s Special Effects Theater

when—and, almost as important, especially in attractions, what not to look at.” Lighting an attraction for entertainment or education has strong similarities and sharp differences to lighting for theater. Walking onto stage shatters the illusion. It’s evident that everything isn’t at all as it appeared from the spectator’s point of view, and much of that is due to the lighting. But in attractions, the space is configured differently, and the construction is usually permanent. “In immersive spaces, you need to be able to create these same illusions in areas the audience inhabits,” said Mark. “In a ride, for instance, a vehicle is used to direct the audience’s point of view. In other instances, guests may be left to wander through an environment. Different equipment and techniques are used, but it all comes back to the core - telling the story - and that means setting the mood and tone and making it seem real.” Key projects and clients Mark spent a good portion of his career at Yeager Design LLC, where as Associate Designer he was lighting theme park attractions, visitor centers, museum exhibits, corporate theater projects and the occasional observation deck. The primary client he served during that time was BRC Imagination Arts, providing lighting design on some 20 projects, several of which were honored with TEA Thea Awards. The most prominent of the BRC projects

were Shuttle Launch Experience and Exploration Space at Kennedy Space Center Visitor Center (Orlando), the Abraham Lincoln Presidential Library and Museum (Springfield, IL), The Ghost of the Castle at Louisiana’s Old State Capitol (Baton Rouge, LA), the Heineken Experience (Amsterdam), Story Garden by AmorePacific (Korea) and two USA Pavilions at world expos: 2005 (Aichi, Japan) and 2010 (Shanghai). Also for BRC, Mark lit exhibits at the Adler Planetarium and the Arizona Science Center. During his years with Yeager Design, Mark also helped light rides and attractions that guests have enjoyed at Universal Studios parks in Japan, Singapore and Hollywood, Disney’s Epcot, Fox Studios Australia and Lotte World (Mark did the lighting onboard the floats for “Let’s Dream,” Lotte World’s 25th anniversary spectacular & parade). He also provided lighting design for BattleStations 21, a state-of-the-art disaster training facility for the US Navy. Mark left Yeager in 2014 to join Rethink Leisure & Entertainment. “Rethink gave me the opportunity to be their in-house LD for Fox World Dubai,” he said. “I also was allowed the opportunity to be a creative producer on a dark ride. And while the project never materialized, I had a great time working on it.”

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The main theater of the USA Pavilion at the Shanghai 2010 World’s Fair Photo courtesy of BRC Imagination Arts.

Prior to joining Yeager, one of his very first attraction projects was lighting Bugs Bunny shows for several Six Flags parks, working for Gene Patrick Productions in the late 1980s. Observation decks and monuments Mark might be one of the few in his line of business with the distinction of having designed lighting for three observation decks – something that should pique the interest of operators in these days of sky-high attractions. “While I was with Yeager, I designed three observation decks—The Sears Tower (now known as the Willis Tower) in Chicago, New York City’s World Trade Center (the original), and a design for the Empire State Building observation deck, which wasn’t realized,” he explained. The Skydeck on the Willis Tower is on the Tower’s 103rd floor and is 1,353 feet high, making it the highest observation deck in the United States. Tourists can experience how the building sways on a windy day, and see across Lake Michigan on a clear day. The observation deck at the World Trade Center was on the top floor and featured a simulated helicopter ride around the city. Mark explained the special challenge of lighting this kind of attraction: “It’s always a balance between lighting exhibits on the inner core, and the reflections of those exhibits in the windows as people are looking out.” He offered a design suggestion based on experience: “Although this isn’t always the case, the ideal setup from a lighting viewpoint would be to locate the exhibits in a pre-show area, and to have blank walls across from the windows. It would also increase capacity, as people would move through the space more quickly.” He added, “You are selling them the view, not the exhibits. This approach would greatly enhance the experience of looking out the windows, especially at night.”

For the National Parks Service, Mark designed exhibit lighting for the Manzanar National Historic Site, Badlands National Monument, Cabrillo National Monument, WWII Valor in The Pacific National Monument, Keweenaw National Historic Site, and Mammoth Cave National Park. The project process: Shuttle Launch We asked Mark to describe his project process for context, and he used his work on Shuttle Launch Experience as an example. “The preshow space is a large, oval-shaped room, very tall. It has three projection screens on the main wall over an architectural grid that covers half the room from floor to ceiling. I spent a long time with Chuck Roberts (then Project Art Director at BRC) working on ways to incorporate the grid into the show. We ended up silhouetting it against acoustic panels mounted within and behind the squares, with LED wash fixtures from the top and bottom. I added an extra set at the bottom that grazed the middle. In this way, we had a ‘traditional’ cyclorama, with top and bottom washes, but also had intensity and color control of each vertical column of squares,” explained Mark. Mark continued: “In the Simulator Capsules, it was about stepping the lighting down from the load look, which was very bright, to the finale, where the shuttle bay doors open and you see this gorgeous projection of the earth above you,” he said. “The step-down was deliberate and coincided within the timeline of the show. First, it went from white light to blue light in the cabin as the activation of the cabin systems at the show start. Then there’s a slow decrease during the launch to help the viewer focus on the screens. After that is a steep drop in intensity as a simulated emergency alarm goes off. Lastly, there’s a slow fade as the bay doors open. While the doors are open,

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the only light in the cabin is from the front video screens. Once the bay doors close and the capsule repositions itself, the cabin ‘wakes up’ again for the unload.” How to optimize collaboration with lighting designers What specifically does a lighting designer bring to the team, and how is best to work with them? We don’t want too many cooks in the kitchen, after all. Mark explained. “Collaboration is such a key thing,” said Mark. “You have to trust the creative director and art director, and it helps if they have the ego (or lack thereof) to let you jump in. I always ask lots of questions. I challenge assumptions. I look for opportunities where light or a character fixture can help tell the story or light a graphic or direct the guest’s gaze and tell them, ‘Go this way.’ I also like having input on materials - especially for graphics - to minimize glare and reflections, which are the bane of a lighting designer’s existence.” Mark continued, “It’s necessary to get a feel for the overall scope of the project. Who’s producing? Has the company done this kind of work before? Do they care about and understand lighting, or do they consider it a necessary evil? Are the people building the project or event capable of

doing it, and doing it correctly? Will it be maintainable? Is there enough budget?” Attractions with theatrical flair Mark’s passion is theatrical lighting - the art of controlling the audience’s attention with light. His unique understanding of lighting as “glue” and as a means of guiding the audience’s attention applies to all his projects. Mark’s background in themed experiences (shows, rides) and architainment (observation decks, etc.) provides him with a unique advantage in applying theatrical techniques to rides and themed experiences. He’s followed this intersection of lighting and theater throughout his career and continued to pursue his passion. His new company is the most recent manifestation of that. “I started Remarkable Light this year to pull all my work together under the same umbrella and create a design identity for myself. Remarkable Light delivers dynamic lighting design for rides, attractions, themed restaurant, and retail spaces, corporate visitors’ centers, and both touring and permanent museum exhibits.”

Mark will be attending the IAAPA Attractions Expo in Orlando in November 2018 and welcomes inquiries and meetings. Contact him at mark@remarkablelight.com or 310-993-8457. • • •

“Let’s Dream,” Lotte World’s 25th anniversary spectacular & parade Photo courtesy of Mark Andrew

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Photo printing snapshot How photo printing capability adds value for park guests: Conversation with Cliff Reeves of DNP DNP Imagingcomm America Corporation’s Photo Imaging Division delivers award-winning digital photo printing solutions that provide custom photo souvenirs. DNP is a leading supplier to amusement parks and attractions, and the company is a regular exhibitor at the IAAPA expos.

n today’s world of ubiquitous digital cameras, selfies and DIY photo-ops, how do entertainment operators create value with on-site photo printing, and market photo souvenirs to guests? Cliff Reeves, Director of Sales at DNP, answered some questions. Please explain the role of photo printers in the attractions industry. We have a strong foothold in this market. There are a lot of commonalities between the event photography market and the attractions industry; we both are selling experiences. Being able to merchandize a guest’s experience with a printed photograph reinforces the enjoyment they had at the property. Everyone carries a phone with a camera, constantly capturing as many photos as they want. Does this minimize the demand of selling photography?

What are the advantages of dye-sublimation printers? There are a variety of advantages, but for a park operator, it often comes down to a much lower cost of ownership including the hardware, software and paper. Dye-sublimation printing gives the user predictable costs. The price per print remains the same regardless of content, and there are no expensive ink cartridges to refill. Additionally, unlike ink technologies, there is no smudging or blotching because prints come out dry to the touch as soon as they leave the printer, and the prints are resistant to fingerprints, dust and fading.

The ability for anyone to take photos is greater than ever; however, consumers aren’t moving these images off their mobile devices and into their homes. This serves to increase the value proposition of printed photos. We are providing park operators with the ability to produce large quantities of high-quality images quickly and capture their guests in the moment. Because consumers are printing less themselves, these readily-available images have even greater value.

Where are park operators having the most success with photo printers?

What types of photo printers are available for amusement park operators?

Do you find that most of your customers who print on spec convert on a higher rate of sales opportunities?

There are really two commonly used types of photo printers, inkjet and dye-sublimation. Inkjets spray drops of ink onto paper, whereas dye-sublimation use a dry technique that diffuses dye onto paper. The dye comes in the form of a ribbon, which is converted into a gas by a heated print head and absorbed by a special receiving layer on the paper.

Cliff Reeves

Park operators often tell us they have consistent success with mascot photos and entry gate photography. For those that branch out and look to deploy photography in more areas of their park, they have had success with haunted attractions and seasonal events and even hiring a roaming photographer to capture photos of guests.

