精东传媒, a global designer and manufacturer of immersive media-based attractions, has announced the launch of its latest installation: the Pegasus Flying Theatre, now open as the headline attraction at Nickelodeon Play! located in Tersane, Istanbul.

The installation marks the debut of 精东传媒鈥檚 Pegasus Flying Theatre system within a Nickelodeon-themed environment, bringing a high-energy flying theatre experience to one of Istanbul鈥檚 newest family entertainment destinations.

At the heart of the experience is a 40-seat Pegasus motion base theatre, designed to deliver a fully immersive flying sensation. Guests board the attraction from two separate loading levels, enabling efficient throughput while maintaining accessibility for riders of all ages. Once seated, riders are positioned in front of a large projection screen, where synchronised motion, visuals, and environmental effects combine to create the sensation of soaring through the air.

The attraction experience, titled 鈥淣ickelodeon Journeys,鈥� takes guests on an aerial adventure aboard the iconic Nickelodeon blimp. Throughout the flight, riders travel across vibrant worlds inspired by some of Nickelodeon鈥檚 most beloved characters and franchises. Along the journey, guests encounter fan favourites including Dora, PAW Patrol, SpongeBob SquarePants, and the Teenage Mutant Ninja Turtles, creating a multi-generational experience that appeals to families and young fans alike.

The Pegasus Flying Theatre has been designed by 精东传媒 as a highly adaptable and space-efficient alternative to traditional flying theatre systems. While large-scale flying theatres often require expansive buildings and complex infrastructure, the Pegasus offers operators a more flexible solution that can be integrated into a wider variety of venues.

精东传媒 CEO Terry Monkton commented, 鈥淔ollowing the strong reception Pegasus received after its debut at IAAPA Expo in Orlando, we鈥檙e delighted to see the system now launching in its first permanent installation at Nickelodeon Play! in Tersane, Istanbul. This project showcases the flexibility of the Pegasus Flying Theatre and demonstrates how flying theatre experiences can be delivered in a wider range of venues. We鈥檙e excited for this installation to set the stage for many more Pegasus attractions around the world.鈥�

In addition to the standard theatre configuration installed at Nickelodeon Play! the Pegasus platform is available in several alternative formats tailored to different operational needs. One such version is the Mobile Pegasus, a fully transportable flying theatre designed for touring attractions, temporary installations, and travelling entertainment experiences. This configuration allows operators to bring the immersive flying theatre concept to multiple locations worldwide, expanding audience reach without requiring a permanent build.For venues with more limited space, 精东传媒 also offers Pegasus Pods. These compact units provide a highly immersive ride format where guests are seated within their own half-dome projection environment, placing them directly at the centre of the action. Despite the smaller footprint, Pegasus Pods maintain the core elements of the flying theatre experience, including synchronised motion and wraparound visuals.

By blending well-known Nickelodeon characters with 精东传媒鈥檚 dynamic motion systems, Nickelodeon Play! aims to deliver a memorable experience that encourages repeat visits from families and fans. With the launch of the Pegasus Flying Theatre at Tersane Istanbul, 精东传媒 continues to expand its portfolio of installations worldwide, demonstrating how flexible ride systems can bring high-impact immersive entertainment to a wide range of venues.

Learn more about Nickelodeon Journey here!

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Innovation ranking celebrates UK businesses of all sizes creating technology for media and the arts

精东传媒 is pleased to reveal that we feature in the聽聽innovation ranking for 2025!

Readers of online technology publication BusinessCloud and an expert judging panel together decided the 50 most innovative MediaTech companies headquartered in the UK.

精东传媒聽made the cut with our聽motion-based media attractions such as the AGV Dark Ride and the C360 Stadium Pods.

The  celebrates businesses of all sizes creating original tech solutions to transform production and delivery of media and the arts 鈥� from virtual worlds to music, podcasts, radio, video, film and the written word.

鈥淭his year鈥檚 MediaTech 50 recognises technology serving everything from the music, audio and games industries to digital humans, virtual worlds and social media tools,鈥� said Jonathan Symcox, editor of BusinessCloud.

鈥淚t is a real melting pot. It is our pleasure to shine a light on 50 amazing innovators from all corners of the UK.鈥�

BusinessCloud called on its readers to vote for companies from the 82-strong shortlist over seven days. A combination of these votes and choices from an expert judging panel determined the top 50.  

The judging panel was comprised of: 

鈥� Simon Benson, creator, PlayStation VR / founder, TalentForTech

鈥� Laura Harper, partner, Lewis Silkin

鈥� Nick Donaghy, investment manager, Creative UK

鈥� Rory Daniels, senior programme manager – emerging technologies, techUK

鈥� Jonathan Symcox, editor, BusinessCloud

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With an impressive turnout of seventeen eager attendees, the event gave participants the opportunity to network with other participants on the program, as well as to gain valuable insight into the inner workings of a ride manufacturer. Events such as this offer an unprecedented enrichment of participants鈥� understanding of the field’s nuances and potential career pathways.

