SINGAPORE (March 1, 2012) — “Universal Studios Singapore today debuted “the world’s first fully immersive Sesame Street indoor themed ride to be enjoyed by the whole family together,” taking guests on an outer space adventure with Elmo and friends.
Bringing one of the world’s longest-running and most beloved children’s television program to life, the indoor themed ride named Sesame Street Spaghetti Space Chase features a zany science-fiction inspired plot, coupled with signature Sesame Street comedic style and music. Guests onboard this high-flying adventure find themselves fully immersed in fun surroundings and special effects, alongside their favourite friends from Sesame Street.
Celebrating the launch of the ride, the park is hosting a special Sesame Street Carnival through March 3, 2013. New York Street has been transformed into an extension of Sesame Street, bringing park guests a weekend of fun and excitement. Highlights of the carnival include giant board games along the street, special carts offering Sesame Street items, as well as even more opportunities to catch the park’s Sesame Street shows and character meet-and-greets.
Dennis Gilbert, Senior Vice President of Attractions at Resorts World Sentosa said: “The launch of the Sesame Street shows at Universal Studios Singapore last year was a tremendous success. Elmo, Cookie Monster, Oscar and other loveable characters of Sesame Street have captivated the hearts and minds of our guests, testament to their popularity. We look forward to continuing the Sesame Street experience with the launch of this new ride, packing in even more fun and excitement for the whole family visiting the park.”
The ride features 12 characters from the Sesame Street repertoire, starring Super Grover and the Elmo, who turns into Super Elmo to help save the day. Kick-starting the story are three brand new characters, “Macaroni the Merciless” and his partners–in-crime, “Zester” and “Shredder”. Created exclusively for this ride, these “gluttonous” super villains are well underway in their plot to steal all spaghetti and noodles on Earth.
Guests are zipped off into the Sesame Street universe as they get enlisted, together with Elmo, to be Super Sidekicks of Super Grover, in an attempt to stop Macaroni the Merciless and return all stolen spaghetti and noodles to the children on Earth.
“The adventures never end with Sesame Street, and Universal Studios Singapore is extending the fun with Grover, Elmo and the rest of the Sesame friends,” said Mr. H. Melvin Ming, President and CEO, Sesame Workshop.
He added, “We’re thrilled to offer this new experience for the entire family as we continue to explore different channels to extend our reach, educating and entertaining children all over the world.”
Since May 2012, Big Bird and friends have called the New York zone home, with live shows taking place daily along New York Street. A new themed retail store – Big Bird’s Emporium – and a Sesame Street school bus with park-exclusive merchandise, have also made their way to the zone.
Completing the Sesame Street experience at Universal Studios Singapore, an all-new Sesame Street Character Breakfast at Loui’s NY Pizza Parlor has also been launched. Breakfast guests not only get to enjoy a premium breakfast buffet spread with their favourite Sesame Street friends, they will also be amongst the first to board Elmo’s rocket in Sesame Street Spaghetti Space Chase before the park opens.
Soon after the TEA was founded in 1991, Judy began writing articles about the fledgling Association and in the mid-1990’s, she set out on her own as a freelancer. She contributed a monthly column to IAAPA’s Funworld, and wrote for At-the-Park and Film Journal International. She was the themed entertainment editor for Entertainment Design magazine for several years. Eventually Judy teamed up with Marty Palicki, publisher of InPark Magazine, where she continues to work today as co-editor and continues to write for other trade magazines such as Lighting&Sound America and Sound & Communications.
In addition to her editorial work, Judy is a publicist, and over the years has worked directly with many companies, including TEA members SimEx-Iwerks, Mad Systems, Entertainment Design Corp., Cinnabar, JRA, Thorburn Associates and FUNA, among others.
InPark’s News Editor Joe Kleiman asked her five questions upon news of her selection for the award. Here’s what she had to say:
1. You’ve been a formative player in associations involving creativity and out-of-home experiences, such as the Large Format Cinema Association, IMERSA, and the TEA. Why are you attracted to this field?
Being an artist myself, I like to hang out with creative people. And I like to spread appreciation around. Associations often form because there’s something important going unappreciated or overlooked in a certain sector – that was certainly the case with each of the groups you mentioned. LFCA strengthened the voice of the producers and vendors in the special venue cinema industry; IMERSA focuses attention on the rapidly growing digital dome market and the power of immersive media in the digital age; TEA defined the Experience Design industry, created the industry’s first project credits (with the Thea Awards) and reinforced the role of the designers and creatives.
