SIMEX-IWERKS HELPS FACILITIES SOAR WITH NEW FLYRIDE INSTALLS
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issue 84, October 2020
inparkmagazine.com
SimEx-Iwerks helps facilities
soar with new FlyRide installs ®
Warner Bros. World Touchless technologies
The technology behind Abu Dhabi’s Solutions for parks, attractions and museums seeking to minimize
newest indoor theme park touch interactions for ticketing, touchscreens and more
Meet the press
Learn what drives the InPark editorial inner circle in our
third installment of this four-part series
Joe Kleiman, Martin Palicki,
news editor publisher
Question from Judith Rubin Question from Joe Kleiman
W hat’s the special something you bring to the InPark
dynamic? Y ou’ve traveled around the world to visit theme parks
and attractions and to meet with themed entertainment
designers and manufacturers. What are some of your
I have the thickest beard. Besides that, it would be the favorite memories traveling for InPark?
understanding of niche markets within the attractions
community - giant screen, museums, and the performing arts - an I made a conscious decision a few years back to focus most of
understanding from working as a manager and director in these my travel each year on work-related trips, adding on side trips
markets. I was also an IMAX projectionist and motion simulator when possible for fun. It was a smart decision. In addition to
technician, and worked with animals in a couple of zoos and a being present at important industry events around the world,
dolphin rescue facility, so those are fields I understand closely as there is so much to see and do out there that really helps inform
well. All this experience has been put to good use at InPark. Now, a well-rounded editorial viewpoint.
if we ever do a piece on rebuilding a 1960s Mustang, I’m calling
dibs. I’ve been lucky to enjoy several show openings with the ECA2
team in China. The opening of “Fountain of Dreams” in
Wuyishan was particularly special. We had an afternoon to
explore this rather remote city where almost no one spoke
Judith Rubin, English. Ordering a meal without the use of language can be fun
editor – as long as you keep an open mind!
Last year Alterface organized a press trip to Belgium for the
Question from Martin Palicki Popcorn Revenge attraction. We got tours of the city, the new
Alterface office and Walibi Belgium even opened several of its
I know you like to bake. What is the perfect recipe for a
great article or story (include a shopping list, please!)?
best rides for us. At the end of the day organizer Anja d’Hondt
prevailed upon the kind hotel staff to keep the lounge open for
us so we could share our experineces on the new ride. It’s always
Successful baking involves good ingredients, the right tools a treat to socialize with other industry journalists.
and resources, creative experimentation and of course an
understanding of who is going to eat the end result. In a corollary Since the three members of InPark’s core editorial team all live in
to creating a great article or story... Ingredients = information. If different states, we don’t have traditional office relationships (but
you are having trouble making a meaningful statement, then you our remote working skills have come in very handy this year). It’s
need more information and understanding of your topic. Dig in, always a huge pleasure to travel and see industry colleagues and
ask more questions. Tools and resources = how you communicate friends at fantastic sites and events around the world. Whether
and share the story, including structure, formats and platforms. it’s a WhiteWater rooftop cocktail party in Berlin or dinner
Creative experimentation = finding a way to say it that makes overlooking Shanghai Disneyland at TEA SATE Asia, it’s so
people take notice. In the last, eaters = audience. Make the story much more enjoyable because it’s with all the amazing people I’ve
relevant to them, their needs and the culture of their business. come to know and cherish in our industry.
InPark Magazine (ISSN 1553-1767) is published by Martin Chronicles Publishing, LLC. 2349 E Ohio Ave. Milwaukee, WI 53207, USA.
Shipping address: 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Phone: +1-262-412-7107. Printing by Johnson Press of America.
Contents © 2020 InPark Magazine. All rights reserved. Nothing in the magazine may be reproduced or used in any manner without the
prior written permission of the magazine. InPark Magazine is not responsible for unsolicited manuscripts, photographs or illustrations.
Such material must be accompanied by a self-adressed and stamped envelope to be returned.
Postmaster: Send address changes to InPark Magazine 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Subscriptions are available
annually for $45 per year ($70 international). Opinions expressed in editorial matter are not necessarily those of InPark Magazine or its
publishers, Martin Chronicles Publishing, LLC.
2 inparkmagazine.com
issue 84, october 2020
Meet the press
2
The IPM editors interview one other, round three
The power of the wearable
4
Connect&GO brings RFID solutions to a Quebec waterpark • by Michael Oliver
Flights boarding now
8
SimEx-Iwerks installs the FlyRide® attraction in two US venues • by Joe Kleiman
Device developments
13 Freetouch™ BYOD technology helps museums and attractions keep interactives in
play • by Judith Rubin
New game in town
16 Former Disney Imagineer Steven Grant leads new Themed Environments Integration
program at UF Orlando CityLab • by Judith Rubin
Smart park systems
19 Warner Bros. World Abu Dhabi delights guests with immersive attractions backed by
the latest in show control technology • by Martin Palicki
Dubai 2021 and beyond
22
World expos upcoming, proposed and planned • by James Ogul
TEA Thea Awards Digital Case Studies showcase
26
TEA maintains its prestigious awards cycle in an online format • by Joe Kleiman
Transitions: New faces and roles in the industry
28
Stephane Battaille and Maya Guice • by Martin Palicki
team & contributors
PUBLISHER DESIGN
Martin Palicki Martin Palicki
COVER: Guests on board the FlyRide®
attraction from SimEx-Iwerks enjoy the sensation EDITOR CONTRIBUTORS
of flying above scenic landscapes. Judith Rubin James Ogul
Michael Oliver
Photo courtesy of SimEx-Iwerks NEWS EDITOR
Joe Kleiman
inparkmagazine.com 3
The power of the wearable
Connect&GO brings RFID solutions to a Quebec waterpark
by Michael Oliver
A s one of the largest waterparks in Quebec, Super Aqua Club,
located 30 minutes from downtown Montreal, boasts over
45 rides and attractions, including the Tsunami and Tornado thrill
How does RFID work?
