InPark Magazine

Dragons Gone Wild

June 5, 2014

A look inside Lotte World’s latest dark ride by Martin Palicki, photos courtesy of Lotte World

Dragons Wild Shooting is an interactive multi-media dark ride set in a storybook medieval kingdom. Dragons have overrun the castle and everyone has fled, except for one – the royal court’s hapless jester, Jingles. Jingles enlists guests’ help in utilizing state-issued “civil defense wands” to drive the Dragons from the castle. Boarding enchanted battle wagons, guests see the kingdom overwhelmed by a swarm of fire-breathing Dragons. But upon entering the castle, guests discover that these “fearsome” creatures are actually just party animals… and really bad houseguests. They’ve guzzled all the ale, eaten all the food, and they’re getting into all manner of hilarious mischief.

Guests travel through the castle – through the great hall, the portrait gallery, the grand staircase, the kitchen, the royal banquet hall, the armory and more – magically zapping the hilarious horde of Dragons. In the ride’s climax, guests face off with the Great Dragon, a monstrous creature who has an allergic reaction to the magic wand zaps – like scarfing down bad shrimp at the all-you-can-eat buffet. If guests score enough hits during the final battle, the Great Dragon swells to bursting, cartoonishly exploding into a swarm of Baby Dragons. The victorious guests are crowned heroes of the kingdom, and see their portrait hung in the castle’s throne room.

“Dragons Wild Shooting” takes guests on a journey through a mid-century children’s book-styled world, with pop-up book environments and a massive cast of whimsical Dragons. The ride’s interactive gameplay integrates animatronic figures with animated media and a host of special effects. For instance, when guests zap the Cannonball Dragons flying through the armory, they are percussed by blasts of air synchronized to the on-screen media. And when the fire-belching Great Dragon bursts up through the floor of the powder room for the ride’s climax, guests are met with an eyebrow scorching blast of heat. But the attraction is more than innovative in its style and experience. Its interactivity features hidden levels of bonus gameplay for guests to unlock. And unlike traditional interactive attractions, where guests scour the scenes for small, hard-to-hit “target symbols,” the entire Dragon – whether practical or media – is a live target, each with unique reactivity. Dragons Wild Shooting is wowing guests at Lotte World (South Korea) with its huge cast of lovable silly characters, its ambitious interactivity and its surprise-packed ride experience.

InPark spoke with several of the creative minds behind the attraction.

Phil Hettema, The Hettema Group

What was your brief from the park for Dragons Wild Shooting?

We were charged with creating a first-of-its-kind media-based, interactive dark ride with an original story for Lotte World’s family guests. The experience we created is a storybook adventure through a castle overrun by rowdy, silly, rambunctious dragons.

Do you know of any other dark rides with such a theme?

Over the years, there have been other rides set in a medieval fantasy, but this is the first time guests have been immersed in a fairy tale world inspired by children’s book art, with pop-up book illustration environments and whimsically stylized characters.

What were the challenges of installation?

The breakneck-speed schedule combined with a small footprint in an existing space that required creative retro-fitting were the initial hurdles, but the greatest challenge was creating a seamless game-play experience that integrated three-dimensional animatronic figures and interactive media targets with trackless ride vehicles, sound effects, music and special effects.

What, for you, is the best part of the ride?

We love our great cast of characters, with a wide variety of quirky dragons, but the glamorously zaftig Queen Dragon – whose minions scurry to fulfil her every need before she barbecues them – gets the biggest laughs in the show.

How does the interactive element enhance the ride experience?

Interactivity combined with the game element personalizes the experience and creates a desire to ride the attraction again and again. The target reactions triggered by each “hit” are also unique. It’s a surprising adventure with air-blasting “firework dragons,” exploding powder kegs and eyebrow-scorching heat blasts.

What demographic is this attraction targeted to?

The attraction is packed with humorous and engaging characters. The character interactions and funny vignettes appeal to girls and boys of all ages. There is so much going on in this ride that even if you aren’t playing the target game, it’s a thoroughly enjoyable experience.

What really made this project successful?

It took a really great team to bring this ride to life. Merging new technologies and a variety of systems into a detailed creative storyline takes dedicated and unique talent. We appreciated the efforts of each one of our partners.

Benoit Cornet, Alterface Projects

Can you detail what your role was in creating the attraction?

We delivered the shooting system which is the only one in the market that allows “what you see is what you can reach.” Our role was also extended to the portion of interactive show control. We are responsible for the synching of the animatronics and light effects. So instead of a “flat” show control system we have added a layer which takes the movement of the vehicles and the action of the players into account for the show control. Our role started initially as technology provider and we happily ended up being the ones synchronizing the many elements of this ride.

Tell us more about the custom system your company developed.

There are many enhancement our system has brought. First, due to its modular structure we have been able to carve it precisely to the needs of the client without having to recreate something from scratch.

Second, the ride is based on extremely creative screen shapes and technologies that are integrated into those screens in the scenery. There is nothing in the ride which is “standard.”

Finally, we were singularly able to “inter-activate” the scenery and the animatronics. We were very happy to find in [The Hettema Group and Lotte World] partners who were open to the latest developments of our technology.

What do you think makes Dragon Wild Shooting a unique attraction?

“Dragons” is a unique blend of physical and media elements- a creative integration of the virtual into the real that has a genuinely natural interactivity. It is not a “video game on wheels” and it is not an old fashioned shooting gallery. It is a piece of great story telling and the illusion is complete. With the addition of humor, the combination of leading edge suppliers and hard work the result is success.

What are some of the challenges you successfully overcame in developing your work on the project?

We were happy to work with partners who were truly open to challenging the way things are typically done. From a technical point of view, the challenges were to be found on the required sophisticated behavior of the animatronics when “shot” at and extremely high throughput for such a compact attraction. • • •

Project Profile: Chimelong Ocean Kingdom

Martin Palicki

June 5, 2014

Planting China’s theme park flag by Al Cross, PGAV Destinations VP

When Chimelong Ocean Kingdom opened this spring near Macau, it set five Guinness World Records. The 125-acre park with seven themed zones introduced Asia’s first winged coaster and wears the medals of World’s Largest: Aquarium, Aquarium Tank, Underwater Viewing Dome, Aquarium Window, Acrylic Panel. But the park isn’t just large – it’s a complete game-changer for China.

