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Merlin Entertainments Extends accesso Partnership to SEA LIFE Birmingham

LONDON (23-July-2014) – accesso Technology Group plc (AIM: ACSO), the premier technology solutions provider to the global attractions and leisure industry, has signed an agreement with SEA LIFE Birmingham (UK) to pilot the accesso Passport ticketing solution at the attraction. SEA LIFE Birmingham becomes the first attraction in Europe to fully deploy the complete accesso Passport solution including the “queue blasting” mobile point of sales; ticketing point of sales; access control; season pass processing; eCommerce; and group sales.

The contract is an extension of the master service agreement the global technology firm signed in March with Merlin Entertainments, the world’s second-largest visitor attractions operator.

“We are looking forward to extending our pilot from eCommerce only at Thorpe Park to a full ticketing installation at SEA LIFE Birmingham,” said Tom Burnet, accesso CEO. “

Photo courtesy National SEA LIFE Centre Birmingham.

ASTC to hold annual conference in Raleigh, NC Oct 18-21

The Association of Science-Technology Centers (ASTC) will take place at the North Carolina Museum of Natural Sciences and the Raleigh Convention Center in the city of Raleigh, NC, Oct 18-21. The complete program can be viewed here. Some highlights:

–Screening of the JHWFF Science Media Awards winning entries, Oct 19

–“What if there wasn’t a building?” session led by Eli Kuslansky of Unified Field, Oct 19

–“The Future of Interactivity in Museum Theaters and Planetariums,” session led by Tammy Seldon of GSCA, Oct 19

–Big Screen Day at Marbles Kids Museum, Oct 21

Related:

A one-day digital dome demo session will be hosted in the new E&S 8K Digistar theater, “The Dome,” at the Science Museum of Virginia, Oct 22. ASTC delegates will be transported from Raleigh by coach.

See our photos from ASTC 2013.

 

 

 

Luce Group Illuminates Renovated Clark Art Institute

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[quote]Working with the Luce Group was a dream. Traci and her team were brilliant at solving difficult lighting problems, and they made the collection come alive with subtlety and sophistication.” — Richard Rand, Clark Art Institute Senior Curator[/quote]

New York, NY, USA — Luce Group, the award-winning New York-based lighting-design firm recently completed lighting the permanent collection in the newly renovated Museum Building at the Clark Art Institute in Williamstown, Massachusetts.  In addition to lighting the reinstallation of the collection, Luce Group worked with the Clark to light CAST FOR ETERNITY – Ancient Ritual Bronzes from the Shanghai Museum (at the Clark from July 4–September 21) and the retail space located in the new Clark Center designed by Tadao Ando.

The Clark Art Institute selected Luce Group as exhibition lighting designer on the basis of Luce’s extensive experience in lighting art thoughtfully while keeping light levels appropriate for sensitive and important works of art.

Traci Klainer Polimeni, founder and owner of Luce Group, stated:

“My team was tasked with specifying lamps and accessories for all art lighting and to be onsite to work with the curators to light the Clark’s collection. Luce had the opportunity to recommend specific LED retrofit lamps for the Museum Building. Drawing on our extensive experience researching and specifying LEDs, we specified a lamp that was energy-efficient, required significantly less maintenance, and enhanced the appearance of the collection through fantastic color temperature and color rendering index.

We are delighted to have worked with the Clark in lighting its prestigious collection and look forward to returning to work on MAKE IT NEW – Abstract Painting from the National Gallery of Art 1950 – 1975 (at the Clark from Aug. 2 – Oct. 13).”

www.lucegroup.com

 

Science Museum of Virginia team discusses how their new 8K system changed the way they use “The Dome”

by Judith Rubin

[dropcap color=”#888″ type=”square”]O[/dropcap]n March 15, the Science Museum of Virginia in Richmond re-opened its dome theater to the public, outfitted with a new Evans & Sutherland Digistar 5 8K system. The renovation of this 243-seat theater with unidirectional seating in a tilted, 23-m dome also includes a new Spitz NanoSeam dome. The museum has named it, simply, “The Dome.”

Attendance numbers are up dramatically, and The Dome is making the most of its new versatility. Its cinematic premiere, the fulldome version of Great White Shark, has done well, and its “cosmic expeditions” format, which pairs a fulldome science show with a topical, real-time live astronomy presentation, is doing equally well, according to Jim Peck, director, Technology and Innovation at the Science Museum of Virginia.

