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Media content by Red Star for Simworx’s immersive tunnel at Panorama Langkawi, Malaysia


“ A real


issue with VR is overcoming the issues of handling headsets, operation, reliability and maintenance. I think


throughput and capacity will limit the uptake of VR in parks rather than the technology and the ideas!


Kevin Murphy, Attraktion!


seats and a WiFi control system. We also have a charging system that sets them all to charge overnight so the headsets can stay permanently fixed to the ride.” “At this point it’s difficult to tell whether such use of VR is


more than a novelty,” says Benoit Cornet at Alterface. “Amusement parks should make sure that they add something that guests can’t experience when using VR at home, such as the kind of effects (water sprinklers, body ticklers, scents etc) you can already find on other attractions.” “VR could revolutionise dark rides,” adds Ben Smith of UK-based 3D/4D content provider Red Star Immersive. “The thing for parks is to keep experiences physical (something you can’t ‘ride’ at home) and permit shared experiences that people can enjoy together with family and friends rather than solo.” “VR in other attractions will happen as visitors get used


to the technology,” predicts Kevin Murphy. “A real issue is overcoming the issues of handling headsets, operation, reliability and maintenance. I think throughput and capacity will limit the uptake of VR in parks rather than the technology and the ideas!” “I’m going to speak heresy here and say I don’t believe


VR – at least in the traditional sense of screen/headgear -- should really have a large role in the theme park,” offers Tim Rheault at Rhetroactive. “When you’re on a ride or in a show you feed off of the energy of everyone around you. Placing a solid screen an inch in front of someone’s face really makes it a very singular experience. Everyone will be able to have that experience in their living room soon, so why should they come to a theme park to experience it? We’re currently working on a couple attractions with Holovis and some major VR manufacturers in which we’re taking a ‘mixed-reality’ approach using augmented-reality [AR] to create mind-blowing effects that we could never accomplish in the built-environment.” If virtual reality limits the extent to which park guests can


share the experience with friends and family, then augmented reality – blending/superimposing media content over real life situations – offers a more social storytelling tool for attraction creators.


CGI VS LIVE ACTION The vast majority of media-based attractions today use computer-generated imagery (CGI), largely due to cost and flexibility of such content, but is there scope for more live action footage in attractions? “Live action can easily be more expensive to produce


than CGI, but it’s definitely appealing,” says Smith. “It all depends on the nature of the experience and whether the suspension of disbelief makes CGI possible.” “The quality of CGI available today can make some content that was historically filmed live more affordable and still appear ‘real’,” notes Louis Alfieri of Raven Sun Creative. “Conversely, with the advent of drone based cameras, we will see new shots that might have been approached in CGI become more available in live action. On a personal creative level, I prefer live action for facial expression, mood and natural interplay between characters, and I favour the use of live shots wherever possible and augmenting those with CGI where the story requires it.” “As CGI technology improves along with the blending of


live media with CGI, then the benefits of working in a purely generated digital domain become huge,” adds


42 MAY 2016


Murphy. “In cultural attractions live content is more of a necessity, whereas entertainment venues embrace CGI.”


4D FATIGUE? With so many innovative new media-based experiences now available to theme park guests, what are the future prospects for the humble 3D/4D theatre? “They are and will continue to be the best attractions in


parks,” observes Murphy. “Look at Universal and Disney and the sheer variety and popularity of 3D/4D theatres in their many different forms. The appeal, however, is in the content and the storyline.”


“3D/4D has such a wide install base that it’s here to


stay,” agrees Smith. “The key thing is to keep the content fresh and remember the core audience are families and kids who can’t ride rollercoasters.” “When done well, I think these types of attractions still


have a wide demographic appeal,” believes Alfieri. “When done poorly, they do not offer a good return on investment. The growth in quality and breadth of home entertainment offering in many cases supersedes the guest perception of value in the low end 3D or 4D experience.” “Let’s be honest,” says Rheault, “4D theatres haven’t


advanced much in the last decade. We still have the same half a dozen effects, complementing slightly better video quality. I think one of the biggest 4D theatre sins is


Garmendale gets


immersive Following the launch last year of The Forbidden Caves at Bobbejaanland in Belgium, the British ride manufacturer Garmendale is to build two more immersive tunnel attractions in partnership with Holovis. Although the clients remain a secret, we can tell you that both rides will open in Dubai. Garmendale is also set to launch a further two interactive experiences in partnership together with Electrosonic and Alterface. Featuring the company’s 30-seat electric Motion Master


ride system (as pictured), The Forbidden Caves takes Bobbejaanland guests on an action-packed subterranean adventure filled with supernatural creatures that on surround screens. Media content was provided by Super 78 from California, which worked with park owner Parques Reunidos on a previous immersive tunnel ride (The Lost Temple) by Simworx at Movie Park in Germany. Bobbejaanland this season adds a further media-based


attraction in the shape of Mount Mara, a VR overhaul of its Revolution indoor rollercoaster.





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