Radio Frequency Identification goes back as least as far as
WWII when radar, developed in the decade prior, was used to
rides, a heated wave pool, private beaches and multiple children’s signal the approach of aircraft. In those early days of electronic
attractions. detection, there was no way to know whether the aircraft was
“friend or foe,” until a British radar expert got the idea to equip
Super Aqua Club has been operating for three decades and its each RAF aircraft with a transponder (a combination receiver
new owner Nadine St-Amant, who acquired the park in May 2019 and transmitter) capable of receiving an interrogating signal and
and who actually worked at the park as a teenager, has brought in sending a specific signal back to the radar transmitter; thus, the
numerous upgrades, including state-of-the-art technical systems transmitter became a “reader” of the identifying signal. This is
using Radio Frequency Identification (RFID) to enhance the the basis for RFID technology.
guest experience and bring under one umbrella myriad multiple
functions such as POS (point of sale). To achieve this, she called Some 75 years later, and after a long evolution, we now can
upon Connect&GO, a Montreal-based supplier described by install the transponder - which, thanks to the miracles of
Crunchbase as “a global leader in RFID deployments in the miniaturization and materials development, can be as small as a
entertainment industry.” grain of rice, far smaller than the bulky, radio-sized affairs used in
WWII - in a specific material, say a silicone wristband. Encoded
RFID technology has come to the fore in recent years, especially in the transponder chip would be just the basic information of an
in access control at large events (e.g. concerts, festivals and identifying serial number, which would link to data recorded and
major sporting events) and all aspects of inventory management. stored in a back-end computer system, with software specifically
Anthony Palermo, co-founder of Connect&GO, recognized that designed to handle such data (think of data like access to events
the technology had untapped potential for attractions, especially and activities, meal packages, locker assignment, as well as dates
with advancements in that field over the last 10 years or so. and times of ticket purchases).
4 inparkmagazine.com
When a “reader” is within range of the wristband/transponder actions and use the data to improve service and boost per capita
(and a reader can be a hand-held device, or part of a more spending. As Palermo says, “With access control via RFID, we
permanent structure, like an activity portal, for example), the know when people bought tickets, when they came, what times
reader’s signal will activate the transponder, which will send a they came.” This allows the operator to reserve a specific number
signal of its own back to the reader, identifying the guest and of tickets in advance for specific time periods each day, as well
linking the wristband directly to all relevant data points (i.e., as better manage the customer flow and movement throughout
amenities the guest has purchased). So, for example, a guest the park. Being able to anticipate the likely number of guests
may enter a particular attraction by merely swiping his or her partaking of a particular area of the venue at a particular time
wristband across a reader. Benefits to the guest: no need to carry allows operators to concentrate staff in those areas and improve
a wallet, purse or ID, no tickets or coupons to manage outside customer service.
those already electronically present in the system. Additionally,
since most of this operation is contactless, or, at most, tapping Guest media takeaways
a reader with the wristband, the system provides a measure of Further, the platform allows the guest to create an individual
protection against picking up a virus. “My Account” specific to Super Aqua Club. Since, for many
guests, documenting their adventures is almost as important
Deploying the system as the adventures themselves, Connect&GO has brought this
The fact that this enhanced technology can be delivered in the easily within reach by integrating capture/transfer technology
form of a simple waterproof wristband, with its tiny transponder from Kool Replay. This allows guests to take and share branded
safely tucked away in its silicone shell, made this new technology photos and videos into the RFID system. Cameras are installed
appear ideal for St-Amant’s operation. Connect&GO was given at various angles and positions along an attraction - say, the
the green light to create and install the system. Tornado slide. The guest’s experience is videotaped and edited all
the way through, creating a personalized video available within
As “a global leader of RFID deployments” Connect&GO’s minutes after exiting. A preview is emailed to the guest and
project portfolio includes providing access control solutions to they can purchase the entire video, if desired, and share it and
major conferences, sporting events, music festivals and more. The its branded content with the park logo embedded. The guest
company can now boast wristband-wearing clients in 16 different becomes the star of their own commercial. In Palermo’s terms,
countries and numerous venues and events, both temporary and “It gives you the opportunity to re-live the entire experience.”
permanent.
In addition, roaming photographers take pictures of guests, then,
The first step was to develop a smart e-commerce platform for simply by tapping the guest’s wristband with the photographer’s
everything. The resulting platform
developed by Connect&GO allows
the operator to, for example, offer
attraction packages, upsell, add meal
packages if desired, and instantly
offer different deals. Additionally,
the e-commerce platform works in
unison with a Veloce POS system,
allowing all POS to be handled at
the front gate. Utilizing a full POS
Veloce system across the park, the
entire site became hybrid-cashless.
Operators can accept credit cards,
cash or RFID wristbands (much
like a reusable cash card, dollars can
be added to the wristband account
itself at kiosks located in the park).
This system also allowed for a full
locker assignment via wristband;
lockers, while not directly RFID-
connected, use keys that are
electronically tied to the wristband.
Along with all of these elements
comes access control and the
capacity for fully timed ticketing ABOVE & OPPOSITE: Guests at Super Aqua Club in Quebec, Canada use RFID
and the ability to log customer wristbands throughout the park to access attractions, pay for services and link photos
and videos taken of them throughout their visit to their customer account.
inparkmagazine.com 5
Nadine St-Amant Anthony Palermo All photos courtesy of Super Aqua Club
reader device, instantly send the pictures by email, from which is no question about that! People love it. You can see it in their
point the guest is free to share the picture on social media. faces!”
At the center of this fusion of elements is the customizable My That it has streamlined and improved park operations is clear as
Account profile page. As Palermo explains, the profile page “has well: “We really wanted to create a connected experience for our
been exercised by other properties to allow guests to register clients, and this new RFID technology has certainly done that.
their profile, allow them to connect a credit card and to link other Now we better know the customer journey of our clients; we
family members, and it also acts as a hub to receive messages, can better analyze the touch points for our clients at each step.”
discounts, and their branded photos from their experiences.” Moreover, with “real time numbers of people inside the site, I
Surrounding this central element are “modules for ticketing, can manage my staff much more easily and efficiently.”
e-commerce, access control, payments, as well as gamification.”
