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issue 82, summ
e
in p a r k m a g a z r 2020
in e .c o m
Innovation helps smaller
attractions stay competitive
Thea Awards Masha and the Bear
Dive deep with the projects and The Land of Legends (Turkey) turns to a popular Russian cartoon to
people that organize the Theas inspire new themed lands built during the pandemic
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inparkmagazine.com
office@stonefaceinc.com
issue 82, summer 2020
Ultimate contrast
Meet the press
4 20 Christie Eclipse technology transformed the
The IPM team interview one other
Hayden Planetarium • by Judith Rubin
Popcorn Revenge results Going virtual
5 Walibi Belgium’s Jean-Christophe Parent 24 TEA honors Thea Award recipients with Digital
by Anja D’Hondt Case Studies event • by Joe Kleiman
Right place, write time On the topic of Theas
6 Screenwriter Bennett Yellin authors a future in 26 Meet Nancy Seruto, Susan Bonds and Wendy
themed entertainment • by Martin Palicki Heimann-Nunes • by Clara Rice
Experience for hire The Land of Legends meets Masha and the Bear
8 Consultants offer a vision of leadership for LBE 30 A Russian cartoon inspires a new themed land,
and themed entertainment • by Martin Palicki built during a pandemic • by Martin Palicki
Following the leader Diving into the TEA/AECOM Theme Index
10 Smaller attractions stay competitive through 36 What can a decade of industry evolution tell us
innovation • by David Paul Green about the future • by Joe Kleiman
Funding, reopening and saving the animals
16 Museums struggle in COVID times • by Joe
Kleiman & Judith Rubin
COVER: At Cookie Monster’s Foodie Truck team & contributors
Challenge at Sesame Street Land, SeaWorld PUBLISHER DESIGN
Orlando, Cookie Monster and Chef Gonger need Martin Palicki Martin Palicki
your help to find all of the special ingredients
EDITOR CONTRIBUTORS
needed for their custom digital recipes. At the
Judith Rubin Anja D’Hondt
end of each game, you become the chef and David Paul Green
can add any of the game’s 24 ingredients, from NEWS EDITOR Clara Rice
anchovies to sugar sprinkles, to your very own Joe Kleiman
pizza. Photo courtesy of Beaudry Interactive
InPark Magazine (ISSN 1553-1767) is published five times a year 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
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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.
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Meet the press
In place of our typical editorials the InPark team checks in to
learn more about one another...one question at a time
Joe Kleiman, as into overlapping sectors. Various parts of the industry learn
InPark Magazine news editor what various other parts of the industry are doing, with reliable
information from a reputable, even prestigious source. That
Question from Judith Rubin
exchange of information supports collaboration, innovation, best
practices and growth. In COVID times, it can help the industry
T ell us about your extracurricular blogging and how it
complements your InPark role
get back to work.
Martin Palicki
The blogging actually started well before I joined InPark. About InPark Magazine publisher
fifteen years ago, I owned a website called WorldEnteractive that
reported on the digital transition in home entertainment, cinemas,
and attractions. My business partner was a university English Question from Joe Kleiman
professor and she made sure we followed the AP Style Book and
that all sources were vetted. At the time, trade shows did not
consider most bloggers as legitimate media. I saw many turned
W hat inspired you to publish a trade magazine on the
themed entertainment industry?
away from the press office at CES, NAB and ShoWest. Honestly, this is the number one question I get at parties. Fun
fact: When I was about 10 years-old I wrote a letter to Ron
These days, blogging allows me to approach topics (and approach
Toomer of Arrow Dynamics asking how I could become a roller
them in ways) that may not fit the mission of InPark or other
coaster designer. He responded and told me I needed to start
trade publications that I’ve written for. I speak in my own voice
studying mechanical engineering. I never had the patience for that
but always base my opinions on conscientious research. Whether
much math and physics, so in college I turned to the operations
it’s an homage to Star Trek attractions long past or showing that
side and began working for Six Flags Great America. I tried to
a major travel agency’s commitment to ending dolphinariums
get full-time work there, but ended up pursuing other jobs –
conflicts with their owner’s opening of a brand new one, I try
though I still kept ties to the park. My degree is in English, so I
to write in a style where there’s something to be taken away by
figured there had to be some way to tie together my passion and
everyone.
my education. Thus, InPark was born.
My blogging has given me great international connections and
Professionally speaking, InPark and I grew and improved
the skills to conduct deep research. As a result, I’m able to see
together, with a lot of help from friends and colleagues who also
patterns others may not. I’ve taken these connections and skills
love this industry. The core editorial team of Marty, Judy and Joe
and applied them to my work at InPark. Likewise, working with
evolved, and InPark took flight.
the phenomenal editing team at the magazine, my writing has
improved substantially on my blogs over the past decade.
Judith Rubin, advertisers
InPark Magazine editor Alcorn McBride 9
Lagotronics 25
Question from Martin Palicki
Chris Lange 35
Y ou have an illustrious career with several trade
publications, including InPark. Why do you think the
industry media is important, particularly now?
Mycotoo
Oceaneering
33
15
Polin back cover
Professional journalism brings perspective and objectivity to the
table. Those are basic to maintaining high editorial standards. Stoneface 2
But we also serve and support a specific industry. That calls for Vekoma 39
specialized information, put into meaningful context - knowing
your industry and helping others to know it too. It also calls Visual Terrain 34
for distribution - a breadth of distribution that helps the story
David Weiss 35
reach a useful cross-section of the business community as well
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Popcorn Revenge results
Walibi Belgium’s Jean-Christophe Parent on the Thea-honored Popcorn Revenge
by Anja D’Hondt, Flower & Feet PR
W alibi Belgium is a TEA Thea Award recipient, with
Outstanding Achievement honors for its Popcorn Revenge
interactive dark ride, developed and installed by neighboring dark
ride specialist Alterface. With Jean-Christophe Parent, Managing
Director of the Belgian park, we look back at the first season and
find out why this attraction earned such a prestigious award.
Bonjour et bienvenue, Jean-Christophe! Congratulations to
you and the entire team! What does the Thea Award signify
for Walibi Belgium park?
