Buena Park, CA, USA (November 13, 2014) — A spectacular new interactive 4-D attraction is coming to the Boardwalk at Knott’s Berry Farm next year. Surfacing in spring 2015, Voyage to the Iron Reef adds high-tech fun for everyone.
Ever since construction crews finished expanding the Boardwalk pier in 2013, guests have happily enjoyed the many new attractions like Coast Rider and Surfside Gliders. But all that activity on the Boardwalk shores has reawakened a mystic lair in the depths below, filled with creatures who have risen up to wreak havoc on the classic So Cal theme park.
The Queen of the Kraken and her aquatic army have surfaced to feed on the steel of any attraction within their grasps. Their unquenchable appetite for coaster metal has turned these creatures into swimming mechanical monsters unlike anything ever before seen on the ocean floor. Only you can save Knott’s from the mysterious creatures that are emerging from the seas beneath the Boardwalk!
If you have what it takes to become a brave deep sea navigator, climb aboard the four-person submarine and embark on the four-minute gaming adventure into the Iron Reef. Equipped with your interactive freeze ray, aim for ballooning puffer fish, an iron clad octopus and hundreds of other menacing 3-D creatures to save Knott’s from a watery doom. You will be surrounded at every turn by enchanting underwater forests, disorienting ocean current tunnels, and mysterious mechanical wreckage that will be brought to life through high definition 3-D animation and other special effects.
The attraction reacts to your actions making each interactive voyage a different experience. In addition to battling the Queen of the Kraken and her hundreds-strong aquatic army, compete head-to-head with the other sailors in your submarine to see who can blast the most creatures.
Voyage to the Iron Reef is the centerpiece of an exciting 2015 at Knott’s Berry Farm.
InPark is celebrating its tenth birthday at IAAPA Orlando 2014. In this special PDF-only section, join us as we look back at ten years of InPark features, starting with the very first issue in 2004.
When people ask me what it was like starting the magazine I frequently tell them that my original business plan was woefully inadequate in predicting how the publication would evolve. As many entrepreneurs in this industry are well aware, the landscape changes constantly, and the more flexible and nimble an organization is, the more likely it is to survive.
I’d like to take full credit for navigating the waters, but I can’t. Great partners like Bill St. Yves, Mitch & Kim Rily, Brian Szaks, Eric Sandigo, Ed Wills, Mattheis Carley, Joe Kleiman, Paul Williams and countless others have helped chart the course when needed and unloaded and distributed thousands upon thousands of magazines. The very first issues were mailed by hand. I rounded up a group of friends and supplied beer and pizza while we all slapped on labels and sealed envelopes.
But I truly believe InPark would not be so successful if it weren’t for the assistance of Judith Rubin. She has helped carve out InPark’s niche and edited more articles than you could possibly imagine.
This issue is a celebration for everyone – those on the back end as well as our supporters, advertisers and readers. You have all helped to bring InPark to the ten year mark! Thank you, and I look forward to serving you for another ten years and beyond. • • •
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Reflections on a Decade
Judith Rubin, IPM co-Editor
Guiding Light, the now-canceled daytime TV series, was the subject of my first contribution to InPark Magazine, in 2005. I lived for a few years in Richmond, Virginia. I’d gotten into the habit of following the show, and several stars of Guiding Light were making an appearance at Paramount’s Kings Dominion. Marty liked the light hearted report I turned in. Our professional alliance – and our friendship – grew from there.
Marty leans toward hard rides and waterparks; I specialize more in technologies and media. When we met, he was fairly new to the industry. He had business education, writing talent and graphic design skills. (But if you know Marty, you know that his real genius is for friendship – creating and maintaining relationships.) For my part, I was 20 years older with connections, publishing experience and knowledge of the trade shows. We continue to learn from each other.
Together we were able to expand InPark’s coverage to overlapping markets such as museums and world expos, and to explore many layers, trends and issues within the industry while showcasing its people, companies and projects. InPark today has a strong dual presence – online and in print. I love being part of this team. InPark is like no other trade magazine and you, our business community, have recognized and validated it with your outpouring of support over the years. • • •
ABOVE: Tropical Heat Dolphin Arena. The highly themed set for the Tropical Heat show is ready for its dolphin stars. Photo courtesy TPG
An InPark Roundtable Discussion with The Producers Group, Renaissance Entertainment and FUNA International
edited by Judith Rubin
Chimelong Ocean Kingdom grand-opened in March 2014 on Hengqin Island in Zhuhai, China. The 125-acre park features seven unique areas, each themed around a different part of the world’s waterways. It is the most recent venture of Guangdong Chimelong Group Co. Ltd, founded in 1989, and the operator of numerous world-class tourist complexes, including theme parks and hospitality developments. Chimelong’s stated goal is to become the top tourist organization in the world. The company is headed by Mr. Su Zhigang, Chairman.
The park was awarded five Guinness World Records: World’s Largest Aquarium, World’s Largest Aquarium Tank, World’s Largest UnderwaterViewing Dome, World’s Largest Aquarium Window and World’s Largest Acrylic Panel. The park is also in line for accolades within the attractions industry: There, Chimelong Ocean Kingdom is widely regarded as a gamechanger, in terms of product quality, originality and as a proving ground for east-west collaboration. InPark spoke to three companies about how they view the project and its effect on their way of doing business.