Customers are rewarded for their degree of engagement through For Anthony Palermo and Connect&GO, working with Super
points for various elements of the waterpark experience, e.g., Aqua Club proved to be a gratifying and encouraging experience.
points are awarded for registering an account, for enjoying “Not only is it a waterpark,” he said, “which is a big focus for us,
certain rides, for photos, videos and sharing, all of which can be but Nadine understood how many things you can do to connect
redeemed for prizes and help build customer loyalty. the experience and went full with it and had a successful year out
of it…she really believed in our technology and how it could
Doing business in the pandemic come through for her guests.”
Any discussion of technology’s interaction with the public today
must include considerations about the Covid-19 pandemic. St- Whether demanded by a new and harsh reality, or as a more
Amant, like all business owners who deal directly with the public, natural byproduct of technological evolution, RFID technology
must contend with “how to get more people into the site, yes, has matured to a point of becoming a common and desired
but in such a way that is safe, and also ‘feels safe’ to the guests,” aspect of e-commerce platforms and POS systems with viable
as she says. Given this issue, there could hardly be a better time and versatile applications for parks and attractions. As Palermo
for contactless, or limited contact technology to come to the fore says, at Super Aqua Club “the connection between the video
and offer its solutions to the challenge, in this instance, providing and photo and access control, the real time data, lockers and
Super Aqua Club guests with a sense of normalcy, coupled with all the touchpoints of the leisure experience are driven by and
an enhanced waterpark experience. demonstrate the power of the wearable.” • • •
With attendance caps in place for the foreseeable future, as In this issue, we welcome Michael Oliver as our
well as an abbreviated 2020 season, parks such as Super Aqua newest contributing writer. Michael comes to us
Club have been looking to maximize per caps revenue and build by way of academia, as a retired literature and
strong customer bonds. St-Amant brings a positive mindset to philosophy professor whose teaching career lasted
the challenge. She looks at this season as a success, and in great some 28 years. Prior to the classroom, his early
measure because of the new technology employed this year: “For training and work were in engineering, which took
the guests, this new technology not only makes the waterpark him from nuclear missile silos in North Dakota
experience a better one…makes the attractions better and easier to the Rhine River, where he worked as a ship’s
to enjoy, the RFID technology is ‘part of ’ that experience! There engineer. Michael brings his dual background and range of experience to
write about technology and other subjects for InPark.
6 inparkmagazine.com
inTHEMED ENTERTAINMENT inWATER PARKS inMUSEUMS © batwin + robin productions inAMUSEMENT PARKS inparkmagazine.com
Flights boarding now
SimEx-Iwerks FlyRide® theaters take off
in Branson and the Wisconsin Dells
by Joe Kleiman
T he motion simulator ride has been around for over a century.
According to the late film historian Ray Zone, “Hale’s
Tours” was the first on the market utilizing motion picture film;
flight simulators were modified for entertainment use and the
first, influential modern versions of the product emerged. In
Toronto, the company Interactive Entertainment, Inc. - which
it premiered at the 1904 St. Louis World’s Fair before being would soon change its name to SimEx - created “Tour of the
franchised worldwide. The concept was simple – riders would Universe,” a blockbuster attraction at the CN Tower. Meanwhile,
board a railroad car positioned on a gimbal, at one end of which in Los Angeles Don Iwerks was finishing up the custom
a short, point-of-view travelogue film would play. Combined with projection system for Disney’s original, groundbreaking “Star
a rocking motion applied to the car and a wind machine, riders Tours” attraction. He would soon leave Disney to found his own
had the sensation they were actually riding the rails. attractions company, Iwerks Entertainment. SimEx and Iwerks
would merge in 2002 to become SimEx-Iwerks.
For close to 80 years, simulator rides in theme parks, carnivals
and museums would use this simple concept – vibration of As the motion simulator ride business grew, companies began
the theater or seats combined with lighting and environmental looking for new ways to differentiate themselves from the
effects to create the sensation of movement and immerse guests competition. Where riders were placed in small capsules with
into the experience. In 1985, the game changed as industrial screens at the front, ceilings began to disappear, with dome
8 inparkmagazine.com
and curved screens enveloping riders’ points of view. The next “We’re well known as having the largest ride and 4D film library
stage would be to simulate a flight over terrain. While traditional in the market,” Frueh continues. “We’re doing the same for
simulator vehicles are positioned so riders look forward or up, FlyRide®, which is very appealing to our clients since it means
the joy of hang-gliding is the ability to gaze down upon the they can get both the system and the content from us, and have
world passing below. Engineers shifted the screens lower and access to a variety of content.”
created motion bases where guests’ feet dangle, as if actually in
flight on a glider. This type of media-based, simulator attraction The system
is commonly referred to as a “flying theater,” and has proven FlyRide is a highly customizable system. The seating
to be a great crowd pleaser. It has followed a typical path of configuration, screen shape and size, and even the projection are
development through the industry, starting with custom, one-off based upon the customer’s needs for the space. Central to the
installations in the biggest parks and gradually coming within experience are motion platforms, each five seats across. With
reach of regional and stand-alone operators as well. four platforms spread across each floor, and the ride spread over
two to three floors, FlyRides can put through as many as 40 to
Continuing its role as a leader in the ride simulation market, 60 riders per cycle, though Frueh points out that an attraction
SimEx-Iwerks has just opened its first two FlyRide® theaters, can have fewer or more seats, depending on the available space.
both at venues in the US Midwest serving regional tourist The modular nature of the attraction simplifies maintenance and
markets: Wilderness Resort in Wisconsin Dells, and Beyond the allows operators to adjust to changes in demand by running just a
Lens in Branson, Missouri. FlyRide® is based on the SkyRide single floor or even just one bench if needed.
theater system SimEx-Iwerks first developed for Enchanted
Kingdom in the Philippines in 2016 [see “Flying High,” InPark As riders buckle into their seats, they notice a closed door in
Magazine Issue #62]. It is positioned as an economical alternative front of them. The “wow factor” takes place as the door opens
to big-budget flying theaters, with a scalable system package and the seats suddenly surge forward, causing riders’ feet to
supported by a film library that includes licensed content and dangle while the experience takes them into simulated flight —
original films. “We try not to do the big one-off custom product, this is the Rapid Reveal system in action. Electric actuators, which
but rather something that’s replicable worldwide,” says Mike Frueh notes are quieter than other options and therefore better
Frueh, Senior Vice President of Licensing and Distribution for for flying experiences, provide three degrees of motion (3DOF)
SimEx-Iwerks. “For FlyRide, we developed a product that is - pitch, roll, and heave – to simulate the sensation of traveling on
designed, built, installed and serviced by SimEx-Iwerks, just as we an actual aircraft.
do with our 4D Experience® and motion ride attractions.”
