Media Based Attractions
parkworld-online.com “
Let’s be
honest, 4D theatres haven’t advanced much in the last decade. We still have the same half dozen effects, complementing slightly better video quality. I think one of the biggest 4D theatre sins is motion seats. A film doesn’t always call for them, yet I’ve sat in one theatre too many where I’m being
tossed around for no reason whatsoever
Tim Rheault, Rhetroactive
A 600-seat 4D theate by Attraktion! at Lewa Happyland in China
motion seats. A film doesn’t always call for them, yet I’ve sat in one theatre too many where I’m being tossed around for no reason whatsoever. We’ve programmed 4D theatres into three parks I can recall over the last two years where clients have flat-out asked us to remove them because they feel that people are 4D-fatiugued. Maybe they’re right.”
TIME FOR A SCREEN BREAK? From queue line entertainment and signage to their use in media-based attractions, screens are becoming an increasingly common sight in parks and attractions. But is it healthy for park guests to be staring at screens all day? “I would say it’s not at all healthy, but you have to bear in mind the use of media in any attraction is only part of the mix,” observes Attraktion’s Kevin Murphy. “Fortunately a media intense experience is only a matter of minutes in many cases for each attraction so there is no staring at screens for any major length of time!” “Although these attractions are typically short, it’s vital
that the projection technology is first rate,” notes Ben Smith of Red Star Immersive. “Blurry, jerky or misaligned images will destroy the illusion or, worse, induce headaches.” “When screens are everywhere in our everyday life,
location-based entertainment cannot rely only on screens,” says Benoit Cornet of Alterface. “In fact, using screens for everything would be unappealing to the guests as the promise of a theme park is to escape from everyday life. Used properly, on-screen media can greatly extend physical sets in a way physical theming and animatronics can’t, but the more the media content complements the look and feel of the rest of the attraction, the better.”
Brogent busy
An immersive tunnel by Simworx, with media content by Red Star, at Panorama Langkawi, Malaysia
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Brogent Technologies has opened two notable new attractions this season in Europe and North America. In partnership with its worldwide representative Vekoma Rides Manufacturing, the Taiwanese company was commissioned to supply a 100-seat 4D motion theatre for the new Wildlands adventure zoo in Emmen, The Netherlands. Named Arctic 1, the attraction takes audiences on a virtual flight over the North Pole. Media, pre and post-show elements were provided by Jora Entertainment, which was responsible for developing storylines across all three zones of this newly built park next to Emmen zoo. Meanwhile at the Mall of America in Minnesota, a flying theatre is set to open later this month called Fly Over America. The new attraction follows the success of Fly Over Canada, which opened in Vancouver in 2013, and features an I-Ride system from Brogent together with a live action film showing panoramic views of the US. Late last year, Brogent opened as many as 11 media- based attractions at the Shang Shun World indoor park in its native Taiwan, including an I-Ride with a film based on the Japanese IP Attack on Titan, a v-Ride dome with GestureMagic technology, a Star Tours-style flight simulator, immersive tunnel, interactive dark ride and a walk-through attraction using media projection, animatronics, 3D media and physical. See more at
ss-plaza.com.tw
One of the 11 attractions produced for Shang Shun World in Taiwan was this experience using GestureMagic technology
MAY 2016
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