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IPM talks to SFGAm Park President Hank Salemi on riding coasters backwards

InPark Magazine spoke with Six Flags Great America Park President Hank Salemi on the park’s interesting promotion of running select roller coasters backwards for a limited time this season. The park started with Batman The Ride Backwards at the start of the season. This marked the first time an inverted coaster (and incidentally, the first one ever built) operated with guests riding faced backwards.

Where did the idea come from to run coasters backwards that typically haven’t been run that way?

We are always looking for unique and innovative ways to give our guests a new ride experience. Our team of engineers came up with this fantastic idea of taking the BATMAN The Ride rollercoaster, the first of its kind in the world, and running it in reverse to again become the first of its kind to go backwards.

Hank Salemi, Park President of Six Flags Great America
Hank Salemi, Park President of Six Flags Great America

Why did you decide to “change out” which ride was running backwards throughout the season?

We wanted to give our guests an opportunity to visit the park several times over the course of the season to experience all three [editor’s note: Viper is currently running backwards, and one side of The American Eagle will be set to run backwards later this season], we also didn’t want to take away the traditional ride experience from all of these attractions at the same time.

What were some of the challenges you had to overcome with turning Batman around?

One of the biggest challenges was determining if this was a ride experience people would be interested in. We did some testing late last season where we had members of our staff experience the attraction both forward and backward, we then had them fill out surveys which compared the two experiences. Ultimately we determined this would be something our guests would love!

Is this a promotion you would like to continue in the future?

There is no doubt we will continue to look at opportunities for us to offer an innovative new ride experience on some of our classic rides and attractions.

ViperBackwards_KeyartHave you found it has positively impacted repeat attendance so far?

Absolutely, offering a backward ride experience for a limited time has made our season more dynamic, giving our guests a reason to visit more than once throughout the course of our season.

 

Related Stories/Media

Video of Batman backwards

Photos of Batman backwards

Batman backwards announcement

 

 

IMAX Files Suit Claiming Use of Trade Secrets

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By Joe Kleiman, InPark News Editor

In a complaint filed June 26, 2013 in the United States District Court, Central District of California, IMAX alleges that defendants China-based GDC technologies, a digital cinema hardware provider, and two of its subsidiaries have committed “illegal commercial exploitation of IMAX’s trade secret large format digital theatre projection system and film conversion technologies.”

GDC is owned by an international consortium, led by US investment firm Carlyle Group.  On May 22, 2013, GDC filed a registration statement with the United States Securities and Exchange Commission to issue an initial public offering of stock on the NASDAQ exchange with a projected value of US$75 million.

In that filing, GDC states, “We . . . recently became the exclusive reseller and licensee of China Film Giant Screen systems in Asia (excluding China) and a non-exclusive reseller and licensee in the rest of the world.  We expect to derive revenue from initial equipment sales and box office revenue for movies in China Film Giant Screen format beginning in the second half of 2013 or in 2014 . . . Furthermore, we have been selected by the China Film Group, the largest film distributor in China, to provide film mastering and exhibition technologies for the China Film Giant Screen format . . . We have already installed 24 screens in China as of March 31, 2013. We expect to derive revenue both from initial equipment sales and box office revenue for movies in China Film Giant Screen format.”

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In its court filing, IMAX claims that “Former IMAX employee, Gary Tsui, stole . . .  proprietary technology from IMAX, then surreptitiously provided it to film companies in China, including a company now called China Giant Screen, for which he is the ‘chief engineer.’ China Giant Screen uses IMAX’s trade secrets under the name ‘China Film Giant Screen’ (‘CFGS’).”

According to the complaint: “The illegal activities at issue here began several years ago. In 2009, IMAX discovered that Tsui had stolen its proprietary and trade secret information relating to IMAX’s core projection and conversion technologies, including software source code. While employed by IMAX, but unbeknownst to it, Tsui formed his own company in competition with IMAX, and used IMAX’s trade secrets to compete against – and beat out – IMAX on a bid for a significant project in China.

