Bemusement - Networking the Attractions Business

Parkology: Coney Island the First Theme Park?

(Above: Coney Island-Where it all started)

by Mel McGowan

Welcome to Parkology. As both a fan and a designer of themed attractions, I’d love to create a space to explore the history & future of the form, as well as to reflect on what they mean.

Such musings have largely been limited to the Disney Theme Parks in the blogosphere. However, I believe that each theme park has its own story to tell, and that the impact of “Walt’s Revolution” reaches far beyond the landscaped “berm” designed to keep the “real world” out. We’ll also explore how the design of themed attractions have influenced the world that we live, work, worship, and play in.

From Luna Park to Virgin Galactic’s Spaceport, the themed attraction is a unique cultural art form, with its own heritage, trajectory and extremely large canvases!

Houston, we have liftoff!

(Above: A Spaceship Named "Luna")

Luna Park

Contrary to popular opinion, it didn’t start with a mouse. It also didn’t start with Walt sitting on a bench at Griffith Park eating peanuts while his daughters rode a carousel. Although Knott’s Berry Farm has hung its cowboy hat on being “America’s First Theme Park,” I’d give the plaque to Luna Park.

(Above: Stereoscopic - prehistoric ViewMaster - view of Luna Park)

Luna Park was actually built on the site of the first gated amusement park, Sea Lion Park. One of its founding partners Fred Thompson, knew enough about architecture to be dangerous. The Chicago World’s Fair’s “White City” was a neoclassical vision of Heaven by day and an electric “city on a hill” by night that burned itself into the collective memory of 27 million of Americans that witnessed it during its 6 month run. Its “Midway Plaisance” international amusement zone established the linear mall layout that has been emulated hundreds of times around the world. It served as the model of the 1901 Pan-American Exposition which featured one of the first “E-Ticket” attractions: “A Trip to the Moon.” The runaway hit was inspired by the silent film of the same name by George Melies (whose amazing talent and story is featured in my favorite film of the year, “Hugo”).

(Above: 1901 Pan-American Exposition Midway)

(Above: Melies' Le Voyage Dans La Lune)

Rather than simply fusing the “Midway” layout with the neoclassical architecture of the White City (like dozens of uninspired copycats from neighboring Dreamland to the dozens of Electric Parks and White Cities across the US), Thompson intentionally designed the first gated theme park around his “E-Ticket” attraction…and what a theme it was: a city on the moon! “A Trip to the Moon,” was an extravaganza that was not surpassed until Walt Disney’s “Pirates of the Caribbean” six decades later. In a precursor to the motion simulators and 4D theaters of today, your Victorian spaceship seats pitched as painted scenic canvases rolled past portholes simulating a fantastical space voyage. Upon landing you exited the spacecraft and were greeted with sensual “Moon Maidens” offering a taste of cheese pulled off the cavern walls. Talk about a multi-sensory experience!

(left: A Trip to the Moon "post show")

Like today’s Wizarding World of Harry Potter, the anchor attraction was embedded in an immersive environment which extends the story beyond the ride time. Outside “A Trip to the Moon” the fantasy continued with a lunar cityscape consisting of hundreds of towers and minarets described by visitors as an “electric Baghdad by the sea.” Rather than choosing a known historic geography or even directly interpreting a known media property (Melies’ “A Trip to the Moon” silent movie, the first “sci-fi” blockbuster), Thompson and his business partner “Skip” Dundy, loosely appropriated exotic architectural details from throughout Asia and the Middle East in a wholly original composition, using sophisticated scaling techniques such as forced perspective. Entered from an iconic gateway on Surf Avenue, the vista was closed by deflecting the linear “Midway” axis, creating a sense of discovery. Multiple levels included elevated terraces and promenades culminating in the iconic “Shoot the Chutes” ride (the first flume ride, one of the few holdovers from Sea Lion Park).

(Above: "Electric Baghad by the Sea")

At the scale of just one of Disney’s “lands” (22 acres), Thompson & Dundy had elevated the pleasure garden and amusement park into an wholly immersive, multisensory environmental experience which transported visitors away from the grim urban reality of turn of the century New York. A new art form had been invented: the theme park.

(Above: Luna Park's Midway)

Family owned amusement parks: the reversal of a trend or a one-off?

By Jeroen Nijpels

And now that we see more and more of those amusement parks that were originally sold to one corporation being moved on to other owners, some people were wondering if there is space (again) for family owned businesses.

The recent sale of Fort Fun Abenteuerland in Germany to the One World Group, in other words from Compagnie des Alpes to the Ziegler family, might therefore very well be the start of a new trend in the takeover business in our industry. No other recent examples immediately jump to my mind (please feel free to refresh my memory in case you know of any), but I would not be surprised if it was not the last transaction of this kind.

Of course a lot of people in our industry will now be very curious how the new owners will handle their new 'baby', and if they are able to reverse the trend that has in fact been going on for the whole time Compagnie des Alpes has owned Fort Fun. Some would say that as long as they do anything, it can only be for the best, but I believe that this is too much of a pessimistic view. Even though the parent company has perhaps not done all that would be necessary to keep the visitor levels similar as when they took over the property, the local management team have made great efforts in doing the best they could within the given budget constraints. This has, among others, led to the park winning a Brass Ring Award (awards given by IAAPA - The International Association of Amusement Parks and Attractions) for the show that was introduced in 2011, "Tala Takenya & die Legende des Heiligen Waldes". However, despite these efforts, it cannot be denied that the park definitely needs to reverse the downward trend in visitor numbers in order to survive.

I'd like to think that it is probably only in cases like this that the conditions for a potential success in these kind of transactions are there to give the new owners a chance for success. In other words, the situation of a certain amusement park needs to be quite bad so that a) the corporate owners (their shareholders) are better off selling the property than to hang on to it and b) the price for the property is such that it enables the new owners to create a successful enterprise, i.e. by having some financial breath left to invest in improving the park, after the purchase has been completed.

I wish the Ziegler family all the success with Fort Fun and I hope to see the park in a better shape real soon.

From Melaka to Pigeon Forge: That was a year, that was.

By Keith Thomas. For us at Petersham Group, it was a year when we found ourselves working further from home than ever, tackling projects as varied as an Archaeological Science Centre in Sweden, developing a programme of exclusive experiential vacations in the African bush, operational planning for a sound and light show in the UNESCO World Heritage site of Melaka, Malaysia and project managing a ground-breaking mirror maze adventure in Pigeon Forge, Tennessee.

The lesson to be drawn, for me, is that even in uncertain times, if you are prepared to get out and look for them, there are some great projects going on out there. Recessions can be the most fertile time for new ideas that in retrospect, instigated a paradigm shift in their industry. As Earnest Rutherford said in the midst of the recession of the 30’s, ‘We haven’t got the money so we’ve got to think’. As the man who proved the atomic model in 1911 working on a shoestring in Manchester, you have to feel he was onto something!

