Monday, October 31, 2011

Jackson Hole Wildlife Film Fest 2011 competition winners

Since its inception in 1991, the Jackson Hole Wildlife Film Festival organization (JHWFF) has provided broadcasters, filmmakers, and other industry stakeholders with a forum to conduct business, stay informed on emerging market opportunities and technologies, test new equipment, refine program production techniques, and expand the role of media in understanding wild creatures and their habitats.

JHWFF hosts the Jackson Hole Wildlife Film Festival every other year. This event allows television and film industry professionals from around the world to network with their peers and engage in lively discussions, seminars, and forums, all devoted to the world of natural history filmmaking.

Equally committed to a path of education and outreach, the Festival is dedicated to raising awareness and empowering action, through the innovative use of media. Toward this end, the organization fosters innovative collaborations with local nonprofits, community organizations, governmental entities and schools. JHWFF offers special screenings, lectures, and in-school education programs year-round.

Grand Teton Award (sponsored by Panasonic Solutions)
Crossing the Line Films, IFB, RTÉ, CBC, SWR, ZDF, ARTE, MEDIA, Nature for WNET New York Public Media and BBC

Best Animal Behavior Program (sponsored by NHK Japanese Broadcasting)
  • BBC Natural History Unit, Discovery Channel, SKAI Open University & BBC Worldwide
  • Best Conservation Program (sponsored by Denver Museum of Nature & Science)
  • Crossing the Line Films, IFB, RTÉ, CBC, SWR, ZDF, ARTE, MEDIA, Nature for WNET New York Public Media and BBC

Best People & Nature Program (sponsored by The Nature Conservancy)
BBC Wales, BBC Natural History Unit, Discovery Channel and BBC Worldwide

Best Science & Nature Program (sponsored by Howard Hughes Medical Institute)
December Films and Pemberton Films & Smithsonian Networks

Best Wildlife Habitat Program (sponsored by FootageBank HD)
EPO Film for ORF/Universum, NDR and Nature for WNET New York Public Media

Best Earth Sciences Program (sponsored by Marco Polo)
N3D Land Productions & Mantello Brothers Productions

Conservation Hero (sponsored by Disneynature)
Brian Leith Productions, The Natural World, BBC & Nature for WNET New York Public Media

Best Children’s Program (sponsored by Teton Science Schools)
Sisbro Studios & The Save Our Seas Foundation

Best Limited Series (sponsored by Terra Mater Factual Studios)
BBC, Discovery Channel, France Televisions and BBC Worldwide

Best 3D Program (sponsored by GoPro)
National Geographic and Atlantic Entertainment for SKY 3D

Best Cultural Institution Media Installation (sponsored by North Carolina Museum of Natural Sciences)
Monterey Bay Aquarium

Best Fulldome Program (sponsored by Global Immersion)
  • California Academy of Sciences
  • Best Hosted or Presenter-Led Program (sponsored by Animal Planet)
    Crossing the Line Films, IFB, RTÉ, CBC, SWR, ZDF, ARTE, MEDIA, Nature for WNET New York Public Media and BBC

Marian Zunz Newcomer Award (sponsored by the Discovery Channel)
Robert Morgenstern, Studio Hamburg DocLights Naturfilm

Best Short Program (sponsored by National Geographic)
Mill Valley Film Group

Best Short Shorts Program (sponsored by Natural History New Zealand)
  • Traffic Konzept + Film GmbH
  • Best Theatrical Program (sponsored by Off the Fence Productions)
    Wildlife Films and National Geographic
Best Interactive/New Media Program (sponsored by ARKive)

Best Cinematography (sponsored by FujiFilm Optical Devices)
  • BBC Natural History Unit, Discovery Channel, Open University, SKAI & BBC Worldwide
  • Rod Clarke, Kevin Flay, Alastair MacEwen, Peter Nearhos, Simon Werry, and David Wright
  • Best Editing (sponsored by Images of Nature, Tom Mangelsen)
    Wildlife Films and National Geographic
    Susan Scott & Candice Odgers, Editors
Best Original Music Score (sponsored by Sony Electronics)
Wildlife Films and National Geographic
Alex Wurman

Best Sound (sponsored by Dolby Laboratories)
Studio Hamburg DocLights/NDR Naturfilm, Universum Film, & Intervista
Jörn Röver, Reinhard Radke, Sound Mix / Sound Design: Richard Borowski, Kai Storck, Carsten Richter

Best Writing (sponsored by ORF Universum)
Passion Pictures, Nature for WNET New York Public Media & BBC
Joe Hutto & David Allen

Special Jury Awards (sponsored by Aerial Filmworks)
  • Disneynature Productions
    Darlow Smithson Productions and Discovery Channel
    Gulliver Media Australia Pty, Ltd.

Cinnabar Creates Interactive Eco Challenge Exhibit for Discovery Science Center

Los Angeles, California, USA -
Where can kids shop for dinner, sort the trash faster than a recycling worker, and clean out the garage, all in less than an hour?

Discovery Science Center (DSC), the popular children's museum in Santa Ana, Calif., called on seasoned exhibit producer, artisan and fabricator Cinnabar Inc. to realize its concept for "Eco Challenge" - a fun and educational experience that marries authentically detailed themed environments to interactive video game technology and teaches kids about eco-friendly choices.

The exhibit, open since September, has already hosted thousands of children and been hailed as a success. 

"The children are immersed in an amazing environment full of realism and technology," says Joe Adams, Discovery Science Center President. "We're already hearing from parents that the message from the experience is being driven home."

The project was born when Orange County Waste & Recycling (OCW&R) approached Discovery Science Center with the idea for the exhibit. The museum then turned to Cinnabar to help make the exhibit a reality.

Jonathan Katz
Jonathan Katz
"We were brought in and given the creative vision," explains Cinnabar President Jonathan Katz. "With the museum's guidance, we completed the design/build work and assembled a team to accomplish the completely integrated project, including longtime Cinnabar collaborator Mindi Lipschultz as media producer, and BBI Engineering for A/V systems and mechanical interfaces."

As visitors navigate the three zones of Eco Challenge (Discovery Market, Race to Recycle and Eco Garage), they are greeted and addressed by the "Eco Crew" - six unique, digitally animated, 3D-rendered characters that appear, reappear and interact with visitors throughout the experience - showing up on a variety of digital displays from 52" vertical monitors down to 15" shopping cart screens. Lively, friendly and informative, the Eco Crew members reflect the diversity of their audience and address their viewers as equals while making an engaging, clear and passionate connection to what all of us can do to Reduce, Recycle and Reuse.

The exhibit centers around three keystone experiences, all media-rich and detail-laden:

Discovery Market is a life-size recreation of a grocery store, complete with computer-enhanced shopping carts. Eco Crew members help guide visitors through making the most ecologically friendly decisions while navigating the store.

The battery-powered shopping carts, scaled to the museum's younger visitors, are equipped with touchscreen displays and handheld scanners. The user-friendly, intuitive interface lets visitors jump right into the experience The carts are engineered to be extremely durable, able to take the daily wear-and-tear dealt out in a supermarket and a hands-on science center.