“Following Tsui’s trail from Ontario, Canada to Beijing, China (and now to Los Angeles), IMAX conducted its own investigation into Tsui’s activities and, after finding incriminating information, IMAX initiated lawsuits against Tsui in both Canada and China. Through those suits, IMAX uncovered voluminous, conclusive proof of Tsui’s retention and theft of IMAX’s confidential and proprietary trade secrets, including CDs containing the source code for IMAX’s 2D/3D conversion process and re-mastering technology, as well as the repeated use of IMAX’s trade secrets to form companies in Canada and China in direct competition with IMAX.”

China Film Giant Screen was introduced under the name DMAX, a joint venture between China Research Institute of Film Science & Technology and China Film Co., Ltd, neither of which are named as defendants in the suit.  Although Tsui is also not listed as a defendant, IMAX notes previous legal actions regarding him in the court documentation: “Based on . . . evidence, IMAX has obtained extraordinary relief from two foreign tribunals, including a rarely granted, multi-site search and seizure order, a contempt order, and ultimately an arrest warrant issued by the Canadian court, and a broad search and seizure order issued by the Beijing court and executed by several Chinese judges.  Tsui remains an international fugitive . . . ”

READ THE FULL COURT FILING HERE (PDF): 

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Restored 172-Year Old Whaling Ship Returns to Water at Mystic Seaport Museum

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Mystic, CT, USA (July 21, 2013) — After a nearly five-year restoration in the Henry B. duPont Preservation Shipyard at Mystic Seaport, the 1841 whaleship Charles W. Morgan was launched into the waters of the Mystic River today. The ship, a National Historic Landmark and America’s oldest commercial vessel, was carefully lowered into the water in a public ceremony to float on her own bottom for the first time since 2008.

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The ship was christened by Sarah Bullard, the great-great-great granddaughter of Charles Waln Morgan, one of the original owners of the ship and the man after which she was named. The bottle Bullard broke across the bow was filled with waters from the oceans over which the vessel sailed during her 80-year whaling career. Samples were gathered from the North and South Atlantic, the Pacific, and Indian Oceans. Water from New Bedford and Mystic were added to represent her original and current homeports.

“This launch is a milestone in the life of this great ship,” said Steve White, president of Mystic Seaport. “Today she turns 172-years-old and we hope this restoration will help preserve her for another 172, so that future generations will be able to walk her decks and hear her tell the important story of our nation’s shared maritime heritage.”

He added, “This moment is a testament to the skill and knowledge of the shipwrights without whose hard work and dedication this day would not be possible.”

Present at the celebration were numerous dignitaries: Gov. Dannel P. Malloy (D-Conn.) took the occasion to announce a $500,000 contribution by the State of Connecticut to the ship’s restoration. U.S. Sen. Richard Blumenthal (D-Conn.) read the text of a U.S. Senate Resolution passed last week commemorating the Morgan’s launch and bestowing upon her the honor of “Ambassador to the Whales.” The resolution supports the plan of Mystic Seaport to “reinterpret the Charles W. Morgan as a vessel of scientific and educational exploration whose cargo is knowledge and whose mission is to promote awareness of the maritime heritage of the United States and the conservation of the species the Morgan hunted.”

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Describing the ship as “an ambassador from a crucial moment in American history,” Filmmaker Ric Burns said in his keynote address, “This one ship has embodied, made possible, made real and brought alive the experience of whaling as no other single artifact on the planet.”

The restoration of the ship began when she was hauled out of the water in November 2008. The focus of the project was to address the hull below the waterline, the majority of which dated to the ship’s original construction. The final phase that begins now will involve rigging, restoring her interior, and installing temporary systems necessary to take her back to sea for a ceremonial 38th Voyage in late May 2014 (the ship completed 37 voyages during her whaling career).

