The average 4-D theater with a spray effect goes through fewer than two gallons of water per day.
The new 4-D Dive-In Theater uses 10 gallons per show.
Evidence of the soaking to come should be obvious to guests as they enter the 176-seat theater, but the well-ventilated space and well-drained floor hide the clues. And who would question a few drops of water on a seat when they are in a waterpark?
Proclaimed as the first 4D theater inside a waterpark, the 4-D Dive-In Theater is located within the gates of one of the world’s largest: Noah’s Ark, in the Wisconsin Dells. Owners Tim & Dan Gantz had been looking to create such an experience for seven years. Now showing in the theater is SpongeBob SquarePants™ 4-D Movie, distributed by SimEx-Iwerks, which is based in Toronto and Burbank.
“We’ve always enjoyed 4D theaters, and felt they offered great entertainment for the whole family,” explained Tim Gantz, “and we finally found a company that could make it happen.”
That company was SimEx-Iwerks, already well known for its wide variety of 4D experiences. And the company certainly faced some challenges in developing a 4D theater of drenching proportions for Noah’s Ark. First and foremost was the issue of electricity. Typical 4D seats rely on a 120W 24V system to power the effects within the seats, which in this instance include seat vibrators and leg ticklers. But for the longevity of the system and the safety of guests, electricity was out of the question.
The solution: SimEx-Iwerks took established pneumatic technology and brought it to a new level in order to power the effects, drawing on expertise from military technology, in which seat vibrations are employed to warn pilots of enemy attacks. The resulting 4D seat system has been remarkably effective and indistinguishable from the electric version.
The seats themselves had to be able to stand up to not only the repeated soaking, but the variety of oils and lotions park patrons would be wearing. The specially molded plastic seats are designed to drain quickly and don’t absorb any liquids, from water to suntan oil.
Even envorinmental issues within the theater had to be addressed. A great deal of Simex-Iwerks engineering efforts went into all of the theater systems with considerable concern over water and humidity. For example, the audio system speakers, wiring and connections were modified and engineered with water and humidity in mind to hold and withstand the lengthy attraction life requirements and standards of 15 years or more.
Finally, there was the issue of exactly how to get the guests wet. The Gantzes had decided early on in the design process that this theater had to provide a unique experience. Also, because the theater was located inside the waterpark, it should be a full-fledged wet attraction. It was desirable to have guests exit in the same condition as when exiting one of the park’s waterslides – soaked. To that end, SimEx-Iwerks utilized standard back-of-seat sprayers and overhead sprinklers, both of which are put to good use. They also installed two water cannons at the front of the theater that provide an especially explosive ending to the show.
“We spent a lot of time on the cannons,” explained Mark Cornell, Vice President of Attractions Development at SimEx-Iwerks. “We wanted to get everyone wet without drowning the people right in front.” The resulting egalitarian splash is a an explosion of water that reaches to the back of the theater, almost – but not quite - to the 36 seats set aside for guests who prefer staying dry.
Interestingly, the theater has helped make the park more marketable even on days when not as many people want to get wet. “On cooler or overcast days, guests appreciate the variety of activities we offer, and the 4D Dive-In Theater adds to that,” said Gantz. “Kids can sit up front and get wet, while the adults can stay in the back, remaining warm and dry.”
Conversely, on really hot days, guests love getting out of the heat, and the high-capacity attraction moves a large amount of people through, addressing a problem many waterparks face: sufficient throughput.
The theater also helps broaden the park’s appeal and differentiate the property in an increasingly crowded market.
“People have so much more exposure now to water recreation through hotels and municipalities,” observed Gantz. “We simply have to be innovative in what we offer. If you look at what’s out there in the industry in terms of waterpark attractions, we pretty much already have it. If we’re not on the cutting edge, someone else will be.”
Gantz isn’t boasting. Noah’s Ark is known for its large assortment of slides, pools and attractions not typically found in a waterpark, which have helped catapult it into the top 15 most attended parks in the country, despite its limited operating season.
“Over 70% of our guests are repeat customers,” said Gantz. “We have to keep things fresh to bring them back.” The theater was designed with that in mind. The current SpongeBob SquarePants™ show provides an identifiable mascot to guests, and Gantz forecasts it will have a three-year run before Noah’s Ark changes out the theater content to a new, equally-soaking production.
“The theater was a big investment, but we now can have a completely new attraction quickly, easily and regularly,” explained Gantz. Additionally, Noah’s Ark has been experimenting with showing a commercial message – advertising sweets in the digital pre-show slides guests view before the feature begins (also presented in 3D). This not only brings in additional revenue, it has stimulated a rise in per-caps – increased spending at the candy store. The digital format allows the park to change out the preshow images grequently, even on a daily basis, if desired.
“Changes that used to cost thousands of dollars can be done for pocket change,” proclaims Cornell.
Although the flexibility provided by the digital system is certainly good news for Noah’s Ark, what really impresses both Gantz and Noah’s Ark’s guests is the brand new themed experience they have created in this one-of-a-kind environment.
“Not every park is able to offer a fully-themed environment for their guests to experience, “ said Gantz. “And certainly not every park can drench their guests before they even make it to the wave pool.” • • •
Effects: Leg Ticklers, Seat Vibration, Scent, Wind, Lightning, Bubbles, Overhead Water Drops, Water Squirts, Water Cannons
Capacity: 700 / hour
Designer: SimEx-Iwerks
Projectors: Christie 12K digital projection
Staffing: Two, includes one to wash glasses
Show Control System: Simex Iwerks
3D HD Server: Quvis
Sound: Quvis playback/QSC Amplifiers/JBL Speaker System