2012 promises more of the same, with uncertainty over the future of the Eurozone, election-year recession in the USA, ongoing upheaval in parts of the Middle East and ominous rumblings in Russia all a given without taking into account anything Mother Nature may decide to throw at us.

One thing’s for sure then; looking forward to the year ahead, there’s going to be no quick fix. Budgets may be cut back but this shouldn’t mean a cut back on ideas and innovation; rather that they will be the lifeblood of any recovery. We’re all going to have to be quick on our feet and adaptive if we’re going to survive it. So from the thoughts of a great physicist, I finish on a note of Darwinism!

May I wish you all the very best wishes for Christmas and success and prosperity in the New Year.

Chic, Contemporary Christmas - The Champs-Élysées' Christmas illuminations

By Mikkel Sonne

The design consists of three lighting rings encircling each tree on the avenue, but without touching it. The outside of the ring is an LED strip, giving a glow of light, while the inside LED strip lights up the tree itself and mirror discs hanging on the branches of the tree will reflect the light rays in all directions as they move freely in the wind.

The installation will change color, intensity and rhythm and will have a special colour scheme for the days of, before and after Christmas. For New Years Eve a special light show will be programmed, with the twelve strokes of midnight being visualised all along the Champs-Élysées.

The concept is designed by Koert Vermeulen and Marcos Viñals Bassols, from Belgian ACT lighting design, who has experience of show lighting (among their many projects - Le Rêve at the Wynn in Las Vegas and the Singapore Youth Olympic Games 2010), themed attractions (Futuroscope, Tivoli, Center Parcs, Parc Asterix) and countless outdoor lighting projects.

And now ACT is combining their experience from these diverse projects into what seems to be a very contemporary street theatre show. Principal designer Koert Vermeulen states that they wanted to break away from the traditional Christmas lighting designs and create something with a strong identity. And a green one, too. The new lighting scheme will have a 51% energy consumption compared to last year.

Champs-Élysées' new Christmas illuminations will be inaugurated November 23rd and will be on show every Christmas till 2014.

Photo credit: ACT lighting design

What are you main objectives for the IAAPA Expo?

The vast majority of people – all but one -- responded that they were going to the Expo and answers as to as their “main objective” range from wanting to make contacts and launch products to (of course) looking forward to the parties!

Here are some of the highlights of this discussion …

We need to find some revenue generators and work on a long term plan for implementation of some new product in our park.

We’re looking for animatronics and mascots. There is no exhibition in the world that you can find so many producers of that sort of things.

Looking forward to discussing our newest high tech ride attractions and service projects with our valued clients. No other gathering in the industry brings so many people together and we look forward to seeing many friends.

We are looking to connect with new prospects who share our vision of making the customer smile. We look forward to meeting and sharing our vision of customer engagement and entertainment with fellow believers ?We look forward to meeting you there.

A great place to conduct business, network with global colleagues, both clients and suppliers, see old friends and meet new ones.

We are showcasing our different companies and capabilities trying to find that next great project, as well as searching the floor for new attractions and old friends.

Looking for "what's new” and holding meetings with clients and prospects.

IAAPA is a terrific opportunity to meet with potential clients and show off our latest products.

Interview electrical engineers, technical designers, estimators and project managers.

We will be exhibiting and showcasing our latest product.

I'll be attending for the first time. Hoping to meet others in the industry, see what's going to be new from everyone for 2012, and share what we're up to. We decided to skip having a booth this year, but we plan to next year.

I'm looking forward to my very first IAAPA Expo. I hope to reconnect with some people I've already met and also to meet some new people and introduce them to our technology. Tremendously excited, for all the reasons everyone else is saying, plus it will be nice to be a little warmer than it is in the UK right now!

We are exhibiting.I will also be walking the show talking to other exhibitors to add to our always expanding network of resources. Can't wait to see everyone there!

I am going to IAAPA just so I can party with Jeff at the Hettima Group

I haven't been since 2001. I can't believe it's been 10 years.

I will be there celebrating 25 years in this business! Also looking forward to catching up with old friends and colleagues and spending a few days at the Disney, Universal and Lego parks with my wife and 3-year old!

Excited to share with everyone our new and exciting venture. Looking forward to connecting with old friends and making some new ones!

Looking forward to meeting Tracy Kahaner : )

We are looking to meet with our current clients and meet new ones.

I am looking forward to giving Charlie Read and entourage a lift to where ever they happen to be going!

I has been a few years now since my last IAAPA, but it will be fantastic to be back!

Announcing our service and looking for leads and prospects.

Dare one say I'm looking forward to the parties?

Obviously! I'm also looking forward to a great week in Orlando, and see if our industry is really so good at weathering the current global economic crisis as it looks like.

See you all there!

What's the Big Idea? Looking at the Legacy of the Millennium Commission

Just to remind you, in their words “The Millennium Commission assisted communities in marking the close of the second millennium and celebrating the start of the third. The Commission used money raised by the National Lottery to encourage projects throughout the nation which enjoyed public support and would be lasting monuments to the achievements and aspirations of the people of the United Kingdom.”

By Martin Barratt

The website has a searchable database that gives access to all the projects they supported… but hang on a bit, some of them are missing! The Millennium Commission website exhorts us to “…Search the Millennium Project database to find out about all the different types of project the Commission has funded.”, but try typing in ‘Earth Centre’ or ‘Big Idea’ and there are no results.

The website was abandoned in 2007 so it’s no surprise that it still lists Wildwalk and the Imax theatre as part of At-Bristol, although these closed four years ago. Do you remember the rather touching innocent surprise of management, when the sponsorship and public funding that bridged the gap between its costs of £6m a year and its revenues of £4.5m dried up? One of the buildings so expensively restored as part of the Millennium project is now an aquarium run by a commercial operator who I suppose are the ultimate beneficiaries of the lottery funding.

Every year that passes the abandoned website will get more out of date; already it’s a rather poignant corner of the internet, a bit like the unchanging face of Dorian Grey it will never age while the attractions it represents fade and die.

And that of course is the tragedy, not the abandoned website. Last month we learned about the demise of Ceramica in Stoke on Trent. The £3.5 million pottery museum was closed by trustees in March after Stoke-on-Trent City Council pulled the Burslem venue's £150,000-a-year funding. Now it has been placed into receivership and the locals are all in favour of its conversion into a Wetherspoons, but the old town hall that housed the exhibition is owned by the Town Council and the rather horrid extension by the Big Lottery Fund, so who knows what they will allow to happen. What is certain is that the money used to develop it will be largely wasted and whatever benefit still remains from the investment will likely be enjoyed by a commercial company.

Similar to the Earth Centre (see images) then, which cost nearly £64m and received a Millennium Commission Grant of £36m. After it closed Doncaster Council got fed up with paying £200,000 a year to maintain it and they sold it for an undisclosed sum to a company planning to develop a commercially focussed activity centre for school children expected to open in 2012.

Are we seeing the start of a trend here? How bad does our economy have to get before more local councils pull the plug on their Millennium white elephants?