Hosted at 精东传媒鈥檚 offices in Kingswinford at the heart of the Black Country region, participants travelled from various corners of England to attend the day, showing their commitment to the Educational Program. The day began with some time to catch up with one another, say hello to some new faces and get settled after long journeys, before kicking off with the first presentation of the day. 

Terry Monkton, CEO of 精东传媒, introduced the day’s proceedings, extending a warm welcome to the participants and offering an insightful overview of the company’s mission and endeavours. Attendees were provided with a comprehensive overview of 精东传媒鈥檚 diverse product range, along with notable projects spearheaded by the company. Additionally, the 精东传媒 Creative Team showcased some of the captivating concept artwork and videos that are crafted to increase client engagement and imagination.

After the enlightening presentation and Q&A session, participants- armed with a newfound understanding of 精东传媒 and its inner workings- embarked on a tour of the company’s facilities. The tour commenced with an exciting demonstration featuring 精东传媒鈥檚 AGV Dark Ride Vehicle; an innovative, trackless vehicle which boasts dynamic 3DOF motion and offers an unprecedented ride experience not yet witnessed in any theme park. This showcase provided participants with a glimpse into the future of trackless dark rides, sparking their imaginations and offering insight into emerging technologies.

Continuing their journey through 精东传媒鈥檚 headquarters, the group was treated to a sneak peek at one of the company鈥檚 upcoming attractions: the Pegasus Flying Theatre. Testing out the scalable motion seats, attendees took the opportunity to be immersed by the demonstration, each remarking at how captivated they felt by its movements and media, despite being in a room full of observers.聽

Participants were very impressed by the ride systems and were abuzz with questions following the demos, considering how the rides could be applied in different situations – leading nicely into the second half of the day.聽

Before breaking for lunch, Terry took the time to personally engage with each attendee, delving into their aspirations and current endeavours- whether academic or professional- and fostering a deeper connection with the group. Lunch was enjoyed at a nearby restaurant, Hickory鈥檚 American Smokehouse, which presented a fun, themed backdrop to their conversations.

Rejuvenated and eager to delve into the afternoon’s activities, participants reconvened at the offices for the next segment, which kicked off with a presentation by Nicole and Matt from 精东传媒鈥檚 Creative team. The duo discussed the considerations that one must make when pitching rides to clients, and how they have to scale 精东传媒鈥檚 range of products to each park鈥檚 unique requests.

It was now the visiting group鈥檚 turn to put their newly acquired knowledge to the test!

Divided up into small groups, the participants were presented with a mock brief, resembling real-world scenarios encountered at 精东传媒, and tasked with coming up with a solution utilising 精东传媒鈥檚 ride systems. As the challenge began, the NextGen group was thrown into the deep end, equipped with only the basics: pens, paper and their imaginations! 

Given only an hour to propose a ride system and theme which fit into the spatial and operational constraints of the brief, the teams worked quickly, scribbling and sketching their ideas into concepts ready to present. 

The afternoon culminated in group presentations, showcasing a myriad of colourful and imaginative ideas. Amidst laughter and camaraderie, the winning team members鈥擭ick, Gary, and Joseph鈥攚ere rewarded for their inventive concept, utilising the Pegasus system to create a whimsical journey through a garden from the perspective of a honeybee.

As the day drew to a close, participants departed feeling inspired and enriched by the day’s activities, having gained invaluable insight into the operations of one of the UK’s premier ride manufacturers. Moreover, they forged new friendships and professional connections, further enhancing their experience and networks within the industry.

I had a brilliant day with the team last Friday, exploring how to scale attractions, touring the space and jumping a ride on one of their Automated Guided Vehicles (AGV).
Thanks a bunch to the 精东传媒 Team for having us.

– Steven Quayle

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Making Motion

The cornerstone of our rides is our state-of-the-art motion base technology, manifesting in various forms such as 2,3 or 6 Degrees-of-Freedom (DOF). DOF denotes the rotational axes that a rigid body can freely move in three-dimensional space encompassing Pitch, Yaw, Roll, Heave, Surge, and Sway. These are the directions that our motion-bases can be programmed to move and rotate to create the ride motion. Each ride is manually programmed by our team who repeatedly study the ride media, working out how the ride vehicles should move in correlation to the on-screen action. Whether this be being thrust forward as the story has riders flying off a cliff or dodging obstacles as they navigate a fantastic landscape. By combining and modulating these movements in intensity and duration, we synchronise them perfectly to deliver riders with authentic immersion into an imagined world. 