Race to Recycle turns the concept of carnival-style horseracing into a trash and recycling sorting adventure. After a quick introduction from Eco Crew member Zac, who shows up on the screen console for each sorting station, kids select items off a moving conveyor belt and sort them into the proper bin to advance their waste truck along the racecourse.

Eco Garage recreates three typical household garages, along with the bevy of toxic items contained within. Armed with scanners, kids race the clock to pick items they think are hazardous waste. At the end, Eco Crew member Justin directs them to the nearest real-life hazardous waste processing facility.

"[Eco Challenge] is utilizing a first-of-its-kind, state-of-the-art exhibit to educate children and parents on the importance of making eco-friendly decisions for the long-term," explains Adams.
The project was completed in less than a year - a feat which Katz credits to a clear vision from the museum and a cohesive team.

"A key part of our Integrated Creative Management (ICM) approach is to bring all the participants to the table at the beginning of a project. By identifying all the roles and our expectations at the onset, the project was able to move at a quick pace," says Katz. "Additionally, ICM results in additional value and savings for the client- enhancing the risk/reward attractiveness of this production model." The Discovery Science Center provided a clear vision for Cinnabar and Cinnabar in turn set in motion an effective collaborative production.

Already, the museum is seeing results from the team's efforts. The exhibit has been a hit with school groups and field trips.


About Cinnabar Founded in 1982, Cinnabar California, Inc. is one of the entertainment industry's leading production and fabrication companies, providing specialty fabrication for television, film and themed venues. In recent years, Cinnabar has been at the forefront of developments that have seen the integration of innovative new approaches to the process and production of museum exhibitions. Operating from a 30,000 square foot production facility, Cinnabar is able to provide its clients a complete range of in-house design-build, project management, and manufacturing services. Cinnabar is a licensed General Contractor in California and Nevada, and has held GC registration in other states on an as-needed basis.  

About Discovery Science Center

Discovery Science Center is Orange County's leading destination for hands-on science fun where guests can explore more than 100 interactive science exhibits. Blast off in the Boeing Rocket Lab featuring a real rocket engine, explore the planets in the Planetary Research Station and discover the science behind a puck in the Science of Hockey. Discovery Science Center is a non-profit organization dedicated to educating young minds, assisting teachers and increasing public understanding of science, math and technology through interactive exhibits and programs. For more information, call 714-542-2823 or go online at

Technomic report: Leverage foodservice offerings to retain customers and profitability

Marlene Dietrich inspired private dining room at the National WW II Museum in New Orleans
"The recreation segment continues to evolve from a sector with very limited foodservice opportunities to one in which foodservice plays a vital role in attracting and retaining customers," says Technomic Director Mary Chapman. "In many cases, their core business—from slot machines to museum exhibits—has been suffering, and restaurants are a key way to help build bottom lines. This creates a lot of opportunity for smart foodservice operators, contract management companies and food manufacturers." 

CHICAGO, Oct. 31, 2011 /PRNewswire/ -- It is rare for a 2.6 percent decrease in sales to be considered good news, but in the case of the recreation foodservice segment, last year's decrease was actually a big improvement over the prior year's nominal decline of 10 percent. The industry, hit hard by the recession's lingering effects, has continued to struggle as discretionary spending remains down from pre-recession levels. The recreation segment had retail-sales-equivalent food and non-alcoholic beverage revenues of $15.8 billion dollars in 2010. One way the industry is seeking to restore profitability is by expanding and tailoring  foodservice offerings to attract those customers venturing out and seeking the most bang for their buck. To help companies understand where opportunities lie in the recreation industry, Technomic has developed the Recreation Foodservice Report.

Findings include:

  • Theme/Amusement Parks: Beyond the economic slump, parks are at the mercy of the weather, tourism rates and competition for less-expensive forms of family entertainment. Operators are working to underscore the unique and special qualities of going to a theme park versus other entertainment venues, efforts that often include aggressive promotions involving lodging and food packages, discounts for prepaid food and all-you-can-eat special deals. 
  • Museums: Attendance is down for all fine-arts categories, and museums also are being pinched by reduced donations and civic support. However, museums have been among the leaders in upgrading foodservice over the past decade, often with the help of national or local celebrity chefs. 
  • Casinos/Gaming: After two years of revenue declines, the gaming industry is starting to show signs of growth. Las Vegas, in particular, is benefiting: For the past 16 consecutive months, the number of visitors to Sin City has increased, according to the Las Vegas Convention and Visitors Authority. New regions such as Pennsylvania have also seen growth. Restaurant operators, including celebrity chefs, play a large role in attracting consumers to casinos and keeping them on premise.  
  • Cruise Ships: The number of worldwide cruise-ship passengers increased steadily between 2007 and 2009, reaching 13.4 million in 2009—up a modest 3.0 percent over 2008. Cruise ships have been segment pioneers in leveraging foodservice as a lure to new passengers, not only by adding celebrity-chef-designed restaurants but also by creating cooking-class cruises with demonstrations by culinary experts.  
  • Bowling and Entertainment Centers: A few chains, such as AMF 300 and Splitsville, are moving ahead with plans to open centers where quality dining is the primary draw and bowling alleys are secondary. When the economy brightens, many other centers will follow the lead of these companies. In the meantime, operators are offering family packages and adult-focused theme nights to court customers.  
  • Zoos, Race Tracks and Others: Zoos, aquariums, horse and auto racing tracks, fairs and other entertainment attractions have seen declining admissions. These sectors have responded by reducing ticket prices to draw traffic, promoting foodservice facilities as an important reason to visit, and offering more trend-forward food and beverages to create a sense of excitement. 
  • Stadiums/Arenas: Attendance is down in some but not all markets for major sports, and this remains one of the segment's strongest subsections. Every other category would love to build foodservice revenues as stadiums have done. Concessions have been improved; popular brand names are common; full-service restaurants are proliferating; and the quality of in-suite catering matches that of fine-dining restaurants.

Technomic's Recreation Foodservice Report provides an in-depth understanding of recreation foodservice's major components: casinos, cruise lines, theme/amusement parks, stadiums and arenas, sports clubs, movie theaters, bowling centers, museums, zoos and race tracks. For each of these categories, major players are identified and the present and future role of foodservice is analyzed.

About Technomic

Technomic provides clients with the facts, insights and consulting support they need to enhance their business strategies, decisions and results. Its services include numerous publications and digital products, as well as proprietary studies and ongoing research on all aspects of the food industry.

Super 78 creates Typhoon 360 for maritime museum at Resorts World Sentosa

Typhoon 360 Unleashes Powerful Storm to Introduce 9th Century Maritime Silk Road Theme

SINGAPORE -- A new attraction at the Maritime Experiential Museum and Aquarium (MEMA) at Resorts World Sentosa in Singapore is bringing visitors face to face with the mother of all fears – their own mortality thanks to a face-to-face simulation of the raw power of a southern Pacific typhoon.