The Commission was quick to shout about any of its attractions which beat their visitor targets, but do any of the Millennium projects even approach their visitor targets now? How many are truly commercially viable and wouldn’t have to close if their public funding was pulled?

I suspect that the answer would be very few, if any, and that should be no surprise. After all The Millennium Commission itself admitted that it had “…taken some calculated risks. It would have been easy to invest in the traditional tourist honeypots, but the aim was to get a UK-wide spread of projects and schemes. The Commission invested in some deprived areas because we believe this attracts new investment and raises the level of the local economy.” In other words they invested in attractions built in places where no commercial attraction would work.

So I wouldn’t be surprised if more Millennium projects followed Ceramica into oblivion, leaving their expensively developed sites to be exploited by commercial operators. Am I alone in thinking that the whole Millennium fiasco was a scandalous misuse of money raised from what is ultimately a tax on the poor? According to a Theos study in 2009, their research adds to a growing body of evidence which shows that Lottery players come from poorer backgrounds. They also spend significantly more, as a proportion of their household income, than more affluent players. The poor tax they gambled on the Lottery was used to create visitor attractions that could never pay their way and which would have to be supported from their council tax, until the point when they can be supported no more and they are sold off cheap.

Maybe it’s time for someone, anyone, to revisit the Millennium Commission website and try to express just a little humility for the mistakes they made.

Where is the next growth market for themed attractions?

Predictions range from Dubai bouncing back (with a dash of realism), to China continuing to boom and South Korea, Brazil and India as ones to watch, while many backed the US as a safe long term bet.

Here are some highlights of the discussion…

•    If the price of oil holds high and they keep social unrest to a minimum, I’d still look to Abu Dhabi and Saudi Arabia.

•    China

•    Whilst Dubai was the catalyst for the initial development of attractions / entertainment facilities this year’s DEAL trade show proved that the vast majority of other areas within the MENA region are still on the “up”. Dubai is static for obvious reasons, but it will come back once the economic cycle improves.

•    I agree Dubai is still in the doldrums and key investments are still on hold due to the regional turmoil and investors and banks putting on hold loans that had previously been agreed. I agree Asia as whole looks a much safer investment prospect with regard to stable growth within the leisure market. However should things stabilize regionally in the Middle East and once the banks are confident to start lending again, the Middle East will bounce back very quickly with rapid growth in Leisure.

•    Dubai I think will do well over the coming years if and when the banks and the money folks feel its safe to invest again. China on the other hand is already very strong with major cash and markets. The problem with China is its Government and all the major risks that could come with it. I feel the US market still has much to offer for the right investors as well as people with new ideas. And so for me the US is still the best market and will remain so for years to come.

•    I agree, but it is interesting that no one ever mentions South America. Our quiet but powerful southern American hemisphere. Why is that, do you think? I suspect it is overlooked, because the countries that have the most turmoil, get most of the focus from the media + press.

•     I believe Dubai will bounce bank. Jordan is becoming very active and is putting in a major theme park. But, I would say look to South Korea, who is busy trying to build and promote itself as the gateway to Asia. These are certainly interesting times. As to South America, they are not spending in that direction, but they are growing and becoming more stable. They will surprise us in the near future.

•    I believe that Dubai will never again reach the scale that they had once planned, and rightly so, that type of growth is unsustainable by any stretch of the imagination. Hopefully they will relook at their plans and spread it out over a few decades and concentrate on quality. I believe the countries to look at will be Brazil, Panama, Saudi, Jordan, India, S. Korea, and China.

•     I know there are at least 2 parks in South America now because I have worked with managers that worked there. But is the area stable and are people going to these parks? China seems strong enough but they would be relying on their own people to feed the resorts, I don’t see tourism feeding it. Since I had been working there, I learned it was hard to get in and its an extra cost to travel there and get a VISA. Plus there are so many natural sites to see, so who is traveling there as a tourist to see a resort or theme park? Dubai! What feeds it I want to know? All the Arab world wanting to go there? India? If they are still ready for growth and they are awaiting the banks for loans, then I hope they are prepared to handle the tourist growth, before the new stuff starts back up and is constructed.

•    Some very good points in summary there. Interested in your thoughts regarding the generational shift. I don't think for one second that an aging population is going to be interested in visiting parks in their own right whatever operators do but I do believe that there is a definite trend for them to be taking their grandchildren, particularly where the parents have split up or have anti-social working patterns (or even simply can't take enough time off in the school holidays). One thing to remember is that they are likely to be both cost conscious and very much quality conscious, which will keep operators on their toes!

As for where the industry will be growing, you're absolutely right about South and Central America, there's so much happening already in Brazil, notwithstanding the World Cup and Olympics still to come. The other area, apart from China of course, is S.E. Asia, as our recent work in Malaysia as highlighted.

Incidentally, I like your line about ' 'Nor do people want to be questioned and searched over and over in transit.' I've heard many Brits cite that as a reason NOT to go to the USA for holidays anymore!

•    I am currently in the middle of the expansion of Hong Kong Disneyland which will segway into Shanghai Disneyland. The Asian leisure industry is definitely growing.

Russia. We have Winter Olympic games, World Cup 2018 and Formula-1. We have some projects like Entertainment park in Sochi. It'll be first but not last real park in Russia.

•    I'm surprised no one has mentioned Turkey. It is a large market in its own right with a very strong international tourist base and great tourist infrastructure.

•     Asia in general ... lots going on.

•    Brazil, Panama, India, S. Korea, and China.

•    Asia is booming! I think China is already showing that it is the growing giant of this Century. China knows how to collectively sacrifice for the benefit of a distant future. India is amazing too. I would consider Brazil also a likely candidate to be on the lookout for. Let's not forget Turkey, it can be a promising place...

•    I think the US is going to start building again. I know its not looking like it right now. I think American companies are chomping at the bit to start to upgrade old rides and reinvest in this industry. But I am an optimistic. I guess time will tell.

•    There is a lot on the menu for American companies both domestic and international ... how much of it will come to pass depends on so many things. I think all in the know ( at least those of us with a crystal ball) agree that were looking at a good five year run.

•    India is just learning about Themed entertainment. This is the right time to come to India. The economy is growing and more disposable income for middle class population makes entertainment activity the next attraction.

•    I do tend to agree, not just because I am an Indian. Considering the relatively low overall life expectancy level of 64.7 years & the high population growth rate, the Indian population is going to remain predominantly young for the forseeable future (unless of course there is a war due to which 1 maybe 2 whole generations of young productive adults are wiped out). …

•    Brazil! We’ve worked on several film and entertainment projects in Brazil and witnessed amazing growth! New studios being built, massive infrastructure in place, and 17 million people to entertain just in Sao Paulo alone!. We truly saw growth in Brazil!