Receiving this award is a wonderful international recognition for
our park and proves our renovation strategy pays off. We have
worked really hard to upgrade Walibi Belgium and reposition
it with new attractions and immersive areas, so it comes as a Jean-Christophe Parent
great reward to the entire team. Watching all the happy faces
and enthusiasm of visitors leaving Popcorn Revenge during the of visitors on a relatively small area, and it is also an indoor
first season, we can confirm it has been worth the investment, attraction, important in a rainy country such as Belgium! We are
along with the many other awards and nominations we are still very proud of it.
receiving!
How did visitors respond to the first
Why did you choose to add Popcorn Revenge, instead of a seasons of Popcorn Revenge?
more classic thrill ride?
Popcorn Revenge has certainly proven its value and entertained
We always strive to diversify our attraction offering and appeal to a large audience during the first season. It is mostly popular
a wide audience. Popcorn Revenge is very innovative as it leads among families with children between 8 and 14 years, which is
us into a new digital dimension with a video game type interface. a key audience for us. As there are so many layers in the story
As the first dark ride using the non-linear Erratic technology, it and gameplay not everyone immediately grasps everything. But
delivers a unique immersive experience, and the gameplay and the we consider this an advantage as it motivates competitive players
order of scenes vary per ride. Popcorn Revenge is a multilayered to come back, while others can just enjoy the ride and storyline
game with physical and digital thrills. It appeals to all ages, to play and interaction. Visitors are charmed by the popcorn characters,
individually or with friends and family. It has a high repeat factor which they can relate to well-known superhero movie characters.
with players coming back to discover new elements and improve This is evident in the popularity of the ride’s merchandising shop,
their scores. Furthermore, we can accommodate a large number which has significantly increased the park’s income.
Do you have any advice you can give to other parks who are
considering such an attraction?
The only advice we can give to anyone who is interested in
such ride is to experience it for yourself in our park. Seeing is
believing! • • •
Popcorn Revenge will be showcased as part of TEA Thea
Awards Digital Case Studies, on October 22, 2020 (www.
teaconnect.org). For more information on Popcorn Revenge,
see “Kernels of Truth,” InPark issue #79, 2019 (www.
inparkmagazine.com/alterface-kernels-of-truth/)
The exterior of the Popcorn Revenge building at Walibi Belgium
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Right place, write time
Hollywood screenwriter Bennett Yellin authors a
new future in themed entertainment
by Martin Palicki
I t’s a scene many industry pros might relate to. A young boy
visits Disneyland, and while the rest of his family enjoys a ride,
the child diligently tries to figure out how it was created. Bennett
Yellin was one of those kids. Growing up in Southern California,
Bennett was fascinated with the innovative attractions being
created for the theme park industry, as well as the excitement and
theatrics of Hollywood. Yellin was something of a child magician
and this gave him the perspective to see that both film and theme
parks were ultimately doing the same thing: creating a magical
experience for their audiences.
Bennett Yellin (center) with “Dumb and Dumber”
“I was enthralled with Disneyland and movies and knew early on stars Jeff Daniels and Jim Carrey
that I wanted to work behind the scenes on both,” says Yellin. All photos courtesy Bennett Yellin
The realization gave birth to two “crazy dreams”: to write motion
pictures and create theme park attractions. Around this time, one of Yellin’s acquaintances had been posting
on social media about the opening of Warner Bros. World Abu
Yellin had heard the term ‘Imagineer’ on The Wonderful World Dhabi, where he’d served as senior art director. “I asked him if
of Disney but wasn’t sure how to become one, so he turned his it was feasible to pivot from writing for films and television to
attention to a more straightforward goal, teaching writing. This theme parks. His response was ‘Absolutely! People do it all the
led him to receive a Bachelor’s in Fiction from UCLA and an time.’” Just like that, Bennett’s long-dormant dream was re-
MFA from the University of Massachusetts, Amherst. ignited.
Bennett never made it to that teaching job, though, as early in After some research, Yellin discovered the Themed
grad school he met Peter Farrelly, another student in the MFA Entertainment Association. He joined in late 2018 and decided
program. The two co-authored a script and managed to get it to to attend the TEA Western Division’s annual holiday party. Yellin
Eddie Murphy (credit goes to Peter’s date, who told him the actor “didn’t know a soul” at the event, so while waiting to get in, he
lived next door to her parents). Murphy passed it on to execs at nervously struck up a conversation with the woman in front of
Paramount Studios, who brought the duo in, kicking off their him, who took him around and introduced him to guests. That
writing careers. led to a conversation with Co-Founder, CEO and Executive
Producer at Super 78 Dina Benadon, herself a successful
Their partnership (with the inclusion of Peter’s brother Bobby) navigator between themed entertainment, film and television.
resulted in Bennett’s most notable credit: the 1994 hit “Dumb
and Dumber.” The film has become a classic, and has earned a A few months later, Super 78 brought Yellin in to do some work
spot in pop culture’s collective conscience. on their project ‘20,000 Leagues Under The Sea: An Interactive
Adventure,’ the company’s newest Geppetto-powered interactive
Yellin spent the next 30 years writing for Hollywood, working character attraction at Moody Gardens [See “Geppetto Grows,”
with the likes of the Zucker Brothers (creators of Airplane!), InPark issue #80, November 2019]. While the script had largely
John Hughes, Madonna, Jim Carrey, Paul Reiser, Matt Damon, been written, Yellin was asked to bring more comedic elements
Gregg Kinnear, Cher, Kate Hudson, John C. Reilly, and Patrick into the story.
Stewart.
“20,000 Leagues was the perfect project to allow me to apply all
The next step of my screenwriting strengths,” says Yellin. “I had an absolute
Fast forward to 2017, when Yellin realized he had successfully blast!”
achieved his childhood dream. “I’d done a bit of everything in
my screenwriting career, and I was ready for a new challenge even “We were so thrilled to have Bennett work with us on ‘20,000
though I wasn’t quite sure what that would be,” says Yellin. “I’d Leagues Under The Sea: An Interactive Adventure,’” said
completely forgotten about the idea of creating attractions for Benadon. “We’re all huge fans of his fantastic movies and he’s
theme parks.”
