Creating projects that immerse audiences into another world takes the right software tools and a sophisticated process. How VFX Motion Designer Mehdi Hadi Creates Cinematic Realism in Dystopian Scifi Worlds Creating projects that immerse audiences into another world takes the right software tools and a sophisticated process. Nadia Yangin Film and TV Aug 18, 2026 Games What remains in the rubble of a technology-driven world run by robots? Mehdi Hadi’s most recent project, “Memories,” created for the Motion Plus Design event in Paris, explores themes of loss, destruction, and the human experience in a distinctly inhuman setting. Mehdi “Mhad” Hadi is an award-winning director, concept artist, and VFX motion designer. He crafts game cinematics, designing captivating title sequences, and spearheading innovative motion design projects. He collaborates with agencies and studios to contribute to a diverse range of projects that push the boundaries of creativity. Images courtesy of Mehdi Hadi and ZBrush. Hadi creates projects that immerse audiences and spark intrigue. From detailed scenes to intricate characters, Hadi translates his imaginative ideas into captivating visual experiences. Recently, he has transitioned from motion designer to director. “As a motion designer, I’ve always been able to adapt. I’ve learned to work with all kinds of briefs and styles, which helped me develop my workflow and strong visual identity. That versatility is still at the core of what I do today,” he said. Because Hadi tended to manage every step of a project himself, over time, people started calling him a “director” simply because he was already creating entire films on his own. Images courtesy of Mehdi Hadi and ZBrush. Most of Hadi’s work is in-game cinematics, high-end commercial visuals, and projects with a strong sci-fi or futuristic aesthetic. This includes creating large-scale visual content for live shows and international DJs, designing concert visuals that blend narrative, energy, and immersive world-building. Hadi started studying how films were lit, framed, and paced, which reshaped the way he eventually built images. Now he spends time analyzing shots, breaking down color, lenses, mood, rhythm, and then translating that into digital work. Images courtesy of Mehdi Hadi and ZBrush. This creative exploration had him experimenting with different pipelines, tools, and visual languages. Hadi said, “Over the years, I’ve experimented with different pipelines, tools, and visual languages. At some point, all those tests, failures, and obsessions blended into something that felt like my style: a mix of cinematic realism, sci-fi atmosphere, and a slight dystopian tone.” Images courtesy of Mehdi Hadi and ZBrush. When speaking of the inspiration behind “Memories,” Hadi explains, “It started with the title. I wanted to explore the idea of memory, not just as data, but as something emotional, fragile, and fragmented. From there, the narrative naturally shaped itself around the things I’m most drawn to: post-apocalyptic sci-fi, robots, and dark, high-contrast worlds. I wanted the film to feel like a memory itself: detailed but incomplete, beautiful but damaged.” Character design process using ZBrush Hadi relies on several tools in ZBrush to add detail to characters, mainly VDM tools and alpha brushes. “ZBrush is an amazing tool for design exploration and ideation.” Because he feels as though he’s only using about ten percent of the tool’s potential, he claims that “there’s always more to learn and experiment with.” Images courtesy of Mehdi Hadi and ZBrush. For background and secondary objects, Hadi relies on procedural textures and object-based shaders that are available directly inside Cinema 4D with Redshift. Since he he doesn’t always have time to unwrap everything manually, he incorporates procedural workflows to help him keep good visual quality without slowing down production. For key elements and characters, he uses Substance Painter, starting with smart materials and then refining them with some hand-painting to add custom details, storyline wear, and unique surface imperfections. Images courtesy of Mehdi Hadi and ZBrush. Other ways Hadi works incudes Kitbashing, which he does daily. “Over the years, I’ve built a substantial collection of 3D assets. I have my go-to libraries like Big Medium Small and Kitbash3D, plus many smaller packs from different 3D marketplaces. However, lately I’ve been relying more on my own custom-built kit assets to match my style, workflow, and design language,” he said. His process is to start by placing simple shapes to explore silhouettes, compositions, and proportions. Then he can refine the elements to create a cohesive final design. When it comes to mood, Hadi relies heavily on color grading and LUTs, which can push the atmosphere and emotional tone further. “I apply color grading very early in the 3D process—not just at the end. This way, when I render a sequence, it already carries a specific tone and visual identity. The final color grade is then lighter and faster because ninety percent of the mood was already built into the renders. Images courtesy of Mehdi Hadi and ZBrush. According to Hadi, “The most difficult part was capturing the essence of what the world was like. Deciding on the artistic direction is always difficult.” He also understood that render time would be an issue because of the number of objects in each scene. So, he used PNG plates to lighten rendering in many of the shots. “For me, a true cinematic experience happens when the audience feels fully immersed in the world and emotionally connected to what they see, even if the story isn’t fully explained. And if they’re still thinking about it after the film ends, then I’ve succeeded.” For information: Mehdi Hadi Maxon ZBrush Previous Facebook LinkedIn Copy link Next

About Us Our Core Values We believe that design engineers are an investment in our futures. That engineers are interesting people who are motivated to produce something from nothing, or to produce something better from what we already have available. We believe that engineers deserve to have fun at their jobs, to enjoy technology, and to express their creativity in ways many people never get the chance to. Entertainment Engineering magazine was created as a magazine for engineers. Our goal is to provide technological pieces that provide ideas for tech transfer across all vertical markets from aerospace to semiconductor and from off highway to medical. While providing interesting information, we want engineers to ‘enjoy the ride’, to feel good about their jobs and themselves. And to enjoyably educate themselves along the way. Our Team Co-Founder Terry Persun For over thirty-five years, Terry Persun has been working in the B2B world in senior marketing and editorial positions. He has also taught physics and electronics at the college level. He has written and published literally hundreds of technical articles in over thirty different vertical markets for design engineers of various disciplines including electrical/ electronics, mechanical engineering, fluid power, machine tools, 3D printing, and more. Terry holds a BS and MA and applies his learning to everything he does. Co-Founder Bruce Wiebusch Bruce Wiebusch grew up in a family that was involved with B2B marketing, from strategic planning to sales, to editorial. Bruce has worked in senior marketing and editorial positions for over thirty years. He uses his business degree to enhance every aspect of his work life, including with Entertainment Engineering magazine. He has worked with several marketing agencies and has written and edited hundreds of technical articles for all of the major OEM publications in the B2B market. Bruce is also the author of a book on maximizing your PR. Senior Editor & Content Production Manager Nicole Persun Nicole Persun has over a decade of experience in editorial content production and digital marketing for