The Producers Group and Renaissance Entertainment
Renaissance Entertainment provided concept design and art direction to Guangdong Chimelong Group, in creating four attractions for Chimelong Ocean Kingdom. The Producers Group was subcontracted by Renaissance for technical design, project management and special effects: on three marine mammal shows – Tropical Heat (spotlighting dolphins), Sea Lions vs Pirates, and Under the Polar Moon (spotlighting beluga whales) – and for The Chimelong Ocean Kingdom Finale Celebration (Lagoon) Show, a multimedia spectacular with a simulated volcano, fireballs, stunts, water and theatrical lighting.
FUNA International
FUNA’s scope of work on Chimelong Ocean Kingdom encompassed the audio design and much of the integration of the park-wide audio including the open areas, animal exhibits, restaurants, gift shops, and most of the attractions, initial AV design of many of the major venues, the design and integration of the parade control and audio, and the design and integration of the lagoon show audio system.
What is the significance of Chimelong Ocean Kingdom in the big picture of Asian theme park growth?
“A ‘for us, by us’ park” Edward Marks co-CEO, The Producers Group (TPG)
As a ‘for us, by us’ kind of park, Chimelong is unique to any market I have seen. It’s in China, for China. They wanted some Western influence and the park is bilingual because of its proximity to Macau and Hong Kong, but the customer base is almost exclusively Chinese and the experience is very Chinese.
Some current estimates proclaim China has as many as 300 parks in the development pipeline; the last number I heard that sounded more realistic was 52. Even 52 may sound like a lot – but China’s population is 6.5 times larger than that of the US, and the US has 6 Disney parks and 3 Universal Studios parks. When you consider that along with the continued growth of the middle class in China, the capacity to build and support much, much more – for many years to come – is a reality.
Other Western brands are also manifesting in this market: Dreamworks, Fox, Paramount… The parks and resorts that emerge from that will put an upward pressure on quality for all operators and developers. It isn’t going to eradicate ‘faster and cheaper’ [see below] but it will ripple through the region and through the industry. The full effects may still be decades away, but they will occur in Asia faster than happened in North America.
Bob Chambers co-CEO, TPG
Ocean Kingdom reveals the progression of Mr. Su’s vision for Chimelong. The location – a major Chinese tourism hub – provides incentive to do something special. Stepping up your game to a higher quality park doesn’t mean you’re becoming Western: It’s a Chinese park, built by the Chinese people. Going through Ocean Kingdom, there are things that feel familiar, but it’s because they’ve applied the principles of good theme park development. It flows the way a park should flow. It’s laid out the way a park should be laid out. There is a certain amount of RMB per square meter for a park of a certain quality, and Ocean Kingdom reflects that.
“A head start” Jon Binkowski Renaissance Entertainment
We see Chimelong as being one of the leaders of a revolution in theme parks. Chimelong Ocean Kingdom builds on their already well-established and well-attended parks in Guangzhou. They have a head start – not just in terms of properties and operations, but in terms of mindset. They have consciously chosen – through the leadership of Mr. Su – to create original attractions and features. They have taken the time to look around them and create their own unique brand. That’s why we like working for them. They are not going to shy away from creativity. They are not interested in duplicating entertainment from other parts of the world. In fact, Chimelong will be creating things others will want to try and duplicate.
“Strategic foresight” Brian Paiva VP Business Development, FUNA International
The Zhuhai location was obviously a very strategic choice. There is the elevated bridge being built to connect Hong Kong, Zhuhai and Macau, the ongoing expansion of existing transportation options such as roads, trains and ferries, and a high capacity border crossing near Ocean Kingdom that was obviously built for future traffic. The entire area is growing. Macau is rapidly running out of space. The University of Macau relocated to brand new campus built in Zhuhai. Students from Macau commute via an underwater tunnel across a waterway between Macau and Mainland China. It is amazing to see all the development that has happened in and around Zhuhai. This has all been in tandem with the development of the park and will certainly continue for the foreseeable future.
How has the Asian market shaped the way your company does business?
“Going local” Ed Marks, TPG
The need to do things faster and cheaper for the Asian market, which is now the primary market, has changed things forever for our company and for the themed entertainment industry. We’ve seen Western companies spend hundreds of thousands chasing business in Asia and then go away. You either learn tolerance for a process you may or may not agree with, or you don’t.
Due to our involvement on two high-profile projects designed by Jeremy Railton: Crane Dance at Resorts World Sentosa, and several attractions at the Galaxy Macau, we became the guys who figured out how to do successful, large-scale projects in Asia. That is the bedrock of our company. We invested significant time and money to develop business in China: hundreds of bids, trips, and marketing initiatives. Our experience there has borne fruit and it has also changed how we process projects in Asia.
Now we are established with real Chinese contacts, projects, and local resources. It’s not competitive to ship all our resources over from the West. Having learned how to compete on pricing, and how to vet local resources, we can produce product for that part of the world that we’re proud to put our name on.
The only way to do it is to get on a plane, go to meetings, visit factories, visit people – to establish and maintain a physical presence in the region. That’s how you get to build in China, for the Chinese, with Chinese resources, and locally review the process to ensure quality the same as if you were building in Hollywood.
Scott Arnold, VP Design & Engineering, FUNA
Several years ago FUNA defined China as an expansion priority. The result to date has been an office in Shanghai, local staff, and local fabrication. FUNA was able to establish fabrication and assembly of equipment racks, panels, and bracketry in China to western standards – and FUNA’s Ocean Kingdom work was its first, large scale theme park project to be fully fabricated in China. Design and engineering were executed in the US, and much of the equipment came from the US and Europe, but the final assembly, including nearly 70 racks, was accomplished in China, primarily by Chinese workers trained and supervised by experienced Westerners. This turned out to be both effective and efficient, and has become the model for our Chinese project execution.