A photo captures the emotion of a moment, and the park photo souvenir serves as a reminder of positive experiences and feelings. The photo souvenir package that guests take home as a personal memento helps reinforce the kind of emotional bond that can lead to repeat visits. Just as a shopper might purchase a candy bar at the checkout aisle of a supermarket, park-goers will make

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spur-of-the-moment purchase decisions in theme parks. Some parks find that it pays to print photos on spec. They drive sales by having prints on display and ready for purchase immediately after the guest exits the ride. Short wait times and easy traffic circulation in the retail area will increase the chances of a sale. Do larger venues tend to have more success with onsite photo printing? Not at all. Our systems are in large, well-known venues but are just as commonly found in a range of smaller venues. The key is in the quality of the printer, and in having a quality camera for capture, but everything else is just extra. We have systems that start as low as $1,000 and a venue only needs a camera to complete the system. How are your most successful customers monetizing event photography at their properties? We believe there are two rules that apply to maximizing profitability. The first is to take a photo that is hard for people to take on their own, and the second is to provide

the highest level of print quality. This means we give our customers the ability to print a range of print sizes and finishes that can’t be duplicated by consumer inkjet printers and would otherwise be hard to reproduce. Customers that are having the most success and getting higher margins are not just offering traditional 4 x 6 images. • • •

Dai Nippon Printing (DNP) was established in 1876 as the first full-scale printing company in Japan. Today, the DNP Group is one of the largest printing/coating technologies companies in the world. The company works with a variety of photo industry hardware and software specialists to assemble customized solutions for the digital photo processing and printing space. At its 71 production plants around the world, DNP’s global operations include commercial printing, packaging, decorative materials, electronics, business forms and information media supplies. For more information on DNP’s professional photo printing solutions for the attractions industry, please visit: www.dnpphoto.com

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Looking back on looking forward Eight takeaways from eight years of ‘Design Trends’ presentations by George Walker Shawn McCoy of JRA gave his first annual “Design Trends” presentation at IAAPA Orlando in 2011 and will give his next of the series at the 2018 expo in November. In this article, fellow themed attraction designer George Walker analyzes and summarizes some of Shawn’s more significant findings over the years, and the trends within the trends. George made a thorough review of the presentations in addition to discussing them with Shawn. Following 2018, Shawn has made the decision to take a break from hosting the Design Trends series in order to re-energize, and allow space for other voices to be heard, with plans to refresh the series in the near future. The industry has benefited from Shawn having shared these valuable insights, year after year. “2018 Emerging Trends in Immersive Design” takes place on Monday, November 12th, 2018 from 3:45-5:00pm in room S3330CD of the Orange County Convention Center. A recording of Shawn’s presentation will be available on JRA’s YouTube channel (www.youtube.com/ jackrouse) in the week following the IAAPA Attractions Expo.

very year for nearly a decade at the IAAPA Attractions Expo in Orlando, one of the best minds in our industry – Shawn McCoy, Vice President of JRA – has gifted us with his “Emerging Trends in Immersive Design” presentations. As a theme park designer challenged to bring outstanding design to attractions, I have found my own, annual pilgrimage to the Orlando IAAPA Expo and Shawn McCoy’s presentations to be just the battery-rechargers I needed. I have found great value in contemplating the “keepers,” the insights into how the minds and hearts of our industry’s audiences responded to those innovations. Among other things, it has been an opportunity to test my creative vision against how well it synced with Shawn’s astute observations about the way audiences were reacting to those trends. As Shawn puts it: “It’s not about replicating something cool that you see. It’s about replicating that passion for

creatively taking risks and trying something new.” He explained that his hope was that his presentations of all those various trends, technologies, and techniques would inspire IAAPA audiences themselves, as much as they had inspired him. Shawn McCoy

What is a “trend”? Trends, by definition, can be transitory. That’s why social media can incessantly serve up breathless “trending now” alerts. Such “trends” usually have a short shelf life and may more appropriately be defined as “fads.” But there are trends that can be far more deep-rooted, and therefore serve as a rich resource for those who create entertainment and learning experiences for today’s audiences. In Shawn’s vocabulary, a trend is a “product, service, technology, or technique that doesn’t represent a moment; it represents a movement.” By comparison, a fad is “present-looking” with “a quick adoption rate but also a quick drop rate.” It might as well stand for “Fleetingly Attractive Distraction. It doesn’t evolve or adapt; it provides short term value; it is a tactic; a moment.” Fidget spinners, for example, are a fad, not a trend. What do trends tell us? A great part of Shawn’s insight has been about the meaning of specific trends, as well as the trends themselves. His reports on the technological, strategic, and innovative design trends are, themselves, exciting and inspirational. It has been great fun to learn about things that, the previous year, did not exist. But the world of theme park, museum, and attraction design is always going to be about “What’s next?” “What’s new?” Shawn provided insights into what any given year’s trends were telling us about our clients and the people our clients are trying to reach and motivate. The best trends will quickly transition from momentarily unique to conventionally mainstream. Shawn’s explanations of what those trends teach us are immutable.

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Concept art from the new Star Wars Galaxy’s Edge land opening next year at Disneyland and Walt Disney World Photo © Disney

Have you experienced that moment when you are working on a project and suddenly intuit exactly what is going to happen next – how the audience will respond to what you are creating? These flashes of understanding are no accident. They are the reward of many years of engagement in our craft, which include the diligent study of emerging technology, cultural shifts, and evolving audiences. An immersive trend comes to life in the field The kind of inspiration Shawn hopes to convey in his IAAPA talks took form for me recently during the testand-adjust phase of the up-coming MISSION: Ferrari attraction at Ferrari World Abu Dhabi. I was deep in the weeds working with the artists to balance the light levels with the brightness of the paint colors so that they would match the integrated media that is cleverly projectionmapped into the show sets. As we experimented with different combinations, the process required going to show conditions, which means turning off the lights and firing up the projectors. As usual, there were several general workers on site who were not privy to what the point was of this tangle of steel track, show sets, and hightech gear.

and rolling media clip. They enjoyed it, but they hadn’t been engaged yet. Then, without warning, the classic bad guys show up both on the screen and as audioanimatronic figures dotted throughout the sets, complete with the dramatic underlying score. You, the audience – or in this case the unexpecting workers – were under a surprise attack! I watched as they literally ducked for cover until their surprise turned to laughter and highfives with one another. Shawn’s advice guides us all to moments like these. Don’t just give audiences something cool to look at anymore; engage them directly and make them part of the story.

This was the point when one of Shawn’s observations about the emerging trends of audiences truly kicked in for me. Show sets may look neat, and projection may look cool, but audiences need to feel they are part of the story. They must feel engaged.

What matters most Learning what Shawn McCoy found cool each year has been fun. But understanding what those discoveries tell us is what matters most. “The more presentations I did,” Shawn explains, “the more passionate I became about not only finding the next cool project to talk about, but also understanding what makes a new attraction resonate with audiences. What inspires them to think or to feel? What makes an attraction stand out and set a new bar for audience engagement? What social trend(s) is the attraction tapping into? What drives repeat visitation? This constant exposure to the latest trends – and perhaps more important, what makes these trends so relevant to audiences – has also helped change my way of thinking when working with my colleagues on new concepts.”

When we turned the show conditions on for the first time, I witnessed a moment of storytelling wonder first-hand. The crew on the scaffolding stopped to drink in the environment, now fully enriched with the lighting, audio,

But Shawn has not limited his journey to explorations in the attractions, theme park, and museum industries. He explains that “the other thing that’s been fun throughout the last few years of analyzing trends is incorporating

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tools, technologies, and techniques from outside the themed entertainment industry. Throughout the last nine years, I’ve included case studies from Apple and Mike’s Car Wash, as well as immersive design applications in the military, health, and educational fields. Even within the greater visitor experience industry, there have been lessons that museums can learn from theme parks, and vice versa. I think the basic principles of creating personalized experiences transcend industry and scale, and we can all benefit from each other’s knowledge.” “Design Trends” Takeaways From all of this research, Shawn has sorted out the detritus and provided us with his wisdom and perspective, gained through years of hands-on experience with a top design firm working on some of the most innovative projects in the world, and thought leadership born from many hours of observation, consideration and insight. He has given the framework or bones to which we can add the flesh most appropriate to our individual projects. Among them: 1) The story is king. The most effective presentations, whether in theme park attractions, museum exhibits, or other venues, will tell a story powerfully, and that means every detail – scenic, queue, technology – is an essential component of the story. Shawn explains that “today’s audiences are constantly being barraged by messaging and content – from their phones, their tablets, their computer and their televisions. So, you have to craft your story in a way that cuts through the clutter, by surprising them; by telling them great stories.” 2) Immersion is mandatory. Shawn reminds us that attraction design has a short time window in which to capture and hold the attention of guests. One way to address that is for attraction creators to “continue

Universal Studios’ Hogsmeade is a prime example of how a park can create a fully immersive and entertaining land based on a popular IP Photo courtesy of Univeral Orlando Resort.

to look for new and exciting ways to ‘blur the lines’ between fantasy and reality. This not only means creating new ways to create stunningly immersive environments through scenic, media, VR and AR, but also stretching that immersion into new areas. For example, the planned immersive hotel experience at Star Wars: Galaxy’s Edge opening at Disneyland and Walt Disney World in 2019 promises to take story, audience participation and immersion to a whole new level by extending the guest experience outside the borders of the theme park proper. 3) Immersion requires guest participation. Today’s attraction guests want to be in the story, not just passive audience members. Shawn says that he’s learned that “audiences want to be engaged in a personal and emotional manner. They really want to become fully immersed within the story that you are telling,” says Shawn. But, “they are no longer content to just observe - they want to become a part of the story, have an effect on it. They want the experience to change over time, or every time, so that it feels fresh on every visit. It’s a concept The Void (a production company of whole-body fully immersive VR experiences) refers to as ‘Hyper-reality – the next stage beyond VR’ – where guests navigate their way through the rooms of a VR attraction yet have to open doors and manipulate other features physically.” 4) Technology alone is not enough. Audiences have become more sophisticated and demanding of quality experiences. They are used to getting a wide variety of high-quality content, when they want it, where they want it, and how they want it. They are used to cool technology in their daily lives, so you can’t trick them with the latest gadget – at least not for very long.

The Chicago History Museum recently utilized crowd sourcing to determine the focus of their next exhibit Photo courtesy of The Chicago History Museum

5) Attractions are an antidote to digital isolation. Will video games and artificial intelligence (AI) technologies enjoyed in one’s living room replace

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creating content?” He quotes Darren David, Founder and CEO of interactive media firm Stimulant, who said: “The best experiences aren’t those that create magic, but those that create magicians.”

The new MISSION: Ferrari ride at Ferrari World Abu Dhabi will blend an intense coaster experience with theming and storytelling elements Photo courtesy of George Walker

trips to physical attractions like theme parks and museums? Shawn doesn’t think so. In one of his past presentations, he suggested that you need to “disconnect to reconnect,” referring to simpler, “analog attractions that replace ‘digital isolation’ with human interaction.” 6) Theme parks and museums are not the only place to look. There is a gap in the market for indoor urban attractions that attract both tourists and locals over the long term. For example, shopping malls are looking for ways to retain their current audiences and attract new audiences, so more and more operators are looking for that themed anchor attraction. 7) The leading trend: World building. According to Shawn, the practice of “world building” results in “a themed land that immerses its guests through its maniacal focus on ensuring that every aspect of the guest experience – from the coasters to the retail to the restrooms – is designed as an ‘in world’ component of a larger narrative, within which guests become an active participant.” He cites The Wizarding World of Harry Potter [Universal] and Pandora - The World of Avatar [Disney] as strong benchmarks. “Both lands certainly have a rich foundation of stories, characters and environments from which to draw, but it is their commitment to keeping the guest within these worlds at all times that really sets them apart.” 8) Create magicians. Shawn McCoy has talked about the value of crowd sourcing. We now live, Shawn posits, “in a world where we can collaborate with our customers about what they want. We’ve seen how the public can select exhibition themes and specific content in museums. What about the public actually

Shawn tells of the introduction of crowd sourcing as a means of providing better insights into what our audiences want. For example, Chicago History Museum recently organized a crowd-sourced competition where the public could suggest themes for the museum’s next exhibition. Rather than planning exhibits based on what museum personnel thought people should learn, they asked demographic groups such as youth and blue collar workers what they wanted to explore. Such interactions with potential and existing audiences can, Shawn enthuses, “beautifully symbolize how exhibits and programs can break down social barriers and even barriers within oneself.” In his 2017 IAAPA presentation, Shawn told his audience, “This is a very exciting time to be in the design business, and I hope I can feature one of your creations in the future.” At this writing, we are approaching the time for Shawn’s 2018 “Design Trends” presentation, which reportedly will be his last for a few years. He has showered us with ideas, illustrations, and case studies. Even better, he has provided sage analysis and insight. So here’s a big shout out to Shawn McCoy, and also a warning to him: We will remember and employ your “keepers,” and we’ll be back with such great ideas that you’ll have to return soon to present them. Thanks, Shawn. We’ll see you then! • • • George Walker, Senior Art and Production Director, Universal Creative - Having recently joined Universal Creative, George is helping tackle the exciting new developments at Universal Studios Japan. He has also nearly concluded his service as Creative Director for Ferrari World Abu Dhabi, where he oversaw the creation of eight new attractions as well as restaurants, gift shops, and area development, with the park expansion’s final E-ticket attraction, MISSION: Ferrari, opening soon. Overlapping this role, George also spent three years developing new attraction concepts as Senior Vice President of Dynamic Attractions, where the company earned three consecutive Brass Ring Awards for Best New Attraction Concept, including the ground-breaking “All-Terrain Dark Ride” last November. Referring to himself as a “Story Builder,” George is passionate about the integration of themed design into the destination resort industry, where his presentations have earned him a nod as a topic expert.

