Unlocked Vision’s Seb Blaber discusses creating immersive attractions… And untold horrors!

Seb, thanks for joining me. You’re the founder of Unlocked Vision. What is it that Unlocked Vision does?
Well, we specialise in creating immersive, themed attractions and experiences. Basically, if you’ve ever been blown away by a Halloween scare event or stepped into a fully themed environment that felt like another world – that’s the kind of thing we do. We start with design, turning ideas into fully fleshed-out concepts. Then we move into construction; we build the sets and environments that bring those ideas to life. But it doesn’t stop there – we also handle AV design and installation, making sure the lighting, sound, and effects all work seamlessly to enhance the experience.

Wow! And that includes all the finishing touches?
Yes – and, of course, the details matter. We do set dressing, props, and even costumes to make everything look and feel just right. We also take on project management, so we’re involved from start to finish, making sure everything runs smoothly.

And what is it, Seb, that you’d say sets Unlocked Vision apart?
What really sets us apart is that we don’t just build things – we also help with attraction and event operations. Whether it’s troubleshooting during a live event or making sure everything is safe and practical, we’re there to support every step of the way. For us, it’s about balancing creativity, functionality, and safety. Whatever the project – Halloween events, immersive attractions, or something completely new – we’re here to help bring it to life.

Just so readers can orientate themselves, what are some of the installations you’ve worked on?
We recently completed the build for Thorpe Park’s newest Fright Nights attraction, Deadbeat. Over the years, we’ve developed a strong working relationship with the team at Thorpe Park, designing and building many of their Halloween offerings…

In addition to our work on Deadbeat, we’ve also been collaborating with Merlin Magic Making on the creation of Hyperia—the UK’s tallest and fastest rollercoaster. For this exciting project, we provided theming services to bring the attraction’s vision to life. It’s always a privilege to be part of projects that push boundaries and deliver unforgettable guest experiences!

Amazing! To what extent do the limitations of working on a branded IP shape a project?
We’re currently unable to discuss some of our IP-branded projects due to NDAs, but working with established IPs can be both exciting and – in some ways – easier.

Oh? How so?
With all the guidelines already in place, we have a clear framework to work within. It’s them more about finding creative ways to make the project work within the given budget.

Interesting… Yes, I suppose the context and confines of the IP give you certain directions. That’s being the case, what’s the main difference in your creative process in those situations?
The main difference is in the pre-design stage, where we focus our research and on understanding the IP in depth. Instead of exploring broader creative concepts, we dive into the world of the IP to ensure every detail stays true to its essence while delivering a unique and memorable experience. It’s always an exciting challenge to bring a beloved IP to life in new and engaging ways!

And what IS your creative process, Seb? How do you go from, “We’ve been asked to look at this…” to “We’re ready to go!”?
Our first priority when starting a project is to gather as much information from the client as possible. The more we understand about their vision, goals and expectations, the better we can tailor our approach. From there, we dive into research, focusing on the specific subject or theme of the project. Having a clear understanding of what the end result needs to look and feel like makes the process much smoother.

We also believe in maintaining an open dialogue with our clients throughout the project. Regular communication ensures everyone’s on the same page and that we can check we’re hitting all the key points at every stage. Collaboration is at the heart of everything we do; it’s what helps us deliver results that truly resonate.

So now, if you were working on a horror-branded installation, would you start by working out what emotions you want to provoke? And then think how you can provoke them?
We usually begin the creative process by focusing on the theme and basic narrative. Is it set in a haunted house? A log cabin? A creepy abandoned factory? Once we establish the setting, we dive into the storytelling, working out the narrative and deciding what kind of emotional journey we want to take guests on. At this stage, it’s all about understanding the emotional flow.

Emotional flow?
Yes, because – in a way – we’re designing a rollercoaster of feelings… Building tension and suspense, delivering the scares, and then offering moments of relief. The build-up is just as important as the scare itself in creating an experience that keeps guests on edge. So once the narrative starts to take shape, we work on designing scares that fit seamlessly into the story. At the layout design stage, the scares really start coming to life. It’s here we determine where actors will be, what their movements will look like, and how they can retreat back into the shadows to reset.

And presumably, Seb, that part has to vary quite a bit because some people are much harder to scare than others? You have to cater to a spectrum of fear?
We recognise that fear is subjective, yes. What scares one person might not faze another… That’s why we incorporate a range of scare techniques to try and reach as many people as possible. But we also accept that it’s impossible to scare every single guest. For those who might not find the experience frightening, we focus on making it entertaining in other ways.

This could mean creating moments where they can enjoy watching their friends get scared – using mirrors, live CCTV, or other clever tricks – or crafting visually stunning sets they can admire and appreciate. The goal is to ensure that, whether they’re terrified or not, every guest walks away with a memorable and enjoyable experience. It’s all about balance: the scares, the storytelling, and the overall atmosphere working together to create something truly immersive.