Certainly the eyes of the museum and planetarium community will be on this 8K digital transformation of a dome that formerly emphasized IMAX films. E&S promotes the playback qualities of this D5 8K package as meeting and even exceeding what 15/70 film dome projection can do. “We knew we had a challenge to meet, and this was our opportunity to do it—not just to replace IMAX in a dome, but to provide a system that could do all kinds of things, and do them easily,” says Dennis Elkins, Director of Advanced Displays at E&S.

The Giant Screen Cinema Association is hosting a one-day event at The Dome on Oct 22, following the ASTC 2014 conference in Raleigh: Click here for details

The Museum’s new D5 uses five Christie 4K projectors, selected for resolution, brightness and 120Hz active stereo 3D. The system’s real-time astronomy features display natively in 8K and include a full, regularly updated library of digital starfields, planets, comets, moons, nebulae, etc. For the original E&S press release with the specifications, see www.es.com/News/2013/2013-09-16.html.

This article appeared originally in the June 2014 issue of The Planetarian, published by the International Planetarium Society, and is reprinted here with permission.

[dropcap color=”#888″ type=”square”]I[/dropcap]nterview with Jim Peck, director, Technology and Innovation, Science Museum of Virginia

SMV logoYou’ve made a dramatic, state-of-the-art digital transition. How did that come about?

Our IMAX 15/70 film projector and our Digistar II were both well-worn and we saw that it was time to move forward with some new systems. We couldn’t deliver the kinds of programming we wanted to give our visitors. We had dialed back our astronomy shows to a live night sky program about once a month.

How did you re-ignite your astronomy offerings?

We were shopping for an open kind of system, thinking of our dome as a canvas that wasn’t necessarily for any one thing. The Digistar 5 appealed to us as having that kind of versatility. Initially, we had not planned to do much astronomical content in The Dome.

We had thought we would focus on pre-rendered films, and offer a live star show about once a week, but the D5 has such robust astronomy features that we changed our plans and brought in Justin, as a specialist with content and technical expertise, to produce live astronomy shows.

Science Museum of Virginia
Science Museum of Virginia

We quickly realized that the astronomy was more popular than we’d foreseen, and that we had a great presenter who knew how to make the most of it. People wanted more. Live presentations now follow just about every pre-rendered show that runs in The Dome. In just the first six weeks, this programming attracted a significant following, with 30-40 people sticking around to ask Justin questions after each show. He updates the content weekly to reflect current events. As an example, when the Kepler Space Telescope recently discovered the new, Earth-like planet in the habitable zone of another star, NASA held its press conference at 2 p.m., and we had it in our show at 3 p.m. The same day. It’s the perfect formula of the right system and the right talent.

How are you dividing up the schedule between giant screen movies and astronomy presentations?

Cosmic expeditions now take up about half of the public schedule in The Dome -competing successfully with screenings of Great White Shark. A cosmic expedition is a 30-minute fulldome show that has space science content – such as Wildest Weather in the Solar System – and is followed by a 20-minute, live presentation.

We have abundant walk-in traffic in addition to our school groups: family after family coming in, going into The Dome and watching shows. Our numbers are up 30%-40% over last year in general, and over the spring break period, they were double last year’s.

Tell us about your marketing phraseology – calling the theater The Dome, and the astronomy shows “cosmic expeditions.”

Cosmic ExpeditionsIt’s helped frame where we are now compared to where we were before the renovation – and it’s selling tickets. What we are now offering is so different from what people grew up with here, and descriptive terms like “cosmic expedition” help convey that. We’re doing new things and we needed new, evocative words.

We struggled with naming the theater. “The Dome” has caught on with the press and the public, and it is evocative of a special place where any number of amazing and unique things could happen. It let us distinguish ourselves in the marketplace. Our mission is inspiration—and we find that we are now able to exceed our guests’ expectations.

How does Great White Shark look on the new system?

GWSposter_0As we had hoped, the D5 has surpassed the visual impact of our IMAX projector. Any differences are improvements. The picture is impressively bright and crisp, with great contrast. Attendance for this show is very good, and weekend screenings are almost full. We love Great White Shark on the D5, and so does our audience.

Projecting it is a streamlined operation – the auto-align and auto-blend features keep the image looking great. The fulldome digital transfer created by E&S is amazing, and it fills a larger portion of the dome than the film version could. When we repaneled the dome, we covered up the cut out for the old projection booth in the back of the theater to make the most of this.

Do you plan to run shows at high frame rates and in stereoscopic 3D?

