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DESIGN PROFILE


TECHNICAL CONCEPT DESIGN AND SPECIFICATION BY EVENT COMMUNICATIONS James Alexander, chief executive


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set the context for the birth of the Titanic. We wanted visitors to feel part of the street scenes and for their shadows to become part of the display if close to the screens. To facilitate this, new short throw zoom lenses were used on the video projectors, enabling the projectors to be positioned as close to the screen as possible and high in the ceiling with an extreme offset.


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and her sister ships, Olympic and Britannic. They then join Harland & Wolff’s workers on a ‘shipyard ride’. Believed to be the fi rst of its kind, the ride is a fi ve-minute journey in a six-seater car that rotates and moves up and down along a circuit accompanied by CGI, audio and special effects. Full-size replicas, including riveting machines and Titanic’s rudder, give a scale perspective into working life in the shipyard.


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of Titanic’s onto the glass, demonstrating the sheer scale of the vessel.


work of its linens, carpets and cabins. Visitors will experience the reality of the ship’s interiors in a three-sided ‘cave’ that recreates the engine rooms, third class saloons, fi rst class corridors, grand staircase, à la carte restaurant and navigation bridge, allowing visitors to ‘walk’ the ship’s length. There are also detailed, full-scale reconstructions of fi rst, second and third class cabins. The three-sided cave (a virtual environment) takes visitors on a journey through the ship using a custom designed CGI show. The three sides of the virtual space were represented by special rear projection screens on a huge scale, using projection rigs with mirrors to reduce the space taken up by the projectors.


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Titanic from Southampton to Queenstown and photographed the journey. His images provide a unique chronicle of Titanic’s fi rst and only voyage.


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Maiden Voyage: A showcase of the extraordinary photographs of Father Frank Browne, the young Irish Jesuit who was given a gift of a ticket to travel on


The Fit-out: A look at the skill and craftsmanship that went into Titanic, from the fi tting of its enormous boilers and engines to the fi ne joinery and upholstery


The Launch: Visitors have a view down the slips where this momentous occasion took place. Innovative glazing transposes original imagery


The Shipyard: Visitors take a 20m journey in a metal elevator up the Arrol Gantry, the enormous steel structure built to facilitate the construction of Titanic


soundtrack and images all evoke the tragedy of Titanic’s collision with an iceberg and subsequent sinking, with the loss of 1,500 lives. They then move into an area where the narrative follows the stories of survivors and victims, and the worldwide press coverage of the tragedy.


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aftermath of the sinking, the British and American inquiries into the disaster and the ongoing question of who – if anyone – was to blame, as well as the important changes to safety at sea legislation.


An interactive table enables visitors to explore some of the fi lms, books, plays and poetry which Titanic has inspired. The interactive table features a combination of fi ve 4in (10cm) LCD monitors, built into a display with capacitive touch foils.


multi-channel sound system. Narrated by ocean explorer Dr Robert Ballard, the fi lm creates the illusion of fl ying over the wreck before descending to appreciate a close up of the wreck, made from a mosaic of thousands of Ballard’s photographs. This was achieved with multiple video projectors, projecting down into the pit and soft edge blended using the in-built projector processing. Visitors also see some of the thousands of items which lie around the wreck. The narrative ends, not with the disaster, but with an examination of how the spirit of Titanic has lived on, in the Ocean Exploration Centre.”


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Read Attractions Management online attractionsmanagement.com/digital AM 2 2012 ©cybertrek 2012


The Wreck: Gallery nine is an immersive theatre, which utilises a large, three-chip high defi nition (HD) video projector on a 12m (39ft)-wide screen with a 5.1


Myths and Legends: After the disaster, Titanic’s story fragments as legends and cultural represent- ations of the ship become different from the reality.


The Aftermath: A poignant wall of 400 life vests leads into interactive visual and audio displays centred round a 25ft (7.6m) replica of a Titanic lifeboat interpret the


ur aim was to create a fully immersive exhibition that explores Edwardian Belfast, where the Titanic was built. As well as the story of the ship, we look at the people who crafted her, the passengers who sailed on her and


the scientists who found her. The experience includes a ride, a 3D ‘cave’ that allows visitors to walk through the ship and HD footage of the wreck of the Titanic.


THE EXPERIENCE IS TOLD THROUGH A SERIES OF NINE GALLERIES:


Boomtown Belfast: Visitors walk through the ‘streets’ of 1900s Belfast. Set pieces, artefacts, photographs, soundscapes, oral testimony, archive material and fi lm


Stories of survivors and victims bring the experience to life


The sinking: The atmosphere of the exhibition changes into a dramatic sensory experience, as visitors enter a darkened tunnel where the temperature,


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