•    An interesting discussion and one with no real clear answer. All the comments are good and on the mark as to good potential performers. I've been in Leisure Entertainment for over 20 years as a Master Planner, Concept and Guest Experience Developer and Inventive Problem Solver. Working at high level and internationally for most of those 20+ odd years. Following and predicting trends has been an essential part of our business and success. As early phase start up project consultants, we've seen enough project implode or wither away to last a life time. The complexity of working in overseas markets is often more work than people realize.

The true and overriding factor for all countries and markets is the Global Economy, less the actual Economy and more consumer confidence. Anyone that have ridden out a recession or three can tell you that traditionally Leisure and entertainment traditionally does better during a recession. This is a very different Global economic crisis that is very unpredictable, and, at least in my humble opinion has not had the usual effect of rallying the troops to make things better.

Most of our Client base world wide expresses near terror and uncertainty fueled by the constant negative barrage of media coverage and the political positioning that seems to occur on a seemingly daily basis. Until the economy stabilizes, predicting the next big growth market is pretty close to that, a Guess. There is still too much international instability. Fortunately, Leisure like air and shelter is a necessity and despite the craziness, random chaos and some times just straight out stupidity, there will always be growth in the Leisure market.

•     The lull in Dubai is temporary. Nobody can deny that Dubai has everything to attract tourist and investment in real estate. The constructions that are complete now are word class. I would expect Dubai bouncing back very shortly.

•    Having seen the moves in Dubai towards more FEC style facilities than the big parks; at DEAL this year we saw a number of projects being announced that take the regional entertainment facility approach to the UAE market.

Some of you may be aware of the move by FerrariWorld towards a more retail complex mix to support their park – and if you look at the SEGA Republic facility at the DubaiMall you get a feeling for the ‘Retail-Tainment’ mix of the changed market.

I have to wonder in this changed financial condition globally how many entertainment projects will promote the ‘staycation’ aspects of the new audience – how many operators and developers can even comprehend what is needed to support the needs of this new audience?

Coming up to the 15th anniversary of the DisneyQuest project I worked on as a Walt Disney Imagineer – it would seem the time is once again ripe for a retail unit entertainment project (LBE).

•    My group and I are some of those hired guns that have traveled the world for various projects bringing the so-called "American Theme Park Expertise" to markets and Clients that are engaged in large to medium Theme Park / mixed-use leisure projects that are looking for that next-level (culturally sensitive) American Creative input and development managements teams.

We have had a few India projects cross our desks this past couple of years, but it seems none have gotten past the detailed meeting stages. We have gotten into the bidding on a couple as well, but have not seen a kick off yet. Not that this is particularly unusual. We've worked on many early stage projects than I can remember them all, that are great projects but do not get to the finish line. India is an interesting market and our group lives for new challenges.

I'd be interested in looking at some serious projects in India. We have not run into one yet that has the base elements in place all at the same juncture. Brazil is growing interesting and we are going to take a more serious look. What's the climate, are there active projects or just potential?

• The world in our time is changing and no matter how hard you look or where you seek the best bet is still the US Market. The sad part is you cant get investment folks to look at what is a major market that could be making major returns by next summer. Yes India, China, South America and Dubai just to name a few are all markets that in time will also make good returns, but not as fast as a few good projects right here in the U.S. and right now. I think its that old saying “a Dollar waiting on a Dime”, time will tell if some one out there picks it up before it’s lost.

Dancing in the Park: LEGOLAND Florida Opens

Above: LEGOLAND Florida General Manager dances at the opening event

LEGOLAND position themselves firmly in the pre teen market, successfully leveraging the LEGO brand to promote an experience rich in imaginative play and family participation. John Jakobsen, MD LEGOLAND Parks, describes their deceptively simple strategy: “we specialise in knowing exactly how we can make children happy”.

Owned by Merlin Entertainments the park, set in Winter Haven Florida on the site of Cypress Gardens, marks another step in Merlin’s aggressive growth strategy in the US. “Our ambitions for this marketplace are tremendous,”* said Nick Varney, Merlin’s CEO pictured below at LEGOLAND Florida beside the Coastersaurus, the only wooden coaster in LEGOLAND Florida .

* reported in The New York Times

The Wax Museum After Dark

By Mikkel Sonne

Musée Grévin, owned by Compagnie des Alpes, recently announced the opening of their first museum outside of France. A new Grévin will open in Montreal in 2013 - with more attractions to come. Ripley Entertainment seems to be running a successful enterprise with their Louis Tussaud's Wax Museum brand, and Hollywood Wax Museum will open their 3rd museum in 2012.

What's going on here? Not since the 1960's, where wax museums of dubious quality popped up everywhere, especially in the US, have the world witnessed such an intense interest in wax museums.

The content of the museums has changed dramatically. Whereas many museums before were based on historical events or religion, offering visitors a somewhat educational experience, the modern wax museum is a full blown entertainment venue focusing on contemporary celebrities with highly immersive themed environments. Think less suits and more sex appeal. The velvet ropes and panes of glass protecting the fragile and costly figures are long gone. Visitors are no longer passive spectators looking at static tableaux, like you would look at a store window display.

Look for example at Madame Tussauds in Hollywood - this is not a museum, this is a cathedral of celebrity where we are invited, and encouraged, to step into the scenery and participate in the party. Wrap your arms around Lady Gaga and have your picture taken with Brad Pitt. Fun for the camera (and Facebook), tough on the maintenance budget.

Most portraits in wax start with a sitting where the sculptor takes more than 200 measurements of the celebrity. Hair is sampled and colours are mixed to match the skin tone. The exact colour of the eyes are found by comparing to glass eyes. Often the celebrity donates clothing or props for authenticity. The entire figure is then sculpted in clay; a plaster mould is made from which the head and hands are cast in wax. The body is usually cast in fibreglass. Creating lifelike figures can be a tedious job. Often each strand of hair is inserted directly into the wax head, which takes up to four weeks. Glass eyes are inserted and the head, hands and other exposed body parts are then coloured with oil paint, layer upon layer to re-create a slightly transparent look. All in all, a wax figure takes a team of highly skilled specialists about 3 months to create.

According to the encyclopaedia a wax museum is "a collection of wax sculptures representing famous people", and the art of sculpting lifelike portraits in wax goes back to the ancient Egyptians. The 18th century saw wax museums as we now know them opening up in Europe. Before photography and TV, these museums served as a place where the public could see what the king actually looked like - a need we certainly don't have today. There seems to be another timeless fascination with these lifelike figures, transcending the celebrity of the month.

Let's face it, wax museums can be scary places. Having worked at several wax museums myself I know that a common question is: “What is it like at night?” Or my favourite: “How do you DARE to be there all alone?” These galleries of wax dummies seem to have a strange and eerie appeal to people. I sometimes wonder if people enjoy them because of the possibility of rubbing shoulders with the rich and famous, or because of the tiny little thrill of coming into a room and not knowing who is alive and who is not.

Wax museums have a very special status in the themed entertainment industry. How many types of attractions can trace the very core of their business back to the ancient Egyptians and to this day still satisfy the fundamental human curiosity of wondering if that thing in the corner is alive? Or not? So go visit your local wax museum and think about what you would do if the lights suddenly turned off.