2. Has there ever been a themed entertainment concept that made you say, “This CANNOT be good for the industry?”
I suppose the first round of theme park development in Dubai. The crash came earlier than expected, but it seemed inevitable. I understand that this second round is proceeding with a lot more reality checks in place. Before that, I’d have to say VR – it was ahead-of-its-time hype and didn’t understand women.
3. Was there someone you consider a mentor who guided you through this industry when you first entered it?
First off there was Alf Heller, editor and publisher of World’s Fair magazine, which was my point of entry. I learned a lot from him about writing, editing and public relations and how to stay on the high road. He threw me in the deep end of the pool regarding ad sales – I had to just go out there and find a way, and I did, and it was probably the best possible way to do it.
Many of the relationships I formed in those 8 years at World’s Fair are still among my strongest professional ties. Within the industry itself, others who have been enormously helpful along the way in sharing information and perspective, with the occasional lick of professional grooming include Bob Rogers, Jody Van Meter, Jonathan Katz, Gene Jeffers, Brian Paiva, Chris Reyna, George Wiktor, Dan Neafus, David Barbour, Bill Stevenson, Roberta Perry, Nick Winslow and the late Buzz Price and Ted Allan.
4. Conceptually, everything in the universe has a “theme,” determined by a myriad of criteria, including design, purpose, and aesthetics. A certain make and model of a car has a theme. A grocery store has a theme, and then sub-themes within. When we speak about themed entertainment, what parameters do we use to define “theme?”
Dammit Joe, I’m a journalist, not a master planner!
5. Is there a closed attraction, show, spectacle, park, museum, or event that you miss immensely?
Fredrikstad, Norway — As part of a wholesale technological overhaul in one of Europe’s most evocative museum spaces, projectiondesign has supplied 40 of its high-performance DLP® projectors to the Museo Nazionale del Cinema in Turin, Italy. The projectors were provided by and supported by Italian distribution partner, AGMULTIVISION and installed by Italian System Integrator OVRIT VIDEO.
Housed inside the Mole Antonelliana, Turin’s undisputed architectural icon and once the highest masonry structure in Europe, Italy’s national cinema museum has attracted millions of movie-lovers, enthusiasts, cultural historians and other kinds of visitors since opening its doors on the landmark site in 2000. The museum’s interior was redesigned in time for Turin’s hosting of the Winter Olympics in 2006 but, since then, a number of issues with the existing AV hardware, together with technological innovations in video content storage and distribution, have prompted the management to upgrade again.
Guido Villa of AGMULTIVISION, projectiondesign’s distributor for Italy, explains: “The design of the Museo Nazionale del Cinema is unique in many ways, not just for its setting inside the Mole Antonelliana but also for the way it uses the space. A spiralled walkway leads you towards the top of this mighty building and, as you ascend, a number of themed rooms lead off the main route. Each one of these is a kind of miniature cinema, designed to showcase the work of a particular director or cinematic genre, and each shows suitable pre-programmed video content.
“The projectors previously used in these rooms were really too large for the space. They were noisy and intrusive to the visitor. They also proved very expensive to run. So when we were approached by the integrator OVRIT VIDEO to come up with a different solution, we knew we would have to show a less obtrusive and more economical alternative – without sacrificing quality.”
Following the initial contact between OVRIT VIDEO, projectiondesign and the museum’s management, a series of demos followed in which the key criteria were identified. Finally, a mixture of projectiondesign F12 and F22 DLP projectors were ordered, together with F10 AS3D active stereo 3D models so that the museum could reflect the growing interest in 3D among film-makers and audiences for the first time.
Each projector is served content by a high-definition media player, reflecting the museum’s desire to dispense with tape- and disc-based content as part of the overhaul. Each player receives commands from the facility’s existing control system, requiring additional software to be written by the integration team. However, this was not the only installation challenge, as Alberto Raviola, owner of OVRIT VIDEO, reveals:
“The design of all the cinema rooms could not be altered so we had to use the existing projector-throw distances and, furthermore, the fabric of such a famous 19th-century building could also not be tampered with in any way. Fortunately, projectiondesign offers a wide range of lens options and this allowed us to get the performance we needed in each room. The on-site technical support of AGMULTIVISION, together with the ingenuity of our own engineers, also enabled us to modify the existing projector mounts – saving the museum both time and money.