magazines, nonprofits, and B2C enterprises. She believes the secret-sauce to a great editorial lineup and a competitive digital marketing strategy is storytelling, and she brings this ethos to everything she crafts — from quality content to a compelling editorial calendar to well-positioned campaigns and strategic marketing plans. Nicole's holistic, story-forward approach to content has proven to capture readers' interest in an increasingly challenging digital landscape. Partnerships Joe Gillard After serving as Editor-in-Chief for several major business-to-business magazine brands, Joe Gillard brings a high-integrity approach to the editorial and content requirements for every brand and multi-channel audience engagement. Joe’s skills in the marketing agency business leverages a strong foundation, handling large online and digital accounts for numerous companies. His approach to business and market development is a big plus for EE’s push into new markets and audience development. Joe's experience is key to our growth plans. Business Development Manager Christopher McClure Christopher McClure brings more than 20 years of experience in business development and marketing across book and magazine publishing, SaaS, and retail. An entrepreneur, writer, editor, planner, and strategist, he combines a consultative approach with research and data to understand market needs, identify opportunities, and develop practical solutions. His experience spans audience development, marketing strategy, sales, and relationship building, with a focus on creating meaningful connections between organizations and the audiences they serve. At Entertainment Engineering Magazine, Christopher works with advertisers and industry partners to develop opportunities that advance their objectives while delivering value to the publication’s engineering audience. Our History An idea is a funny thing. If talked about, it gains momentum; if researched, it gains structure; and if acted upon, it manifests. When first created, Entertainment Engineering was the very first online-only B2B publication. We were ahead of our time and competing with traditional print magazines that were not ready to change to meet the times. We even considered moving to print to better compete directly. For years, we interviewed hundreds of design engineers in multiple disciplines in the OEM and MRO markets. Those engineers were adamant about what they were looking for in a magazine. We listened! Every month, these same engineers and more returned to Entertainment Engineering because the magazine was interesting and fun to read. We also learned that whenever engineering professionals read about a product or service, they instantly consider how that product or service relates to the projects they are presently working on. Our articles might be of general interest, but they have wide engineering applicability. We call that technology transfer, and it is how engineers learn about new technologies. What better place to learn than in fun and interesting entertainment applications, which provide an emotional component to their experience. Entertainment Engineering grabs their attention emotionally and feeds their curiosity with new technologies. Our readers are from over 24 different industries from aerospace to machine tool and from construction to semiconductor and from broadcast to medical. These engineers purchase a broad range of products in the OEM world. In fact, we reach engineers who decide and influence the purchase of products and services in most component- and device-level categories. The right magazine with the right articles and stories brings a targeted audience to its pages. And the best magazines bring readers back again and again, delivering motivated purchasers to you.

Integrated electronic fuse technology helps console designers protect critical power rails while reducing system complexity. Modern Gaming Consoles Require Reliable Power Protection Integrated electronic fuse technology helps console designers protect critical power rails while reducing system complexity. Edited by EE Staff Games Apr 28, 2026 From esports arenas and streaming studios to home gaming systems and immersive XR platforms, modern gaming hardware powers some of the most demanding interactive entertainment experiences ever created. These systems rely on high-performance processors, graphics engines, and high-speed connectivity to deliver real-time gameplay with cinematic realism. Behind these experiences lies a complex power distribution network that must support rapidly changing electrical loads while protecting sensitive electronics. When subsystems ramp up simultaneously—such as during graphics-intensive gameplay—overcurrent conditions can occur. Preventing these electrical faults is critical to maintaining system reliability and uninterrupted gameplay. Figure 1 shows the circuit blocks in an example gaming console. All circuit blocks require protection from overcurrent conditions. Figure 1: An example block diagram of a gaming console. In a recent console design, engineers addressed this challenge by implementing integrated electronic fuse (eFuse) protection within the system’s power management architecture. The Challenge of Dynamic Power Loads Gaming consoles operate under highly variable electrical loads. A sudden graphics-intensive scene or network activity spike can cause several subsystems—including processors, memory, graphics engines, and networking hardware—to increase current consumption simultaneously. External peripherals introduce additional risk. Controllers, charging accessories, and other connected devices can create short circuits or draw excessive current through high-speed interfaces, including USB and ethernet. If these conditions are not quickly detected and controlled, they can lead to: Overheating of system components Damage to printed circuit board (PCB) traces Unstable system behavior or unexpected shutdowns Permanent failure of critical integrated circuits Traditional protection approaches rely on discrete components such as fuses, MOSFET switches, and current-sense circuitry. While effective, these designs increase component count and consume valuable PCB space. As gaming consoles become more compact and complex, designers are increasingly adopting integrated protection solutions that combine multiple safeguards in a single device. Integrated Power Protection In the console design, engineers implemented an electronic fuse (eFuse) device to protect a key 5-V power rail that supplies several internal subsystems and external interfaces. Figure 2 presents a block diagram of an eFuse and a sample application circuit, requiring only three external components. Two capacitors filter noise on the DC line, and the resistor programs the current limit. Figure 2: Example eFuse functional block diagram (left) and typical application (right), providing overcurrent protection, overvoltage protection, and overtemperature protection, as well as other safety features. An eFuse operates as an intelligent load switch that continuously monitors multiple conditions. When abnormal events occur—such as excessive current draw, overvoltage conditions, or overheating—the device quickly disconnects the load to prevent damage. Unlike conventional fuses that permanently open after a fault, an eFuse can electronically shut down and automatically restore operation once the abnormal condition has cleared. This capability is particularly valuable in gaming systems, where temporary disturbances such as peripheral faults or transient electrical events can occur. Monitoring and Fault Isolation At the heart of the protection device is a low-resistance power MOSFET that connects the input supply to the protected circuit. Internal monitoring circuitry measures current, voltage, and temperature in real time. If any single parameter exceeds safe operating limits, control logic rapidly disables the MOSFET, isolating the fault before