Image: Mikkel Sonne, Madame Tussauds in Las Vegas

A Whale’s Tale: SeaWorld Parks & Entertainment LLC vs. Marineland of Canada Inc. 2011 ONCA 616

By Greg Van Gompel

This relationship was placed in writing when the parties entered a Mammal Support and Interchange Agreement in November 2005. This Agreement recognized that the two parties would collaborate in future projects with each of these projects having its own separate agreements. One of these projects involved a male killer whale named Ikaika, son of Tillikum, who was owned by SeaWorld.

SeaWorld agreed to loan Ikaika to Marineland pursuant to a separate Breeding Loan Agreement signed on November 16, 2006. When SeaWorld gave written notice to Marineland of its intention to terminate this agreement when it expired on December 31, 2010, Marineland declined to return the killer whale.

The Ontario Court of Appeals, in a decision released on September 28th, affirmed the July 5, 2011 ruling of the application judge. It said that the Breeding Loan Agreement was clear and explicit and that its termination provision of the Agreement was unambiguous.

Marineland argued that to terminate the Agreement at any time without the need to provide a reason would, it says, be commercially unreasonable and would make no sense due to the investment that the party receiving a loaned animal would inevitably make to accommodate an animal. The Court disagreed with Marineland and stated that the maximum term of the loan of Ikaika was only four years and thereafter only a year at a time. No mention was made in the agreement concerning the amount of capital investment being undertaken by the receiving party in reliance on the length of the agreement. According to the agreement, both parties have the right to terminate it at any time. This Agreement was not a guaranteed long term relationship.

In bringing the action and successful in its application, SeaWorld was awarded costs on a partial indemnity basis of $240,000 for application plus another $15,000 for appeals court costs.

In a statement, Marineland’s owner, John Holer said “It is extremely disappointing that SeaWorld is now unwilling to continue to honour our long term friendship and understanding.” Marineland is now considering its options.

Six Flags' Strategy: News in every park, every year

Capital Spending: 9% of revenue:

Asset Maintenance 25%
In-Park 15%
New rides and attractions 60%

Of this "Innovation Capex" :

“We will continue investing in our future

Innovation centered on guests
Combination of coasters, events, shows, and rides
No “catch-up” spending required
5-year plan in place"

“We are bringing new attractions to every Six Flags park every year,” said Jim Reid-Anderson, Chairman, President and CEO when announcing plans for 2012. “This season’s guest satisfaction scores are the highest in our history, and we want to continue that momentum by offering a combination of family-friendly fare and thrill rides for guests of all ages to enjoy.”

Highlights of the 2012 line up are set out below:

Image and video:

Kind courtesy Six Flags

SUPERMAN Ultimate Flight, will debut at Six Flags Discovery Kingdom in Spring 2012 as the tallest inversion west of the Mississippi and the park's first DC-themed attraction.

"And the bigger one is called a Giant Leonopterix" : Theme Park Designers on the Disney / Avatar News

"AVATAR is a uniquely powerful franchise that has global appeal with audiences of all ages," said
Thomas O. Staggs, Chairman, Walt Disney Parks and Resorts yesterday. (see : Disney, Fox and James Cameron to Bring AVATAR to Life at Disney Parks) Whilst AVATAR was undoubtedly successful as an event and as a piece of business, it could be argued that it was less so as a film, a special effects triumph but a rather mundane narrative.

In my opinion it was a brilliant piece of film making, and the plot and characters, though perhaps perfunctory, were always going to be secondary to the astonishing world of Pandora. It is the unique visuals and of course the promise of sequels to come that will propel the franchise to further continued success and with Disney sprinkling their magic the theme park rides and experience will undoubtedly be ground breaking. We spoke to some leading theme park creatives to see what they thought...

Dave Cobb, Sr. Creative Director at Thinkwell Design & Production:

"At first glance, it may look like an odd fit to put AVATAR into Disney’s Animal Kingdom park – “isn’t that a sci-fi movie?” seems to be a common question. However, AK was always intended to have a section with mythical animals: "Beastly Kingdom" was an abandoned land concept with unicorns and dragons. Replace that with Pandora’s creatures and glowing bioluminescent environments, and you have some truly amazing creative potential. AVATAR was both a metaphor for ecology and an eye-popping, cutting-edge spectacle -- both of which would fit perfectly in Animal Kingdom. I can’t wait to fly on an Ikran amongst the floating mountains!"

Brent Young, Owner CCO Super 78:

“This development is proof positive that the theme park arms race is on and Disney’s going head-to-head with Universal’s Wizarding World of Harry Potter. There’s no other reason for Disney to shoehorn an Avatar attraction into a park they’ve spent 14 years positioning as an animal park, because the minute the new experience opens, it becomes the Avatar theme park, upstaging the Animal Kingdom brand. The better play would be to leverage the new Marvel relationship and blend it with Avatar to create a new park that’s more appropriate for the more adult themes those brands represent – Disney’s Sci-Fi Kingdom.”

Norm Elder, President/CEO at Norman J.T. Elder & Associates, Inc.:

"Avatar is a terrific content "fit" for Disney on many levels. First, it is certainly the most vivid and convincing creation of a fantasy world ever seen in the history of motion pictures. It immerses you in a thoroughly compelling world, imagined and crafted with a depth of detail that is amazing. And it conveys multiple profound, challenging messages via an archetypal story designed for mass appeal....for those "eight to eighty," as James Cameron said. And the Disney organization has the creative talent and financial horsepower to bring the story to life experientially and emotionally. Blending their multi-dimensional story-telling talents with those of James Cameron can only result in experiences never before presented in themed entertainment environments."

Amelia Ulmer, Business Development at Mousetrappe, Inc.:

"This is an exciting announcement for the themed entertainment industry. James Cameron pushed 3D visuals to a mind-blowing new level and Avatar has raised the audience’s expectations for in-theater immersion. Of course, we’ve all been lost in the story of a film before, but together we “went to” Pandora.

What an exciting challenge for Disney to push the boundaries of immersive storytelling and technical execution that will transport park goers into a touchable Pandora.

It is an intriguing and compelling concept to join the immersive natural environment of Disney’s Animal Kingdom with James Cameron’s otherworldly vision of nature and environment. I can’t wait to experience it."

Dave Goodman, CEO at Goodman Experiences LLC :

"I think the addition of "Avatar" to the Disney family of theme parks is a brilliant choice. With close to 3 billion dollars in revenue worldwide, the film clearly captured the imaginations of a global audience.
The race to obtain recognizable intellectual property that can propel immediate revenue growth within a larger brand like Disney, Universal, (or now SeaWorld), is getting more and more competitive.

Management seems to be searching for the "sure thing" during these challenging economic times. It seems to me that Iger and Staggs have found what most would consider a "sure thing".
That being said, the execution of such a strong property like "Avatar" is always a challenge and for some possibly a concern.