Shown here under construciton, the Chimelong Ocean KingdomFinale Celebration (Lagoon) Show is a multimedia spectacular with a simulated volcano, fireballs, stunts, water and theatrical lighting. Photo courtesy TPG
“From the heart” Lisa Smith Renaissance
We gravitate toward projects that get us excited. And at a time when there are US-based projects available – plenty of stateside work to choose from – we have a strong desire to continue in Asia. Chimelong Ocean Kingdom was our first project in Mainland China. It was a good, healthy experience for us; we enjoyed it and we’re coming back for more. We’ll be jumping in with both feet over the next couple of years.
The Chimelong Ocean Kingdom Finale Celebration (Lagoon) Show we worked on is a good example of what we found inspiring. They elected to create something original and over the top. It has mind-blowing image-mapping on the surface of an enormous Whale Shark Icon, 99 domed moving lights around the lagoon’s edge, more giant lighting effects from rigging around the Park, multiple lasers, elaborate fountains, fantastic flame, wondrous fireworks (that emit from a steaming volcano, behind the Icon from surrounding rooftops and even out of the Whale Shark’s mouth), PWC stunt drivers with pyro, kites with pyro, water cannons, flyboarders from out of nowhere… all set to a dynamic, original score…and that’s what they consider their ‘interim show’!
The aquarium experience is another example. We love that they took a traditional omni-mover ride and put it through an aquarium – and that the whole thing was purpose-built: truly, integrally, seamlessly woven in and out of the aquarium. That takes vision. That’s why we think they’ll continue to be leaders. Paul Su, Chairman Su’s son, said to me, ‘A lot of companies act from a business sense; at Chimelong we still do it from the heart.’ It’s refreshing to be a part of that.”
“Not for the timid” Brian Paiva, FUNA
Chimelong was the first new-construction theme park project for FUNA in China and as such was very important for validating my assessment of the market potential there. We’ve been in China for years now and it has required a great deal of effort, resources and patience to play that long game. As a company, if you’re not planning to be there at least 10 years, then you shouldn’t even start. That strategy is not for the timid.
Having patience and putting in the time and effort to develop lasting relationships is key, and we’re very grateful that Chimelong gave us a chance to earn their trust.
I’ve been a big believer in the Chinese market for a long time. I enjoy working in China. I like the people, the culture, the food and the way the Chinese view and plan things in the context of the long term. China is and will be for the foreseeable future the largest market in the worldfor development and renovation of theme parks, attractions and museums. • • •
The Producers Group – adding bandwidth, and getting it done
TPG’s client list includes SeaWorld Parks & Entertainment, Disney, Universal, 20th Century Fox, among others. The company is currently working on a new dark ride in China, and projects in Malaysia, Korea and the US.
As a Gold Level Sponsor of the IAAPA Attractions Expo in Orlando, TPG will be represented at the convention by co-CEOs Bob Chambers and Edward Marks, project manager Rob Palmer, and producer Chris Homsley.
Says Marks, “The company currently has 22 fulltime employees. Our strength is in the ability to annex and add bandwidth to other companies – augmenting their staff, tech specialists, ride developers, producers, tech documentation. Depending what the client wants, we ‘ghost’ or do it in our own name. We have some fantastic partners now, including established design firms that had previously brought on their own freelancers, and new firms that decided to call on TPG rather than staff up. We will be announcing new, larger offices in Glendale soon – and after that,in Beijing.
In addition to expanding their presence in Asia and North America, TPG is reaching out to Europe. Says Chambers: “It’s our job to help the client with the process – because we know that process. Asia will always be part of our DNA, but we are now also exploring markets and opportunities in Europe and the Middle East. 2014 has been a good year, and we expect 2015 to be better. If you know the process you can help most anybody anywhere. It’s about getting it done.”
To set up a meeting at IAAPA with The Producers Group, contact Chris Homsley, [email protected].
ABOVE: Artists Rendering of the U.S. Pavilion for Expo Milano 2015
This article, originally published in November 2014, is part of “Tales from the Expo,” an InPark Magazine online book written by James Ogul and edited by Judith Rubin.
James Ogul
[dropcap color=”#888″ type=”square”]I[/dropcap]n my career with the US Government (USG), working with the Department of Commerce, the US Information Agency and US Department of State, I have had first-hand experience of the creation of our nation’s pavilions at world’s fairs, beginning with Knoxville Expo 82 and continuing into the 21st century. My chronicles are published on InPark’s website.
It was always an exercise in creativity to assemble funds and resources for these ventures, but US participation in world expos took a particularly bad hit when Congress restricted federal funding for them in a 1994 law (reinforced in 1999). A new model had to be developed. Federal funding, the mainstay for 153 years, was gone.
Something had to be done – or US pavilions would cease to exist. The solution didn’t arrive in time for Hanover Expo 2000, unfortunately, but a new public-private model began to emerge soon after, and the US achieved outstanding pavilions at Aichi Expo 2005, Shanghai Expo 2010 and Yeosu Expo 2012.
Federal status without Federal money
The model uses a Memorandum of Agreement to link the Department of State with a private sector organization to produce and operate pavilions entirely with non-federal money.
