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Digital Out-of-home Entertainment Network Association Conference stresses Immersion, Engagement, and Creativity

By Philip Lelyveld

Representatives of all parts of the Digital Out-of-Home Entertainment (DOE) Industry met last week at the second annual DOE Network Association (DNA) Conference, held at USC’s Davidson Conference Center.  Many of the attendees are involved in pressing the limits of digital technology and physical design to greatly expand the storytelling and engagement possibilities of out-of-home venues.

The DOE industry defines itself as covering the professional theme park, educational and edutainment (museums, visitors centers, science centers), arcade, retail and mall advertising and enhancement, ‘exergaming’ (workout experiences), and other public pay-to-play, ticketed, and free entertainment experiences.  These experiences span the spectrum from fully real, physical equipment and spaces such as hands-on museum ‘sandbox’ exhibits, to fully virtual immersive gameplay.

Consultant Randy White of White Hutchinson Leisure gave some troubling statistics specific to the arcade industry.  While other forms of discretionary entertainment spending, such as movie attendance, has been holding relatively steady, 60% of arcade dollars have shifted to home entertainment and ‘stay-cations’ in the last five years.

BMI Gaming’s David Young said that one of the arcade industry’s responses has been to encourage and recognize innovation through an international design competition.  This year’s winner was Speed of Light; a vertical, button-based, two-player version of wack-a-mole with a lot of flashing lights.

Americans go to the movies on average 4 times per year.  But they eat out approximately 167 times per year.  Dining is a highly social experience.  The top 20% of income households account for 48% of out-of-home spending.  Mr. White recommended that arcades redesign their facilities to attract this upscale market with restaurants, wifi-equipped lounges, and games that allow for more group social and competitive activities.  One audience member noted that this would redefine the businesses that arcades compete with to include coffee shops, shared work spaces, hotel lobbies, and other social gathering spots.

Kevin Williams, the organizer of the DNA conference, spoke forcefully of the DOE industry’s need to embrace technology to a far greater degree than it has to date.  There is no reason, he argued, why devices could not recognize players when they return to a facility, coordinate communications as they interact with devices throughout the facility, and – if they opt-in – connect them with people who have similar interests and skill levels anywhere on the planet.  The technology already exists to offer experiences outside of the physical environment to patrons that could motivate them to return to the facilities.  The DOE industry can compete with rapidly improving home and personal entertainment options by offering attractive, safe locations to socialize, access high-end specialized devices, and have location-specific blended physical and virtual experiences.  It is critical, he added, that equipment be software-upgradeable so that experiences can be regularly refreshed.

One example of a business doing this is MagiQuest (http://magiquest.com), a Harry Potter-like world with home-play, clan-building, and location-based components.  Players can buy physical objects, like wands and capes, as well as virtual goods that aid in gameplay.  With 15 physical locations in the US and Japan, MagiQuest offers a unique, integrated on-site and virtual game and social experience.

The ETC’s Phil Lelyveld moderated a panel on 3D Interactive Entertainment Experiences in Public Places, which more accurately covered 3D, 4D, 5D, 6D, and 7D experiences.  3D is stereoscopic visuals.  4D adds motion and effects, while 5D includes a live performance component.  Interactivity in addition to all of the above is called 6D.  7D, as one vendor stated, is for customers who want more than 6D – Spinal Tap’s ‘the dial goes to 11.’

The immersive theatrical, walk-through, and cart-based experiences that the companies at this conference have developed match or exceed those found in the major theme parks.  In fact, many of these companies have been involved in developing attractions for those parks.  For example, Alterface developed an interactive 6D dark ride in Germany that, they claim, predates and is more complex than Toy Story Mania at Disney California Adventure.  Thinkwell Design’s installation at the Fernbank Nature Quest, Atlanta, Ga., makes very effective use of augmented reality and simulations in their educational experience design – including a scientifically accurate, interactive river simulation walkway with fish, plants, and turbulance.  (Watch a Fernbank video here: http://fernbankmuseum.org/naturequest/ )

3D projections onto building surfaces, ‘the other 3D,’ are increasingly in demand for both event programming and advertising.  Oscura Digital discussed their amazing projection over the Zayed Mosque, the second largest mosque in the world, in Abu Dhabi, UAE (Video http://www.youtube.com/watch?v=WfOyK_lxKbQ ,  story http://www.youtube.com/watch?v=WfOyK_lxKbQ ).  Pearl Media, which proudly self-brands itself as a ‘guerilla marketing firm,’ discussed how they always get permits, but do not always ask permission from the building owner when they install their temporary work.  They have developed real-time rendered 3D projections that crowds can interact with via tablet controllers.  Their projection onto a bagel store in Austin, TX during the SXSW conference increased bagel sales three-fold at the location.  Pearl Media also does very clever interactive storefront installations that capture pedestrians’ attention and imagination (see http://www.pearlmediaus.com/interactive.php )

To sustain and grow the DOE sector, and to compete with other experiences, a number of show developers framed their work in terms of preshow, show, and post-show components (See photo). In some locations, the preshow has become so engaging that patrons have to be encouraged to move on when the main attraction is ready for them.

The key presentations given at this conference will be edited and distributed as both a physical book and e-book.  Overall, the DNA conference was an interesting window into an industry that is using digital tools to create engaging storytelling, learning, and advertising experiences.  Their work can inform what the traditional entertainment and CE industry is planning.

The next meeting of the DNA will probably be held in San Francisco in the first half of 2013.  Go to http://www.thestingerreport.com/dna.html for more information.

Key companies represented at the DNA conference include;

Simiosys (http://www.simiosys.com , Chris Stapleton)

New Models of Ineractivity in Movie Theaters

Timeplay Entertainment  ( http://timeplay.com , John Race)

Vortex Immersion Media (http://www.vorteximmersion.com , Ed Lantz)

Maximizing Social Media

Snibbe Interactive (http://www.snibbeinteractive.com , Graham Plumb)

Augmented Reality’s Next Stage in Leisure Facilities

Thinkwell Design (http://www.thinkwellgroup.com , Craig Hanna)

Ogmento (http://www.ogmento.com/team , Brian Selzer)

3D Interactive Entertainment Experiences in Public Places

Triotech (http://www.trio-tech.com , Ernest Yale)

Super 78 Studio (http://www.super78.com , Brent Young)

Mediamation (http://www.mediamation.com , Dan Jamele)

Alterface (http://www.alterface.com/en/home/ , Benoit Cornet)

3D Interactive Marketing in Public Places

Obscura Digital (http://obscuradigital.com , Barry Threw)

Pearl Media (http://www.pearlmediaus.com , Joshua Cohen)

2012 SMPTE Annual Technical Conference & Exhibition

SMPTE 2012 Annual Technical Conference & Exhibition—THE premier annual event for motion imaging and media technology, production and operations. Join us and network with world-renowned technology thought-leaders in the motion picture studios, broadcast and distribution networks, production and post-production community, software companies, systems integrators, manufacturers, display technologies and distribution providers. As an accredited industry standards-setting body, SMPTE is also the industry’s leading nonprofit association providing technology education and information to the motion imaging industry. We’re all about creation, management, distribution and display of the moving image. We offer three days of highly technical sessions, a high-tech exhibition hall and unparalleled networking opportunities. Join us – don’t miss this exceptional opportunity!

Annual Technical Conference & Exhibition – 23 – 25 October 2012
Pre-Conference Symposium – 22 October 2012

Loews Hollywood Hotel (formerly the Renaissance Hollywood Hotel & Spa)
1755 North Highland Ave
Hollywood, CA 90028
USA

See more information and register at this link – www.smpte2012.org

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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