There is no doubt in my mind that the team at Walt Disney Imagineering and Entertainment will find the right methods, (attractions, live shows, atmosphere entertainment, merchandise etc), to properly showcase the essence of the film in ways that reach their Guests.

It will be interesting to see how they execute the content and even more importantly, how they tell the story itself and create a positive emotional response...one that can fit well with both Disney's core conceit and the overall message in "Avatar".

William Gorgensen, Board Member at TEA European & Middle Eastern Division:

"There came a point after the loss of Frank Wells when the developers took over the reins of WDI and the focus shifted from innovation to acquisition. This was the period that started with non-Disney brands such as Planet Hollywood, Rain Forest Cafe, House of Blues, etc. were included into Disney locations. Some of these were successful, some not and even some of the more successful ones were not necessarily up to the design, story or level of quality that we had been told was the Disney trademark.

I see this bonding with Avatar much in the same light. I realize it was a big film in terms of technology and box office but the story was a bit mundane ( Dances with Wolves is often alluded to). Although there are two more films in the pipeline, the 3D craze is slowing tremendously and the capture method is in use more and more so, in order for this franchise to be one on which to hang a number of multimillion dollar theme parks, they have to be much better than the original. If not, the franchise will die and it might take the parks with them. This is not an IP like Indiana Jones, Star Trek or Star Wars consisting of multiple films, some good, some bad, which allow the IP to take a hit off and on and still survive. This is only one film and, in industry standards, a dated one. Personally, I would have like to have seen an innovative addition coming from the WDI brain trust rather than one where an outside idea is brought in and a Disney name is put on it but, who knows? Maybe it will work."

Al Cross, Vice President PGAV Destinations :

"Star Wars and Indiana Jones proved Disney’s ability to adapt non-Disney properties into theme park experiences. So, on the surface there’s no reason to doubt that Avatar will succeed. I can imagine a rich, wildly themed environment, and ride concepts are already jumping out of my brain. What I hope for is an approach that engages the real (earthly) animals who are the genuine heart of Animal Kingdom. And while that’s easy to say, merging a story about another planet, with its own imaginary wildlife, into the story of our planet, its wildlife and its future … and still meet the expectations of the theme park guest … well, now, that’s a tall order. It sounds like fun. I wish I could be involved."

David Willrich, Managing Director, DJ Willrich Ltd. :

I am intrigued that Disney do not feel that they have enough of their own IP to have to dive down this path. Whilst I can understand the concept of AVATAR being a good fit in Animal Kingdom, I don't see it integrating well into the other parks around the world. Having said that, they have a great opportunity and excuse to go as high-tech as Imagineering can muster up the budget for!

In my view the all time best Theme Park attraction is Spider Man, in Universal's Island of Adventure and I have to confess that I was disappointed to not have replaced this with Harry Potter in the same park. With AVATAR, Disney certainly have a theme that can both take on and deliver the worlds best Theme Park attraction.........

Image:WALT DISNEY PARKS AND RESORTS WORLDWIDE CAMERON & IGER Groundbreaking filmmaker James Cameron and Bob Iger, CEO of The Walt Disney Company, share their collaborative vision for bringing the incredible world of AVATAR to life in Disney parks.(PRNewsFoto/Walt Disney Parks and Resorts Worldwide, Scott Brinegar) BURBANK, CA UNITED STATES

Themed Entertainment: TEA gets BeWitched at BeWILDerwood

We were first treated to a guide of the park by CEO and owner Tom Blofeld (below, second from right). Tweed jacketed and charming, Tom is an Englishman straight from central casting and is as unique as his park. Whilst not a Theme Park in the traditional sense - "no machines" says Tom - BeWILDerwood is nonetheless highly themed.

Based in a wooded swamp, visitors are presented with a variety of wooden swings, zip wires, bridges and climbing frames which are dotted around the site, but these, whilst of impressive and worthy construction are not what makes the park tick. The USP is in The Boggles.

Blofeld has written a number of children's books which depict a fantastic world of talking hippos, handbag clutching crocodiles and swamp dwelling pixie-like creatures ("Boggles") which are set within the confines of the park. These literary creations are the key to the park's success. With the help of leading themed designer Nick Farmer of Farmer Attractions Development, they have been integrated into the theme park experience in an ingenious way and the Boggles appear to be living throughout the park. There are houses in the trees, cooking pots and walkways between the little villages and trees sport foot-high half open doors.

Though the wood seems alive with this community of magical creatures we never actually see them, they are "unseen characters". Whilst this is an ancient dramatic device (Greek tragedies relied heavily upon events taking place off stage , think also of Romeo and Juliet’s Rosaline and Frasier’s sister-in-law Maris) this is surely unique in the theme park business. The impression created by these unseen characters is so persuasive it is easy to imagine that the introduction of animatronic characters, however neatly done, might serve to shatter the delicate illusion.

BeWILDerwood was opened in 2007 by Tom with help of his old school friend Simon Egan, neither of whom had any previous experience in the attractions industry yet it has proved an idiosyncratic and popular attraction, succeeding both because of and despite its location. The site is swampland, part of the network of marsh and woodland making up the Norfolk Broads and makes an ideal location for the magical story-lead experience. On the other hand, no focus group or feasibility study would have supported the notion of a theme park in such a sparsely populated region of the country. Bart Dohmen (left) reckoned the nearest motorway to the park was in The Netherlands.

Squarely aimed at younger children and families, The park's visitors are A to Bs, there is very little litter and , interestingly, 70% find the theme park through word of mouth as opposed to 30% via the park's more traditional marketing efforts. This is the reverse of most theme parks and implies that the middle class mums of Norfolk have a secret they like to share.

We then heard from Bart from BRC Imagination Arts and Thinkwell Design’s Michael Finney (left), who explained why a number of their projects had been successfully nominated for the THEA Awards (the TEA’s annual awards for themed entertainment projects- BeWILDerwood is a notable past award winner). Bart gave an overview of Hollandarama and The Heineken Experience – “It was about the customer not the brand” – and Michael talked us through (oxymoronic) Ski Dubai and the more recent Grand Opening of the Wizarding World of Harry Potter.

Phil Hartley (PHA Ltd.) discussed Alton Tower’s Charlie and the Great Glass Elevator Experience, the video for which, outside of the elevator ride and in 2D, looked like the LSD trips once described so vividly by John Lennon. It struck me that in this industry any one project demands the talents of many different people and companies and that this sense of collaboration is what lies at the heart of the TEA.

Phil and David Willrich from leading audiovisual specialist DJ Willrich Ltd. then detailed the process involved in getting European and Middle Eastern projects considered by the THEA awards committee and ways to maximise the chances of impressing the judges. A good video is vital as not all the entrants actually receive a visit from a member of the judging panel.

Finally, with the tea celebrating an important milestone, we were given handfuls of 20th anniversary TEA badges (soon to be kicking up a storm on eBay) and delighted in a couple of sultry models ( N. Farmer & P. Hartley) showcasing the new TEA branded designer jackets.

