Flying Theatres
The Flyer, Triotech Christian Martin
meal will not fulfi l the expectations of your guests. It´s the same with your fl ying theatre,” he says. “The starting point is a well thought through
storyline for the creation of the media, which ends with the decision as to who will produce that media. It needs to be a company that understands Flying Theatres in general, and in Simtec´s case in particular, the huge capabilities of our motion system to create the correct movements within the media content. “Easy to say from our point of view, but a
successful fl ying theatre project needs a Simtec HEXaFLITE system, with the advantage of 6 DOF motion system generating a huge motion envelope and using a single loading platform to provide best seating in the centre of the screen in the size that you need to fulfi l your capacity requirements. “The next step is to choose the AV system.
Simtec recommends using spherical LED screens creating a breathtaking picture quality. If clients are not willing to spend the extra money for the LED screen, they should use a multiple laser projector set-up to guarantee high brightness and resolution factors. “The cream on your desert, to come back to our
meal, is a well themed pre-show building up the excitement to get onto the ride. The result will be a fi rst-class attraction, which give you the opportunity to combine it with a post-show and a retail outlet where your guests are willing to spend additional money. If you are trying to save money on one of your “ingredients” the entire experience will suffer.” Brogent’s Stefan Rothaug, says: “Like a
traditional dark ride, a fl ying theatre is a heavily integrated system: That begins with the motion of the gondola, which has to be synchronised with the movie content. This means both sides, the movie production team and the ride programming team have to work closely together from the early beginnings of the movie production to make sure the fi nal is a great one. But it also includes the pre-show and post-show areas, especially for standalone attractions, where people are taken out of busy city environment and have to be transferred into an immersive environment. So, besides movie production and motion programming, show
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control and audio/video setup are very important.” “It all begins with the storyline,” says Daryl
White, Falcon’s Creative Group. “We want to use the equipment merely as a tool to invest guests into a story and entrench them in the experience. Once we’ve defi ned the story or type of story, we look at what technology allows us to bring that story to life. Ideally, that means the equipment should be invisible and a non-entity in the storyline. Starting
The cream on
your desert, to come back to our meal, is a well themed pre- show building up the excitement to get on the ride.
with technology or equipment and then trying to force a story to fi t it is a backwards approach, and that will be refl ected in the end experience. “Alongside production of the hardware, and
typically taking about the same amount of schedule, is the production of the media. Live footage via drones is quick and easy and can be edited using modern tools in a rapid schedule. Though we still have to recall the old adage of “quality, cost and time – you can only have two”. Mixing live footage with visual effects (VFX) is a very popular way of producing a balanced fi nal result. Finally, using full CGI to produce the media can result in the highest quality option, and takes out variables such as weather, live actors, and access to restricted areas.” Daryl continues: “As the equipment and media
are joined via programming, the fl ying theatre experience comes to life. This is the point where the developer opens his arms to guests and welcomes them to an all-new world.”
A sprinkling of passion Kraftwerk Living Technologies’ Kevin Murphy says:
“At KLT, whilst we can offer our clients several complete turnkey media-based products, we have the privilege to work on the side of some of the most talented and most experienced ride system manufacturers for fl ying theatres and fi lm makers. Our key expertise is in the media playback, screen and display technology, special lens development including blending and alignment, audio as well as SFX behind any Flying Theatre. “We are used to being part of a team and
our skills have taken many years to develop - the expertise and techniques to make every opening reliable and magical. Back to the lesson I fi rst learned - a fl ying theatre is not suitable for every story and all content, and an early mistake I made with colleagues was deciding to use a ride for a story that in hindsight, just did not fi t. It could have been mediocre and diffi cult to get the visitor to believe in, so we had to drop the idea which is the RIGHT thing to do when a technology does not fi t the idea. “A fl ying theatre is all about the content, the
story, the journey and the experience and to a very large degree, the ride technology and the media
WINTER PART 2 2021 The Flyer, Triotech
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