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Whitewater Brings One-of-a-kind Thrills to Dubai’s Atlantis The Palm

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Tower of Poseidon Aquaventure Waterpark Atlantis The Palm

Richmond, BC, Canada — The bar has once again been raised as WhiteWater’s newest innovation, a heart pumping, six waterslide complex overflowing with features not seen anywhere else in the world opened to rave reviews September 17, at Atlantis The Palm, Dubai’s Aquaventure Waterpark.

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Anchored by a magnificent 40 metre tower, the complex includes a number of world’s firsts including two AquaTubes which fly through the world’s largest 9m (30ft) diameter waterslide, and the Anaconda, offering a spectacular waterslide within a waterslide experience, known as the flume-thru-flume technology. Additionally, the world’s first zipline integrated into a waterslide tower delivers a new level of exhilaration as riders fly through on two-lane, two-way zip lines spanning three towers.  Adding to the excitement with more firsts to the Middle East, a Family Boomerango and two dueling AquaLoopsoffer adventure seekers challenges and thrills as they test the limits of their courage.

Atlantis The Palm, Dubai - Aquaventure Expansion 2013 (2)

On hand for the grand opening, WhiteWater’s COO, Michael Heaven commented on the expansion, “We are proud to have been selected and challenged by Atlantis The Palm to deliver yet another record breaker for their waterpark expansion and are thrilled with the result. The excellent feedback and excitement from guests is nearly as exhilarating as the experience itself!”

The Tower Of Poseidon at Aquaventure Waterpark - Zoomerango

This major expansion joins other WhiteWater attractions at Aquaventure Waterpark including four Master Blaster® water coasters, a custom themed AquaPlay interactive play structure, and the highly-popular Leap of Faith waterslide offering an unforgettable drop through a live shark marine exhibit.

www.whitewaterwest.com

Exploratorium to Open Satellite Location in Los Altos December 13

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San Francisco, CA, USA — San Francisco’s Exploratorium will open Helix, a new community science center, in downtown Los Altos onDecember 13, 2013, bringing the museum’s curious blend of interactive science and inquiry to this vibrant Silicon Valley community. The 5,000-square-foot innovative hybrid space, located on State Street in Los Altos, will combine program and exhibit experiences with retail space, and is funded by a one-year grant from Passerelle Investments, a Los Altos investment company focused on community development, which is also a lead sponsor for the San Francisco Museum of Modern Art’s Project Los Altos: SFMOMA in Silicon Valley.

“We’re excited by the prospect of an Exploratorium satellite in Silicon Valley, the heart of where so much of the region’s innovation takes place,” says Anne Richardson, Ph.D., Director of Helix. “The Exploratorium is a leader in informal learning, and we’re looking forward to the opportunity to experiment in a small, downtown setting, where we will be able to develop new programs and activities that connect with this community.”

Part science museum, part retail space, and part community center, Helix will engage with local schools and neighborhood groups to develop programs and events for all ages that reflect the unique character and needs of Los Altos and its surrounding communities. Possible activities at Helix include evening talks, workshops with Exploratorium staff, and fun, informal learning events exploring scientific phenomena.

The Helix space will showcase approximately 25 Exploratorium exhibits, including Chaotic Pendulum, which demonstrates how a deceptively simple set of pendulums can create surprising motion; Confused Sea, which mimics the action of wind over the ocean by generating waves; and Gaussian Melody, a sound exhibit in which three steel balls fall through an array of pins to produce a random melody that emulates a Gaussian distribution. Admission to Helix is pay what you wish.

www.exploratorium.org

Dataton WATCHOUT Powers World’s Largest HD Video Wall

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Linköping, Sweden — Standing over 15 meters tall and 60 meters wide, “The Big Picture” has the official Guinness World Records title for the “Largest High Definition Video Wall”. It is located inside the main lobby and entrance to Suntec Exhibition and Convention Centre (Suntec Singapore) and is fast becoming a hotspot for photo-taking by delegates and Suntec City shoppers alike. The system relies on the amazing Dataton WATCHOUT™ multi-image display and presentation software to manage its large-format, dynamic and ever-changing content that is presented over 664 integrated LG LED flat panel displays.