The D5 is capable of frame rates up to 60 fps and this high refresh rate can be applied for real time content as well as playback. The same is true for stereo 3D, which runs at 120 fps (60 fps per eye using active stereo). We aren’t using either of those for public shows yet, although we have done several demos and the quality is astounding.

We are still thinking about when and how to roll it out to the public. For now, we plan to focus on the live presentations that are proving so successful, and build from there.

What other plans do you have for making the most of The Dome’s new versatility?

We are experimenting with other content possibilities. For our clients doing corporate events, we have started to offer them a fulldome show and live content—and they’re waiting in line to do it now. We are selling people on the truly unique qualities of what they can do in The Dome. The museum has access to an enormous amount of content and that now includes the D5 library, so tie-ins with exhibits are also in our future. We opened a new gallery last summer, and will open another next summer and the summer following. The Dome renovation is part of a new, strategic master plan and a capital campaign which officially commenced in early 2012.

We are actively raising funds and to date we have raised $38M of the $60M goal. The success of the new theater has absolutely helped develop private and public support and momentum. We plan to continue to offer new and innovative experiences in The Dome and the entire museum that will excite our visitors and build a loyal audience of repeat visitors.

Photo from Richmond Times-Dispatch article of March 14, 2014 shows Justin Bartel at the console of the new Digistar 5 system of The Dome at the Science Museum of Virginia. See their additional photos here.

[dropcap color=”#888″ type=”square”]I[/dropcap]nterview with Justin Bartel, immersive experience specialist, Science Museum of Virginia

While growing up in North Newton, Kansas, Justin Bartel made regular trips to the nearby city of Hutchinson to visit the Kansas Cosmosphere and Space Center and its Justice Planetarium. This fostered an interest in astronomy and space exploration that eventually led him to attend the University of Arizona, with summers spent back at the Cosmosphere working with students attending their Future Astronaut Training Program summer camps.

After graduating with a bachelor’s of science degree in astronomy in 2005, Justin once again returned to the Cosmosphere to assist with astronomy education programs and operate the planetarium’s Spitz 512 projector. In 2007, Justin moved to a position at Exploration Place in Wichita, Kansas, and was introduced to the digital planetarium in the form of E&S’s Digistar 3. Here he joined an experienced staff and learned how to operate, maintain, and produce fulldome content in the theater where Digistar 3 had premiered to the world five years earlier.

After departing Exploration Place, Justin pursued opportunities in science education in Boulder, Colorado and Orlando, Florida before joining the Science Museum of Virginia in late 2013. In the first three months of 2014, he has assisted with the opening of a new fulldome theater at the museum’s satellite campus in Danville, Virginia, and the re-opening of The Dome.

Justin Bartel, immersive experience specialist, Science Museum of Virginia
Justin Bartel, immersive experience specialist, Science Museum of Virginia

What makes a good live presentation?

It’s more than reading headlines or reciting a script—it starts with having a story to tell and then finding your reason to tell it. I’m always looking to add some interesting fact visitors may overlook on their own, or to make connections between multiple topics.

Once I’m hooked on a story it becomes a lot easier to get other people interested, and it leads more naturally to visitors getting involved in the presentation by answering my questions and asking questions of their own.

Why are live presentations important and what makes an audience respond to them?

I think a lot of people are naturally curious about space, but because astronomy includes so many topics that are so far removed from our everyday lives, both literally and figuratively, it helps to have a live presenter to serve as a guide. The presenter also helps the audience get more out of a fulldome show by being available to answer questions that come up, and to share relevant new information.

Supplementing these productions with live presentations is a way to keep our visitors informed about the latest discoveries, and I think they really appreciate that. I can share the cool stuff that audiences care about: the story of the universe, traveling across the solar system, traveling outside the galaxy, breaking news of the cosmos.

How do you like working with the new system?

It’s fast and intuitive, and a huge leap from the D3 that I worked with previously. The user interface has been redesigned, and I was able to hit the ground running with it.

In addition to high resolution and brightness, it has great flexibility and a rich library of assets that is regularly updated and easy to access. It lets you move freely from topic to topic: what you want, when you want, and easily responding to audience requests.

I like to do something a little different for every show, depending on current events. Someone in the audience may ask to go to a favorite planet, or have questions concerning something that wasn’t covered in the canned show, and D5 allows me to do this on the fly. To paraphrase what my boss Richard Conti (CEO and chief Wonder Officer, Science Museum of Virginia) said: “I’m hard to please and the Digistar 5 has exceeded my expectations.”

