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Company Profile
for visitors to feel as though they are fully immersed in the histories and life of the 18th century prison. Every section and projection had to feel like part of the same cohesive design and an authentic vision. The biggest challenge was setting up a VFX pipeline with such a huge variety of deliverable formats. Some of the screens are huge - with one measuring 20m by 3m - and that means you have long renders. This was coupled with delays caused by Covid. However, our studio was one of the first production teams to shoot post-lockdown with a stripped back crew, Covid-officer on set and a stunt team which had isolated ahead of the filming.
It was fantastic to be involved in the project which marks a huge milestone for the South West’s tourism and heritage industry. Our audiovisual work will enable guests to experience the unique site like never before, bringing to life the people and events that shaped Bodmin Jail in a celebration of the history and heritage of the area.
Fram Museum
What have been some stand-out Moonraker projects in museums and attractions?
Flyride was one of the most technical projects we have ever undertaken as a studio. We were tasked with creating a fully immersive and sensory ‘flying ride’ experience which takes the viewer on a journey through the beautiful Changbaishan National Park in Jilin Province, China. The ride system suspends the audience, feet dangling, in front of a 4K, 60-foot half- dome screen. Special effects like wind, mist, sound and scent combine with the chair’s sensory motions and our striking visual effects and custom VR technology for a truly immersive experience. It’s a truly unique and sensory perspective on an environment rich in natural history.
Another highlight was working alongside Sarner International to refresh the dramatic exhibition at the Fram Museum in Oslo. Our task was to expand and enrich the history of the Fram Ship exhibition by creating an epic storm sequence and photoreal ice fields for the 18k, 280-degree field of view projection space viewed from the deck of the ship. The exhibition has since won a Thea Award for its innovative design and special effects. This year we also collaborated with 3D visualisation consultants, Animmersion, to develop beautiful 3D imagery that can be projected using their ‘Deep Frame’ technology. The finished visuals bring real scientific data to life and allow visitors to see and interact with a stunning, high quality and three-dimensional image right before their eyes. It’s the perfect format for museums to visualise human biology in a more interactive format.
How has COVID-19 affected Moonraker? Do you think it will have a permanent effect on our interpretation of the guest experience?
Like everyone else, COVID created some pretty big challenges for us and our industry - adapting to remote workflows, having to re-work the office in line with guidelines, plus working around big delays to initial timelines, including Bodmin.
There’s no doubt COVID has had a huge impact on DECEMBER 2020 67
the industry and will continue to do so over the coming year – right across the spectrum. I expect we will be moving away from anything that is touchscreen or requires sanitation. Instead, attractions will increasingly go down the road of immersion, scale and spectacle - likely in a way that can be rolled out in a digital format via VR players initially. I think it’s important to remember this isn’t a backward step - immersing a group in a single landscape still makes for a more memorable social experience and this is what visitors expect these days. Large congregations in a physical space will take time to re-emerge.
Why do you think attractions that incorporate interactivity and immersivity continue to grow in popularity? I think it’s that people want to be more than educated - they want to experience a spectacle and be able to interact digitally. Immersive technology, alongside visual effects, enhance the storytelling. Attractions have a limited time to convey a narrative and capture the attention of the audience, so it’s about selecting the right technology to enable visitors to understand the story of the whole space. There’s also a social aspect. Cinemas and museums are still very much a social experience and people enjoy sharing an experience collectively. Immersing a whole group in a single landscape makes for a memorable shared experience.
What can the industry expect from Moonraker for 2021 and beyond? The next year is set to be a really important one for Moonraker. We’ve secured £500,000 of funding from Creative England and we will be producing our own licensable 3D content for giant screens across the world. We are also looking to further grow our client base in the attraction space. We are in discussions and actively involved on a number of big projects both in the UK and abroad that harness new technologies in the immersive and augmented reality sectors.
Attractions
will increasingly go down the road of immersion, scale and spectacle - likely in a way that can be rolled out in a digital format via VR players initially.
Flyride
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