Depending on the size and configuration of the theater, images
can be projected onto either a giant dome screen or a more
ABOVE & OPPOSITE: Guests on SimEx-Iwerks’ FlyRide® attraction are surrounded by imagery on a giant screen and taken
on a flying tour of sites around the United States. All photos courtesy of SimEx-Iwerks unless otherwise noted.
inparkmagazine.com 9
specialized, curvilinear screen supplied by Strong/MDI. Beyond The film library
the Lens features a four-story Vista View curved screen, while To build a strong aerial content library to support FlyRide,
Wilderness Resort’s is a five-story high, solid partial dome. Main SimEx-Iwerks partnered with an industry master of aerial
audio speakers are located behind the screen and for acoustic photography, specialty cinema producer MacGillivray Freeman
transparency the Vista View screen has a perforated surface while Films (MFF). Well known as one of the leading producers and
the dome screen has special patented perforated panels at speaker distributors of documentary content to IMAX and other giant
locations. Keeping most of the dome screen solid reduces light screen theaters, MFF is probably best known for the 1998 release
loss and maximizes image quality. Surround sound is created “Everest,” currently scheduled for a 2021 director’s cut re-release.
through additional speakers located behind the seats in each The company’s longstanding history of aerial photography goes
launch bay. back to the 1960s and 1970s, when surfing documentarians Greg
MacGillivray and Jim Freeman began producing and shooting
The projection systems integrate components from leading aerials for Hollywood blockbusters, including “The Shining” and
manufacturers. Both the Wilderness Resort and Beyond the “The Towering Inferno.” In 1976, the company’s first IMAX
Lens theaters are projecting at a high frame rate of 60 frames production, “To Fly,” opened at the Smithsonian’s National Air &
per second, adding to the realism of the experience. Images Space Museum, where it continues to play to this day.
are played back from 7thSense Delta Media Servers to multiple
Christie laser projectors. Wilderness Resort utilizes four Christie Now, with more than 50 films to its credit, MFF has developed
D4K40-RGB projectors blended with the Christie Mystique an extensive collection from its high-quality source material. The
Large Scale Experience software to create a single high resolution footage covers a rich variety of topics and terrain in celebration
image. Beyond the Lens has four Christie Crimson WU25 of nature, adventure and the great outdoors, making it a natural
projectors. Both locations feature scent, wind, and water effects. fit for flying theaters. “Our shots have stood the test of time,”
The system is operated with a patented SimEx-Iwerks designed says MFF President Shawn MacGillivray, “They look incredible.”
control system that can be remotely accessed by authorized MFF is in the midst of taking its IMAX film shots, originally
technicians for monitoring and maintenance. The ride meets captured on 15 perforation 65mm film, the highest resolution
worldwide code requirements and has received approval from film on the market, and digitally scanning them at 16K resolution,
major authorities such as TUV and CSEI. providing four times the image detail of most conventional
cinemas.
The SimEx-Iwerks ride system tilts seats back before pushing them forward into the curved screen for the show.
10 inparkmagazine.com“We’re helping SimEx-Iwerks serve their clients in creating
bespoke films that they want for their venues,” says MacGillivray.
“They know it’s about wowing audiences, especially as they
experience it for the first time. And the next film has to be even
better.” The two FlyRide® venues that just opened both have
original films using MFF footage, but each is vastly different from
the other.
Wilderness Resort in the Wisconsin Dells took a somewhat
different approach with its original show “Flying Wild.” “We
wanted footage of the national park landmarks, the Grand
Canyon and Tetons, but we also wanted to combine that with
footage of the Dells,” says Chris Ebben, the resort’s Director
of Attractions. “The Upper and Lower Wisconsin River are
separated by a dam. Instead of taking a Duck Boat tour of the
Upper River and then relocating to float down the Lower River,
we offer a bird’s eye view of the whole thing. It’s something most
people won’t experience in a single day.” Footage has recently
been shot by Wilderness with the help of MFF and Discover
Wisconsin of nearby Devil’s Lake State Park and Door County
and scenes from both locations will be in the re-release of Flying
Wild November 13th, 2020.
For Robin Turner, owner of Branson’s Beyond the Lens, it
was important that “some of the clips in our film ‘Adventure
America’ take people where they normally would fly to, but
would also take them to places beyond their normal travel.”
Beyond the Lens is what Turner calls “Techno-Tainment.”
Turner, who prior to Beyond the Lens founded the edutainment
LBE chain Wonderworks, says the venue concentrates on
“being on the cutting edge of what’s next: VR, AR, and other
interactive technology. Guests are immersed from the moment
they walk through the doors; from photo ops to life-size gaming
opportunities.”
Both venues are working on future flying experiences, and both
have plans to add a seasonal production in November for the
holidays. SimEx-Iwerks is continuing to develop its FlyRide
film library with original content from MFF and others. As the
number of Flyride venues expands, the supporting content
library will continue to grow likewise and differentiate itself
from other SimEx-Iwerks content that is more tied to traditional
motion simulation and 3D and 4D experiences. “We want to
really concentrate on the flying experience,” says Frueh. “We’re
also working on a few animated films.”
At the Take Flight attraction within the Wilderness Resort
(Wisconsin Dells, Wisconsin) great detail has gone into theming
the experience from the moment guests enter the attraction.