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A Desperado, with pirates Benoit Cornet’s ride from corporate finance to Alterface and interactivity by Joe Kleiman

lterface Projects is a pioneering leader in mediabased, interactive attractions, with installations throughout the US, Europe, Middle East, and China. Company founder Benoit Cornet had previously applied his business and financial acumen to a number of other industries until a chance encounter brought him into attractions. “I started with a conventional career,” he says. “I graduated from Ichec Brussels Management School in 1988 with a Master of Science in Business Engineering; I also earned a post-graduate degree in business-to-business marketing 10 years later as a refresher.” Immediately after graduating from Ichec, he joined Procter & Gamble as a financial analyst.” But he soon realized that “conventional” was not for him. “I was part of a bigger jigsaw puzzle, and sought a more creative challenge.” Benoit joined the European arm of Scitex, an Israeli printer company. Over time, he had the freedom to shape aspects of his position, becoming Sales Manager for After Sales Service. He could exercise creativity and become a productive interface. “Because I was in the after sales side, I saw where our technology and product could and should be improved to better serve the customers’ needs, and I brought that information to my employers.” Benoit moved on from Scitex when the opportunity arose to co-found a tech startup, Paspartoo, with a colleague. “We embraced using the power of the Internet for printer technology. In 2000, we introduced a system to print over the Internet. It was unique, but it was ready long before the infrastructure was.” The ambitious Paspartoo was unfortunately ahead of its time, and paid the price. The company began running out of cash. It was time to move on again. The road to Desperado Benoit set out to find a new position with the kind of interesting, creative and trans-cultural challenges that motivated him. “All of my work since Scitex has had a trans-cultural dimension,” he says. “This is what I like so much at Alterface today.” It was the post-Paspartoo exploration that set Benoit on a path to working in the attractions industry. By chance, he encountered two students working on an EU-financed university project, creating an augmented reality-type

Benoit Cornet

magic mirror. “I had seen ‘The Matrix’ and I saw potential in this,” he says. The first “Matrix” movie was released in 1999, and life imitated art: “I helped transition this from a research into a commercial product.” In 2001, Alterface was born. He created business models and presented the concept to potential investors, which led to a number of installations using the technology in the form of an interactive game that uses a visual image of the player on screen during play – an pioneering example of gamification. “One of the very first of these exhibits is still operating in Brussels, in Mini Europe,” reports Benoit. “I spent 5-6 years on that and brought in a few customers, but determined it was too complicated, ultimately, to make a business out of. That’s when I transitioned to interactive theaters.” Alterface’s first interactive theater was the Desperado theater, which opened in 2006 at a 56-seat installation at BobbejaanLand in Belgium and at a 36-seat installation at Fraispertuis City, France. In the attraction, guests would sit on saddles while a 2D film played an engaging and funny Western story and visitors shot pistols at the screen as if in a shooting gallery. Desperado would prove to be

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Maus au Chocolat at Phantasialand in Bruhl, Germany Photo courtesy of Alterface

a flagship, one of Alterface’s most enduring attractions. Benoit points out, “We have always marketed them as Interactive Theaters, yet people have been referring to them as ‘desperados,’ sometimes resulting in requests such as, ‘I want a desperado with a Pirate Theme.’” This first attraction by the company was made through trial and error. “We pitched the idea to the customer without ultimately knowing what the end result would be.” But Benoit’s vision was borne out in the Desperado. He had found the direction he sought, and his customers wanted it, too. Throughout the years, Alterface has conducted extensive internal testing on potential projects, giving them an idea of what people enjoy and what doesn’t work. The company also extensively analyzes the sense of humor in a market. After all, what works in Europe may not carry over well in Asia, and vice versa. Once an attraction opens, engineers typically stay on location for one to two weeks for fine tuning, as do lighting and sound designers. Sometimes, minor changes are needed, as with Maus au Chocolat at Germany’s Phantasialand. “We discovered a couple of weeks later that it would be better to add something engaging between the show scenes. Our show control system allowed for a quick adjustment to the ride.”

Over the years, Alterface grew to a staff of 30, but is now subcontracting what Benoit calls “the exoskeleton” of the business. The company’s offices are now home to the animation computers and a small shop for the integration of components, but it is the company’s partners who are bringing their tools and expertise to many key areas. NOMAD and Erratic Throughout his career, Benoit has sought out the most unique and promising technologies. The company’s newest products, NOMAD and Erratic, like Desperado before it, are designed to be game changers in the world of interactive attractions. NOMAD is the fourth generation of the company’s interactive software, which began with tethered guns on Desperado and then moved on to wireless weapons and tools for dark rides. NOMAD is completely wireless and self-powered and can be configured in a variety of shapes and sizes. It allows guests to interact with screens, animatronic characters, or scenery on dark rides or even coasters. NOMAD uses a unique ID system, relating specifically to its user. Benoit says, “The possibilities are endless. You can impact a particular scenario or even an entire attraction.” While NOMAD creates an interaction with the environment, Erratic enhances the experience from the ride system point of view. Developed in conjunction with Alterface collaborator ETF, the ride system now becomes

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an interactive element of the ride itself, with guests having the ability to alter the trajectory based on their input. Erratic and NOMAD can be integrated individually into an attraction or can be used together to create a one-of-akind interactive ride experience. New company divisions, and international offices Since its founding in 2001, Alterface has seen increasing demand for interactive theaters and dark rides worldwide. The company delivers both off-the-shelf and custom products. “More and more, we are seeing a trend for higher quality dark rides in the larger parks,” says Benoit. “To meet this demand, we’re introducing two new divisions. Alterface Technologies will offer services for dark rides developed by others [such as the Justice League: Battle for Metropolis attractions at the Six Flags parks], while Alterface Creative will help customers develop their own original concepts. This is great for smaller regional parks.”

in Belgium, the company has offices in the United States and Taiwan, with a fourth office in Beijing. China is an important growth market for the attractions industry and Benoit visits the country an entire week out of every month. “It’s very important that our attractions are culturally relevant in China,” he says. “That’s why we’re totally embracing the Chinese culture and the Chinese way of having fun.” Benoit Cornet, who once saw the future in printing over the Internet, looks ahead at what the future has in store for the interactive attractions industry. “Interactivity will go out of building and will expand throughout the park. Gamification will be the name of the game. Right now, there are only a few large players in the industry, but people will want an experience making sense that may change from one visit to another instead of just a group of attractions. Because of this, entertainment will go to shopping malls. This is already very strong in China, because space is scarce. We’ll end up reverting to a more playful experience.” • • •

To meet increased demand, Alterface has also brought in a new team of localized designers to come up with new track layouts and IP. In addition to its headquarters The Basilisk ride at Poland’s Legendia park combines interactive gameplay with a richly themed dark ride Photo courtesy of Alterface

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Cut the ribbon!

Lexington, a Nassal company, employs its design-build process to bring Idaho’s past into the future By Joe Kleiman

anet Gallimore, Executive Director of the Idaho State Historical Society, is very quick to point out, “The people of Idaho cherish our history. We became a territory in 1863. In 1881, nine years before we became a state, the people of Idaho founded a historical society. That’s pretty forward thinking when you consider that Idaho would have been a lot of desert and not a lot of people back then.” In 1907, the historical society became a state agency, what Gallimore calls “the steward of state history.” The Idaho State Museum, operated by the Idaho State Historical Society, was designed in the style of the Civilian Conservation Corps of the 1930s and opened in the 1950s, with a small expansion in the 1980s. The museum featured traditional exhibits, which worked well for decades past, but with today’s visitors being more mediaand interactive-savvy, museum management realized it was time for a change. Gallimore and her team explored history museums of the Northwest, primarily the Museum of History and Industry in Seattle and History Colorado in Denver. They examined experience design, visitor services, rentals, and educational content and components, and what worked well in those The Origins gallery at the Idaho State Museum All images courtesy of The Companies of Nassal

particular markets. Additionally, they commissioned Lord Cultural Services to conduct an evaluation for redoing the Idaho State Museum. Lexington, a Nassal Company, oversaw the design and construction of the new exhibits that would bring the Idaho State Museum into the 21st century. Fabrication was done in Lexington’s 52,000-square-foot shop in Los Angeles. Some of Lexington’s more recent museum credits are “Science Storms” at MSI Chicago, and “Dinosaur Hall” and “Nature Lab,” both at the Los Angeles County Museum of Natural History. These projects have been recognized with awards from SEGD, ASTC, and the TEA. Up, down, North, South With an official public opening date of October 12, 2018, the refresh of the Idaho State Museum includes a redesigned entrance experience. Its exhibition space has expanded from 10,000 to 15,000 square feet, and its new exhibits are media-rich, with 46 media-based experiences throughout the museum. Upon entering, visitors will find a large, interactive touchtable in the lobby, in the shape of the state. Visitors proceed through the museum’s original 1950s Art Deco facade and head to either the upper or lower galleries. From the Origins gallery, which showcases tales of Idaho’s Native Americans and indigenous wildlife and geology, they can journey with Lewis & Clark to the upper galleries, which showcase the three distinct regions of Idaho – the North, with its forests and lakes; Central Idaho, with its mountains and rivers; and the South, with its deserts and canyons. Each of these zones features multiple interactive media stations and scenery comprised of stylized geometric representations of natural elements, such as rocks and trees. One of the highlights of this area is a media presentation on the 1910 Big Burn, one of the biggest wildfires in US history, destroying more than three million acres. This area also houses several media-based attractions that the museum calls “virtual adventures.” In one, visitors sit in a chairlift, and on a multimedia screen unfolds the story of how Sun Valley became a hub for women’s competitive skiers and Olympic champions. A mural of Mt. Baldy behind the lift adds to the ambiance. In another experience, visitors pedal a bicycle as a screen in front of

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integrate multiple disciplines on the front end,” she says. “It was very effective from a cost control standpoint and added a richness to the project.” “The key to this project is that Lexington was the client’s contractor on this, working closely with the client,” says Shearin. “We built the team and were able to keep cost drivers open to the client. We’re proud that we delivered on our promise made to the client early in the design phases, meeting and exceeding expectations.”