Typhoon 360, the primary focal point at the MEMA, literally and figuratively sinks the audience of up to 150 into the story of ninth century merchants working on a trading vessel along the Maritime Silk Road as a massive typhoon hits. Thanks to state-of-the art, real time effects including robotic, high-resolution projections, passengers find themselves in the depths of the ocean, up close with the shipwreck and magnificent marine life.

“Typhoon 360 is not your typical museum attraction. By engaging the senses through a number of special effects, we are able to deliver an experience that’s filled with a great deal of intensity and emotion,” said Brent Young, CCO and Creative Director for Super 78 Studios, the Hollywood-based attraction design firm that created Typhoon 360. “The attraction leverages the lore of a great Chinese story and fuses it with dramatic American cinematic effects that will catch many by surprise because of its authenticity.”

Typhoon 360 deploys an array of dramatic visual and special effects that include six hurricane fans, extreme temperature changes, strobe lights, and heavy-duty transducers that allows the audience to feel the vibration as the ship breaks apart around them via 360-degree circle vision.

“The Maritime Museum and Typhoon 360 round out the portfolio of attractions at Resorts World Sentosa, creating a unique world class cultural icon in Singapore,” said Dina Benadon, Super 78 principal and CEO.
Typhoon 360 plunges museum-goers into the 9th century tale of the final voyage of a merchant vessel which is lost at sea while transporting an ornate chalice, a wedding gift from the Chinese Emperor to the Sultanate of Oman.

The story begins as the captain of the vessel agrees to the mission despite the trepidation of his crew and sets out as the captain establishes his own son as the ship’s first mate. The voyage proceeds calmly until the ship encounters an intense night storm.

Despite efforts to steer clear of the squall, the crew and the audience soon find themselves in the middle of a fierce south pacific typhoon. The ship journeys on, valiantly attempting to avoid a labyrinth of rocky formations as it’s constantly buffeted by waves.

Eventually, the ship's luck runs out as it hits a mountainous rock head-on. The silence that follows is broken by the cries of Father and Son. Their cries dissipate as their fates part ways and the captain’s son is washed overboard and climbs to the safety on one of the rocks.

As the ship and crew begin to descend into the depths, so does the audience. The screen around the audience expands until everyone finally comes to rest on the sea floor. Completely submerged, guests get a stunning look at a series of real and projected undersea formations.
From above, the chalice slowly cascades by, and comes to rest on one of the rocky formations in the theater. As the music swells one final time, a group of majestic jellyfish ascend from the bottom screen toward the surface, as if they are the risen spirits of the ship’s crew.

Over the course of the 10-minute experience, the audience sinks a total of 40 feet as the film area expands in concert with the drop almost doubling the size of the screens and filling their field of vision. At the conclusion, the audience is transported back to present day as the theater doors open to reveal the aquarium section of the museum, complete with a model of the ship they sailed on during the Typhoon 360 experience.

Super 78 is no stranger to the immersion attractions, having produced larger-than-life projects for beloved theme parks around the world, including Busch Gardens, Sea World and Universal Studios. However, the major aspect that sets the Typhoon 360 experience apart from most other attractions is the aggregation of a live action, 360-degree screen, and real-time special effects.

Working with Super 78 on the Typhoon 360 project was Ralph Appelbaum Associates, one of the largest museum design and planning firms in the world and the designer for the MEMA.

"Working with our partners -- Sunray Woodcraft Construction, Resorts World Sentosa, Ralph Appelbaum & Associates, and design and architectural consultants DPC and DPA of Singapore – we were able to navigate various cultures, communication styles, geographical locations, and a tight schedule to deliver a cultural attraction that is both compelling, immersive and educational – and in so doing, fulfilling the overarching objectives of the Maritime Experiential Museum and Aquarium," said Michael Palmieri, executive producer for Super 78.

The museum overlooks the Resorts World Sentosa waterfront and features an experience that covers maritime talks, children’s workshops and exploration on life-size replica historical ships.

Mindi Lipschultz produces interactive media for "Eco Challenge" exhibition at Discovery Science Center

Mindi Lipschultz, Emmy and Thea Award-honored media producer, continues her tradition of innovative digital works, with the new "Eco Challenge" exhibit, that opened in September at the Discovery Science Center.  

Santa Ana, Calif. USA -- "Eco Challenge" at the Discovery Science Center is a three-part immersive, media-based experience that uses interactive video game technology as a medium to educate children about environment-friendly choices in food shopping and recycling. Mindi Lipschultz, under contract to exhibit producer Cinnabar Inc., created media to help realize Discovery Science Center's concept design for each of the three zones within Eco Challenge (Discovery Market, Race to Recycle and Eco Garage). Mindi's work included developing and creating six distinct, life-size digitally animated, 3D-rendered characters that appear, reappear and interact with visitors throughout the experience - showing up on a variety of digital displays from 52" vertical monitors down to 15" shopping cart screens.

"Sandra" - Eco Crew member

Visitors meet "Susie" in Meat & Seafood.

"Mindi's attention to detail and inventive spirit helped produce an exceptional product that fulfills the goals of the exhibit and serves the museum's mission in a fresh, modern and original way," said
Cinnabar President Jonathan Katz. "We were brought into this project and given the project's vision," explained Katz. "With the museum's guidance, we completed the design/build work, assembled a team to accomplish the completely integrated project, including Mindi - a longtime Cinnabar collaborator - as media producer, and BBI Engineering for A/V systems and mechanical interfaces." The exhibit comes out of a partnership between DSC and OC Waste and Recycling.

Discovery Market is a life-size recreation of a grocery store, complete with touch screen-enhanced shopping carts and interactive scanners. It is where most of the animated characters are found. At the entrance, "Sandra," an animated greeter character prompts visitors to grab a shopping cart. They choose a shopping list from the cart's built-in monitor and move around the store, where they respond to questions posed on the screens, select products and scan barcodes from the shelves to submit their answers.

Eco Crew member "Courtney"

Interactive media production

"Interactive media production isn't just about compelling images or unusual formats. The producer's role extends beyond the media per se to the entire visitor experience," says Mindi. In the case of Eco Challenge, which is highly interactive, Mindi oversaw the development of custom software (provided by Wall Street Productions) for the Super Eco-Shopper Game. The custom software integrates automatic responses to visitor activity into the experience such as triggering a camera to photograph players and instantly transmit their pictures - so that those who excel appear on the Super Shopper Wall (a bank of monitors), and if they get all the questions right, the system also directs a token dispenser to reward them with a custom coin. The tokens are embossed with the faces of the six characters and kids are encouraged to play numerous times and collect them all.

"The exhibits teach the kids about eco-choices, and they go home and teach their parents," noted Mindi. "I like that - it builds a better future and a better now."