Arun Madhok, CEO of Suntec Singapore said: “The full HD digital wall is an integral part of our technology suite which includes digital signage and free Wi-Fi. This mega screen with its captivating content is fast becoming a hotspot for photographers providing an iconic and memorable souvenir of Singapore. High definition content is played 16 hours each day delighting the convention centre visitors and Suntec City shoppers alike.

“The Big Picture is fast becoming a hotspot for photo-taking providing an iconic and memorable souvenir of Singapore. In addition, it has successfully achieved a new Guinness World Records title for Largest High Definition Video Wall.”

Fredrik Svahnberg, marketing director at Dataton said: “Our software designers have worked tirelessly over the years to create a single robust system that can handle an unprecedented quantity of video and data on such a huge real-time display. We’re delighted that WATCHOUT technology has been put to the test and is an integral part of The Big Picture at Suntec Singapore. It’s validating that the project and its technology partners involved are officially recognised by Guinness World Records and as part of a smart building our technology is used to bring a return on investment to the owner as well as to inform, engage and enthral local and international visitors to Singapore.”

The project was managed by Suntec Singapore working with an expert team of Asia-based technology partners including global automation controls specialist, Honeywell who were appointed master systems integrators for the project.

“We understood Suntec Singapore’s vision to be a convention and exhibition centre of the future,” said Ananda Seshadri, regional marketing leader at Honeywell. “We leveraged the latest technologies to help Suntec achieve their business goals. The big digital screen with the application of WATCHOUT certainly has the ‘wow factor’ for visitors and Suntec exhibitors use it as a fantastic advertisement placement.’

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LG acted as systems engineers to design and analyse the system and manage subcontractors such as ACETEL Korea.

“ACETEL were responsible for supplying Dataton WATCHOUT for The Big Picture as well as designing and installing the visual display system according to LG and Honeywell’s requirements,” explains Jeong-Mok Byun, team leader of visual solution division at ACETEL.

The Big Picture is designed to support a resolution of 32,051 pixels wide by 7,941 pixels high, which is 84 times the resolution of HD (1 UHD = 4HD).

The Big Picture acts as a standalone exhibit allowing a combination of multiple media such as still images, animations and video clips to be shown at the same time, or a single media image in native format to be displayed over the entire wall.

Interactive features are integrated with RFID tracking systems and sensors on the escalators located just in front of The Big Picture. With these integrated sensory systems, The Big Picture can be adapted to display welcome messages, or show specialised content alongside riders on the escalator from levels 1 to 3.

Mr Oh, Technical Manager, LGE Singapore explains: “LG worked on the design of the visual display system and it evolved to be the largest HD LED screen in the world. Early in the design phase, we discussed with Dataton the possibility of the project being the largest HD LED screen and on finding out that it could, we selected WATCHOUT as the main multi-image display and presentation system.

“The Big Picture is controlled and operated by three major subsystems which are the video wall, playback, integration and control. Playback manages content and the principle of the design is to support multi-display and 4K images from 21 WATCHOUT display servers, serving 84 full HD outputs.

“The integration and control system acts to control The Big Picture and servers, turning them on or off as required. It also manages playback where a part of a show at a specific time can be selected or it can be used to manage interactive content.”

Content for the system can be updated according to the exhibition taking place. It also uses a variety of ultra-high resolution content from Suntec Singapore and its advertisers.

Lasanthi Bandara, manager, audio-visual technology and content at Suntec Singapore explained: “WATCHOUT is being used to primarily display content on all 664 screens seamlessly. Content is also designed, animated, and produced within the WATCHOUT system itself.

“There was no other feasible and scalable technology available in the market that could enable us to create such high definition display. WATCHOUT was selected because of its primary capability to display synchronised content on multiple screens,” added Bandara.

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Bernard Ng, digital creative curator at Suntec Singapore explained: “Audio, video and graphic content are used together to create spectacular showcases and presentations on The Big Picture. The design challenge here is simply the immense size of our entire screen. Producing and rendering videos and animations at this scale is incredible but potentially time consuming. However, production time is greatly reduced by maximising WATCHOUT’s ability in allowing us to create amazing content directly within the system itself.

“For content management, WATCHOUT allows content to be stored and managed in media containers with auxiliary timelines. This allows my team to manually organise and manage content according to scheduling and requirements.”