During the park’s four years in development, Mr. Su Zhigang, chairman and CEO of the Guangdong Chimelong Group, told the world that he ambitiously intended to develop Hengqin Island into “the Orlando of China.” With Mr. Su’s vision in mind, Ocean Kingdom therefore serves as the first attraction of this magnitude to arrive in the province of Guangdong.

A Recipe for Success in China

In North America, the theme park industry is punctuated by surges in domestic tourism centered around the school schedule, long holidays, and three-day holiday weekends. But in China, people spend the Spring and Moon Festivals primarily with friends and family at informal parties, dedicating Chinese Labor Day and National Day to travel-oriented holidays. That means that the domestic Chinese tourism industry is largely based on short, weekend trips to destinations that are within driving distance.

In 2016, the Hong Kong-Zuhai-Macau Bridge is slated to open, providing a tremendous pipeline for road-tripping travelers between the three major cities. Chimelong has emerged within this heavily populated region with offerings well differentiated from Macau’s casinos and resorts, making it ideally poised to attract hundreds of thousands of middle-class families from far and wide.

Ocean Kingdom’s nearest, major metropolitan area is Guangzhou, just two hours’ drive away and boasts a population 2% greater than that of America’s largest city (New York, New York’s 8.337 million). The closer-in cities of Zuhai and Macau have populations of 833,908 (similar to Indianapolis, IN) and 556,783 (similar to Albuquerque, NM) respectively.

What else does Ocean Kingdom have going for it besides proximity and family-friendliness? The genuine, clear vision of an owner/operator who is in it for something beyond flipping real estate. When it comes to Mr. Su and the Chimelong Group, the entertainment mogul has time and again stated that he wants to be “the man to entertain the Chinese masses.”

Mr. Su is passionate about creating a pleasing, natural environment that makes his guests feel comfortable and inspired. From the big Norway Pines that punctuate the Polar Zone to the twisting, lush podocarpus trees found throughout the park to the towering boulders carefully hand-selected by Mr. Su, strolling through Chimelong is like exploring a giant sculpture garden. This park opened rich and lush with flora on day one. In contrast, we’ve seen many parks in the West open covered in mulch, waiting for the plants to fill in as the seasons progress.

Mr. Su is a showman to the core. Chimelong has operated a world-class circus for decades next its existing theme park in Guangzhou, and has brought all of that experience and learning to Ocean Kingdom. The massive night show that closes the park each evening was part of the planning process from the beginning, and any viewing spot around the lake does it justice. Chimelong’s parade route was part of the core planning too.

Three dramatic, immense educational animal shows punctuate the themed zones as well, displaying the behaviors of sea lions, beluga whales, and pacific white sided dolphins in unique ways. A promising 5D theater experience is currently under construction.

On all of these assets, from landscaping to shows, rides to restaurants, just one month after opening its doors, Chimelong has already gathered thousands of points of feedback from visitors and is implementing improvements and brand-new attractions.

Understanding the Chinese visitor

When PGAV Destinations, the overall project lead consultant, product strategist, master planner, and lead designer for Ocean Kingdom, first heard of the project, we assumed the destination would be rich with Chinese folklore and thematic overlays – from fiery red dragons to Admiral Cheng Ho. But it didn’t take long to discover that wasn’t what the Chinese wanted at all. Consumer research revealed a passionate curiosity for the world beyond Asia. But Mr. Su didn’t want to create another world-tour theme park. He sought a fresh angle for Asia that would manifest the planet’s wildlife. With a half-century of experience combining attractions and animal habitats for major destination parks, zoos and aquariums around the world, PGAV Destinations welcomed the opportunity Chimelong represented.

Throughout the park, thrill rides and animal habitats are seamlessly integrated to create unique, fun viewing interactions between people and the resident fauna. The Polar ride travels along a plaza through a polar bear habitat, separated by a strategically designed moat. The Walrus ride travels underwater through an acrylic tube beneath the sea lion habitat before climbing high into the sky and plunging down between the iconic, walrus-shaped mountains. The popular Omnimover (MACK Rides) combines a dark ride and an aquarium with three completely different views of the massive tank’s animals, all narrated and led by an animated fish-guide. The list goes on, with many of the other rides provided by MACK as well.

Equal care and importance were placed on the design and creation of the animal habitats as on the rides. In our assessment, Chimelong has exceeded the Western standard of animal care, and this is just as evident in the back-of-house facilities that guests don’t see, as in the habitats they do see. The park attractions represent a masterful combination of animal and human safety and well-being.

Chinese project management 101

PGAV is known for joining a project at the beginning and staying on to the end, from concept design through construction administration and beyond. On the Chimelong project – the firm’s first time partnering on a complete theme park in China – the job entailed (among other things) more than four years of late-night Skype calls and weeklong jet lag for the design team. Under such circumstances, project planning becomes a test in life-planning.

It was also a test in culture. Chinese park developers approach strategic planning differently from the US in a variety of ways. There was a learning curve on both sides as PGAV’s external team and Chimelong’s internal team explored and worked to adapt to one another’s approach and insights on a number of issues connected to design, food, retail, and guest experience.

Working with local architects in China was also a very new experience for the PGAV team. In most of the world, architects want to be seen as the master designers, knowing every intimate detail of their projects and remaining in close touch with the project during the construction phase. This tends not to be a priority in China, where developers often depend on “local design institutes,” whose services do not extend into construction oversight.

Looking at construction itself, China’s construction documents are very formulaic and standardized with millions of protocols for any occasion; however, the Ocean Kingdom plans, with animal and ride attractions that had never been built before, necessitated PGAV taking a hand in helping others navigate these precedents. One PGAV designer recalls accompanying the local architects to buy a set of China’s applicable standards. When he arrived at the pharmacy-sized library, he was confronted with millions of individual pamphlets, floor-to-ceiling, nearly impossible to navigate.

Concrete is the preferred construction material in the region, primarily because wood and steel are tremendously expensive along with their skilled artisans. But “cheap” labor doesn’t mean “unskilled” labor in China – the PGAV team saw Chinese artisans do beautiful, amazing work with concrete that we had never witnessed before.

