Quattrocanali amplifiers create the 3D aural realism of Dinosaurs in the Wild

For this immersive experience, that allows you to travel in time 67 millions of years in prehistory and see dinosaurs live, have been used more than 200 Audac speakers powered by 35 Quattrocanali amplifiers 1204 DSP+D.

Dinosaurs in the Wild is an immersive journey that transports visitors to the Cretaceous period and see dinosaurs live. It is an experience that fuses live action theater, the fun of a theme park, virtual reality technology and the latest paleontological knowledge.

Directed by Tim Haines and created by the producers of the BBC series Walking With Dinosaurs, This time travel experience can be described as a 'live action experience' that uses the latest in AV technology and animatronic techniques to generate an interactive spectacle.. This production represents in a credible way the idea of ​​traveling in time 67 millions of years ago to reach the Cretaceous period.

With an expert guide, tour the TimeBase scientific research station 67 that Chronotex Enterprises has built and where scientists study dinosaurs. Working with the production company Impossible Pictures, Imrge has developed software that runs a virtual reality experience that allows visitors “see through the eyes of a dinosaur”.

For TimeBase creation 67 Sound and lighting design has been key along with modern animatronic techniques and the latest in 3D audiovisual technology.. Emphasis is on authenticity and accuracy.

There are three elements in this theater mix, theme park and the latest in scientific research: infrastructure and set design; the sound content, the lighting and technical AV development and the actors who live on the set and guide the time travelers who visit them.

The sound has been entrusted to Remarkable Projects, a recently formed partnership between West End theater designer, Bobby Aitken, y Scott Willsallen, which has been responsible for the staging of many of the Olympic Games and the opening and closing ceremonies. The company was also involved in the Pink Floyd Exhibition: Their Mortal Remains.

By working as part of the design team to understand the creative goal of the experience, Its scope was expanded to include creating audio design content and producing sounds for all animatronics., video animations and atmospheric background sounds.

“Shortly after being on the project, I realized that the control system would be a key element, requiring complex integration with audio playback, and the triggering and synchronization of lighting and video content”, comments Willsallen.

The work expanded further into the design and implementation of the control system, and the production requested that the Remarkable Projects contract be extended to a turnkey project. They worked with Autograph as subcontractor, who provided and installed the systems to your specifications.

The goal was to make it as real and believable as possible., with three main considerations. The audience was to be taken back in time to a scientific facility called TimeBase. 67, built to study dinosaurs.

“The attention to detail in the designs and implementation of the FRD set designers was incredible. Our task was to give sound to everything that had to emit audio to support that reality and credibility.. For example, to the time machine itself, elevators, doors with shutters, power conduits, refrigerators, sounds of doors opening and closing, and many other items”, Willsallen explains..

In second place, There are two sections of the experience where video animations are the focus, a four-minute animation and an eight-minute animation, in a 3D setup with four monitors.

Remarkable Projects' job was to create all the sound for these animations in a 3D environment., once again making them as believable as possible. Finally, They were to protect the audience from sound leakage from all other parts of the experience.. “We use a raw version of noise masking not only to reinforce credibility with atmospheric sounds, but also to increase the ambient noise floor and help with this masking”.

Although the speakers Audac They were chosen based on their quality-price ratio., Willsallen raised the bar when talking about amplification. “When I began to consider the options, I was looking for the impossible. Key factors such as reliability, Built-in DSP, remote monitoring and control over Ethernet, Dante, operation to 100 V and low impedance switchable per channel, nearly 200 a 400 W per channel, line monitoring and low cost per channel given our requirement for more than 140 canales. The Ottocanali line of Powersoft offers great value per channel and model 1204 DSP+D was perfect in every way and in a four channel unit, divided among the audio racks with the fewest unused channels”.

Because sustainability and energy efficiency is a top priority for all your projects, Quattrocanali also satisfied that requirement.

More than 200 Audac speakers are powered by 35 Quattrocanali amplifiers 1204 DSP+D. To explain how these are used. “Vehicles that travel through time have 24 discrete channels each providing a very convincing and credible 3D audio experience. The Lookout has more than 50 channels distributed throughout the room in a hemispherical or dome-shaped space. This is also very believable, especially when you can see that visitors are subtly guided around the room by the cues in the audio content.”, explains the designer.

The equipment is distributed between three large and one smaller audio network nodes or amplifier racks..

All speaker EQ was created and saved on the amplifiers. “During pre-production, We measure each Audac product and create EQ and crossover programming for each one, build our own library and accelerate tuning on site”. Powersoft's own Armonía software was used for all remote monitoring.

Remarkable Projects' goal of delivering an audio experience that perfectly supported the creative intent and allowed the audience to believe the implausible was achieved while fulfilling their desire for hassle-free operation.. “Every element of the experience was an intentional choice, from branded uniforms for staff, even the scenic elements and the sound of the baby dinosaurs, and the anatomical precision achieved in each element to present the dinosaurs”, confirma Scott Willsallen.

After the presentation of the show at the NEC in Birmingham, This immersive experience passed through Eventcity in Manchester for three months and will arrive in London's Greenwich Peninsula from 12 from February to the end of July 2018.

https://youtu.be/jUlNst97lgw