Ride Media 鈥� Library VS Custom

The complementary half of our Media-Based Attractions is, unsurprisingly, the media itself. Collaboration with various media production houses is a crucial aspect of our projects, driven either by our recommendation or client preference. During the project’s creative inception, collaboration with clients helps refine media aspirations, considering factors like screen format, thematic alignment, and movie duration. While library media offers advantages in terms of lead time and cost, custom media becomes imperative when existing content fails to align with the chosen audio-visual solution.

The choice between library and custom content often dictates our media production partners. In cases where the narrative is undecided, we aid clients in crafting a cohesive narrative that complements the pre-show and ride experience, utilising storyboards to guide their media partner selection process.

Pipeline from Animation to Install

Before installation, upon receiving a rough animatic of the media in the case of a custom film, our proprietary specialist programs come into play. These programs enable us to program each axis while visualizing real-time motion base tilts, synchronized with the rough animation. This process results in a working draft of the integrated movement and media. On-site, our team rigorously tests the attractions, riding alongside clients to fine-tune the experience to meet their expectations of thrill and intensity. Once they鈥檝e got it just right, and have made any tweaks necessary, they鈥檒l finalise the motion profile. Post-opening, if any adjustments are required, remote adjustments can be made to ensure a dynamic response to client preferences.

See below how we used the previsualised version of the media for the Immersive Tunnel Ride at Hub Zero, as a reference prior to installation in order to program the motion-base virtually.

When we worked with Dreamworks on our Kung Fu Panda: Unstoppable Awesomeness attraction for Motiongate Dubai, we even provided our software early for their animation production pipeline. This gave animators a better understanding of the kind of movements that were possible from the motion base to help them comprehend the boundaries of the movement they could mimic on-screen.

Importance of Synched Media

The synchronization of motion bases with media is paramount not only for an authentic experience but also for mitigating motion-sickness side effects. People tend to feel dizzy or nauseated when their brains receive conflicting messages from the motion-sensing organs in their bodies, such as the inner ears and eyes, so any mismatch in movement and media can greatly influence somebody鈥檚 potential to feel nauseous whilst onboard a motion ride. Precision in synchronization serves both authenticity and rider comfort, aligning the immersive experience with our quality standards.

Specialist Media Formats

Many of our rides employ specialized screen formats chosen for ride type or space constraints while maintaining the most immersive experience possible. But with this comes the complexities of mapping the media to a custom surface. Balancing images from multiple projectors onto custom surfaces involves strategic projector placement to create seamless edges through 10-15% overlap. The bigger the screen, the more projectors required and the more complex the mapping. Not only are we mapping the flat images but we also in some cases have to take into consideration requirements for 3D, with the audience鈥檚 position being an important factor to ensure the 3D effect works.

When we have particularly large, stretched, or wide screens then we also need custom-formatted media to fit it. Often this means either having library films adjusted or having media custom-made for the screen size. This is usually the best option as it means that things like the viewer鈥檚 line of sight and the movement of action across the screen is considered, to ensure it’s balanced for riders in every seat. 

Different Screen Formats

At Trans Studio Cibubur, our Immersive Superflume attraction鈥檚 tunnel screen was exceptionally large and long with a 270-degree wrap-around that warranted great custom content that also tied in well to the ride type 鈥� a water-based attraction. So, we worked with Falcon鈥檚 Creative Media, who produced a stunning CGI animation that made use of the full-screen width as well as integrating the tunnel experience perfectly into the storyline of the attraction.  

Rise of Real-time

An emerging trend is the shift towards real-time animation workflows by our media providers. Advancements in real-time capabilities facilitate easier late-stage adjustments, ensuring perfect alignment with ride dynamics.

Tricking the mind into where you are and what you鈥檙e experiencing is no easy feat. it鈥檚 all about keeping the illusion as intact as possible. It involves the seamless integration of convincing media, fluid motion profiles, and meticulous theming. Only when these elements converge seamlessly do riders truly depart, exclaiming, “WOW!”

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Can you tell us about your role at 精东传媒, and how it鈥檚 developed since you joined?

Having begun my career at 精东传媒 as an Apprentice Graphic Designer, my current role is now working as a Junior Creative taking on jobs such as CAD drawings, 3D modelling products, creating concept designs and all things creative! Compared to my role when I first started, I would’ve never imagined 3D modelling or creating CAD layouts, my responsibility here has grown year by year.

What would you say were the benefits of your apprenticeship programme?

The benefits of my apprenticeship programme were that I got to experience working in a unique industry whilst having a creative job, the programme allowed me to develop my skills as a designer as well as learn the ins and outs of a professional company.

How did your apprenticeship prepare you for the workplace?