 

Siriusware Adds Six Museums and Attractions to Portfolio

[quote]Cultural attractions are making incredible strides to integrate a range of new innovations within their operations to enhance the guest experience.” — Mark Danemann, Siriusware president[/quote]

Taos, NM, USA (July 21, 2014) – Siriuswarea division of accesso Technology Group plc (AIM: ACSO), the premier technology provider to the global attractions industry, today announced six major contract wins.

Agreements have been signed with several popular attractions including The Fine Arts Museums of San Francisco (De Young and Legion of Honor Museum), the Minneapolis Institute of Arts, the Oregon Museum of Science and Industry (OMSI), the Capital Wheel at National Harbor, Greek Peak Mountain Resort, and iFLY Denver.  These six venues will leverage a variety of Siriusware Salespoint Solutions that include eCommerce, Front Gate, Access Control, Group Sales, Memberships, Kiosks and Retail.

“Siriusware is honored to be the provider of choice for so many high-profile establishments,” said Mark Danemann, Siriusware president.

The flexibility of Siriusware’s solutions combined with the software’s ability to integrate with existing data systems were key drivers that led all six venues to select Siriusware as a vendor.

PHOTO of DE YOUNG MUSEUM courtesy Fine Arts Museums of San Francisco.

 

SeaWorld and Busch Gardens Introduce eCommerce Features to Mobile Apps

Orlando, FL, USA – SeaWorld Entertainment, Inc. (NYSE: SEAS)  announces additional enhancements to its popular park mobile apps, available for iPhone and Android devices. The latest update to the SeaWorld, Busch Gardens and Sesame Place Discovery Guide mobile apps allow guests to make unique purchases and redeem offers on their mobile devices while in these parks.

The new commerce features include:

  • –Quick Pay, which allows guests to use their devices as a payment methodOnce guests have connected their account to a credit card they can pay for culinary and merchandise directly with their mobile device throughout their visit to SeaWorld Orlando, SeaWorld San Diego, SeaWorld San Antonio, Busch Gardens Tampa, Busch Gardens Williamsburg, and Sesame Place.
  • –By using Quick Pay, guests can register a credit card right in their Mobile App account and use the app to quickly and easily pay for purchases the remainder of the day.
  • –Additionally, the three SeaWorld parks will pioneer new products just for mobile app users including one-time use Quick Queue® to some of the most popular attractions, including Antarctica®, Rio Loco® and Shipwreck Rapids®.
  • –Busch Gardens and Sesame Place will introduce one-time offer and awareness messages to park guests with incentives for culinary, merchandise, and future visit products.

The multi-year focus on digital innovation includes the recent introduction of mobile ticketing and responsive Web design, among the first in the theme park industry. The investments go beyond new technology, but also extend to park operations for a guest experience that is more interactive and connected.

For more information about the new Discovery Guide mobile apps, check out the video at SeaWorldParks.com /mobile. The app can be downloaded free from the Apple or Google Play app stores.

Audubon Hosts Snorkel and Scuba Expeditions in New Maya Reef

[quote]We want to immerse dive participants in the underwater world while offering an in-depth understanding of the exotic animals that thrive near one of the world’s largest reefs.” — Desiree Bell, Audubon Aquarium Dive Team Coordinator[/quote]

New Orleans, LA, USA — Visitors to Audubon Aquarium of the Americas gaze in awe as they walk through the newly-renovated 4,200 square-foot Great Maya Reef tunnel, and now, the more adventurous can explore from inside the exhibit with the Maya Dive Experience.

In this latest Wild Encounter from Audubon Nature Institute, divers will get up close and personal with colorful fish of the Great Maya Reef and get a taste of the second largest barrier reef in the world without flying to Central America. They can dive below or snorkel above swirling schools of yellow tail snapper and French grunts all while getting wet and waving to their friends and family from inside the 130,000-gallon exhibit.

“Volunteer divers have enjoyed the opportunity to swim in the Aquarium’s exhibits for more than twenty years and we want to offer Aquarium visitors this memorable experience as well,” said Audubon Aquarium Dive Team Coordinator, Desiree Bell.