Guests prepare to board a flight that will take them to various
National Parks and scenic destinations around the country.
The pre-show features repurposed airplane seats.
Each bay of the attraction has two ride vehicles with five seats
per vehicle. Two bays are located on each of the three floors.
All photos on this page by Martin Palicki
inparkmagazine.com 11The Branson Missouri FlyRide is a retrofit installation that was previously a 2,500-seat live performance venue.
The venues Turner is planning on adding a second theater, this one larger
Wilderness Resort is a family resort with indoor and outdoor at 60 seats, to the Beyond the Lens attraction in Pigeon Forge,
waterparks and other family activities including go-karts and Tennessee. “We have the only flying theater in Branson. But
a ropes course. The resort’s $10 million*, 60-seat Take Flight Pigeon Forge is a bigger market; it’s not as seasonal and has more
FlyRide attraction is entered through a newly constructed lobby visitors. Because it’s at the crossroads of three major highways,
off the main entrance, themed to an airport with windows 70% of the country is within eight hours of Pigeon Forge.”
looking out on the National Parks. New characters have been
created that tell the story of a young girl going on a flight. Turner continues, “Working with SimEx-Iwerks and MFF has
Eventually, guests reach an airport and sit in actual seats from been a very good experience. As they develop the film library,
a Delta Airlines plane for their preshow briefing. “We wanted the product only gets better. We’re currently working with
something the Wisconsin Dells doesn’t have,” says Ebben. “We them on what the second film will be like for the following
wanted to draw business onto our property. With these ride year. Underwater products look really great for this format.
vehicles, a family of four or five can have their own vehicle.” I never thought I would be in the business of working with
filmmakers, but this collaboration has taken us to a new level of
At Branson’s Beyond the Lens, the $8 million*, 40-seat FlyRide entertainment for our guests.” • • •
theater was constructed inside a retrofitted, 2,500-seat live
performance venue. “It’s technology and entertainment in one,
and fits perfectly with our theme,” Turner says. The attraction’s
theme is based on a Pan Am-inspired vintage air terminal. “We
wanted to give the feeling that you can fly anywhere in the world For more information, visit simex-iwerks.com/products/flyride
from here,” he adds.
*Costs include FlyRide® system and film production along with other costs, such as theming, building design and construction, not included with the ride system.
12 inparkmagazine.comDevice developments
Freetouch BYOD technology helps museums and
attractions keep interactives in play
by Judith Rubin
A few issues currently facing the attractions industry: How
to keep experiences engaging and immersive while moving
toward touch-free; how to engage visitors who are already deeply
the technology to quickly create the Freetouch prototype. “The
QR/mobile confluence has hit a tipping point that hadn’t existed
before,” he says. “You used to have to download a separate app
engaged with their mobile phones; how to reopen and refresh a to read a QR code but now it’s built in to the camera app on the
facility and its exhibits on a pandemic budget - and what to do mobile device. Snap, tap and you are there.”
with touchscreen interactives in a time when touching common
surfaces is problematic. Touchless and frictionless
Based on its attributes and the reaction of early adopters
With the launch of his new product Freetouch™ (patent and testers, Freetouch seems likely to be quickly and warmly
pending), experience designer Darren David offers an umbrella embraced by the attractions industry. The ability to keep existing
solution that not only addresses the issues but suggests new displays viable is good news for suppliers and operators alike, and
creative possibilities. the interface should have strong appeal for guests.
As the CEO of Stimulant, David has been on the design and The technology is designed to be what David calls “absolutely
production end of things, creating many interactive exhibits for frictionless, with no road bumps between the visitor and the
clients in museums, visitor centers, brand experiences, retail and experience,” enabling them to interact with exhibits and access
other public-facing environments. When the pandemic hit, those their content without touching anything except their own
clients started calling asking for new solutions. Their touchscreen smartphones. It may be the ultimate bring-your-own-device
experiences were now potential liabilities. David devised a new, (BYOD) scenario. The visitor points their device at a QR code
proprietary platform that brings together QR codes, mobile on the display to initiate immediate control from their mobile
devices, and cloud computing, making the most of advances in web browser, with no downloads, registrations or logins required.
The Freetouch system allows visitors to control attraction touchscreens with their own phone or device. All photos courtesy of Freetouch
inparkmagazine.com 13The smartphone then acts as a touchpad or “virtual mouse” with
which the visitor navigates the display, cued by a cursor overlay
that appears on the touchscreen.
David says, “Once the web app loads, it’s one tap and your phone
works like the touchpad on your laptop, something you already
know how to use.” Incorporating the phone into the experience
has the obvious advantage of letting the visitor stay in a familiar,
high-comfort zone. The phone becomes the liaison to the
experience and less of a potential distraction from it. It may even
deepen the experience and the connection to the story or content
because - face it - for many people something only becomes real
when they find it on their own phone.
David has endeavored to ensure a “frictionless” Freetouch
experience for the operator as well, with attention to cost,
installation and simplicity. Based on dialogue with his clients and Darren David
colleagues in the attractions community (“I talked to about 100
clients and potential clients, large and small”) he “knew Freetouch
had to fit into an operational budget and not a capital budget, and functionality of the exhibit; it was really just a perfect tool for
be easy to install.” this. It’s very simple, just use your cellphone and away you go.”
The Timeline Table has five user stations with room for others to
Installation and business model gather around.
Freetouch installs onto touchscreen PCs from a downloadable
executable, and has been designed to work even on older The Center is also in the process of applying Freetouch to
operating systems. Freetouch is offering a 14-day free trial and a two other interactive exhibits in the museum that allow users
range of purchase and licensing subscription options, and rolling to explore archives of Reagan presidential radio addresses and
out a distributor network and creating partnerships with technical White House logs. Each of those accommodates one active user
integrators. at a time.