The successful result: Chimelong Ocean Kingdom, combining unique attractions, top-quality animal habitats, and world-class shows that present the world’s waters through the eyes of its animals for millions of families and tourists. And unlike in the States, for millions of guests, this magic kingdom is just a short drive away. • • •

As Vice President at PGAV, Al Cross creates designs in a wide variety of building and project types, giving him an impressive and varied background. Trained with an emphasis in design, Al brings his aesthetic sensibility to each endeavor in a way that allows him to produce beautiful places and great results, even under the pressures of modern project delivery methods.

Franceen Gonzales: It’s About Caring

Martin Palicki

June 5, 2014

IPM Interviews waterpark industry veteran Franceen Gonzales by Martin Palicki

Franceen Gonzales, one of the waterpark industry’s true leaders and now VP of Business Development at WhiteWater West, was interviewed by InPark’s Martin Palicki.

How did you get started in the waterpark industry?

My first job was as a pool technician at the ripe age of 14. My mother worked in accounting at a local waterpark and I had a season pass. She basically told me to get a job! My sister was a lifeguard and she convinced the maintenance manager to hire me. My Dad would drop me off at the park early in the morning. I vacuumed pools, backwashed filters, and did other maintenance until the park opened. I’d play in the park the rest of the day and my Mom would take me home. From there, I became a lifeguard, then a supervisor, and then a manager. Eventually I began studying biology at university – meanwhile, working my way up in management at the park every summer season.

My commitment to the business grew out of two things. One, I went to a World Waterpark Association conference and trade show one year. I grasped the real size of the industry I had fallen in love with and decided to make it my career. The second thing was that I dealt with a serious incident first-hand, performing CPR on a young man who had been pulled from a pool. He ended up passing away. It appeared that he likely had a medical condition – but that experience made me want to help prepare companies, through processes and training, to prevent incidents whenever possible – and to be prepared to deal with those that did occur. So it was a combination of being drawn to an exciting industry full of innovation and camaraderie, and seeing how I could help make that industry better. Here I am – 27 years later!

What led you to join WhiteWater West?

I had been working in the corporate office of Great Wolf Resorts for the prior seven years, overseeing the 11 waterparks in 11 resorts – and soon to be 12 – in their North American portfolio, as well as risk management for the whole enterprise. It was a 365/24/7 job, working with 5000+ employees and developing new resorts, and I loved it. The executive management team at Great Wolf is very dynamic and we all worked collaboratively to grow the business as a public company and then as a private company.

With all that under my belt, I had become interested in the possibility of applying my knowledge of industry development and my deep understanding of waterpark attractions at a global level. I had spent most of my career in risk management and safety and all of it in North America. My involvement at the industry association level included having been chairman of the board of WWA, a member of the IAAPA board of directors, and doing work through ASTM. All of it was related to safety, whether through speaking engagements, or meeting with government officials to encourage the use of industry safety standards.

When I was approached by WhiteWater, I saw that they had been diversifying their portfolio of attractions and industries, that they are growing and have a solid, global presence, and they have a very dynamic group of executives. Each of those elements was interesting to me. So I took the plunge, and at WhiteWater I now oversee business development in Latin America as well as areas of the Southeastern US. I speak Spanish, I know rides and attractions, and I know how parks are designed and built. It was a nice fit overall and I’m ecstatic to be a part of their team.

As someone who has worked on both the operator and supplier side, can you share some insights on things that people in the industry could learn from?

Having actively worked in the parks and internalized the needs of the operator, and observed how guests act in the environment is a boon when you’re working from the other side as a designer, manufacturer, or installer. You understand the human factor and what a big impact the small details can have on how a park works.

Thankfully, at WhiteWater I work with many who like myself come from parks, so the discussions are very much about how our customers’ guests will act and how they will be “Wowed” by our attractions, and what it will take to operate and maintain attractions. That really speeds up the innovation. And when it comes to design we are talking about details that will reduce labor costs or energy costs because we collectively have that experience that our customers have. It allows us to speak the same language as our customers.

The other side of the coin is that most operators don’t see all that goes into developing new rides and attractions. It is pretty complex from initial design, to safety evaluations, simulations, then manufacturing, quality assurance, sourcing, delivery, and testing. It is fascinating to see what goes into a ride and it is heartening to know the steps manufacturers take to make sure a ride is safe.

What do you think the future looks like for the indoor waterpark resort model?

My answer to this question today is probably quite different from what I would have answered 10 years ago! The indoor waterpark resort model is not one for the inexperienced operator. The stakes are higher because the investment is much higher than a seasonal outdoor waterpark. While the ability to operate without the threat of weather is a big plus, there will always be peaks and valleys in occupancy. So the big question is going to be how to deliver a spectacular park that acts as the anchor of entertainment, but design and build it in a way where it can operate year-round regardless of occupancy level.

All that being said, indoor parks, both wet and dry, are like a blank canvas. They are a great opportunity to create another world and to fill it with all the innovations of the industry, but perhaps on a smaller scale without having to sacrifice thrill. They are weather-resistant and because occupancy is limiting, they support an intimate guest experience. They are no longer about throughput, but about ride experience and feeling special. Isn’t that what everyone is after these days? Spend what little time you have in a highly themed, high quality, intimate and comfortable environment at your leisure. So I think the future looks bright for those who aren’t shy to invest in quality and in markets that will support the leisure traveler looking for the right kind of place for adventure and family togetherness. But I hope they won’t underestimate the amount of effort and thought that should go into such ventures.

What is your opinion on what the next big trend in waterparks will be?

There is tremendous development in Asia and Eastern Europe. With that comes a lot of manufacturing of classic rides to feed those burgeoning markets. The tendency in the past was to see little innovation during times of expansion, but now I am seeing iconic rides of years past being packaged together into a singular ride. Putting those elements together is one face of innovation. There are cool paint jobs out there and twists on existing signature rides and I am seeing a new appetite for thrill rides that hasn’t been there in the recent past. From inverted, looping slides to exciting trap-door start capsules, operators are looking for thrill. Big waves and skill-driven attractions are gaining momentum as well.

