Development continues apace in the 3D, 4D and 5D theatre sector of the attractions industry, with companies continuing to break new ground to add further to the experiences they have to offer. Andrew Mellor reports.


Alison Jamele, president, MediaMation, US

"Our latest developments are the MediaMation X4D Motion EFX seats and our collaboration with RealD. Our X4D seats are powered by an air-driven pneumatic system that requires less maintenance and energy. They come equipped with audio transducers that give a wider range of sensations, along with various effects. The Attraction Series seats are 3DOF (degrees of freedom), combined in a bench of four seats. The Cinema Series are 2DOF and can be installed individually which make their placement more flexible.
"We have collaborated with RealD utilising their single projector XL 3D technology. The benefit of this technology is higher quality and brightness with lower operating costs.  
MediaMation’s control systems have also received upgrades. We now offer the iPad and iPhone to control the theatre as well. With the iPad, we are able to expand our remote login capabilities.
"We are venturing into other markets as well as the themed entertainment market, theme parks, museums, science centres, zoos and aquariums. Also, family fun centres and smaller attractions are finding these to be a very popular revenue generator. Our new X4D Motion EFX seats are also in the process of moving into the cinema market.
"The success of the attraction is not based simply on the media or the hardware, but rather both. They really need to complement each other. A mediocre movie can always be swapped out for a better movie, but the 4D/5D hardware is something you want to make sure is the proper equipment during the initial purchase which would be difficult to swap out later.  
"3D in mainstream cinemas and 3D TVs have certainly raised the expectation of the public. A 3D movie itself is no longer a novelty. This is part of the reason for the success of 4D/5D theatres.
"We see in the future integrated attractions with flexible theatre environments, such as side screens and physical effects that can be repurposed and reused with different films to keep the attraction fresh. MediaMation is developing this technology now to add this immersive experience to the attraction for our clients. The trick is to make it as universal as possible so it can be modified to work with different media."

Ernest Yale, President and CEO, Triotech, Canada

"This year we launched a new product offer, the XD Dark Ride, a 7D technology attraction which has revolutionised interactivity during an immersive experience. It is a totally new concept that incorporates a large multi-player attraction with an interactive gaming element, combined with the Triotech exclusive motion system and dimensional effects. It responds to the need for groups to compete against one another in a fun and entertaining way, while sharing the same experience in the same environment.
"Any location that serves large groups of customers on a daily basis is a good fit with our products. Tourist attractions, theme parks, shopping destinations and FECs are the primary sweet spot, but with customised concepts we can create any immersive or interactive experience for a specific location or attraction.
"Content is a driving force for us and we established our film production studio in order to own the process of producing the best films, building the hardware and software portion of our business, as well as creating the overall immersive, interactive experience. To be a true leader in this space, film content and special effects are both important – and the key focus when exploring this issue should be on the end user – delivering superior, high quality content and the most compelling interactive and immersive experience possible."
And is 3D in mainstream cinemas and 3D TVs in the home proving to be the threat some thought it would be to this sector of the attractions industry?
"Absolutely not. In fact, we are partnering with mainstream cinemas who incorporate our XD Theatre and Dark Ride as a ‘value add’ to their business. Home based systems cannot provide the motion or real time graphic elements or dimensional aspects like wind, light, sound, etc., like our products can.
"For Triotech, the combination of strong, compelling content and technological advancements creates an enormous amount of opportunity to continue to deliver our products in innovative ways. We will continue to focus on creating new platforms of interactive attractions and continue to redefine immersive experiences – we see interactivity gaining very serious momentum in the years ahead."

Benoit Cornet, CEO, Alterface, Belgium

"We have been pioneering the truly interactive side of 2D and 3D films… with a special focus not just on delivering a technical solution but on working first on a user experience level and a partnership with our customers. So we have been designing the whole set up with this in mind, the most ergonomic seats, the best viewing angle, the right level of movement, the right level of feedback from the screen and the show host and lastly, the right duration of the ride, the right pricing and derivative products.
"The 5Di Gamebox concept comes at a moment where you see an increasing amount of FECs willing to go 3D-4D-5D, but which are concerned about having a product that will not have a sufficient repeat business which is key for their business.
"We have a very successful partnership with Merlin Entertainments for their Lego Discovery Centre franchise and the many openings are keeping us very busy. We also contracted for two major dark rides last year (Phantasialand and Huntik) and these have opened up some very good doors! We have opened the largest interactive theatre last year at Futuroscope (84 seats) and are working on large venues here and there. Our clients are parks and FECs."
And how important is the film content in such attractions?
"It is not just important, it is crucial! Especially with interactivity, you are literally ‘captured’ by the action and sometimes will not even feel the SFX around you. Harsh or unpleasant movement has the power to destroy the pleasure … but it takes creativity and money to create great movies while some people may think it is easier to shake people instead."
What about the ‘threat’ from 3D in mainstream cinema and 3DTV?
"Yes, this is true to a certain extent. This is also why we decided to go interactive so that the experiences remain very different and cannot be matched against a movie. Compared to home entertainment things are clearer – the social component of the experience makes it something unmissable and we make sure that there is a good share of elements that people will not find home.
"(For the future) I think there is a move towards quality and global experience. People will want more theming, something more than just sitting on a chair and seeing a short movie. There will be more pre-shows, post-shows and things around the story. There are other innovations in the sector but as far as we are concerned- mum’s the word!"