The museum allowed Mindi latitude in developing the personalities and looks of the characters that populate the exhibit. "I wanted to create characters that kids could identify with and remember," explained Mindi. "We made them quirky and memorable." "Courtney," for example, awakens from her Zen-like, kaleidoscopic meditation of floating fruit when visitors summon her by pushing the "Help" button in the produce department while "Susie," a forceful young clerk with purple-streaked hair emphasizes her points with a meat cleaver in hand and rails against Styrofoam packaging. Mindi brought Artifact Design onto the team to provide character animation.

Media design + environmental design

Beyond the personality of the characters, much time and attention were given to the digital environments in which the characters reside.

"The worlds of the animated characters needed to blend seamlessly with the built environment in order to make the experience feel as real as possible," explained Mindi. She worked closely with Cinnabar, passing digital images back and forth to ensure the animation mirrored the Cinnabar-fabricated physical products kids see and touch in the store. Additionally, walls, countertops and other aspects of the digital environments were carefully crafted to match and flow into the real ones (also fabricated by Cinnabar). "It was a true blend of media design and environmental design," said Mindi. A body of museum work

Mindi Lipschultz and Cinnabar have collaborated in their respective roles of media producer and exhibit producer in the past, such as on the California Academy of Sciences which reopened to great acclaim in 2008. There, Mindi produced some 31 pieces of digital media including the Insect Collecting Game in which visitors use a handheld wand interacting with images onscreen to learn how a field scientist works. "The Insect Collecting game was an important example of how gaming technology can be applied for educational exhibits that appeal greatly to children," says Mindi.

In 2010, Mindi worked with BRC Imagination Arts to develop media for a handheld interactive device for the Information and Communications pavilion at the 2010 Shanghai World Expo. Members of the audience used the devices to make individual choices and also to interact with large screen projections, experiencing the show on both a personal and a group level in what is termed "mass customization." The "ICT" device was honored with a Thea Award for Outstanding Achievement by the Themed Entertainment Association.

Mindi sees her work on Eco Challenge as building upon much of her prior work - over 20+ years of pioneering digital media production. "Eco Challenge takes the interactivity of the Insect Collecting game at the California Academy of Sciences and makes it mobile, allowing kids to move around the store, scan items and receive instant feedback on their progress. Moving through the different levels at Eco Challenge at their own pace and ability, visitors enjoy a mass-customized experience - shades of what we did at Shanghai. And Eco Challenge's high-quality digital characters hearken back to my work as a television animation producer."

About Mindi Lipschultz
Dubbed a "digital guru" by Post Magazine, Mindi Lipschultz has been involved in the production of extraordinary and innovative media for television, museums and themed entertainment industries as a producer, director, editor and innovative thinker for some three decades. Prior to being contracted by Cinnabar to produce media for "Eco Challenge," she worked on a project for the Shanghai 2010 World Expo. BRC Imagination Arts contracted Mindi to produce media for the Information and Communication Pavilion at the Expo.

Prior to her work on the Expo 2010 pavilion, Mindi completed a two-year project as senior media producer for 35,000 sq. ft. of natural history exhibits at the new California Academy of Sciences, for which she designed and produced 31 cutting edge media experiences including a "Wii" game-like virtual expedition to Madagascar as well as other interactive games and documentaries.  
Lipschultz was creative director and senior producer for the design of more than 50 technology based media segments for the Las Vegas Springs Preserve. She was producer of an 80-year retrospective of science fiction films that is the centerpiece exhibit of Paul Allen's Science Fiction Museum in Seattle and oversaw the integration of its groundbreaking, five-projector format that displays the high-resolution digital film on a large suspended globe, and for Showtime Networks she designed the production pipeline and served as line producer for the first animated high definition animated TV series ever aired (Free For All). 
Her awards include a Thea Award for Outstanding Achievement (for her work on the ICT Device for the Information and Communications Pavilion at Shanghai Expo 2010), two contributing Emmys and one Emmy nomination for outstanding editing on three PBS television series, and five Telly awards for broadcast production work.
For more information on Mindi Lipschultz and her work, visit her blog.

Woodland Park and Scovill Zoos report revenue benefits from token-based rides & attractions

Message from Osborne Coinage of Cincinnati, Ohio USA:
'Rides and attractions offer increased revenues for zoos of all sizes. Historic carousels offer a unique opportunity to bridge generational gaps, since parents who probably rode carousels as infants may now share this experience with their own children. As guests enhance their zoo visits with ancillary attractions, they spend a little more money. One way that large and small zoos can reap substantial benefits and claim higher profits is by adopting token-based attractions (rather than ticket-based ones which have historically been the norm).

'Operationally There’s More Than A Token Benefit

'Tickets have been used for decades and are not likely to be abandoned anytime soon. However, tokens offer tangible benefits and the opportunity to earn more profits on a per-transaction basis. Tokens are sold through a self-serve token dispenser, so unlike tickets, selling and dispensing tokens does not require an operator. Eliminating a person simplifies scheduling of workers while reducing costs. Even considering the initial cost of the token dispensers, the payback for Seattle’s Woodland Park Zoo was “less than a season” according to Gates Supervisor Scott Mus. In addition to financial incentives for automating the process, there are operational benefits as well. “Taking the actual selling of the ride out of the operator’s hands allows them more control over the ride and better safety response if that were necessary” continues Mus.

'Scovill Zoo’s Mike Borders echoes this sentiment, adding “we have a lot of volunteers who operate the rides, and volunteers hate to handle money. This gives us more control, and nobody has to worry about making change.” Scovill Zoo in Decatur, IL has been using tokens for its 1948 Allen Herschel Endangered Species Carousel for years.

'Last season marked the first time that Woodland Park began using tokens for its historic 1918 model carousel. Each entity faced some decisions on how to price the ride and how that would impact their token dispensers (or vice-versa).

'Mechanics of Dispensing, Making Change & Pricing

'Once the decision is made to use tokens, a next question is how to value them. Keep in mind that while token dispensers are available to handle all sorts of transactions (including credit cards and issuing change), the more complicated the transactions become, the more expensive the dispensers.

'That’s one reason that Woodland Park valued their tokens at $1 – to simplify the transaction process. If a customer inserts $5, he or she receives 5 tokens. A $10 bill nets 10 tokens and so on. If customers do not want all of the tokens, cashiers can give them change. Tokens are also accepted elsewhere on the grounds. So, for example, if a customer pulls out some tokens with his pocket change to pay for a cheeseburger at the concession stand, a cashier may say “did you know those are worth a dollar here?”

'“This year we also have small information signs near the token machines saying that if they have extras they can use them anywhere in the park” says Mus.

'While Scovill Zoo has used tokens for many years, they recently upped the price of a carousel ride from $1 to $1.50. With tokens, this is easily accomplished. The token dispensers were reprogrammed to accept two $1 bills and dispense 2 tokens and 2 quarters. The ride now requires 2 tokens to gain admission.

'How Many Tokens Is Enough
'Another decision you will have to make is the number of tokens to purchase. One obvious consideration is the quantity of tokens that can be stored in your token dispensers. While this varies by model and size, most token dispensers seem to hold several thousand tokens. You will also want to consider token economics: the more you purchase, the cheaper they are. There are certainly benefits to ordering in bulk, but there may be benefits in ordering smaller quantities, as well, especially if storage is an issue.