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just an incredibly fun and talented guy. His comic instincts added Writing the future
tremendously to the final product. We can’t wait to work with One year later at the 2019 TEA Western Division holiday party,
him again!” Yellin already had a successful project under his belt and walked
into the event knowing dozens of people he had met and worked
20,000 Leagues has been well-received since opening in with over the past twelve months. “There is a warmth and
November 2019. It was even nominated for the inaugural commonality to this industry that I really appreciate,” says Yellin.
Innovation Award by the Producers Guild of America, which “The shared enthusiasm and passion for wanting to provide
recognizes projects that are advancing media technology and guests with a wonderful memory really speaks to me.”
creativity across a variety of disciplines.
“Part of my career success is thanks to being in the right place at
Although comedy is Yellin’s specialty, he has experience in the right time, but it’s really about the relationships I have made
other genres too, having authored thrillers and sci-fi during his and nurtured through events at TEA and IAAPA that have made
Hollywood days. “It’s always about creating an experience in the difference.”
the envelope of a story and I don’t think that’s ever really going
to change,” says Yellin. “I’m a storyteller at heart – give me a What’s next for Bennett? “Flexibility is the name of the game,”
premise and ideas will start popping from my head.” he says. Yellin welcomes freelance gigs but would consider a full-
time opportunity as well.
Yellin likes to say he thinks outside the box, but always keeps
one toe in it. That’s a good match for theme parks and museums, “In hindsight, my career progression seems entirely natural, even
which frequently are looking for the next great thing, but still can though I didn’t realize it at the time,” says Yellin. “I’m truly lucky
be a little risk-averse. It’s also an industry that values experience to be able to be ‘living the dream’ – both of them!” • • •
and accomplishment, which Yellin offers.
Bennett Yellin, President of Really Important Guy, Inc. can be
“I’ve created original characters for studios as well as written for reached at bennettyellin@yahoo.com
existing characters, ensuring they remained on brand and within
strict guidelines,” explains Yellin. With IP oftentimes being the
central element of a project, it’s critical to get that component
right, especially early in the process.
THEN AND NOW: Bennet Yellin as a child, excited for a visit to the Disneyland Resort, and today, writing for the themed entertainment industry.
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Experience for hire
The rise of consultants since COVID-19 affords a vision of leadership
for the Location Based and Themed Entertainment Industry
by Martin Palicki
E leventh Hour President Jeff Ganter has observed
marketplace changes through his decades of experience
in business, management and human resources facets of the
entertainment industry. In 2004, he founded Eleventh Hour, a
full-service staffing and recruiting company targeted to the needs
of creative industries including themed entertainment. Eleventh
Hour’s business model streamlines a variety of placement
services, including direct hire, freelance, freelance-to-hire and
more.
Partnering directly with corporate leadership teams as well as
with individuals seeking work, Ganter has developed a uniquely
qualified perspective on industry needs and nuances.
“As we are all experiencing firsthand right now, changes happen
constantly and can be a disruptive force to planning. Sometimes,
like with COVID-19, the changes happen abruptly, while other
times they happen more gradually. In either case, managing those
changes within a corporate environment can be challenging.”
Jeff Ganter, Eleventh Hour
To help companies and teams respond to industry-specific
intricacies, Ganter recently expanded Eleventh Hour’s business
model to include a mid- to executive-level consultancy service. How does the consulting process work?
How can consultants help executives? Once a client decides to work with us, we begin with a kick-off
phase – an initial “let’s get to know one another” intake. We ask
The consultants are a resource for companies looking to navigate a lot of questions to understand what the objectives and goals
big-picture questions for their business. They can provide are and what capabilities need to be built or focused on. We then
vision for leadership while empowering internal teams to push compile and analyze our findings to match the proper executive
themselves further in pursuit of the overall, aligned business to meet the client’s needs. In many ways, it’s similar to our
strategy. existing recruiting services.
Sometimes a consultant may be called in to create systems and Why does our industry need this now? What changes have
a base of knowledge for current employees to execute. In a you seen?
case like this, a company might bring in a consultant to help
address a challenge, such as employee retention. The consultant Through our work with clients around the world, we have a
could advise on a strategy, build new HR programs and create global perspective on where companies are allocating their
a structure for the internal team to implement, manage and budgets. What we’re seeing is that, while the need to grow market
maintain after the work is complete. share is always present, this is being tempered by a new level of
budgetary caution. Even before the effects of the pandemic were
Or, as I mentioned before, they may be brought in to help chart clear, we were observing a restraint in the levels of expenditure
a course for the company’s future. This group of professionals planned for the coming year.
excel at identifying and capitalizing on emerging trends. They
function as the spark to ignite and manage change at the Our industry had a very successful decade, buoyed by emerging
executive level. This is where the consultants’ experiences in middle classes in international markets and a reasonably stable
different markets can be quite beneficial to the company, which global economy. Business models are now forced to change, and
otherwise would not have access to the perspective and expertise. the situation for the entertainment marketplace is evolving daily.
I think high-level decision makers in companies are strategizing
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and ideating the best ways for their organization to adapt – on experience and wisdom from outside the organization. The
both the supplier and the operator side. timing for engaging a consultant differs for each organization.
Change can be uncomfortable, but it frequently is incredibly
Who are the consultants? valuable. Often a small adjustment turns into a major benefit and
the ROI can be extraordinary.
We have assembled a team of professionals from a variety of
companies and industries outside of LBE: retail, consumer Who should consider executive consulting services?
marketing, branding, and sports, for example, from mid to
executive level. They bring decades of experience and knowledge. The ideal client is one who is ready to engage with change. There
Most of them came to us over the last year as they sought our is the immediate change required because of COVID-19, but
placement services. In varied cases, some were looking for their there are also longer-reaching changes that continually need to be
next career move, while others were not ready for retirement and addressed.
they wanted to share their skills but were not necessarily looking
for a full-time job. Beyond that, Eleventh Hour works with all types of companies,
from startups and small businesses to mid/large-sized
The consultant creates phases or work steps for the client to help corporations. Our consultants fit into any situation.
them reach the goal(s) they have identified. Each platform and
package is customized to suit our client’s objectives. I would be remiss if I didn’t mention that there already is an
obvious employment impact as a result of COVID-19 and
Why bring in outside voices? Eleventh Hour continues to assist in recruitment and placement
It is a smart business practice to engage with voices from outside services for our creative industry. • • •
one’s own organization for different perspectives and knowledge.
