The document proposes seven virtual reality theme park experiences for Niagara Falls, Canada. Installation I is called MetaStation, a four dome immersive theater featuring a train ride through interconnected domes displaying immersive stories and experiences. Installation II is called MetaSphere, featuring a planetarium and conference space for educational lectures and presentations, allowing audiences to be immersed in real NASA images of space. The document provides details on the proposed experiences, technology, and business model, with the goal of creating an engaging educational entertainment center for Niagara Falls visitors.

1. MetaZtron Vision Presents Themed Entertainment Designs
Presented by Diane Troyer
Page | 1
"This is the Time-
Seize the
Opportunity”
Sprite by BAO PHAM (Character from Essence of the Wood)
Proposals for Canadian Board: Niagara Falls: 2000 (updated) ((((
Installation I: MetaStation: Four Dome Immersive Theater 2
Installation II: MetaSphere: Planetarium & Cinerama 6
Installation III: MetaShell: Club TV Studio, Performance stage 8
Installation 1V: Z*Rama: Dimensional Cinerama 9
Installation V: MetaZone Gaming Immersive Theater 10
Installation VI: Warp Zone Gaming Complex 11
Installation VII: Meta-Z*Light Signage & Advertising 11
Projection on water, fog, ice, snow, balloons, etc.
ESSENCE OF THE WOODS (page 12)
Story and Creatures by Chris Crone
Written for and approved by Michael Jackson and Roy Disney
Based on the MetaStation Train Ride
(To replace Captain EO): Disney canceled because of Jackson’s arrests.
1
(Troyer note:” Let’s Do This:” in 2013 for Michael)
Page

2. MOTION CONTROL CINERAMA THEATER (page 16)
Created for Digital Domain for their Cinerama contract (Paul Allen’s Experience Museum): Note: Digital Domain is
now owned by Beijing Galloping Horse America, LLC in partnership with Reliance MediaWorks (USA).
Timothy Leary predicted that the 21st century psychedelic trip would not be with drugs but
through augmented immersive dimensional realties with advanced technical interfaces. Page | 2
AFTER HOURS LIVE (page 21)
A live television show with audience participation
New art form: Studio of the Future Holodeck Playpen Sets
Seven Themed Experiences for Niagara Falls Canada
By Diane Troyer
Seven Virtual Reality Theme Park Experiences are presented. The experiences are cookie
cutter venues that can be placed in many different locations. These venues would not be
possible except for the MetaZtron Vision (MZTV) canvas and platforms.
CANADIAN PARK BOARD called for proposals for Location Based Entertainment at Niagara
Falls. We presented a package: Designs by Troyer, architecture blue prints, with lead by a
development/ construction group (mapped out investment and return).
The board chose the Troyer EDUTAINMENT designs over the other submissions. The
developmental group had casino gambling attached to improve their profit margin. The
Canadian Niagara citizens and the IMAX National Geographic Theater group located there
fought the gaming at Niagara Falls and a Location Based Entertainment center was not built.
The Irony: Today Niagara Falls Canada has gambling, but not a specialized Themed
Entertainment Center.
This location based design creates an entertainment space much like the lucrative Universal
Tour and Universal Walk for a high volume tourist attraction. Costs and estimated return for
each of these venues is available on request.
TROYER NOTE: This is a slightly upgraded version of the 2000 proposal. Amazing:
Designs still stand, but can be
more easily crafted and
implemented with the
expanded new tools and
upgraded solid state
MetaZtron Vision projector.
MetaTron Vision Presents
Seven Virtual Reality
Location Based
Entertainment Experiences
2
for the Twenty-first Century
Page

3. INSTALLATION I
Four Dome Immersive Theater:
MetaStation
MetaStation is a state-of-the-art immersive train ride through a series of connected domes. The Page | 3
train holds from 24 – 48 people. It is open and travels on tracks through interconnected domes that
vary in size. If there are four domes, four trains are constantly going through the domes in tandem,
one in each dome. The ride takes thirty minutes, counting loading and unloading, so approximately
1500 - 3000 travelers are accommodated in an 8 hour day.
In the MetaStation drawing, dark areas are where the train pauses before entering the next dome.
Images appear in the darkness. The domes with different elevations can be placed in a huge
warehouse for a more exciting ride.
ENTER: Passengers wait to board the train. They board and the train enters the first dome. The
passengers experience the first dome part of the story. The train moves to the dark tunnel and
enters the next dome when the previous train leaves. Four trains or more can always be running,
depending on how many interconnected domes. If each dome story lasts approximately 5 minutes
with 4 domes, the rides take a half hour counting loading and unloading.
Many visitors are handled with a streamlined process. Troyer was taught planning for many riders
when working with Disney Imagineering and theme park location based entertainment designers.
EXPERIENCE: Patrons experience amazement, fright, and wonder in the myriad of different
Immersive realities. Imagine being in a tornado. The MetaStation dome ride allows the patrons to
finally experience the tornado as they peer above, on all sides, feeling the funnel approaching, the
lighting all around, and then being in the whirlpool of the funnel cloud. This is done with visuals,
sound, smell and control of the dome atmosphere (train rocking, humidity}.
DIVERSITY IN SHOWS: A master program runs the show from the control room. Shows can be
easily interchanged because each world has its own set of metadata. The train movement is
synced to the visuals with wind, odors and humidity/fog programmed in. Each world has a master
program. The experience can be changed at mid-day. The programs can be interchanged between
different MetaStations (cookie cutter).
SIMPLE HOLOGRAPHIC FORMULA: MetaZtron Vision images automatically adjust to the curve
of the dome, the images layered with dimensional depth. MZTV is innovative with the not
experienced before attribute of visuals automatically adjusting to the curve of the dome in real time.
The Z factor depth is spatially modulated into the laser beam, the image keeping the laser
attributes of collimation, coherence and polarization to the screen. This creates a streamlined cost
cutting process. Any feed for flat screens can be transformed in real time on the domes. 2D images
are automatically transferred to dimensional 3D depth. Images have full spectrum vivid laser colors
(compared to arc lamp dull images).No computer processing or “projection mapping” is needed as
with other projectors. The Z depth factor is spatially modulated into each pixel creating images with
IF IT IS: innate focus; instant transfer and infinite sharpness. The travelers are immersed in the
hovering dome vistas. Many worlds can be explored. Example: the train is a vehicle traveling
through space through the rings of Saturn. The passengers experience “being there” immersion.
3
Page

4. The patented MZTV projector creates dome dimensional realistic worlds with sharp bright images,
not possible with any other projector today. Maybe a facsimile could be created, but the patrons
would wear glasses and the worlds would not be so real and would be many times more costly. .
MZTV creates the breakthrough in Immersive reality because of the combination of these
attributes: 1). Infinite sharpness (the ability to always be in focus) 2. Coherent collimated sharp
laser beams that retain the light energy brightness to the screen, delivering full film like colored Page | 4
images. 3. Holographic effect created by dimensional imaging in curved space (with adjusted 2D
to 3D depth. 4. Ability to see dimensional images from any angle in the dome room.
MZTV provides the major factor in creating the next exciting theme park installations. Laser TV has
not been available for theme parks. Instead audiences have seen laser cartoon vector images that
are not video images. Also MZTV can share real time events that are transformed to full colored
dimensional images. Example: Football or basketball (sports), interactive gaming, streaming video,
satellite images, a camera capture of a member of the audience or performer, etc.
EDUTAINMENT AND MERCHANDIZING: This is a revenue producer; a la Disney and Lucas
(Star Wars). The experience is extended anywhere, anytime though games, video streaming, DVD,
books, and toys. EDUTAINMENT provides audiences actual “being there” teaching as they ride
through the geological changes that made Niagara Falls. Each dome world experience has
specialized merchandising attached. Kid’s savor the experience through books and gaming.
FIRST METASTATION: We are pleased to offer this premier attraction for the Niagara Parks
Commission. We present simple design descriptions. Needless to say, all things herein can and
will be elaborated on should the Niagara Parks Commission choose the proposal submitted by our
Architectural and Development group.
METASTATION PARTICULARS
Trains are state of the art for themed entertainment, perfected for safety and are not cost
prohibitive. Imagine being immersed in dome rides: http://www.youtube.com/watch?v=cmbGFi016Ac.
There are many domes on the market. Domes can be placed in huge empty factories or be
outside. We can deliver weather proofed and inexpensive domes fabricated out of a new strong
material. Support columns are eliminated. Material is stretched on the dome form, much like
fiberglass and is set. This is simple and cost effective for strong weather resistant domes to be
placed over the train ride.
DOMES CONSTRUCTED FOR INSIDE EXISTING STRUCTURE: These domes can be
constructed inside of the power generating plant if the Canadian board chooses. Various structural
parts of the building can be integrated into our design plan, such as tunnels, two levels, and small
or bigger domes, etc. A two story ride provides more of a roller coaster approach, the dark
ride tunnel being the travel space between the domes. The dark tunnels hold the
suspense in the story, creating a transition from one dome world to the next. The
movement of the train adjusts for a more thrilling ride. Designs can vary greatly,
determined by the structural architecture.
STEPS FOR CREATION OF PROJECT
 Site surveillance and design agreements
 We will assume 10 hours per day of average use over a given period of time
4 Page
 Hardware chosen (dome and train tracks)