But the next really big trend is bringing technology into waterparks. There are 30 years’ worth of aging waterslides out there that are in need of revitalization. The slides themselves are probably in good shape but just need to be reinvented. Layering in technology and gaming is just one way to do that. We recently launched Slideboarding, which combines a Guitar Hero-like gaming element with the action of a waterslide to create a whole new experience.

Can you share some of the key products WhiteWater is working on for 2014?

In addition to Slideboarding, one other new attraction is our No Boundaries feature. This combines 18 different activities like climbing walls, ropes courses, net climbs, zip lines, and zip coasters all in one. The beauty of this attraction is that it is designed so people of all skill levels can participate. Mom can climb without a harness in one section alongside her child who is harnessed doing a challenge course to the top of the tower. It is a game changer in the world of challenge courses.

What other wisdom about the waterpark business would you like to share that you have learned over the years?

I have worked for publicly traded companies, for private companies, and for family-owned companies, big and small. With that I learned quite a bit about what motivates executives and their values. Some value profit, some value customers, some value their employees, and some value all of the above. Each of the people I have learned from has taught me something about values and using that to focus the actions of a company. To understand value is to understand people and ultimately, it is about caring. I once heard, “we care for what we love and we love what we know.” So it is all about what we are taught. I take great pride in being a student of our industry and to that end I care deeply about the individuals and the organizations that make up our industry.

You recently joined ASTM’s board of directors. What does that role mean for you and for the waterpark industry?

The election to the ASTM board of directors is really a humbling event in my life. ASTM has 30,000 members and 12,000 standards that it stewards. The impact this organization has on making the world better is astounding. So I take that responsibility very seriously. I think for the amusement and waterpark industries, it means the greater ASTM membership is paying attention to what the amusement industry and F24 are doing with our efforts in harmonization with existing standards around the world. Our amusement rides and devices committee of F24 has also grown dramatically and we have engaged young engineers entering the working world. ASTM wants to harness that energy and innovation, which have been the hallmarks of our industry.

What is your favorite water attraction?

My favorite water attraction is probably a traditional swimming pool. As kids, my sisters and I would go to the local pool practically every day and spend the whole day there. We invented our own games, made friends, and were probably the last ones out of the water when the lifeguards were closing up. So I think my favorite water attraction is that which gives families a way to play together. My best memories are playing in the pool and riding slides at the local waterpark where I was a season pass holder. I was always with my sisters because it was more fun that way. Water attractions bring families together and build bonds like no other. This may seem ironic after I’ve just been talking up slides, rides and technology, but the lesson is to remember the human element, as I mentioned earlier. A waterpark should include something that is not too structured and provides these opportunities for people to interact in their own way. • • •

World’s Tallest Coaster to Encircle Orlando I-Drive’s Tallest Tower

Joe Kleiman

June 5, 2014

[quote]Nowhere in the world will you have two iconic structures like The Skyscraper and the Orlando Eye. This will be an incredible opportunity for International Drive.” — Joshua Wallack, Mango’s Tropical Cafe COO[/quote]

Orlando, FL, USA (June 5, 2014) – David and Joshua Wallack, the owners of Mango’s Tropical Café Orlando and Mango’s Tropical Café South Beach, today announced plans to develop the world’s tallest roller coaster The Skyscraper and the lavish SKYPLEX indoor entertainment complex at International Drive and Sand Lake Road.

The Skyscraper at SKYPLEX, the towering coaster to be built not far from the soon to-open Orlando Eye 425-foot ferris wheel, will alter the Orlando skyline dramatically. The $200 million SKYPLEX will comprise approximately 495,000 square feet located on 12 prime acres. SKYPLEX will break ground in 2015 and is expected to open in 2016. Along with Mango’s Orlando, SKYPLEX will be bringing an irresistible dining and new nightlife vibe to the International Drive district.

“Next to our theme parks, International Drive is one of the most recognized icons of Orlando,” said Visit Orlando president and CEO George Aguel. “It’s exciting for our tourism community to see this type of investment being made to continuously raise the bar on the dining and entertainment experiences we offer across our destination.”

The Skyscraper at SKYPLEX is 570 feet tall and will feature the first Polercoaster built. This mega-thrill ride is a vertical rollercoaster created with coaster-length tracks featuring “all the other thrilling mayhem” of a great coaster experience, but “in a very small footprint,” according to Michael Kitchen, President of US Thrill Rides, the Orlando based company that created the ride.

Bill Kitchen, Founder of US Thrill Rides and creator of the Polercoaster said “Not only will the ‘Skyscraper’ coaster be the world’s tallest, we believe it will be the most thrilling. There will be incredible heart-pounding inside and outside loops, dives, spirals and inversions like the world has never seen.”

The SKYPLEX observation deck at the tip of the tallest structure in Florida will offer views 535 feet from the ground. To get there, visitors will ride in the state’s tallest glass elevators.

“We’re extremely excited about creating a record-breaking, must-try attraction on International Drive,” said Joshua Wallack, Mango’s Tropical Café chief operating officer,who also will open a Mango’s Orlando next year across International Drive from SKYPLEX. “

Wallack and his father David are partners in the mixed-use development that includes opportunities for additional attractions, entertainment, interactive venues,restaurants and retail to include a two-story prime retail space on International Drive. The SKYPLEX indoor entertainment complex including the observatory and restaurant and lounge at the top of the Skyscraper was designed by global architectural firm HHCP, based in Orlando, and will be constructed by Euforria, a construction management division of Winter Park Construction, based in Winter Park, Fla.

“Imagine a night of incredible dining, lounging and dancing atop a glass elevator ride 55 stories into the air,” said David Wallack. “It’s a true meeting of engineering,technology and art that is making this dream happen for us. We plan to bring Ocean Drive to I-Drive with a new dining and nightlife district that locals and Orlando visitors won’t want to miss.”

The SKYPLEX complex was conceived in late 2012 soon after Joshua Wallackbegan investigating parking garage locations for the Mango’s Orlando restaurant project.

What began as a search for multi-acre valet parking site for the Mango’s project mushroomed into a whirlwind of negotiations for additional land after Wallack was contacted by US Thrill Rides as to their interest in building the world’s first Polercoaster ride. The Wallacks rolled up five contiguous sites comprising 12 acres of land with 300 front feet on International Drive near Sand Lake Road and were soon collaborating with US Thrill Rides to license and develop the Polercoaster, which they now dub “The Skyscraper.” SKYPLEX will include a 1,500-car parking garage with a valet parking option.