“Looking ahead, the use of projectiondesign’s Pro-Net asset-management software will enable the customer to get the best return on their investment, while minimising maintenance costs and giving us the data we need to support them remotely.”
The results have been much-admired by both the museum and its visitors, and Anders Løkke, Marketing Director, projectiondesign, says the project has been satisfying on a number of levels:
“The ability to supply a large number of projectors, each one tailored to its own space and application, and support the installation right up to and beyond the commissioning phase, is something projectiondesign and its partners take particular pride in. In the case of the Museo Nazionale del Cinema, the work was made doubly rewarding because a passion for the quality of the moving image runs right through our company culture.
“To be able to play a part in the preservation and restoration of archived film material, help enable its distribution across such an iconic building and bring pleasure to millions of future visitors, while reducing costs for the customer with no compromise in performance, was an absolute privilege for us here at projectiondesign.”
Peter Chernack (The Chernack Group), Chair of the TEA Past Presidents Committee, writes:
While some may not be familiar with the TEA’s 2013 Distinguished Service Award honoree, it is more than likely that she knows who you are and all about your company’s work. Judy Rubin has served as the TEA’s Communications Director since 2005 when George Wiktor introduced her to Gene Jeffers and recommended that she work on the Association’s publications and communications. Today, Judy serves as a freelance staffer, handling the TEA’s signature publications such as the Annual Directory and Thea Awards Program as well as the Association’s social media presence, including TEA Facebook pages, the TEA LinkedIn group (with over 3,000 members), TEA Twitter accounts and the SATE & Summit blogs. She also edits the annual TEA/AECOM Theme Index, handles key press releases and promotes the Association and its members in every aspect of her work.
Judy grew into one of the most articulate and insightful voices of our industry after joining the staff of World’s Fair magazine, published by Alfred Heller in San Francisco in the late 1980s. This boutique quarterly was a leader in covering Expo projects as well as theme parks, museums, AV technology, giant screen cinema, motion simulation, special effects and more. With Judy’s involvement, World’s Fair developed into one of the more unique and highly regarded trade magazines of its time.
Judy never misses an IAAPA show. Her first was in 1990 where she organized a booth for World’s Fair. She went on to attend many more, and other trade events like ASTC and AAM, becoming well versed in the industry and what she likes to refer to as “the art of shmoozing.” (She’s known for having had the word “shmoozing” on her business card.) Among those in her growing network were Monty Lunde and his company, Technifex. Not long after Monty formed the TEA in 1991, Judy began writing articles about the fledgling Association. One of the reasons she liked TEA so much, Judy tells us, is that it led to formation of the high-tech area at IAAPA, which made it easy to find the companies she was interested in.
In the mid1990s Judy set out on her own as a freelancer. She contributed a monthly column to IAAPA’s Funworld, and wrote many articles for At-the-Park and Film Journal International. She was the themed entertainment editor for Pat MacKay’s top-notch Entertainment Design magazine for several years. Eventually she teamed up with Marty Palicki, publisher of InPark Magazine, where she continues to work today as co-editor. She is also the go-to person for stories on the TEA and themed entertainment for other trade magazines such as Lighting&Sound America and Sound & Communications. (Which she says has taught her how underappreciated most designers are in the lighting, AV, acoustics, rigging and theater communities.)
In addition to her editorial work, Judy is a publicist, and over the years has worked directly with many companies, including TEA members SimEx-Iwerks, Mad Systems, Entertainment Design Corp., Cinnabar, JRA, Thorburn Associates and FUNA, among others.
Judy has also handled communications and publications for the Large Format Cinema Association, working with founder Chris Reyna for the group’s first five years. And in 2008, she became the Communications Director of IMERSA, a new association that is all about immersive cinema experiences. She says she likes to work with associations because “It’s exciting to work for a whole industry and everyone in it.” She tells us that one of the most enjoyable aspects is the opportunity to cross-promote and foster industry relationships from one trade group to another, as well as within them.