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The 38th Voyage will take the Morgan to historic ports of New England. After a period of fitting out and sea trials based in New London, the ship will sail to Newport, Vineyard Haven, New Bedford, and Boston. She will also venture onto the Stellwagen Bank National Marine Sanctuary in partnership with the National Oceanic and Atmospheric Administration, and she will participate in the centennial celebration of the opening of the Cape Cod Canal. The Voyage will be a commemoration of the role of the sea in the history of America and an appreciation of our changing relationship with the natural world.

The Morgan will continue to be open to visitors at Mystic Seaport while the restoration continues.

Universal Becomes Newest Chain to Partner with Coke For a Decade

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Orlando, FL and Universal City, CA, USA /PRNewswire/ — Universal Parks & Resorts and The Coca-Cola Company have announced a new, ten-year marketing partnership in the U.S., extending an ongoing relationship established in 1999.

“We are pleased to continue and expand this long-standing relationship with Coca-Cola,” said Stephanie Testa, Senior Vice President of Corporate Alliances, Universal Parks & Resorts. “The two brands are respected globally for world-class value and service, making them a complementary brand fit.”

Under the new agreement, Coca-Cola continues its designation as Official Soft Drink of Universal Studios Hollywood, Universal CityWalk Hollywood and Universal Orlando Resort – including Universal Studios Florida, Universal’s Islands of Adventure and Universal CityWalk Orlando.  The new agreement also expands to include Official Sports and Energy Drinks and Teas and designates Minute Maid as Official Juice of the North American parks.

“We are very happy to continue to refresh guests with a variety of delicious and refreshing Coca-Cola products at Universal Parks and Resorts,” said Stefanie Miller, Group Vice President of Strategic Partnership Marketing, Coca-Cola Refreshments. “We look forward to leveraging our brands, our programs and marketing insights to create unique experiences for consumers.”

Cross-brand promotional plans targeted to guests include inside and outside theme park marketing programs, supported broadcast media advertising and on-package and on-can programs. Coca-Cola will also continue to support annual Halloween Horror Nights promotions at both Universal Studios Hollywood and Universal Orlando Resort.

www.universalstudios.com

OTHER RECENT DECADE LONG DEALS BETWEEN COCA-COLA AND THEME PARK OPERATORS:

SeaWorld/Busch Gardens

Six Flags

Cedar Fair

Trio of Incidents Close Attractions at Six Flags, Cedar Fair, and Merlin Parks

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by Joe Kleiman, InPark News Editor

(July 22, 2013) — Over the weekend, four major theme park rides were closed indefinitely.  Two of the rides were closed after accidents occurred – one fatal – while the other two closures were precautionary in measure.

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On Friday, July 19, a boat on Shoot the Rapids at Cedar Point, Ohio rolled backwards down the lift hill and flipped over, trapping its seven passengers.  According to spectators, bystanders assisted in lifting the boat, allowing those trapped underneath to surface.  All seven passengers were reported to have only minor injuries.  Shoot the Rapids, an Intamin Spillwater, remains closed while state investigators determine the cause of the accident.

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Also on Friday,  a 52-year old woman was flung from The New Texas Giant at Six Flags Over Texas in Arlington.  The coroner listed her cause of death as “multiple traumatic injuries due to fall from roller coaster.”  Texas Giant, one of the world’s tallest, fastest coasters, and manufactured by Dinn Corporation, opened in 1990.  It reopened in 2011 sporting modifcations, including 95 degree banked turns, designed by Rocky Mountain Coasters.  The Arlington police department has handed over the investigation of the incident to an internal Six Flags team working in conjunction with a team from Gerstlauer, which manufactured the ride vehicles for The New Texas Giant.  The ride remains closed indefinitely.

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Also closed, as a precautionary measure, is the Iron Rattler at Six Flags Fiesta Texas in San Antoino.  The rebuilt wooden coaster from Rocky Mountain, also features overbanked turns and a 360 degree barrel roll.   Ride vehicles for the Iron Rattler are also manufactured by Gerstlauer.

