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EuroAmusement Professional 2-2017-Leseprobe

Seite 26 EuroAmusement Professional 2-2017-LeseprobeParks

In ihren Sitzen werden die Passagiere möglichst nah
an die Leinwand heran geführt, damit ihre Sicht nicht
von etwas außerhalb der Projektionsfläche Liegendem
abgelenkt wird.

because that configuration reinforces the
constraints," admits Jean Pierre Joyaux.
"Luckily, we worked with the French company
Modulo PI to handle all the video management
and they did a great job." Christie supplied
five 30,000-lumen video projectors for a total
pixel output of 6K, while the AV installation
was entrusted to the local company Tedelec.
As for the pre-shows, the park called on the
Spanish theming supplier Rocas & Design.

Opening by the roof

to heave up and down gently, while each row of seats also
makes a forward/backward motion of approx. ten degrees.
"It was coupled with a risk for us, because we bought the
system only based on a plan," says Jean Pierre Joyaux.
"But we had the feeling that it would be a first in Europe and
that our competitors would likely decide to opt for other ride
At the request of Futuroscope, Dynamic Attractions made
some changes to the platform, including an increase of the
original ride capacity, some structural adjustments and
the addition of special effects (water mist, wind and odour
diffuser) in the canopy space above riders' heads. "Our goal
was for the immersion to be as perfect as possible for our
guests, and with all these elements together, we found that
Dynamic Attractions offered the best ride system which met
our needs," adds Jean Pierre Joyaux.

All about immersion
The 600-square meter giant screen, covered by 400
perforated metal slabs, was also subject of long discussions
for the project team. "During our visits to existing facilities,
we weighed up the pros and cons of each different type
of screen available on the market," explains Jean Pierre
Joyaux. "As we wanted the best immersion possible, it was
essential that our guests would be as close as possible to
the screen, while having a wraparound size high enough to
avoid any fixed reference point that would ruin the motion
effect." The 20-meter diameter screen would therefore not
be spheric, because this would have been too restrictive, but
toric, offering a wider size with the same vertical radius of
curvature. Chinese specialist Hong Kong Scientec Industry
was selected as the supplier.
One of the biggest challenges was the video installation, due
to the combination of the toric screen and the massive centred
platform. This required to install all the video projectors
at the top of the room, resulting in a long implementation
job. "We pushed the limits of the system in terms of optics,
42 EuroAmusement Professional 2/2017

Another ambitious challenge was the location
of the ride in an existing pavilion. "We had
several possibilities, including two of our IMAX theatres for
which we had difficulties in renewing their contents. In the
end, we chose our `Magic Carpet' pavilion, a ride which was
aging and no longer met the expectations of our visitors,"
says Jean Pierre Joyaux.
The construction works were not an easy task since the park
had to profoundly modify the 45-meter high building (actual
height of the building including a 23-meter pit) without
affecting the internal structure and the pavilion's exterior
style designed by architect Denis Laming. It took two years
of work to dismantle the old Magic Carpet arrangement and
set up an entire new steel structure supporting the 110-tons
heavy platform supplied by Dynamic Attractions, with most
of the operations being done through the roof.

CGI instead of live-action technique
At the start of the project, Futuroscope's original plan was
to produce a film using the live-action technique, with a
helicopter or drone shooting, just like it was done with
most of the same kind of rides at that time. In order to go in
the right direction, the project team surrounded itself with
several specialists in that field, starting with the Canadian
director Dave Mossop of Sherpas Cinema, who brought his
expertise in aerial cinematography and gave them advice
about how to go about filming. The park also called on the
help of another expert, the former imagineer Rick Rothschild
of FAR OUT! who was in charge of developing the Soarin'
concept, to ask about the processes, technical issues and
pitfalls to be avoided.
However, after months of consideration, the decision was
made to go into another direction and instead turn to CGI
content, a technique that the park considered to be more
flexible and less expensive than the live-action technique.
"We found out that CGI had two main advantages, the first
in terms of artistic possibilities as we had to be able to
make the scenario evolve throughout the development of the
project, and will be able to make changes more easily in the

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