The program is offered on Fridays, Saturdays and Sundays including a SCUBA dive for those who are certified or a snorkel adventure that offers a face-to-mask introduction to the aquatic animals of the Great Maya Reef. Wet suits and dive gear will be provided and each experience is limited to four participants.

maya-dive23

Maya SCUBA Dive
–Fridays, Saturdays and Sundays at 10:30 am.
–Tickets are $250 per non-member/$225 per member.
–Each time slot is limited to a maximum of 4 participants.
–SCUBA experience is open to certified divers 10 years and older. Those under 18 years of age must be accompanied by a paid, participating adult.
–Non-participants (friends and family) must observe from the exhibit public space.
–Participants must arrive 30 minutes ahead of time.
–Each participant must bring their own swim suit.
–Each diver must bring proof of certification.
–Personal dive gear is not permitted, but guests may bring their own masks.
–Guests with allergic sensitivity to marine animals should be aware that this is a simulated ocean environment.

maya-dive12

Maya Snorkel Adventure
–Fridays, Saturdays and Sundays at 1:30 pm.
–Tickets are $175 per non-member/$150 per members.
–Each time slot is limited to a maximum of 4 participants.
–Snorkel experience is open to anyone 8 years and older. Those under 18 years of age must be accompanied by a paid, participating adult.
–Non-participants (friends and family) must observe from the exhibit public space.
–Participants must arrive 30 minutes ahead of time.
–Each participant must bring their own swim suit.
–Personal dive gear is not permitted, but guests may bring their own masks.
–Guests with allergic sensitivity to marine animals should be aware that this is a simulated ocean environment.

www.auduboninstitute.org

ECA2 Turns Publicis Headquarters Into Nighttime Spectacle on the Champs Elysees

Paris, France — On July 7, 2014, the Publicis Group unveild the new illumination of its Group headquarters façade at 133 Avenue des Champs Elysées, a first for both employees and the general public. This illumination uses unprecedented and remarkable technological prowess and happens at every sunset.

Built around a spiral 22 metres high, the 800m² of glass facade on the Publicis building is now lit by 17,000 LEDs akin to the pixels of a high definition screen. A complex and perfectly formed grid draws shapes by abstract or figurative movements. The show will be constantly updated throughout the year depending on what’s happening and the imagination of its creators.

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Following a trip to the United States, Marcel Bleustein-Blanchet, founder of the Publicis advertising agency, set up his offices in the former location of the Astoria hotel built in 1900 at the top of the Champs Elysées. In 1958 he opened the first European drugstore on the ground floor, the Publicis Drugstore – a bar, restaurant, cinema, shop, newsstand, tobacco shop and pharmacy open “all night” (until 2 in the morning). It revolutionised Parisian life.

The Drugstore Publicis headquarters was totally destroyed by fire in 1972. Marcel Bleustein-Blanchet entrusted the architect, Pierre Dufau, a leading practitioner and visionary in office building architecture, with the reconstruction of the building. He created a simple building, with no grand architectural gestures; it has impressive hanging gardens and mirrored glass reflecting the Arc de Triomphe.

In 1999, Elisabeth Badinter and Maurice Lévy wanted the Publicis Drugstore to mark the change into a new millenium.

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Their wish was to make the building even more symbolic than it already was. In 2004, the Californian architect of Italian origin, Michele Saee, transformed the drugstore in collaboration with ECA2, an agency within the Group, by installing 153 curved glass screens on the old facade. These seem to fit in with the dynamics of its position on the Champs Elysées near the Arc de Triomphe, while allowing the building to sit at the end of the avenue.

In 2014, Maurice Lévy called again upon the technological and imaginative resources of ECA2. The aim was to make the building the new spectacular night time place-to-be on the world’s most beautiful avenue.

Publicis is offering a new light and digital attractionon the Champs Élysées a timeless symbol of elegance and the French exception, right in the vibrant upmarket heart of Paris. By dressing the building in a remarkable covering of lights across a surface of 800m², Publicis and its legendary Publicis Drugstore will highlight the global influence of a French company on the world’s most beautiful avenue.

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The project was extremely challenging…installing a technological structure on an already complex architectural piece. 20 rope access technicians were involved in order to position the 17,000 LEDs from the top of the building onto an area nearly 800 metres squared. The absolutely perfect grid pattern of the LEDs produces an unusual finish. To interpret each convex curve of the 153 glass sheets, ECA2 had to design a unique prototype, the only one of its kind in the world. Strict constraints meant it had to respect the spirit of the existing structure, the identity of the Champs Elysées and nearby Arc de Triomphe, not to mention the peace and quiet of the employees behind the windows of the building.  In addition, compliance with an environmental charter is another tour de force of the project with very low energy consumption: each pixel only consumes 1 watt per hour, which at full capacity is 17 kilowatts for the entire building.

The ECA2 team who dreamed up the whole of this installation is the same team who created and orchestrated the Eiffel Tower millennium show.