5.  Story and creature designs for graphics and merchandising, sound track
 Content, software merging with other experiences (smell, train movement, etc.)
 Training for technical team for maintenance support
 Metadata master: MZTV integrated turnkey system platforms with sound, wind, etc.
 Installation of system (hardware and software)
Page | 5
PROGRAM PROPOSAL
(Interesting framework design in 2000)
The ultimate themed Niagara Falls experience is created by taking digital pictures of the falls and
the surrounding environments. These images are computer manipulated with state of the art tools.
The images are layered (one on top of the other) and built placing the characters in the worlds,
eagles flying, butterflies fluttering, the creature of the falls hovering. The worlds are created to be
as realistic as possible. MZTV laser projection makes possible for the participants to actually be
immersed in realistic dimensional Niagara Falls environments.
FOUR STAGES OF THE NIAGARA FALLS EXPERIENCE
Note: The below is an original concept conceived by Diane Troyer and Dean Lyon. Troyer
submitted this to the Canadian Niagara board. The Niagara Falls IMAX film story that was created
much later for the IMAX Theater at Niagara Falls is very similar. We do not want readers to think
that we plagiarized the story.
FIRST PHASE: EARLY GEOLOGICAL FORMATION OF ROCKS AND FALLS
The open train pulls into the dome and slowly positions into place in the center of the dome,
shaking on the motion control stage, as the passengers look up and around, immersed in the
images of the geological shifts and changes that created Niagara Falls.
The passengers experience thousands of years in the first five minutes. The
geologist’s version is shared, providing Edutainment with flashing visuals, booming
sound, odors, and the train rocking with the impact. The pristine Niagara Falls is
formed and an Indian village is near the bottom of the falls.
Focus is on a brave and his daughter as they gaze at the falls. The father is sharing
the story of the creature of the falls (an Indian myth). We see an eagle flying high in
the sky. The train moves forward, the travelers having the perspective from the eagle’s eye, as
they see a glimmer of the creature of the falls.
The brave and his daughter walk hand in hand behind the falls as they converse about the spirit
(creature) of the falls. We watch as rocks tumble crashing into the water below as the daughter
sings the Indian song. Participants feel they are immersed in the time period. Here, specific
historical research is needed for a realistic Niagara design (Niagara Parks Commission approval).
SECOND PHASE: INDUSTRIAL REVOLUTION—SEVENTH WONDER OF WORLD
The train travels through the tunnel and emerges out into another dome where the industrial
revolution is taking place at Niagara Falls. The falls are harnessed for power. Buildings are built.
Great turbines and generators are used. This is Niagara as a harnessed source of power as well
as an important tourist attraction. The tourist sites are shown. A romantic couple is honeymooning
at the falls, standing by the railing. Songs from that period surround the train passengers with
holophonic sound. Being one of the Seven Wonders of the World is stressed. The couple is there
5
to see the daredevil going over the falls. The train participants experience the ride over the falls
Page
with him, submerging into the swirling waters (virtual of course).

6. THIRD PHASE: TODAY
Niagara Falls today: the participants go behind the falls, seeing the rock formations, the built
corridor. They are in the Spanish Aero car seeing the swirling turbulent water below. The train then
becomes a helicopter and all the falls are explored from that view. Then the participants travel in a
Whirl Pool jet boat, experiencing the rush of the white water as they go through the Niagara River
Gorge, enjoying the area’s most breathtaking scenery.
Page | 6
FOURTH FINAL PHASE: FUTURISTIC NIAGARA FALLS
The futuristic Niagara Falls: The train is a floating omnibus that hovers around the falls, the
crashing water sounds suppressed. A futuristic structure is on the ledge, shimmering in the
sunlight. Communication is established with the creature spirit essence of the falls as the travelers
are immersed in the dimensional Metatron Cube fractal nature paradigms.
THE ESSENCE OF THE FALLS IS MATERIALIZED THROUGH THE CREATURE:
Other bodies of water have mermaids, Loch monsters, and water nymphs. Who is the creature of
the falls? Thunder god, angel or bird image? Is it female or male? Does it have wings? Is it
robotic? A transformer? The Indian myths will have to be studied. This creature hovers in the falls
as the father and daughter discuss the myth. Communication occurs with the dimensional creature
as it guides the travelers immersed in the holographic futuristic Niagara Falls.
Assume for projection purposes that the train has four open top cars, 24 - 30 people per train. The
trains are timed so the trains are each in separate dome environments, one train is loading and
one train is unloading. The train rides lasts for near 30 minutes. Factoring in change over times
(loading and unloading).
Installation II: Dome Immersive Theater Experience
FOUR DOME IMMERSIVE THEATER
The ESSENCE OF THE WOOD is included below to provide an example
of an immersive story for Dome Theater. Any theme from space to ocean
can be designed and programmed into the delivery system. Most
important, realize that words can in no way describe the wonder and
magic this experience will deliver or the visions it will hold.
INSTALLATION II
METASPHERE PLANETARIUM EXPERIENCE
METAZTRON VISION: Auto Dimension in Curved Space in Real Time (This is not possible
with any other projectors or displays).
CONFERENCE AND LECTURE FOR EDUTAINMENT: The MetaSphere is an Omnimax (1/2
dome) with circular seating arrangement for at least 250 – 650 participants. MetaZtron Vision
(MZTV) provides a new canvas and performance staging with changing back sets for staging,
educators, scientists, biologist, physicist, artists, philanthropists, etc. Shows are televised, often
live and are shared globally with interaction and collaboration with colleagues and laypeople in
other MetaSpheres. The MetaSphere provides a space for sharing TED like conferences, etc.
6 Page

7. PLANETARIUM: Immersive space depiction is especially dramatic with the great star field
blacks and vivid colored images synced with the sonar surround sound. Jet Propulsion Lab and
NASA digital stereo photography space images (Mars, Jupiter, Titan, Venue, etc.) are probably
the most beautiful vivid dimensional colored imagery in existence. The excitement is that these
images are presented with true space sounds captured by Dr. Donald Gurnett from Van Allen
Physics, University of Iowa, who built recorders to go with the NASA cameras on the shuttles.
Page | 7
COMMITTEE: JOHN MOSLEY: Finally NASA and JPL can share their stereo captured images
dimensionally. Participants are immersed in actual space, thrilled about actually being there.
What better way to perceive how the universe works? Space has not actually been viewed
authentically as of yet. John Mosley is on our committee (formerly with JPL and with the Griffith
Park Planetarium). Mosley is an astronomer and chose MZTV for the Griffith Park Planetarium
for their refurbish. Modern Luddites stopped that process, afraid their stock would crash. There
was great disappointment with the Planetarium board that this project did not happen.
DR. DONALD GURNETT OFFERS HIS SPACE SOUNDS TO SYNC WITH NASA VISUALS
Today Mosley and many other experts are excited about creating exciting visuals to share
space with audiences with the MetaSphere tool kit. Audience immersion is intensified with the
holographic sound “whistlers” synced with NASA and JPL auto stereo capture of Jupiter, Mars,
Titan, Saturn, etc. Sonar surround developed at Iowa State University will amplify Dr. Donald
Gurnett’s holographic (quad) space sounds captured on shuttles since 1962.
EDUTAINMENT COOKIE CUTTER DUPLICATION: Planetarium, TV Studio, Lecture hall,
Conferences, Conventions, etc. Many exciting scientific and mathematical MetaSphere shows
can be shared. Laypeople, students and colleagues become impassioned to learn more about
space. NASA and Jet Propulsion Labs and other institutions receive much needed promotion.
SUSTAINABILITY: HOLLYWOOD 3D MOVIES IN CURVED SPACE What a great way to sell
tickets to help support the MetaSphere and the scientific content.
METATRON VISION FOUNDATION: Funding: Corporations and other entities provide funding
for content creation and support the MetaSphere dome for their promotion. Example: NASA
Presents. Corporations such as General Electric and Rockwell Collins have been approached
for promotional support. The MetaSphere is non-profit so this forum provides a vehicle for
promotion as well as a tax write off. We will be working with the University of Iowa Space
Physics for programming support. Dr. Boggess, University of Iowa Physics Professor has
created a 10-year plan where global physicists collaborate and share their work with laypeople
through the MetaSphere canvas.
TEAMS STEAM: Add (A) Art to STEM (science, technology, engineering, math).
WELL DESERVED PROMOTION FOR UNIVERSITY OF IOWA SPACE PROGRAM: The Van
Allen belt was discovered at the University of Iowa. Lightning was discovered on Jupiter through
Dr. Gurnett’s recordings. The Boggess 10-year plan stimulates collaboration between scientists/
educators/ artists and ensures content shared with students and laypeople. Natural evolution
would call for an Edutainment network of chartered MetaSpheres that inspires the youth and
fellow scientists: DNA, fractals, space, mathematics, etc. The Las Vegas Mayor feels that a
MetaSphere forum where nature, art and science are explored would add greatly to their city.
7 Page
DUBAI: Dubai is interested in participating for an International alliance of space physicist,
scientists, mathematicians, and artists. The visuals are way beyond the vector laser shows,

8. such as Pink Floyd, that were the norm for Planetariums. The Metatron Laser video attributes
will transform laser shows to extravaganza experiences.
ISLAMIC ART FROM THE CRADLE OF CIVILIZATION: the art is based on mathematical
formulas that can be compared to the DNA structure and fractals. These images can be
computer scanned and given dimensional movement on the MetaSphere Planetarium domes.
The symmetrical dimensional MZTV dome space is the perfect canvas for these images Page | 8
(whether Arabic or from the Kabala or the Mayans). Images take us back to the roots of world
religions. The MetaSphere is a bridge to a new world learning temple.
METASPHERE DOMES CREATE INTERNATIONAL CENTER FOR SCIENCE/ ARTS:
Content is created in the MetaSpheres. HIVE platforms are integrated in the labs attached.
Scientists, engineers and artists share creating a pathway for more international cultural
understanding, so important today. The HIVE (holographic immersive virtual environment) form
a platform to build the Holodeck Playpen with the tool kit for TC content and immersive distant
learning for educating and entertaining, the roots of culture explored through nature’s basic
building blocks, the smallest particles to space, from the beginning of culture to today’s world.
EXAMPLE: LOCATION BASED ENTERTAINMENT DESIGN THAT DOES NOT WORK
This flying carpet ride was designed for a Dubai development group
by a Canadian Company (mid 2000). Seats 20 people for 10 minute
ride. The dome is stacked LCDs. The carpet ride and images are
inside. The cost: is $40 million. It would take many years to break
even, even if tickets were $100 each.
INSTALLATION III: NIGHTCLUB RESTAURANT VIRTUAL
TELEVISION STUDIO METASHELL HOLODECK PLAYPEN
NOTE: Today we have projection mapping on domes and the 100 ft. wide stacked LED module
screen at Caesar’s Palace for the Celine Dion show- Las Vegas. The curved backset wall cost
$9 million (early 2000’s). Big LED squares ruin the TV close up when Celine is performing.
MZTV provides smooth images so is a great staging set for televising (MZTV 1/12th- cost).
METASHELL (holodeck playpen): The Nightclub Theater has dimensional real time sets. The
live audiences see no staging time lapse. This configuration of technologies is the MetaShell
HIVE (Holographic Immersive Virtual Environment) — (holographic playpen). The studio of the
future provides the toolkit for realistic natural worlds. The vivid dimensional full color depth
staging for the best live TV shows (in front of audiences). The animators/ computer artists/ set
designers explore new vistas. The MZTV canvas can be rear projected. The Metropolitan Opera
engineers are interested in having MetaShell staging for their Opera sets. The 1930’s movies
were often done on the sound stages. Today produces a new set of tools for staging.
PLEASE SEE AFTER HOURS LIVE (below): a formula TV show in front of a live audience
using the MetaShell holodeck (HIVE) playpen. An example script explains the formula.
HIVE: METASHELL PLAYPEN STUDIO: MZTV Holodeck playpen has open architecture (can
always evolve as technology advances). Any type TV show can be produced. The famous host
8
and Meta-Mix choreographer use the MetaZ*Kit toolbox that is provided. This model creates an
Page
exciting new television shows at low cost – Saturday Night Live to a new level –a new art form.

9. METROPOLITAN OPERA INTERESTED IN THE HIVE: HOLODECK PLAYPEN
FOURTH WALL DISAPPEARS: Suggested is that a next new wave of programming is
immersive, the fourth wall disappearing, the artists using the tools for new staging interactive Page | 9
changing sets and immersive environments. The MetaShell allows the “stars” to share their
music, their comedy, dance, the circus in the HIVE. The TV audience views another creative
aspect of their favorite performer.
BUILT IN CHARITY SUPPORT: Revenue received: ticket price, food, drink and selling the
shows to the hungry television market, now including the new Google YouTube programming.
The arrangement is that the artists/performer owns their show. The famous producer pledges
30% of the profit to their chosen cause. The advertiser gets a tax write off for their funding of the
TV show. Integrated advertisements of their product are in the show. This provides strong
promotion for the advertiser and a new funding model for the charities.
CHILDREN TV/GAMING: Example: A show where the creature of Niagara Falls is the main
character and other water creatures join in the play.
COMPETITION WITH VEGAS: This concept with TV studio and staging with the Immersive
backsets is perfect for live performance floorshows. These shows are often a caliber in which
shows are done in Vegas, Broadway and Opera, allowing the Niagara Falls consortium to
compete with their great floor show tourist attractions.
INSTALLATION IV: Z*RAMA
LEGACY FEATURES THAT ARE TRANSFORMED TO 3D Z*RAMA: Long ago in Paris the
first immersive theater was created. Then in the 50’s we had 3D and Cinerama. Today often
there is an attempt to upgrade with the same 50’s 3D movie concept. Z*RAMA is the 180
degree hemispherical format that will conjure a new immersive cinema. Many special effect
artists are excited about the MZTV ability to transforms legacy 2D movies to 3D Cinerama in
real time. Z*Rama transforms 2D legacy movies such as 2001 Space Odyssey, Star Wars or 3D
3D low budget horror movies receive new life becoming dimensional Cinerama. Bijou cinema is
reconstructed, boutique studios thrive. New Hollywood features can be shown with a whole new
excitement level. Down load from the satellite or take any feed and 2D is transformed in the
Z*RAMA Theater. Watch real time sports on Z*Rama. Many tickets will be sold.
LIVE REAL TIME SPORTS OR MUSIC TOUR OR WORLD NEWS: The boxing match is
amplified to 3D Z*RAMA, the colors twice as vivid, the red blood spattering, the boxers hovering
in space. A business conference, a virtual music tour is shared. Z*Rama
Screens transforms the Hollywood 3D movie to immersive vistas.
Hollywood studios have a new forum to show 2D legacy features and
new 3D movies. Example: Warner received great revenue on a new re-
issue on Z*Rama: 2001: The Space Odyssey. Z*Rama can provide new
digital content on IMAX domes. Now big screen film content for domes is
9
cost prohibitive. Z*Rama eliminates the expensive large format film prints and pre-post curve
Page
adjustment work. Digital Cinema: Eliminated are the polarizing 3D filters that limit the
brightness. Z*Rama images are full spectrum color -- not the 40 percent of the colors shown

10. with the standard digital arc lamps. Studios save $6 million on transferring 2D legacy features to
3D. Eliminated is the expensive lenses and costly manipulation needed in post house. MZTV
dimensional infinite sharp digital features can be shown directly (in real time) on Z*RAMA.
Z*RAMA PROVIDES ATTRIBUTES NOT POSSIBLE WITH ANY OTHER DISPLAY
 Amplifies images that hover in space on 180 degree screens.
Page | 10
 Transforms 2D images to 3D (with depth) in real time with no needed pre-manipulation.
 Takes captured 3D images to a more dimensional immersive vista in curved space.
 Any feed can be shown with depth on the curved screen in real time (sports).
 In focus dimensional (with depth) images in curved space: like the Hologram.
 Creates a much more realistic immersive experience for the audience.
 Eliminates post production work such as color enhancement for digital cinema.
 Saves a fortune for the studios, independent, producer, etc.
 1/100th the cost of IMAX 3D film counting the projection and prints (not green).
 Conventional movies are transformed to inexpensive sustainable new format.
NO OTHER FILM/DIGITAL PROJECTOR SHOWS REAL TIME 3D (CURVED SPACE)
Note: The ability to create digital shows evolves constantly. Content producers with the content
creation tools can create movies with the same tools as Hollywood uses.
An example: Two stags fight on top of a bluff overlooking the falls. It is night and there
is a big moon hovering in space behind the battle. A video clip of two stags locking horns is
used. A large moon is added with an evening setting. A bluff is captured with a digital still
camera from 10 different angles. All this is composted. The first layer is night sky with clouds.
The next layer is the moon rising in the horizon. The next layer is the different angles of the
bluff. The next layer is 3D animated images or actual real footage of stags fighting adjusted to
the views on the bluff. Seen is stylization of the original stags, their outlines against the
landscape as they prance. They are painted an iridescent blue and become mythical animals,
much like a Unicorn. The creature from the Niagara Falls approaches to pet the magical beast.
And the story proceeds. This was written in 2000. Toolkits have evolved.
INSTALLATION V: METAZONE AND WARPZONE
The MetaZone is a franchised mini- interactive Immersive Theater space (suggest 60 seats)
gaming portal in shopping centers, etc. where Zeons (group gamers/ designers) congregate.
There is a game council at each seat. Often there is a WarpZone (advanced arcade) with
Zpods. The MetaZone best game designers win huge dollar prizes. Global audiences participate
in the contest between MetaZones. MetaZone and WarpZone cookie cutter structures.
NIAGARA FALLS: CREATES METAZONE/ CONTENT/ Merchandizing: Interactive movies
and games with themes of the park can be created and sold.
FOUR TYPES OF METAZONE: (4 to 11) (tweens) (teens) (adults): The Canadian Park board
decides the MetaZone type and where the MetaZone mini-gaming theaters can be placed.
CONTEST: GROUP GAME WINNERS CREATE BEST GAME TO PLAY Examples: Cigarette
boat racing (participants design their own boat). Teens create their avatar and animated
characters to play in a virtual world with other players.
10
METAZONE LOCATIONS: SHOPPING CENTERS, REFURBISHED MOVIE THEATERS,
Page
CASINO SPORTS BETTING ROOMS, ETC.

11. INSTALLATION VI: WARP ZONE
This is a time travel station where participants can travel to worlds in a Z-Pod, which is a space
craft with a translucent dome top. MZTV projects images on the craft dome so the travelers can
peer out and be immersed in the worlds. The travelers can steer the craft to the world they
choose and interact with the creatures they meet in the environments they travel.
Page | 11
Crews battle in Turbo Z-Pod crafts. Fleets of Turbo Z-Pod pilot’s battle with other Turbo Z-Pod
fleets in newly designed games. Z-Pods can be placed in arcades, gaming rooms, or for distant
learning. The park might want to use Z-Pods to share the history of the territory. Maybe some
might want to go to a world where they can study the geographical process of how Niagara Falls
was formed centuries ago or they might want to actually experience Canadian history.
INSTALLATION VII
META-LIGHT SCREEN: SIGNAGE & ADVERTISING
PROJECTION ON THE FALLS
Creature of the Falls: The creature is the motif that is the center of the Niagara theme park,
enticing the audience to want to experience more. In the evening, we see an extravaganza
world with the creature of the falls hovering on the crashing water or a plasma type screen in
front. This venue can be built and expanded to always give the audience more. It is also a
vehicle to bring the tourists to the site in the evening. Projection on such a large water or
plasma screen is possible because of the infinite sharpness of the projector, the ability of the
vivid colored collimated laser beams to keep their brightness as they travel for a long distance.
PROJECTION: HUGE BALLOON OR FOG CLOUD
A mirage or the creature of the falls appears in the sky. The watching crowd is enthralled. Sea
turtles float in the sky and crawl up the falls. Signage such as Budweiser is used presenting
their logo and the images for their foundation for endangered species.
ESSENCE OF THE FALLS: Niagara Falls designs merchandizing around the creature of the falls -
a portion going for Niagara Falls GREENING.
HUGE CURVED AD, PROMOTION AND CELEBRATION SCREEN: Curved big screens are
located in heavy people traffic areas. Meta-Light screens can be placed on ground level and
used as back set for performances and celebration as well as advertising. Fun interactive
activities celebrate the holidays, audiences gathering around the screens. Advertising is
dispersed in the story. In Asia big advertising screens are a natural part of the landscape.
CIRCULAR SCORE BOARD VIDEO SCREEN IN CENTER OF DOME: MZTV can be a rear
projected circular screen hanging in the dome center. Often you see these in sports arenas. The
LED version costs $8 million. Meta-Light is much less than $1 M.
STATEMENT: Central master control handles servers, monitoring, security and dispensing data
11
to the venues, with the ability to change a venue story from one hour to the next.
Page
DESIGNED FOR NIAGARA FALLS: These installations are based on the Niagara Falls study

12. evaluating the future tourist demographics demand. All ages are taken in to account.
Immersive reality is best when the beauty of nature is portrayed in the most realistic way
possible. What can be more beautiful than the Canadian Horseshoe Falls, the Maid of Mist pool
below, and Niagara Falls and the surrounding environment?
COOKIE CUTTER DOMES FOR DIFFERENT SHOWS: Cookie cutter dome environment shows
can be shared in different venues. A MetaStation ride can share different experiences in the Page | 12
morning and afternoon. Also dome shows from other venues can be shown and vice versa. This
provides promotion for Niagara Falls in other countries.
VIRTUAL GROUP OR ARTISTS (OFTEN TEENS): The MetaZ*Kit tools allow artists to create
great characters. Work is piped from home studios to be compiled in the central hub. The goal
is that local artists/teens can participate in content creation. Financial return and artist royalties and
salaries and a percentage of the designed merchandizing sales are built into the formula.
EXAMPLE: FOUR DOME IMMERSIVE THEATER
ESSENCE OF THE WOOD
BACKGROUND: Michael Jackson and Roy Disney Endorse a Metatron Dome Venue to
replace Captain EO at Disneyland: Disney Imagineering (Al Mirabella) who was a mentor to
Troyer’s in her laser projector lab asked for a proposal for a new dome show to replace Captain
EO (Michael Jackson Disneyland 3D film- Francis Cappola director). Roy Disney had been
following the upgrading of the TRW lasers projectors after attended a demonstration with Tim
Disney, his son. Groups of Disney Imagineering attended the demonstrations and discussed
designing with infinite depth of focus (1992 – 2002). Michael Jackson formed a dome theme
park group based on the Metatron dome technology: Doug Henning (TM meditator) and
Siegfried (Siegfried and Roy) attended the demonstration and approved. Randy Jackson was
the Jackson technology advisor. They had supported MetaTron by investing in the development
of a much needed convergence box (scalable/ image enhancement).
A Troyer colleague, Chris Crone developed Essence of the Wood story and characters based
on Michael Jackson’s concern about deforesting. Al Mirabella was sponsor and the Essence of
the Wood script was approved by Roy Disney (Head of Disney animation). Michael Jackson
approved. It has been shared that he wrote the Earth Song for Essence of the Wood (1994). .
NOTE: Earth Song in “This IS IT” with visuals of bulldozers and burning forests. Metatron &
Essence of the Wood. Earth Song (1995): http://www.youtube.com/watch?v=XAi3VTSdTxU.
Disney Land dropped this project after the MJ arrest. At the same time we were stopped by the
Wasserstein Perella New York Investment House operatives who had purchased IMAX and
were going for an IPO. The studio theme parks and Las Vegas wanted the Metatron interactive
video images instead of the bulky expensive IMAX film for their venues. Besides Metatron
(name at that time) was 1/20th the cost. The IMAX IPO would have crashed if there was a
technology that could replace IMAX. May 2003: after Troyer’s 11 assembled laser projectors
were stolen: Press Conference: James Cameron, Philip Anschutz (now AEG “This is IT”) and
IMAX CEO misinformed the common stock holders: stated digital projectors were being placed
in IMAX domes. IMAX stock jumped way up and Wasserstein IMAX limited partners sold their
stock for a great profit. 2013: Jackson Family is now suing AEG and Phillip Anschutz.
12
Page
GREEN AWARENESS: Tolstar, the Forest King (MJ characterization). This is an example of
how a famous musical performer can be attached to the project, helping write the musical score.

13. ESSENCE OF THE WOOD
Drawings of the characters, creatures, and machines are available on request
SETTING: Whiffs of fire smell drift through as fire blazes surround the train riders.
The frog's big mouth is about to engulf, the frog’s tongue darting out to pierce the
bubble as mist sprinkles on passengers. The sprites blue gossamer wings whir as the Page | 13
elf flies with her.
ESSENCE OF THE WOODS SEQUELS: Sequels are easy once the characters are
designed and in the computer. We attach sensors to people to do the animation that
moves the character, which reduces the costs considerably.
MERCHANDISING: This fable designed for an extravaganza experience also introduces wonderful
mythic creatures for merchandising. The creatures come alive in the dome immersive realities. The
toy merchandising consists of sets of Lego type parts to build the castle and machines. The
transformer creatures-- Gred, The Forest King; two flying toys, Eshyll and the Pegasus; and the
other creatures, have special characteristics. Rendor is able to blow bubbles and has a long
tongue. The Welgs throw red spheres; and the havhawks with infrared beady eyes and tails, shoot
spikes. We work with a house in the Mid West that has been quite successful in designing and
delivering edgy toys and transformers. Local artists/ teens participate in designs of prototypes.
ESSENCE OF THE WOOD: THE EXPERIENCE
Story concept and characters developed by Chris Crone
Written for Michael Jackson
The train filled with passengers enters the first Immersive dome MetaSphere. A dark ride tunnel
sections off each dome ride phase so the passengers know there is passing of time.
PHASE ONE: DARK RIDE
The darkness of the night is broken by the orange light of fire as the aged elf and the young sprite
race through the smoky gloom. All about them trees are erupting in flame. Behind them, dark,
grossly deformed creatures emerge from the inferno wielding torches and smooth red spheres
about the size of a man’s fist, which they hurl at the trees as they run. When the spheres collide,
they explode and the trees are shrouded in brilliant blaze. The dark creatures laugh wildly and leap
through the air, swinging their torches in crazed glee after the destruction. (Imagine the impact of
3D fireballs crisscrossing over the open train and creatures lurching out at the riders)
PHASE TWO:
The train pulls into a beautiful landscape. The sun is rising. The forest is burning in the distance.
Eshyll, the beautiful sprite with blue gossamer wings and Rosh, the elf, are struggling to climb a hill.
We see a lone tree rising majestically at the summit. The tree appears bigger (the people in the
train feel they are also climbing the hill, the viewers have a close view of the next scene as the tired
elf and sprite arrive at the top. The tired old elf chants an incantation calling for the exhausted sprite
to sing. With great determination she finds new vigor. Silver sparks from her whirling wings begin to
light the air, multiplying as she emits her song. The tree slowly changes into The Forest King,
Tolstar, who has been asleep for one hundred years. He wonders why he has been awakened.
13
They point to the burning forest and tell him of the wicked Gred, the Diamond Hunter who is
destroying the forests in search of diamonds. They tell of his supernatural powers and his
Page
dangerous followers, the Welgs and Havhawks, and the horrible machines that dig into the ground.

14. Tolstar grasps a small sapling and his staff, the mythical Green Scepter materializes. With the staff
Tolstar calls forth Rendor, a frog that grows as big as a horse. The frog grumps that he hasn’t
been awakened for three centuries. When Rendor sees the forest burning, he opens his huge
mouth so wide a grown man could almost step through (or the train ride through) and he blows a
massive blue bubble, which floats up into the air, drifting up through the clouds, covering the sky.
Out of his mouth like an arrow comes his snake-like tongue, exploding the bubble into a
thunderous booming sound as tons of water erupt from the balloon (Droplets also hit the train Page | 14
passengers). The fires are out and we see the moon rising as the train is ready to go into the next
tunnel. But in the distance there are again the Welgs starting more fires. We see Tolstar again
waving his Green Scepter. The last image the train riders see as they go into the tunnel is a
beautiful regal white horse with golden wings and onyx colored eyes staring at them as Tolstar
greets his old friend, the Pegasus.
PHASE THREE:
Tolstar is on Pegasus, sending the wilted sprite, Eshyll, energy with the Green Scepter. She is
scintillating, zipping through the air in circles, calling, “follow me”. Pegasus flies, the great golden
wings spread as the frog, with great leaps, follows. Far below the trees have ceased to exist, the
ground blackened. Ugly machines with enormous claws are digging up the ground. Tolastar battles
the machines and with hundreds of dark, hunched forms (Welgs). The Green Scepter becomes a
golden hammer. The Havhawks come flying to battle with their fiery red eyes, showering needles
from their scaled tails. Rendor saves the day by blowing bubbles that encapsulate them, taking
them up into the sky. The group travels to the wicked Gred’s castle. .
PHASE FOUR: (narrower dome with high rounded ceilings)
The diamond castle towers in front of the train. The characters hover around the long flight of
steps. Tolstar tells them that each diamond is the soul of a dead tree. Climbing the steps, they hear
a thunderous voice come from the castle. Gred is sitting on his throne, as big as an elephant and
very ugly. He has a belt of diamonds around his naked fat stomach. The hall is massive. Tolstar
and Gred talk. When Gred stands up and approaches, he slowly changes into a huge monstrous
dragon. Towering above, he glares and hisses. The snake-like tail coils around Eshyll. Tolstar
cuts his tail off with his Green Scepter that has turned into a sword. The infuriated dragon blasts
flames at Tolstar, who transforms the sword into a large shield, creating a bolt of lightning that goes
to the middle of the dragon’s massive chest. This sends him reeling, the wall of diamonds
scattering and bouncing. The dragon flies upward, crashing through the high ceiling. The horse
and Tolstar follow. The horse and rider are slapped by the dragon wings back to the floor, almost
destroying the horse. Ribbons come forth at the last minute, gently saving them--ribbons from the
Green Scepter. The ribbons form a great net that traps the dragon, Pegasus, Tolstar, who all spin
like a wild pendulum, close to the earth, out into the sky. The dragon breaks free and breaks the
Green Scepter in half, the group all tumbling downward. The horse and rider stabilize and land
upright. Tolstar dismounts and stares, shaken at the broken Scepter. After panic, Eshyll finds a
way to transform the two pieces of the mythical Green Scepter into another essence. It becomes a
big green shinning diamond with great power, the raw power of the forest. Green light swirls forth
around the castle, up into the sky. Gred roars. The diamonds are being all dismantled. The castle
is destroyed. Whirring diamond light is everywhere. Trees sprout where the diamonds land. The
dragon Gred flies down and alights near the Forest King and is transformed into a giant Cyclops,
showering the group with dirt.
14
The final is a beautiful choreographed piece, two dozen floating diamonds transform into fairy
human-like creatures. The fairy-humans dodge blasts of lightning from the Cyclops. The lighting is
Page
deflected back at the Cyclops and he screams in pain, becoming a big blob of coal. Trees are
growing, the forest is green, and the world is set right again.

15. CREATURES FOR MERCHANDIZING
(In order of appearance: drawings on request)
1. Eshyll: a flying sprite with a slim, scintillating body, with whirring blue, almost translucent
wings. When she sings she emits a sound so enchanting that the forest itself seems to vibrate with
the rhythm (a gorgeous fairy that flies--every little girl’s fantasy toy).
Page | 15
2. Rosh: an elderly elf who wears a long cloak (part of the collection of characters for playing
The Essence of the Woods game).
3. Tolstar: the Forest King: A magnificent tree like no other in the world. The bark is smooth,
dark, and gold tinted; the green leaves are huge and striped with slight traces of brilliant silver. A
steady golden light pulsates gently within the tree's center. The tree changes into a man with dark,
slightly curly hair, shot with glowing silver barely over his gently pointed ears. His dusky frame is
clothed in a brown cloak, clasped about the shoulders. A tunic of golden thread is tucked into
breaches that match the cloak, fastened by a black belt with a silver buckle and boots of soft dark
leather adorn the feet (a transformer from tree to Forest King).
4. Gred: the awful wizard diamond hunter who ravages the forest in search of diamonds. He
feels they give him supernatural powers. He is easily the size of an elephant as he sits in his
diamond throne. He is naked from the waist up and wears loose fitting trousers and purple soft
shoes that curl at the ends. A huge belly, covered with course black, hair bulges obscenely over a
belt of linked diamonds. A crown of diamonds is crammed upon his sweaty brow. The meaty limbs
become black wings and his body transforms into a red-scaled dragon with fanged teeth and a
huge snout. Spikes protrude from his spine and he has an enormous tail that reaches out and
engulfs. Also he transforms into an ugly Cyclops when he wishes (transformer: Gred / dragon/
Cyclops).
5. The Green Scepter: The Forest King changes a slender tree into a wooden green staff
with three golden leaves. The talisman is also a weapon against his enemies (this changes to
sword, golden hammer, shield or big emerald and has a ribbon net: It glows with green
florescence).
6. Rendor: A large frog who is the Forest King's old companion and Chief Counselor. The
frog is a massive green, the size of a horse with huge eyes, his girth billowing in and out in the grip
of deep sleep. He has been a sleep for three centuries. He blows a huge blue bubble that floats to
the sky. His snake-like tongue lances the huge bubble and tons of water erupts from it, putting out
the forest fires set by the Welgs (the toy can blow big bubbles and squirt water).
7. Welgs: Dark hunched forms with gnarled features that are Minions of the wizard who
throw spheres of fire that explode. They burn trees in order to clear the land so that the diamonds
can be evacuated that are buried beneath the soil.
8. Oridion: a Pegasus. The Forest King with the aid of the Green Scepter changes a tree
with white golden leaves into a tall, regal looking horse with a white coat and golden mane, tail and
wings. The Forest King speeds through the skies riding the Pegasus.
15
9. Diamond Diggers: huge monstrosities, rumbling noisy machines, twisting mass of black
metal, spinning cogs, sprockets and churning wheels. The machines have long probing arms that
Page
reach out to tear the earth (this machines can be built, much like erector sets--metal pieces).

16. 10. Havhawks: Dark creatures who have massive bat-like wings, wide gaping mouths with
rows of jagged teeth. Their scaled tails trail as they fly together in clusters and dive at their prey
showering them with needles.
12. Diamond Fortress: the domain of Gred. It is a magnificent gleaming castle constructed
completely of millions of diamonds. The rays of the setting sun create one shimmering jewel of
light in the middle of the blackened landscape. All the diamonds are spirits of dead trees and feel Page | 16
much anguish. (The castle can be built from many shaped pieces--octagons, hexagrams).
13. Twenty four beings: floating diamonds that turn into singing fairies and human-like
creatures that are warriors for the Forest King.
XXXX+++++++XXXXXXXXXXXXXX
+++
MOTION CONTROL Z*RAMA (CINERAMA) THEATER
META Z TRON VISION PRESENTS
DIGITAL CINERAMA FOR THE PAUL ALLEN EXPERIENCE MUSEUM
Digital Domain had a contract with Paul Allen to design A CINERAMA digital theater for the
Experience museum. After 3 managers, Digital Domain still did not have a Cinerama digital
solution. Digital arc lamp projectors are designed for flat screens and demand constant technician
attention to adjust the images to the curve and merge the images. The third manager hired by
Digital Domain had seen a MetaTron (MZTV) demonstration and asked Troyer for a proposal.
Unfortunately, 11 million dollars had already been spent by Digital Domain to design Cinerama
Theater so they were on the verge of losing their contract. MZTV takes a formerly impossible
task and provides the 3D Cinerama solution. The MZTV infinite focused images automatically
adjust to the curved screen. Allen was never provided the MZTV proposal by Digital Domain.
The architecturally designed EXPERIENCE museum Cinerama Theater was closed and never
used as a digital 3D venue.
Finally Technology & Lasers are mature for digital 3D
CINERAMA.
Timothy Leary predicted that the 21st century psychedelic
trip would not be with drugs but through augmented
immersive dimensional realties with advanced technical interfaces.
ZELF: Z*TRON ENHANCED LOCATION FUSION
Creating the ultimate immersive experience: to “WOW” the participants by exceeding any themed
16
environment they have experienced so far.
Page

17. PROVIDED SPECIFICATIONS FOR THEATER SPACE:
130 degree to 180 degree dome curved screen; 30 feet high and 70 – 90 feet wide.
Three combined laser projectors will be needed since the screen is so wide.
60 - 280 seats: Suggested controlled seats with a 6-axis motion.
Motion controlled seats on a line instead of individual seat control (less expensive),
First row of seats are close to the screen (IMAX film style).
Page | 17
PROBLEMS THAT USING LASER PROJECTION OVERCOME:
Ability to project on curved screen with no manipulation of content.
Ability to sit close to screen with no visual scan lines or pixels artifacts.
Easy alignment of projectors and keeping color matched for seamless curved screens.
Digital arc lamp projectors inability to produce full color spectrum.
Digital arc lamps uneven decay; brightness and color fade caused miss-matched merging.
Strong expectation from audience: The experience not disappointing the audiences.
Immersion: Integration of content, movement, and experience in curved space.
SUGGESTIONS FOR THE ULTIMATE EXPERIENCE:
Each show lasts 20 minutes. Ten minutes is not enough for an immersive completely absorbing
experience. The audience is moved in and out, with a showing every 30 minutes.
The theater staging lends to the audience immersion. The curved screen is close to the front tier of
seats, the motion-control seats moving with the images and sounds. The experiences are coordinated
and happen in dimensional space. Sonar sound walls create the ultimate in “being here” sound. The
images are filmic— not washed out DLP arc lamp colors.
Cinerama 3D is cost prohibitive and does not work with digital arc lamp cinemas and film projection.
MZTV attributes create dimensional 3D in curved space. We suggest that the show is in 3D, with or
without glasses (depends on 3D required). Glasses are needed for images that dart out into the
audience, old style. We suggest both dimensional images (with depth) and also the jump out at you
old style 3D be used for more of a WOW factor.
THE EXPERIENCE: IMMERSION
THE THEME: The three J’s--- Jimi Hendrix, Janis Joplin, and Jim Morrison decide to deliver a concert
from the 5th dimensional space for those of us who are about to experience the 21st century. This piece
will be put together with massaged digitized footage from different time sequences in their lives. Jimi,
Janis, and Jim, who left this dimension all before they were 30, have a message for the world now. The
laser-imaged experience opens the door to the audience participants to the 5th dimensional space through
the technological interface. This is a gift for the audience. Of course the visuals are the ultimate in
psychedelic, reminiscent of the time, combined with our time, because of course in the 5th dimension,
there is no time, as we know it. All three have their physical images built in 3D so they can perform in
17
psychedelic realities (also so they can project into the audience).
Page
The artists appear to the audience in specially created dimensional nature vistas. When Janis approaches
Jimi and Jim and demands to do a performance and sing a song, she rides in on a beautiful peacock,

18. immersed into the audience, the eyes of the peacock feathers darting out, floating in space. Janis is
dressed in peacock feathers. The female archetype is definitely making her statement. The white doves fly
out into the audience from Jimi’s guitar, and we go into the Indian trance with the soaring archetype
birdman as Jim Morrison chants his poetry. Our famous personalities are very recognizable, but they are
now 5th dimensional beings. Their costumes are depictions of what their personalities were when they
were alive, but also are very stylized. Janis at one point is an Egyptian Queen, who soars through the air
on her golden bird chariot, but she is always really Janis, the passionate flower child. Page | 18
The art of this show will be the music track, which gives just due to each performer and still is a
continuous piece. The mastering of the sound track is designed to move through the entire compass of the
theater in pulse with the visuals and movement of the chairs.
When the audience is seated and the room darkens, a haze cloud hovers above the audience from ceiling
to five feet above. Streams of colored laser light streak above the audience and onto the screen, taking the
audience deeper and deeper into the experience until they are pulled into the black hole. The laser steams
end and we are in the 5th dimension and are introduced to the passion and intensity of these great
performers. Jim Morrison sings, Go through the door to the other side where there is a Waterfall backset:
Hendrix’s sings Waterfall, gently. Jimi is in fire images (reminiscent of the guitar on fire and back stage
at the Monterey Pop Festival).
The reason this experience is so intense is that the infinite focus of the laser images enhances the
dimensional attributes. Also the colors are much fuller saturated film like (twice as many colors as with
arc lamp TV projection). The peacock feathers are deep purple as the black eyes hover in space.
Dimensional experience is intensified by being projected on a large curved screen. Most participants will
probably not wear glasses, but will enjoy the experience with auto stereo (no glasses).
SPECIFICATIONS
FILM-LIKE IMAGES:
The reflective light valve amplifies the image holding pristine contrast and resolution. Lasers retain
the spatial modulation with pencil point coherence to the screen adding depth for the best 3D. The
image has no pixels, scan lines or artifacts. The liquid crystal spatial light modulators allow a smooth
saturated film like image. A new dimensional Cinerama (Z*Rama) is born with full color spectrum
(more colors than in film).
COLORS:
Our projector produces the full color spectrum, so the many hues in the purple and honey ranges are
available. Meta Z*Tron Vision (MZTV) is the only digital big projector that delivers full colored
filmic spectrum. The coherent polarized laser lines produce saturated images that are always focused
on any surface. This creates the ultimate in immersive worlds.
BRIGHTNESS:
Three projectors: 30,000 lumens each for motion picture brightness on the Z*Rama screen.
MZTV projects brightness differently than arc lamps. The laser light does not lose its crispness of
color as a bigger picture is projected. The collimated spatial modulated laser beams keep their
18
brightness to the screen. The ambient arc lamps are ambient like the sun. Ambient light scatters/
Laser light is focused, thus focused laser lines are created that are raster scanned down the screen. All
Page
the brightness of MZTV projector is in one line instead of spread out over the whole screen. MZTV

19. raster scans laser light at 60 cycles per second in regular mode. The laser lines are painted on the
screen (scanned). The image thus appears much brighter and is much more light efficient than arc
lamp light. Because of the infinite focus, the picture hovers in space, even without the added 3D auto
stereo effect. The room is completely dark for the ultimate CAVE immersive experience.
HIGH CONTRAST AND NO GHOSTING (SMEARING): Page | 19
The MZTV architecture is such that the scanning focused laser beams increase the contrast by two
fold. The laser scans are in sync with the raster lines of the writing image, the light not bleeding into
the black like with arc lamp flooding. Focused laser scanning eliminates smearing (ghosting in fast
moving images). One of the main hindrances for liquid crystal reflective light valves flooded with arc
lamp light is the ghosting from the slower decay of the liquid crystal. The flood of the arc lamp is
what causes the ghosting in the image. We are using the highest contrast and high-resolution
Hughes/JVC light valves. This gives the best quality picture available in image digital projection
today. The image is analog and is smooth and film like with no pixels artifacts.
PROJECTION:
Dimensional; realities with or without glasses
Three MZTV custom laser projectors assembled for 70 ft. wide Cinerama Screen.
Each of the three MZTV projectors produces 30,000 lumens for motion picture brightness.
MZTV lasers produce full film spectrum colors. Laser color is stable and does not change.
Digital arc lamps brightness and colors decay unevenly. Arc lamps need changing often.
Digital arc lamp projectors need hourly adjustment by an expert projectionist.
Color matching and merging projectors is simplified with lasers (not constant adjustments).
MZTV: scanned modulated collimated laser beams adjust to the curved screen.
MZTV presents infinite sharp always in focus dimensional (depth) auto stereo images.
MZTV images automatically adjust to screen in real time.
Digital Images by flat screen projectors need to be preprocessed to adjust to the curve.
GLASSES:
Inexpensive give away glasses (polarizing glasses not needed with laser images).
Polarizing glasses limit brightness and diminish the experience.
DELIVERY:
Moving seats provide more immersive audience participation. Show content can be downloaded from
other venues. The images do not have to be high definition. Our converter box contains image
enhancement and line doubling ability to produce a pseudo high definition effect. On our IMAX
dome tests, we were able to demonstrate a line doubled DVD of Fifth Element that adjusted to the
curves becoming dimensional. A high definition satellite feed of a boxing match was tested, the
boxers hovering in space. MZTV saves 100 times the cost of IMAX film counting film prints, arc
lamp changes needed every 400 hours, and the great costs in pre-post to prepare the film to be shown
on the dome screen. Stereo 3D images cannot be shown with film or digital arc lamps on a dome
19
screen. Keeping the two channels aligned is not possible. MZTV is user friendly and provides a
dimensional quality. See the Bugs floating in space from the Bug’s Life on You Tube, the images in
Page
focus in the corners of room showing the ability for the laser images to adjust to any surface.

20. NOTE: Remember this was designed for Digital Domain in in 2000 –but the designs still holds true
today. Solid state lasers substitute for gas lasers. Now higher resolution ( 4K). The MetaZ*Kit has
evolved with Moore’s law (storage, scalability, enhancement).
PROCESS AND TIME TABLES: Page | 20
The imaging will be shown first in our Prototype Cinerama Theater. The 20-minute piece will have
been partially put together with the dimensional experience and the motion control in mind. With
the actual testing in the theater, the experience will be designed for the most effective visuals and
motion control. The client judges the effectiveness of the graphics. At the client’s suggestions, we
will again refine the visuals with the system’s integration programming.
TEST PROCESS:
After the technology test and show refinement is approved, another show (Show Two) can be
developed for the theater. Much is learned from the first production in dimensional Z*Rama delivery
for the maximum effect: system integration of lasers projectors, motion control, and creating the most
user-friendly technician environment for maintenance. Time is saved, because the 3D sound and
motion control programs will be in place. Also Show Two needs to use the format in a different
creative way, so the audience will want to enjoy both shows, bringing more revenue for the theater.
PROGRAMMING COSTS:
Each 5 minute auto stereo experience costs approximately $500,000 to $1,000,000 including motion
control, music, and image coordination (artist’s music/ artistic rights not included).
EQUIPMENT PROJECTED COSTS:
$30,000 a month for 36 months (5 – 7 year leases available at more reasonable monthly payments).
This includes equipment system installation, maintenance contract, and an on sight technician. A
five-year lease will be less costly monthly. We also integrate the sound and motion control of the
seats for a more effective presentation.
SYSTEMS INSTALLATION:
Cost depends if the client wishes a prototype system built before approval for the permanent
installation. Cost depends on if motion control seats are to be installed. A master software program is
created that syncs the motion control movement with the visual experience. System integration:
Recorded dimensional sounds through the specially designed sonar dome wall speakers.
Specification guaranteed: Motion picture color and brightness. High definition, even spread of
brightness across the Cinerama screen image, contrast (filmic blacks).
TROYER SUBMITTED THIS PROPOSAL AT THE REQUEST OF THE DIGITAL DOMAIN
PROJECT MANAGER. SCOTT ROSS AND JAMES CAMERON RECEIVED COPIES.
20Page

21. AFTER HOURS LIVE*
Copyright Registered by Diane Troyer
A live television show with a participating audience;
Creating a set of tools for a new art form produced in the Studio Page | 21
of the Future. The MetaZtron Vision Projector is the linchpin for
the HIVE holodeck playpen staging platform. Augmented Virtual
Reality sets make sound stage worlds possible in real time.
There is a global contest with grand prize for the best HIVE show.
What community MetaSphere/ MetaShell local talents create the
best “cookie cutter” formula After Hours Live? Global audiences
wait anxiously to see the new special effects made possible with the evolving HIVE
platforms. This is holographic immersive virtual edutainment.
WHERE: Hollywood Type club in a metropolitan area (or small town).
WHEN: Once a week. 60 - 90 minute television show.
WHO: Music or comedy celebrity with invited celebrity friends.
WHAT: Themed spectacular. Celebrity star designs and owns the show.
HOW: New art form. This Metatron Vision production is based on a virtual interactive
set with a large 30 by 60-foot curved rear projection screen from ceiling to floor (a la
Celine Dion show at Caesar’s Palace. The Caesar’s screen is LED and cost $9
million—ours is near 1/10th cost). The dimensional backgrounds are rear screen
projected sets. The host/producer creates environments for songs, comedy, and/or
dramatic performances, i.e. musical opera style or a long video clip. The studio and TV
audiences view dimensional images without 3-D glasses. The studio audience (often
invited guests of the star) wears costumes and participates according to the theme of
the evening. (See sample script)
PRODUCTION COST: $600,000 (+ pts. for host/producer). Often these costs are paid
for by corporation (tax write off) that wants promotion. We reduce costs considerably
with in-house production crews and streamlined content production tool kit (edit,
graphics, cameras, computer lighting) and permanent equipment installations. The
host/producer receives two video music/comedy clips for promotion. He/she invites two
name stars to participate in the show and also a few special talented guests the star
wishes to promote and introduce to fans.
HOST/PRODUCER: We are prepared to provide a list of celebrities who have
expressed an interest in being host/producers. The choice of celebrity will be tailored to
the shows target market.
21
HOLODECK PLAYPEN EVOLVES: Techies will watch to see what innovation their
favorite stars intersperse into the open architecture studio holodeck playpen. The
Page
imagination is the limit with this new canvas.

22. Note: The After Hours Live concept was presented to Paramount for a TV show at the
Hollywood Palladium where Troyer had offices. The In house immersive sets with TV
studio stage and creation tools would save a fortune in creating content. The Paramount
Group all signed on to promote the show, except for the head of technology. It was
decided that it would be better to wait until the technology was more mature (10 years).
Page | 22
This great interest was a trigger to set Troyer on the road to enhance the tools (Z*TV
and Z*Kit) to develop HIVE (holographic immersive virtual edutainment) platforms. The
MetaShell holodeck playpen offers the innovative studio set for TV as well as backdrops
for Opera, musicals, plays, performances, business conferences and conventions, etc.
THE METASHELL
AFTER HOURS LIVE: The MetaShell (holodeck playpen) creates a world for the
audience, allowing a sense of participation extending beyond the normal variety-show
format. Created is not only drama, comedy, musical, circus, mythos, harlequinade, and
a modern carnival, but a combination of all. Much more than the usual collection of
unrelated acts, the MetaShell is a unique entertainment concept, a seamless unity
joining music, humor, dance performance, and spirit into a choreographed continuity.
Music combines with lighting and holographic images in a swirling flashing admixture of
vision and color that transfers the audience to a fantasy world. The celebrities create
their universe, moving the performance in and out of their created worlds. They are
thus able to include their invited guests in their created realities, as well as allowing the
television audience to feel that they are participating in the process.
The technology of the MetaShell, complete with high resolution, interactive laser
projected sets, and ultra-sophisticated computer images, permits music and video
composers, set designers, and technicians to assist the star/artist in creating not only
new environments, but virtually a new art form. AFTER HOURS LIVE presents this new
arena for performers and audiences to interact in a way never before possible. Special
Benefits are setup to raise money for the artist’s chosen foundation or issues. This
allows a new funding forum for the many needs of our World Community.
Often there will be scenes from clubs in other cities (MetaSites). In fact the celebrity
host can interact with guests in other locations, the group performance of celebrity and
other location guests digitally combined into a single world which appears on the huge
laser sets for the house guests, the MetaSites and television audiences.
Taylor Swift dances with her virtual “he man” on a Nashville stage. She answers her
mobile and tells her Sprite fairy swirling near that she must rescue Channing Tatum –
unjustly in jail in Iowa City. The Sprite time shifts to the Iowa MetaShell attempting to
22
find the key for the jail break – but only with interaction with both audiences that help.
Page
Is this a contest to see which audience can find the key first?

23. AFTER HOURS LIVE (conceived by Bo Diddley and Troyer)
Once again people around the world and especially in this country are enjoying the club
life: dancing, rejoicing, and sharing. Shades of the 1930's, cycling into the world beat
cabaret of 90’s and the multimedia mash up of the first decade of the 21st century. This Page | 23
sixty-minute to ninety minute television show is a Metatron Vision Production televised
at a MetaShell nightclub. By utilizing the MetaShell holodeck playpen, we create a
unique, highly exportable, multilingual product that appeals to all audiences. The TV
show is live interactive so that other clubs audiences and home viewers participate.
Each show will have its own theme, and a celebrity-studded audience, costumed
accordingly, will participate in the exclusive nightclub atmosphere. Each host/producer
will have his/her own party by creating the theme and inviting guests including two up
and coming talents of his/her choosing.
Theme examples in 2001: African Spiritual (Stevie Wonder); Funk (James Brown), 30's
and 40's Swing/Blues, Circus, Clowns, Jester, Mimes (Elton John); Magic (David
Copperfield) Comedy, Tango, Spanish, World Beat, Gypsy, Jazz, as well as many other
themes such as Mardi Gras, Doo Wop, and New Age. Spoofs are also created, in the
mood of the Rocky Horror Show and Zombie Halloween. The show's appeal can have
a wide audience range. A few examples of celebrity hosts or special guests for this
new art form are from Kurt Vonnegut to Peter Gabriel. Humor is found in groups, much
like the famous legacy Bone Daddy’s, the Duck's Breath, Boxcar Willie and Blue Men.
Cartoon characters, of the hosts choosing, can interact with the host, guests, and/or
audience. Justin Bieber can interact with Cherry Pop Tart or Lady Gaga might choose
her own cartoon he-man creation or Ashton Kutcher can choose his fantasy world. The
host’s choice jester, who will introduce and maintain continuity, can coordinate the
dance/celebration, international in scope. Paulina Rubio might want to incorporate her
Miami showcase interacting with celebrities in an Argentine arena.
NOTE: Muddy Waters and Bo Diddley loved performing in Troyer's high tech Immersive
club/ studio (Grand Daddy’s / Rosebud) in the Midwest (Iowa City) -- capacity: 1500.
The club had a backset and floor with changing colors. Diddley suggested that if he
could create his own show, it would be better than any in which he has participated or
watched -- because the show would be his statement: the artist. He would just ask a
few famous friends (Chuck Berry, James Brown, Chubby Checkers and Little Richard)
to perform in the show and invite their friends to be in the audience, dressed in his
theme. After Hours Live is an answer to Bo Diddley’s call. Most musical artists vision
images as they play. It is very exciting for them to have the opportunity to share their
vision creating worlds in the MetaShell holographic playpen. Celebrities and local stars
can perform together from different holodeck platforms (example: Barcelona and
23
Davenport, Iowa) creating a live exciting meta-mash up TV show (see example scripts).
Page

24. Sample Script: AFTER HOURS LIVE
Written 1996 –In celebration of wonderful songs
In memory of song writer blues singer Koko Taylor who passed away in 2009
http://www.youtube.com/watch?v=w_fygyQiHoA&list=AL94UKMTqg-9Dq_2mgpD39EB2jm3MIygKK
(Example script to share how a celebrity might use the holodeck playpen with live audience) Page | 24
HOST/PRODUCER:
Joe Williams (dirty blues jazz singer)
THEME: 30’S and 40’S Swing and Blues (Chicago)
Audience is invited by Joe Williams
The audience is dressed appropriately, according to theme
CAST:
Koko Taylor (Chicago Blues Singer)
Manhattan Transfer and Jon Hendricks
Diane Schurr (blind woman who sings like Billy Holiday) or (Ingrid Lucia)
Bobby McFerrin (Singer, scatter, dancer) or Robert Henry Johnson (hip-hop, dance)
Count Basie’s Band or (Flying Neutrinos; Mr. Zoot Suit--swing band)
Woman Dancer (African-American cartoon doll – Gypsy—virtual human)
Chicago decadent club dancers and red headed woman
VISUALS:
Black and white film clips from the 30’s and 40’s: Cab Calloway jitterbugging, the lindy hops
old Fats Waller, etc. Nightclub scenes from that period will have zoot-suited dancers from the
audience placed in the scenes (nightclub of today and the nightclub of the 30’s blend together).
OPENING SCENE (three minutes)
Koko Taylor singing solo, the rest of the group joining her. All are seen in the nightclub on the
huge curved screen. Koko sings the blues song, Let The Good Times Roll. The audience is
seated in cabaret style, tables around the dance floor. The titles roll, the Count Basie band is in
the orchestra pit, and the stars come on stage to sing with Koko, the group placed on the big
screen in the 30’s club. The camera pans in and we see close up shots of the group. As the
camera pulls out for a long shot that includes the stage, the performers and the backset (huge
curved screen which is rear laser projected). We see the invited audience participating; also
singing Let the good times roll.
SONG SEQUENCES: Everybody, let’s have some fun. Let the good times roll. Doesn’t matter
if you’re young or old. Get in the groove. Don’t sit there moping, talking trash, if you’re going
to have a blast, you have to spend some cash. I’ve got a dollar and a quarter, Don’t play the
clown. Koko Taylors in town.
24
Joe Williams, from the left stage greets the audience, welcoming them to the thrilling evening.
Page
SCENE TWO (three minutes) Joe sings a medley of his great songs in nightclub (on screen).

25. It’s All right, it’s Okay
One O’clock Jump
Sent For You Yesterday, Here You Come Today
Interspersed as Joe sings are film clips of him singing in former times. Pulled out of those clips
are dancers dancing the dance of that time period. Dancers from the audience are placed in the Page | 25
deco 30’s night club on the big screen. Joe is singing in the club. The 30’s club has been
computer massaged, given color, made more real, so the live audience and television audience
feel they are part of the nightclub on the curved big screen.
SCENE THREE (six minutes)
McFerrin scats on into the night, singing part of his Chan’s Song. He peers through the window
of the nightclub. We see the Manhattan Transfer with singer Jon Hendricks scatting the lines of
Cloud Bursts as the club audience enjoys the entertainment. A few members of the audience are
standing at the nightclub’s deco bar singing along (camera captured and placed in big screen set).
Clouds of course, have silver linings, unless when they’re in reverse first. The television
audience and the nightclub audience will see strong visualizations of the song. Clouds with
silver lining, dimensional colors with a touch of the surreal as if the group is looking out into the
night skies.
McFerrin seems in another reality, smiling as the group starts singing Paper Doll. An animated
paper doll appears in the club. She slowly becomes life like. Gypsy is sung as this beautiful life
sized black woman of the 30’s sways toward McFerrin. Vargas stylized; she moves through the
dance steps to Who is his love, with her flirty eyes. She moves out of the cloud setting, through
the nightclub door and dances down the street with him (McFerrin in a computer generated
street, with his computer-generated woman, all on the big screen).
SCENE FOUR (three minutes)
Joe Williams sings the Billy Holiday tune; Love is Here to Stay, as he stands beside the piano
as Diane Schurr plays. We see the couple (Gypsy and McFerrin) in a 30’s living room. They are
in love.
Love is here to stay. It‘s very clear, our love is here to stay, not for a year, but forever and a
day. The radios and the telephone and the movies we watch, might be passing fancies and in
time they all go. The Rockies may crumble, Gibraltar may tumble. They’re only made of clay,
but our love is here to stay.
(We see very stylized deco art type scenes, but full dimensional screen image of rain
storms destroying land and property. A hand turning a radio off, moon through window, pull
back bringing us back to the love nest).
SCENE FIVE (six minutes)
McFerrin leaves the sleeping Gypsy and scats to his 1937 Red Ford Roadster (computer
25
generated), enjoying the Chicago evening in a surrealistic street scene. We see a glimpse of the
Page
Deco nightclub, where Diane Schurr is singing Damn That Dream. Our animated woman,
Gypsy, is in bed sleeping. She has an ethereal erotic dream sequence with her imagined

26. McFerrin (this is a dance sequence, floating through the ethers, very visual and beautiful
choreography).
Damn that dream. I dream each night, you say you love me, and hold me tight, but when I
awake, you’re out of sight. Damn your lips, damn your eyes. They lift me high above the moonlit
sky, then I tumble out of paradise. Oh, damn that dream, damn that one track. I didn’t Page | 26
understand that you didn’t care.
Gypsy wakes up, missing McFerrin as she is looking out the window at the moon.
Diane sings It was just one of those things, one of those crazy things. A trip to the moon on
gossamer wings. (Visuals)
SCENE SIX (seven minutes)
Joe Williams singing three or four dirty blues tunes. We focus mostly on Joe, with visuals of
McFerrin in a decadent 30’s Chicago club. Women are performing an erotic stage dance.
McFerrin is having a reunion with a beautiful red headed ex-lover who is a dancer there (this
women is not a cartoon). He tries to persuade her to leave with him in his fancy 30’s car, but she
refuses. He is crushed as he drives away in his roadster.
SCENE SEVEN (two minutes)
Manhattan Transfer sing Goody, Goody as Gypsy dressed in stylish hat and gloves prances
down the sunny Chicago street. As she struts we see McFerrin lying on a grassy riverbank,
apparently very despondent.
So you met someone who broke your heart too. So you lie awake, so you think love is a barrel of
dynamite. Well I hope you’re satisfied, you rascal you, goody goody---.
SCENE EIGHT (three minutes)
It is evening and Gypsy is still walking on the streets of Chicago. Unlike the McFerrin fun scat
down the street earlier, this is a somber poor neighborhood. Men are leaning against the wall,
despondent. There is an altercation between a poshy white couple with a vendor who has sold
them corn on the cob. They are rude and uppity and degrading to the vendor and his son. Gypsy
sees this from a distance and goes on walking. She walks among gnarled trees. Diane’s song
whiffs through Gypsy’s world.
Trees bear strange fruit. Black bodies swinging in the southern breeze, strange fruit hanging
from popular trees. The bulging eyes and the twisted mouth. Magnolias sweet and fresh, then
the sudden smell of burning flesh. Here is a fruit, for the curious to flock, for the rain to gather,
for the wind to share, for the sun to rot, for the tree to die. Here is a strange and bitter fruit.
This song is upsetting for people. The visuals are carefully chosen. Trees gnarled, magnolia
flowers, brilliant colors, super imposed with rain and wind and sun. The world created is very
grotesque animated nature, with faces almost peering through the gnarled wood and flowers.
26
SCENE NINE (three minutes)
Jon Hendricks and Manhattan Transfer sing, We Three: My Echo, My Shadow, and Me. The
Page
visualization of Gypsy, shadow and moonlight against city walls can be very dramatic and stark.

27. We three, we’re all alone, living in a memory, my echo, my shadow and me. We three, we’re
not a crowd, we’re not even company. What good is the moonlight, the silvery moonlight that
shines above? I walk with my shadow, talk with my echo, but where is the one I love? We
three, we’ll wait for you, even ‘till eternity, my echo, my shadow, and me….
SCENE TEN (three minutes) Page | 27
Koko Taylor singing: I am Woman. This song sung by Koko and visualized by Gypsy is raw
and inspiring. The song is the epitome of the strength of the Chicago Blues.
I’m a woman. Everything is going to be all right. I can sing the blues. I’m a ball of fire. I’m a
woman. I could make love to a crocodile. I’m a woman. I’m a rush of wind. I’m a love maker.
I know my stuff. I ain’t never had enough. I’m going down yonder behind the sun. I’m a
woman. Shake hands with the devil. Make him crawl in the sand ---.
Fireballs, crocodile, rushing wind in the trees, devil sun. Gnarled trees become beautiful
Weeping Willow trees as Gypsy moves in the landscape.
SCENE ELEVEN (six minutes)
The stars sing a variation of the Ink Spots, Whispering Grass, Don’t Tell the Trees. Joe
Williams sings in the deco nightclub. McFarrin is singing with the chorus.
Why do you whisper, green grass? Why tell the trees what ain’t so? Whispering grass, the trees
don’t need to know. Why tell them all your secrets? Who kissed you long ago? Whispering
grass, don’t tell it to the breeze, because she’ll tell it to the birds and bees, and everyone will
know because you told the blabbering trees.
The images are lush. Nature footage is used which is stylized in the computer, an artist’s dream.
The soothing vivid greens with the birds and blowing grass is a nice finale. McFerrin moves out
of the club into the street and is swept into the lushness as he finds his muse, Gypsy, again. They
happily swirl together into the greenness.
Final Titles: We pull back to see the audience in the real night club at their tables in 30’s
fashion, enjoying the show. This TV show can be compared to the 30’s musical features with a
little bit of the Lorne Michaels Saturday Night Live flavor.
This script uses live celebrities. The Holodeck Playpen makes presenting virtual celebrities much
easier. The process used so far is smoke and mirrors called Pepper’s Ghost. Our process will be
with a laser projector that projects the virtual human into the set. The virtual human is being
manipulated by a person off set.
27Page