Design for the Southern Idaho exhibit created by Lexington

them matches their speed for a ride through downtown Boise or historic Pocatello. On the bottom floor is Boomtown, a children’s museum within the history museum. Boomtown caters to the ageseven-and-younger crowd and features colors and shapes appealing to children. It is a play-oriented area designed to enhance tactile development, where children take on professions and trades found in the early days of the state. Also on the first floor is History Lab, where guests can participate in guided activities, such as designing a house or charting Lewis and Clark’s journey on a map. Michael Shearin, Lexington’s Design Director, describes History Lab as being very much a uniform style evocative of a lab or classroom, while other exhibits are much more stylized. The freedom to move about between galleries allows visitors to choose their own paths. Michael Shearin points out, “In terms of creating a nonlinear pathway, it’s the way museums have been doing it for the past decade: giving visitors choices rather than the old museum ‘death march.’ It’s very appropriate - because history is not linear, and by doing this we can tell one of the museum’s big stories interconnectedness.” Lexington and design-build Design-build is not the typical approach taken by state-run organizations. The traditional build-construct method is more likely to be adopted by museums and government institutions. But throughout this process, Lexington’s collaborative role with the Historical Society was that of collaborative partner, rather than vendor. Gallimore spoke of the benefits of taking this approach. “The design-build process allowed the team to successfully

As the project lead, Lexington brought together a number of leading design firms and subcontractors to work on exhibit design, installation, and media integration. Exhibit design was provided by Santa Fe-based Andy Merriell & Associates, whose innovative work includes “The Daily Planet” at the North Carolina Museum of Natural Sciences and History Colorado’s “Time Machines,” both media-intensive exhibitions. Merriell created a series of digital fly-throughs of the museum to pre-visualize what exhibits would look like at different price points. It was part of the cost control practices inherent in the design-build methodology. The new exhibits underwent a 2-½ year design period, during which master planning, conceptual design, and the creation of schematics were undertaken. Once they had concluded the design phase, Lexington entered the next phase - construction. In January 2017, about 70% of the way through the process, during design development, came a new challenge. Lexington was acquired by The Nassal Company, a leading fabrication and production company for the attractions industry, headquartered in Orlando. This naturally raised some concerns at the Historical Society, as to how a new owner of its project lead might affect the project itself. Nassal management took steps to assuage those concerns and maintain the project and the relationship. They assured the museum Board that they had every intention to see the project through to completion with the same high level of quality and service. Gallimore says of the new partnership, “From the start, they have been transparent, fast, and extremely responsive.” A multi-party collaboration Throughout the process, Shearin and his team worked closely with Merriell, providing technical expertise about fabrication methodology and material selections so the designer could concentrate on overall look and form, how visitors would interact with a display, and the content delivery system. This kind of close collaboration, with

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some decisions being made in the field during production, is characteristic of the design-build process. When the project switched from the design phase to construction, Lexington created material samples to show the client and Merriell. According to Shearin, “The budget influenced our methodology. First, we had to have a sense of how things work, aligning the design with the budget, which created the overall look for the final product. We built mockups of the exhibit cases so the client could see how it would look, what the access was for curators, what tools were required to enter the case.” The exhibits were given a unique look – geometric faceted rock formations that were all constructed out of fire-rated MDF and plywood with a scenic paint finish - what Shearin calls “highly stylized, contemporary work.” A mockup was created of a stylized, geometric wall upon which images are displayed, so that media producer Richard Lewis Media Group and AV integrator Electrosonic could test the video projection. In addition to designing and building all the static exhibits throughout the museum, Lexington fabricated a halfdozen mechanical interactive elements throughout the museum, several tied in with media.

Knowing that guests would touch the exhibits, materials were chosen that would reduce wear and tear over time. For long-term maintenance, many of the finishes are single color, allowing the museum’s maintenance team to easily maintain the look of the exhibits. When Lexington became part of the Nassal family, so did its facilities, skilled artisans, and reputation for quality. With the backing of Nassal, Lexington was able to successfully complete its extensive update of the Idaho State Museum within budget and on time. Among those excited by the new design of the museum is Idaho Governor Butch Otter. “I am big believer in the expression: ‘you can’t know where you are going, until you take a good look back at where you have been.’ Our newly renovated and expanded historical museum will help give visitors that vital context in a bold new way. It will provide a dynamic link from the past to the exciting promise that is Idaho’s future. As the fastest growing state in the nation, it will help us tell the story of Idaho to a brand-new generation of citizens and tourists alike. The interactive displays will enhance the visitor experience, provide teachers and students with a vibrant new educational resource, and help our state expand tourism. The First Lady and I can’t wait to cut the ribbon!” • • •

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Breaking waves ADG’s new wave technologies and integrated features can help waterpark attractions become family destinations by Jessica Mahoney, ADG

oday, the waterpark industry has new, exciting and innovative alternatives to the waterslide to help bring guests in and keep them coming back. Advances in sheet wave technology, wave pool geometry, propulsion technology and other areas have enabled our team at Aquatic Development Group to introduce new options for re-energizing standard offerings such as wave pools and lazy rivers, and creating new, wave-based attractions that help get more people - of all ages and skill levels - off the lines and into the water. This evolution has the potential to provide operators with significantly increased rider throughput and capacity in similar footprints to slide complexes. These new types of rides represent the kind of investment that can increase length of stay and per cap spending, by helping to make a waterpark into more of a full-on leisure destination. “No ocean required” surfing for everyone Over the past decade, sheet wave technology has been enthusiastically adopted within the waterpark industry. This technology offers a thrilling, real-world surfing experience that can be provided to guests anywhere in the world, allowing riders to enjoy the challenge of body boarding and surfing with no ocean required! A skillbased, surf rider attraction such as ADG’s FlowRider®

provides a platform for guests to learn the basics, then return time and again to hone their skills and compete, building park loyalty and repeat visitation. ADG and FlowRider recently introduced a new option, the LatiTube™, that provides a gentler, easier platform for first-time wanna-be surfers, and non-surfers – including absolute beginners as well as those who simply want the thrills without having to develop the skills. The LatiTube™ allows for the wave angle and speed to be manually controlled and fine-tuned in order to match the rider’s skill. With minimal instruction, guests of all ages can start anywhere from a lying-down to standing position on a low, gentle wave that gradually increases in size and shape until the rider is fully ensconced in a “tube,” allowing them to experience the thrill of ocean surfing whatever their actual level of surfing ability. Boogie Boarding rides ADG created and recently introduced another twist in the surfing arena - a Boogie Boarding surf ride, dubbed Breaker Beach®. With large, repeatable, precisely timed, breaking waves this attraction allows guests to launch and ride a boogie board the entire length of the pool, similar to the experience of catching waves out in the ocean and

ADG’s TwinTides pool at the H2OBX waterpark provides two entry points into the wave pool for increased capacity Photo courtesy ADG

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riding them in to shore. This is a skill-based attraction that supplies a different experience each time the guest rides it. Guests can ride repeatedly to perfect their skills. The industry saw the first of this type of ride installed at Water World just outside of Denver, CO in 2016. Water World adopted the ride as an opportunity to differentiate their waterpark from the competition, and, at the same time, revitalize an existing, traditional wave pool that was being under-utilized. “Having a boogie boarding beach in a land-locked state has brought a unique experience to our guests, and they are loving it!” says Joann Cortez, Cowabunga Beach’s Communications Director. A unique, peninsula-style dispatching port means multiple riders can launch at the same time, doubling throughput and lessening time spent on-line. The timing and pacing of the waves allows for multiple people to be in the water at the same time, making this a sharable ride experience with increased overall capacity. The surrounding deck space, a suitable compliment to this type of pool-based water ride, easily expands overall park capacity, generating incidental revenue from cabana sales and food-and-beverage (F&B). Breaking waves Recent advancements in wave pool geometry and wave technology have led to ground-breaking twists on the shape, size and usage of the traditional wave pool. ADG’s new Dual Beach/Dual Entry Wave Pools are as unique in appearance as they are to experience. The shallower design and customized wave flow pattern allow guests of all ages to use the entire pool, traversing one end to the other. This effectively doubles the capacity over that of a traditional wave pool, with no “dead space,” resulting in twice the usable area. And with the capability to be designed into a smaller footprint, this attraction is a good option for parks where space is at a premium. “Guest response to our Twin Tides® wave pool is astronomical,” says David Allacher, Aquatic Supervisor for Splash Cove in Shawnee, KS who built the first Twin Tides wave pool in North America designed by ADG. “They love this wave pool! They walk in, see the waves rolling and they are ready to go!” A second Twin Tides® wave pool opened in summer 2017 at the new H2OBX waterpark in the Outer Banks region of North Carolina. “We chose this wave pool because of its uniqueness and marketability, as well as its ability to deliver us much more capacity in less space than the traditional wave pool,” says Ken Ellis, Developer and CoOwner of H2OBX. Additional Twin Tides pools are also in the works for 2019 and 2020 openings.

ADG’s Tidal River takes the “lazy” out of lazy rivers Photo courtesy ADG

Lazy river, meet action river With the latest wave and propulsion technology, the lazy river is lazy no more. With increased speed, exciting wave action, waterfalls, creative theming and grottos, action rivers are taking center stage and transforming the typical river ride experience into a fast, fun and thrilling attraction that will motivate guests to ride again. Adding to the uniqueness and fun of the river itself we are starting to see more and more uniquely designed ports of entry and exit – features that utilize a river’s wave action to create a wave pool, virtually eliminating the need for any lines. ADG’s Tidal River® ride is one such example of innovative wave geometry that utilizes one system to create two experiences within the same attraction. The first Tidal River ride by ADG debuted recently as part of a summer “sneak peek” day for friends and family, this past season at Canobie Lake Park (NH). The focal point of their new waterpark expansion, the Tidal River was a tremendous success, creating not only an exciting ride option, but an entire destination setting. “Canobie Lake Park’s Tidal River has been a passion project for our staff,” said Chris Nicoli, Brand Manager of Canobie Lake Park. “ADG’s vision of how the Tidal River ride and Castaway Island expansion would come together was second to none. We couldn’t be happier with our new ride and can’t wait for our guests to experience it.” Toddler sized waves take center stage Even the youngest guests can now enjoy their own, wave-powered water ride. Mini wave pools, specifically designed for toddlers and the younger crowd, provide a fun yet gentle wave experience for the next generation of waterpark guests. Incorporating wave action alongside the traditional spray-and-play components and creative theming, these mini wave attractions are designed specifically with the youngest guests in mind.