Mango’s Tropical Café in Orlando, opening in 2015, will be a world-class restaurant and nightlife entertainment destination in the heart of the International Drive district and just one mile from the Orange County Convention Center. The restaurant, with 55,000 square feet of entertainment space, live bands, shows and dancing, plus gourmet dining and event packages, will have a parking garage next door to it.

The Wallack family has built a reputation as entrepreneurs and philanthropists in Miami with the Mango’s Tropical Café South Beach restaurant. The Wallacks have pioneered the innovative Community Partnership Program in Miami Beach benefitting Mount Sinai Hospital in Miami Beach, which has yielded more than half a million dollars in the past two years. The Wallacks plan similar philanthropic activities in Central Florida.

www.skyplex.com

Safety in Numbers

Martin Palicki

June 5, 2014

Weighing your options – and your guests – in water park rides by Sam Baker, SR Instruments

2014 continues an encouraging trend for growth in indoor and outdoor water parks. Announcements of park upgrades, expansions, new high thrill rides and proposed new parks, all indicate a population enthusiastic about the fun and thrills available at family friendly venues. According to estimates from the World Water Park Association (WWA), more than 82.5 million guests will visit water parks this year.

With increased attendance comes an increased need for ways to accommodate different body types. Estimates vary regionally, but at least one calculation claims over one billion world citizens are considered overweight, with at least 64% of the US population earning that designation. Some of those people are going to be too heavy for some rides to safely accommodate, and park operators need non-confrontational, unbiased ways to address the situation.

Ride manufacturers are well aware of this reality. Their solution has been to supply park operators with recommended weight limits, especially for the most dynamic rides, and for multi-person rides.

Many parks post height and weight requirements, with slide attendants trained to size up riders and politely enforce them. Some parks back up the policy by installing scales at a critical point in the queue to gauge the actual weight of a rider or a group. Insurance carriers and risk management companies have responded favorably to the implementation of scales to help enforce rider safety in this way, as have some OSHA and state health boards.

With the use of standard scales comes the potential for confrontation. To mitigate this and avoid guest embarrassment, readouts have to be covered or angled so that only an attendant can see it. However, this means the attendant is making a determination based on something that the guest cannot see. A less confrontational method is to employ colored lights that are triggered by the reading on the scale, with red signifying “stop” and green signifying “go.”

Some parks have taken a DIY approach, building mechanical scales from kits or installing scales designed for other environments. As mechanical scales contain many metal parts prone to rust, these aren’t always successful in the long term in the humid setting of a water park, whether indoors or outdoors. The wide variety of climatic conditions from Sacramento to San Antonio and from Denver to Dubai, not to mention the particular challenges of indoor parks, makes the selection of scales challenging and worthy of careful investigation.

A specialist provider such as our company, SR Instruments, will offer operators a choice of purpose-built scale systems specifically designed and fabricated for use in water parks. Look for a range of sizes to accommodate the desired number of riders, and for a choice of freestanding or flush-mounted scales. We’ve found from observing our scales used in the field that a red/green light system, used in conjunction with well-trained operations staff, will help take the stress and confrontation out of the equation. If the light stays green riders are good to go, if the light is red, adjustments need to be made to meet weight limits, and since people equate traffic lights with safety, guests don’t often complain.

In finding a scale system, pay special attention to design, materials and construction. Scales made of stainless steel with hermetically sealed load cells and water sealed electronics are ideal to withstand environmental variations. The weighing surface must be extremely tough, chemical resistant, and non-skid. These specifications will help ensure a product that is heavy-duty, long-lasting, and trouble-free for many years. Also look for a solid warranty, and readily available technical service.

Purpose-built scales can also be uniquely customized with software to support data collection, enabling an operator to track the system’s performance. The turn-down rate due to overweight/underweight and other operational details for each ride can all easily be captured by software. The information can be used to inform actions by the operator to help maximize rider participation and minimize rider disappointments.

Finally, look for a supplier that can provide financial flexibility if needed. With everything that is at stake in new attraction investments and guest satisfaction, modern weight technology for enhanced safety and guest accommodation shouldn’t be something to skimp on.

Sam Baker has been the Director – Global Development with SR Instruments since 2008. SR is a US manufacturer of scale systems, used in medical applications, as stand alone scales, for hospitals, veterinarians, zoos, aquariums, fitness centers, and waterparks. Mr. Baker’s career has been in sales, marketing, and new business development.

Newest Hershey’s Chocolate World Opens at Sweet Spot on Vegas Strip

Joe Kleiman

June 4, 2014

Newest Hershey’s Chocolate World Opens at Sweet Spot on Vegas Strip

[quote]We recognize that visitors to Las Vegas seek one-of-a-kind experiences and we believe the Hershey’s Chocolate World experience will immediately become a must-see attraction on The Strip.” — Cynthia Kiser-Murphey, President and COO of New York-New York Hotel & Casino[/quote]

Las Vegas, NV, USA (June 3, 2014) /PRNewswire/ — The Las Vegas Strip got a whole lot sweeter today as the Hershey’s Chocolate World retail experience opened at New York-New York Hotel & Casino.

The West Coast flagship store, which occupies two floors and boasts an eye-catching 74-feet high Hershey’s Milk Chocolate Bar that visitors can walk through, provides guests with an experiential concept that immerses them in more than 800 candy and chocolate offerings, including iconic brands they love: Hershey’s, Hershey’s Kisses, Reese’s, Ice Breakers, Jolly Ranchers, Twizzlers and more.

“Las Vegas is one of the country’s top tourist destinations and the perfect place to bring one of America’s most iconic brands to life,” said MikeWege, SVP Chief Growth & Marketing Officer, The Hershey Company. “Visiting Hershey’s Chocolate World, our guests will enjoy an interactive space where they can taste new treats, personalize sweet gifts and create keepsake photos. These experiences are sure to draw candy lovers from what is arguably the most exciting street in the world and inspire sweet Las Vegas memories.”