The system is designed to be integrated with other building systems and to bring in return on investment.

“The initial plan was not to build the largest HD LED screen in the world. The Level 1 of our building was initially designed as the lobby entrance to our venue and following a major modernisation programme, the idea of having a HD LED screen was realised in the form of The Big Picture. The size of The Big Picture was in accordance to our overall design of venue entrance. We are very delighted that an unexpected design step turned into the largest HD LED screens in the world,” said Arun Madhok, CEO of Suntec Singapore.

Suntec Singapore measures the success of The Big Picture from its reception on multiple social media platforms tagging Suntec Singapore as their check-in location, newspaper and media coverage featuring The Big Picture as well as filmography interests. Operationally there are benefits such as reduced costs and increased advertising revenue that assist the centre in being profitable and sustainable.

“It is great to see our organisers and delegates posing in front of The Big Picture with big smiles. One more reason why Suntec Singapore is the Preferred Place to Meet,” ended Madhok.

www.dataton.com

Issue #50: IAAPA 2013

50coverClick on each title to view article, or download a PDF of the entire issue.

  • Book Worms : why be on the panel when you can be the moderator, by Bob Rogers

  • Inside ORBI: ETI’s NextGen Technology enables SEGA and BBC Earth to reinterpret the natural world, by Joseph Kleiman
  • Investing in the Future : InPark surveys experts in attraction reinvestment strategies, edited by Martin Palicki & Judith Rubin
  • Catching the nWave : new technologies boost the growth of 3D, by Janine Baker
  • In Any Event : event planning in today’s theme park environment, by Norman Kahn
  • The Immersive Attraction : thought leaders weigh in on what makes an immersive attraction successful, edited by Martin Palicki & Judith Rubin
  • B.Y.O.D. : the personal device and its changing role in themed entertainment, by Jason McManus
  • Editor’s Comments

Issue #50 Editor’s Comments

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Download PDF of Issue #50

This edition marks the 50th issue of InPark Magazine. I thought it might be interesting to look back on my editor’s comments from that first issue in 2004:

“Welcome to the inaugural issue of InPark Magazine. This publication was born out of the desire to see the amusement industry grow and prosper. We vow to achieve this by illustrating what impact new attractions, industry practices and products have on your Guests INside the PARK.

We want to bring you that critical perspective from your Guests – to show you not only what is new in the industry, but how it will affect your Guests, and ultimately your revenue.

Furthermore, we want to do this in a community-based setting. In other words, we want to hear from you! We want your suggestions, ideas, and questions so that we can help you operate and function more effectively.

Finally, we want to do all of this in a fun and playful manner. We do, after all, work in the amusement industry and thrive on an environment that is unique, exciting and just plain fun.

InPark Magazine’s format might be a little different than what you are used to. Each issue has a central theme around which most of the articles will revolve.

So, please enjoy our premiere issue! And send me an email with your comments and criticisms. I look forward to hearing from you!”

We’ve come a long way since then, although this is still the basis on which we craft each issue of InPark. And I still want to hear from you on how we are doing.

On this 50th issue, it’s important to thank those who were instrumental in bringing that first issue to life:

Damian Christianson, Vince Christy, Jason Paul Collum, Jeanne Lundgren (RIP), Laurice Marier, Dean Meier, Chris Pilarski, Kim Rily, Mitch Rily, Bill St. Yves, Zack Stranz, Robert Strauss, and Brian Szaks

Thank you for your support in making the first 50 issues of InPark a success, and here’s to 50 more…

-Martin Palicki

The Immersive Attraction

InPark surveyed design and development leaders for their thoughts on the current state of immersive attractions in the industry, and how operators can effectively compete with other markets. We asked each one a unique question particular to their area of expertise.

Start here to learn from our experts

Start: Phil Hettema

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 Darrias larger Linda Hung 18 photo_emmanuelle Gary

The Immersive Attraction: Phil Hettema

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Phil Hettema | Darrias E. Baker | Linda Hung | Emmanuelle Charotte | Gary Goddard

How do you define immersive experiences?