“Our networking infrastructure is built on Microsoft Azure, but About half of the building’s 20,000 square feet is devoted to
the visitor-facing components run in the browser in any device, museum galleries and at this writing, the Reagan Ranch Center
Apple or Android, phone or tablet,” says David. “We built privacy was working toward opening to the general public within a
and security into the system to meet stringent IT requirements. few weeks at about 25% capacity with advance reservations.
The development was based on things we’ve learned at Stimulant “Freetouch will allow us to use the interactive exhibits in the way
over the past 15 years building systems like this. It’s been really they were intended to be used while maintaining safety aspects,”
helpful that we have access to museums and attractions full of says Kilpper. The Center is currently completing a new exhibit
touchscreen exhibits where we can can log in and do plenty of (with Stimulant) on the first floor featuring a chunk of the Berlin
field testing.” wall, to coincide with the anniversary of the wall’s falling on
November 9, 1989.
Reagan Ranch Center, early adopter of Freetouch
Brent Kilpper is Associate Director of the Reagan Ranch Center Applying Freetouch at the Adler Planetarium
in downtown Santa Barbara. The four-story, multi-use facility The Adler Planetarium in Chicago, established in 1930, was the
includes a museum that is currently open on a limited basis, first planetarium in the Western Hemisphere and continues to be
accommodating group visits by reservation. The name of the a leader in the field, known for innovative exhibits and display
facility refers to the late US president’s favorite rural getaway, technology. With the physical building closed since mid-March
a ranch nestled in the nearby mountains. The Center and the 2020, the Adler has not been able to celebrate its 90th anniversary
ranch itself now belong to the Young Americans Foundation, an as originally envisioned, but has continued to serve its community
educational 501(c)3. with novel digital offerings as a special committee shapes a
strategy to eventually reopen.
The centerpiece exhibit in the main gallery of the Reagan Ranch
Center is the Timeline Table, a popular, touchscreen interactive. With that in mind, they have been trying out Freetouch on
It was extensively re-envisioned and updated in 2019, with various exhibits according to John Beckman, Director, Exhibit
the services of Stimulant, and is now also Freetouch enabled. Design and Production, who joined the Adler at the beginning of
“We have it up and running now and we’re really pleased,” says the year. To the Adler, Beckman brings 16 years’ prior experience
Kilpper. “It lets you use a QR code and turn your phone into with the Museum of Science and Industry, Chicago.
a tracking surface, and it works fantastically. We retained all
14 inparkmagazine.com“Darren came along and it
occurred to us that it would
be interesting and relatively
easy to pilot Freetouch on
our dozen or so touchscreens,
and that it would give us
the opportunity to preserve
what we’re doing with those
exhibits,” says Beckman.
“From an internal point
of view it is logistically
friendly. It installs easily, most
everyone has a good phone
nowadays and we have good
Wi-Fi. So it is low friction in
terms of getting it in on our
machines, and for the guest
as well.”
The Reagan Ranch Center was an early adopter of the Freetouch technology.
Experimenting with
Freetouch has also stimulated
some creative thinking among individuals to interact with displays that might have previously
Adler’s in-house team. “Looking at this tool and thinking about been challenging before,” David says.
what a post-COVID society will need has made us think about
what other practical options we could bring in, and how we “A new interface and a clean solution”
might configure immersive exhibits in future,” says Beckman. “This kind of application will definitely apply to broader,
“We’re mostly at a very high concept stage right now, but are interactive user experiences using screens, projections or physical
working on project proposals for potential renovations when effects,” forecasts Chris Conte, VP New Business Development
fundraising gets back into a groove.” at Electrosonic Inc. “Anything that creates a new interface is
really the key, and the trend moving this forward is the cellphone
A new creative tool for experience design as the connection point,” says Conte, who has partnered with
Beyond the immediate retrofit, how might Freetouch influence Stimulant as a content producer on past projects.
experience design development? “Freetouch was designed first
and foremost to keep existing experiences in operation, but it “Darren has been very clever in making Freetouch as simple as
does open up a lot of creative possibilities for the future,” says possible,” says Conte. “You just need some computer chops -
David. “We’re already talking to several agencies that are looking installation is really a brief process and then it’s done. The QR
at pivoting some of the concept design phases they were in, code enables your smart device to become an extension of the
changing the interactive model to something touchless. From the touch interactive. As technical designers, we have been looking
experiential side we’re seeing that there are significant features for the right solutions to help operators. Freetouch is intriguing
and functionalities to add to the customer experience beyond because it is so personal - we’re already all comfortable with our
‘Hey, I’m afraid to touch this screen.’” phones. It’s also one of the cleanest solutions I’ve seen on the
market. It doesn’t require redesigning the experience. I’m excited
According to David, Freetouch can be used to transform passive about implementing it in some existing museums and looking at
displays to interactive displays. “Existing digital signage or it for new projects.”
wayfinding kiosks could be converted to interactive screens,” says
David. “The QR code can also be decoupled from the screen, Bottom line: Freetouch was created to enable operators to reopen
so a visitor could, for instance, snap a QR code on a pole near with their interactives running as before, avoiding extensive
them and gain control over a huge display that’s far away.” Scale technical changes and without taking a big bite out of the budget.
is no obstacle. “There’s nothing stopping that newly interactive But it’s way more than a COVID fix. “The response has been
screen from being a billboard in Times Square, a stadium display, overwhelmingly positive, people blown away at how deceptively
an LED wall or a projection on a magic castle. The phone in the simple of a solution it is,” says David. “We’re talking to some
guest’s hand gives them superpowers. Basically we’re enabling very recognizable household brands and we think you’ll be seeing
new kinds of interactivity on existing hardware that were not Freetouch on a display near you very soon.” • • •
before possible without new hardware.”