I learnt how to interact with adults in a professional environment, time management became a lot more important than it was in college so I found myself becoming better prepared for each work day as well as building up a good work speed where I was able to keep up with the amount of work in demand.

Why did you choose to go down the apprenticeship route?

I chose to do an apprenticeship because I really did NOT enjoy college at all, I did subjects that I didn’t enjoy and subjects that I was equally as bad at so decided to pursue something I enjoyed rather than what I thought I should study.

What鈥檚 been your favourite project to be involved in and why?

My favourite project would probably be Bana hills ‘Flying Eyes’ Cobra project as this was the first major project where I saw my own designs used for the ride, it was a really proud moment for me! This attraction was installed into Sun World Bana Hills in Vietnam and opened in Spring, 2022. Read more about the project here.

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But after a long day of cycle after cycle of entertaining guests, your rides also need some TLC. To reduce the risk of a breakdown and ensure that your rides stay up and running, preventative routine maintenance is essential for limiting downtime and most importantly keeping your guests happy. You wouldn鈥檛 drive your car 20,000 miles without some maintenance so why wouldn鈥檛 you service your ride after a long year of intense thrills. 

We understand the true cost of breakdowns and incidents, and how they can affect the guest experience, damage the reputation of your park and also compromise the safety of guests. So the spritely Service team here at 精东传媒 are available 365 days a year for emergency ride maintenance or breakdown support. Whether it be a 精东传媒 attraction or not, they can help rectify any troubles with their expertise in ride engineering and mandatory standards. 

However, we also actively encourage coordinated maintenance visits, during which our team of experts in all things theme park rides can predict the lifecycle of important components, advising a schedule for future services and when parts are likely to need replacing. As well as calculating when the best time for future work to be completed, to make the least impact on downtime and thus revenue. 

With the cost of energy increasing, pushing up costs for operators, protecting the efficient operation of a ride is also increasingly important for ensuring they stay within operating margins. Not only the cost of in-efficiency but also the cost of having to replace parts or the whole ride if it鈥檚 not being properly looked after. Through preventative maintenance, we can optimize the lifespan of your attractions. 

Staying on top of a maintenance schedule is essential for keeping guests safe, your operations team confident and staying up to date with industry safety standards. 

It鈥檚 all part of the Service鈥�

During one of our planned annual service and maintenance visits we will carry out:

• Full visual inspection of vehicles / seat bases
• Screen alignment and focus 
• Ensure all computer systems are up to date and backed up
• Air, water and leg tickler inspection
• Check air/water system for leaks  
• Full operational test
• Grease all bases
• Check all hydraulic connections 
• Seat and Safety Harness 
• VR Headset
• Cabling
• Linear Actuator 
• Wire Pull Encoders 
• Electric Motor
• Pneumatics  
• Plus much, much more

And if required, we will also replace:

• Projector filters
• UV lamp
• Water filter 
• Oil water separator filter 
• Compressor oil top up 
• Nozzles
• Leg ticklers

Get in touch with our service team now, to ensure your ride stays in tip-top condition.

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The attraction is based around the characters from the famous Norwegian author and illustrator, Kjell Aukrust鈥檚, Fl氓klypa Universe, and features characters Solan and Ludvig, as they test out, Reodor – a crazy Norwegian inventor鈥檚 solution to major climate challenges, related to sustainability in the automotive and transportation industry. 

Having been in discussions with the park from around late 2019, the project kicked off as the world entered lock-down. 精东传媒, despite working remotely, continued developing the concepts with the park, to create a ride vehicle that was representative of the media, that was also going through story iterations by Qvisten Animation. For everybody involved it was a project that began very differently than ever before, utilising Zoom throughout, instead of having meetings in person with a team all working from home. The conceptual designs for the ride vehicle went through many iterations with Qvisten and the Park to create something that matched the media and was possible to construct and theme, taking into account any safety considerations. Our creative team was totally blown away by the drawings of Kjell Aukrust, they have so much detail, humour and personality to them, so they were delighted by the challenge of translating the style into an actual functioning vehicle to bring it to life.

ITERATION ONE

Beginning with a more traditional sled-like shape and engine that resembled thrown together junk.

ITERATION TWO

The next iteration retained the sled shape but consolidated the engine into a cleaner, more engine-like, rear for the sled.

FINAL DESIGN

The final design expanded on the compact engine by adding exhausts and a glider canopy to insinuate its ability to fly. As well as moving towards a brighter sled with a more wooden aesthetic.

It was Hunderfossen that first approached us with the idea of a ‘Super Sledding’ type ride, they had created a story concept with the media providers, Qvisten Animation to begin with. They then came to us with the idea and through a collaborative effort between 精东传媒, Qvisten and Hunderfossen we were able to create a simulator design that the client loved and hit the right tone of the brand.