Ian Dyer, international commercial manager, Global Immersion, UK

"Global Immersion has been designing and integrating 3D, 4D and other multi-dimensional experiences for several years. Our design and technology teams have long focussed on stereoscopic 3D and its ability to truly enhance a digital visitor experience, but our integration of the world’s first 3D dome theatre in 2006 at the Foundation of the Hellenic World really marked a turning point for us in the application of 3D technologies into large-scale visitor experiences.
"Since then, we have delivered a number of high profile 3D and 4D projects across the globe and will shortly be installing several more 3D and 4D theatres at sites including Centre for Life in Newcastle, UK, and the Peoria Riverfront Museum in Illinois, USA."
Dyer cites theme parks, science centres and museums as three main customer bases for the sector at present.
"Naturally, due to bigger operating budgets and a highly competitive circuit of experiences, theme parks have traditionally been the early adopters of new technologies to enhance themed attractions, rides and immersive environments. In the world of educational visitor experiences such as science centres and museums, one of the things that the modern educator understands well is the importance of the ‘desirability factor’ of a 3D or 4D attraction within an educational environment as a means to ‘let off steam.’
"Many of our science centre and museum clients adopting these theatres also have an underlying objective of visitor flow management – the theatres and their pre-show experiences can serve as incredibly useful ‘holding zones’."
On the importance of film content and the accompanying special effects, Dyer notes that one of Global Immersion’s organisational mantras is that "it is always all about the content," and that part of the process when creating an attraction is creating a ‘design synergy’ between the content and the special effects themselves in a multi-dimensional environment, so that the audience is truly immersed in the story.
Regarding 3D technology in cinemas and in the home, Dyer notes that Global Immersion is "confident that this evolving technology will not replace the 3D attractions industry," while looking ahead he says: "Within the experiential context, 3D, 4D and 5D experiences are certainly here to stay – we are seeing an increased demand for these types of attractions from our markets, and their customers, alike.
"It’s safe to say that applied technologies within this sector will continue along a steady progression path. Both industrial and consumer technology market developments will offer significant improvements to visitor experiences. More importantly, we can expect to see a real boost in the range and quality of available media for these experiences. Other currently limiting factors will also be defined and met, he concludes.

Tim Dear, creative director, Amazing Interactives, UK

"We are developing advanced methods of user and audience interactivity within our product ranges. We don’t really develop for pre-canned film and animation users which are generally just suited to passive involvement from the audience
"Our products operate in real-time so behave and respond to audiences. Additionally, development is much more flexible using real-time software and so costs are lower. All of this means that we are able to offer solutions to venues who might struggle to afford 3D/4D/5D (whatever 5D is?)."
And is film content the real key to success or are the special effects just as important?
"Content is King," says Dear, "but with 3D the effects are equally as important otherwise one can be criticised for not delivering."
On the subject of 3D in mainstream cinemas and the availability of 3D TVs in the home proving to be the threat to this sector of the attractions industry, Dear comments: "This is unknown at this stage but content and interaction will always be our cornerstone."
And on what lies ahead in the future for the sector, he sees "unique, inspiring and entertaining methods of interacting with the illusions."

Manfred Meier, founder and CEO of Kraftwerk Living Technologies, Germany

"The latest development form Kraftwerk Living Technologies is the Waterplexx 5D theatre. This has been developed for use in wet environments and provides guests with an exciting 5D experience wearing swimwear. Thanks to water and air nozzles, special effects like rain, water blasts, wind and much more can be imitated in a very realistic way.
"Furthermore, via vibrations and special movements of the cinema seats, both in sync with the movie scenes, visitors are immersed directly into the film, turning each show into an unforgettable adventure. The Waterplexx 5D provides high tech cinema technology as well as novel water resistant seats which feature cutting edge movement capabilities.
"The Waterplexx 5D theatre is the perfect attraction for waterparks. Currently, Kraftwerk is realising a Waterplexx 5D theatre for Sunway Lagoon Water Park in Malaysia, which is expected to be opened in the third quarter of 2012."
And is film content the real key to success or are the special effects just as important?
"In fact, we think the film is really the key to success. But only the interplay of film, motion,
special effects and the geometric theatre design ensures an exciting experience – and the
overall success of an attraction."
On the subject of 3D in mainstream cinemas and the availability of 3D TVs in the home, Meier notes: "Initially, many people thought that 3D in everyday life (mainstream cinemas, TVs) could be a potential competition for the 3D/4D/5D theatre sector. In our opinion, these misgivings have not been confirmed, because the special experience of a 3D attraction film (concerning content and the kind of production) in interplay with motion and special effects is incomparable.