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Not to be forgotten, however, are the accompanying adults. ADG’s Mini Harbour® takes things a step forward with extras such as side walls with built-in seating areas that extend throughout the length of the attraction. This provides an easy and comfortable setting for being near the children at multiple points thoughout the attraction, encouraging families to stay and play longer, with great potential to enhance the overall experience and time spent on premises. Current examples of this ride - with each installation featuring its own unique twist to fit the operator’s specific needs - can be found at H2OBX Waterpark, Water World, and Holiday World. Evolving beyond slides, rides and lines to destinations As parks look to the future, the question they must continually ask and answer is, “What type of attraction will generate crowd appeal and continue to bring in a new generation of guests to my park?” We believe the answer has gone far beyond dropping in a traditional slide complex. Park owners must address the growing desire of consumers who place a priority on the overall park experience alongside the latest thrill ride. Water attractions in the future will need to effectively offer a solution to both of these concerns, providing not only the thrill factor while in the water, but creating a setting

for optimal guest experience beyond the borders of the ride. When packaged together these integrated attractions can generate strong market appeal and set a park apart from its competition. As we examine this new trend in wave-based water ride attractions, one critical component that they all have in common comes to the forefront. Each of these water rides can be enhanced to stand as a cohesive destination in its own right. By integrating and building out the ride with features such as ample deck space, shade areas, landscaping and rental cabanas, the park encourages guests to spend more time on the property, with greater per-cap spend. This kind of integrated development approach means that new water rides become home-base destination areas for families to comfortably spend their day at the park. And while slides are an essential component of any waterpark – their thrill factor cannot be denied – wave-based rides create the perfect complement and offer virtually no wait, so guests enjoy more time in the water or relaxing nearby with food and drinks, rather than standing in a line. The park does much more than purchase another ride, but rather invests in a family-friendly oasis and themed experience. • • •

YOUâ&#x20AC;&#x2122;VE ALREADY GOT A SLIDE. YOUR GUESTS WANT THE NEXT BIG THING. HAVE YOU LOOKED INTO ALL YOUR OPTIONS? When it comes to researching your next water ride attraction, make sure ADG is on your list. adgwaterrides.com

Theming beyond the theme park Jumana Brodersen and JCO - 10 years of creating immersive environments Interview by Joe Kleiman

n 2008, Jumana Brodersen established her own, independent design firm, JCO, LLC, after a decade as a creative executive with Busch Entertainment Corporation (BEC, now SeaWorld Parks & Entertainment). JCO, based in St. Louis, MO, specializes in master planning and attraction design for zoos, community and commercial enterprises and theme parks, and over the course of 10 years in business has built a diverse, international portfolio. To celebrate JCO’s 10th anniversary, we asked Jumana 10 questions about experience, achievements and insights gained since launching her own firm. How did you get started in themed entertainment design? After a decade of designing conventional architecture, my experience in themed entertainment design started at PGAV in 1989. At PGAV, I mostly worked on Busch Entertainment Corporation projects, as well as on PortAventura (Spain). In 1998, I joined Busch Entertainment, which was based in St. Louis at the time.

Another great project JCO worked on was Wild Wadi waterpark in Dubai. We were contracted by the client for a development plan. We assessed the park capacities and throughput. We conducted SWOT analysis and we developed future attraction concepts [SWOT = strengths, weaknesses, opportunities, threats]. The ideas included major attraction ideas and general park enhancements. What other types of projects are you working on? JCO is engaged on several projects in China for Wanda Group: a waterpark and two marine mammal parks. We also do work with real estate developers, including Koch Development, the group that owns the Skywheel in Myrtle Beach. For Koch we develop a number of master plans. We’ve designed an observation wheel for them that opened this year in Panama City Beach, FL – the Pier Park SkyWheel. For clients in Myrtle Beach, SC, we have done

You’re known for your work on zoos and theme parks, but you also have designed some leading waterparks. How did you enter this field? When I was with BEC, I was part of the team that worked on Aquatica Orlando, which opened in 2008. This property was unique, much different from the SeaWorld parks, which are about animal experiences, and from Discovery Cove, which is an upscale, intimate park. My role was to determine the criteria and character for the park. We worked with the operations teams from all the BEC parks. It was an amazing learning experience. Creating the core product of a successful waterpark was just part of the formula; understanding the mindset of waterparkgoers was key to creating Aquatica. Guest comfort was crucial; so was ensuring that there was ample water surface area. Aquatica has a great mix of lazy rivers, wave pools and children’s activity pools – plus, of course, the water slides provide the “sizzle.”

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The SkyWheel at Panama City Beach

JCO’s designs for the NAVYSEUM Exploration Center

master planning and design for a few buildings on Ocean Blvd, and Broadway at the Beach. These projects fit with our core strengths. Our style tends to be more based in reality, more naturalistic. We enjoy waterfront tourist type projects. They are nature-based, thematic environments that blend themed entertainment with beachside resorts and tourist destinations. Tell us about working in the Midwest. I live in St. Louis and my local clients include the St. Louis Zoo, where I have done some projects that I’m very proud of [see “Designing for bears, dogs, lemurs, humans and other living things,” InPark issue #54] and the Missouri Botanical Garden. We’re also currently working with a couple of clients in Branson, MO and with Holiday World in Indiana. I love working in this region, where I’m easily accessible to the clients and the projects. But we also do other work throughout the US and internationally, such as our three large-scale projects in China, all now in design development phase. Tell us some lessons you’ve learned from running your own firm. I’ve learned that it’s not just listening to what clients are asking for but hearing what they need. That comes from learning about them, understanding the bigger picture behind their goals, getting a finger on the pulse of their

audience and really immersing ourselves in their market, so we can set the guest experience accordingly. What have you observed over the years with regard to how the industry approaches design? There is a perception that if people have cool machines and software, they’re suddenly cool designers. Part of this problem stems from there being an abundance of tools available, but design is much more than the tools of the trade, and it also goes beyond design skills per se. It involves understanding demographics, psychology, and the clients’ needs. We are in the service business. We create innovative ideas and sound design vs a tangible product. That’s the soul of the guest experience. Tell us more about the criteria you consider when designing a park or attraction. Who are we designing for? Who will be the ultimate user of the space? What’s their background and what will they be looking for? What’s nearby; will it compete with, or augment the places we are designing? Once we answer these questions, we have the criteria established. That’s before pen hits paper. We then begin to create the big idea: a master plan and thematic setting. What’s your relationship like with your clients? Our goal is to make the client’s vision a reality. I’m not designing for myself. I always understand that I’m in the

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Tell us about some of your strategic partners. I’ve learned from the owner’s side, especially Busch, the importance of marketing involvement, very early on in the project. One of JCO’s partners is Authentus Group, brand strategists that we work with during concept design phase of projects. Another key group that we work with on zoological type projects are experts in animal behavior: Thad Lacinak and Angie Milwood of Precision Behavior bring experience from working with SeaWorld and Busch Gardens. Tell us about some accomplishments that you’re especially proud of.

The climbing structures and ziplines play area at Busch Gardens Tampa’s Jungala were inspired by the Orangutans’ play habits and behavior © 2018 SeaWorld Parks & Entertainment, Inc. All rights reserved.

client’s sandbox, and we must respect the client’s time and vision and everything they bring to the project. It is crucial to understand the clients’ expectations, and their definition of success. This our aim for each project. It’s key to dream big at the beginning, but just as important is understanding how to dial back without losing the original intent; how to maintain the essence of the design. Two primary things clients like about JCO are: 1) We listen to what they want; 2) Our design solutions include a designer’s as well as an operator’s point of view, as I and a number of my team members have experience from both sides. Having extensive experience on the owner/operator’s side as well as the creative side gives us perspective and understanding of marketing an attraction as well as creating a product that is achievable within the project budget and that can be maintained. What staff do you have working on projects? JCO draws on a pool of trusted, freelance consultants, all project based and most of whom I’ve been collaborating with for years. This works very well for me. I have a full portfolio of consultants. They include artists, graphic designers, industrial designers, planners and architects. I can put together a well-rounded mix of talent tailored to a particular contract. I also have people that help with detailed design drawings and CAD.

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All of our projects respect the theme and the brand of where they’re going. That’s especially important when you’re putting IP [intellectual property] in a park. I learned this with Busch when we put Sesame Street into SeaWorld. It had to highlight the Sesame brand without overpowering SeaWorld and Busch Gardens brands. My first project after I left Busch was the Klump Island children’s area at Tivoli, which is based on a classic Danish comic strip. I made sure that it was true to the comic, but it also had to feel like it was organically part of Tivoli. Another one of the projects from SeaWorld days was the Manta roller coaster at SeaWorld Orlando. After riding Tatsu, the flying coaster at Magic Mountain, I felt a flying coaster for SeaWorld would be a better fit than a hyper coaster (which was also being considered as an option at that time). Riding a flying coaster felt unique to me because the hardware mechanism is all behind you while riding. It truly simulates a flying experience. Another major reason for this being a favorite was because we were able to build it out as a realm of its own with aquariums and other elements that provided a quality themed experience and reinforced the park brand. We were working with the animal folks on the project and one of the curators suggested that the vehicle looked like a flying ray, and we had our name. This was a true collaboration among the design team, animal care and the park’s operations team. Jungala at Busch Gardens Tampa was another project that I am proud of. Jungala was a mix of multiple attractions in one. It tied together the tigers and the orangutans with rides, a three-story play area, and food and retail. All in one cool immersive environment. It was not the blockbuster attraction that would pull people into Busch Gardens like a new coaster, but it raised the bar overall for

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the entire park, and provides an engaging and fun guest experience. Bonus question: What are some dream projects you hope to do over the next 10 years with JCO? I hope that NAVYSEUM Exploration Center will gain enough momentum and financial backing to move forward. This all-family attraction based on the essence of the U.S. Navy was the brainchild of Founder’s Ron Lanz. JCO did all the planning, creative, scope definition and developed full content of the concept package including renderings. The project site is north of Chicago. I think that this project will be a great attraction and will provide a truly engaging and fun guest experience. • • •

For more information about JCO, or to set up a meeting with Jumana Brodersen during the IAAPA Attractions Expo in Orlando, email jumana@thejco.com. Manta: The Manta roller coaster conveys the feeling of flying with all hardware out of sight behind the guest © 2018 SeaWorld Parks & Entertainment, Inc. All rights reserved.

Miziker’s momentum Miziker Entertainment celebrates 35 years of showmanship By Freddy Martin

hemed entertainment design and production firm Miziker Entertainment is celebrating 35 years in business, producing a vast body of memorable guest experiences for theme parks worldwide. Based in Los Angeles and with a global clientele, the company was founded in 1984 by Ron Miziker, co-creator of Disneyland’s fabled Main Street Electrical Parade, after a 16-year tenure at Disney (see sidebar). Ron “retired” in 2015 and today, the group continues to lead industry innovation in live shows, spectaculars, parades and mediabased attractions under the leadership of Ryan Miziker (CEO & Creative Director) and Charlotte Huggins (President and Producer). In the three years since Ryan and Charlotte stepped into their leadership roles, the company has produced several high-impact shows and attractions, including the Journey of Lights Parade at Chimelong Ocean Kingdom (Zhuhai, China), “House of Magic” at Studio City Macau, the

Ryan Miziker

“Rhythms of Rio Parade” for Genting Malaysia and Fox, and “Chimelong Scare-adise” at Chimelong Paradise and Chimelong Waterpark (Guangzhou, China). The Miziker team also produced the 24th Annual TEA Thea Awards gala in Anaheim (2018), where their project, Journey of Lights was one of the award recipients. In addition to these projects, Miziker’s innovative design team has been called on to help create parkwide entertainment and recommend the necessary infrastructure to support the spectaculars and parades for which the company is renowned.