But it’s not always easy for companies to find that expertise. We For more information about Eleventh Hour’s recruiting services
developed this service as a direct output of our own company’s or their new consulting program, please reach out directly to Jeff
evolution and awareness of a changing marketplace. Ganter at jeff@11thr.com.
Ultimately, the consultant will help push the corporate leadership
team outside of their comfort zone, contributing best-practice
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Teams from Six Flags and Sally Dark Rides install Justice League: Battle for Metropolis attraction at Six Flags
Over Georgia. An Oceaneering ride vehicle is ready to be unwrapped and put into service.
Photo courtesy of Sally Dark Rides
Following the leader
How smaller attractions stay competitive and
innovative when big operators raise the bar
by David Paul Green
O ver time, a familiar cycle has driven the themed
entertainment industry: Big operators raise the bar with
epic, destination attractions (digging into deep pockets and taking
the entry of major brands and IP into LBE (location-based
entertainment) and the assistance of suppliers who customize
products for them.
big risks), then smaller operators work to catch up.
There’s no question that the COVID-19 pandemic adds new
The new Star Wars: Galaxy’s Edge lands at Disney parks in uncertainty to the situation. Parks and attractions of all kinds
California and Florida have set the bar very high. Some say that it must now consider not just how to compete but simply survive.
will be difficult and take a long time for smaller parks to be able While we wait to see what the “new abnormal” will be, operators
to deliver a competitive guest experience. But nowadays, smaller must plan for the unforeseeable: Nobody knows exactly how
operators can respond quickly thanks to sophisticated, readily regulations, guest attitudes, safety practices, and other factors will
available technology, a trend to smaller/scalable attractions, be affected.
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inparkmagazine.comFor perspective, we spoke to four industry leaders who serve the “Ghost Town Alive!” is described by Beaudry as “a small-cap
industry in a variety of ways. Their work with operators of all project that had a huge payoff because Knott’s focused on what
sizes gives them insight into the full attractions spectrum. they do best. The added level of engagement and immersion with
the live performers, day-long story line, and authentic set and
• Greg MacLaurin, Senior Designer, American Scenic Design, costumes made the guests feel they just experienced something
a provider of high-end, specialty design services, founded by special and just for them.”
industry veteran Phil Bloom
• David Beaudry, Principal, Beaudry Interactive (aka b/i), an Beaudry spoke of a regional LBE client with similar goals and
award-winning experiential design studio with a focus on restrictions. “The question becomes, ‘What can you provide
audience engagement that no one else can? And how can you make that experience
• Dave Mauck, VP and GM of Entertainment Systems for more engaging for your guests?’ Getting our client to focus
Oceaneering International, an engineered products and on their uniqueness is key. Whether it’s nostalgia, local culture
services provider for the offshore energy, entertainment, and history, or a thriving art scene, focus on those experiences
materials handling, defense, aerospace, and science and and come up with the ‘handles’ their guests will need to create
research industries their own intimate exchanges and immerse themselves in these
• Lauren Wood Weaver, VP of Marketing and Business experiences.”
Development for Sally Dark Rides, a leading attraction
design and fabrication company that also provides Speed to field
animatronics and creative services At Oceaneering International, Dave Mauck says the company’s
breadth makes it possible to spread out much of the inherent risk
Local and unique of development, thus reducing the risk and costs for individual
Greg MacLaurin of American Scenic Design takes an historical operators. “For many years, Oceaneering was the go-to company
view on smaller operators competing with bigger companies for some of the most complex, high-end ride systems and
for guests. “They’ve got to focus on their strengths, and their experiences in the world,” Mauck said. “However, our barrier to
strength is community and locality. They understand their specific entry for the regional or mid-tier parks was two-fold: we had to
smaller community,” he said. overcome that lack of customer NRE [non-recurring expenses]
and their aversion to the risks associated with ‘Serial Number
MacLaurin points to Knott’s Berry Farm as an example of a 1.’ As a large company, we could address the NRE and the first
smaller park that has thrived, despite being just a stone’s throw article build, but what features would a product have to include?”
from Disneyland. “Walt certainly went to Knott’s Berry Farm
before he built his park. He talked to Walter Knott, specifically. Oceaneering’s Revolution trackless ride technology, which
They actually became friends,” MacLaurin said. “Walter Knott received a Thea Award for breakthrough technology, was one
and his wife Cordelia were invited to the Disneyland opening, result of that line of questioning. Mauck asked, “Looking at
and they were kind of depressed. They thought, ‘Gosh, look at all the systems-level costs, what, holistically, are the cost drivers for
these people. Nobody’s going to come to our little Knott’s Berry an attraction, which may or may not be coming from the ride
Stand anymore.’ They drove home, and their park was packed. system, but are affected by the ride system? That was one of the
They were packed because not everyone could make it into primary focuses, initially, for our trackless product.”
Disneyland, and they wanted to do something fun and Knott’s
Berry Farm was local and nearby. It turned out to be copacetic.” The company looked at ways to reduce cost and streamline
production while reducing building time, and found that there
Knott’s also resonated for Beaudry Interactive’s David Beaudry, were creative benefits as well. “Our trackless products would be
who said, “Knott’s Berry Farm’s ‘Ghost Town Alive!’ is a perfect essentially divorced from the infrastructure… we don’t need big
example. In the shadows of Universal Studios and Disneyland, tracks, foundations, networks of conduits, etc. Early ‘dust-free’
they created arguably one of the best experiences in recent dates and final integration would be affected and would reduce
memory. It received a Thea Award, so I’m not alone in that the overall schedule. That goes to speed to field. Many mid-tier
thinking!”