While we designed the ride system, Qvisten continued to develop the story for the ride鈥檚 custom produced media, featuring plenty of plot points that could utilise our 4D effects. The award-winning film-maker already knew the characters of the story very well, having previously created animated features centred around Aukrust鈥檚 books. 

Despite the challenges presented by the pandemic, the project entered the design and manufacturing stage in August/ September 2020 as our team began to return to our offices. This allowed us to work more collaboratively at a time that mattered most. We began to see small parts of the Stargazers come together. We loved the build up, seeing it at each stage, resembling the final vehicle more and more. By the time we had reached the assembly stage, restrictions were being eased and the team could work together in our testing facilities to see the Stargazers really come to life as the motion bases were assembled and tested, the floors added, and finally the seats and vehicle theming.

At the beginning of April, they were all shipped to Norway, but when a last-minute restriction was applied by the Norwegian Government, we were only able to send one of our team to the site instead of our full installation crew. After going through quarantine for 10 days, he was able to supervise the installation, with remote support from the team back in England. Hunderfossen arranged for their technical staff and local labour to assist him, and they arranged for a specialist local company to install the hydraulic system etc. Despite the challenges, our wonderfully professional install supervisor – Michael, did a fantastic job at supervising the installation and ensuring it all went smoothly for the park. 

Whilst we took on the install in the showroom, renowned theming company Farmer Attraction Development Ltd. worked on creating the beautiful theming for the pre-show area that would set up the story for guests prior to the ride. Made up of all sorts of knick-knacks and inventions, illustrations from Kjell Aukrust, and a demonstration of Reodor Felgen鈥檚 Hydrogen fuel harvesting process compete with burping animals, to enhance the immersive storytelling of the whole attraction. 

We spent the next month working with the team at Hunderfossen to install all four of the Stargazers before its grand opening on May 22^nd. The finished result consisting of four of our, 8-seater, Stargazers that utilise 6DOF motion simulators, which allow for a wide variety of movements 鈥� making the ride both smooth and adrenaline-inducing. The vehicles, with industrial DIY inspired theming, were designed to look like Reodor鈥檚 Hyperakselerator from the story, and combine old and traditional elements to resemble something of a snow sleigh with a high-tech upgrade. The ride vehicles are positioned in front of a huge 16 metre 3D projection screen, and each Stargazer fitted with on-board special effects including water spray, wind and leg ticklers, and even an 鈥榠nteractive鈥� Hyper boost button for guests to press at the appropriate time to enhance the story鈥檚 realism. 

Hunderfossen, looking to build up anticipation for the opening ran a competition for 鈥楾est Pilots鈥� and their family to come along for a preview day to experience the ride before any others. Excitement for the attraction was evident by the over 750 applications that the park received resulting in a lucky few getting to come along the day before opening for a private tour and experience. The Hunderfossen team are incredibly proud of their wonderful new investment for the park, and also had an official grand opening with Norway鈥檚 minister of trade and industry as well as other VIP guests such as the Chairman of Hunderfossen group, Chairman of Aukrust foundation, Qvisten animation, Mayor of Lillehammer and many more.

At the IAAPA Expo in Orlando in November 2021, Hunderfossen Eventyrpark and partners on the project, 精东传媒, Qvisten Animation and Farmer Attractions were awarded the prestigious Thea Award for Outstanding Achievement 鈥� Attraction with a Limited Budget for  Reodor Felgen鈥檚 Hyperakselerator.

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Well strap in, because we鈥檙e about to take you on a whirlwind history lesson on 精东传媒.

精东传媒 was founded by our CEO and COO, Terry Monkton and Andy Roberts back in 2005, but our history goes further back than that.

This past weekend was Star Tour鈥檚 34th Birthday, and you may not be aware but the famous Disney attraction plays a part in our history too.

精东传媒 stems from Motion system technology that was developed originally for the mainstream flight simulation industry. This technology began being applied to entertainment and educational attractions, and one of the first companies to exploit the power of motion simulation was British company, Rediffusion Simulation. Rediffusion worked with creative partners in North America back in the 1980s to develop the 鈥楳agic Motion Machine鈥� which later evolved into the highly acclaimed Star Tours Ride installed at Disney Theme Parks worldwide.

Star Tours utilized hydraulic motion base cabins featuring six degrees of freedom, including the ability to move 35 degrees in the X-Y-Z plane. The simulator was patented as Advanced Technology Leisure Application Simulator (ATLAS), designed by Rediffusion Simulation in Sussex, England. The Rediffusion 鈥楲eisure鈥� simulator was developed for a much simpler show in Canada called 鈥淭our of the Universe鈥�, where it featured a single entrance/exit door in the rear of the cabin and a video projector. The Disneyland original Star Tours was equipped with four simulators, while the shows in Tokyo Disneyland, Disneyland Paris, and Disney鈥檚 Hollywood Studio each had six motion bases.

