Mixed reality · Model 2540
Tunnel ride cinema — the vehicle moves, the scene changes
Guests board a track-mounted vehicle that carries them through a tunnel while a 160° to 240° screen wraps the route. Ten to twenty riders per cycle, on a cart that moves rather than a seat that vibrates.
The format is a journey rather than a room. The vehicle travels from scene to scene, the film is cut to the route, and the effects — wind, spray, seat haptics — fire at fixed points along the track, so every group passes the same moment in the same place.
- Track-mounted vehicle. The audience rides a cart through the tunnel, not a static seat.
- 160° or 240°. Screen coverage chosen to fit the shape of your hall.
- Effects on the route. Wind, spray and haptics triggered at points along the track.
01 / Overview
What a tunnel ride cinema is
This is a track-based attraction. The audience boards a vehicle, the vehicle moves along a route inside a tunnel, and the screen curves around that route so the film is always in front of the riders. The movement is the vehicle travelling, not a platform tilting in place.
That changes how a show is built. A fixed auditorium plays one film in one room; a track ride is cut into scenes, and the vehicle’s position tells the audience where they are. The effects are placed on the route rather than in the seat, so a gust of wind happens at a specific corner for every group that passes.
| Riders | 10 to 20 per cycle, in the vehicle. |
| Movement | Track-mounted vehicle travelling the route. |
| Image | 160° or 240° wrap-around screen along the tunnel. |
| Effects | Wind, spray and seat haptics triggered along the track. |
| Footprint | 54 m² at 3,000 mm high. |
02 / Watch a session
Board, travel, disembark
The clip shows the ride in operation: the group boarding the vehicle, the cart moving off along the tunnel, the screen carrying the scene as it travels, and the effects firing as the route reaches them. Watch the boarding and the unload rather than the film — a track ride’s throughput is set at the station, not in the tunnel.
A cycle runs as follows.
03 / Route, not a room
Why a moving vehicle changes the show
A fixed cinema has one screen and one viewpoint: the film has to work from every seat at once. A track ride solves that by moving the audience past the scenes. The vehicle controls what the group sees and when, so the screen does not have to carry the whole story from a single angle — the route does half the work.
It also gives the venue a reason to come back. A room is the same room on the second visit; a route can be re-cut, and a new film means a new journey rather than the same seats with different footage. That is the commercial argument for the track: the hardware stays, and the experience changes.
The vehicle sets the view
The audience moves past the scenes instead of watching from one angle.
Scenes along a route
The film is cut to the track, with the position telling the story.
Effects at fixed points
A gust or a spray happens at a corner, for every group, in the same place.
Re-cut, not rebuild
A new title is a new journey on the same track.
04 / Effects
What fires, and where
The effects are placed on the route rather than built into the seat. Blowers drive air across the vehicle as it accelerates or drops; sprayers release a fine mist on water and weather sequences; haptic transducers in the seats carry impacts and engine vibration. Because the vehicle’s position is known, each effect fires at the same point in the ride for every group.
That repeatability is what makes a track ride consistent. A triggered effect that depends on an operator’s timing drifts across a day; one tied to a position on the track does not. It also means the two things that need servicing — blowers and sprayers — are accessible at known points along the tunnel rather than throughout the room.
05 / Space and power
The hall, the route and the height
The system occupies 6,000 mm by 9,000 mm and stands 3,000 mm high — 54 m² before the station, the queue and the exit are added. The height is a metre lower than a full motion theatre, which is what lets this format go into halls that a moving auditorium cannot use.
The route inside the footprint is the planning question, not just the area. Station position, vehicle length, the turning envelope and the clearance to the screen all have to be drawn together, and the screen coverage — 160° or 240° — is chosen against the shape of the hall rather than the budget. Power is 220 V, with the load confirmed on the drawing at order.
Send the hall
Floor area, clear height, columns and the delivery route.
We draw the route
Station, vehicle envelope, screen coverage and the effect positions.
Order and production
Rider count, screen coverage, finish and title set fixed at order.