Judy is originally from Detroit, Michigan and currently lives in Saint Louis, although she spent many years living on the east coast and then the west coast. Her creative background with art, music, writing and crafts seems to have uniquely suited her to what she does today, and reminds us that everybody used to do something else. She has a BFA from Pratt Institute in New York City, and spent a lot of time in those formative years making sketches of famous swing musicians at the West End jazz club. There, she says she learned the basics of PR writing from assisting manager Phil Schaap, who is now curator of Jazz at Lincoln Center. Judy is also an accomplished knitwear designer, and before joining World’s Fair, she was assistant editor of a knitting magazine.
Today Judy applies her multitude of talents to knit together engaging stories of the creators of compelling places and experiences, and to foster the sharing of information and the building of relationships in our relationship-based industry. Judy’s work has helped to capture and document the art, science and imagination of our industry for a global community – and help to put our work into context so that it can be more fully appreciated by a wider audience. Our Association is enhanced by Judy’s many contributions and we are grateful for all that she does on our behalf. Congratulations on this well-deserved honor!
About TEA’s Distinguished Service Award The Distinguished Service Award is presented annually at the Thea Awards Gala, in recognition of a TEA member’s outstanding contributions “above & beyond the call of duty” to Association. Nominations are open to the TEA membership; the final selection of the recipient is made by majority vote of the TEA Past Presidents Committee and approved by the TEA International Board of Directors.
El Segundo, CA, USA (March 1, 2012) — On Monday, February 11, visual effects house Rhythm & Hues filed for Chapter 11 bankruptcy, a week after winning the Annie, VES, and International 3D Society Awards for its work on Life of Pi. The filing took place the day after the studio won the BAFTA for Life of Pi and two weeks before two of its films were up for the Oscar for visual effects. Life of Pi again won, with awardee Bill Westenhofer on the dais attempting to address the financial situation at Rhythm & Hues when he was cut short at his time limit by the theme to Jaws.
In addition to its award-winning vfx work in movies, Rhythm & Hues has a strong background in attractions, going back to 1982 and the original Universe of Energy at EPCOT. Other major R & H attractions have included the IMAX 3D ride Race for Atlantis, Paramount Parks’ Star Trek: The Experience, Disney’s It’s Tough to Be a Bug, and most recently, two attractions for Ferrari World Abu Dhabi.
In September, 2011, the company re-started its Special Projects Division, this time headed by large format, 3D, and attraction veteran Charlotte Huggins (SEE THE IPM COVER INTERVIEW WITH HUGGINS HERE). She was joined at the new division by large format and attraction veterans Don MacBain and Ryan Miziker. InPark News Editor Joe Kleiman spoke with Huggins to find out the status of the company and her unit.
According to Huggins, the bankruptcy was due to a cash flow issue, with no debt involved. Huggins notes, “There were no issues other than vfx having a very slim margin. One tiny blip on screen can take a company down.” Such a blip occurred a year ago when a major project was pulled by its studio. Management knew that this would result in financial hardships eleven to twelve months later and secured a financial backer. “But when Digital Domain [another vfx house based in Florida] filed for bankruptcy [in September, 2012], the investor got cold feet and backed out.”
According to Huggins, numerous buyers are now looking at the company, and she expects a proposal to be presented to the court and sale of the company within the next two weeks. The Special Projects Division continues doing business as usual, taking advantage of all parts of the R&H operation to bring the highest quality productions to special venue screens. Huggins reports proudly, “we have numerous, numerous projects that we’re either bidding on or working on.” She says one of the things that attracted her to the company was that founder John Hughes has maintained the company as a “mom and pop type operation, it has a real family feel to it.” She looks forward to continuing on in this atmosphere that spurs creativity and cooperation as the company emerges from its bankruptcy.
Brussels, Belgium (February 27, 2013) — nWave Pictures, an nWave Studios company, is pleased to announce the acquisition of worldwide distribution rights toPenguins 3D (working title) from the award-winning British company, Atlantic Productions, creators of the BAFTA-winning Flying Monsters 3D. Written and narrated by renowned naturalist and veteran filmmaker David Attenborough, this tale of the epic journey of one special penguin will be released in the US on May 24, 2013, in time for Memorial Day weekend.
Penguins 3D, which comes in 40- and 20-minute versions, 3D and 2D, 15-perf/70mm, and digital in 4K and 2K, will be available from nWave exclusively, for exhibition at IMAX theaters, REALD and digital 3D giant screen cinemas. The film depicts the fortunes of a young male King Penguin, who returns to the place where he was born and raised. Known as Penguin City, this sub-Antarctic island is home to albatrosses, leopard seals and elephant seals—and six million penguins! Somehow our hero must earn his place among the inhabitants and fulfill his destiny by finding a mate and raising a family.