damage to the system occurs. In the console implementation, the protection device supports load currents up to approximately 5 A on a 5-V supply rail. Engineers can program the current limit using an external resistor, allowing the protection threshold to match the requirements of the specific subsystem. Additional integrated features include: Soft-start control to limit inrush current during power-up Thermal shutdown protection Undervoltage lockout to ensure stable system startup Together, these features allow the device to act as a centralized protection controller for the console’s power path. Efficiency and Thermal Management Thermal management is already a major design consideration in high-performance gaming hardware. Protection components must therefore operate efficiently to avoid adding unnecessary heat. An eFuse protection device features a low on-resistance of roughly 50 milliohms, minimizing power dissipation during normal operation. The device also consumes only about 200 microamps of operating current, allowing it to support power-sensitive subsystems without significantly impacting system efficiency. These characteristics help maintain the thermal balance of the console while still providing robust fault protection. Reducing System Complexity Another advantage of integrated protection devices is the ability to reduce component count. Traditional protection circuits may require multiple discrete components—including fuses, switches, and sensing circuitry—to implement the same functionality. By integrating these functions into a single device, engineers can simplify power-management design while conserving PCB space. In the console application, the eFuse protection device is housed in a compact 2 mm × 2 mm surface-mount package, allowing it to be placed close to sensitive subsystems without increasing board area requirements (see Figure 3). Figure 3: An eFuse LS0505EVD22L housed in a compact DFN2x2_8L package with pinout diagram. This compact footprint is particularly important in gaming consoles, where multilayer PCBs must accommodate processors, memory devices, wireless radios, and high-speed interfaces within a limited space. Preparing for Future Gaming Platforms As gaming technology continues to evolve toward virtual reality, augmented reality, and increasingly powerful graphics hardware, electrical power demands will continue to grow. Ensuring reliable power distribution in these systems will remain a critical engineering priority. Integrated protection technologies such as eFuses provide console designers with a practical way to safeguard complex electronics while maintaining compact designs and efficient operation. By combining fast fault detection, intelligent power control, and small form factors, these solutions help ensure that next-generation gaming platforms remain both powerful and reliable—keeping players immersed in their experiences rather than interrupted by hardware failures. *Images courtesy of Littelfuse. For information: Littelfuse eFuse Previous Facebook LinkedIn Copy link Next

The Shanghai Expo Cultural Park has unveiled a nighttime experience with an ingenious immersive design that blends natural flora with enchanting light artistry. Immersive Night Tour Blends Nature with Imaginative Light and Projection Technology The Shanghai Expo Cultural Park has unveiled a nighttime experience with an ingenious immersive design that blends natural flora with enchanting light artistry. Edited by EE Staff Attractions May 7, 2026 Theme Parks Located in the heart of the Shanghai Expo Cultural Park, the Shanghai Greenhouse Garden features three themed pavilions—Coastal Sandbar, Cloud Forest, and Mist Canyon—each showcasing rare global flora and breathtaking natural landscapes. The Greenhouse Garden is Asia’s largest glass conservatory, known as the “City of Wild Plants.” Its latest night tour projection not only showcases the Garden’s natural wonders but also highlights exceptional projection capabilities designed and installed by Barco. The project seamlessly integrates projection systems with landscaping and creative content to produce a visual spectacle. Images courtesy of Barco. The highly irregular projection surfaces, featuring curved glass walls, trees, cacti, and rocky formations presented some very unique challenges for the team. This demanded extraordinary precision in color calibration and image alignment. Civil engineering, decoration, greenery, and multimedia projector setup were conducted simultaneously, increasing coordination difficulty and potential obstructions to the light path. In addition, projector placement required meticulous pre-visualization to avoid plant coverage, heat exposure, and to ensure stable mounting in all locations. Images courtesy of Barco. A total of forty-nine Barco G-series projectors brought the immersive storytelling to life across all three pavilions. The Coastal Sandbar Pavilion offers a captivating introduction to the immersive experience. “The Journey Begins” uses two G60-W7 projectors to immediately draw visitors into the story with meticulously designed visuals. As guests continue, “The Water Ritual” comes to life through four G62-W11 projectors, animating two massive baobab trees, the ground, and surrounding stone platforms with lively, playful imagery. The journey progresses into “The Pillar Jungle,” where two G62-W14 projectors cast dynamic lighting patterns onto three giant cacti, creating an interactive sound and light experience that responds to visitors as they pass by. The experience culminates with “The Starry Party,” which integrates sixteen G60-W7 projectors to create a fully immersive environment. This is where visitors can trigger interactive effects, such as flocks of butterflies and wings of light that gather at their touch—making the environment both magical and participatory. Images courtesy of Barco. In the Cloud Forest Pavilion, “Beauty in Harmony” employs five G100-W22 projectors to display vibrant scenes of rainforest life. These units provide 22,000 lumens of light using a single-chip laser phosphor projector with up-to-date input capabilities and future-proof design with full operational flexibility through a wide lens range. The projections feature lush flowers, hummingbirds, and lizards on uneven landscape surfaces, seamlessly intertwined with animations of robots and alien flora encountering a gorilla. The blend of natural and fantastical elements creates a rich, layered visual narrative. Additionally, “Passing Warmth” applies two G60-W7 projectors to illuminate an L-shaped fallen tree installation, illustrating the natural process of trees nurturing fungi as they grow into mushrooms. The Misty Canyon Pavilion immerses visitors in a world of vibrant flora and fauna. “Flower Road Drift” uses nine G60-W7 projectors to light up a vivid petal pathway where lizards, frogs, and other small creatures appear and disappear beneath the blossoms. The projections blend seamlessly with surrounding floral pillars and scenic decoration, enveloping visitors in a dazzling ocean of blooms. “Floral Waterfall Drift” combines the power one G62-W11 and one G62-W14 projector to project a 10-meter-tall cascading image over a rock-face waterfall, merging the motion of real water with a mesmerizing stream of light. Finally, “Blooming Rebirth” features seven G100-W22 projectors forming a circular immersive space that revisits the adventurous journey of robots and alien plants through cinematic visuals, providing a memorable conclusion to the pavilion’s narrative. This project showcases the unique charm of the Shanghai Greenhouse Garden while highlighting Barco’s exceptional projection capabilities in complex environments. In all, the project uses a total of 49 projectors to provide vivid color accuracy and rich detail to create an immersive 4K visual space. Low-noise operation ensures a serene and uninterrupted experience for the audience. Beyond delivering high-performance equipment, Barco provided flexible engineering expertise and tailored solutions, creating an experience that exceeded client expectations, enhanced the city’s cultural identity, and redefined the standards of nighttime cultural tourism. For more information: Barco G100-W22 Shanghai Expo Cultural Park Read more about theme parks and attractions >>> Previous Facebook LinkedIn Copy link Next