Engineered for fun: Miziker-designed and fabricated kinetic figures for Princess Cruises Rhythm of the Caribbean Festival seen on Caribbean Princess All images courtesy of Miziker Entertainment.

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Charlotte Huggins

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In short, the company is moving forward in ways that continue the Miziker legacy while setting new directions that reflect the strengths of its leadership and the evolution of the industry. “It’s an honor for Charlotte and me to continue Ron’s legacy of showmanship and innovation in live entertainment, parades and spectaculars and carry it into the future,” said Ryan. Ryan believes the success of Miziker Entertainment is built upon an unrelenting commitment to the creation of special, memorable moments. “That’s the value theme parks and special venues around the world recognized in Ron when he started this company,” said Ryan. “And that’s the starting point for what Miziker does today. We’re here to create those transcendent, magical moments that people can only experience in a location based entertainment setting.”

Echoing the sentiment, Charlotte said, “We create stories. We create emotion. More than lights, music, media and technology, we create opportunities for memories that people cherish for a lifetime.” Then there’s the vital ingredient of showmanship. “The thing that sets us apart is the long tradition of showmanship that began with Ron. We bring showmanship to every one of our projects every day,” Ryan stated. “That’s the goal.” Miziker milestones During the last 35 busy years, Miziker Entertainment has produced more than 500 projects for more than 200 clients in television, theater, live productions, parades, and theme park attractions in 25 countries around the world, garnering multiple Thea Awards among other honors. A number of Miziker milestones used technology, design and effects in ways that are industry-standard today. The company’s pioneering achievements include “Lights of Liberty” (2000) in Philadelphia, PA, said to be the first-

ever permanent architectural projection mapping show in the U.S.; a mascot character head with facial movements in “An American Tale Live” (1990) at Universal Studios Hollywood; skydivers forming Olympic rings in the sky at the Summer Olympics in Seoul (1988); and a live, twoway satellite television transmission between the U.S. and then-U.S.S.R. at the Us Festival (1982). Many Super Bowl Half-Time Spectaculars produced by Miziker incorporated innovations that are now familiar, including stadium-wide audience card stunts, lighting effects in totally blacked-out stadiums, and animation alongside live-action performers. More recently, the Miziker team devised, designed and completed what they describe as the first-ever “Nighttime Parade Wide Event” in which every one of the 1-millionplus, color-changing LED lights on every float, cart, kinetic figure, and costume in the Journey of Lights Parade at Chimelong Ocean Kingdom sparkles in sync to the lively parade-wide sound track, creating the kind of magical moment that is a company signature.

Ron Miziker’s legacy Ron began his career in television, producing commercials, variety shows and live, televised events. He was hired in 1969 by then Disney president Card Walker, and soon joined Disney creative director Robert Jani’s team to produce televised spectaculars, including the opening of Walt Disney World in October 1971. Perhaps his most beloved achievement was co-creating Disneyland’s Main Street Electrical Parade, the nighttime spectacular that brightened hearts for generations of guests worldwide. Ron’s experience made him a sought-after producer of live and televised entertainment events, leading him to form Miziker Entertainment in 1984 to meet the growing demand. His company produced hundreds of acclaimed themed entertainment projects, parades, and shows for audiences worldwide. He is the recipient of multiple industry awards including the TEA’s Buzz Price Thea Award for a

Lifetime of Distinguished Achievements (2015) as well as five Thea-honored projects. Ron authored “Miziker’s Complete Event Planner’s Handbook,” (2015) a compendium of resources for special events large and small, putting his lifetime of production experience into the hands of event planners everywhere. Ron draws great contentment from creating happy memories for guests. “It’s fun to watch the family interactions,” said Ron. “You see the parents and the kids, and they’ve all got on a hat of some sort and an ice cream or popcorn–and smiles! It’s very satisfying to work in an industry where that’s the desired result. Smiles! That’s the product. That’s what we’re working for.” Although he has stepped away from day-to-day studio operations, Ron is still excited to take part in the development of certain projects and works closely with Ryan and Charlotte as needed. “I hope I’m remembered as a showman,” said Ron. “We’ve said in some of our marketing that we’re in the business of fun. And the more fun I can create for you, the more fun I have for myself, and the more successful our company becomes.” •

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Theme park kid becomes industry leader Due to Ron’s position at Disney, Ryan Miziker grew up a “theme park kid,” spending much of his childhood backstage at Disneyland witnessing theme park operations at work, attraction design and development, and costumed characters relaxing on break. “Early on I got to see and hear what went on behind the scenes, all the components of attraction creation and production. I really had an appreciation for the work that went into it and how important the guest experience was to every aspect of the process. To me that was just as interesting as seeing the final result,” said Ryan. He studied geography at the University of California, Berkeley. In addition to his love for maps and topography, Ryan was fascinated by “cultural geography” – the festivals, food, art, environment, and products that make places unique. “Although it’s not an obvious course of study for a career in the arts and entertainment,” said Ryan, “geography is important to me and informs the work I do here in Los Angeles and around the world.” After some time working in what he called “the normal world,” Ryan’s love of the creative process eventually drew him to the family business where he felt he had

Ron & Ryan work together in 2002 directing the first-ever digital puppet performance at Henson Creature Shop

always belonged. “The big draw of creating shows and entertainment for theme parks was always part of me,” he said. “The fact that our industry has become even more global and inclusive of stories and visuals from cultures around the world makes it even more exciting for me.”

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Miziker 2.0 Ryan Miziker and Charlotte Huggins first met while working together on “Power of Nature,” a ride film project for Wanda Wuhan Movie Theme Park. Charlotte’s experience as a feature film and special format producer spans multiple formats, from television, documentary, animation, commercials, IMAX and feature films. Her features work includes the blockbuster, “Journey to the Center of the Earth,” starring Brendan Fraser and Josh Hutcherson, and its sequel, “Journey to the Mysterious Island,” starring Hutcherson and Dwayne Johnson, for New Line/ Warner Bros. Hula dancers perform every night at Chimelong’s Ocean Kingdom in illuminated costumes designed by Miziker Entertainment as part of their Journey of Lights nighttime parade

Charlotte’s specialty cinema experience includes producing giant screen and attraction films with such companies as Boss Film Studios, Sony Pictures Imageworks, nWave Pictures, and Rhythm and Hues. Charlotte was a pioneer in stereoscopic 3D media for specialty formats, including the 4D attraction “Honey, I Shrunk the Audience” (Disney parks) and the giant screen films “Metallica Through the Never” (Picturehouse, 2013) and “Wings of Courage” (1995, Sony Pictures Classics). The latter is considered the first feature-style, dramatic motion picture with Hollywood production values, filmed in IMAX 3D. During the Wanda project, Ryan and Charlotte recognized that their combined expertise enhanced their ability to create quality themed entertainment. Ryan’s experience and understanding of full attraction integration of media, ride systems, and theming paired well with Charlotte’s talent for film and multi-media production. They shared the belief that story and characters were paramount to creating emotional connection with the audience. When the Wanda project came to an end, they decided to continue to exploit their great professional chemistry and keep working together. “It was a time of transition,” Charlotte said. “The Wanda project was ending. Ron had been chosen to receive TEA’s Buzz Price Thea Award for lifetime achievement, and he was retiring. The three of us agreed that we’d work together to reinvent Miziker Entertainment – a sort of Miziker 2.0.’”

Culture of respect From this new beginning, Ryan and Charlotte wanted Miziker’s corporate culture to be unique and dynamic. “Early on, Ryan and I talked about the fact that Miziker is a company of artists. We decided that our best chance to flourish would be to make respect the fundamental characteristic for our company,” Charlotte said. “Respect for one another, respect for our clients, respect for the projects, stories and characters, and respect for the guests.” They believe it is vitally important for companies like Miziker to build unity and trust within the industry, especially as it continues to expand around the world and into other cultures. “Clients are under a certain amount of pressure just as we are. Everyone is,” Charlotte said. “So we make it a serious principle in our company to always respect our clients. That’s a super important value for us.” Miziker is a boutique firm that expands from 10 to 50 or more staff as projects demand. The artists they employ are diverse in their disciplines, talents, and backgrounds. However, Ryan and Charlotte recognize this as an opportunity to help their creative team members achieve their very best and flourish in their chosen fields – character design, cosume design, scenic design, writing, performance, choreography, music composition and recording, technology integration and programming, and more. “Our job is to provide the best environment for artists to do their best work,” said Charlotte. “That doesn’t mean

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The Journey of Lights Parade at Chimelong Ocean Kingdom

complete freedom to do whatever they want. Like every business, our industry has all sorts of constraints. But as they say, ‘creativity loves constraints.’ So when you give clear constraints to your artists they often rise to the challenge and achieve the highest level of success.” Journey of showmanship Miziker Entertainment sees their acclaimed project, the Journey of Lights Parade for Chimelong Ocean Kingdom, as a major milestone – recipient of the prestigious Thea Award and a significant step in Miziker’s journey toward future success due to its technical and storytelling innovations. The eight-unit, half-mile long parade playfully highlights each of Ocean Kingdom’s themed lands, presenting a 35-minute musical illuminated show for viewers no matter where they stand. The show was hailed for its innovative technological achievement as the first all-programmable RGB LED light parade. With precise synchronization and control over all one-million-plus lights, the parade can change colors at the same moment allowing storytelling flexibility across the entire parade route. They are also proud of the audience-pleasing, creative use of the

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musical score that changes tone and style with each individualized, story-driven unit. Ryan forecasts a promising time of discovery and invention for the company. “We’re looking forward to solving problems that lead to creative and technical innovation for the whole industry,” he said. “There are several innovations I’m very excited about because they’re developing on completely different ends of the technological spectrum.” One of these innovations involves large, human-powered kinetic sculptures developed through a new division of the company called “Mas Fiesta!” “We use performers inside intricately engineered, oversized, and elaborately-costumed puppets for parades and spectaculars,” said Ryan. “We use current technology such as carbon fiber to keep the kinetics light and maneuverable, and innovative hardware and custom rigging systems, but they’re basically low tech. We’re really having fun and loving the design challenges, performance opportunities and audience reactions.”