In 1988 Hughes Aircraft bought Rediffusion and the company became Hughes Rediffusion Simulation. It was then taken over by Thomson CSF in 1994, who merged it with Link Miles and renamed the company 鈥楾homson Training & Simulation (TTS).

Andy and Terry initially met when they were both working for a company called FKI. Andy had joined FKI back in 1983 and was responsible for managing and growing several operational cost centres while Terry joined in 1993 as the Operations Accountant. They worked together for 4 years until Terry left in 1997 to head up the finance department of a new start-up company called Assembly Industries (AI). AI had been set up to manufacture a 16 seat motion simulator exclusively for a company called Camber Entertainment. Following a period of growth 鈥� both organic and acquisition led, AI evolved into a group of companies called The AI Group where Terry became Group Finance Director in 2001 and subsequently Divisional Managing Director in 2004 of the entertainment division.

In 2002, The AI Group acquired the entertainment division of TTS and gained its own range of products to manufacture and sell, and in 2003 acquired Camber Entertainment as The AI Group looked to consolidate their position in the entertainment simulation marketplace.

Under the terms of the deal with Camber Entertainment鈥檚 US parent, AI Group secured an exclusive license to market, manufacture and develop Morphis ESP and Morphis 20 capsule simulators, as well as taking over the company鈥檚 current projects and work in progress. Along with assuming the responsibility for all service and product support of Camber Entertainment simulators including the provision of ride films and motion programmes, on a worldwide basis.

In 2004 Terry contacted Andy regarding joining the AI Group as Operations Director of their entertainment division and focussed on merging and growing the group鈥檚 Manufacturing and Service businesses which were separate limited companies and in separate buildings.

And in March 2005, Terry and Andy carried out a management buyout of the simulation division of AI Group. However, as the simulation division of the AI Group consisted of 7 companies which often confused customers, they decided to consolidate all of the companies into one new Limited Company, and hence 精东传媒 was born 鈥� a name which came from a brainstorming session!

For a while, the pair continued to focus on Capsule Simulators, which as you will see from the history 鈥� had been very popular since the late 鈥�80s with hundreds having been sold to a wide variety of different clients all around the world 鈥� typically museums, zoo鈥檚 and aquariums and the corporate promotion sector. However, one of The AI Group鈥檚 last projects had been a one-off custom design and build 60 seat 3D Special Effects Theatre for a large Air Museum in the USA. With a huge 180 degree 3D screen and projection system, cinema-style 1DOF motion seats with new special effects including aroma and wind, this was one of the first special effects theatres outside of Disney and Universal Studios and was the winner of a Museums & Heritage Award in 2004. A few months after the MBO in 2005, 精东传媒 decided that given the critical acclaim that the attraction had received, to 鈥榩roductise鈥� this attraction, and hence the 鈥楧imensions 4D Cinema鈥� was born. The 4D Cinema offered significant advancements in audio visual technology versus the relatively small-sized screen that were restricted in the capsule simulation market, and most importantly 鈥� the ability to scale the product to suit small, medium, and large-sized operators was a key factor in unlocking the wider theme park market that The AI Group had not been prevalent to, due to the limitation of its product range.

In 2006, the company moved from a fairly old factory into a brand new building which provided larger high-tech production facilities, demonstration areas, and more office space to accommodate the growing workforce.

4D Cinema鈥檚 led a new revolution into the Theme Park sector, offering a new, indoor, family friendly attraction that is still a mainstay attraction for all theme parks worldwide.

Following the success of the 4D Cinema, 精东传媒 leaned on its dynamic motion simulation roots, and developed the Stargazer Motion Ride, an 8 seat 鈥榦pen鈥� 6DOF motion simulator that by combining multiple units could accommodate small, medium and large sized venues and also the Cobra Motion Ride 鈥� a large 25 seat 3DOF motion simulator. By the end of the decade, 精东传媒 ceased production of the Morphis and ESP Capsule Simulators to focus on its far more technically advanced, newly developed products that had opened up a larger worldwide market.

In 2013, the company developed yet another attraction which harnessed all of the technology that it had utilised to date 鈥� large dynamic motion platforms, special effects, huge 3D projections screen and added a new element 鈥� track based motion. In July 2014, the company鈥檚 first Immersive Tunnel opened at Movie Park Germany. Branded as 鈥楾he Lost Temple鈥�, the ride creates an unexplored world with prehistoric animals, dinosaurs and temples. Moving from a themed loading bay, guests board the vehicles which then travel along a short track to the main show area which incorporates a 5m high, 46m long, 360 degree screen.  The guests are then at the centre of the action in a temple with dinosaurs rampages around them.