After running for decades on its original electro-hydraulic drive, Timber Lake Playhouse’s revolving stage system received significant behind-the-scenes upgrades in recent years. Upgrading a Small Town Theatre's Rotating Stage After running for decades on its original electro-hydraulic drive, Timber Lake Playhouse’s revolving stage system received significant behind-the-scenes upgrades in recent years. Ryan Poethke, ShowFab Stage Events Mar 13, 2026 Timber Lake Playhouse (TLP) is a 371-seat theatre that sits on a 10-acre campus, which includes housing for its staff, plus the associated shops and administration facilities needed to put on multiple performances every summer. Images courtesy of Ryan Poethke. From an engineering perspective, what makes TLP especially interesting is its semi-thrust stage—extending into the audience—featuring a 36-foot diameter section of the floor that rotates under electromechanical control. This moving floor, known simply as a “revolve” in theatre terms, allows scenery to be set up backstage, then rotated into place for quick scene changes. While the basic idea of a revolving stage seems fundamental, there has been significant progress in power transmission technology since TLP’s founding over 60 years ago. Changing Technologies in 2017 Originally, the revolve system was powered by an electro-hydraulic drive, consisting of a 5hp electric motor as the input power source, driving a hydraulic pump. In turn, the hydraulic fluid was used to operate a hydraulic motor which turned the stage through a large gearbox. This worked for decades, but eventually became unreliable and difficult to maintain. To improve this situation, I volunteered to upgrade the system to full electrical control. Having spent a summer working at the Playhouse, and now being employed as a controls engineer for ShowFab, which specializes in set building and entertainment fabrication, I possessed the right combination of experience and expertise needed to complete the upgrade. These images show the electric motor, gearbox, and associated pulleys, cables, and tensioning weights, all hidden underneath the theatre’s stage revolve. After removing the original hydraulic drive, an electrical-motor-driven gearbox was installed. Pulleys and sheaves, interconnected in part with a continuous loop of aircraft cable and tensioned by weights to establish the necessary friction, transferred the rotational motion to the stage. This robust mechanical setup quietly handles the system’s massive torque and moderate speed requirements without taking away from the experience of the play itself. To control the 240V three-phase electrical motor in both directions and at varying speeds, I incorporated an AutomationDirect GS2 AC variable frequency drive (VFD). Because the site happened to have electrical power available in a somewhat uncommon 240VAC open delta 3-phase format, the VFD was readily configured to operate the motor, with a small user-friendly control panel, to spin the massive stage turntable in both a clockwise and counterclockwise direction without issue. Motor Control Upgrades for 2025 This GS2 drive setup worked great for nearly two decades, but eventually the VFD began experiencing some intermittent faults, which were easily cleared but created a nuisance for users. In 2025, the team realized it was time for a refit. Again, I was able to volunteer my time. We took this opportunity to provide a few safety and performance upgrades, as well. For the upgrade, I selected the latest version of the AutomationDirect VFD family, the GS23, which includes the same functionality as the older unit but also offers many enhanced features. Of special importance for this project, the newer VFD could also accept a single-phase input to produce a three-phase output needed for velocity control, forward/reverse operation, and compatibility with the existing motor. The form factor of the new drive closely matched that of the older unit, allowing a new enclosure subpanel to be fabricated in advance to support a quick change-out. The GS23 provides easy-to-use stage control for the TLP team. While heavy industry commonly uses three-phase power to enable superior load carrying capacity for a given electrical load, the rotating stage was the last remaining piece of equipment at TLP that required three-phase power at the time of installation. With the new drive in operation, the three-phase requirement could be dropped, simplifying the facility’s electrical distribution system. Enhanced Operator Interface and Safety In addition to the VFD panel, the system includes an operator console with a direction switch, run/stop buttons, a rotation speed potentiometer, indicator lights, and a fault reset button, all sources from AutomationDirect. The operator console shown here uses several buttons, lights, and an e-stop button to provide a simple way for stagehands to operate the stage revolve. Within the VFD panel, the latest upgrade now includes an AutomationDirect Reer MOSAIC safety controller to monitor emergency stop (e-stop) buttons located at both the operator console and the stage manager’s position. If either e-stop button is pressed, the safety controller activates the VFD’s industry-standard safe torque off (STO) function, which causes the drive motor to coast to a stop. Another unique feature of the design regards how the cooling fan for the VFD enclosure is controlled. The goal was to turn the fan on whenever the VFD is started, and then to continue to run the fan for a period of time after the VFD is stopped to provide the desired cooling. This could be achieved with a hardwired relay, or with a small programmable logic controller (PLC), or by using the PLC function built into the G23 VFD. However, in this case it was determined that a practical way to achieve this control would be to use a safety controller auxiliary output. Designers appreciate it when they have multiple options for creating a solution. With these new improvements, the Timber Lake Playhouse is set up to reliably entertain audiences for decades to come, rotating the stage smoothly in either direction for scene transitions. What is going on behind—or more literally, below—the scenes may be interesting to stagehands and engineers, but when everything runs smoothly, the audience can get lost in the story itself. For more information: AutomationDirect GS23 Safety Controls ShowFab Timber Lake Playhouse Read more theater case studies >>> Previous Facebook LinkedIn Copy link Next

A specially-made through-hole slip ring delivers all the right measurements. Testing Dirt Bikes is a Tricky Application, Requiring Specialized Components A specially-made through-hole slip ring delivers all the right measurements. Edited by EE Staff Sports Jan 6, 2026 Rotary Systems is often tasked with improving upon existing slip ring designs. In one such case the company facilitated the design and production of a slip ring encoder made specifically for dirt bike testing. Images and gifs courtesy of Rotary Systems. Testing dirt bikes can be a tricky application, so when a leading producer of measurement and testing equipment requested that Rotary Systems, Inc. (RSI) engineer and manufacture a specialized slip ring they took on the challenge. The testing customer needed a product that allowed a dirt bike motor to measure temperature and calculate drivetrain efficiency. This application required a compact slip ring needed to fit around the shaft of an axle. One of RSI’s specialties include through-hole slip rings which meant that their engineers had the experience and expertise to design the product in-house. How a slip ring encoder works In a basic sense, the slip ring encoder receives power directly from the motor and in exchange transmits data to the customer’s computers onsite. The testing customer is then able to detect extreme changes in temperature and, if the shocks are overloaded, the company can remedy the situation quickly. Working with other engineering teams to develop the best solutions is what keeps RSI at the top of their game. In this particular application the company’s engineering team worked hard to develop a product that withstood extreme environments like the rugged terrain of the motorcross trail, in order to ensure data was transferred as efficiently and safely as possible. For more information: Rotary Systems Slip Rings Other cool sports and racing articles >>> Previous Facebook LinkedIn Copy link Next