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Miziker Entertainment is currently completing a series of kinetics for Princess Cruises. “The interdisciplinary talents of design, engineering, sculpting, painting, costume design, and fabrication all have played a part in creating these kinetics for use on the Princess Cruises ships,” Ryan explains. “It’s really a dream project for us.” Looking forward to the next 35 years, both Ryan and Charlotte express confidence in their team, the newer members as well as those of long standing – and the importance of upholding the standard of showmanship set by Ron. Charlotte mentioned project director Sean Chung, who has been on board for five years now and played an essential role on Journey of Lights. “Working closely with Sean, and with the other incredibly talented and dedicated members of our team has been extremely rewarding,” she said. “And getting to know Ron and being part of that legacy is exciting. This really is show business!” “When faced with a new challenge, I always have to step back and look at it through the lens of showmanship,” Ryan said. “I ask myself, ‘What are people going to

respond to?’ and ‘How do we create those emotional touchpoints that resonate deeply with guests?’ And I’m convinced that Miziker does that better than anyone.”

Miziker Entertainment will be at the IAAPA Attractions Expo in Orlando in November 2018. To set up a business meeting or media interview contact Kenny Zhou, kennyhzhou@gmail.com. • • •

Freddy Martin (freddy@ themedattraction.com) is a writer, storyteller, and independent consultant. He began his theme park voyage as a skipper on the Jungle Cruise at Disneyland. Freddy co-hosts the Themed Attraction Podcast with Mel McGowan of Storyland Studios, is a contributing editor for ThemedAttraction.com and also blogs at FreddyMartin.net.

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Inside the experience designer’s studio The Hettema Group keeps the creative spark alive Interviews by David Paul Green

uch has been written about The Hettema Group (THG). Company founder Phil Hettema says the company’s mission is to, “Design innovative and immersive experiences worldwide.” THG’s people and projects have received numerous awards. Most recently came high honors from the Themed Entertainment Association: Phil received the Buzz Price Thea Award for a Lifetime of Distinguished Achievements, and Art Director Nina Rae Vaughn was named a TEA Master. Founded by Phil in 2002, The Hettema Group has gone on to become one of the premier companies creating immersive stories for guests around the world. Clients include DreamWorks, Universal Creative, SeaWorld Parks & Entertainment, MGM, The National WWII Museum, Everland, Lotte World, AEG Live, Resorts World at Sentosa, and Legends Hospitality, LLC, among many others. The company is known for such projects as One World Observatory (New York City), High Roller Observation Wheel (Las Vegas), the USA Pavilion at Yeosu Expo 2012, Dragons Wild Shooting at Lotte World (Seoul), Beyond All Boundaries at the National World War II Museum (New Orleans), and much, much more. With a staff of more than 70, in creative, media and architecture, The Hettema Group is in position to tackle projects of any size, anywhere in the world. The credentials of the executives interviewed for this story shows the tip of the iceberg of the company’s deep bench in design and execution. For this article, Phil and six key team members respond to ten questions posed by InPark contributor David Green, in the style of a Proust Questionnaire – a 19th-century interview technique intended to provoke introspection, popularized in the U.S. by “Inside the Actors Studio” host James Lipton. The interviewees: Phil Hettema, Creative Executive, leads The Hettema Group in the design of uniquely creative guest experiences. Phil established THG in 2002 after serving as Senior Vice President of Attraction Development for Universal Studios Theme Parks Worldwide for 14 years.

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The High Roller observation wheel rises above the Las Vegas strip, and thanks to a special lighting package, is especially prominent at night All photos courtesy of The Hettema Group

Anthony Pruett, Senior Vice President, oversees project production, business affairs and company planning at THG. He came to the company with more than 20 years managing the design and construction of tourism, hospitality and retail projects in Asia, the Middle East and North America. Jodi Roberdes, Director of Facility Design Services, has played a lead role in the exterior and interior design of many THG projects, including One World Observatory and the High Roller observation wheel. Prior to joining THG she was Director of Design at Scenery West Design & Construction. Susan Spence, Senior Writer, develops content and story treatments for THG’s attractions and exhibits. She has more than 20 years of experience as a writer and content developer for museums, visitor centers and theme parks around the world. Scott Sinclair, Senior Creative Director, provides creative vision, designs and illustrations for many of THG’s major projects. He has played key roles on high-profile industry projects throughout his career, including Tokyo DisneySea and Tomorrowland at Magic Kingdom Park.

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Scott: I’ve always been a creative person. I can show you pictures my mom saved that I drew when I was four years old… When I was a teenager, I decided I didn’t want to do “let’s pretend” by myself. I found myself first in theater, then in theme parks. Nina: I love what I do, creating; what could be cooler?

One World Observatory guests enjoy an elevator ride surrounded by screens showing the development of Manhattan through the decades

Nina Vaughn, Art Director and Illustrator, has been a key creative on THG projects for DreamWorks, Chimelong Ocean Kingdom and other major theme park clients. She worked as an Imagineer for 20+ years and contributed to the design of iconic attractions such as Indiana Jones Adventure and Pooh’s Hunny Hunt. Don Carson, Senior Art Director, is a legend in the theme park world for his exceptional work as a concept illustrator and designer. Prior to joining THG, Don contributed to numerous projects for Disney such as Splash Mountain, Blizzard Beach and Mickey’s Toontown. What drives you personally and/or creatively? Phil: It all comes back to getting people’s attention. There is part of that little kid inside of me that just wants to be seen. This may be surprising, but in reality I’m really shy and never felt comfortable drawing attention to myself - so my way to get attention was always to do something that you have to look at. Anthony: A quote by director Harold Ramis: “Find the smartest guy or gal in the room and go stand next to them.” We’re all here because we love this industry and love this work. Being humbly part of that group is awesome. Jodi: There’s always lots of work to do. Just a passion for problem-solving. Being ahead of the game and trying to problem solve before it becomes an issue. Susan: Learning. Discovering new things. I’ve always had a passion for learning about topics I don’t know about. I have the perfect job in that way.

Don: In illustration school, I told the head of my department that I really didn’t like doing finished illustrations. What I really liked to do was rough sketches. Was there a job that allowed me to do roughs and get paid for it? She assured me that that did not exist. My entire career has been spent proving her wrong… What life lessons do you bring to your work? Phil: My first trip to Europe was absolutely life-changing for me. There was a whole world that had been outside my sphere of experience. That just opened so many doors. That ability as individuals to step out of who we are, and try and put ourselves in someone else’s shoes, and see what that feels like is really important in creative experiences. Anthony: 1. Being ethical is important. 2. It goes superfast. One day, you’re graduating from college; the next thing, you’re neck-deep in deadlines. You start to focus more on relationships and people. The projects come and go; people matter. 3. Good work is the best marketing you can have. Jodi: Dealing with a large team and colleagues in different types of disciplines, we all think very differently, whether left brain or right brain. It’s important, when you’re collaborating, to make sure that what you’re trying to get across gets across in a way that somebody can understand. Susan: I’m always reminded of the importance of listening to people. Clients appreciate when they know they’ve been heard. Scott: “It’s the people.” End of story. Nina: The older and wiser you get, you realize it’s not about self, it’s about the project, the guests and the team. Don: As you get more years of experience, you’ve stood on enough trolley tracks - and been hit by enough trolleys - that hopefully you know what not to stand on, more than when you were starting out. Something that makes that experience valuable – hopefully - is that we’ll call out when we see someone standing too close to the trolley on the trolley tracks and may not realize it.

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What challenges are common to most or all projects? Phil: There are always a million reasons not to do any project. If the vision for success is strong enough, it can carry the project through those moments and take you to success. Anthony: Design coordination… Coordinating all the elements of the project… It’s a lot of data to keep up with. It may seem like Design Coordination 101, but execution matters. Jodi: Budget, budget and budget. Schedule, schedule and schedule… Susan: Phil is always pushing us to do something different that people haven’t seen before and experienced before. It makes the work exciting, but it’s also intimidating and challenging. It’s ultimately a really good thing, because that driving force takes projects to new and exciting places. Scott: Trying to understand what the client wants. Trying to educate the client about what will deliver that. Nina: The biggest challenge is, who do you answer to during the creative process? If it’s Phil, it’s easy. Answering to the client can be more challenging. Don: Organizational structure and dynamics of the company or client you’re working for. Sometimes a client

Phil Hettema

Susan Spence

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has never done this sort of work: You’re doing a lot of convincing them that these choices are good ones, and will save you money. What gives you joy? Phil: Three things: 1) I just love to experience creativity myself. I love to go to theater and nothing makes me happier than when I see something that truly takes me out of whatever mindset I had brought into the theater. 2) Being able to work on a project and see that the audience has a reaction that corresponds to what our hopes and aspirations were. 3) The satisfaction of assembling a team of people who can work to a common purpose and achieve a goal together. Anthony: Personally: my kids, for sure. Professionally: seeing the projects open to the public. You get a sense of satisfaction. Jodi: Seeing a project all the way through from beginning to end. Being able to walk through that space and be proud of it. Seeing the owner being satisfied and happy with the final outcome of the project. Seeing the people who work for me achieve their goals and objectives, and learning. I like a good sunset as well! (laughs). Susan: I like working on projects that feel like they really have the potential to have an impact or have meaning for people.

Anthony Pruett

Scott Sinclair

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Jodi Roberdes

Nina Vaughn

Don Carson

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Scott: A lot of people have hobbies. My hobby is designing stuff. Nina: I love problem solving. Don: When I was young and eager, it was the idea that I was getting to work on something prestigious. Now, it is the joy of the process. How do you get excited for the next project, when the last project drained you? Phil: Finding the creative spark at the beginning of a project never gets old for me.

Susan: I would just reassure them that at THG, they will be heard. It starts at the top, and Phil is a really good listener and respects our clients. Scott: We happen to have a very strong team. If clients are able to internalize that, they can relax a little bit, in terms of trusting us to watch ourselves and double-check ourselves.

Anthony: I go on reading binges. Vacations. In my 20s and 30s, I didn’t do any of this stuff. It was like, “Give me five projects, and I’ll ram through them.” Now I read more, exercise more, eat better.

Nina: I think Phil is the person for that task, not me. (laughs).

Jodi: I don’t think a project has yet drained me. I finish a project on a high, ready for a new challenge, a new puzzle to be solved. I just want to keep working on what I’m working on!

Vendor relations: If you could meet with every vendor before THG hired them, and give them one piece of wisdom or advice, what would it be?

Susan: A lot of my job is research; no matter what, it’s always fun and interesting to start something new. Scott: What drains me is NOT starting over! Nina: Once there is a set of parameters for me personally — when it’s too nebulous it’s difficult — but once somebody says “OK. It’s gotta be this, this, and this: Go for it.” I really am a person that likes parameters. Don: Nothing will drain you faster than being asked to design a project with no limits. Designing a product with limits is preferable by far! Client communications: If you could meet with every client before they hired THG, and give them one piece of wisdom or advice, what would it be? Phil: No matter who you hire, you need to make sure you’re going to get two things: One: a project that is different or unexpected in the way it achieves its ends. Two: Not just a concept, but a concept that can actually become reality. It’s those two things combined; without both, you’re not going to be successful. Anthony: Listen to the people who have done it before. We know we can save our clients considerable time and money and hassle.

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Jodi: Our design firm organization and structure, with creative, media, and architecture together, following a multidisciplinary approach and able to solve large, complex problems in real time, is a key difference we have over other companies.