Greg MacLaurin David Beaudry Dave Mauck Lauren Wood Weaver
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inparkmagazine.comparks don’t have a two-and-a-half to three-year capital plan to
deliver a ride. You’re trying to deliver a new ride in roughly 12
months from the date of contracting. Speed to field is a real
consideration for them.”
Meeting expectations
Sally Dark Rides’ Lauren Wood Weaver concurs that designing to
smaller budgets is key to bringing destination attraction punch to
regional parks. “We’ve - Sally - had a long history of designing to
budget, quite often at a regional park level,” said Weaver. “One
of our specialties is figuring out certain tricks of the trade that
can make budgets stretch. We pinpoint where we need to spend,
and where we can afford to pull back, depending on the overall
value to the story, and the ride or experience.”
“You can’t deny the inspiration that those major, blockbuster
attractions provide,” said Weaver. “And you can’t deny that then
they set the bar… and park-goers see that, and that’s their new
bar, their new expectation for a great attraction. For the longest
time, in the dark ride field, the classic attractions - like Pirates
of the Caribbean, Haunted Mansion, ET, Monster Plantation,
Dreamflight - had set the bar. We helped bring that kind of ride
experience to parks in Europe with projects such as Challenge of
Tutankhamon at Six Flags Belgium, now Walibi, and Labyrinth
of the Minotaur at Terra Mitica, using ‘classic’ dark ride methods:
heavy theming, animatronics, lighting, special effects, theatrical
Greg MacLaurin in the 90s, suited up to grind down the rough seams elements and a great soundtrack.
of a fiberglass rock for an exhibit in Adventure Island at the Los
Angeles Zoo. Greg notes, “Art & Technology was small, and everyone
did everything. Grinding fiberglass is dusty, prickly work and it gets
“Then [Universal’s The Amazing Adventures of] Spider-Man
everywhere. It’s also not very healthy. Hence the suit.” set the next bar. And we did have to kind of allow time to get
Photo courtesy of Greg MacLaurin us to a point where some of those elements and effects - such
as high-end projection and motion-based ride vehicles - that
helped set that bar were available, and at a price point that could
be affordable for the regional market at that time. But over time,
obviously, technology adapts and prices come down. Suppliers
and their products also adapt, and then you can bring that magic
to a regional park.”
Experience and creativity
“In the end, you rely on experience,” said Weaver. “You’ve got to
have a grasp on what works and what leaves a lasting impression.
We’ve personally put our butts in the seats so many times, all
around the world - and sat there and watched other people’s
faces, and we’ve taken note of what works. Sure, some new
technologies are impressive, and if they’re affordable and fit into
budget, let’s consider using them! But certain tricks aren’t the
most expensive tricks, and they can be the most effective. At the
end of the day, you just have to make sure it’s fun.”
MacLaurin made a similar point. “Museums are really fun
to work on, because unlike theme parks, which focus on the
immediate experience, and the big movie IP, museums care all
about content. They want things to be accurate and true. Truly
the thing that’s going to slow down a museum project will be
budget. But if you focus on the budget that you have, you can
really make anything work well. Smaller operators have to focus
The load station with an Oceaneering vehicle at the Pacific Rim:
on Intimacy, Immediacy, and Interactivity.”
Shatterdome Strike attraction at TranStudio Cibubur in Indonesia.
Photo courtesy of TranStudio Cibubur continued on page 14
12
inparkmagazine.comInteractivity in the Age of Covid-19
Shortly after beginning this assignment, the Covid-19 pandemic struck the world. Themed entertainment
was hit hard, with parks shutting down worldwide. Now, the industry must consider how operations will have
to change after reopening, and possibly, forever. Large parks may be forced to spend like small parks until
the economy recovers.
“I’m already seeing the direct impact of all the parks pulling back on their capital spending,” Dave Mauck
said. “The impact has been so deep… Whatever budget you thought you had, you don’t have it any more.”
“Interactive devices always provide the most intimate experience, but the technology will (or needs to?)
change,” said Greg MacLaurin. “Buttons and touch screens are now problematic. Touchless interface
will become the norm, where we use hand gestures and facial recognition to receive responses from the
guests.”
David Beaudry notes, “The key is to be ready and focus on those markets most likely to recover the
quickest. Regional and local LBEs and FECs - these smaller mid-market experiences - may be best able to
pivot and adapt the quickest to our new norms of ‘no touch’ and ‘keep your distance, please.’ A perfect time
to re-examine existing experiences in the light of cutting edge, hands-free interactive technology.”
Lauren Wood Weaver adds, “Our design and creative departments have been working on new product
development, at both large and smaller scales. Like it or not, we know capital investment plans have most
likely been altered. So, what we’d like to emphasize to parks is that we have some really great options, at
lower, more cost-effective price points. And that might be an awesome solution right now. Dark rides are
great that way. You can create a lot of magic at varying investment levels – as long as you know how to make
it fun!” •
The Crayola Experience’s Crayola Adventure Lab (Orlando, FL, Easton, PA, Plano, TX) is an adventure into a very mixed-up reality
where guests must solve a variety of creative challenges while straddling the real and virtual worlds of Crayola’s R&D Lab.
Photo courtesy of Beaudry Interactive
13
inparkmagazine.comwe travel and experience other rides, we take note of, ‘Wow, that
really worked!’”
Regional power
MacLaurin described how smaller operators can succeed where
larger operators may struggle. “Because a smaller park is more
community-based and deals with more of the local people, they
can also tap into volunteerism that a large park can’t,” he said.
“They can even have some fairly prestigious people, some famous
people, and ask them to just help, as a donation. I worked with
LA Zoo in the 1980s and 1990s, on some interactive exhibits for
their children’s zoo. Betty White stepped up and said, ‘Hey, I love
The team from Sally Dark Rides enjoys a ride on their newly opened
this zoo. I will donate my time, if you want to videotape me, and
Sesame Street: Street Mission dark ride at Port Aventura in Spain.
Photo courtesy of Sally Dark Rides I’ll be onscreen.’”