Building information modeling (BIM) helps Walt Disney Imagineering coordinate disciplines such as architecture, design, industrial manufacturing, digital media, animation, animatronics, and 3D modeling. How Disney Leverages Industry Convergence to Create Immersive Theme Park Experiences Building information modeling (BIM) helps Walt Disney Imagineering coordinate disciplines such as architecture, design, industrial manufacturing, digital media, animation, animatronics, and 3D modeling. Edited by EE Staff Theme Parks Oct 12, 2026 Attractions When Walt Disney opened his first theme park in 1955, he wanted it to be joyful. However, he created much more than that. What he created was fun, but also engaging, engrossing, inspiring, and immersive. In the most visceral way possible, it’s memorable. Disney himself would have called it “magic.” It includes the work of ambitious engineers, inventive artists, and cutting-edge technologies. At Disneyland and the other eleven Disney parks, new ideas might emerge but what’s also important is how they are executed. “We’re in the business of making transformational experiences,” says Bei Yang, vice president and technology studio executive at Walt Disney Imagineering (WDI), which conceives, designs, and builds the attractions at Disney theme parks. Among Disney’s bag of tricks are disciplines such as architecture, design, industrial manufacturing, digital media, animation, animatronics, and 3D modeling—all used for maximal effect. Construction on Disneyland’s Avengers Campus debuted in June 2021. / Image courtesy of The Walt Disney Company. According to Yang, “We have to take all of these industries and put them together to deliver the experiences that we want to deliver.” Although WDI didn’t invent the notion of industry convergence, it has aimed to perfect it. Understanding its approach can help enterprises of all sizes and in all sectors achieve Disney-size innovations. Telling Stories Although Disney is best known for its films and parks, its core product is stories. “Ever since mankind looked up at the stars, trying to make sense of the world, we’ve been using stories to offer lessons, offer advice, and pass down knowledge from generation to generation,” Yang said. “This is the fundamental way that humans communicate and connect with one another, and it’s the tool we use to create transformational experiences.” Disney’s stories are built around the classic hero’s journey structure where an ordinary person receives an extraordinary call to action. With the help of a mentor, who trains and prepares them, the hero confronts an incredible challenge in a fantastical place, from whence they ultimately return triumphant and transformed. “Disney parks offer this to our guests,” says Yang. Changing technologies also changes rides even as they maintain their story. For example, “Pirates of the Caribbean: Battle for the Sunken Treasure,” at Shanghai Disneyland is different than the original. The “Pirates of the Caribbean” ride at Disneyland was based entirely on animatronic vignettes, the Shanghai version features magnet-powered boats, next-generation animatronics that are interactive instead of passive, and immersive digital media—all of which is precisely synchronized and choreographed. Shanghai Disneyland’s “Pirates of the Caribbean: Battle for the Sunken Treasure” shows how Disney rides have advanced with technology such as next-generation, interactive animatronics and immersive digital media. / Image courtesy of The Walt Disney Company Handling Increased Complexity The fruits of converging technologies are more obvious at scale, as evidenced by Walt Disney World in Orlando, FL. At 43 square miles (twice the size of Manhattan), Walt Disney World is home to four theme parks, each operated like a small city. Not only do these parks feature rides and attractions, but they also incorporate power plants, water plants, and transportation systems. According to WDI Executive Creative Director, Asa Kalama, “Creating these city-scale experiences is a massive design challenge.” And none was more a challenge than Disneyland’s and Disney World’s Star Wars Galaxy’s Edge. Star Wars Galaxy’s Edge is a fully immersive theme park based on the Star Wars film franchise and offers “a level of detail that rivals any set ever created for the movies,” Kalama explains. “It’s the largest single-theme land expansion in the history of Disney Parks. Creatively, technically, and logistically, it’s one of the most ambitious projects in our history.” The park’s signature attraction is a life-size replica of the Millennium Falcon that Star Wars fans can pilot themselves during a virtual ride through the galaxy. “It’s big because the whole experience is big, as was the team behind designing it,” Kalama says of the 110-foot Millennium Falcon. “The team included workers with over 140 different disciplines from all around the globe—concept artists, designers, facility architects, landscape architects, interior designers, show set designers, graphic designers, media designers, ride engineers, software developers, as well as a host of amazing trade partners.” Coordinating so many disciplines across time zones was “a Herculean task,” according to Kalama, who says the secret to successful convergence at that scale is building information modeling (BIM). “The final experience that our guests enjoy today is the product of over 600 different models, all integrated to a single source encompassing design, fabrication, and installation,” he says. BIM enabled the teams to operate more quickly. “We were able to collapse our sequencing and have multiple disciplines all working in parallel, often at different levels of detail, on things that would otherwise need to happen sequentially. And in the end, this allowed us to deliver one of the most technically challenging attractions we’ve ever created months ahead of our target turnover date,” Kalama said. Hundreds of BIM models enabled the industry convergence needed to complete the 110-foot Millennium Falcon as a part of Disneyland‘s ambitious Star Wars Galaxy’s Edge theme park. / Image courtesy of The Walt Disney Company. The promise of industry convergence is in using BIM and other digital technologies to choreograph diverse experts to deliver projects of unfathomable size, scale, and complexity with speed and quality. According to Yang, theme parks are just the beginning. He suggests that all manner of emerging technologies—from augmented reality to autonomous vehicles to smart cities will demand Disney-size integration efforts. No matter what industry you’re in, “there’s going to be more, tighter integration,” Yang concludes. The new Web Slingers ride at the Marvel Avengers Campus includes a visit to Stark Industries’ Worldwide Engineering Brigade (WEB) lab. / Image courtesy of The Walt Disney Company. For information: Autodesk Disney Building Information Modeling Lead image is the Millennium Falcon at Star Wars Galaxy’s Edge in Walt Disney World, courtesy of The Walt Disney Company. This article was adapted from a customer story originally published by Autodesk. Read more about theme parks >>> Previous Facebook LinkedIn Copy link Next