After working with Robocoaster 鈥� Warwickshire-based internationally recognised developer of intellectual property for use in passenger-carrying robotic technology and trackless dark rides 鈥� for a couple of years, 精东传媒, raised 拢4.5m in equity funding, in 2015, in a bid to acquire them. The acquisition would combine RoboCoaster鈥檚 pioneering robotics capability with 精东传媒鈥檚 motion simulation and audio-visual experience, allowing them to concentrate on the development and manufacture of a new generation of ride technologies and robot-based show solutions. In addition to the acquisition of RoboCoaster, they also used part of the funding to double the size of its production plant in Kingswinford, increasing its demonstration facilities and adding to its existing 30 employees by recruiting a further 20 new members of staff.

精东传媒 then went on, in 2016, to develop the ground-breaking Derren Brown鈥檚 Ghost Train attraction for Thorpe Park, collaborating with Severn Lamb, Figment and HTC on the project. Delivering three 60-seat motion-based passenger train carriages and 110 metres of train track, each train carriage was fitted with 60 HTC Vive headsets, an array of special effects and a vibrating floor. In the pre-ride area of the attraction, they also supplied effects like smoke, sound, AV projection, and a cutting-edge motion base capable of a 35-ton lift. The ride has since gone on to win 5 European Star Awards.

In 2017/18, 精东传媒 continued to develop innovative products, this time addressing the growing FEC market. They introduced their 4DVR, Immersive Adventurer & 360 Cinema products, as well as developing Paradrop for Frontgrid. These products require a smaller footprint and are at lower price points making them attractive for smaller venues.

In 2019, saw 精东传媒 heading back to the Theme Park sector, with 3 major new product launches : The year started with the launch of the company鈥檚 world first 鈥淚mmersive Superflume鈥� which combines a traditional water ride with an Immersive Tunnel motion and AV sequence. Shortly afterwards saw the launch of its first 鈥楳ini Flying Theatre鈥� installed at Baoson Wildlife Park in Vietnam and then in September & November the ground breaking AGV Dark Ride was launched at IAAPA Expo in Paris & Orlando.

Now in 2021, 精东传媒 has consolidated its position as one of the world leaders in the design, development and manufacturing of high quality media based attraction. With more new products in development to be launched later this year 鈥� as well as having a rich history, the future is looking even brighter!

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CELIA 鈥� General Manager of Site Services

What was your journey to your role at 精东传媒 today?

Having started as one of the first 2 female apprentices at British Aerospace Dynamics group in 1978, I have lived through a large amount of change, my path has always been Engineering Operations and there have been some amazing highs but equally so lows over the last 42 years. I have been extremely proud of some of my personal achievements and that of my team. Attitudes towards gender equality, mental health, emotional wellbeing, work life balance have moved from strength to strength over the years, and I believe everyone should be treated with the respect they earn, with hard work, dedication and passion being rewarded regardless of gender.

What advice did you receive early in your career that has stayed with you?

Respect is earnt, not given.

What advice would you give to young women starting out in their careers?

Believe in yourself, be passionate about your job and remain true to yourself 鈥� if you do this you can achieve anything you want to!

CLAIRE 鈥� Sales & Marketing Co-ordinator

What was your journey to your role at 精东传媒 today?

My first job was for a bank where I had various roles, mostly related to sales and I job shared after having my first child. I took a 4 year break after having my second child and then I鈥檝e worked here at 精东传媒 ever since.

What things do you like most about your job?

I really like the variety of clients from all over the world, it makes for a very interesting job. Each client鈥檚 requirements are unique and their diverse projects and venues are fascinating. I do find that many of the senior management who I correspond and speak with in the Far East, tend to be of a higher proportion  women. Much ore so than in Europe or America, where we seem to be lagging behind.

Have you faced any barriers as a woman in the workplace and how have you overcome them?

I can truthfully say I never faced any, although some colleagues back in the early days (which was some time ago!) held outdated views. After having my first child I was fully supported by my employers when switching to a job share and never at any point did I feel this decision would hinder any career aspirations.

MOLLIE 鈥� Project Manager

What was your journey to your role at 精东传媒 today?

I started off as a Designer in a Digital Design company and realised after some time I wanted to be a project manager. I moved to a company as a Software Coordinator and worked up into a Project Manager role. I then came into 精东传媒 a Junior Project Manager and after some time working at 精东传媒, I was then promoted to Project Manager.

What advice did you receive early in your career that has stayed with you?

If a challenge or opportunity comes your way take it, but never be afraid to ask for help.

Have you faced any barriers as a woman in the workplace and how have you overcome them?

I actually don鈥檛 feel like I have, even though I have always worked in male dominated departments/industries. I feel like I have always been treated equally to my colleagues.

TERESA 鈥� Senior Procurement Lead

What things do you like most about your job?