To those three I’s, Mauck adds two more, noting that even a small Adventure City in Anaheim was another example MacLaurin
child making a fort from a cardboard box may be Immersed in gave. “It’s a couple of miles from Disneyland. They have lots
his or her Imagination. “This may be controversial to some: I of children’s parties, and how they stay alive is to focus on the
think to some extent,” he said, [that] “having deep pockets is community, to focus on the neighborhood, and events, small
sometimes a barrier. I grew up in a rural farming community events that the community will have.”
and my family was self-employed. It was drilled into our heads
that necessity is the mother of invention. If you don’t have a As examples of other regional events that draw on local
dog, learn to hunt with a cat… there is amazing creativity that community and culture, MacLaurin also mentioned Magic
emerges when you don’t have the financial wherewithal to throw Mountain’s Magic Pagoda attraction from several decades ago
more ‘stuff ’ into an attraction; the Team is forced to become and Knott’s Berry Farm’s boysenberry festivals. “A local, little
hyper-focused on the guest experience and story. Immersion is theme park, a local mom-and-pop place: they would be able to
not automatically granted to a well-funded project. Immersion is have parties, and birthdays, and events, and anniversaries, at their
immersion.” facility, that a big park won’t be able to have.”
Connecting with the guest Weaver points out how, with dark rides that are story-driven and
For Beaudry, a great immersive experience requires being smart well-imagined, regional parks can compete with big parks on
about where, when, and how interaction is designed into an their own turf. “Knoebels [park in Central Pennsylvania] Haunted
experience. “We always try to step back and ask why? Why are Mansion is one of the best, ‘old-school’ dark rides that you will
we trying to make this particular experience interactive? Who ever ride. There is no new technology. It is ‘old-school’ with a
are we trying to engage? What are those connections? What are million exclamation points behind it! And it is one of the most
those hooks? Then, and only then, do we figure out the right type memorable attractions I’ve ever ridden, because every single
of technology to use. You gain tremendous freedom once you thing - every gag - is timed perfectly. That is why it is so highly
become tech-agnostic. It lets us approach interaction design from regarded, and has been maintained in this place for years and
many angles. ‘Do I really need a $50K tracking system in order years and years, and has this value… this nostalgic wonderful
to accomplish this particular thing, or can I do it with a 50-cent dark ride value. You scream and you yell, and you walk off and
sensor?’ Be ready to do either, but let the experience guide us.” you’re like, ‘What the heck just happened?’”
Beaudry added, “When I started the company, interaction design Smaller operators may not have the financial clout or scale of
was still so new. It was hard to explain to others what we were bigger operators, but through story-driven attractions - based on
trying to accomplish. We were creating these moments… very community, intimacy, and cleverly using just the right technology
intimate moments when people really became part of the story with unlimited imagination - they cannot only compete, but
and they feel that their presence there mattered. That connection endure and thrive. • • •
still drives us today, and you don’t need big budgets to get there.”
David Green is COO of President of lighting
Personal connection was a theme throughout these interviews: firm Visual Terrain, Inc. He has over 35 years of
Weaver said, “Our goal is to make it memorable and enjoyable experience in managing and delivering large and small
for the whole family. It’s about using elements wisely, figuring development projects, including user experience
design, creative and technical writing, theme parks, film,
out where you want your audience to focus, and making sure you
website producing, television and animation support,
get those moments right. It is story first, and then ‘How can we software development, information architecture,
use technology to reach out and touch you with that story?’ But project management, public relations and photography. David holds nine
we are always looking at new technologies, and certainly, when U.S. patents for user interface design and is a frequent contributor to
InPark. Email him at davidg@visualterrain.net.
14
inparkmagazine.comConnecting What’s Needed with What’s Next™
OUR FAMILY. YOUR STORY.
Oceaneering thrives on helping storytellers deliver
the next big thing in entertainment.
Connect with what’s next at oceaneering.com/OES
Copyright © 2020 Oceaneering International, Inc. All rights reserved.
15
inparkmagazine.comThe Met in New York City. Photo courtesy of the Metropolitan Museum of Art
Funding, reopening and
saving the animals
Museums struggle in COVID times
By Judith Rubin and Joe Kleiman
T he latest edition of the TEA/AECOM Museum Index,
covering calendar year 2019, showed that globally, attendance
at the top 20 museums had dropped 2.4%. For the top 25 in each
Linda Cheu, Vice President – Economics, Americas, writes in
the Museum Index: “Special exhibitions continue to be primary
drivers of attendance change in our lists and are an important
region, North America dropped 13.2% and APAC by 0.6%,, and way that the largest museums invest in the visitor experience to
EMEA increased 4.4%. Most of the North American drops were maintain market share and keep pace with population and tourism
attributed to a falloff in the year after a blockbuster exhibition. growth.”
All of this was pre-COVID, when we might have expected 2020
to play out along similar lines, with a few rises and dips. At this The situation affects producers and distributors of traveling
writing in summer 2020, the museum landscape is radically exhibitions as well as the museums that book the shows. A
altered. We look at some of the chief factors. number of museums are in fact reopening with restrictions
and safeguards in place, and using timed ticketing and advance
The biggest museums & the blockbuster model reservations - the tools of blockbuster crowd flow - to regulate
attendance levels. Even when COVID-related travel restrictions
For decades, the top museums in destination cities have depended ease, attendance restrictions and social distancing requirements
on blockbuster exhibitions and tourism to keep attendance levels may remain.
high.