At the Virtual Production Days event at the Amsterdam Studio, a combination of LED displays and processing technologies were showcased for film and TV. How LED Displays and Real-Time CGI Could Replace Green Screens in Film and TV At the Virtual Production Days event at the Amsterdam Studio, a combination of LED displays and processing technologies were showcased for film and TV. Terry Persun Film and TV Mar 2, 2026 When Faber Audiovisuals set out to organize the Virtual Production Days, they chose a combination of Black Pearl BP2 and Brompton processing technology for the LED screens that were set up as green screen replacements for film and TV. Faber Audiovisuals and Sweetwater, both part of the NEP Group, were at the forefront of innovative developments and implementing ready-made solutions for their clients. In addition, Fuse Technical Group was involved as a VP Days equipment supplier. According to a Faber Audiovisuals spokesperson, “Shooting sets with a virtual production team involved in the process adds greatly to saving on production time and costs, compared to regular post-production VFX work.” As presented in different set-ups, Faber Audiovisuals showcased the nearly endless possibilities that can be created using a combination of specific technologies, bringing together LED technology, processing power, video playout, and visualization tools. In addition to the virtual studio corner set-up, using Black Pearl LED panels on Brompton HDR processing, Faber built a car-rig showcase, using Carbon series CB3 LED panels. Images courtesy of ROE Creative Display. While the Black Pearl BP2 LED screens have outstanding on-camera performance, due to distinctive product specifications, such as scan rate and LED quality, Brompton’s Dynamic Calibration technology delivers images that appear sharper, more detailed, and vivid. Next to these to set-ups, Faber displayed some Black Marble LED floor panels and ROE LED Strip elements. Images courtesy of ROE Creative Display. “The car rig worked with a BMW situated in front of and under an LED screen. On the driver’s side, we situated a third, smaller LED panel. The camera used was dolly mounted, so we could drive along the driver’s side of the car. The side panels either showed a shopping street or a bridge. The roof panel provided reflections on things like the windscreen. The composite image was astonishingly realistic; as if you were racing at full speed through a neon-lit shopping street or across a long suspension bridge,” explains Jasper Reijgers, Sr. Executive Streaming, TV & Film for Faber Audiovisuals. LED screens can provide immersive, realistic backdrops for film productions. “With the panels being recalibrated with Hydra, we ensured that the HDR content could be shown with higher contrast ratios, deeply saturated colors, and true-to-life color accuracy,” states Dries Vermeulen, Business Development Manager Europe at Brompton Technology. Images courtesy of ROE Creative Display. “This new production process will change the way we plan film productions, shifting the attention to pre- and on-set production. Film production will include the whole process from shooting to script adjustments to editing at one go, in a controlled environment like a studio. Real-time rendering helps support this new methodology,” states Nils Pauwels, Sales manager solutions at Faber Audiovisuals. During the event in the Amsterdam Studios, attended by over 220 international guests, including VFX supervisors, directors of photography, content designers, directors, and VFX/post-production companies and broadcast production companies, Faber Audiovisuals demonstrated Virtual Production as a new production process that merges physical objects, such as actors and real-world camera movements, into real-time computer-generated imagery (CGI). They also showcased rendering solutions and the process of virtual production to create a digital world, with real-time interaction on set. For more information: ROE Visual Carbon CB3 Black Marble Floor Panels Faber Audiovisuals Sweetwater Fuse Technical Group Read more about film and TV technology >>> Previous Facebook LinkedIn Copy link Next

Not only do the toys require a close likeness to the licensed character, they need to be interactive. Here's how one renowned US manufacturer pushed toy design to an all-new level. How Licensed Toys Are Made, From Artistic Freedom to Engineering Control Not only do the toys require a close likeness to the licensed character, they need to be interactive. Here's how one renowned US manufacturer pushed toy design to an all-new level. Edited by EE Staff Cool Stuff Jun 4, 2026 Games, Film and TV Toys. They’re so much more than a piece of plastic. They help parents bond with their kids. They build childhood memories. They spark creativity. Many iconic characters, whether from Disney, the Simpsons, Super Mario™ or SEGA, have had their plastic counterpart made by the same team: the designers at Jakks Pacific, a major US toy manufacturer. Leading the Sculpting department is Eleazar Kim-Carmeli, director of 3D design and sculpting as well as of the creative resources team. Not a day goes by without him using Geomagic Freeform. It’s the most efficient way to design licensed toys that meet the high standards of quality that today’s customers have come to expect. Images courtesy of Hexagon and Jakks Pacific. “Nowadays people want a good product, not just pushing out plastic, whether it’s a 2-inch or a 10-inch figure. What that means for toy manufacturers is that you need the software that allows you to do that—not just easily, but effortlessly,” Kim-Carmeli says. High Quality Licensed Toys The first element that goes into making a high-quality licensed toy is likeness. The toy must look like the character from the film, series, or video game that it represents. Every design has to be approved by the brand that owns the franchise before it goes into production. And, in order for customers to be intrigued enough by the design to enjoy playing with it, moving elements are often incorporated. That can include hands, legs, paws, tails, heads, etc. How these elements come together is key. Images courtesy of Hexagon and Jakks Pacific. “I enjoy working on these because of the challenge to make something that not only looks right to the license, but is also playable, interactive, and has great articulation,” Kim-Carmeli says. Making great toys hinges on having both artistic freedom and engineering control. Plastic toys are essentially small sculptures with intricate details. They’re also mass-produced items that must meet specific requirements defined by manufacturing methods. The first type of design work requires organic modelling and the second the precision of CAD operations. Toy designers need both. Geomagic Freeform brings together the tools for digital sculpting with CAD, which enables designers to carry out a complete toy design workflow—from brief to prototype—in the same environment, and to ensure manufacturability Real-World Measurements The first thing a designer considers when looking at a brief is how to scale. Simply increasing a two-inch figure to six feet or vice versa is not going to cut it. Details can easily be lost or overblown. In addition, if an element is too thin or too small, it won’t come out right in manufacturing. These errors can be corrected in a further iteration, but not without delaying the delivery. Because Geomagic Freeform gives real-world measurements and dimensions, it’s easy to get features exactly right. Using the software, Jakks was able to create articulated toys that work perfectly once produced. They can set rotational pivots, check clearances for manufacturing, and create a toy that’s fun to play with. While these designs are often very complex, the software itself is easy to use. Kim-Carmeli explains, “When