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In the UK, Alton Towers Resort on Sunday, July 21, closed The Smiler, the new record-breaking 14-inversion coaster manufactured by Gerstlauer after witnesses in line heard something metallic fall from the structure.  One witness told the Express and Star: “We turned around and there was a metal bar not even a metre away on the floor behind us.  It was just under 1ft long and about two inches thick.”  Numerous photographs of a visible gap in the track were posted to twitter.

According to park spokeswoman Elizabeth West: “Yesterday morning, in line with our standard procedures, Alton Towers Resort closed The Smiler to investigate a small piece of debris that had allegedly fallen from the track.  At no time was any visitor at any risk, and 48 guests on the ride at the time were safely disembarked. As the health and safety of our guests is our primary concern, the ride will remain closed whilst the resort’s technical teams investigate.”

PHOTO CREDITS (Top to Bottom):

  • Iron Rattler under construction, Six Flags Fiesta Texas (courtesy Six Flags)
  • The New Texas Giant at night, Six Flags Over Texas (courtesy Six Flags)
  • Shoot the Rapids, Cedar Point (courtesy Cedar Fair)
  • Coaster train entering overbanked curve on The New Texas Giant, Six Flags Over Texas (courtesy Six Flags)
  • New Texas Giant train on display prior to ride opening, Six Flags Over Texas (courtesy Six Flags)
  • The Smiler, Alton Towers Resort (courtesy Merlin Entertainments)

Cinnabar Helps Natural History Museum of Los Angeles County Tell Five Centuries of Region’s History

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Los Angeles, CA, USA (July 19, 2013) — Cinnabar California, Inc. is proud to announce Becoming Los Angeles, a new, 14,000-square-foot, permanent exhibition, which opened on July 14 at the Natural History Museum of Los Angeles County (NHM).

This stunning exhibition marks the second major project between the Natural History Museum and Cinnabar. In 2010, Cinnabar collaborated with the Museum during the design phase, produced and installed Age of Mammals, a 7,400-square-foot permanent exhibit that traces the evolution of mammals and mammal diversity over the last 65 million years. For Becoming Los Angeles, Cinnabar again worked closely with the NHM team to design-build, fabricate, and install all of the exhibit elements over a 25-month period.

Becoming Los Angeles explores the growth of Los Angeles over the course of five centuries, illustrating the interconnection of the city’s ecological and cultural histories. It brings LA history to life through compelling stories and ancient and historic artifacts — objects made and used by Native Americans, colonists, and settlers; rancheros, citrus growers and oil barons; captains of industry, boosters, and radicals; filmmakers, innovators, and more. It also features visitor-activated multi-media installations and moments, including an interactive scale model of downtown L.A. in the 1930s. This exhibition, installed in a suite of four adjacent galleries in NHM’s newly renovated 1913 and 1920s buildings, is the largest in the Museum.

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The close level of collaboration between Cinnabar and NHM involved in the creation of the exhibition is rarely seen in the museum world. From a project management stand point, Becoming Los Angeleswas exceptional. It incorporated a substantial amount of early and proactive prototyping, which allowed for considerable dexterity, flexibility, creative approaches & solutions to building, and out of the box thinking along the way. As part of that process, a four-member design team from NHM was embedded in Cinnabar’s production facilities for five months during design-build work, in order to maintain constant dialogue and streamline the design & fabrication process.

This process included the technical challenge of fabricating a sweeping overhead steel canopy that flows through all the halls of the show, tying the exhibits together and emphasizing important turn of events in Los Angeles’s history. The canopy is a narrative component that weaves through the exhibit, acting as a chorus element and reinforcing the modern approach to displaying artifacts and content.  Designed as a series of uninterrupted fluid gestures, the 3,000 square foot canopy is actually composed of close to 4,500 feet of narrow steel ribs, ceiling hung from 244 stainless steel cables and assembled in sections that were required to fit through a space no larger than a pair of standard interior doors. The structure and its rigging methods is an unprecedented accomplishment in Los Angeles County, the first of its kind to be permitted.