'In addition to providing operational and financial benefits, tokens are sometimes viewed as a low-cost souvenir. That is one reason why people purchase them but never redeem them. There is also a marketing value inherent with tokens. They can easily be minted to tie in to new promotions or to recognize the addition of a new animal exhibit. Changing token designs periodically may encourage more visitors to take them home. When the tokens are viewed with pocket change, they offer branding opportunities. In addition to souvenir seekers or collectors, some of us simply lose tokens. Whatever the reason, there are occasions when tokens are sold but never redeemed. These are called “walkaways” because the tokens are sold but they “walk away” before they are redeemed.

'So how big is the “walkaway” issue? Decatur’s Scovill Zoo is a smaller facility that hosts approximately 90,000 visitors per year. Director Mike Borders estimates that 5% of their tokens are sold but never returned, an extra profit of roughly $1,500 per year. Woodland Park, a larger facility with more visitors, naturally has more walkaways. Scott Mus estimates that about 75 tokens a day are sold but never redeemed. That’s an extra $56 per day of profit after accounting for the cost of the tokens, die charges and freight to deliver them (actual walkaway figures are from -10 to 200 per day - though only 4 days have seen more tokens redeemed than sold). Mus recalls that he ordered an initial supply in May 2007 to start the project and recently placed an order for another 10,000 tokens to replace the “walkaways.”

'That’s not a bad increase in profit for a token that also yields operational benefits. Reduced man-hours for ride operations are certainly a plus, and the financial aspects of token-based rides and attractions have zoo directors smiling all the way to the bank.

Big Think Reimagines Delta Dental Health Theater - St Louis

St. Louis, Missouri, USA - Big Think, Inc. recently unveiled its latest project with the successful reimagination of the Delta Dental Health Theater in St. Louis, Missouri. "Big Think transformed our educational theater into an interactive children's museum," said Shannon Woodcock, Executive Director of the theater.
The Delta Dental Health Theater was built 30 years ago to educate children on the importance of proper dental care. The experience centered around a 30 minute show that encouraged children to brush and floss regularly as well as limit sweets and other decaying foods.

"We started by helping DDHT define who they were and who they wanted to be," explained Judy Leise, president of Big Think. "We then began work on redesigning the existing spaces and creating new experiences to engage visitors in the concepts of total wellness and healthy living."

The theater includes 8 new interactive exhibits designed by Big Think:
  • Good Breath \ Bad Breath: Two existing characters, Tooth Wizard and Plaque Man, are recreated with scent-releasing mouths that children press to smell good and bad breath.
  • From Seed to Plant to Plate Mural: Children learn about the cycle of food. Pop-up doors provide interactivity and kids learn fun facts
  • Snacky's Farmer's Market: Children play in a realistic farmer's market environment while learning about the value of coloring their plates with a variety of healthy foods.
  • Cardinal's Care Library: A tent was created for kids and families to read books about health and play with educational puzzles
  • Dental Health Area: Children practice their new skills brushing teeth.
  • Dress Up Area: Children dress up as a farmer, chef and dentist, or for the royally inspired, a king and queen. Kids can even try out a child sized dental chair.
  • Theatre: New AV technology was installed to create an up to date viewing experience
  • Obstacle course and fitness area for special events: Children are taught the importance of moving their bodies for no less than an hour a day in a fun and engaging way.
Big Think also redesigned the facility's offices creating working space for administrative offices and storage. The theater's popular giant teeth, which are considered a St. Louis legend by many, were preserved. "St. Louis has one of the highest rates of childhood diabetes, obesity and tooth decay," said Shannon Woodcock. The more we can educate our children and families, the better off our community will be."

Big Think continues to work with DDHT as they plan their next phase of expansion.

Big Think is a Woman-Owned (WBE) design firm and media production company with a unique team from a wide array of creative, production and execution disciplines. Our team provides solutions that are seen at museums, theme parks, shopping centers, zoos, on the road, at events and in the media for a variety of clients who value a visceral connection with their customers. Our clients' unique perspectives are woven into a fully integrated marketing story line. Our long-term relationships with the best in the business, assures that what you imagine is also achievable.

Big Think designs a broad range including, signage and wayfinding, environmental graphics, exhibitions, immersive environments, master planning and architecture, media, identity, branding and brand characters, experiential marketing and events.

Judy brings over 25 years of diverse design, communication, marketing and brand experience. She has produced a variety of projects including immersive museum environments, experiential marketing programs, events, trade shows, video & film productions (2D & 3D), as well as websites. Judy is expert in the creation of integrated marketing, communications strategies and formulation of brand messaging and positioning. She offers the advantages of being a creative problem solver who understands the logistics of planning and execution - and can meet a budget. She has won numerous awards including a gold medal from the New York Film Directors, IABC, CASE and Flair Awards. Judy holds a Masters of Fine Arts degree from Washington University where she taught art, photography and design.

Teresa has over 20 years of extensive experience in all facets of design which shapes her critical role in bringing overall cohesiveness and impact to a project. She applies her skill to the many components of design including environmental graphics, immersive environments, exhibit design, wayfinding & signage, websites and branding. Some of the projects she has worked on include Great Rivers Greenway - a system of greenways connecting St. Louis City, St. Louis County and St. Charles County: branding, wayfinding, signage and website design; Grand Ole Opry: comprehensive interior graphics and signage for a new retail store; Woodcock Museum in St. Louis - an innovative digital art museum: branding, website design, marketing collateral and teacher education content and St. Louis Housing Authority - a public housing agency: branding, signage and collateral design. She has won numerous awards including an award for the Woodcock Museum website by The Association of Museums on the Web, Creativity Annual Awards and her Grand Ole Opry posters were published in the Rockport Publishers 1000 Retail Graphics book.

Saturday, October 29, 2011

Six Flags Entertainment Corp quarterly fiscal report shows adjusted EBITDA grew to $250 M

Net Debt Drops to $667 Million

GRAND PRAIRIE, Texas, USA /PRNewswire/ -- Six Flags Entertainment Corporation (NYSE: SIX) announced that Adjusted EBITDA(1) grew to $251 million in the third quarter 2011, an increase of 5 percent over the third quarter 2010. During the same time period, Modified EBITDA(2) margin, the most directly comparable measure of the parks' performance, increased 270 basis points to 56.6 percent, which represents a new all-time high for the company's profitability. Revenue of $476 million during the third quarter was flat with prior year primarily driven by a 5 percent increase in guest spending per capita offset by a 4 percent decline in attendance due to unfavorable weather conditions at several Six Flags parks during the quarter.

For the first nine months of the year, Adjusted EBITDA grew 15 percent to $316 million on $22 million or 3 percent revenue growth. For the last twelve months (LTM) ended September 30, 2011, Adjusted EBITDA was $337 million. Modified EBITDA margin for the LTM period ended September 30, 2011 was 36.8 percent, a 620 basis point improvement over the comparable prior-year period.