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TO EXPERIENCE IT YOURSELF

Where:          Publicis Drugstore, 133 Avenue des Champs Élysées- 150m from the Place de l’Etoile

When:            Throughout the year from sunset

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KEY FIGURES

17,105 pixels (light points) each with 6 video LED SMD RVB

5 km of cables

6 months of design sketches

15 months of technical research

3 months of site preparation

20 people of whom 10 are Savoyard rope access technicians

www.eca2.com

 

International Film Sensation Daniel Wu Walks the Red Carpet at Madame Tussaauds Hong Kong

[quote]Having my movie premiere at the Berlin Film Festival has been an honour and marked a good start of 2014. So, I was delighted to learn that my wax figure will be replicated in line with that occasion. The whole sitting experience, although a long process, has been unique and I am excited to meet my new ‘duo’.” — Daniel Wu[/quote]

Hong Kong – Joining the superb cast of A-listers today at Madame Tussauds Hong Kong is one of Asia’s top stars – Daniel Wu. Garnering rave reviews for his role in the latest blockbuster ‘That Demon Within’, Daniel continues to awe audiences with his outstanding performances on the big screens.

As the male lead in ‘That Demon Within’, Daniel was invited to walk the red carpet as the movie premiered at the 64th Berlin International Film Festival in February this year. Dressed in a stylish three-piece suit, a white shirt and black shoes for the Film Festival, Daniel’s wax figure will be identically fitted and poised to shine as he takes his place at the Hong Kong Glamour at the attraction. The professional team from Madame Tussauds especially flew to Berlin early this year to conduct the sitting process which turned out to be a memorable experience filled with laughter for all.

General Manager of Madame Tussauds Hong Kong, Ms Kelly Mak says: “Taking up many roles in his job as an actor, director and producer, Daniel Wuis a multi-talented personality and undoubtedly a great asset to the Hong Kong Film Industry. He has never failed to impress the audience and continues to delight and surprise us. On top of the film industry, Daniel Wu will be a valuable member to the attraction and popular with all visitors from around the world.”

www.madametussauds.com/hongkong

 

Bob Rogers of BRC Imagination Arts Named One of Five First Time Governors on AMPAAS (Oscars) Board

Burbank, CA, USA (July 18, 2014) — The Academy of Motion Picture Arts and Sciences (The Oscars) announced that Bob Rogers, Founder and Chairman of BRC Imagination Arts, has been elected to their Board of Governors.  The Academy’s Board of Governors is their equivalent of a Board of Directors, bearing the ultimate responsibility for and authority over the corporate management of the Academy and its general policies.

Bob Rogers was one of 5 first-time members elected by his industry peers to help govern the Academy.  Other current Governors include Annette Bening, Tom Hanks, Ed Begley, Jr., Kathleen Kennedy and other film industry leaders.  Rogers will be one of three Governors representing the Short Films and Feature Animation Branch of the Academy.  He takes the place of outgoing Governor John Lasseter, Chief Creative Officer of Pixar Animation Studios and Walt Disney Animation Studios, and Principal Creative Advisor to Walt Disney Imagineering.

“I’ve always wanted to start a speech with the words, ‘I’d like to thank the Academy for this great honor,’” quipped Rogers.  Rogers was twice nominated for Oscars, for short films he produced and directed.

Rogers was previously honored with:

  • –Lifetime Achievement Award from the Themed Entertainment Assoc.
  • –Inducted into the Theme Park Hall of Fame (IAAPA)
  • –Lincoln Medal for Scholarship
  • –NASA Public Service Medal
  • –200+ international awards for creative excellence
  • –2 Oscar nominations for Live Action Short Films he produced and directed

Bob Rogers is the Founder and Chairman of BRC Imagination Arts. For over three decades, BRC Imagination Arts has been creating Experiences That Matter – designing and producing premium brand experiences, world expo pavilions, museums, and attractions that engage, inspire and entertain millions of visitors all over the world. BRC has collaborated with some of the world’s foremost brands, including Coca-Cola, Disney, Universal Studios, the Ford Motor Company, Heineken, Bacardi, China Mobile, Guinness, Nickelodeon, Volkswagen and more.A significant portion of this work is film/media-based, including both animation and live action.

The first-time Governors for the 2014-2015 Board are Kate Amend, Documentary Branch; Daniel R. Fellman, Executives Branch; Albert Berger, Producers Branch; Bob Rogers, Short Films and Feature Animation Branch; and Mark Mangini, Sound Branch.

www.oscars.org

www.brcweb.com