Some key factors:
– A transition of responsibility for US participation at the State Department from the Bureau of Educational and Cultural Affairs to the Regional Bureau overseeing the country where the expo will take place. This puts the action in the hands of the people most knowledgeable about the expo country and with the strongest interest and motivation in making the expo succeed.
– Direct involvement by Secretaries of State.
– Involvement of the State Department in the fundraising effort carried out by the private sector partner.
– An evolving climate of cooperation and mutual respect between the State Department and the private sector, forging mutually beneficial partnerships through pavilions’ corporate participation programs.
– Growing understanding on the part of the State Department that US participation in world’s fairs has a strong international diplomacy dividend.
From RFP to Participation Contract
The State Department authors and issues a Request for Proposal (RFP) to choose a Private Sector Partner (PSP) that will raise money for, design, build and operate a US Pavilion. A panel of experts evaluates the proposals. The winner is issued a Letter of Intent (LOI) indicating the go-ahead to raise money for the project.
Once a significant amount of the money required is raised, a Memorandum of Agreement (MOA) is issued. The Department of State works collaboratively throughout the process with the private sector entity. This is not a contract, nor is it a grant. After the MOA is issued the State Department is able to sign a Participation Contract with the Expo Organizers. The Private Sector partner with State Department assistance continues to raise the necessary money while completing the pavilion project.
Jim Biber, architect of the USA Pavilion, provides a construction progress report to U.S. State Department Deputy Assistant Secretary, Bureau of European and Eurasian Affairs, Julieta Noyes during her first visit to the Expo Milano 2015.
It’s safe to say there is a new era for US pavilions and a proven – if complex – new model for realizing them successfully. The progress of the US Pavilion currently under construction for Milan Expo 2015 further backs this up.
Milan 2015: Feeding the planet
Milan Expo 2015 will run May 1 – October 31, with projected attendance of 20 million. The theme of the expo, “Feeding the Planet, Energy for Life,” will unite 147 countries around the challenges and opportunities facing our global food system and sustainability issues.
“Innovation is the lifeblood of the United States, and as a global leader in advancing food security, we are eager to seize the opportunity to get involved in the Expo in a major way” said US State Secretary John Kerry during the groundbreaking ceremony for the US Pavilion on July 16, 2014.
Featuring a fully-functioning vertical farm, the 42,000 square foot US Pavilion – designed by award-winning architect James Biber – will showcase America’s rich agricultural history and innovation-driven successes with programs and events ranging from interactive exhibits and tastings to salons, workshops and more.
The Friends of the USA Pavilion Milano 2015, a 501(c)(3) nonprofit organization was selected by the US Department of State to design, build and operate the US Pavilion. Friends is a collaboration between the James Beard Foundation (JBF) and the International Culinary Center (ICC), in association with the American Chamber of Commerce in Italy.
The pavilion’s management and program are directed by President Dorothy Hamilton (founder and CEO of ICC), CEO Charlie Faas, and Chief Creative Officer Mitchell Davis (EVP of JBF). Thinc Design has been selected to design the pavilion’s exhibits and the University of Southern California will coordinate the Student Ambassador Program for which 120 American college students will be selected to act as escorts and docents.
The $60 million USA Pavilion is being funded entirely through the generosity of corporations, organizations, universities and individuals. Current partners include GE, Brand USA, Uvet, DuPont, illy, 3M, McKinsey & Company and Fleishman-Hillard.
US Ambassador to Italy John Phillips stated, “We rely on public-private partnerships to manage the American participation here. I am proud of this approach. We are grateful to the companies who have already made generous contributions towards the success of this Pavilion, and look forward to welcoming more sponsors, as we continue to put together an incredible team. We look forward to opening the doors of the USA Pavilion to you, and to millions of others.”
The following are excerpts from articles at www.inparkmagazine.com.
Shanghai Expo 2010
The US State Department issued a Letter of Intent on March 18, 2008 to Nick Winslow and Ellen Eliasoph, authorizing them to raise all of the necessary money for the pavilion. The funds would need to cover building design and construction, exhibit design and construction, offices and equipment, as well as staffing, operations and eventual disposal of the pavilion and its contents. The original budget estimate at the time the Letter of Intent was issued was $84 million. “We reduced the budget to $63 million,” said Winslow. “We hit the target and were able to save a little in both construction and operations, didn’t have to use all of our contingency money and resulted in a surplus.”
What spurred Winslow and Eliasoph to pursue this venture and present themselves to the State Department? It seems that the catalyst was simply seeing the need and knowing their unique capacity to meet it. Winslow is a recreational facilities and services consultant and contractor with a background in visitor attractions and feasibility analysis. Eliasoph is an attorney with relevant experience in government, the attractions business and Asia (she is currently president and CEO of Village Roadshow Entertainment Group Asia).
“Ellen and I had worked together at Warner Bros., specifically on a project in China,” said Winslow. “Conversations with the US Consulate in Shanghai, the American Chamber of Commerce in Shanghai, the Shanghai Expo Authority and ECA [Bureau of Education and Cultural Affairs] at the State Department in Washington DC convinced us that a serious effort to bring about a US Pavilion was a worthy if risky endeavor. We believed an honest effort should be made so the US would not suffer the embarrassment of being the only major nation in the world not represented in Shanghai.”
Back at the State Dept., with the initial RFP process having failed we were contemplating the possibility of not participating at Shanghai, and this new proposal provided a possibility of saving the effort. Winslow and Eliasoph formed an excellent leadership team, able to recognize and address the needs of the project immediately.