"Implementation of our focused strategy has delivered superb results once again," said Jim Reid-Anderson, Chairman, President and CEO. "Our multi-year goal to delight guests and improve the financial performance of the business is right on track as we generated all-time high guest satisfaction scores and record financial metrics through the first nine months of the year."

Third quarter 2011 revenue of $476 million was flat to prior year, with a $4 million or 1 percent increase in admissions revenue offset by a $2 million or 1 percent decline in in-park revenue and a $2 million decline in sponsorships. Third quarter attendance of 11.2 million declined 4 percent versus prior year with 35 percent of operating days impacted by adverse weather and 40 percent of those days falling on weekends. Admissions revenue per capita of $23.48 increased $1.35 or 6 percent, and in-park revenue per capita of $17.35 increased $0.59 or 4 percent. Total revenue per capita for the third quarter was a record $42.40, as compared to $40.55 for the same period in 2010 — an increase of $1.85 or 5 percent.

Revenue of $876 million in the first nine months of 2011 grew by 3 percent over 2010. The increase was driven by a $22 million or 5 percent increase in admissions revenue, and a $5 million or 1 percent increase in in-park revenue, offset by a $6 million decline in revenue related to sponsorships, international licensing and management fees. Admissions revenue per capita of $22.83 increased $1.56 or 7 percent, and in-park revenue per capita of $17.28 increased $0.65 or 4 percent. Total revenue per capita for the first nine months of 2011 was $42.24, as compared to $40.24 for the same period in 2010 — an increase of $2.00 or 5 percent.

Cash expenses, including costs of goods sold, declined $14 million or 6 percent during the third quarter as compared to the third quarter of 2010 primarily due to reduced cash compensation and marketing expenses. For the first nine months of 2011 cash expenses, including cost of goods sold, were $25 million or 5 percent lower than the same period in 2010 primarily due to lower costs associated with cash compensation, marketing and outside services. The company's noncontrolling interest position in dick clark productions, inc. negatively impacted year-over-year Adjusted EBITDA growth by $0.5 million, $1.2 million and $2.3 million for the three-month, nine-month and twelve-month periods ended September 30, 2011, respectively.

The company generated diluted earnings per share of $3.43 in the third quarter 2011, an increase of 42 percent over the same time period in 2010. Year to date diluted earnings per share was $1.40. Cash earnings per share(3) for the twelve months ended September 30, 2011 was $3.29. Since the company emerged from Chapter 11 on April 30, 2010 with a new capital structure, the comparable prior period cash earnings per share figure is not meaningful. The company believes cash earnings per share is a meaningful metric given the current $1.1 billion accumulated tax loss carryforward and the net depreciation and amortization impacts relating to fresh-start accounting.

Free Cash Flow(4) — which for the company is defined as Adjusted EBITDA less capital expenditures, cash interest and cash taxes — was $225 million in the third quarter and $204 million in the nine months ended September 30, 2011, and included $10 million and $69 million of capital spending, respectively.

Net Debt(5) as of September 30, 2011 was $667 million compared to $829 million as of June 30, 2011 and $763 million as of September 30, 2010 — an improvement of $162 million and $96 million, respectively. During the last twelve months, the company issued dividends of $8 million, paid a $30 million arbitration settlement, and repurchased approximately $42 million of its common stock.

The company had $305 million of cash on hand as of September 30, 2011 and a net debt to last-twelve-months Adjusted EBITDA ratio of 2.0 times, as compared to 2.6 times at June 30, 2011.

Recent Events
In early September Six Flags announced a package of thrill rides, family rides, shows and special events for its 2012 season. Among the highlights:

  • Six Flags Magic Mountain, near Los Angeles, which is the Thrill Capital of the World, welcomes the world's tallest vertical drop ride, LEX LUTHOR: Drop of Doom! At a sky-scraping 400 feet, this engineering phenomenon drops riders at speeds of up to 85 miles-per-hour.
  • Six Flags Discovery Kingdom, near San Francisco, will introduce SUPERMAN Ultimate Flight — a new launch coaster that blasts riders more than 60 miles-per-hour through two vertical twists and a high-flying 150-foot-high inversion. It ranks among the tallest inversions in the world.
  • X-Flight, a unique wing coaster and one of only two in the United States, soars into Six Flags Great America near Chicago, featuring 3,000 feet of intense high-speed drops and barrel rolls with no track above or below.
  • Six Flags New England in Massachusetts debuts Goliath — a colossal boomerang coaster that sends riders nearly 200 feet in the air, flying forward and backward over a twisting, looping inverted steel track at speeds up to 65 miles-per-hour.
  • Six Flags America, just outside of Washington D.C., introduces Apocalypse, the park's eighth roller coaster and first stand-up design that offers a two-minute adventure and features a 90-foot drop with vertical and cork screw inversions at 55 miles-per-hour.
  • Guests at Six Flags Great Adventure in New Jersey and Six Flags Fiesta Texas in San Antonio will have more to scream about with the introduction of SkyScreamer, the newest sensation in tower rides. SkyScreamer offers breathtaking views from open air swings that rotate in a 98-foot circle high above the parks.
  • Thrilling water park additions are coming to several parks. Guests at Six Flags St. Louis Hurricane Harbor will keep cool on the Bonzai Pipeline, the park's first extreme looping body slide. Hurricane Harbor at Great Adventure is also premiering this ground-breaking new slide while Alpine Freefalls, a Nordic-themed waterslide complex, is coming to The Great Escape and Splashwater Kingdom in upstate New York. The multi-slide attraction will feature the park's first free-fall speed slide and the region's first twisted mat racer.
  • The company is also adding a variety of family rides, shows and attractions at many parks, including Six Flags Mexico, La Ronde in Montreal, Six Flags Over Texas, Six Flags Fiesta Texas, Six Flags Over Georgia and Six Flags Great Adventure.

Cedar Fair unitholders meet; vote on right to nominate directors for the Board

SANDUSKY, Ohio, USA /PRNewswire/ -- Cedar Fair Entertainment Company (NYSE: FUN), a leader in regional amusement parks, water parks and active entertainment, announced the certified voting results of its Oct 27, 2011 Special Meeting of Unitholders to consider two proposals relating to the right of unitholders to nominate directors for election to the Board of Directors.

The Company's Board of Directors recommended FOR both proposals and based upon the Inspector of Election's official tabulation, both proposals received the requisite number of votes. Specifically, the two proposals that were voted on and passed were to (i) amend the Regulations of the General Partner to give unitholders the right to nominate directors for the Board and (ii) amend the Limited Partnership Agreement to establish certain procedures and information requirements for unitholders to nominate directors.

"I am pleased to say that based on these results, and in accordance with the Regulations of the General Partner and Partnership Agreement, the Board of Directors voted today to amend the Partnership Agreement, allowing the right for unitholders to nominate directors," said Dick Kinzel, chief executive officer. "We thank our unitholders for their participation in this Special Meeting and their ongoing interest in Cedar Fair."