Thanks go to our generous hosts, Tom and Simon at BeWILDerwood and to the indefatigable Phil Hartley and David and Lynn Willrich for their hard work in organising the event.

Themed Design: The Attraction of Scent

By Mikkel Sonne

Samsung and Bloomingdales have introduced scent marketing in some of their stores. Even companies like Burger King and Vodafone have signature brand colognes, and chances are that your local petrol station may have its own signature scent. But in the attractions industry, an industry rooted in storytelling and emotion, it’s surprising that the use of scents often is overlooked.

The science is all there. The part of the brain that processes scent is the same part that processes memory and emotion—they are physically connected. The smell of clove suddenly reminds me of Christmas and the smell of patchouli of my mother. It’s not oversentimentality, it’s science

As designers we pay careful attention to each detail—the colors, the layout, the graphics, the font on safety signage. We tweak each line. We carefully curate the soundtrack. Yet smell, the sense that scientifically takes us straight to emotion, is generally not top of mind.

I perceive scents as colors—invisible colors if you will—that act in the same way as painting a room in swirly red and white stripes. Wouldn’t adding the smell of peppermint or cotton candy take it to the next level? It transports you into the story and embeds the experience in your memory. It transforms the room from being merely a room into an experience. An experience to remember.

I can cite the research that carefully incorporating scent has been shown to increase consumer spending (it really is out there). But the fact remains that scent is intangible, it’s invisible and sadly, often ignored.

It’s also a powerful tool. It’s a shortcut to connect in the brain to a positive experience. It surpasses all other brain processes and goes straight to emotion. That is how scent can embed memories and experiences. Remember that damp smell when entering The Haunted Mansion or the subtle smell of chlorine water in Pirates of the Caribbean? Scent transforms you to another dimension of the story telling.

It’s also how, for the remainder of that day, every time I caught a whiff of my cologne it wasn’t the smell of cedar or vetiver that caught my attention—it was the recollection of the good-smelling accident that morning.

Image: Mikkel Sonne

Audiovisual installations: When "Urban Art" Just Doesn't Work

Why is it that people and companies pour their time, energy and copious amount of money into projects without thinking about how the test of time and gritty environment will affect the installation?

Writes Peter Ed

A sorry installation like this is the solar powered art installation, near Old Street roundabout in London. What a wonderful idea – made of recycled glass, it has in interesting story to tell, on well written panels, with a fun logic to how the solar panels interact with the LED panels.

I once saw it completely frozen in one fixed state, other times just utterly dark. What a waste of space, effort and, no doubt, a lot of money (who’s money?).

In fact, ‘Urban Art’ is only the most visible example of an astonishingly near-sighted approach to many high tech fixed installations. It happens everywhere. I have seen corporate lobbies with partially functioning ‘signature’ video and lighting, museums with moving images frozen, video screens showing Microsoft’s ‘blue screen of death’ in shops and in (London) underground stations.

Even one of the themed casinos in Las Vegas, the Hilton Spacequest, that just months after opening had significant parts of the lighting and video display obviously not working. Nobody was rushing to repair it – maintenance comes out of the operational budget, and nobody budgeted for repairing these expensive bits of high tech stuff.

Some of the fault must be attributed to the designers and consultants involved with the specification of the project. Some fault lies with owners or operators that do not take an interest further than “it must work when it opens”. Some fault lies with manufacturers that sell equipment into unsuitable applications. There is a conspiracy of ‘non-interest’ in the long term functioning of these fun and sexy displays.

What to do? Give up on the wonderful new toys that designers now have to play with? Hardly - they are here to stay. No, there is one main thing that must be asked at the onset of any fixed installation project:- “how will it work, and how should it be serviced over the life span of the installation”.

It means demanding answers to questions about suitability of all the system components, about choosing the correct cables with connectors that can do the job. It is about ensuring everything works in the temperature extremes it is subjected to, and thought has been given to condensation, thermal expansion, etc.

Sounds complicated? Well, no – it just normal fair for any professional designer cum project manager. The difficulty is not the technology – difficulty is the limited concern that designers, consultants, owners, operators and project managers have in thinking beyond the opening phase of the project.

It should be a primary design objective to ensure that an installation lasts its set working life and can be maintained at an affordable budget.

Images: Spacequest Casino, Hilton, Las Vegas. Note the ‘window’ showing a moving Earth below, Solar panel art installation, Old Street, London. Both kind courtesy the author.

Genting Singapore Plc second quarter results: 40% increase in visitors to Universal Studios Singapore

Non-gaming revenues increased by 40% from S$94m to S$132m. The S$6.6bn resort which began a phased opening in January 2010 and so the quarter ended 30 June 2011 is the first that can be directly compared to prior years full operational trading. Daily average visitor numbers were 10,300 with an average spend of S$83 per head. Occupancy at Singapore Integrated Resorts’ hotels for the quarter was 88% with an average rate per room of S$317.

Genting suffered significant losses this quarter in their gaming business which resulted in an overall decline in revenues of 17% from S$874m to S$727m.

The company plans significant new attractions in the near future to continue to develop the resort, as set out in the following comments from the quarterly financial announcement:

“We are particularly excited about the jump in volume and earnings from the non gaming business in the second quarter of 2011; with Universal Studios Singapore drawing 40% more visitors compared to the preceding quarter. The park's growth is most encouraging not only from a short term perspective, but more importantly it continues to establish the Singapore IR as the premier resort destination for the affluent in Asia. We continue to build on the Singapore IR’s appeal with new attractions. The Maritime Experiential Museum will open in October 2011, followed by the world-wide debut of Transformers - a major blockbuster attraction in USS in December 2011.

Also at the end of this year, we will add more luxury rooms at our high end West Zone. There will be larger suites and magnificent luxurious villas. Each of these villas have its own swimming pool, access to a beautifully landscaped environment and views of the spectacular sun set over the Straits. These accommodations, when fully completed by first quarter of 2012, will be highly complementary to our vision to be the playground for the rich and famous in Asia.”

Tokyo Disneyland and Tokyo Disney Sea: OLC’s results for Q1 to 30 June 2011

Below is a graph showing the comparison between Q1 2010 and Q1 2011, with a “bridge” between the two. Unfavourable reductions in net sales across the business are partly offset by cost savings. .

In an update describing the recent situation OLC noted that:

Guest numbers had recovered to prior year levels by July due to solid admissions of guests from metropolitan areas, recovery in the guest numbers from the regions and guest recognition of new products such as “Fantasmic!”
Net sales per guest had recovered by May
Hotel occupancy rates have improved with the summer holidays
Cost efficiency measures will continue
Efforts to attract more guests will include rolling out 10th Anniversary events at Tokyo DisneySea from September together with various marketing initiatives
¥3 billion has been invested in private generators which will come online in late August to combat effects of government's power saving measures
¥2.1 billion to be posted as an extraordinary loss in Q2 relating to the cancellation of "ZED" performances at the Cirque du Soleil Theatre Tokyo from 31 December 2011

Tivoli’s three year strategy – enchanting guests whatever the weather, in AND out of the park

Aside from making enough money to re-invest and a commitment to staff welfare and customer service, Tivoli are keen to develop a year-round business less at risk from the weather and expand into other areas of the leisure industry both within AND outside the park.