16
inparkmagazine.comAfter a five-month closure (since March 13, 2020) the deployed to local health care workers” and “20,000 square feet of
Metropolitan Museum of Art in New York City welcomed outdoor space for casual seating.”
visitors back on Saturday, August 29, unveiling three new
exhibitions. Under the circumstances, it seems likely that most With advance reservations required as well as masks for visitors
of the returning visitors will be locals. Max Hollein, Director of age five and older, the Minnesota Children’s Museum reopened
The Met, said, “So many people have reached out during the time August 1, 2020. Like others there are new cleaning protocols,
of closure to express how much they miss being at The Met, and plexiglass barriers and hand sanitizing stations. The museum also
we are eager to welcome all back to the galleries. Opening The upgraded its air filtration system. “We look forward to welcoming
Met’s doors is an important signal for New York and for all of you back when it feels right for your family to return,” reads the
us. This will be a time for New Yorkers to reconnect with their announcement that also indicates the cafe and store will be open.
favorite artworks and spaces in their Museum.” The Museum
has developed comprehensive safety procedures for its staff and Funding and revenue: Plight of
visitors, following guidelines issued by the Centers for Disease US museums is most severe
Control (CDC), New York State, and New York City.
Closures due to the COVID-19 pandemic have had a hard
In London, on July 8 the National Gallery was the first major impact on the museum community everywhere in the world.
gallery to reopen, with a host of strict new health and safety Between April 7 and May 7, 2020, the International Council of
measures in place and advance booking requirements. On July 27, Museums surveyed 1,600 museums and museum professionals
the Tate reopened all four of its galleries – the Tate Britain and in 107 countries on the impact of COVID-related closures. 82%
Tate Modern in London, as well as Tate Liverpool and Tate St anticipated a decrease in activities, 30% a downsizing, and 12.8%
Ives. feared permanent closure.
Although they will take a hit from reduced tourism and reduced AECOM’s Cheu writes in the 2019 Museum Index: “The
capacity, the world’s biggest museums can be expected to set an museum industry is decentralized, with diversity in markets,
example for how to move forward - much as the big theme park business models, and financial fitness, which will translate to
operators will. Perhaps those with the greatest resources will varied resiliency in regard to COVID challenges.”
give new life to struggling smaller museums through acquisitions
or partnerships, in keeping with the already growing trend of When compared to the global front, the situation in the United
brand expansion - big names such as Guggenheim, Louvre and States - where museums typically receive less government funding
Smithsonian as well as newer “popup” brands, and art collectives than their international counterparts - appears much worse.
such as Meow Wolf and TeamLab. As pointed out in the On June 8, 2020, the American Alliance of Museums (AAM)
Museum Index, even though it experienced a 5.9% attendance launched a survey of 760 US museums to understand the impact
decrease from 2018 to 2019, the Louvre still maintained its of COVID-19 on the museum community. 33% of respondents
position as the most-visited museum in the world. reported that without financial relief, they would not survive
sixteen months. 16% believed themselves to be at significant risk
Theaters, immersive experiences & interactives of permanent closure. 87% had less than 12 months of financial
reserves, 56% less than six.
Museums have availed themselves of technology to help tell their
stories in ways that resonate for modern audiences. This is true
for museums of all kinds, but science centers and planetariums
especially tend to depend on special venue theaters and hands-
on interactives, with heavy traffic from school groups. Children’s
museums are also high-touch.
The Franklin Institute in Philadelphia reopened on July 8, 2020
with a disclaimer, “By visiting The Franklin Institute, the guest
voluntarily assumes all risks related to potential exposure to
COVID-19 in or about The Franklin Institute,” an advance
ticketing requirement, mask requirement and temperature
checks, reduced capacity, no indoor dining. The museum’s
high-touch exhibits and the IMAX theater are closed but the
Fels Planetarium is running hourly shows, at reduced capacity.
The reopening announcement called attention to science events
on the floor including “Tech experts discussing 3D printing
innovations that have emerged during the pandemic, showing
examples of face shield visor bands produced from home and Directional signs for visitor flow and social
distancing markings are key for reopening.
Photo courtesy of Reina Sofia
17
inparkmagazine.comIt comes down to money a zoom conference, and baby showers for pregnant animals, also
drive-through zoo experiences.
Museums in the US have lived on the edge for several decades
as government funding has dried up. They’ve depended on “When COVID struck and San Antonio Zoo shut its gate, we
individual and corporate sponsorships and revenue generators were left with no income,” Tim Morrow, President and CEO of
such as giant screen theaters, food courts and evening events. the San Antonio Zoo, told InPark. “Unlike most other accredited
Some are going to extremes to please corporate givers, such zoos in the country we depend 100% on visitation, grants and
as integrating advertising into exhibit signage. Going forward, donations to operate. The Drive Thru Zoo idea was created to
museums and other cultural attractions will need to find the offer people a way to continue to visit and help the zoo from
balance between earned revenue, such as admissions, pass sales, the comfort and safety of their own cars. We designed a route,
and retail, and donated revenue. In August, the Vancouver created an online audio tour and added fun merchandise and
Aquarium announced that it would temporarily close to evaluate culinary opportunities along the way. Other zoos around the
and transform to a new business model. Our review of the 2018 world soon followed our lead so support of the missions of
financial records for the aquarium (the last filed) show that the zoos was magnified beyond our gates. The Drive Thru Zoo not
split between earned and donated revenue was an extremely high only helped our zoo through closure it helped our community by
80% to 20%. giving them reprieve from lockdowns, a connection with nature
and hope for a return to normalcy.”
Saving the animals
Voices from AAM: Serving community & mission
Zoos and aquariums face particularly steep funding challenges
because of the cost of caring for the animals. We’ve seen them Just at the time where their survival is in peril, museums have
find creative ways to generate revenue such as rent an animal for an increasingly vital role in the communities they serve - to help
Reopenings among the world’s top 20 museums
With a variety of health safeguards, many of the world’s top museums have reopened or are preparing to
reopen. These are the world’s top-attended museums per the 2019 TEA/AECOM Theme Index and Museum
Index.