The store, which covers 13,000-square-feet, brings two American icons to life, Hershey’s Chocolate and the New York City skyline, through custom chocolate sculptures of the Statue of Liberty, made of almost 800 lbs. of pure Hershey’sMilk Chocolate, and the Empire State Building, made of 1,800 Hershey’s Milk Chocolate bars.

Cynthia Kiser-Murphey, President and COO of New York-New York Hotel & Casino, said, “This is an exciting day for us. We began conversations with Hershey years ago with a vision to deliver the city’s sweetest attraction.”

The development of the Hershey’s Chocolate World experience is also a result of the efforts of Chocolate Experiences, Inc., which has partnered with The Hershey Company to expand Hershey’s Chocolate World attractions in North America.

“We are pleased to officially open the doors to the Hershey’s Chocolate World experience on the Las Vegas Strip,” saidDino DiCienzo, President of Chocolate Experiences, Inc. “We feel that Las Vegas is an optimal destination to bring this experiential concept to life.”

Hershey’s Chocolate World invites guests to create their own Hershey’s Happiness through a variety of interactive experiences. Visitors can customize candy wrappers, choose their favorite Hershey Kisses and Jolly Ranchers flavors, and select their favorite Reese’s products, based on their personal preference for more chocolate or peanut butter.

In addition, Hershey’s Chocolate World Las Vegas offers a variety of opportunities for guests to share their experience with friends and family via social media, including video of them starring in their own Reese’s TV ad, just part of the immersive technology that makes the new store truly first of its kind.

www.hersheyschocolateworldlasvegas.com

St Louis’ CityArchRiver Project Ready to Demolish Bridges to Construct New Park Over Highway

Joe Kleiman

June 4, 2014

St Louis’ CityArchRiver Project Ready to Demolish Bridges to Construct New Park Over Highway

The Missouri Department of Transportation will take a major step forward this weekend on the Park Over the Highway project. At 8:00 p.m. Friday, June 6, MoDOT will close all lanes of I-44 (formerly I-70) downtown between Broadway and the Poplar Street Bridge.

The closure will allow crews to demolish the Market and Chestnut Street Bridges between the Old Courthouse and the Gateway Arch. The bridges will be replaced by the Park Over the Highway. Later this summer the interstate will close again, allowing crews to install structural steel girders across the highway to support the park.

The highway will reopen to traffic by 5:00 a.m. Monday morning, June 8.

You can view the ongoing construction on the Park Over the Highway and the rest of the CityArchRiver project from the web cameras at: www.cityarchriver.org/construction/webcam.

CityArchRiver 2015 will make the Arch easier and safer for everyone to experience by connecting, invigorating and expanding the park’s grounds and museums.

Designed by world-renowned landscape architecture firm Michael Van Valkenburgh Associates, CityArchRiver 2015 connects the Gateway Arch grounds with the East and West riverfronts and the region. Through the creation of new spaces for events and public education, expanded museum space, additional park acreage and bicycle trails, children’s play areas, performance venues and a lively, invigorated riverfront, locals and tourists alike will find new opportunities to learn, linger and enjoy one of the world’s most recognized icons.

CityArchRiver 2015 offers the people and institutions who support the St. Louis region a once-in-a-lifetime opportunity to invigorate the jewel of St. Louis and make the Gateway Arch a destination of choice for the young and the old, those near and far, for generations to come.

The design starts with a new, dramatic Park Over the Highway that will, for the first time, allow visitors to walk from the Old Courthouse to the Arch grounds to the riverfront on one continuous greenway, without a curb or stair step in their way. With your support, the CityArchRiver 2015 project will have a lasting impact on the economic, social, environmental, recreational and educational fabric of the entire bi-state metropolitan region.

www.cityarchriver.org

USC School of Cinematic Arts Receives Donation of Complete IMAX Theatre System

Joe Kleiman

June 4, 2014

USC School of Cinematic Arts Receives Donation of Complete IMAX Theatre System

[quote]The students’ exploration of IMAX filmmaking and immersive storytelling will push the boundaries of the medium, creating experiences we cannot even imagine yet.” — Robert Zemeckis[/quote]

Los Angeles, CA, USA (June 4, 2014) — IMAX Corporation today announced the donation of an IMAX theatre system to the University of Southern California’s (USC) School of Cinematic Arts. The theatre, which is the first teaching lab of its kind in a collegiate setting, will be installed in a new auditorium donated by Michelle and Kevin Douglas, IMAX’s largest shareholders, at the USC School of Cinematic Arts’ Robert Zemeckis Center for Digital Arts—a 35,000-square-foot, fully digital training center. The Michelle and Kevin Douglas IMAX Theatre and Immersive Media Lab will serve as a research facility and teaching facility for students to learn IMAX filmmaking as well as other immersive entertainment experiences including location-based entertainment and multi-player game design.

“IMAX has been a cinematic innovator since its inception more than 45 years ago,” said IMAX CEO Richard L. Gelfond. “We take our commitment to the future of entertainment very seriously and believe that through this gift we can help educate future filmmakers of the world on how to use technology to express their vision in new ways. The Lab will also give students the opportunity to learn about the latest innovations filmmaking, set design, sound and post-production. We are honored to be a part of Zemeckis Center, a world-class, state-of-the-art learning facility and it is our hope that the USC IMAX Lab will help expand every student’s creative potential.”

“Our partnership with IMAX and Michelle and Kevin Douglas is an incredible leap forward in offering students the most cutting edge storytelling technologies,” said alum Robert Zemeckis.

The Robert Zemeckis Center for Digital Arts is the brainchild of legendary filmmaker and USC alumnus Robert Zemeckis. The Center is the result of an unprecedented collaboration of studios, agencies, corporations and individual leaders throughout the entertainment community. The addition of The Michelle and Kevin Douglas IMAX Theatre continues this legacy of collaboration and supports Center’s mission to educate and inspire the next generation of filmmakers and digital artists.

“Our partnership with IMAX and Michelle and Kevin Douglas is critical to the School’s efforts in advancing the field of IMAX filmmaking,” said Elizabeth M. Daley, the Dean of the USC School of Cinematic Arts. “This gift is not only transformative for the research efforts of the School but, more importantly, puts the cutting-edge immersive storytelling and virtual production tools in our students’ hands.”

