3D / LARGE FORMAT FILM
ERIC MARRADI creative director, Triotech
“T
he challenge with domes is that to have a great impact and impress customers, the sphere needs to be big – very big.
The position of viewers in the theatre is also a key point. Even though the dome offers a 360-degree experience, the viewer will only see what’s in front of them. So, if your viewers are positioned in a
circle-like arrangement (for example, in a planetarium), the content you offer on your dome needs to be relevant everywhere on your screen. That’s hard to achieve. It’s especially diffi cult if you have a storyline to tell or some action in your fi lm. This makes us feel that it’s almost impos-
sible to adapt fi lm content conceived for fl at or curved screen to a dome projec- tion. It’s even more impossible if we’re talking about an interactive ride versus an immersive ride. The advantage of a curved screen is that it allows operators to have action-driven content, instead of the con- templative content that a dome projection conducts. Viewers then feel immersed in the theatre experience and get to see action-fi lled content, which would have to be compromised in a dome alternative.”
TERRY MONKTON managing director, Simworx
(Above) Simworx is currently developing a new type of immersive experience that will rival a dome’s offer
“F
ulldome screens and the pro- jection system required for these are very expensive. The operator needs the budget for
a large building with a high roof to house it and for customised fi lms to be made. The cost of supplying a 3D projection set up for a fl at screen is much cheaper than a dome system. The fl at, or slightly curved, system offers greater fl exibility in that a screen can be supplied to fi t a whole vari- ety of different room sizes, even those with height restrictions. Also, access to a large
library of fi lm content is very important. Additionally, ongoing maintenance costs are less for a fl at screen set-up. Generally, fl at screen attractions are
produced in a 16:9 scale format, which is an industry standard for 3D and 4D theatre/cinema attractions. It’s very easy to upscale a fi lm image to account for dif- ferent sizes of screens, with no additional work required from the fi lm producer. The main point for this is that fi lm producers will produce 3D fi lms for the mass mar- ket. The most popular screen for museum and theme park attractions is fl at. I would guess that more than 95 per cent of attrac- tions use a fl at screen. There’s no doubt that there’s a market
for domes and there’s a place for both types of attraction. However, I’d say that price and available fi lm content will be the main driver for clients choosing between the two formats and, because of this, fl at screens will continue to be more popular. We’re currently developing a new type of
immersive experience that will be available in the market place soon. This develop- ment will offer a new and exciting means of fi lm presentation to rival that of a dome’s, while retaining the fl exibility that fl at or slightly curved systems offer.
(Left) Triotech’s interac- tive dark ride is played on a curved screen, which allows action-driven con- tent to be shown
64 Read Attractions Management online
attractionsmanagement.com/digital AM 2 2011 ©cybertrek 2011
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