As Program Officer in my role for the State Department, my work included serving as a member of the Shanghai Working Group and advising our office director on management of the program. I also coordinated the vetting of 400 potential pavilion sponsors, and reviewed submissions by the private sector partner.
Following the 2008 presidential election, the new Secretary of State, Hillary Clinton, set up a group inside the State Dept. to support the effort, and named a Commissioner General, Jose Villarreal. “We began picking up steam,” said Winslow. “Thanks to the terrific effort by our project management team, and our operations team headed by Mark Germyn, we opened on time and on budget.”
Yeosu Expo 2012
My initial role was to coordinate the RFP process, which resulted in several excellent bids, from which EarthEcho International was selected as the best. Their team was led by explorer, environmentalist, and social entrepreneur Philippe Cousteau, Jr. (Pavilion Chief Spokesperson) and his business partner Andrew Snowhite (Pavilion CEO). EarthEcho International is a nonprofit 5O1c3 organization founded in 2000 by siblings Philippe and Alexandra Cousteau in honor of their father Philippe Cousteau Sr., famous son of the legendary explorer Jacques-Yves Cousteau. Its mission is to empower youth to take action that restores and protects our water planet. This made the organization a perfect fit to develop and operate the US Pavilion at Yeosu.
Snowhite reviewed the guidelines of the RFP with Philippe, and with themed-entertainment legend Bob Ward, best known for his work as a creative executive for Universal Studios. Ward suggested approaching Phil Hettema for exhibit design, and Mark Germyn, who had recently served as COO of the US Pavilion at Shanghai. The State Dept. issued a letter of intent, and EarthEcho created sponsorship materials and began fundraising with strong support and involvement by Kurt Campbell, Assistant Secretary of State for East Asian and Pacific Affairs.
At a critical point during fundraising, the above-mentioned surplus from the USAP at Shanghai was a lifeline. Most of the total project budget of just under $9.4 M was received by the end of 2011 to fund the 13,000 square foot pavilion. “With the agreement set with State, Philippe and I were thrilled to attend a State lunch in October 2011 honoring Korean President Lee Myung-bak, where Secretary Hillary Clinton formally announced America’s commitment to participate at the Expo,” said Snowhite. “President Lee noted it in his remarks and I heard it many times again from the Expo committee, that the Korean Government and the Expo Committee would not have considered the event a success if America didn’t participate.”
Eleven Fortune 500 companies contributed support to make the USA Pavilion a reality. Corporate sponsors included: Chevron; Citi; Boeing; Coca-CoIa; Corning Incorporated; Hyundai Motor America; Kia Motors America; Lockheed Martin; Samsung Electronics America, Inc.; GE; and Becton, Dickinson and Company.
ABOVE: “The Lost Temple” promotional artwork from Movie Park Germany
Themed entertainment’s new “golden age” is just warming up
by Brent Young, President and Creative Director, Super 78
In October, I moderated a roundtable discussion at the Visual Effects Society about the future of media in themed entertainment. It was exciting to see two worlds colliding: theme park designers and the creators of VFX for today’s tentpole movies. We covered a lot of different topics, but there was one common thread in each conversation: virtual reality is going to cause seismic shifts in location-based entertainment.
As a design tool, VR is already shaking up our world. And smallscale virtual reality attractions exist right now – there are plenty of virtual roller coasters designed for the Oculus Rift. Very soon, we could be climbing into the Iron Man suit, or jacking into our own Avatar at parks and other entertainment venues around the world. Early virtual reality theme park attractions may be limited to low-capacity, upcharge experiences, but VR could eventually create a whole new category of attractions. We may someday combine virtual reality, live digital interactivity, 4D effects, and the physical sensations of a traditional thrill ride to produce relatively inexpensive yet stunningly immersive new experiences.
Brent Young
While Hollywood is dipping its toe into the virtual reality pool, the themed entertainment industry is swimming in the deep end. Disney’s DISH (Digital Immersion Showroom) was a key tool in developing the Disney California Adventure park’s new Cars Land. And soon after the first Oculus Rift development kit shipped, Super 78 created Mushroom VR™, our design development application. Mushroom was integral in the production of Movie Park Germany’s The Lost Temple attraction. With this technology, we were able to streamline and expedite the attraction’s development. More importantly, this immersive review opens up the process and creates more transparency. This is essential when working with brandholders to establish that high confidence level early in the process.
In my viewpoint, this means we are no longer hamstrung by the limits of CAD drawings and 2D concept art. Experience-based attractions can now be properly “pre-experienced” rather than just pre-visualized. And by bringing down development costs,VR will help regional parks to create attractions that would otherwise be prohibitively expensive.
Beyond the concept and production phases, the opportunities for VR-based guest experiences are almost limitless. The “Augmented Thrill Ride Project” (http://vr-coaster.com) is an intriguing look down the rabbit hole. This partnership between a European university and Mack Rides synchronized a virtual flying experience with a real roller coaster. Test subjects wore an Oculus Rift headset while riding Blue Fire and Pegasus, two of Mack’s roller coasters at their Europa Park in Germany. According to the researchers, it was a huge success. The test subjects were “totally amazed,” felt no motion sickness, and were actually more comfortable riding with the virtual reality overlay than without it. Though just a first evolutionary step, it is a bold move towards enhancing VR with genuine physical sensations – a depth of immersion that will be difficult to experience outside of a theme park (safely and inexpensively) for a very long time.