Install and commission
Track and screen assembled, vehicle commissioned, effects timed, staff trained.
Where the venue wants a fixed auditorium instead of a route, the Bermuda cinema puts the whole house on a six-axis platform; the flying cinema covers a lower hall without a track.
06 / Titles
Eleven ride titles, cut to the route
Eleven titles ship installed, covering science-fiction exploration, flight adventure and action scenarios. They are authored as rides rather than films: each one is cut to a route so the scenes land at the right points on the track.
The content layer is separate from the hardware, which is what allows a venue to change the show for a corporate buyout or a seasonal programme without touching the ride. Titles and language options are confirmed at the quotation stage.
Specification
| Model | 2540 |
| Dimensions | 6000 × 9000 × 3000 mm |
| Footprint | 54 |
| Power | 220 V |
| Display | 160° or 240° wrap-around screen; no headsets |
| Content | 11 ride titles, cut to the route |
| Certification | ISO 9001:2015 · CE · FCC · RoHS, by model and destination |
| Lead time | Stated on the quotation |
07 / Commercial
What the quotation includes
Comparative quotes in this category are rarely like for like, and the difference is usually in the second column. Both lists are given before any figures are compared.
From LEKE VR
- The track, the vehicle and the station structure
- The 160° or 240° screen system and projection
- The wind, spray and haptic effect system along the route
- The show control system and the 11 installed titles
- Export packing, documentation and delivery to port
- Installation, vehicle commissioning, effect timing and staff training
- Remote diagnostics and spare parts from our own stock
Budgeted on your side
- Freight, insurance and import duty to your market
- Building works, hall construction and acoustic treatment
- Station finish, queuing and signage
- Local electrical supply and its certification, signed off by your electrician
- Water supply and drainage for the spray system
Structural questions remain with your structural engineer and electrical questions with your licensed electrician. We supply the drawings and load data they need.
Quality management is certified to ISO 9001:2015, with CE marking and RoHS and FCC compliance by model and destination. Certificates and test reports are available on request.
Our showroom and factory in Guangzhou can be visited. Projects listed below belong to operators, so access is theirs to grant. If a visit is not practical, we draw the route on your own plan instead. The rest of the range is listed under commercial VR products.
Where it goes
Where this machine is usually installed
Suited to family entertainment centres, e-sports halls and theme parks.
Layout, access and power are confirmed against your floor plan before the order is placed, so a site is not ruled out until the plan has been checked.
Reviews
What operators say about the tunnel ride
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Draw the route before the rider count. Station position and turning clearance decide how many board each cycle.
Guests describe it as a journey, not a film. That is the difference from our old screen room.
Effects tied to track position are consistent all day. Effects tied to an operator's timing drift by mid-afternoon.
Three metres of height is why it fitted our hall. The four-metre theatres were not an option.
Projects
Solutions we build
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More machines
Elsewhere in the range
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08 / Questions
Questions operators ask
Does the audience stay in one place?
No. They board a track-mounted vehicle that carries them through the tunnel, and the screen wraps the route.
Why use a track instead of a fixed auditorium?
A fixed room has to work from every seat at one angle. A moving vehicle controls what the group sees and when, so the route carries part of the story.
How many riders per cycle?
Ten to twenty, in the vehicle.
What screen coverage is available?
160° or 240°, chosen against the shape of your hall rather than the budget.
What effects run?
Wind from blowers, spray on water and weather sequences, and haptic transducers in the seats, all triggered at fixed points on the track.
What height does it need?
3,000 mm, which is a metre less than a full motion theatre and lets it go into lower halls.
What power supply does it need?
220 V, with the rated load confirmed on the drawing.
How many titles are included?
Eleven, each authored as a ride cut to the route.
Next step
Send the hall, not a wish list
Send the floor area, the clear height and the column positions. The route has to be drawn before the rider count can be fixed.
LEKE VR · Guangzhou Leke VR Technology Co., Ltd. · Guangzhou, China · contact
Figures come from the build sheet and commissioning records for this system and from our own venues. Maintained by the LEKE VR product team in Guangzhou and revised when a number changes.