Eric Dillens, chairman, nWave Studios, Belgium

"We will soon be releasing a new 3D ride simulation film based on the "Red Baron" theme.
Furthermore, we are preparing a new "Sammy" 3D/4D attraction (name not decided yet), to be launched (tentatively) at IAAPA Asia.
"We do not see a lot of movement in the theme park world, except for in the Far East and emerging countries like India and Russia. The institutional world (museums, science centres, aquariums, etc.) is certainly showing more activity. The institutional world is of great importance to nWave as we see a lot of growth there."
So is film content the real key to success or are the special effects just as important?
"It is about the entire experience and all elements that are involved in it – software and hardware wise – not so much about story telling."
On 3D in mainstream cinemas and 3D TVs in the home, Dillens comments that these innovations are not a threat as long as the 4D attraction experience proves to be a quality experience. "Therefore all criteria need to be met – optimal theatre design, superb projection and image quality, great 4D effects, great film, etc. It is certainly a threat for all low end approaches," he comments.
And what developments lie ahead for this sector?
"I do not believe in new marketing terms like 5D/6D/7D … it always comes down to the same 4D experience. The same counts for 360 degree domes – everybody wants it; however, there is no relevant content, as there is no volume. A real chicken and egg situation. It does not make economical sense for a film producer to invest in it. So short term, the only development I see is the use of better performing hardware – enhanced projection systems, special effects, etc.

Pauline Quayle, director, thejuice, UK

"We are currently in production of our first branded film which is being produced by Red Star and has a working title Elvis Rocks 4D. It is a lively attraction film in CGI which has humour and embraces several iconic tracks from Elvis Presley cleverly interwoven into the storyline. We are in negotiation for several other licensed properties to create unique and exciting 4D content and are also  following the interactive trends that offer the completely immersive experience.
"I think there is a cross section (of attractions installing theatres) and it largely depends on where in the world we are looking. The world of digital entertainment is very engaging and constantly evolving. We are following these changes with great anticipation and working with all types of venues to satisfy their demands and needs.
So is film content the real key to success or are the special effects just as important?
"The real key to success is to have both and this is our raison d’etre and has been proved time and again by the studio Red Star who we work closely with and who have won numerous awards for doing this. If a film has a story and a start, a middle and an end and has dynamic effects to support it, then you can’t fail to be impressed.
"I dont see 3D in cinemas or 3D TV as a threat at all. In fact it seems that there is a long way to go for the TV companies to really have quality 3D content. We are really talking about a completely different experience. Short stories with exhilarating effects are a far cry from sitting in the cinema for a full length feature film eating popcorn or indeed the comfort of your home with your feet up!
"(For the future) I think that consumers will want better quality films and I think with the on-going advancement of technology there are exciting times ahead."

Terry Monkton, managing director, Simworx, UK

"The 4D cinema market is still fairly buoyant for us and we continue to introduce new technological developments into our product range on an on-going basis. The dynamic motion simulator market is also proving successful for Simworx and because of our long-standing experience in the motion simulator market we are being asked to do more of this type of attraction.
"The types of venue we are dealing with are fairly equally split between parks, museums and FECs. We are particularly proactive in searching for new markets and have recently completed installations in New Zealand, Columbia and Indonesia, as well as in France, Norway and here in the UK in London. This year’s orders are equally as spread out with projects in countries such as Azerbaijan, Vietnam, Denmark, Cyprus, Italy and again in the UK."
So what’s the key to success, the film or the effects, or both?
"For 4D attractions we use all the various special effects to enhance the film, but in shorter, simulator attractions it’s all about the motion.
"We’ve been doing 3D for 10 years now and 3D in cinemas and 3D TVs have helped raise awareness of 3D, so I would embrace both because of this. You also can’t replicate all the effects found in a 4D theatre in the home environment, so there’s no threat from ‘normal’ cinema or TV.
"For the future, 4D effects cinemas will continue to be an integral part of any attraction and with new film content being developed this will only enhance things for the operator. I think there will also be more custom projects in terms of the attraction itself, i.e. hardware and films. For Simworx, we have a new product in development in conjunction with world class partners for introduction later this year."