“IMAX has remained committed over the years to building strong relationships with today’s leading and most cutting-edge filmmakers. We’ve established a mutual trust that has enabled us to become a part of the creative process, in ways that allow many filmmakers to design their movies with IMAX in mind,” said Greg Foster, Senior Executive Vice President, IMAX Corp. and CEO of IMAX Entertainment. “We are honored to be a part of the USC School of Cinematic Arts in providing the filmmakers of tomorrow a hands-on learning opportunity with the IMAX medium and inspire them to follow in the footsteps of today’s most acclaimed filmmakers.”

www.imax.com

TPG. Everything but the creative. Really.

Martin Palicki

June 4, 2014

TPG. Everything but the creative. Really.

Building relationships and teams on Asian projects by Judith Rubin

“The sand between the rocks”

Since Bob Chambers and Edward Marks officially formed The Producers Group LLC (TPG) 3 years ago and began announcing their services, one of their biggest challenges has been clarifying their role to the industry. Self-described as “International Attraction Development & Production Specialists” and even using the tagline “Everything but the Creative,” TPG has worked hard to get the message out that the company is calibrated to play a critical role in supporting creative design – not supplanting it. TPG’s versatile, “sand between the rocks” (as Marks calls it) support to creatives seems to be a particularly good fit for working in the booming Asian market, where major new players are emerging with very different outlooks, backgrounds and development strategies from traditional Western operators. Design companies with which TPG has collaborated, or currently collaborates, include Renaissance Entertainment LLC, RHETROACTIVE, RGH, Rethink and Nextep.

The collaborative team model

Effective teambuilding is key to being a successful owner and buyer of themed entertainment services today, according to TPG co-CEO Bob Chambers. “Understand and make the best of the team approach to these kinds of projects, so you can put together the right team in the right way,” he says. “The members of the team need to have complementary skills and specialties so that all bases are covered, and a good working relationship so that they can solve problems and meet challenges together. This is the best way to build a unique project that has never been built before and yet will operate robustly, 24/7, year round.” “It’s a well-known model in the movie industry to form project-based groups, to staff up and down from one job to another,” comments Jon Binkowski, CEO/Creative Director of Renaissance Entertainment, which recently called on TPG to help serve their client, Guangdong Chimelong Group, under the leadership of Mr. Su Zhigang, creating four attractions for the new Chimelong Ocean Kingdom.

Lisa Tsang, Former Deputy General Manager, Themepark Entertainment of the Chimelong Group

“I worked closely with The Producers Group in the various phases leading to the opening of the Chimelong Ocean Kingdom. Chimelong has the vision to develop parks within China along international standards and we believe this project will be recognized as having set a new bar. During the pre-production of the Chimelong Ocean Kingdom project, TPG was involved in determining the technical configuration of our various theaters, from the initial concept design to pre-production, choice of brand/models, down to actual production including Testing & Commissioning. TPG was depended upon to provide their expert opinion and share their specialized talent to help realize our goals. Inevitably, from the design phase to actual realization of the concepts, there are gaps to be filled. TPG engaged with our team to troubleshoot and get to the bottom of all queries, understanding the limitations and opportunities and coming up with solutions that were a happy medium for all. In the field, despite differences in both languages and processes,TPG worked closely, tirelessly and diligently with the field techs to reach the goals set forth. It is no easy task, as far more obstacles arise in the field than one can imagine. However, with determination and uncompromising effort for excellence, the TPG team was able to deliver what was promised.”

“In the 1990s there were numerous one-stop-shop type companies in themed entertainment. Firms had 25, 50 or even 100 people on staff,” explains Binkowski. “Even ours did. Tough economic times make it hard to support a big company, and that’s one reason the model has evolved, but in fact it’s simply an efficient, enjoyable and effective way to work and I think that’s why it is a defining approach to projects in our industry. We rely on good partners such as The Producers Group to fill in certain gaps. They complement us extremely well. We have seen over the past several years that this is a very effective way for us to operate – we are often called on to perform as extensions of teams for large operators, working with their in-house teams.”

A happy organization

“Surround yourself with people you trust and genuinely like to see every day, and you will have a happy organization,” says Lisa Smith, President, Renaissance Entertainment. “We can bring in the best and brightest people available as needed, while keeping our core company small. It allows us to be very picky about the projects that we work on and to be personally involved in each project and to uphold our standards. We have very high standards. The Producers Group comes in as this calm, qualified presence – and greatly extends what we can do as part of the key team managing the project.” Chimelong Ocean Kingdom grand-opened in March on Hengqin Island in Guangzhou, China. Renaissance provided concept design and art direction, and subcontracted TPG 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 multimedia spectacular around the lake with a simulated volcano, fireballs, stunts, water and theatrical lighting.

L to R: Alan Stein , HOK; Lynn Lin, Renaissance Entertainment; Lisa Enos-Smith, Renaissance Entertainment; Edward Marks, TPG; Lisa Tsang, Chimelong Ocean Kingdom; Jon Binkowski, Renaissance Entertainment; Stephen DeWoody, Renaissance Entertainment; Joannie Lau, Chimelong Ocean Kingdom Photo courtesy of TPG. — L to R: Alan Stein , HOK; Lynn Lin, Renaissance Entertainment; Lisa Enos-Smith, Renaissance Entertainment; Edward Marks, TPG; Lisa Tsang, Chimelong Ocean Kingdom; Jon Binkowski, Renaissance Entertainment; Stephen DeWoody, Renaissance Entertainment; Joannie Lau, Chimelong Ocean Kingdom
Photo courtesy of TPG.

“We had subcontracted a lot of different vendors for various disciplines,” says Binkowski. “TPG has a broad understanding of all those trades and could look over our shoulder to help coordinate things. They are very tech-minded but can think with both sides of the brain. They have respect for the creative aspect. Ed’s background as a lighting designer is particularly helpful in that regard.”

“We did project management and a little tech management prior to field work,” says TPG co-CEO Edward Marks. “Renaissance on their own didn’t have enough people to go into the field to support the technical documentation required. They usually outsource that – so we became that ‘staff.’ Our focus is on budget, process, schedule, management, the org chart – basically, the project structure and how to get it done. We get into the minutiae.”