The Company will file a Form 8-K with the Securities and Exchange Commission detailing the certified voting results. The filing can be accessed via the SEC website at

Wednesday, October 26, 2011

Creator of TED aims to revive "lost art of conversing" with www.www conference, launching 18-20 Sept 2012

Richard Saul Wurman, the creator of the TED conference engineers a new gathering.

Message from the organizers:
"On 18-20 September 2012 WWW.WWW will make its debut.

"The first W stands for World....

"Water Wealth Women Waste War Well-being Wildlife Web Weather Wind Words Wonder Witness Wilderness Work Wunderlust Warming Wit & the Waking Dream

"WWW.WWW will be a gathering of the greatest, most interesting & curious minds in the world engaged in immersive & improvised conversation. It will celebrate the 21st century while drawing attention to the new patterns & convergences affecting our health & that of our planet.

"The experience will be streamed live to selected locations. It will be available by way of tablet app across all platforms.

"In the weeks following the app's release, it will be updated with additional conversations captured during the breaks. It will also feature extraordinary visual imagery & a running line of Spanish & Mandarin translation."

The event is further billed as "A celebration of improvised conversation: Intellectual jazz. Richard Saul Wurman, creator of the TED (1984-2002), TEDMED (1998-2010) & the eg conferences (2006), will celebrate improvised conversation in its most informative manner.

"No presentations; No schedule; No expensive tickets. Simply pairings of amazingly interesting individuals prompted by a question, generating a conversation. For 10 minutes to 50 minutes. And so it will go – conversations interlaced with threads of improvised music. An astrophysicist & a microbiologist. An actor & a playwright. A jazz musician & a classical one. An energetic exploration of the lost art of conversing."

Partial list of presenters:
  • Frank Gehry: Architect 
  • Mark Benioff: CEO  
  • Jeffrey Katzenberg: CEO DreamWorks Animation  
  • Joi Ito: Director, MIT Media Lab, Chairman of Creative Commons and General Partner of Neoteny Labs 
  • Walt Mossberg: Preeminent Technology Journalist, Wall Street Journal, Co-Founder of D All Things Digital 
  • Maya Lin: Artist and Architect  
  • Norman Lear: Award Winning Television Producer, Chairman Act III Communications 
  • John Maeda: President, The Rhode Island School of Design  
  • Arem Duplessis: Design Director, New York Times Magazines  
  • David Rockwell: Architect and Designer, CEO Rockwell Group  
  • Danny Hillis: Inventor of Parallel Computing, Entrepreneur, Co-Founder Applied Minds
  • Moshe Safdie: Architect
  • Michio Kaku: Theoretical Physicist, Co-Founder of String Field Theory, Professor City College of New York
  • Robert Greenberg: Chairman, CEO, Global Chief Creative Officer R/GA
  • Steve Wozniak: Co-Founder Apple Computer, Technologist
  • Nicholas Negroponte: Founder MIT Media Lab, Founder One Laptop Per Child
  • Dean Kamen: Preeminent Entrepreneur and Inventor, Founder FIRST Robotics
  • Bjarke Ingels: Architect
  • Will Wright: Co-founder, Maxis, Founder and Chief Executive, Stupid Fun Club
  • Uri Herscher: Founder, Skirball Cultural Center, Los Angeles
  • Julie Taymor: Film and Theater Director, Artist, Tony Award Winner

MacGillivray Freeman Films Partners with Coca-Cola on Arctic Home Campaign to Protect Polar Bears

Message from MacGillivray Freeman Films:

"To support this exciting campaign, MacGillivray Freeman Films is doing what we do best: using film to tell a compelling story. Beginning in November, Coca-Cola’s Arctic Home television commercials and website content will feature sneak preview footage from our upcoming IMAX® film To The Arctic 3D, a co-production with Warner Bros. Pictures and IMAX Corporation and the first film presentation of One World One Ocean, scheduled for release in IMAX® theatres 2012.   Our footage brings to life the story of the polar bear and will inspire consumers to take action to protect the polar bear’s habitat. This marks the first time one of our films—or any giant-screen film for that matter--has been so extensively integrated into a cause-related public engagement campaign of this scope."

(ATLANTA, USA) – Beginning November 2011, white will be the new red. Coca-Cola and World Wildlife Fund (WWF) are joining forces in a bold new campaign to help protect the polar bear’s Arctic home. For the first time ever, Coca-Cola is turning its iconic red cans white in celebration of the polar bear and committing up to $3 million to WWF’s polar bear conservation efforts. The Company is also asking fans in the U.S. to join the “Arctic Home” campaign by texting donations.

“We want to help the polar bear—a beloved Coca-Cola icon since 1922—by helping conserve its Arctic habitat,” said Muhtar Kent, Chairman and CEO of The Coca-Cola Company. “That’s why we’re using one of our greatest assets—our flagship brand, Coca-Cola—to raise awareness for this important cause. And by partnering with WWF, we can truly make a positive difference for these majestic animals.”

First Ever White Packaging Encourages $1 Text Donation to WWF
This holiday season, more than 1.4 billion white Coke cans will help raise awareness and funds to protect the polar bear’s home. White bottle caps also will be on bottles of Coke, Diet Coke, Coke Zero, Sprite, Nestea, Minute Maid and more. Coca-Cola has never before changed the color of the red can to support a cause.

Beginning November 1, 2011, the familiar red can background will be replaced with an all-white panorama, highlighted by the iconic Coca-Cola script printed in red. The eye-catching cans will feature the image of a mother bear and her two cubs making their way across the Arctic. White packaging will be on store shelves through February 2012.

Coca-Cola is making an initial donation of $2 million to WWF and inviting others to join the effort. Anyone who wants to help the polar bears can text the package code to 357357 to donate $1 to WWF. They also can donate online at, starting November 1. Coca-Cola will match all donations made with a package code by March 15, 2012, up to a total of $1 million.

“Arctic Home” Funds to Support WWF’s Polar Bear Conservation Efforts
Funds raised will go toward WWF’s conservation efforts to protect polar bear habitats—for their survival today and in the future.

"Polar bears live nowhere else except the Arctic. Their lives are intimately bound up with sea ice, which is now melting at an alarming rate,” said Carter Roberts, President and CEO of World Wildlife Fund. “By working with Coca-Cola, we can raise the profile of polar bears and what they're facing, and most importantly, engage people to work with us, to help protect their home."

WWF has a vision to help protect the polar bear’s Arctic home. This includes working with local residents to manage an area high in the Arctic where the summer sea ice will likely persist the longest. This area—potentially covering 500,000 square miles—could provide a home for the polar bear while protecting the cultural and economic needs of local people.

Coca-Cola Ads with Arctic IMAX® Film Footage Inspire Action

Coca-Cola and WWF also have partnered with Academy Award® nominated filmmakers MacGillivray Freeman Films, which is working with Warner Bros. Pictures and IMAX Corporation to co-produce the new IMAX® film To The Arctic 3D, scheduled for release in 2012. Coca-Cola’s “Arctic Home” television commercials and content on the website,, feature sneak preview footage from the film.