Virtual worlds can be interesting to explore, but it’s only when they are populated with virtual characters that they really come to life (especially when those virtual characters are already internationally beloved). Turtle Talk with Crush, Stitch Live!, Monsters, Inc. Laugh Floor, and Donkey Live! have proven that digital puppetry is an engaging medium that works in many different languages and cultures. This year, Super 78 is using Geppetto 2.0™ our proprietary interactive character software, to develop the world’s first stereoscopic interactive character attraction in partnership with Nickelodeon: Spongebob SubPants, scheduled to open at Moody Gardens in Galveston, TX, Spring 2015.
As ticket prices indicate, the general public will pay a significant premium for this kind of experiential entertainment, more than they will for movies, television, music, video games, etc. Comcast’s recent purchase of NBCUniversal and their aggressive commitment to their theme park resort business speaks volumes, and they are not alone. Disney, Merlin, OCT Parks, Parques Reunidos, Wanda, Genting… This new arms race is global. The demand is there. The investment dollars are there. And the technology is very close.
The theme park industry is right at the nexus of movies, video games and experiential storytelling. We are once again blazing trails in high-tech entertainment, as we always have been – I don’t think there’s ever been a more fantastic time to be working in this field. • • •
Markus Beyr’s companies redefine international entrepreneurship and themed entertainment genres
by Judith Rubin, InPark Magazine
Attraktion! GmbH, a group of companies headed by Markus Beyr and based in Vienna, has introduced four new product genres in the last two years – Playoke, Dome Ride Theater, Cinesplash5D, and WeRobots – and reports having a similar number in the pipeline for the next two years. Attraktion! products are characteristically high-tech, media-based attractions, turnkey yet versatile – and each having a new twist, a new approach to integration – and near instant market impact.
Says Beyr, Managing Director and Owner: “All the products we develop have been sold even before we officially launch them.”
This estimable track record for envisioning, creating and bringing a new product and even a new genre successfully to market shows an ability to perform well all along the pipeline. The Attraktion! business gestalt evinces a confident grasp of technology, media, integration, and manufacturing; a genius for effective collaboration, bold imagination and a knowledge of global markets and marketing.
PLAYOKE (www.playoke.com) immerses a group of people in a video-led performance. The physically engaging, immersive experience is made personal, interactive and even competitive through a system of real-time, 3D group motion tracking. Attraktion! launched PLAYOKE Dance to leisure and entertainment markets last year at the IAAPA expos in Asia, Europe and the US. (PLAYOKE Courses, a version tailored to fitness markets, was introduced earlier in the year. It was well received and has already been adopted by exercise studios in Austria, Germany, Italy and Russia.)
Designed for out-of-home commercial use, PLAYOKE (patent pending) is scalable and readily refreshed with new content, customizable and theme-able to a specific venue, brand or IP. The market response to PLAYOKE Dance has confirmed its potential of PLAYOKE in leisure markets from FECs to theme parks to science centers to nightclubs.
In the month of December alone, several new installations of PLAYOKE Dance will open – at Futuroscope (Poitiers, France), Virtuality Center(Riyadh) and Dreamplay (Manila). Players, both kids and adults, will (depending on the site) be able to join the action to compete in dance clips, play entertaining and educational games or interact with characters from famous Hollywood IPs. Nicolas Mollet, project manager, Futuroscope, said “Playoke fits perfectly into our new area, ‘Arena Fun X-periences,’ as a new interactive feature. Our visitors will have a lot of fun!”
Dome Ride Theater: As a producer, Markus Beyr has been involved on numerous projects that incorporated media, motion simulation and wraparound projection. Examples include Marvel Superheroes 4D at Madame Tussauds London, the Aviation Dark Ride for the Aviation pavilion at Shanghai Expo 2010, and Arthur l’Aventure 4D at Futuroscope. These attractions were one-offs for specific circumstances that helped prove the concept of integrating ride technology into an immersive dome theater for education or entertainment.
Attraktion! subsequently partnered with a top ride manufacturer Intamin Amusement Rides, to develop the DOME Ride Theater® (patent pending, www.domeride.com), which had its official product launch at the 2014 IAAPA Asian Attractions Expo in Beijing. The Dome Ride Theater (DRT) design merges a steel ride structure with state-of-the art, full sphere projection to completely envelop the audience in seamless imagery. “The aim is to transport the audience into a unique, themed environment and a different place and time, in a format that can accommodate the kind of throughput needed by theme parks and large visitor attractions,” said Beyr.
Guests enter a hemispherical space and are secured with shoulder harnesses into seats ringing the perimeter. The center floor descends and the theater becomes a full sphere. 26 concealed projectors seamlessly cover the sphere. The ring has a range of motion enabling it to pitch 30 degrees to either side while the entire seating area can likewise rotate.
InPark Magazine spoke to Intamin Executive VP Sascha Czibulka at the DRT product launch in Beijing. Czibulka compared the ride system to a roller coaster, with the seating area spinning around on coaster track. Although a 30-degree pitch may not seem like very much to a seasoned coaster rider, Czibulka explained that a 30-degree angle in this configuration imparts significant G-forces that, if increased, would detract from a family-friendly design.
Chinese real estate developer Lewa Investment is the flagship DRT client, and the flagship DRT installation is set to open in 2016 in Shaanxi LEWA City, a mixed use complex, in Xian Province.
Attraktion! is producing the media for the DRT, which will be part of LEWA Wonderland, a cartoon-themed park. At press time, Beyr reported that a second DRT attraction was under development and would feature a major studio IP.