Key projects include:

Hans Christian Andersen Castle – Tivoli are looking to maximise the use of the castle having already obtained a casino licence in 2010 and hosting a Titanic exhibition in 2011. The annual report says, “The casino licence gave rise to developing a new concept for the entire Castle of which the casino will form part. It is the intention to renovate and reopen the Castle with the casino at the end of 2012…Obviously, the plans include adjoining restaurants etc, but it will also be natural to consider whether other leisure activities would fit the new concept for the Castle.”
Increase attendance by:
- entertainment and theme days or offers targeting special groups
- increased package sales and the new pricing structure implemented in 2011 which are directed at families and aim to fill idle capacity
Combat the weather – Cultural visitors to the daily shows at the Glass and Concert Halls also typically eat at the Tivoli’s restaurant and “generally form a good basis of the daily revenue”. A classical music programme, the Tivoli Festival, will be launched to develop this area of the business.
Increase the offering for cruise ship visitors - In 2010 Disney Cruise Line ships moored Copenhagen for the first time and this is a market segment that is growing. “It is the intention that Tivoli will, in cooperation with a number of business partners, launch packages offering to take care of the visitors from they leave the ship until they re-embark in the evening.”
Breaking out of the park - Tivoli own the Danish Wagamama franchise, and are looking to develop it: “The possibility of opening one or several restaurants outside Tivoli is also being explored.”

Reflecting on One Kind of Reality for Fulldome

By Carolyn Collins Petersen, Loch Ness Productions

In May, we did the same thing for the Endeavour launch, also getting the chance for imagery of the rollover of Atlantis, the astronaut walkout, and the Rotating Service Structure retract -- all in fulldome. At both launches, we captured stereo sounds of the roar of liftoff, to add more to this depiction of reality we were recording. It was well worth it. Even now, as I watch our scenes in the dome, I am taken back to the sights and sounds -- and, since I was there -- the feeling of the events.

A few other fulldome-producer colleagues also set up gear to record these experiences for posterity. Some were more adventurous than we were, setting up remote cameras in the mangrove swamps closer to the pad. During the time we waited for the various launch-related events, we all chatted about our gear, our filming, and what we hoped to accomplish with our imagery.

And so we all gathered the last images of an era of spaceflight with some of the latest technology available to shoot time lapses for fulldome -- full-frame 4K resolution at 30fps or greater is still just beyond technology limits. And, I wondered how future audiences would receive these scenes in all their immersive glory. I suppose it depends on people's ages and perceptions of human spaceflight history. Young ones would see them as quaint reminders of an earlier epoch. People who grew up with the space shuttle flights -- me among them -- would think of the amazing things they enabled for the space station, for Hubble Space Telescope, and other missions. To be sure, these scenes represent what WE thought people should experience about space shuttle launches whenever we use them in our productions. They reflect our vision as filmmakers, our decisions about camera placement and sound. We did what we could, because someday we will want to share that experience with our audiences--to give them that same vantage point we had and experience some of the sights and sounds of the final two launches of space shuttles.

As we waited for the liftoffs, I thought about how these would look in the dome. We were at the water's edge behind the countdown clock at the press site, three miles away from Launch Complex 39A -- as close as audiences were safely permitted to be. Through a fisheye lens with no zoom, the images spread out across the dome, the shuttle and its launch looked smaller than one would expect, at first. To the unaided eye, the actual ignition and flaming and exhaust trail was much more blazingly bright; when the camera sensor saturates to full white, that's as good as you can project -- but there was much more dynamic range than can be captured and hence projected.

But, the images really are in "real" space... and so they do reflect what we saw on those sultry Florida mornings. And, they are closer to the action than most people saw from their vantage points along the causeways coming into the space center area, although not as close as a few scenes we've seen taken a few hundred yards from the launch site using remote cameras. They're immersive, and as far as they go, they reflect reality as it once was. And, there's value in that for the fulldome medium. They tell a story. They reflect a time in history. That's their true value -- not how close we were to the launch site, or what equipment we used. Now, we have a fulldome story to create and share with others. What will it be?

(Note: Videos of the Endeavour and Atlantis launches can be found at http://www.vimeo.com/lochnessproductions)

Carolyn Collins Petersen is vice-president of Loch Ness Productions, a media production company specializing in fulldome production, exhibit and online media.

Update on LEGOLAND Florida: John Jakobsen sets out Merlin Entertainment’s strategy for LEGOLAND parks

LEGOLAND Florida, set in Winter Haven Florida on the site of Cypress Gardens will be the biggest LEGOLAND park so far, and promises to be “one of the most beautiful theme parks in the world” according to Adrian Jones, General Manager. In attendance at the update, representing the Florida team, were Kim Isemann (Sales and Marketing Director), Todd Andrus (Sales Manager) and Nigel McShine-Jones (Trade Sales Manager).

Jakobsen was keen to emphasise the lessons learned from the first foray into the US market with LEGOLAND California. That move was, said Jakobsen, like “going into the lions den”, and not a decision that had been undertaken lightly in view of the local competition. Having learned in California the importace of sticking to core values and market in order to differentiate the LEGO experience, Jakobsen said, “Our success formula is now very clear. We are a family park for families with young children offering an interactive experience based completely on LEGO theming. As long as we stick to that people will consider us different and we will rank as one of the things they absolutely have to do.”

With seven million visitors in 2010 across the four LEGOLAND parks in 2010 it’s clear that the focus on families with pre teen children is hitting the spot. Although the provision of theme parks in Orlando is rather good already, LEGOLAND aim to win over the families with younger children who want an experience designed just for them, and become one of the “must see” attractions on a holiday itinerary. The 150 acre site will have more than 50 rides including some “pink knuckle” coasters and a nod towards Cypress Garden’s history with a stunt water ski show.

Jakobsen then went on to set out the key elements of LEGOLAND Parks’ overall strategy:

Cash invested on a defined cycle so that each park has at least one new component a year to encourage repeat visits and keep the product fresh, eg the £8m Atlantis submarine ride at LEGOLAND Windsor (see image).
Resort development – hotels planned for Windsor (2012) and California (2013) and “aspirations” to add a hotel in Florida and at other parks
Second Gates – LEGOLAND California has a SEA LIFE centre next door as well as a waterpark

As with all Merlin’s attractions, expansion continues apace and LEGOLAND’s first theme park in Asia, LEGOLAND Malaysia, is set to open in 2012. Ambitious plans, but as Jakobsen says based around a deceptively simple strategy: “we specialise in knowing exactly how we can make children happy”.

See below for video of Adrian Jones showing us what to expect when LEGOLAND Florida opens: