- Aug 2, 2013
- 634
- 418
This means more of the queue is out of the hot sun.
If it uses a parallax screen that might make it the first major theme park ride to use glasses free 3D technology.
I'm just trying to be somewhat optimistic.Disneyland Resort
- Thread starter Jon Fu
- Start date
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This means more of the queue is out of the hot sun.
If it uses a parallax screen that might make it the first major theme park ride to use glasses free 3D technology.
I'm just trying to be somewhat optimistic.
From what I hear, PotC in Shanghai uses that tech in its projection domes but this would indeed be the first stateside attraction to use it.
But that's like how Luigi's is the first Disney stateside use of trackless: right idea, wrong execution.
I am the Grinch of Mission: Breakout.
But that's like how Luigi's is the first Disney stateside use of trackless: right idea, wrong execution.
I am the Grinch of Mission: Breakout.
- Mar 29, 2015
- 905
- 958
Am I happy about all of this? Definitely not. But I'm not gonna knock it till I've tried it. Might as well wait and see how it turns out first. No matter what, I'm going to miss hearing the Twilight Zone theme song before the ride but this will give me more reason to be excited about a Disney World trip I guess.
Per multiple sources, the Tower of Terror's entire facade will start its retheme not on January 2nd, but October 1st. Power to the Hollywood Tower signage has been cut, and it will go down any day now. Yes, the attraction will continue to run in this time.
Not only is this a slap in the face to fans, but this is purely terrible show on Disney's part. If they're going to do this, then what's the point of keeping it open? Why did you put out a photo opportunity just to do this? (most likely will use scrims) Why is any of this okay to do in a Disney park?
We're starting to see the ugly side of Chapek's aggressiveness towards Marvel, and it's out in the open. I'm really not a fan.
Not only is this a slap in the face to fans, but this is purely terrible show on Disney's part. If they're going to do this, then what's the point of keeping it open? Why did you put out a photo opportunity just to do this? (most likely will use scrims) Why is any of this okay to do in a Disney park?
We're starting to see the ugly side of Chapek's aggressiveness towards Marvel, and it's out in the open. I'm really not a fan.
What's even more shocking is that Bob Iger, who was at Disney as Eisner's 2nd-in-command when it opened, has done NOTHING to stop this! You'd think he would go , "Um, Bob Chapek, maybe this isn't the best idea to integrate Marvel into our Parks..."
While I'm still trying to keep an open mind for the finished product, this is something that would make me angry.
Why is simple; it will be still open. If they wanted to close the attraction this badly, they could; especially when you consider the "Lights Out" version most likely taking apart the Indoor scenes as is.
I went to DCA yesterday and did the "late check-out" in total darkness. It was a lot of fun!
The ride stays the same, but Rod Serling's narration plays while the scenes are in total darkness. After his narration finishes, the elevators pause in the dark for a good ten seconds with dead silence. It's slightly unnerving and it was a lot of fun!
The best part is during the hallway when the audio plays in the dark. After its finished, it's dead quiet for ten seconds and then, BOOM you drop.
It was odd having the ride go up and down without any of the music or sound FX playing, but it was pretty cool. The "crashing" sound plays at the end and then the audio resumes as the elevator pulls toward the doors.
Go see it before Halloween ends. It's a lot of fun. It was a great enhancement before it closes down.
The ride stays the same, but Rod Serling's narration plays while the scenes are in total darkness. After his narration finishes, the elevators pause in the dark for a good ten seconds with dead silence. It's slightly unnerving and it was a lot of fun!
The best part is during the hallway when the audio plays in the dark. After its finished, it's dead quiet for ten seconds and then, BOOM you drop.
It was odd having the ride go up and down without any of the music or sound FX playing, but it was pretty cool. The "crashing" sound plays at the end and then the audio resumes as the elevator pulls toward the doors.
Go see it before Halloween ends. It's a lot of fun. It was a great enhancement before it closes down.
New video from Imagineering on Mission: Breakout.
https://www.youtube.com/embed/wUc1z2RF9qM?feature=oembed
The model still shows the doors, so does that mean that there won't be enclosing that space?
https://www.youtube.com/embed/wUc1z2RF9qM?feature=oembed
The model still shows the doors, so does that mean that there won't be enclosing that space?
Jon Fu
Editor-in-Chief Emeritus
Just saw World of Color: Season of Light (with a video uploading now!) and I wanted to share a few thoughts:
First, I think long time observers of World of Color might be shocked at how different this show is from previous iterations. Steve Davison and company have completely eliminated the traditional World of Color introduction and the show's titular song is noticeably absent from the entire production. If Celebrate was Disney going all out with an in-your-face production, Season of Light is notable for its restraint. The show still relies on the mist screens, but they've taken a significant step back from Celebrate and even the traditional World of Color show.
In terms of lights, holy cow. Celebrate brought dozens of new small beams onto the World of Color stage, and Season of Light adds even more - with over 30 new state-of-the-art moving heads. Everything in this show is used - everything. And despite that, subtly is the key, and they still didn't manage to draw too much attention to themselves. It just amazes me they're constantly adding more product and technology to World of Color's already impressive resume.
As for flow, the new holiday version mostly worked. There are a few moments in the show that kind of drag, but nothing too notable to note. Taken cumulatively, certain parts just feel longer than they are. As a whole, I can't help but think Disney was trying to send a message about America's current climate. Maybe I'm looking into it too much, but I found it interesting they had soap machines manufacturing hearts instead of snowflakes.
Bonus points too for Disney mentioning Hunchback in two scenes.
As a whole, I'm not sure how most people will react. It's a sombre show, and it doesn't rely on the same spectacle as the traditional World of Color show. I think that's a good thing, but I can see others wanting something more in-your-face.
First, I think long time observers of World of Color might be shocked at how different this show is from previous iterations. Steve Davison and company have completely eliminated the traditional World of Color introduction and the show's titular song is noticeably absent from the entire production. If Celebrate was Disney going all out with an in-your-face production, Season of Light is notable for its restraint. The show still relies on the mist screens, but they've taken a significant step back from Celebrate and even the traditional World of Color show.
In terms of lights, holy cow. Celebrate brought dozens of new small beams onto the World of Color stage, and Season of Light adds even more - with over 30 new state-of-the-art moving heads. Everything in this show is used - everything. And despite that, subtly is the key, and they still didn't manage to draw too much attention to themselves. It just amazes me they're constantly adding more product and technology to World of Color's already impressive resume.
As for flow, the new holiday version mostly worked. There are a few moments in the show that kind of drag, but nothing too notable to note. Taken cumulatively, certain parts just feel longer than they are. As a whole, I can't help but think Disney was trying to send a message about America's current climate. Maybe I'm looking into it too much, but I found it interesting they had soap machines manufacturing hearts instead of snowflakes.
Bonus points too for Disney mentioning Hunchback in two scenes.
As a whole, I'm not sure how most people will react. It's a sombre show, and it doesn't rely on the same spectacle as the traditional World of Color show. I think that's a good thing, but I can see others wanting something more in-your-face.
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Jon Fu
Editor-in-Chief Emeritus
I absolutely loved it.
It's definitely a slower show and relies more on charm and soft humor, but the ending helps balance it with a whallop of epic that reminds me of Illuminations.
The layering of tech is almost jaw-dropping at moments, especially in that spectacular Xmas light sequence with Goofy which is damn near transporative in nature. Both the opening and endings deliver chills packed on top of utilizing what seems to be the height of where they can go with the power of WoC's tech. To say it's impressive is an understatement, I agree that the poignant nature of it seems to reflective of the country's ruptured climate (and man, if Season of Light didn't come in at the right time)... but we need it. Badly.