To achieve this task, Cinnabar joined forces with structural engineering firm BURO HAPPOLD to develop fabrication strategies that allowed pre-assembly of all the components of the canopy in our shop before paint finishing and transportation to the museum. Buro Happold made use of complex 3-D modeling software to refine the geometry of the canopy into a series of curved pieces that could be efficiently produced from the lightest possible steel sheet that would also meet seismic performance requirements.

Translating the canopy’s flowing design into digital fabrication files, required Cinnabar and Buro Happold to find solutions to integrating 1,264 mechanical splice connections, 241 welded structural support members and complex rigging assemblies.   Having Cinnabar, a design-build firm, involved in the process from the early stages ensured an efficient production stream between NHM designers and the structural engineers.  Our role was not only to manage the production of the canopy, but to participate in larger discussions about how it would integrate within the space of the exhibit.  Cinnabar was a nexus for all the components of the puzzle to be assembled.  The fabrication was carefully planned in overlapping production phases from weld assembly, finishing and installation. The process took Cinnabar only nine months from receipt of the first waterjet metal rib section to the last cable connection into the ceiling of the museum.

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Becoming Los Angeles also required high quality, beautifully engineered glass and steel display cases. For this, Cinnabar worked with the renowned case company—and Cinnabar Alliance Partner—GLASBAU HAHN, from Frankfurt, Germany.  Becoming Los Angeles contains over 40 cases, with custom-built interiors, containing hundreds of rare objects and artifacts such as a taxidermy cow or Walt Disney’s animation stand. These objects called for large and structurally reinforced display cases and platforms. These cases are notable for their exceptional size and unusual shapes. They required large hinged doors made of glass, concealed hardware, as well as the challenge of achieving cantilevered displays of up to 1 meter (3.2 feet) that were primarily all glass construction. In order to house a large-scale model of Los Angeles in a conserved environment, Glasbau Hahn designed & built a 3×4 meter (10’ x 13’ foot)  horizontal glass case with an integrated sliding platform mechanism allowing access to the entire model for care and maintenance.

Cinnabar hired lighting designers FIRST CIRCLE DESIGN, LLC to work with the design and fabrication team and to create Becoming Los Angeles’ dramatic lighting design. First Circle is a full-service lighting design consultancy firm located in Newport Beach, CA, specializing in lighting design for unique and signature structures and environments utilizing LED and energy efficient technologies.

As the lighting design team for the award winning Age of Mammals exhibit next door, First Circle was up for the challenge to create a unique and trend-setting exhibit that would exemplify story telling. With the use of 100% LED technology First Circle designed a flexible system that supported the Spanish Mission Era’s candle warmth feeling, to the early 20th century’s enriched colors, bringing forth a layer of visual communication connecting the visitor to each moment. Cinnabar and First Circle have previously collaborated on many projects, including the California Academy of Sciences in San Francisco.

Cinnabar contracted and managed many sub-contractors, some of the best in the industry, many of whom Cinnabar has  collaborated with closely in the past. Audio-visual systems company BBI Engineering out of San Francisco and Ely, Inc., mount makers, provided the exhibit with outstanding levels of service and collaboration. Becoming Los Angeles also features interactive storytelling components from award-winning SECOND STORY studios out of Portland, Oregon, and overall graphic design by Los Angeles firm ADAMS MORIOKA.

http://cinnabar.com

Calgary Zoo to Reopen July 31 After Recovering From Devastating Flooding

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Calgary, AB, Canada — Despite devastating flooding that caused extensive damage to its operations, the Calgary Zoo has announced that it continues to deliver world-class animal care and will proudly reopen its doors to the public starting July 31.

“We know it is important to Calgary families, to our city’s tourism industry and to the spirit of our community that the Calgary Zoo reopens as quickly as possible,” said Dr. Clément Lanthier, zoo president and CEO. “We will reopen and we will rebuild this wonderful zoo.”

The north part of the zoo will be the first section to reopen on July 31. This includes Penguin Plunge, Prehistoric Park and Canadian Wilds.