Cinesplash5D (www.cinesplash5D.com) is a multimedia wet-theater attraction, meant to be experienced in swimsuits. When a product is branded 5D instead of 4D, we ask what the 5th D represents. In this case, it’s water. The usual range of 4D effects – lighting, lasers, fog, audio, wind, etc. are joined by water effects that put everyone in the splash zone, allowing guests to get wetter than any theater-goer has been before. “A full range of never-before-seen effects in a 4D environment have been engineered by Attraktion! – from water explosions to theater flooding,” said Beyr.
Like other Attraktion! products, Cinesplash5D is scalable and customizable: from 20 seats up to more than 100 seats, suitable for indoor or outdoor venues, and packaged to suit the client’s choice of media, projection, animated seats, motion base and in-theater effects.
The newest Cinesplash5D installation is a 40-seat theater that opened in 2014 at Ningbo Hangzhouwan Dream Hotspring Water World in Ningbo, China. Markets for Cinesplash5D include waterparks, spas, resorts, zoos, aquariums and marine parks. Some venues will elect to offer such a theater as a separate ticketed, standalone attraction and the package Attraktion! provides can also include assistance with marketing, promotions and operations.
Attraktion! is building a custom media library for Cinesplash5D theaters beginning with ‘Storm Riders,’ which Beyr calls “the world’s first aquatic cinema title.” A version will be availablefor regular 4D theaters as well, in spring 2015.
WeRobots: First introduced to the retail market at the MAPIC show in Cannes (which dedicates an exhibition zone to Retailtainment), and at Euroshop 2014 in Dusseldorf, WeRobots (www.werobots.com) made their leisure industry debut in June at the Asian Attractions Expo in Beijing.
“Retailtainment” is the new differentiator to make a shopping mall stand out – to attract retail tenants and to give consumers a reason to go offline and shop at a bricks-and-mortar establishment. WeRobots are the mobile, interactive service robots developed by Attraktion! to help achieve that.
At the Red Star Macalline shopping center in Shanghai, 50 WeRobots are moving around, guiding and entertaining visitors. In Dubai, is using WeRobots as visitor guides at its Customer Care Center.
What WeRobots are doing for retail, they can do for theme parks, brandlands, science centers and other out-of-home attractions: Provide a differentiator, reinforce branding, raise visibility, drive traffic, garner press attention and engage and inform the customers. “WeRobots fit into any place where visitors and customers are seeking entertainment, information and guidance,” says Beyr. Beyond their diverse functions, the “guidance” feature enables WeRobots to deliver quite personalized service by accompanying visitors to their point of interest.
They can also gather together and put on entertaining group performances, which Andreas Bley, Managing Director of WeRobots, points to as one of their unique, distinguishing features. WeRobots communicate with one another and interact with people in their environment. Their social skills are supported by an ability to orient themselves by measuring 3D space, identify humans and speak virtually all languages. Each is equipped for versatility with touchscreen, camera, and microphone, sophisticated content management system, RFID chip and telepresence capability.
The standard shape and appearance can be customized, and WeRobots can act as central showpieces in theme parks. A new, more abstract Robot/Race Car Design will become the second version available.
WeRobots will be in use at the Information Technology & Communication Complex, a world technology center for commercial and industrial
Developing projects from start to finish is one of Attraktion!’s competencies. Attraktion! has developed a unique combination of science center & family entertainment center called the “ITCC Virtuality Center“ in Riyadh (Saudi Arabia). Attraktion! equipped the whole facility with interactive exhibits and with its own media-based attractions like WeRobots, Playoke , 360 degrees theater, and 4D dome. Attraktion! also produced all the films and media.
business operations in Riyadh (ITCC Virtuality Center). The Virtuality Center represents the welcome hub of the 1.2 million square foot, $495 million facility is set to open in 2015. The Center’s WeRobots are loaded with comprehensive information about the exhibitions, and draw on this with their artificial intelligence resources to guide visitors. They will also engage and entertain people waiting in queue lines before the main show. • • •
Attraktion! is a specialized group of companies self-described as “permanently going through a mutation evoked by a unique, continuously growing product portfolio.” Attraktion! develops, consults on, and stages attractions such as theme parks, amusement parks, brand-lands, FECs and science centers – and also creates a wide range of experience products. www.attraktion.com
Why are bumper cars as popular today as they were 80 years ago? At our company, RDC, a leader in bumper car manufacturing for more than three decades, we believe it is because they allow people of all ages the chance to battle and bump each other in a safe and fun setting.
While they’ve kept their popularity, they have also evolved with the times. “Bumper cars have come a long way,” said RDC General Manager, Tami Dean. “Most people are familiar with the classic steering wheel amusement park cars consisting of long poles leading to an electric ceiling. In the old days, dodgem car ceiling systems were expensive. With today’s existing technology, this is not the case.”
Today, the industry trend is toward pneumatic tube bumper cars to cushion and better absorb the shock. RDC manufacturers three lines of highly durable Neoprene tube bumper cars: Krazee Wh!rl, Krazee Voltz and Krazee Kidz. RDC’s most popular tube cars are usually purchased in conjunction with the company’s patented electric floor platform. “Our electric floors are engineered to be very cost-effective,” said Dean. “Most owners see a return on their investment within the first year.”
At RDC we believe the decision to purchase an electric platform is only half the consideration. The other half is the long term cost in terms of maintenance and operation. Electric floor systems offer a constant power source and unlimited ride cycle which means no batteries to recharge, replace, or recycle…. ever.