What I loved most was that the show put the holiday first and synergy second. It's sort-of like a show full of the "So Close" segment from the original, with a central theme allowing itself to numerous shots of various Disney films. And in a stunning, welcome shock, there's little-to-no live action sequences. It's also wonderful that there are a lot of the fab five in the old Disney Xmas cartoons, which feels authentic to the Disneyland Xmas tradition. The bits that do focus around one movie are fitting and never lose sight of Christmas. They provide the comic relief with Feliz Navidad (Three Cabarellos), Mele Kalikimaka (Lilo and Stitch), The Nutcracker (Fantasia, with that one popular acapella group) and Blue Christmas (Inside Out)... they're are also neatly and strategically placed with the other montage segments in-between, with four choices that have not been featured in World of Color's past.
But it all comes around to that powerful ending which is absolutely mind-blowing, throwing synergy to the wind and going for a (mostly) secular, joyous celebration of the season that culminates in a stunning climax. There definitely seems to be a lot of the old Osbourne Lights show in it, giving even WDW fans an incentive to trek to DCA. This is easily the most effective version of World of Color, and I can see it playing for years and years each holiday season. Bravo, Disney.
It's definitely a slower show and relies more on charm and soft humor, but the ending helps balance it with a whallop of epic that reminds me of Illuminations.
The layering of tech is almost jaw-dropping at moments, especially in that spectacular Xmas light sequence with Goofy which is damn near transporative in nature. Both the opening and endings deliver chills packed on top of utilizing what seems to be the height of where they can go with the power of WoC's tech. To say it's impressive is an understatement, I agree that the poignant nature of it seems to reflective of the country's ruptured climate (and man, if Season of Light didn't come in at the right time)... but we need it. Badly.
What I loved most was that the show put the holiday first and synergy second. It's sort-of like a show full of the "So Close" segment from the original, with a central theme allowing itself to numerous shots of various Disney films. And in a stunning, welcome shock, there's little-to-no live action sequences. It's also wonderful that there are a lot of the fab five in the old Disney Xmas cartoons, which feels authentic to the Disneyland Xmas tradition. The bits that do focus around one movie are fitting and never lose sight of Christmas. They provide the comic relief with Feliz Navidad (Three Cabarellos), Mele Kalikimaka (Lilo and Stitch), The Nutcracker (Fantasia, with that one popular acapella group) and Blue Christmas (Inside Out)... they're are also neatly and strategically placed with the other montage segments in-between, with four choices that have not been featured in World of Color's past.
But it all comes around to that powerful ending which is absolutely mind-blowing, throwing synergy to the wind and going for a (mostly) secular, joyous celebration of the season that culminates in a stunning climax. There definitely seems to be a lot of the old Osbourne Lights show in it, giving even WDW fans an incentive to trek to DCA. This is easily the most effective version of World of Color, and I can see it playing for years and years each holiday season. Bravo, Disney.
Jon Fu
Editor-in-Chief Emeritus
Yeah, there's something incredibly elegant about being restrained like Disney was here. I don't think synergy is bad, but again, World of Color lends itself nicely to different formats and I'm happy to see a stage used in such varied and expressive manners.
I was amazed to see them include Hunchback and even Hercules, and I think this show's more obscure references will please some fans.
Jon Fu
Editor-in-Chief Emeritus
I tried the reserved dinner package for Ariel's Grotto. It gets you near the front if you wait about 30 minutes before posted return times on your ticket.
Jon Fu
Editor-in-Chief Emeritus
Some tips:
1. Your ticket will have a return time that's usually an hour to 30 minutes before the posted show time. Get there at least 30 minutes before that, and ask cast members if you don't see a queue (it's between the blue and yellow sections). It helps if you arrive early, and guests do line up before their reserved arrival times. You need to beat them to grab a great spot.
2. As you're guided to your section, stand to the left of the fourth show tower (it'll be the second one when you go from right to left, with five total) - but not too close. Maybe six or seven feet to the left of the pole so you're covered directly by an underfill speaker. You'll be situated right in front of the smaller mist screen and it's the same spot I stood in to shoot that video.
3. There is some moderate spray, but my show experience wasn't very wet.
That's all I can come up with off the top of my head. Let me know if you have any questions.
Anybody notice if WoC FP waits are higher than usual? I'm going Dec 1st and there's only one show that night
