Hubei in the Air is an immersive film experience in which viewers are taken on a flight over the historically rich province of Hubei, China.
In the ride itself, the viewers are seated on a hydraulic platform with the ability to move from a horizontal rest position, to fully vertical in 10 seconds.
Read excerpts below from blooloop’s article on the project, including an interview with our Executive Producer for Themed Entertainment David Garber.
“Hubei in the Air has proved to be the most popular attraction at Wanda Wuhan, with the longest line-ups. It is spectacular in an unusual way, moving away from adrenaline and excitement towards a dreamy, experiential, contemplative feel: an immersion in the beauty of Hubei’s past, in an exploration of the cultural, as well as the geographic landscape.”
Pixomondo leads film production
“Pixomondo had proposed to develop the entire film digitally. Recently they had completed the Martin Scorsese’s first digital film, Hugo, which was completely shot and rendered digitally. To be honest, initially I was sceptical: part of the beauty of a Fly Theatre film is the majesty, the warmness of the film that the guest experiences.”
“Pixomondo did a test reel showing the ability to develop digital assets using geographic references. Textures, assembled from high res photos, were then mapped out on the surface model, making them very realistic.
“Our team’s biggest creative challenge was to produce an audience experience in which the viewer would be captured by the breathtaking sights of Hubei Province,” said David Garber, Executive Producer, Pixomondo. “We did this while staying true to the script and vision supplied by FORREC as our roadmap in creating the film for this attraction.”
“Doug Yellin of the Matilda team initiated the discussion of what percentage of ‘realness’ we could achieve – how close could we get to being realistic within the budget, and how we could transition from the painting to the real scenes. We looked for a sweet spot that allowed enough contrast and believability that we were actually flying above these amazing environments.
“There were so many advantages to digital that David Garber Executive Producer, Yas Takata, the director and BJ Farmer, VFX Producer used in the production of the media.
“First, we had complicated flight paths that would be next to impossible to complete with live action shots. Flying through the doors of the temple or sailing up to the sun, were afforded by going completely CG.
“We were also able to produce multiple flight paths which could be reviewed by the client. If we had gone out and filmed the scenes we would not have been able to alter the paths once they were recorded.
Read the original article in it’s entirety on the blooloop site.