Phil Hettema, The Hettema Group: Connecting people

The definition of “immersive experience” can be very broad, but applied most effectively to our industry it can be defined as follows: an experience that transports the participant into a different and compelling context or environment, requires mental and sometimes physical engagement, and encourages or even REQUIRES engagement and interaction between multiple participants.

That may sound a bit clinical, but that last part – encouraging interaction between participants – is really the secret sauce of what we do, and it’s the thing which sets us apart from what can happen in front of a computer or media display in your living room.

We all have a very basic human need to relate with each other and to feel seen and valued by those around us. Immersive experiences pull us in, remove barriers and encourage the kind of interactions that create powerful, tangible and unforgettable memories.

[box] Project Example: Dragons Gone Wild

Dragons Wild Shooting is an interactive dark ride game, combining mixed media and 3-dimensional animatronic characters that engage the whole family. Everyone contributes, and the mix of silly dragons in ridiculous situations changes each time you play. This attraction opened at Lotte World, Seoul, Korea in July 2013.[/box]

Next: Darrias E. Baker

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The Immersive Attraction: Linda Hung

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Phil Hettema | Darrias E. Baker | Linda Hung | Emmanuelle Charotte | Gary Goddard

What markets stand to benefit most from developing immersive attractions?

Linda Hung: Forrec‘s Director of Theme Parks: Being second has its perks

Pioneering state-of-the-art immersive attractions has its advantages. Universal and Disney have the resources, the vision and visitor numbers to be able to be the first to launch something new, create a buzz, deliver a “must-see” experience. However, the markets that stand to benefit most from developing immersive attractions are the new and expanding markets. They have the clear advantage of visiting and experiencing the most innovative and immersive attractions in the world (which are often huge financial investments). By the time these new and expanding markets develop their own immersive attractions, the technologies may be much more affordable, technical issues resolved, and a new improved generation of design made available.

Next: Emmanuelle Charotte

The Immersive Attraction: Gary Goddard

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Phil Hettema | Darrias E. Baker | Linda Hung | Emmanuelle Charotte | Gary Goddard

How can successful immersive attractions be created?

Gary Goddard, Gary Goddard Entertainment: Quality and care

Like every other entertainment/art form, there is good immersive entertainment and bad. Sadly, a lot of bad immersive entertainment – cheap, rip-off kind of things – are springing up all over. “4D” is being slapped onto anything with a 3D film and water squirt system. So, expect “immersive 4D” experiences to quickly devalue just as happened with simulation technology, and then large screen technology. For me, what makes an experience immersive and memorable is when the care and quality goes into the concept and content. Terminator 2: 3D and the Spider-Man ride did not just “happen” – thoughtful care went into every element. Likewise, though on vastly reduced budgets, Hershey’s Really Big 3-D Show, and Deepo’s Undersea 3D Wondershow, carefully merged the 4D effects with the 3D elements to create truly unique and immersive shows. But the songs, the music, the character animation – everything was done with an eye to quality and to delivering a sequence of moments that would play well in 3D/4D environments.

Also, it’s important not to mistake “interactive” with “immersive” – interactive is a different kind of experience altogether (though sometimes the two can merge successfully as with Disney’s Monsters Inc. Laugh Floor). We are planning something in New York, “Broadway 4D” that I truly believe will be a game changer for the out-of-home entertainment market, in the way that T2/3D was for theme park attractions when it opened.

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The Immersive Attraction: Emmanuelle Charotte

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Phil Hettema | Darrias E. Baker | Linda Hung | Emmanuelle Charotte | Gary Goddard

What is absolutely required for an experience to be considered immersive?

Emmanuelle Charotte, ECA2: Being in the moment

First, the energy of an attraction is different depending on whether it is a fully immersive show or not. The emotions and distinct reactions provoked will be so much stronger for an immersive show.

For a show to be as immersive as possible, the aim is to keep spectators focusing on elements and the instant moment. Besides, it must appeal to visitors’ senses as much as possible. In this objective, even though we sometimes work with the sense of smell, ECA2’s projects mainly focus on senses of both hearing and sight.

Regarding hearing, the challenge is to enable the spectators to hear and only hear the show sound. For sight the challenge is to make the entire field of view (horizontal and vertical) be covered by show elements.

This is how the experience will be increased and immersive. It can transform a “show” into a “nighttime spectacular.”

Next: Gary Goddard