Super 78 Creates 3D World for Busch Garden DarKastle Ride
Animation house Super 78 supplied the 3D work for CURSE OF THE DARKASTLE debuting this month at Busch Gardens Williamsburg. The “next generation” attraction, which takes thrill-seekers on an immersive journey through a frozen Bavarian castle, is a “dark ride” in which patrons travel through the 40,000 square foot castle environment in computer-controlled, motion-based “sleighs” as rear-projected, 3D imagery appears all around them. Integration of the 3D effects with the ride’s physical set, the state-of-the-art motion of the cars, 5.1 surround sound and “4D” environmental effects is taken to new heights, providing park patrons with a totally immersive experience that is beyond compare.
Super 78 produced all of the stereoscopic 3D imagery featured in the ride as well as the cleverly executed pre-ride film that introduces patrons to the sinister King Ludwig. Attraction architect Cecil Magpuri of Florida-based Falcon’s Treehouse designed the ride. Oceaneering Ent. Systems, also of Florida, was the project engineer.
The nearly four-minute ride is replete with eye-popping 3D effects. Swords, knives and sundry other objects swoop toward riders’ heads. The sleighs are jostled by a boulder that rolls out of the screen. Riders are pelted with wind and snow. The ride also features one nerve-rattling drop, although a CG-induced illusion makes it seem as though the sleigh is plummeting farther and faster than it actually is.
“Busch Gardens wanted an experience that was world-class, that would blow people away,” said Super 78 managing director Dina Benadon, “with the best 3D anyone has ever seen.”
In order to fulfill that request, Super 78 assembled a production team with A-list experience in location-based entertainment. Benadon and Super 78 creative director Brent Young had previously contributed to such popular attractions as SEAFARI for the MCA Universal theme park in Japan, STAR TREK: THE EXPERIENCE for the Las Vegas Hilton and RACE FOR ATLANTIS for Caesar’s Palace. Additionally, they tapped as animation director Mario Kamberg, whose previous credits include THE FUNTASTIC WORLD OF HANNA/ BARBERA and JIMMY NEUTRON’S: NICKTOON BLAST for Universal Studios in Orlando. 3D specialist Chuck Comisky (James Cameron's GHOSTS OF THE ABYSS, TERMINATOR 2-3D) assisted with the stereoscopic effects.
What separates CURSE OF THE DARKASTLE from other rides is the way the 3D effects interact with and occur on all sides of the sleighs. When ghosts fire arrows at the patrons, they seem to whiz right by their heads. A tray of wine glasses that floats across a room seems to hover in mid-air just beyond reach.
“The sleighs have complete range of motion,” explained Young. “They can move forward and back, tilt side to side and spin 360-degrees. You may be looking at one screen, when something hits the vehicle. It turns you in the opposite direction and suddenly you’re facing another screen. It all happens very fast. You don’t have time to say, ‘I get it. I know how they’re doing it.’”
Pulling off such heady illusions required especially tight collaboration between Super 78 animators, the rides’ design team and the vendors building the cars, the track and the ride environment. “Before we began work on the animation, the engineers provided us with a ride profile that mapped out the physical environment down to the inch, as well as the precise timing and motion of the cars,” explained Super 78 CG supervisor Aaron Powell. “We knew the physical parameters of the room and how the cars were oriented at every moment. From there, we went to work designing and executing the animation and dreaming up all of the 3D gags.”
The physical sets were built and lit to match up perfectly with the CG so that the edges of the projection screens are invisible to riders. “It all blends together,” observed Young. “As a result, we were able to make it appear as though some of the rooms extend 40 or 50 feet with mountain-scapes appearing in the windows in the background. When you add in the 3D effects that appear to project out of the screens, you get the feeling of being completely immersed. It’s no longer a 3D film, it’s a 3D environment.”
Super 78 produced all of the stereoscopic 3D imagery featured in the ride as well as the cleverly executed pre-ride film that introduces patrons to the sinister King Ludwig. Attraction architect Cecil Magpuri of Florida-based Falcon’s Treehouse designed the ride. Oceaneering Ent. Systems, also of Florida, was the project engineer.
The nearly four-minute ride is replete with eye-popping 3D effects. Swords, knives and sundry other objects swoop toward riders’ heads. The sleighs are jostled by a boulder that rolls out of the screen. Riders are pelted with wind and snow. The ride also features one nerve-rattling drop, although a CG-induced illusion makes it seem as though the sleigh is plummeting farther and faster than it actually is.
“Busch Gardens wanted an experience that was world-class, that would blow people away,” said Super 78 managing director Dina Benadon, “with the best 3D anyone has ever seen.”
In order to fulfill that request, Super 78 assembled a production team with A-list experience in location-based entertainment. Benadon and Super 78 creative director Brent Young had previously contributed to such popular attractions as SEAFARI for the MCA Universal theme park in Japan, STAR TREK: THE EXPERIENCE for the Las Vegas Hilton and RACE FOR ATLANTIS for Caesar’s Palace. Additionally, they tapped as animation director Mario Kamberg, whose previous credits include THE FUNTASTIC WORLD OF HANNA/ BARBERA and JIMMY NEUTRON’S: NICKTOON BLAST for Universal Studios in Orlando. 3D specialist Chuck Comisky (James Cameron's GHOSTS OF THE ABYSS, TERMINATOR 2-3D) assisted with the stereoscopic effects.
What separates CURSE OF THE DARKASTLE from other rides is the way the 3D effects interact with and occur on all sides of the sleighs. When ghosts fire arrows at the patrons, they seem to whiz right by their heads. A tray of wine glasses that floats across a room seems to hover in mid-air just beyond reach.
“The sleighs have complete range of motion,” explained Young. “They can move forward and back, tilt side to side and spin 360-degrees. You may be looking at one screen, when something hits the vehicle. It turns you in the opposite direction and suddenly you’re facing another screen. It all happens very fast. You don’t have time to say, ‘I get it. I know how they’re doing it.’”
Pulling off such heady illusions required especially tight collaboration between Super 78 animators, the rides’ design team and the vendors building the cars, the track and the ride environment. “Before we began work on the animation, the engineers provided us with a ride profile that mapped out the physical environment down to the inch, as well as the precise timing and motion of the cars,” explained Super 78 CG supervisor Aaron Powell. “We knew the physical parameters of the room and how the cars were oriented at every moment. From there, we went to work designing and executing the animation and dreaming up all of the 3D gags.”
The physical sets were built and lit to match up perfectly with the CG so that the edges of the projection screens are invisible to riders. “It all blends together,” observed Young. “As a result, we were able to make it appear as though some of the rooms extend 40 or 50 feet with mountain-scapes appearing in the windows in the background. When you add in the 3D effects that appear to project out of the screens, you get the feeling of being completely immersed. It’s no longer a 3D film, it’s a 3D environment.”
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