It can also be used to enhance accessibility. “Freetouch can Visit getfreetouch.com
help designers provide additional ways for mobility impaired
inparkmagazine.com 15New game in town
Former Disney Imagineer Steven Grant leads new Themed
Environments Integration program at UF Orlando CityLab
interview by Judith Rubin
T here’s a new themed entertainment academic program
in town! In August 2019, the first cohort of 14 students
began their studies in the Master of Science in Architectural
Studies Concentration in Themed Environments Integration
(MSAS|TEI), or Graduate Certificate in Themed Environments
Integration (GC|TEI), part of the University of Florida’s
CityLab-Orlando, located downtown. In August 2020, the second
cohort of 20 students began their studies in the program. (More
info at https://dcp.ufl.edu/tei/)
I was fortunate to be in Orlando in January 2020 for a first-hand
experience of this program thanks to Program Director Steven
Grant AIA who took the time to show me around, explain
the curriculum and let me sit in on an in-person class (things
have since moved online due to the pandemic). Grant stepped
into the role on the heels of a 28-year tenure at Walt Disney
Imagineering. – J.R.
Steven Grant
Please share some background on the development and Architects often lead project teams in traditional practice.
structure of the TEI program. Architecture is one of the many disciplines that support the
design and development of themed environments but is not
UF CityLab-Orlando was founded by the College’s School of the dominant discipline. The leadership in the design and
Architecture as an off-campus program offering the Master of development of themed environments (especially theme parks) is
Architecture degree. The program began operation in fall 2012. show-based. If you are good at being a supporting cast member,
In 2018 the College actively began the process of developing and not the star, it can be - and was for me - an enriching
the certificate and master’s degree programs in Themed experience.
Environments by engaging industry leaders to help identify the
knowledge, skills and abilities needed in the industry. From those Themed environment project teams include disciplines that are
meetings emerged the underlying principles for the program not usually part of a traditional architectural project: i.e., artists,
and its exclusive focus on the process of developing themed writers, theater technical arts. Because of the complexity of the
environments. design of themed environments the focus of the TEI program is
collaboration (people) and integration (systems).
The TEI program is interdisciplinary. The TEI student body is
made up of students with undergraduate degrees in planning, Are many of your students architects?
real estate, architecture, theater, film, interior design, recreation,
park & tourism management, communications, hospitality, About one-third of our students are studying architecture. They
international studies, mechanical and civil engineering, and are either studying for their Master’s Degree in Architecture, and
political science. The diversity of knowledge and perspectives taking TEI classes to obtain a Graduate Certificate in Themed
that our students bring to the program supports engaging Environments Integration, or they already have a Master’s Degree
conversations and a sharing of knowledge. in Architecture and have returned to school to focus on themed
environments.
In your experience, how does being a working architect
in themed entertainment differ from a more traditional How are you training students to understand and function
practice of the discipline? well in this team-oriented, interdisciplinary, show-
dominated culture of attraction development?
Before I was an Imagineer, I had worked in five architectural
firms, from the largest AE firm in the world at the time - Multi-discipline teams come up with creative designs and
Skidmore, Owings & Merrill - to small practices in Chicago, New solutions to problems. That is why our classes are made up of
York, and Tucson.
16 inparkmagazine.comstudents with diverse backgrounds and disciplines. The classes provide them the education needed to supplement their existing
are engaging and fun. The students are learning from each other. degree so they can be effective integrators and collaborators in
This provides them with experience working on interdisciplinary the themed environments industry.
teams that they will be a part of when they are in the industry.
We do this by providing them an overview of the Themed
Professionals are often trained in silos. That is not how actual Environment Industries, including design and delivery processes,
practice works. So, we are providing an interdisciplinary learning collaboration practices and systems, interrelated disciplines,
environment. When you give a diverse team of students a systems, tools, codes, and standards and fabrication and execution
problem to solve, they will always come up with a more creative practices. These are explored through reading, writing, team
solution than a team made up of one discipline. They use their projects, guest speakers, project tours, research, and internship.
diverse perspectives and training to solve it.
Sometimes a student will decide to change focus as a result
Tim Brown in his book Change by Design provides a good of what they discover about the industry in the course of the
description of our goal: “Design thinkers…cross the ‘T.’ They program. We do what we can to help and advise them in such
may be architects who have studied psychology, artists with areas as internships and the choice of thesis project.
MBAs, or engineers with marketing experience. A creative
organization is constantly on the lookout for people with the How do the Orlando location and your background enrich
capacity and - just as important - the disposition for collaboration what the program can offer students?
across disciplines. In the end, this ability is what distinguishes the
merely multidisciplinary team from a truly interdisciplinary one.” Orlando includes more people and industries that support
The objective of our program is to provide the industry with the global themed environments industry than anywhere else,
these types of professionals. designing and building theme parks, hotels, resorts, restaurants,
and retail around the world. This includes theme park operators
I have been able to reach out to my many friends and colleagues and owners with in-house design teams, project management
in the themed environments industry for advice on curriculum and design companies, fabrication companies, and architecture,
content and to be guests in my classes. During the first year of engineering, planning, landscape architecture and construction
the program the students were able to hear from and meet 55 companies.
industry professionals during class, and on facility tours. Only in
Orlando is this possible! At Imagineering I worked on many teams as an architect and
design manager. I stress to my students that the most important
How do the students balance team culture training with skill you bring to a project is your ability to work on teams. The
focusing on their chosen specialty? projects are complex, and the teams are large.
Our students come into the program with an undergraduate TEI has two advisory committees that represent the above
degree. Our intent is not to train them in a new discipline but to industries: the curriculum advisory board and the professional
The August 2020 cohort met regularly online instead of in person.
inparkmagazine.com 17Students met in person prior to switching to an online course due to the pandemic. All photos courtesy of Steven Grant
advisory committee. The members of these boards are the best concerned that the new students would not get to know each
in the industry. The TEI program is a merger of the University other as quickly as the first cohort did, but they have.
of Florida’s academic and research resources with Orlando’s
broad themed environments industries expertise. Zoom has its benefits. The breakout room function is one them.
I can separate the class into smaller groups each week to discuss
Tell us a little more about your own background. a team project or focus paper, and then return to the class to
present their designs or position on a subject.
I grew up in the Midwest. Disneyland was a faraway place. What
I remember about the family vacation to Disneyland in 1965 The TEI curriculum includes an interdisciplinary project
was riding in the backseat of my family’s non-air-conditioned development studio in the summer. Since this was our first
Rambler across the deserts of the West. Working for Disney summer studio, and it was online, we explored “collaboration
would not have been a thought. I had never heard of Walt Disney over distance.” Prof. Stephen Bender and I led the class.