Producer Shaun MacGillivray said the film brings the polar bear story to life: “Filming To The Arctic 3D was an extraordinary journey. It makes perfect sense for our footage to be a part of ‘Arctic Home,’ inspiring action to protect the bears.”

On visitors can explore, experience and learn about the polar bear and its Arctic habitat. They can conduct live video chats with WWF scientists, track virtual polar bear sightings and make donations. Supporters of “Arctic Home” also can help spread the word to their friends and families by sharing content using the hashtag #ArcticHome.  

About World Wildlife Fund
World Wildlife Fund is the world’s largest conservation organization, working in 100 countries for half a century. With some five million members worldwide, WWF is dedicated to delivering science-based solutions to preserve the diversity and abundance of life on Earth, stop the degradation of the environment and combat climate change. Visit

About The Coca-Cola Company
The Coca-Cola Company (NYSE: KO) is the world’s largest beverage company, refreshing consumers with more than 500 sparkling and still brands. Led by Coca-Cola, the world’s most valuable brand, the Company’s portfolio features 15 billion dollar brands, including Diet Coke, Fanta, Sprite, Coca-Cola Zero, vitaminwater, Powerade, Minute Maid, Simply and Georgia. Globally, we are the No. 1 provider of sparkling beverages, juices and juice drinks and ready-to-drink teas and coffees. Visit

About MacGillivray Freeman Films
MacGillivray Freeman Films is the world’s best-selling independent filmmaker of films for IMAX and other giant-screen theatres with more than 35 giant-screen films to its credit. Throughout the company’s 40-year history, its films have won numerous international awards including two Academy Award® nominations for Best Documentary Short Subject. The company’s blockbuster film Everest remains the top-grossing giant-screen film in history. To The Arctic 3D follows in the company’s long tradition of producing films that call attention to important issues in the natural world. It is the first film presentation of One World One Ocean, a multi-year, multi-platform non-profit campaign established by company founder Greg MacGillivray to spark a global movement to protect the world’s oceans. Visit

Top 10 aquariums (North America) according to Coastal Living

Moody Gardens
1. National Aquarium in Baltimore, Maryland
2. Monterey Bay Aquarium, Monterey, California
3. SeaWorld, San Diego, California
4. John G. Shedd Aquarium, Chicago, Illinois
5. Moody Gardens, Galveston, Texas
6. Oregon Coast Aquarium, Newport, Oregon
7. South Carolina Aquarium, Charleston, South Carolina
9. Vancouver Aquarium Marine Science Centre, Vancouver, British Columbia
10. The Florida Aquarium, Tampa, Florida

See the full article at this link.

Pacific Science Center employs Paciolan software for King Tut admissions and more

IRVINE, Calif and SEATTLE, Wash, USA--(Marketwire) - Paciolan, a leading provider of ticketing, marketing, and fundraising solutions for museums and arts organizations, announced that Pacific Science Center has renewed its partnership with the company. Pacific Science Center, which is the last stop on the nationally acclaimed King Tut Exhibit traveling tour, will leverage Paciolan's general admission software to sell advance tickets to the exhibit, which runs May 24, 2012 to Jan. 6, 2013. Pacific Science Center serves more than one million people each year and brings inquiry-based science education to classrooms and community events all over Washington State.

"We've been very pleased with our Paciolan partnership and are excited about the future and what we will accomplish together," said Iain Horton, Admissions Manager for Pacific Science Center. "With the upcoming King Tut Exhibit, we are armed with the tools we need to efficiently handle the increased ticket volume and best serve our guests, members and patrons."

Leveraging Paciolan's general admission software, Pacific Science Center has already achieved significant success with its online ticket sales. For 2010, overall online sales increased 128 percent; online membership sales increased 194 percent; and online combination item sales increased 3,234 percent. For example, popular IMAX movies typically sell around 50 percent online, including the popular Avatar: An IMAX 3D Experience. For Star Wars: Where Science Meets Imagination, it secured 50 percent in online ticket sales; and more than 50 percent of tickets were sold online for Harry Potter: The Exhibition.

"We are thrilled with the incredible growth of our online sales initiatives -- thanks to Paciolan and our client partner, who has proven to be a great asset to us," added Horton.

Pacific Science Center also offers online membership entitlements, which provide members with early access to tickets to exhibits and events, as well as special member offers and discounts. Leveraging Paciolan's Membership Access Scanning, the Science Center enables members to have their membership cards scanned for easy access.

For those who wish to donate and make online payments, they can now easily do so through Pacific Science Center's Annual Fund or Discovery Circle membership program, via a web page integrated with Paciolan's ecommerce solution. Members are able to select any level, pledge amount and payment plan, and receive a calculated first payment. This especially benefits those members with high level donations who might wish to break up a large donation payment.

Pacific Science Center also plans to implement Paciolan's marketing services, including its retargeting tools, which help it deliver sequential messages targeting members encouraging them to renew and highlighting member benefits.

"We are honored to be working with such a prestigious museum and education center as Pacific Science Center and are excited to be continuing our partnership," said Dave Butler, Chief Executive Officer of Paciolan. "Leveraging our industry-leading general admissions software solutions, we look forward to helping the Science Center achieve success with its King Tut Exhibit, as well as its future events."

About Tutankhamun: The Golden King and The Great Pharaohs
The exhibit features more than 100 objects from King Tut's tomb as well as artifacts from ancient sites representing some of the most important rulers throughout 2,000 years of ancient Egyptian history. With more than twice the number of artifacts than the original Tut exhibit that toured in the 1970s, many of these objects have never toured in the United States before this exhibit. Come face-to-face with the largest image of King Tut ever unearthed -- a 10-foot statue of the pharaoh found at the remains of the funerary temple of two of his high officials. See authentic objects from King Tut's tomb including jewelry, furniture and weapons, as well as the boy king's golden sandals -- created specifically for the afterlife and covering his feet when his mummified remains were discovered in 1922 by British explorer Howard Carter.

About Pacific Science Center
Pacific Science Center began as the United States Science Pavilion during the 1962 Seattle World's Fair. Millions came to explore the wonders of science during the World's Fair and upon closing ceremonies, the Science Pavilion was given new life as the private not-for-profit Pacific Science Center, becoming the first U.S. museum founded as a science and technology center. On July 22, 2010 Pacific Science Center was declared a City of Seattle Landmark and now serves more than one million people a year onsite at its flagship location. On October 22, 2012 Pacific Science Center will celebrate making science fun for 50 years. For more information, call (206) 443-3642 or visit

About Paciolan
Founded in 1980, Paciolan is the leader in venue enablement, powering ticketing, fundraising and marketing technology solutions for leading organizations across North America. Collectively, Paciolan powers over 500 live entertainment organizations that sell over 100 million tickets annually. Primary markets include college athletics, professional sports, performing arts, arenas and museums. Paciolan is a wholly owned subsidiary of Comcast-Spectacor. Visit