Victory Theater in New Orleans uses dramatic 2D presentations accompanied by immersive images in preference to 3D and 4D imaging techniques
filters. In May 2012 Universal announced that the whole ride had been re-engineered to use the latest 4K electronic projection and Infitec filters to give superior image separation.
WHAT IS 4D?
One suspects that the term “4D” is a market- ing department’s invention. It is now taken to mean a show where the main imagery is presented by 3D projection, but supported by numerous other elements programmed to operate in synchronisation with the main film, such as lighting effects, fog, water droplets, air jets and moving seats, as well as shows based on moving “simulator” platforms. In general the more intense the physical expe- rience, the shorter the show, and in practice the best shows use such effects sparingly. If simula- tor platforms are employed, the effectiveness of the show is highly dependent on the way that they are programmed. Badly programmed shows result in nausea, while those with excellent programming provide all the thrills without the protein spill. An example of good programming is the GM-SAIC Pavilion at EXPO 2010, which used 4D techniques in its Motoring in 2030 show and included programmable seats.
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ALTERNATIVES TO 3D – IMMERSIVE IMAGES While 3D presentations are popular, it’s worth remembering that a proportion of the audi- ence does not have functioning stereopsis and that, in some cases, dramatic 2D pres- entations accompanied by immersive images can be just as effective.
An example is the Victory Theater at the
World War II Museum in New Orleans, USA; it has a giant 115ft x 28ft (35m x 8.5m) screen which is actually a “scrim” or gauze. A sec- ond screen is set 20ft (6m) behind the main screen so that the creation of spectacular effects can actually impart a 3D appearance to the show (produced by Hettema Group).
3D AUDIO
Sound is as important as vision in attractions. Multi-track sound is now the norm, often using formats like Dolby™ 5:1 or 7:1 (the “1” usually refers to a sub-bass channel that is not directional). These can give excellent results in the hands of good designers and producers but, as with “3D” not being “real” three dimensions, it could be said that a similar situation exists for sound. Some
people certainly think so and, as with “light field” image projection, there are proponents of “sound field” audio presentation. The Iosono™ system developed in Germany uses as many as 380 channels and a near continuous array of loudspeakers to precisely locate sound anywhere in the auditorium, and several other systems are being proposed. The advice here is the same as for all aspects of show technology – “try before you buy”. l
Bob Simpson is a director of the international Electrosonic Group, which he co-founded in 1964. Simpson is a frequent
writer and lecturer on audio visual and light- ing control topics – his books include Effective Audio Visual, Videowalls – The Book of the Big Electronic Image and Lighting Control – Tech- nology and Applications. Simpson has worked on many corporate, control room, EXPO, mu- seum, theme park and permanent exhibition audio visual projects. He is a member of SMPTE, SID and IESNA (all USA) and a fellow of BKSTS (UK).
Attractions Handbook 2012–2013 75
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