Steve Trowbridge, Principal RHETROACTIVE

“My partner Tim Rheault and I have a long relationship with The Producers Group, dating back to the 1990s when we crossed paths on a variety of projects and at several companies including Six Flags and Landmark Entertainment. Recently, we have collaborated on a couple of RFP opportunities that have come our way. In a word, we need these guys to make us stronger. What TPG does is entirely complementary to what we do. And we expect it to make us very strong as we bid for work, especially in tandem with the joint venture RHETROACTIVE recently entered into with the Hong Kong-based architecture firm, LWK & Partners.

The project creation process is very complex and technical, and that’s why you bring in people like Ed and Bob, the same way you bring in architects of record, feasibility specialists, structural engineers and MEP consultants. As a creative designer, I will have a vision of how we can stimulate all 5 senses, but we have to figure out in a practical sense how to realize the vision, and how to do it without breaking the fourth wall. That’s what tech designers and tech management consultants can do for us: help realize those creative dreams that are within reach but not immediately solvable. That’s how new things are invented, how cool stuff happens, how we create magic in our industry. Working with artisans like TPG, we know we can come up with something to pitch that is cool and is also practical, buildable and on brand. If you are talking to a developer who is serious about a project at the right place and time, and you can have a practical conversation based on resources you have available, it can be incredibly useful. Don’t let it dictate design, but make a case for your client, reassuring them, showing them you are on solid ground.

Having confidence in the practicality of an idea can also occasionally justify how a client could spend more than they originally thought. Budgets and information can be incredibly liberating. If you have the data, knowledge is power, and now we can bring a competitive toolset and team to a wide variety of visitor experiences. It’s a fact that developers in China are looking for entertainment teams, because planning for an entertainment component is a requirement of being able to move forward in a land deal. But there are ways to effectively integrate theming and entertainment to strengthen the overall placemaking and make it distinctive. That could take the form of a separate, gated park on the property, or it could be something else. Either way, we’re ready.”

East-West exchange

As Asia comes into its own as an entertainment giant, there is a continuous exchange of information and professional work culture between East and West. “In China, a lot of projects are starting from the ground up and integrating all these new technologies,” says Smith. “There’s a lot of learning going on. You have to understand how construction is done there so you can work with it, but you also have to be in a teaching role. The Producers Group helped facilitate some very productive dialog.”

Binkowski shares an example of that dynamic coming into play. “Doing some research in China on behalf of a client, TPG went with us to see a particular fountain system. It had an enormous control system in the bowels of the complex. Bob and Ed are able to look at these things and decode them. They opened a friendly conversation with the techs there and pretty soon we were all down there learning how the fountain worked, and Bob and Ed were giving them tips about how to improve maintenance. Their attention to detail never wavers. While on the job, working through a translator, they’ll go over tedious points as often as needed, and throw in a joke every once in a while. They are inspiring, have genuine enthusiasm and all the skills to go with it.”

Working on the nighttime spectacular at Chimelong, Marks and Chambers wanted a first-hand, bird’s-eye perspective of what the entire lagoon looked like. “Tech companies tend to be kind of button-down, but these guys are kind of nuts – you know, in a good way,” says Binkowski. “They came up with the idea of climbing to the top of the giant whale shark icon. It’s 63 meters high – it felt like we were climbing the Statue of Liberty. So we all [Binkowski, Smith, Chambers, Marks, Judd Nissen of TPG and Lisa Tsang formerly of Chimelong Group] put on harnesses and found our way up this giant thing. It was worth it. Once we were up there, we saw they were right – this was a good way to gain a strong sense of the whole site that helped us appreciate what we were trying to do. It was better than just looking at a plan.”

Dream relationship

“We really liked the Chinese, and our experience with Chimelong,” remarks Smith. “Like us, they want action and excitement and things to blow up. They’re not afraid to use color. Their theming is equal to anything that is out there. They tend to work more in concrete and steel, but their rock work and their finishes are fantastic. And they have exacting standards. Consulting on the whale shark was an interesting case in point. They commissioned upwards of 150 concepts, some of which we provided. We found out some interesting cultural things in the process. One design was with the head on the bottom and the tail on the top. On the basis of wind load structural capacity, it was very functional. But from a feng shui perspective, it was a no-no…. Mr. Su is a visionary. He really wants to have new, original creations for his company, and takes great pride in it. For a creative company like ours, it’s a dream relationship.”

“TPG supports our bond with the client, and their solid track record in Asia has been very helpful,” adds Binkowski. “Whether crawling around under fountains or climbing up whale sculptures, wearing hard hats and problem-solving in the field, or wearing suits and conducting business in the boardroom, they’re valuable and versatile. Lisa and I, and Bob and Ed all have experience working for some of the biggest operators in the business, in addition to being service providers. Having similar histories and philosophies makes for a very comfortable working relationship. They were motivated to make us look good, and we were both motivated to make the client look good.” • • •

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InPark MagazineServing the themed entertainment industry

InPark MagazineServing the themed entertainment industry

InPark MagazineServing the themed entertainment industry

Dragons Gone Wild

Phil Hettema, The Hettema Group

What was your brief from the park for Dragons Wild Shooting?

Do you know of any other dark rides with such a theme?

What were the challenges of installation?

What, for you, is the best part of the ride?

How does the interactive element enhance the ride experience?

What demographic is this attraction targeted to?

What really made this project successful?

Benoit Cornet, Alterface Projects

Can you detail what your role was in creating the attraction?

Tell us more about the custom system your company developed.

What do you think makes Dragon Wild Shooting a unique attraction?

What are some of the challenges you successfully overcame in developing your work on the project?

Project Profile: Chimelong Ocean Kingdom

Franceen Gonzales: It’s About Caring

World’s Tallest Coaster to Encircle Orlando I-Drive’s Tallest Tower

Safety in Numbers

Newest Hershey’s Chocolate World Opens at Sweet Spot on Vegas Strip

Madame Tussauds Beijing Becomes Merlin’s First Attraction in China’s Capital

St Louis’ CityArchRiver Project Ready to Demolish Bridges to Construct New Park Over Highway

USC School of Cinematic Arts Receives Donation of Complete IMAX Theatre System

TPG. Everything but the creative. Really.

InPark MagazineServing the themed entertainment industry