“The penguins have remained wildly popular since Penguin Plunge opened in 2012 so we know many people will continue to visit that wonderful exhibit,” says Lanthier. “For many tourists, getting up close to the species in Canadian Wilds is the most unique part of their visit, and we know Calgary families love to bring their children to explore Prehistoric Park.”

“We will work harder than ever to connect people with nature and the animals which share our planet. We will deliver a guest experience that is just as inspiring as ever.”

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Flood waters surged over most of the zoo’s 32-acre island and parts of Canadian Wilds on the zoo’s north shore, damaging animal enclosures and botanical exhibits as well as 40 buildings. Among the buildings severely damaged were African Savannah, ENMAX Conservatory, Kitamba Café, commissary/kitchen facilities, concession shops, the Centre for Conservation Research,administrative and security offices, and the zoo’s maintenance shop. The preliminary estimate for damage to land and buildings is $50 million.

Restoration is already underway and while some sections may open in early fall, Lanthier says the zoo will not be able to resume full operations until late November. “The impact of the flood on our operation is staggering because we generate almost half our total revenue in July and August,” says Lanthier. “So in addition to damage to land and property, we will have a $10 million shortfall in revenue during the restoration period that we will not recover. In fact, we will lose $5 million in revenue in July alone. For a not-for-profit charity, this is a major blow. We are hoping Calgarians will continue to support their zoo as they have for 84 years, by visiting, buying memberships and making donations.”

Of great concern is the ongoing care for the zoo’s 1,000 animals. With flood waters rising rapidly on June 20, zoo employees worked feverishly to evacuate 160 animals to higher land. In the end, the only animals lost were four peacocks, a variety of fish and a pot-bellied pig. Most of the zoo’s animals will remain in their familiar homes throughout the restoration period; however, some animals have been temporarily relocated to the zoo’s Devonian Wildlife Conservation Centre outside Calgary and to other zoological institutions.

www.calgaryzoo.org

WhiteWater Crossbreeds a Boomerango with a Manta and Comes Up With an Iconic New Thrill Slide

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Richmond, BC, Canada (July 18, 2013) — WhiteWater delivers another original innovation by pairing two of the world’s two most thrilling waterslides at Nagashima Resort in Kuwana City, Japan.  This industry first is a fusion of the award-winning Family Boomerango and the all new Manta into one titan of a waterpark ride. Not just a powerhouse in ride experience, the mirror image Family Boomerango + Mantas that originate from the same tower set themselves apart by being among the most visually spectacular waterslides ever.  The unprecedented views at multiple platforms in the queue line will build anticipation and transform standing in line into an entertaining adventure.

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Already being hailed as the best waterpark ride on the planet, this iconic giant should be seen before being experienced; taking guests to the edge and keeping them there.  The journey begins with the classic sensation of rafting, leading into a screaming, velocity-building drop that launches riders up the famous Boomerango wall, making them feel like they are “going vertical” then weightless all the while getting a bird’s eye view of what is coming next.  They fall back while racing across a flat section propelling them right into the rushing waters of the Manta where maximum oscillations and a plunge to the finish will leave them breathless and eager to ride again and again.

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President and CEO, Geoff Chutter explains the value of this relationship, “WhiteWater is honored to have been chosen again by Nagashima Resort.  The execution of this project from concept to completion could never have been accomplished in such record time without the strong rapport that we have built during our continued partnership and numerous installations over the years.”

www.whitewaterwest.com

SEA LIFE Germany Enters the Guinness Book of World Records with World’s Longest Chain of Plastic Bags

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Timmendorfer Beach, Germany — SEA LIFE Germany created a chain of 10,615 plastic bags to make a new GUINNESS WORLD RECORD on the Baltic Sea and donated € 1,061.50 to the turtle sanctuary on Zakynthos in Greece.

Green sea turtles are usually up to 80 years old, unless they encounter a plastic bag during their lives. “Thousands of turtles die every year in the accidental consumption of plastic bags, which they mistake for jellyfish and it is precisely this danger we want to draw attention to,” said Sea Life spokeswoman Carina Zottl about the idea behind the world record attempt.