“We are thrilled and proud to work with Atlantic on the big screen release of this mesmerizing, 3D story-driven film that will wow kids and families alike,” says Eric Dillens, chairman of nWave Studios. “This film acquisition marks an important step for our distribution company in our new strategy to provide a continuous flow of stunning and factually accurate films for exhibition in IMAX theaters and digital 3D cinemas at major US and international institutional and entertainment venues.”
“Audiences have loved our recreation of pterosaurs in Flying Monsters 3D and we’re excited to be partnering with nWave to bring them this new giant screen film,“ says Anthony Geffen, Chief Executive Officer of Atlantic Productions and producer of Penguins 3D. “We think they will love the characters, the story, and the amazing visuals in the world of these fun and fascinating animals.”
“To be at the cutting edge, when you know that you’re doing something that no one has done before, is exciting and a great privilege,” said David Attenborough. “While this island may be remote, it is far from barren. It bears witness to some of the most spectacular sights in the natural world, including giant birds such as the albatross and one of the world’s largest gatherings of King Penguins.”
Penguins 3D was produced by Atlantic Productions in association with British media powerhouse BSkyB and US-based Galileo Digital Entertainment. The action takes place on the remote island of South Georgia, a British overseas territory in the southern Atlantic Ocean. It was filmed in 4K 3D, entirely on location over a five-month period. Production lasted 14 months.
“You can have any number of brilliant 3D shots, but without a compelling story at its heart the film won’t work,” adds Anthony Geffen. “What the 3D medium offers is a uniquely intimate experience, inviting audiences to literally step inside the world of the King Penguin. This is a truly ground- breaking film set in a virtually unknown sub-Antarctic location.”
The industry premiere of Penguins 3D will be hosted in March 2013 during the Giant Screen Cinema Association (GSCA) 2013 Film Expo, at Moody Gardens in Galveston (TX).
The film is recommended for General Audiences and has been rated “U” (Universal) by the British Board of Film Classification (the US equivalent is the Motion Pictures Association of America).
Santa Clarita, CA, USA — Simex-Iwerks continues its strong relationship with Warner Bros. Pictures with the new 3D film “Looney Tunes 4-D.” The show is now available as a compilation of theatrical cartoons shorts for use in 4D attractions or in individual episodes that are ideal for motion rides.
Presented in high-definition digital 3D with immersive special effects, these classic LOONEY TUNES feature characters that are loved by the whole family, paving the way for repeat visitation. Since its first release, the LOONEY TUNES quickly became a worldwide media franchise with the LOONEY TUNES shorts having been nominated for numerous Academy Awards™.
In the first of these film attractions to be released, the audience becomes totally immersed in the action in the classic and zany adventures of WILE E. COYOTE and ROAD RUNNER. Instead of animal senses and cunning, WILE E. COYOTE uses absurdly complex contraptions and elaborate plans for endless pursuit of the ROAD RUNNER in these hilarious, laugh-out-loud adventures.
The Financial Secretary, Mr John C Tsang (second left), held a press conference February 27 at Central Government Offices, Tamar, after delivering the 2013-14 Budget at the Legislative Council. Courtesy The Government of Hong Kong Special Administrative Region.
Hong Kong (February 28, 2013) — The following remarks about tourism development were made by John C Tsang, Financial Secretary of the Government of Hong Kong Special Administrative Region, on February 27, 2013 as part a presentation on the 2013-2014 Government Budget.
Tourism is another mainstay of our economy, employing some 230 000 people and accounting for 4.5 per cent of GDP. In 2012, there were over 48 million visitors to Hong Kong, an increase of 16 per cent over 2011. Despite the gloomy global economic outlook, total spending associated with inbound tourism increased 16.5 per cent to exceed $300 billion.
Buoyant tourism will undoubtedly put pressure on our control points, hotels, tourist attractions and shopping centres. To sustain the healthy development of the tourism industry, we need to devote more efforts to enhancing tourism infrastructure, hotel supply, market promotion, service support, etc.