Great answer, thank you. Not that I need that balance – I’m a quivering mess before I even go in! In terms of the brands and companies that should reach out to you, with which kind of clients does Unlocked Vision like to work?
We work with such a diverse range of clients… It’s one of the things we love most about what we do. From large theme parks to family-run visitor attractions, no two projects are ever the same. You might be completely new to the scare industry, with a bit of land and a dream of creating a scream park… Or maybe you already have a fully established event and need help taking it to the next level. Wherever you’re at, we’re here to collaborate and bring your vision to life.

You know, your enthusiasm for this really comes across when you speak!
Thank you! We’re very passionate about this sector – and I think that also shows in the variety of projects we take on. Whether it’s creating some immersive theming, helping with creative design, or something in between, we love working with new and exciting clients. Honestly, it never feels like work to us—this is what we love to do!

Great! What’s your background, Seb? How did you come to be doing this?
It’s amazing how life sometimes connects all the dots, isn’t it? My journey into this industry really started with my family’s love of amateur theatre. From a young age, I was always around it: whether it was on stage – which I hated – or behind the scenes. That’s where I really found my passion. I spent a lot of time with my grandpa, who always did the lighting for the productions. As things became more advanced, I got involved, learning the ropes and eventually taking over. He loved seeing my passion for something he’d taught me. It was a really special connection.

That’s lovely…
When the time came to figure out my career path after college, I knew I wanted to dive deeper into the lighting industry. I moved to London to study lighting design and immerse myself in that world. While living there, one of my friends, who had a job as a scare actor at Madame Tussauds, planted a seed that would completely change my direction. Over a pint at the pub, he asked if I’d help him build a scare maze in our hometown.

So – wait a second… You weren’t a horror aficionado? This wasn’t something that you’d been exposed to tremendously?
No, not at all. In fact, was absolutely terrified of anything horror-related! So I was hesitant at first – but I said yes to that first project. And that turned out to be where my love of scare attractions began! Together, we then designed and produced scare attractions that toured UK festivals, which was an incredible experience. During that time, I also got a seasonal job as a technician for Thorpe Park’s Fright Nights.

I love that you started with a broader skill base and learned how to apply it to this niche. Looking back, was that the right move?!
No question! The scare industry introduced me to some of my closest friends and really cemented my passion for this sector. Eventually, the festival scene became harder to navigate, so we decided to stop touring and focus on our own projects. That’s when Unlocked Vision Entertainment was born.

I started the company with Jade Kelly-Haydon. Jade also has a background in theatre. She studied stage management at Rose Bruford and had years of experience as both a designer and an actor, with a strong passion for scare attractions. Together, we combined our skills and love for the theme park and scare industry to create something we’re really proud of. It’s been an incredible journey, and I wouldn’t trade it for anything!

So tell me: what skills from your combined theatre experience are now useful at Unlocked Vision?
We still approach every project we do as if it’s a theatre experience. Whether it’s creating a set piece for a theme park or designing a full Christmas attraction, the mindset is the same. For us, it’s all about storytelling and emotion – taking guests on a journey where every detail contributes to the overall experience…

Just like in theatre, we think about how to build tension, create atmosphere, and deliver those unforgettable moments that leave a lasting impression. No matter the scale or setting, we treat every project with the same passion and creativity, ensuring it captivates audiences just like a great performance would. It’s this theatrical foundation that truly sets our work apart.

This is fascinating to me! What three qualities – or qualifications – would you say a person needs to be successful as a designer of immersive experiences?
I wouldn’t say qualifications are absolutely necessary, but they can definitely help you understand certain processes and give you a good foundation to build on. That said, this industry is all about learning through experience. The best advice I can give is to get out there and see as much as you can—the good, the bad – and even the ugly. Every experience teaches you something and, over time, you’ll start to develop your own style and approach to design.

It’s important to remember that it’s impossible to scare everyone. We touched on it earlier: fear is so subjective… Don’t let that hold you back. Experiment, take risks and don’t be afraid to make mistakes. Some of the best ideas come from things that didn’t work out the first time. Ultimately, it’s all about being open to learning, adapting, and staying passionate about what you do. That’s what will set your work apart.

Fantastic. Seb, we need to start wrapping this up, but I’m very curious… What’s the one question I could’ve asked you today but didn’t?
When do you start working on Halloween and Christmas projects?

Perfect! What’s the answer?
This question always makes me laugh—I get asked it all the time. People often assume we’re only working on Halloween attractions at the end of the year, but that couldn’t be further from the truth! Quite often, we’re already working on the following year’s Halloween events in October of the current year. And when it comes to Christmas attractions, design ideas start rolling in as early as January.

The truth is it really doesn’t stop. This industry is all about planning ahead, constantly designing, building, and refining to make sure every event is the best it can be. It’s a year-round process, and we wouldn’t have it any other way!

Brilliant. Your passion for this comes across in everything you say. Thanks, Seb; this has been great – thank you so much!