Don: Trust us. We really do know.

Phil: Just be an honest partner. We have good relationships with vendors. We have to be fair with them, and we expect them to be fair with us, and that includes saying, when necessary, “You’re asking for something that’s not possible.” The only time we have problems with vendors is when they over-promise or take on responsibilities that they’re not really equipped for. Anthony: Tell the truth. If you don’t know, don’t fake it. You’re going to have bad days, as well as good days. Jodi: It’s important to be thorough and transparent. Make sure we’re on the same page. Open communications. If there are any assumptions, make sure those are clear. Bid estimates - some come in high, some come in low. Explain the thought process instead of just looking at numbers. Susan: THG looks for the same spirit of collaboration that we have internally. Take a chance. Don’t try to only give us exactly what we want. Show us what you can do that will make the project even more compelling. Scott: If we do not bring you on early in the process, it’s not because we don’t want to. We would really like to! It’s far less expensive to solve problems on paper than to do it with a jackhammer. Nina: Vendors need to be given the big picture. To understand where their role fits, where they fit, in this thing we’re going to do together.

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Nina: You still have to have good skills to interact with people. The older you get, you really start to respect other people for what they do. Your respect for peers grows. Don: The principles of good design or good storytelling still work. Industry shifts: In your time in the industry, what HAS changed significantly? Phil: By far, the scope and the playground that we get to play Dragons Wild Shooting is an interactive dark ride at Lotte World in South Korea in. Experience is something that’s really wanted in almost every sector. From retail to Don: Ask them, “What do you need from us?” That’s a food, to museums, to entertainment, branding, commercial question that no one ever asks them. If I know in advance, communications, even medical. I want to give it to them early. If there is anything in the process that is not going to work, I want to know it early. Anthony: Growth. Services our industry provide continue to cross over into other fields. It’s always been there, but it Industry constants: In your time in the industry, provides more opportunity; city planning, urban planning, what has NOT changed (good or bad)? social engineering issues. Phil: The way people respond to creative stimuli doesn’t change… a good creative idea is always a good creative idea, and people will still respond to it the same way — it goes back to the vision: The underlying principle of how we’re going to relate to the audience and create an experience for them is strong. Anthony: Monty Lunde! (laughs) He looks the same! [Monty Lunde of Technifex founded the Themed Entertainment Association in 1991.] Jodi: The formula of the thing. You need to have the big idea. You need to have the story. You need to make sure that all the practicalities are aligned: Programming, capacity, all the technical aspects of that, balanced. Susan: Storytelling has always been important, although the way we tell stories has changed and the “language” we use to tell a story is changing. Scott: The challenges haven’t changed. The challenges are always going to be there, and the solutions are always going to be: shared vision, listen to your client, understand your client, working together, and listening to sometimes dissenting voices.

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Jodi: When I got involved, I had no idea that entertainment design/architecture was an industry. I fell into it. Now, everything has that experiential element to it. Susan: Technology is changing, so rapidly. I think it’s exciting, but it makes it challenging to design projects that won’t open for a few years. Scott: The things that change are the things that don’t matter. Technology is not the show. It’s the way to tell the show. Nina: The technology has changed. It’s made everything immediate. The good thing is, it forces people to make decisions; the bad thing is, there is not a lot of time for design details. Don: The process, and the ability to produce art and models and stuff have accelerated to light-speed. What one word best describes what you love about this industry? Phil: Creativity. I’m thinking about words ranging from curiosity, discovery, joy, engagement, immersion, but ultimately it all comes from that creative spark.

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Anthony: Interdisciplinary: The creative and the technical. Theatrical, with traditional building trades. Jodi: Change. Every project that we work on is different. We never have the same project. What I love about this industry is change: It doesn’t get boring to me. It’s always exciting and fun. Susan: Awe. Scott: Challenge. You say to yourself, “That’s going to be really hard. I’ll do it!” Nina: Evolving. It’s something different every day. The process is the same, but the task is different. Don: Collaboration. • • •

David Paul Green is president and COO of Los Angeles-based lighting design firm Visual Terrain, as well as a writer and photographer. After starting off in themed entertainment at WED Enterprises (now WDI), working on EPCOT, Disneyland, and Tokyo Disneyland, David went on to work with other divisions of The Walt Disney Company. As principal at consulting firm Monteverdi Creative, David holds eight U.S. Patents for innovations in digital TV user interface design. In 2010, David joined his wife, Lisa Passamonte Green, at Visual Terrain. He is the co-author of “Building a Better Mouse” with Steve Alcorn, and has written for InPark, Lighting&Sound America, and others. His photography is in the permanent collection of the California African American Museum, and is featured in the catalog for the exhibit, “Allensworth: A Place. A People. A Story.” David’s photo is courtesy of Josh Premako: www.joshpremako.com

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s one of the leading innovators of the amusement industry and pioneers of the flying theater genre, Dynamic Attractions has been setting new standards of thrills since the 1990s. Dynamic’s sophisticated ride systems and precision engineering have earned the company the IAAPA Brass Ring Award for Best New Attraction Concept for the past three years. In 2018 they are preparing to introduce yet another new concept in November at the IAAPA Attractions Expo in Orlando. With several one-of-a-kind ride openings and an evolved product line, Dynamic Attractions has proved that they are a current industry leader and will continue to surprise and delight the next generation. “I’m incredibly excited about the growth of Dynamic Attractions and the value that we can bring to our customers,” said Hao Wang, President and COO. “Going forward, our vision and goals remain unchanged: to design, develop, and build the most innovative, worldclass rides and attractions for the industry. Our clients are our partners – we listen to them, we match their passion and they help guide our product direction to meet their needs. Our focus is to develop ride solutions that exceed our customers’ expectations, delivered in a manner to earn their trust, and help them achieve a competitive advantage.” 2015: Dynamic SFX coaster Dynamic Attractions changed the face of roller coasters with the introduction of the Dynamic SFX coaster, mixing

Hao Wang, COO and President of Dynamic Attractions, at one of the company’s facilities

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Cindy Emerick Whitson

elements of a dark ride with the thrills of a high-speed roller coaster and earning our first Brass Ring Award for Best New Product Concept in 2015. This ride system delivers an intense roller coaster experience and integrates it with surprising track switches and state-of-the-art media. This product helped position Dynamic Attractions as an innovator of new attractions in the industry. With the upcoming opening of MISSION: Ferrari at Ferrari World the expectations of the industry and thrill seekers will be changed forever with this new Dynamic coaster. 2016: Dynamic Motion Theater The company continued to deliver in 2016, releasing the Dynamic Motion Theater. This ride puts guests in the center of the action and surrounds them with media, show sets and even live performances. By setting the riders on a platform with the ability to lift, tilt, spin, and drop they are able to lead guests along a story and deliver movement while immersing them in the full experience. The system is versatile and customizable, with capabilities of being full media, live entertainment or a mixture of both offering endless possibilities in terms of guest experience. 2017: Dynamic’s AGV line In 2017, Dynamic Attractions set out to wow the industry yet again with the introduction of their new line of Autonomous Guided Vehicles. This revolutionary line of vehicles offers a highly advanced guidance system that allows them to cross paths and interact with each

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Track is installed (L) on a Dynamic SFX coaster while guests experience a prototype (R) of a Dynamic AGV as it navigates a set of stairs All photos courtesy of Dynamic Attractions

other and the environment around them. With this line of vehicles, the ride system is no longer tied to physical tracks, enabling the creative concept to develop with any environmental needs. Creative designers will no longer have to worry about fog with laser-guided vehicles or the expense of having to move embedded beacons and sensors when an attraction is reprogrammed. The advances in navigation have allowed Dynamic to truly create a vehicle that provides an experience the guests and clients have wanted for decades. Dynamic’s AGV line has many stars in its array, however perhaps the most notable is the Dynamic All-Terrain Vehicle, another Brass Ring Award winner for Dynamic. This ATV allows true creative freedom to take a ride vehicle anywhere that can be imagined. With the ability to climb stairs and go through water, guided by a precise navigation system, this ride vehicle offers virtually unlimited possibilities. Why simulate going down stairs when you can actually do it? That’s the question that Dynamic has answered. No longer do we have to try to simulate movement. This vehicle is made to drive over bumps, pot holes, and stairs virtually doing all the show programming with concrete, and with the ability to be indoors or outdoors. New for 2018: Dual Power Coaster What’s in store for 2018? Introducing a new gamechanging ride experience designed and built by Dynamic Attractions being unveiled at this year’s IAAPA, the Dual Power Coaster. This new, one-of-a-kind ride system uniquely features a motion base coaster with two propulsion methods: an on-board independently

controlled motor drive system and a Linear Synchronous Motors (LSM) system, adding up to what we believe will be heralded as the most versatile roller coaster ever conceived, and launch a new era of creativity and guest experience. In the Dual Power Coaster, Dynamic’s hidden, on-board drive system provides a fresh, new roller coaster thrill with a suite of innovative capabilities. The on-board drive allows for variable speed, on-board braking, and even reverse movements while teaming up with the LSM system to deliver higher accelerations and speed straight out of the creative designer’s dreams. The vehicle is also capable of inversions and high banked turns so that every imaginable feature can be delivered to match that favorite gaming theme. Dynamic has also included options to marry a four-DOF motion base to the vehicle to create innovative and exciting movements. Imagine, for instance, drifting through banks and turns and using heave to create a simulated airtime to make it feel that the car has come off the track! Ride openings The ride systems described above represent just a portion of the Dynamic Attractions product line. And Dynamic is doing more than conceiving rides - they are seeing them embraced by park operators, who are installing and opening them - around the world. New SFX Coasters, a Flying Theater, Dueling Power Coaster, and Robotic Arm Ride are all to be opened by spring 2019, making this an extremely thrilling time for the company as well as our creative partners, clients and the guests who will experience the new rides. We’re proud to say that Dynamic

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Dynamic Attractions’ Motion Theater

rides represent some of the most popular attractions in the parks where they are installed. We’re proud to continue to deliver on the promise of innovation and world class attractions that our company is known for.

The entire amusement business has been and will always be driven by innovation. The parks and guests are always looking for new experiences, and Dynamic Attractions will continue to deliver long into the future. • • •

This is the mission of Dynamic Attractions, to be the global leader in the development and provision of innovative ride and attractions-related systems. The company does this through teamwork, trust, and respect - with a focus on exceeding customer expectations. The rides of the future are being designed today, and Dynamic Attractions is surely a company to watch long into the future. Between ride openings and product developments, they are fulfilling their mission and promise to bring the industry much more in the years ahead.

Cindy Emerick Whitson, Senior Vice President of Business Development, Dynamic Attractions is expert in roller coasters and world-class attractions, with more than 22 years in the industry. Trained as a material science engineer, with extensive project management experience, she has served top clients around the world, including Universal Studios, Disney, Paramount, Six Flags and many more. Cindy’s love of meeting people and using her creative side brings her full circle into the business development arena to help create the most elaborate attractions in the world.

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Dynamic Attractions

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