With a 4.217 km long chain of 10,615 plastic bags SEA LIFE Germany succeeded on Wednesday, July 17, 2013 to set a new world record, which was accomplished in the vicinity of Timmendorfer beach on the Baltic Sea before GUINNESS WORLD RECORDS  record Judge Eva Norroy.

Natasha Spreen, General Manager of SEA LIFE Timmendorfer beach accepted the certificate, proud about the double accomplishment. “We have not only set a world record, but above all took 10,615 old, used and found plastic bags out of circulation and donated the  pieces at 10 cents each for the turtle rescue on Zakynthos Unfortunately, there are just about as many bags, consumed in Germany per minute, but the message is still clear: garbage kills!’

Many Baltic tourists as well as actor Max Florian Hoppe, from the TV show, Küstenwache helped SEA LIFE by helping to tie bags, count, and get in position.

“All 10,615 bags are being recycled properly,” explained Natasha Spreen.

Mousetrappe provides cinematic components for Space Shuttle Atlantis experience

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Cape Canaveral, FL, USA — KENNEDY SPACE CENTER — Newly open at Kennedy Space Center Visitor Complex, Space Shuttle Atlantis is an attraction devoted entirely to NASA’s 30-year Space Shuttle Program and featuring an up-close viewing of the Atlantis orbiter. The creative team at Mousetrappe, led by Daren Ulmer (Mousetrappe President and Chief Creative) and including David Briggs, s.Logan Wince, and Adam Bezark of The Bezark Company, produced media that are a unique part of the visitor experience at the center’s new attraction.

The pre-show and main show use a combination of live-action reenactments, original historical footage, and computer-generated animation. The main show plays in an immersive architectural environment that surrounds the audience, transporting guests to the center of the action. It employs a super-high resolution 8K format (16 times the resolution of full HD television).

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Mousetrappe, a Burbank, Calif. based design & production studio, collaborated with Delaware North Companies Parks & Resorts, operators of Kennedy Space Center Visitor Complex for NASA, as well as PGAV Destinations and Nassal. “We begin every project by focusing on what the audience will be thinking, feeling, and saying as they exit the theater,” says Ulmer, “For this project that moment is the apex of the overall Space Shuttle Atlantis attraction experience – a chance to create context and peak the audience’s overall emotional connection with the experience.”

Daren Ulmer
Daren Ulmer

Ulmer added, “It was the often-untold part of the story that piqued our interest right away. We saw a story of aspiration, imagination, challenge, and ultimately, of human triumph—the stories of NASA engineers and personnel who dreamed of a reusable space transportation system and then brought that dream into existence with stunning success.” These stories were told partly through personal accounts from NASA all-stars such as Robert “Bob” Thompson (Space Shuttle Program Manager 1970-1981) Thomas L. Moser (Hdq. Dep. Assoc. Admin. & Director, retired) Space Station Program Mark Craig (NASA Account Manager), Ivy Hooks (Requirements Expert, NASA Johnson Space Center, retired) and others.

As Mousetrappe Senior Media Director David Briggs shared, “It is an honor to be part of this groundbreaking attraction during a crucial stage when we celebrate the accomplishments of Atlantis and her sister ships and look forward to what will come in the future.”

Experts in large format media design for shows and attractions, Mousetrappe has also created experiences on 180’ tall castles at theme parks and 4D cinematic experiences such as Beyond All Boundaries with Executive Producer Tom Hanks at the National World War II Museum in New Orleans.

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Culver City, CA-based House of Salt created animation for the 6-minute preshow.   House Of Salt Creative Director Eric Fulford states, “I love working with the Mousetrappe crew, they always have really unique, meaningful projects. Being part of the Space Shuttle Atlantis attraction was an opportunity to salute the incredible achievements of NASA’s 30-year space shuttle program.”

Kennedy Space Center Visitor Complex is located 45 minutes east of Orlando, Fla. Tickets can be purchased at www.kennedyspacecenter.com.

www.mousetrappe.com

www.houseofsalt.com