REPORT 033
film very large images for Expo 67 (The 1967 Universal and International Exhibition in Montréal). IMAX permeated into theme parks with the Universal Back to the Future ride (5D) in Universal Florida 1991 and Hollywood two years later and lasted for 16 years before closing in 2007. What makes this most interesting is how the combination of a development in film, with a film script, some hydraulics and careful programming of timed effects make a new ride experience.
PRODUCTS TAILORED FOR THEME PARKS
There is a lot of cross-pollination from other industries where the technology is already mature and this saves a significant amount of time in the development cycle. This also goes a long way to minimise ride downtime, commissioning periods and maximises revenue. Typically, it is specialist integrators working closely with producers and art directors who develop and create the products for themed spaces. They have the experience to select and combine individual products from several different manufacturers along with their own glue or customisation. These are then tightly integrated to produce the unique effects and illusions visitors experience in a park. We hear of 3D, 4D, 7D shows but the action of integrating fans, water, smell, audio, lighting, movement have been around for years.
Having said that, a principle identified in the 16th century by Giambalsta della Porta, subsequently popularised 300 years later from the Dircksian Phantasmagoria show by John Pepper, has been developed into a patented system of Dr Peppers Ghost most recently seen with the ‘ghost’ of Tupac Shaker in a 2012 Snoop Dog concert.
ADVANTAGES AND DISADVANTAGES “Any sufficiently advanced technology is indistinguishable from magic.” - Arthur C. Clarke.
Too often technology is used because it’s there rather than because it is the right tool. The expectation from consumers is much higher today than ever before. In my opinion, shows and guest experiences work best when the story or theme is strong and well known - Indiana Jones for example. The experience is supported by technology where relevant, creating a balance as close to the guest expectation as possible.
It is very important to work backwards from the design rather than forward from the technology. Offer too little and if the other elements are weak you have a less popular attraction. Adopt too much and if it has a technical fault you have unpopular downtime and unhappy guests.
DIFFERENCES Theme park installations are generally fully immersive from beginning to end. Good
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use of specially constructed set items to which technology is applied creates a natu- ral habitat to set the scene for the main attraction. Entertainment venues typically receive and /or produce many different shows throughout the year with a skilled and well trained technical team to prepare and maintain the equipment - audio, projection, lighting, pyrotechnics, special effects - that are required for that particular show.
Theme parks are set up as entertainment venues in which the technology does not change for the lifetime of those attractions and the commissioning crews depart when the park opens. There are operators who follow lamp replacement schedules for luminaires and projectors and keep lenses and colour in the optical high life. There are also operators who either choose to ignore or were not briefed on operating costs. Most lighting effects are off during a dark ride yet a typical moving head remains on with a blackout flag dimmer blocking the light while still consuming electricity. It is not uncommon to find 60 1,200W moving heads spread around a park, representing over 100,000 Euros in electricity and lamp replacement costs per year excluding the ride downtime and labour to change the lamps.
EXPERIENCES AROUND THE WORLD
It is all about your point of reference and personal experience. I have worked in many themed environments over the past 25 years including Disney and Warner Bros parks in mature European markets and also Ferrari World, which became the first large theme park in the Middle East. A Saudi family with no other reference point vis- iting a park for the first time will find the experience in Ferrari World out of this world. All guest experiences are extremely personal and the diverse range of theme parks available today demonstrate the demand. I particularly enjoyed the old original wooden space mountain coaster until it was upgraded because it reminded me of what was very special back in its day. Sometimes looking back is a way to remind ourselves of the basic elements which contribute to our sense of fun and coming back from a day’s experiences fulfilled.
FUTURE GROWTH
Everybody wants a good day out preferably without queuing and more specialist parks or family entertainment centres will open in the coming years to cater for that demand. I also think park layouts that consider back of house and front of house in equal merit will have less downtime. Adequately funded and innovative guest experiences will continue to generate revenue for the successful operators, while location and a more economic investment may produce similar gate results for a less demanding audience.
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