you’re using Geomagic Freeform, you don’t really think about the ins and outs of the program—you’re just working. That’s something that I’ve always loved about it.” The learning curve for Geomagic Freeform is low. Designers master it in a few days. “I’ve been working in toy design long enough to have seen toys done by hand, with early-stage digital sculpting tools that were very difficult, and with Geomagic Freeform. Other tools that have an esoteric interface or a linear method of working. Freeform is a tool that your designers simply pick up and make things,” Kim-Carmeli says. Below is a video of the latest new features for Geomagic Freeform 2026.1. Ease of use is particularly important today, especially in the toy industry which is moving surprisingly fast. Designers are asked to produce hundreds of designs a year. Creating high quality designs that work right is what makes the difference, and Jakks creates designs that look right and are manufacturable immediately. With a comprehensive toolkit for design and manufacture, Jakks creative team will continue to shape memorable creatures and characters, bringing joy to households across the globe. *Images courtesy of Hexagon and Jakks Pacific. For information: Hexagon Geomagic Freeform Jakks Pacific Read more about consumer designs >>> Previous Facebook LinkedIn Copy link Next

Advertise with Us Why Advertise with Entertainment Engineering Magazine ? It's human nature to be curious and seek entertainment — that's why Entertainment Engineering exists in the first place! Here at Entertainment Engineering , we connect with our readers' insatiable curiosity to drive engagement, while providing an editorial package that focuses on content that is educational and valuable to our audience's jobs. The result is a publication that isn't just relevant, but fun, too! By prioritizing our readership, we guarantee a highly-engaged audience to our advertisers. We'd love to talk to you about how we can highlight the coolest and most innovative applications of your products to an audience that is enthusiastic, engaged, and interested in your product. Want to learn more about what we offer? Request a media kit below. First name* Last name* Email* Company name* Any specific inquiries you have? Submit 5 Ways to Attract a Design Engineer’s Attention The Entertainment Engineering Philosophy 1. Show Them Something Interesting - Entertainment Engineering incorporates the FUN design elements in editorial that focuses on the latest movies, games, amusement park, and more. 2. Teach Them Something They Don’t Know - Entertainment Engineering digs into TECHNOLOGY to find out what new unique electrical, mechanical, fluid power, materials, software and computer products are being used behind the scenes. 3. Excite Them About the Possibilities - Entertainment Engineering provides the platform to get an engineer’s CREATIVE processes flowing, allowing them to consider how the product they’re reading about will fit with the project they’re working on—we call it Tech Transfer. 4. Deliver Them to A Place of Information - Entertainment Engineering opens deep links pertinent to the page an engineer is reading, giving them the chance to deepen their learning and have access to the companies and products their interested in. 5. Repeat The Process - Entertainment Engineering provides the right formula of Technology, Creativity and Fun to attract an engineer month after month.

A deep dive into the hydrophone arrays and specific equipment used by scientists at Project Blue Whale at the University of Iceland. Noise Pollution is a Big Threat to Blue Whales — Here’s How Scientists Are Listening In A deep dive into the hydrophone arrays and specific equipment used by scientists at Project Blue Whale at the University of Iceland. Edited by EE Staff Cool Stuff Jan 19, 2026 Growing up to 30 m long and 180 tons, the blue whale is the largest animal in the world. In addition to its impressive size, its calls can be heard thousands of kilometers away and far below the ocean’s surface. But there’s a growing threat to their communication: noise pollution. These highly intelligent — and endangered — animals have a similar communication frequency range as a variety of man-made sounds, such as ship engines, low-frequency active sonar, seismic air gun array explorations, other oil exploration activities, and more. With growing evidence that noise interference can disturb vital life functions of these whales — feeding, breeding, navigation, and communication — and with underwater noise pollution on the rise, it’s imperative that researchers gain a better understanding of how, why, and where blue whales communicate, as well as the level and effect of noise disturbance on their lives. Project Blue Whale The Húsavík Research Center at the University of Iceland is a leading authority in the study of marine mammals. The center is led by Dr Marianne Helene Rasmussen, who is the driving force behind Project Blue Whale, a research project dedicated to gaining knowledge about blue whales in the Northeast Atlantic Ocean to better understand the impact of increasing ship noise on their habitat. The project aimed to better understand the blue whale’s communication patterns. This required the localization of individual blue whales and the recording of what sounds they were making at what times. Scientists wanted to answer key questions such as whether it was always the same animal calling, what the difference is between animals, and whether they are able to change the frequency of their calls to account for background noise (something other species of whales are able to do). The project also aimed to find out if and how underwater ship noises affect these communications, which involved projecting noises at certain frequencies to mask the sounds created by blue whales and investigate their responses. Images courtesy of HBK. Hydrophones in Marine Research Dr. Rasmussen came to the project with broad experience in marine research using hydrophone arrays to record beam patterns and sound levels. In an earlier project in Northern Norway, her team recorded the sounds made by sperm whales using Type 8101 hydrophones from Brüel & Kjær. The project had been a great success, so it was a natural decision to use the same equipment again for Project Blue Whale. The Brüel & Kjær NOTAR recorder allows underwater sound recording for hours at a time — even without the need of a laptop. NOTAR is a small and rugged solid-state recorder that has no shock-sensitive moving parts (unlike tape recorders or PC hard drives) which means it can be used in locations where no PC-based recorder can operate. Hydrophone Type 8106 has a built-in preamplifier which gives a signal suitable for transmission over long cables. It is usable down to 1000 m ocean depth. Recording the Whales To record the whales, a digital recorder was custom made at Aarhus University and specially configured to be able to capture sound on one channel and to give an accurate GPS signal reading on the other for precise localization data. Images courtesy of HBK. To get accurate recordings, the team also needed calm seas and no wind; otherwise, the subsequent waves and ‘cable strumming’ noise from the hydrophone cables would cause additional noise interference that would render the results useless. The frequencies of interest were as low as 10 – 20 Hz. In order to achieve any bearing (directivity), the distance between the hydrophones had to be far enough apart to secure a certain minimum angle. The team utilized four boats and four hydrophones in a large hydrophone array; the distance between the hydrophones was either 1 km or 500 m and they were at a depth of 30 m. Once a whale was sighted, all that was needed was for the boats to stay in place and record the whale sounds and locations for approximately one hour at a time. Images courtesy of HBK. Analyzing the Whale Recordings Aside from a few days of bad weather and some minor