Last year, I announced that the Government would look into the further development of Ocean Park and Hong Kong Disneyland. Ocean Park is the winner of the prestigious 2012 Applause Award, the first-ever Asian attraction to be recognised as the best theme park in the world. To further enhance its facilities, Ocean Park will build an all-weather Water World at Tai Shue Wan. The Government will offer a $2.3 billion loan to Ocean Park to spur early commencement of the project. We shall submit a funding proposal to the Finance Committee in the next few months. In the coming few years, Hong Kong Disneyland will launch a new night-time parade and put in place a themed area featuring “Marvel heroes”, the first of its kind in the world. These new projects will be funded by the Disneyland’s operating surplus. Meanwhile, the two theme parks are actively pursuing new hotel projects to provide better complementary services for tourists.
The terminal building and the first berth of the Kai Tak Cruise Terminal will be commissioned in the middle of this year. Preparations are in full swing for the Terminal to receive its first liner, Mariner of the Seas with a capacity of 3 840 passengers, on 12 June. Meanwhile, we are actively working with the Hong Kong Tourism Board to promote cruise tourism, and collaborate with the travel trade and neighbouring ports on itinerary development and regional co-operation. We aim to exploit the potential of cruise tourism in Asia Pacific and attract more high-spending cruise trip visitors to Hong Kong, so as to reinforce our position as a regional cruise hub.
Increasing the supply of hotels will help enhance receiving capacity and service quality. Currently, there are over 210 hotels in Hong Kong, providing more than 67 000 rooms. The Government has been working to make available more hotel rooms through various measures, including providing “hotel only” sites. As at end-2012, 13 applications for redevelopment or wholesale conversion of industrial buildings into hotels were approved by the Lands Department. It is estimated that some 10 000 new hotel rooms will be provided this year and next year.
Following my proposal to extend the operation of the Mega Events Fund last year, we sponsored several major international events, including the Hong Kong Dragon Boat Carnival and the Hong Kong Open Championship (golf tournament). We shall continue to sponsor more international mega events to be held in Hong Kong through the Fund, and use the existing mechanism to subsidise mega events hosted by local non-profit-making organisations. In recent years, our neighbouring cities have organised mega events, such as the Formula 1 Races and overseas NBA games. We shall take the initiative to seek to host more mega events.
In the coming few years, large-scale tourist facilities will come on stream, and there will be major events funded by the Mega Events Fund or hosted in other forms. I believe that the tourism industry will continue to flourish and spur growth in other service sectors, including food and beverage, retail and transport, creating many employment opportunities.
Ocean Park Response to the Government’s support of the Water Park development:
Ocean Park is delighted to have received support from the HKSAR Government in the form of a loan amounting to HK$2.3 billion to finance the development of a world-class water park, subject to the approval of the Finance Committee of Legislative Council. As Hong Kong’s homegrown theme park, Ocean Park is extremely grateful for HKSAR Government’s continual support during our evolution into a landmark tourist destination.
To be located at the picturesque Tai Shue Wan, the all-weather water park will be able to accommodate a maximum of 15,000 visitors per day. This water park will be an architectural icon in Hong Kong, as it will feature a translucent and sweeping roof, along with first class facilities and services. The water park will have state-of-the-art water rides, a variety of attractions, as well as unique and innovative experiences for locals and guests from around the world. It is expected to be opened to the public in the 2nd half of 2017.
Countless memories and precious moments of the Hong Kong community were previously intertwined with Ocean Park’s original Water World for years. Now, the people of Hong Kong can eagerly anticipate the return of a place that they have missed so dearly, and will have a chance to create future lasting and fond memories very soon.
Building on our legacy of offering the world’s best theme park experience, which was recently validated by the presentation of the Liseberg Applause Award, Ocean Park will continue to be focused on education, conservation, and entertainment. The new water park will be conscientiously designed with environmental sensitivities and will integrate effective educational, as well as conservation oriented components in its family entertainment offerings.
The proposed construction of an all-season water park together with a complementary retail, dining and entertainment area will diversify and strengthen Ocean Park’s position as a top-tier tourism destination in the region. As a multi-park offering, Ocean Park will be able to encourage longer lengths of stay amongst visitors both in the Park and in Hong Kong, thereby elevating the destination market presence locally and throughout the region. As the only local water park, this development will cater to the needs and demands for such services from the local market, as well as offer the depth of tourism infrastructure that continues to make Hong Kong a desired destination. This development is projected to contribute significantly to the local economy and drastically stimulate industry growth – it is estimated to create 2,900 jobs, as well as generate HK$842 million in tourism growth, for the local economy by 2018.