Imagineering in 1990 when my friend and mentor in Chicago saw The Project Development Studio explored how to improve
a wanted ad from the company in California and suggested that collaboration over distance, resulting in a better shared
we apply. I applied; four months later I sold my house and moved experience. We explored collaboration at a city scale to the
my family to Glendale, California to work for WDI. personal scale of sitting in front of a computer at home. The
students learned a lot, but it also provided us with lessons learned
You had to transition to remote teaching due to the that we have been able to incorporate into our fall classes.
pandemic. Have you found it necessary to alter the
curriculum or your approach? Our students have wanted to be in the themed environments
industry since they were young. They grew up attending theme
It has been a challenging year, but I think it has gone well. I had parks and knowing that there are people who actually design and
only been teaching for seven months when I had to transition build them, so the opportunity to study themed environments
to online teaching. It was just another challenge to add to the for them has been a desire for years. Whether the classes are in-
others. Since the TEI program is focused on collaboration, I was person or over distance they are excited to be in the program. • • •
18 inparkmagazine.comThe Riddler Revolution in Gotham City turns a traditional spinning ride into a thrilling attraction with
theatrical lighting, special effects and scenic props at Warner Bros. World Abu Dhabi.
Smart park systems
Warner Bros. World™ Abu Dhabi delights guests with immersive
attractions backed by the latest in show control technology.
photos and story by Martin Palicki
S ince opening on July 25th, 2018, Warner Bros. World
Abu Dhabi has received critical acclaim around the globe
for its attention to detail, fun attractions and highly themed
• Justice League: Warworld Attacks – Guests board trackless
vehicles that move between various scenes and giant screens
for an immersive superhero adventure.
environments, and recently received a TEA Thea Award for • Green Lantern: Galactic Odyssey – The typically serene
Outstanding Achievement. In 2019, it was certified by Guinness flying theater experience is transformed into an adventurous
World Records as the World’s Largest Indoor Theme Park. The romp through space.
Park boasts 29 shows and attractions in 1.65 million square feet • Superman 360: Battle for Metropolis – A 360-degree
of indoor space. Government developer Miral invested $1 billion theater that utilizes 3D projection to put guests in the middle
in the project, which Farah Experiences operates, along with the of Superman’s drama.
nearby Yas Waterworld and Ferrari World Abu Dhabi. • The Flintstones Bedrock River Adventure – A log flume
ride through the prehistoric world of the Flintstones.
Warner Bros. World Abu Dhabi is divided into six themed areas: • Scooby-Doo: The Museum of Mysteries – A trackless
Metropolis, Gotham City, Bedrock, Dynamite Gulch, Cartoon dark ride where guests help Scooby and the gang solve a
Junction and Warner Bros. Plaza. Key attractions include: mystery.
• Ani-Mayhem – An interactive dark ride where guests score
• Batman: Knight Flight (opened late 2018) – An intense points by hitting an assortment of targets.
multimedia ride through Gotham City on a moving robotic
arm.
inparkmagazine.com 19The Metropolis streetscape at Warner Bros. World.
The park, largely designed by Thinkwell Group, has a major focus The deployment of ISAAC at Warner Bros. World Abu Dhabi
on details, and the cast of well-known characters brings a wide marks the platform’s largest installation to date. “We had spoken
variety of fan-favorite IPs to the table. In addition, the Park also to Thinkwell about ISAAC and knew they were working on a
has one of the most impressive technological backbones of any project, but we didn’t know the details,” explains Villet. “Once
theme park in the world, nearly all of it invisible to guests. we got the contract we realized the potential to have ISAAC
throughout the park.”
The AV, projection, media, lighting and special effects create
seamless immersive environments throughout the park. Perhaps Smart Monkeys was subcontracted to Electrosonic, who had
most obvious on the rides and attractions, they also are apparent been contracted for the Park’s AV network and control package.
in the park’s many stores and restaurants. And supporting nearly Smart Monkeys was tasked with show control programming for
all of them is the centralized management platform called ISAAC everything in the Park, except for specific show programming,
from Smart Monkeys. which was handled by a team of programmers from a variety of
organizations, including Electrosonic.
Hello, my name is ISAAC
ISAAC is an acronym for Integrated Scheduler and Automation ISAAC at Warner Bros. World
Controller. “ISAAC is a fully integrated AV/IT platform, which Within Warner Bros. World Abu Dhabi, there are 14 ISAAC
includes centralized scheduling along with the capability of clusters, although Villet says a single cluster would also work. One
both system-wide log and user management,” said Stephan cluster controls each of the 13 most high-tech attractions and
Villet, Owner, Smart Monkeys. AV and tech systems that rely on shows, while the last, largest cluster provides park-wide control
networked PCs are familiar in themed entertainment projects – for the remainder of the Park. Even though there are separate
ISAAC builds on this approach without the actual PC hardware. clusters, the ISAAC equipment operates as one central unit.
The PCs exist virtually, in an on-premises cloud-based model
“virtualization cluster,” on a robust, industrial hardware Villet says the physical layout is a nod to the past, where every
platform. According to Villet, this replicates the advantages of attraction would have its own separate equipment room. Warner
networked PCs without reliability risks. Bros. World has equipment rooms for each attraction, but
since ISAAC lives virtually, one can access the controls for that
ISAAC’s debut was at the Tom Bradley International Terminal attraction anywhere in the Park.
at LAX in 2014. In the terminal, ISAAC manages more than
four hours of original, high-resolution, multimedia content in The Park’s attractions are all run off of the Medialon show
seven display areas, synchronizing multiple features based on control product. In a traditional installation, Medialon software
intelligence from live data, including flight departure and arrival is installed on a local PC that controls the show or ride. Since
information, and passenger interactions. Medialon is platform-agnostic, it easily sits on the ISAAC virtual
20 inparkmagazine.comYou can also read