technical glitches, everything went as planned and the team managed to gather over 100 whale calls, along with a wealth of good positional data. The recordings were then analyzed onshore. Of course, the study didn’t end there. The second part — examining how ship noises mask and affect the whales’ communication — is an ongoing project. Nevertheless, the data so far has already revealed some interesting results about the nature of these fascinating sea mammals, how they communicate, what frequencies they use, why, and when. These findings are, in turn, giving rise to a host of new questions, such as whether or not blue whales can change frequencies when calling, if there is any interspecies communication, and if this methodology can be used to study other types of whales.Never one to sit still, Dr Rasmussen is already planning to apply for financial backing for a range of other projects to look more closely into these and other areas. For a project like this to have gone so smoothly so far, with so many extraneous variables to manage and overcome, is a huge achievement.Project Blue Whale has not only helped to form a far deeper understanding of blue whales — Dr. Rasmussen and her team also hope that their results will be a catalyst for a new dialogue with authorities about shipping lane regulations and other safeguards to the whales’ natural habitat. And if all this leads to more and better ways of protecting this enormous, endangered, and enigmatic sea creature, then this is the best possible result. For more information: HBK NOTAR recorder Hyrophone Type 8106 Read more deep sea articles >>> Previous Facebook LinkedIn Copy link Next

A team of students from a broad mix of engineering disciplines designed, built, and raced a solar-powered car across 3,000 kilometers of Australian wilderness. Here's how they did it. Race Car Crosses Continent With Nothing But Solar Power A team of students from a broad mix of engineering disciplines designed, built, and raced a solar-powered car across 3,000 kilometers of Australian wilderness. Here's how they did it. Alex Edwards, Protolabs Sports Aug 28, 2025 Cool Stuff What does it take to build a car capable of crossing a continent on nothing but solar power? For the Brunel Solar Team, it’s a combination of deep engineering talent, relentless motivation, and an ability to adapt under pressure. As the world’s most decorated solar racing team prepares for the 2025 Bridgestone World Solar Challenge, I sat down with two of its members, Merijn Kroon, Partnerships, and Lucas de Jong, Mechanical Engineer, to explore the innovation behind their latest vehicle, their collaboration with Protolabs, and what it really takes to chase the sun across the Australian outback. Each year, a fresh team of students from TU Delft in the Netherlands puts their degrees on hold to focus full-time on one ambitious goal: designing, building, and racing a solar-powered car across 3,000 kilometers of Australian wilderness. The team draws from a broad mix of disciplines—mechanical engineering, electrical engineering, architecture, aerospace, industrial design, and more. As Merijn explains, “There’s no course at university on building solar cars. What really matters is motivation and the willingness to learn fast.” All photos courtesy of Protolabs and Brunel. Each team is carefully selected by the outgoing group, with a focus on complementary skills. “It’s not just about technical know-how,” adds Lucas. “It’s about creating a team that communicates well, adapts quickly, and supports each other.” A Race Against Time and Nature This year’s race (2025) introduces fresh engineering challenges. It is scheduled two months earlier than usual, in August rather than October—right in the middle of the Australian winter. That means fewer daylight hours and lower solar intensity, directly impacting the energy available to the car. Compounding the challenge is a major rules shake-up. “We’re now allowed to use six square meters of solar panels—up from four,” says Merijn. “But that doesn’t mean we can just scale everything up. A bigger solar array introduces aerodynamic and structural complications, and all of this with two months fewer development time.” To make matters more interesting, the allowable battery capacity has been slashed to one-third of previous years. That makes smart energy management not just useful, but essential. “We can’t just rely on speed,” Lucas says. “Strategy becomes everything. From wind and weather to incline and sunlight patterns, the winning team will be the one that adapts fastest.” All photos courtesy of Protolabs and Brunel. To build a car this innovative on such a tight timeline, reliable manufacturing support is critical. “We’re always looking for partners who share our values around sustainable innovation,” Merijn says. “With Protolabs, the enthusiasm and willingness to collaborate stood out from the start. Their speed and precision made them a natural fit.” Protolabs supplied key CNC-machined components including the brake pedal bracket—crucial for safety—and the front suspension damper brackets. “These are high-load, safety-critical parts that must be lightweight but durable,” explains Lucas. “We used aerospace-grade aluminum and relied on finite element analysis (FEA) to validate designs before manufacture.” Thanks to tight coordination, complex, high-tolerance parts were delivered and mounted on the car in time for early testing. Once complete, the team focused on less time-sensitive parts, which included spares. Additional components were later 3D printed via Protolabs Network, at longer, more cost-effective lead times, adding valuable flexibility to the manufacturing process. By partnering with Protolabs, the team could accelerate the manufacturing process when the pace demanded it, and cruise when efficiency was in the pole position. Engineering a Safer Solar Future While the car is designed for maximum efficiency and lightness, safety remains paramount. “We’ve got an impact-resistant occupant cell, a balance-bar braking system, and new this year—a roll bar similar to Formula One’s Halo structure,” says Merijn. “The entire system is built to comply with strict safety checks during scrutineering in Australia.” Even with the lightweight design, the car remains incredibly stable. “The aerodynamic drag increases massively as you go faster, so our cruise speed is around 90 km/h. It’s all about efficiency—not max speed,” says Lucas. In fact, the team’s 2005 car still holds the solar racing speed record, clocking an average of 131 km/h over 3,000 km. The race itself takes place on public roads, with speed limits and real-world weather to contend with. “You only have one shot,” says Merijn. “Anything can go wrong—weather, mechanical, even wildlife. We heard stories of teams waking up with snakes in their tents.” More Than a Race While solar racing isn’t (yet) the future of commercial transportation, it has a vital role to play. “We don’t expect everyone to drive a solar-powered car tomorrow,” Lucas admits. “But solar as a range-extending technology? Absolutely. Some manufacturers are already exploring that.” View: NUNA 12S 3D Experience Ultimately, the race is a showcase—a proof of what’s possible. “If 18 students can build a car that crosses a continent using nothing but sunlight, what’s stopping the rest of the world from embracing renewable energy?” Merijn asks. Beyond the engineering challenge, both Merijn and Lucas agree that the experience has shaped them personally. “The biggest lesson is how to be part of a high-performing team,” says Lucas. “You learn how to work under pressure, communicate effectively, and put trust in each other.” The team is even coached by a former Olympic champion from the Dutch national hockey team—underscoring the importance they place on performance culture as much as technical expertise. For more information: Protolabs Brunel Solar Team Previous Facebook LinkedIn Copy link Next