London, UK (February 26, 2013) — When Caltrans District 7 began the first phase of a multi-phase AV system upgrade at its Los Angeles facility, it contracted with Electrosonic to create a brighter, more reliable video wall for traffic monitoring that takes advantage of the latest in projection technology.
“Caltrans District 7 has more than 400 cameras on the highways of Los Angeles and Ventura counties,” says Electrosonic project manager Guy Fronte. “They can review camera feeds 24/7 in the facility and when there’s a traffic event – road damage or an accident – they can magnify that feed on the videowall. The videowall is integral to 24-hour traffic management.”
The existing videowall comprises a 12-screen center unit in a 4×3 configuration flanked by a pair of 6-screen 3×2 units. The giant wall features 80-inch diagonal screens in the center and 52-inch screens on the sides.
The standard format of the wall has single-camera feeds on the side screens and 2×2 graphic traffic patterns on the center screen with single-camera feeds surrounding them. “They monitor heavy traffic volume locations and can bring any one of those feeds up on the larger central display as needed,” Fronte explains.
The wear and tear of more than five years of constant operation had taken their toll on the existing rear-projection engines and begun to degrade the facility’s ability to monitor traffic, so Electrosonic replaced the videowall engines with Christie one-chip SXGA displays to take advantage of improved projector quality. Christie RPMSP-D132U displays were selected for the center screen and RPMX-D132U displays for the side screens.
The side projectors were installed in existing cabinets behind the videowall; the center projectors were placed in a huge metal framework previously built by Electrosonic. “Caltrans District 7 has the most spacious rear-projection room I’ve ever worked in,” says Fronte. “It’s very well thought out, so replacing the engines was quite simple.”
The primary challenge for the installation was working in conjunction with the 24/7 hours of the facility. “We couldn’t take down the wall during rush hours, so we swapped out one projector at a time to allow for continuous operation,” Fronte notes.
Videowall control is achieved using a Quantum processor previously installed by Electrosonic. The Crestron touchscreen control system that operates the wall, turns the system on and off and monitors lamp life, was modified to accommodate the new projector engines.
Electrosonic also furnished 48 spare lamps and is providing an extensive two-year service contract, which includes complete parts and labor, unlimited telephone support, proactive preventive maintenance visits and eight-hour response time on weekdays.
“The Caltrans people were so pleasant to work with,” recalls Fronte. “We have a great working relationship in bringing them the best videowall we can!”
Alton, UK — AEG Live announces a line up of some of the UK’s most exciting artists, performing at one of the UK’s most iconic theme parks, Alton Towers Resort. Olly Murs, Rizzle Kicks, Labrinth, Little Mix, Conor Maynard, James Arthur, Stooshe and Union J are set to take the stage as Alton Towers Live presents a line up of the hottest acts alongside the park’s adrenaline-pumping rides on Saturday 6th July. Tickets go on sale 9am on Friday 1st March through www.aeglive.co.uk.
With tickets starting from just £55, fans not only get access to see the spectacular musical line up of British home-grown talent but also entry to the Alton Towers theme park offering attractions and thrill rides for the whole family. Enjoy all that the theme park has to offer including the new world first rollercoaster, The Smiler, before enjoying the star-studded musical extravaganza set on the theme park’s front lawns with the famous Towers as the backdrop. Opening in May, The Smiler is the Alton Towers Resort’s biggest ever ride and will combine plunging drops and extreme turns with twisted psychological effects.
With five 2013 Brit Award Nominations between them; the Alton Towers Live line up includes heart throb Olly Murs and fun loving duo Rizzle Kicks who recently topped the charts together with “Heart Skipped a Beat.” Chart sensation and one of the most innovative pop stars and producers around,Labrinth takes the stage alongside X Factor darlings and chart toppers Little Mix.
Pop sensation and “Turn Around” star Conor Maynard joins the bill with three piece R&B trio Stooshe providing the street-smart glamour. Fresh from his X Factor win and million selling Number 1 single “Impossible,” singerJames Arthur also tops the bill with fan favourites Union J.
SINGAPORE (March 1, 2012) — “Universal Studios Singapore today debuted “the world’s first fully immersive Sesame Street indoor themed ride to be enjoyed by the whole family together,” taking guests on an outer space adventure with Elmo and friends.
