The challenge is to create compelling fulldome content without the budget of blockbuster fi lms such as Gravity
“THE PRODUCERS ARE NO DOUBT ATTEMPTING TO DO AWAY WITH STODGY PROGRAMMING OFTEN ASSOCIATED WITH ‘BORING’ PLANETARIUM”
base-line nomenclature and standards by which delegates can go back to their home domes with greater abilities and greater confi dence. A prime example is Neafus’s comprehensive paper The Language of Immersive Cinema, which he authored in anticipation of the IMERSA conference and which will doubtlessly be widely circulated.
INCREASED ATTENDANCE One of the best indicators of the niche IMERSA is fi lling is the attendance, which
this year topped 200 people from six continents. Some delegates grappled with the challenge of multiple, port- able domes as arty, yet commercial, operations in urban settings. Other attendees pondered the dilemma of creating fulldome productions on a relatively epic scale, but without the budget of blockbuster fi lms like Gravity, which get seared into the mass audi- ence consciousness every once in a while (this happens often enough to beg the perennial question as to whether we’re
collectively pushing a rope uphill or are we actually making a difference out there in the educational and cultural world?). That dilemma was highlighted when an ambitious new production by a talented, enthusiastic and determined fi lmmaker, Robin Sip, was premiered. Dinosaurs at Dusk was shown to an appreciative, but naturally critical audience. No one could be anything but impressed by the level of detail involved in creating this live-action educational fantasy and Sip was exceedingly generous in sharing many of the behind-the-scenes production details. To me, there was a problem with the
Dinosaurs at Dusk fi lmaker, Robin Sip, shared his production tips with delegates AM 2 2014 ©Cybertrek 2014
way English dialogue was structured, as well as with some of the stilted acting. To my taste, the same effort and refi ned production intensity might have resulted in an end-product that was less forced, and therefore more comfortable and natural. To be fair, some of my Japanese colleagues found the dialogue and acting “very cute” and they thought it would be quite marketable in their domes. So, what do I know? Another ambitious production aired, though not shown for the fi rst time, was Dream to Fly by Copernicus Science Centre, Warsaw. The fi lm has stunning visual effects, but suffers from a few curious content choices – specifi cally, graphically horrifying scenes of war planes dive-bombing ships at sea. Not the regular planetarium fare, but the producers are no doubt attempting to do away with stodgy programming often associated with “boring” planetariums.
Read Attractions Management online
attractionsmanagement.com/digital 59
©2013 WARNER BROS. ENTERTAINMENT INC.
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