Jack Canouse, Managing Partner of Stars and Strikes bowling centers said, “We are very happy with RDC’s bumper cars and their electric floors. We have had other platforms, but RDC’s electric cars and floors are certainly less expensive to maintain. Our staff is pleased with the technical simplicity of the system and our customers are thrilled with having both a bowling and bumping fun experience. The electric floor system was a long term investment and certainly worth it.”
“The claim that walking on an electric floor might cause a shock is unfounded,” said Dean. “RDC utilizes a patented, low voltage (24 v DC) system that is engineered to be one of the safest in the industry. We have sold scores of electric floor systems since the 1980s.”
For more typical floor configurations, RDC also offers a line of battery operated cars, children’s cars and gasoline powered cars. Dean said, “RDC manufactures and sells bumper cars and only bumper cars. We strive for competitive pricing, patent-protected technology and overall reduced operating expenses along with superior product that is innovative, safe and reliable. Those elements are key to our firm’s longevity.” • • •
The industry speaks out on the evolution and future of IPs
by Jim King and Jan Shaw, WyldBlue Entertainment
Adapting Intellectual Properties for the theme park industry is nothing new. From the first themed attraction at Disneyland in Anaheim, California, to Universal’s “Transformers” ride, IPs remain a lucrative aspect of our Industry.
Key factors have driven the evolution of IPs over the years. As entertainment widens both globally and with new applications, opportunities for successful IP adaptations go beyond the traditional attraction rides. Non traditional IP applications, such as resorts, live events and shows, mixed-use entertainment, immersive retail and seasonal guest engagement, have come to the forefront as a newly envisioned driving force in today’s themed and leisure entertainment markets. Additionally, there are more sources for quality IPs beyond blockbuster films and children’s properties.
Jan Shaw
How people consume media has changed dramatically in the past several years. As a result, how the industry views content and how consumers use content, worldwide, is evolving to meet demand. Guests, and their expectations, have become more sophisticated. Today’s guest cares more about story and content. “The biggest evolution in the way we approach Licensed IP is a deep focus on integrating the IP seamlessly into the attraction,” says Greg Lombardo, VP Global Live and Location-Based Entertainment, Twentieth Century Fox Consumer Products. “We pay a lot of attention to storytelling that expands and supports the worlds of our franchises.”
Brands with true staying power over time are the most successful. “Consumers truly engage with characters they know and love, and want an experience that re-engages them with that emotion,” says Senior Vice President Global Consumer Products, Sony Pictures Consumer Marketing, Greg Economos.
Thinking outside the attraction box
The growth of immersive and interactive retail, such as American Girl and Crayola, has fueled new opinions on how IP’s can be applied by developers. “The key or absolute critical factor to developing a brand is one that delivers on the promise of the brand,” says George Wade, President Bay Laurel Advisers, and former SVP for MGM Studios. “Consumers are looking for richer and more immersive experiences relating to the brands.” Dan Wilson, VP of Global Retail at Saban Brands, licensor of iconic IP brands, such as Power Rangers and Paul Frank, adds, “Consumers want and expect extended brand experiences. We are always identifying ways in which to deliver on
this and stay ahead of the trend.”
Jim King
Positive results from non-traditional resort-based IP applications and branded guest engagements and seasonal programs, such as Cartoon Networks’ Seasonal Guest Engagement at Atlantis Resort and Water Park, are a growth area for IP’s as well. At WyldBlue we were recently engaged by a developer to explore the opportunities for applying licensed IP’s to a 1,500 unit lateral hotel, a premium resort development that offers a combination of hotel, condo, townhouses and private home vacation rental accommodations with amenities and mixed-use entertainment. This family-focused, non-traditional format is a natural fit for an IP Master License. For the private equity client, this was not merely a marketing-driven consideration, but a profit-plus economic driver. New trends like these continue to change the landscape and expand the use of Intellectual Properties.
Touring exhibits and live stage shows also have seen explosive growth in the IP world. “Immersive experiences are the future of touring exhibitions with emphasis on universal brands or ideas,” says Heidi Pinchal, Principal of Brand Image Group. “Guests want to be part of the IP, to experience it, not to just interact with it. Theme parks have known this for years.”
The business side of IP
Understanding the business aspects of the IP licensing process, players and personalities have evolved, as well. Studios, networks and brands look at licensing IPs far more strategically than in the past. Commenting on Sony Pictures’ future vision, Greg Economos says, “Global expansion is our big push. We recently announced a deal in Dubai and will be expanding our footprint with several of our IPs throughout the world.”
Discovering which IP is a good fit for each project is only the beginning of the process. Licensors are vastly different, each with their own internal brand strategies and business styles. Understanding how licensed IPs work and the nuances of legalities, clearing and third party fees, makes all the difference in structuring quality IP licenses. Striking a balance between the cost, consumer awareness, value and profitability is the primary concern. A poorly structured deal can result in unexpected costs to the licensee that will negatively affect the cost to gain ratio. The devil is in the details when it comes to licensing any IP.
“Those who do not consider IPs in today’s market are putting themselves at a competitive disadvantage,” says Paul Nunes, Esq., Intellectual Property Attorney, Partner, and Chair of the Intellectual Property Practice Group at Underberg & Kessler. “If you are not at least keeping pace with what others are doing, if not surpassing them, you are not in the game.” • • •
Jim King and Jan Shaw, Principals of WyldBlue Entertainment, veteran Master Planners, Creatives, Project Managers and Problem Solvers for the Entertainment industry, specialize in IP Adaptation.