Louvre Paris July 6, 2020
National Museum of China, Beijing May 1, 2020
Vatican, Vatican City June 1, 2020
Metropolitan Museum of Art, NYC August 29, 2020
British Museum, London August 27, 2020
Tate Modern, London July 27, 2020
National Gallery, London July 8, 2020
Natural History Museum, London August 5, 2020
American Museum of Natural History, NYC preparing to reopen
State Hermitage, St Petersburg, Russia July 15, 2020
Shanghai Science & Technology Museum new visiting policies as of June 25, 2020
Reina Sofia, Madrid June 6, 2020
National Museum of Natural History, Washington DC September 9, 2020
Nanjing Museum, China March 24, 2020
Zhejiang Museum, China March 26, 2020
National Gallery of Art, Washington DC July 20, 2020
Victoria & Albert Museum, London August 6, 2020
China Science and Technology Museum, Beijing July 23, 2020
National Palace Museum, Taipei remained open with reduced hours
Musée d’Orsay, Paris June 23, 2020
18
inparkmagazine.comLonnie G. Bunch III, Secretary General of the Smithsonian
Institution, said at the AAM virtual conference (#AAMvirtual)
in June 2020: “This is the time for museums to realize we are
integral and integrated to this moment. Museums help the public
find tools to live their lives, to understand this. Good museums
help people to find reality, and give hope.” But he also said,
“This is the opportunity to say we can’t just lay on beautiful
strategic visions on old structures,” and “Museums are not built
to be community centers but they sure could be at the center of
their community. Put community, education, conversation and
Lonnie G. Bunch III
collaboration at the center.”
AAM’s virtual conference took place June 1-4, 2020. While it
was being planned, the world was already several months into
the pandemic, with museums closed and an uncertain future, and
sessions like “Conversations on Sustainability & Resilience for
Museums” on the program. The agenda and the dialogue became
even more complex and urgent with the killing of George Floyd
on May 25. In a special session, “Racism, Unrest and the Role of
the Museum Field,” speaker Dr. Johnnetta Cole, who previously
Dr. Johnetta Cole
served as President of Spelman College and Director of the
Smithsonian’s National Museum of African Art, said, “Could
we imagine that our museums could be of special importance
coming out of this pandemic and at this moment when our
nation is so torn? What are we called to do, what are we capable
of doing?”
Lori Fogarty, Director and CEO, of the Oakland Museum
of California, said, “This is the defining time of our lives as
a country, as individuals, as museums. Let us not miss this
moment.” • • •
Lori Fogarty
Resources from museum organizations
distinguish fact from fiction, uphold science, get a balanced Associations serving and advocating for the museum
viewpoint on the world and its issues, engage in meaningful community have published various resources and
discussion on race and inequality. guides for surviving in COVID times. Here is a
sampling:
Museums, science centers, zoos and aquariums quickly began
to leverage their websites and other online platforms to stay AAM
connected with their communities during pandemic shutdowns, https://www.aam-us.org/programs/about-
but virtual content requires time and labor to produce. In a museums/covid-19-resources-information-for-
July 22, 2020 article for the American Alliance of Museums the-museum-field/
(AAM), Brendan Ciecko of Cuseum outlined six possibilities
for generating revenue through online content including virtual ASTC (Association of
memberships, virtual summer camps and monetizing special Science-Technology Centers)
interactions with living collections and staff. https://www.astc.org/coronavirus/
Museums with scientific missions and research teams were NEMO (Network of
stopped in their tracks, their teams unable to access collections European Museum Organisations)
or travel. Many staff have been furloughed, laid off or taken https://www.ne-mo.org/fileadmin/Dateien/
early retirement. A May 28, 2020 article by Elizabeth Pennisi in public/NEMO_documents/NEMO_COVID19_
sciencemag.org pointed out that that the situation has added new Report_12.05.2020.pdf
impetus to the digitizing of collections, and spurred museums
and researchers to find creative ways to continue their work using AZA (Association of Zoos & Aquariums)
webcams, teams of ‘citizen scientists’ and also refocusing their https://www.aza.org/covid-19-resources
research on the pandemic itself.
19
inparkmagazine.comUltimate contrast
How Christie Eclipse technology transformed the
Hayden Planetarium and earned a Thea Award
by Judith Rubin
“T his is the spec we have all had in our heads for quite some
time,” said Benjy Bernhardt, senior director, Electronic
Media Engineering and Support at the American Museum of
Ellen Futter, President of AMNH referred to an “eye dazzling
manifestation of what is now possible from a technical
standpoint…the most sophisticated projection system in the
Natural History (AMNH) in New York City. It was November world with unprecedented colors and blackest black.”
2019 and the 87-foot diameter, 429-seat digital dome theater of
the museum’s Hayden Planetarium was displaying the majesty “It has the punch and color of true [RGB] laser, with true
of space on its new, state-of-the-art, custom fulldome system black and high dynamic range, enabling us to visualize these
developed with tech partner Christie. Star of the system: the things as though we were really there,” said AMNH Director of
array of six new Christie Eclipse 4K, true HDR, RGB pure laser Astrovisualization Carter Emmart.
projectors. The Christie Eclipse technology has been named for a
TEA Thea Award for Innovative Technology. Live demos are very important to convey what the Christie
Eclipse can do, because its color gamut, brightness, contrast
and frame rate are beyond the scope of
most other display systems. As Larry
Paul, Executive Director – Technology
and Custom Solutions Enterprise and
Entertainment at Christie, and product
manager of the Christie Eclipse says, “You
can’t see it until you see it.” And thanks to
the Hayden installation at AMNH - one of
the world’s top 10 museums by attendance -
and a series of demos organized by Christie,
many people have now seen it.
Paul described it as “a quantum leap for
storytellers to create incredible experiences
and shows and to transport audiences.”
“‘Video black’ has become true black,”
An illustration of various residual black levels and blend zones.
© Copyright 2020 Christie Digital Systems USA, Inc.
wrote the TEA Thea Awards Committee in
its official description of Christie Eclipse.
“The Eclipse projector has a previously
unimaginable contrast ratio of up to
20,000,000:1, immersing audiences in a
degree of detail and depth of color never
before possible.”
“The Thea Award is well deserved for
this unique projector, which has a lot of
applications in the special venue world,”
says Bernhardt.
On the cutting edge of
digital display and immersive
experience
Audiovisual technology is highly
True HDR RGB laser projection systems produce true blacks without any residual light so competitive in the themed entertainment
you cannot see the edge of the frame, nor any blend zones on multi-projector arrays. space, key to a wide array of guest
© Copyright 2020 Christie Digital Systems USA, Inc.
20
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