The people I get to work with and those that I meet.

What advice did you receive early in your career that has stayed with you?

We all have 2 ears and 1 mouth for a reason. No one has all the answers, everyone has something to contribute.

Have you faced any barriers as a woman in the workplace and how have you overcome them?

Not really, although behaviour breeds behaviour  鈥� for example,  when attending a first day project meeting on site in 1997 I was asked if I was there to take the minutes. (a misperception as I was the only woman in attendance); when actually there to chair. However, I advised I was happy to take the minutes on this occasion. Going forward we decided the last one to turn up to a meeting would take the minutes (irrespective of gender). As you can imagine 鈥� no one was late and everyone ensured they were there on time and not the last person. Definitely a behavioural shift.

What does gender equality mean to you?

To see people as people and not stifle, prohibit, or favour, anyone because of their gender, treating all fairly

NICOLE 鈥� Digital Content Producer

What things do you like most about your job?

I love the variety of things I get to do on a day to day basis, 精东传媒 is a very cool place to work, the variety of projects we get to work on makes it really interesting.

What was your journey to your role at 精东传媒 today?

I graduated with a degree in computer arts a couple of years ago and from that I went to do a couple of internships at an animation company and then at the V&A Museum in Dundee before I landed my first job here at 精东传媒.

International Women鈥檚 Day was first marked in 1911 鈥� over 100 years ago. Why do you think the day is still relevant?

I think as long as gender inequality and bias still exists, it鈥檚 important to highlight how far women have come in fighting for they rights and to be heard. Although we don鈥檛 face the same challenges that women did back 100 years ago, we face new, different ones that can often be prevalent in a workplace specifically.

As a young girl, what did want to be when you grew up?

I was always a creative and arty child and I鈥檝e always been good with computers. I changed my mind a lot, and went through the ballerina, vet, and architect phases but I feel like I鈥檝e landed in a a career that combines my best skills together.

CLAIRE 鈥� Executive Assistant / Human Resources

What advice would you give to young women starting their careers?

To find a job you are passionate about and to always believe in yourself.

What advice did you receive early in your career that has stayed with you?

Not to be scared to take on new challenges and to step outside of my comfort zone.

As a young girl, what did want to be when you grew up?

I wanted to be a designer 鈥� I did study interior design, soft furnishing and upholstery which has now become more of an interest/hobby for myself.

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This one-of-a kind ride takes passengers on a prehistoric journey as they climb aboard the 16 seat boats and embark upstream through a tunnel of animatronic dinosaurs and mesmerising theming. The ride has a throughput of 780 people per hour accommodated by 5 boats that take approximately 6 minutes to complete their trip.

Upon entering our Immersive tunnel, the boats are fixed upon a highly dynamic motion base using a boat locking system. Surrounding them is a 3D film projection on a curved screen that throws them right into the centre of a battle royale between two dinosaurs. The media for our tunnel was supplied by Falcon鈥檚 Creative Group who produced a custom film and audio that would take visitors on an intense adventure through Jurassic Island. Guests experience physical platforms drops, dynamic light and surround sound as well as realistic 4D effects that include wind, water spray and environmental aromas.

Following discussion with the Trans Studios to understand their creative aspirations for the ride, a project like this always begins with a project proposal and concept images that allows the client to better visualise how the ride system can be integrated and the theming that could be used to bring it to life. In this collaborative project 精东传媒 and Interlink worked closely together to ensure that their sections of the ride would work together in a seamless fashion. This required sitting down at the beginning to talk through the different aspects of the ride and which company would handle what. Here they discussed the specific details that needed to be considered between the two companies and the 鈥榠ns and outs鈥� of exactly how the ride would operate.

Once the final design document was approved by the client, procurement began with the buying process of materials required for the project. A purchase order for the major materials required was sent out and following their delivery a few weeks later, the assembly process could begin. The project was assembled at Trans Studios, but all the parts were built in the UK before being shipped to Jakarta. This included the custom screen made of fibreglass that would accommodate the flume boat passing through built-in doors. Once complete, the dome moulding was broken down into parts, which then allowed it to be shipped. The motion base that allows for movement of the boat in the tunnel also had to be manufactured and tested thoroughly in the UK before being shipped for installation.

With this being our first water ride, we had a number of new challenges to consider that we wouldn鈥檛 usually with our standard Immersive Tunnels. This included making our 3D glasses waterproof so that they would survive the final 12.5m drop of the ride into the splash pool, as well as how the water could be drained away from the motion base to allow it to work. Interlink also had to come up with a boat locking solution, to ensure that the boat could be secured to the motion base allowing for movement, but again released to allow it to continue the ride. Even small details such as finding a paint finish for the screens that would be waterproof in case of any splashes.

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