Tram cars are virtually swamped by dinosaurs in Bottrop-Kirchhellen, where Movie Park Germany has just launched “The Lost Temple.” This new, immersive media-based, stereo 3D motion simulation attraction exemplifies how today’s sophisticated digital tools are advancing the art, shortening the production timeline and bringing higher-end attractions within reach of regional parks’ budgets.
“The Lost Temple” takes guests on a simulated journey through a forgotten, unexplored world with prehistoric animals, temples and dinosaurs. The backstory is that the world was discovered below the Movie Park site. Part of the preshow is an elevator simulation that takes guests far underground.
Movie Park Germany tapped Riva Digital and sister company Riva Creative to develop the “Lost Temple” story, script and graphics and produce the media, scenic installation and queue areas. Riva Digital co-owns the film with the park, and Riva’s senior producer on the project was John Kokum. Brent Young of Riva Digital was contracted in the role of media creative director, and Super 78 provided editorial, technical previsualization and development support while Tau Studios did the creative pre-visulization and the CG animation on the project and Yessian did the audio.
InPark co-editor Judith Rubin interviewed Brent Young about the project:
Judith Rubin: You stated that “The Lost Temple” took slightly less than a year from concept to completion, which is very efficient. How did digital tools help streamline its production?
Brent Young: We used digital pre-visualization instead of building a physical mockup, which saved both time and money. The client and all the creatives were able to experience the ride in development by viewing it in 360 on Oculus Rift headsets. Super 78 developed software along with the help of David Sliviak from Riva Digital to create a virtual mockup that was extraordinarily accurate and incorporated all the CAD designs for the building.
What is the technical configuration for the motion simulation in “Lost Temple”?
It uses tram vehicles on a rail, and on that rail is a motion simulation platform that takes you down into a locked position and then lifts you up to be surrounded by the near-wraparound screen. There are 7 pairs of Christie projectors. The audio system was designed with sixteen channel audio, each capable of being controlled individually for discreet audio mapping.
What else is in the attraction?
There are about a dozen themed spaces including 7 preshow rooms, an elevator experience and many special and unexpected effects such as fireballs in the queue.
Tell us about the show control.
Movie Park brought in the company Night Life, who are excellent programmers, to create a really slick, intuitive, Medialon-based control system. Movie Park general manager Wouter Dekkers can control the fireballs in the preshow, and even run through full show programs using his custom-programmed iPhone.
How did the installation process go, while you were in the field?
The World Cup was going on during installation, so that added a unique background element to our experience – and an especially intense moment of celebration when Germany won. It was great to be on the spot for that.
Credits (provided by Riva Digital)
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