Search

The U.S. debut at RPM Raceway brings an immersive, game-like experience. Kart Klash Merges Go-Karts and Video Games for a Unique Experience The U.S. debut at RPM Raceway brings an immersive, game-like experience. EE Staff Theme Parks Oct 7, 2025 Sports RPM Raceway, an immersive go-kart and entertainment destination with U.S. locations on the east coast, is merging go-kart racing with the familiar party video game experience of popular games such as Mario Kart. Kart Klash, which launched in September, is the first of its kind to do this type of interactive go-kart experience, according to RPM, which they call and “arcade-style battle where speed meets strategy.” Driving go-karts equipped with F1-inspired steering wheels and LED displays, racers collect and activate power-ups, including missiles, MPs, TNTs, boosts, and shields while navigating the track. Similar to the Mario Kart format, “mystery boxes” and “boost zones” add a layer of tactical gameplay, where each decision can make or break the race and give the edge needed to pass competitors on the track. “Kart Klash isn’t just about recording your fastest lap, it’s about outsmarting your opponents and crossing the finish line first,” said Andrew Farage, CEO and Co-Founder of RPM. “We’re rolling out a social reinvention of go-karting that blends the thrill of racing with the interactivity of gaming, appealing to a demographic that may prefer strategy over raw adrenaline.” In April, RPM was awarded the Guinness World Records for Longest Indoor Multi-Level Go-Kart Track in the World. The convergence of software and karting Built on RPM’s R-TECH platform and developed in partnership with SODIKART, each kart is equipped with an LED heads-up display that delivers real-time stats, sector data, and performance insights, streamed directly to each racer during the race. The technology includes projection mapping and elements such as power-ups and missiles which are displayed on the screen of the go-kart. For viewers, TV screens show what’s happening in real time. Kart Klash is $30 for members and $40 for non-members with designated race sessions where juniors, teens and adults can compete together. Live leaderboards and detailed performance tracking are available for participants and spectators. Kart Klash is launching at RPM Raceway’s Stamford, CT and Long Island, NY locations, with other locations to follow. Source: RPM Raceway Previous Facebook LinkedIn Copy link Next

When you combine 2,700 LED panels, 42 processors, and 120 distribution units together for one event, you had better do it right. Massive Event Incorporates Over 2700 LED Panels When you combine 2,700 LED panels, 42 processors, and 120 distribution units together for one event, you had better do it right. Edited by EE Staff Stage Events Apr 20, 2026 Microsoft Ignite Keynote Event at the Chase Center in San Francisco delivered a high-profile experience to over 14,600 in-person attendees and over 200,000 live viewers. MeyerPro, a Pacific Northwest event production partner with experience supporting complex live events, is known for dependable execution and a collaborative approach when executing end-to-end services across LED, audio, video, broadcast, and show crew support. The keynote event used 2700 LED panels across multiple ROE Visual platforms including Vanish Solid Touring, Carbon, Topaz, and Graphite, which provided MeyerPro the ability to translate creative intent into flexible, broadcast-ready environments that support complex presentations and workflows at scale. Images courtesy of ROE Visual. For the Microsoft Ignite 2025 event, they were able to deliver a high-profile keynote experience across multiple platforms requiring a visual system capable of supporting live presentation, broadcast workflows, and rapid content transitions across a broad range of stage areas. Microsoft’s expectation was to deliver a stage that felt monumental while remaining highly readable. For the live audience, the displays needed presence, brightness, and a physical quality that felt architectural. For the broadcast audience, the priority shifted to detail, consistent exposure, and color fidelity that remained accurate across camera cuts. This combination was no easy task to complete. Images courtesy of ROE Visual. MeyerPro collaborated across both the design and execution phases, aligning LED and video systems within a broadcast-forward workflow. This approach ensured keynote moments maintained visual consistency regardless of where the content was displayed. The Visual Ecosystem Rather than relying on a single display solution, the design used multiple ROE platforms to support different spatial and storytelling requirements across the venue. Varied panels were used to balance large-scale presence, layout flexibility, and on-camera performance. Each screen served a distinct role within the keynote environment, allowing presentation zones to shift naturally between speaker moments, product demonstrations, and supporting visual content. Images courtesy of ROE Visual. In total, the setup featured more than 20 LED walls spanning a range of sizes, configurations, and curved applications. ROE V4ST and CB3 formed the backbone of the environment, with eight screens built from V4ST (684 panels) and another eight using CB3 (900 panels). Three additional screens used Topaz TP-C2.6 for curved elements (714 panels), while a large Graphite GP2.6 sidewall made up of 420 panels handled the primary wide-format display. All together, the system supported multiple keynote presentation zones while maintaining clarity for both in-room audiences and broadcast viewers—delivering nearly 130 million pixels overall. Processing was built around 42 Brompton 4K Tessera SX-40 LED processors and 120 Brompton Tessera XD data distribution units. The wider show system was centralized around a flypack that included a Ross FR12 and Ultra 60. In addition, the show included a pair of Analog Way RS4s as well as a number of Christie Spyder X80s. The large scale system had many recording options and playback routes via three EVS XT-VIA servers in addition to many PIXERA servers for high-resolution playback. Images courtesy of ROE Visual. The success of Microsoft Ignite continues to highlight an evolution across corporate events. LED is being selected over projection or traditional scenic more frequently when environments require brightness under ambient lighting, rapid content updates, hybrid broadcast workflows, or multi-day flexibility. Production teams can adapt layouts through content and configuration rather than physical rebuilds, maintaining visual impact while reducing disruption. For information: MeyerPro ROE Visual Brompton Technology Read more about events technology >>> Previous Facebook LinkedIn Copy link Next

What do you want out of life? How Design Thinking Can Change Your Life What do you want out of life? Curated by EE Staff Mini Story Feb 2, 2026 Bill Burnett — the executive director of the Product Design program and an adjunct professor in Mechanical Engineering Design at Stanford — posits that anyone can change their outlook on life with a shift to "design thinking." We believe that, as engineers, our readership has a leg-up in this line of thinking already. What to you want out of life? Try his methodology and see how your vision clears and your mindset shifts. Listen to the talk or watch the full video on NPR.org . Lead photo credit: prottoy hasan on Unsplash. Previous Facebook LinkedIn Copy link Next

Aixtreme Racing is reaching a new milestone for the 2025 season by developing their first-ever electric vehicle. Electric Race Car Uses 3D-Printed Components Aixtreme Racing is reaching a new milestone for the 2025 season by developing their first-ever electric vehicle. Terry Persun Sports Jun 17, 2025 Aixtreme Racing is a Formula Student team of 40 passionate engineers from the University of Applied Science Aachen that have been designing and building prototype race cars since 2007. The team is reaching a new milestone by developing their first-ever electric vehicle. This transition has opened the door to new technical challenges and innovative approaches, including the adoption of advanced 3D printing for lightweight custom parts, reliable housings, and rapid prototyping. It’s a pleasure to see how passionate, talented engineers are using 3D printing to push the boundaries of innovation. Also from Entertainment Engineering: According to Luis Do Carmo, Head of Powertrain & LV-Electronics, “We are very happy with our Raise3D printer. Our printed parts are quickly processed and easy to slice. The workflow integration is smooth, and the print quality consistently meets our needs.” Challenges Before 3D Printing Before integrating 3D printing into their workflow, Aixtreme Racing primarily relied on composite structures, as well as aluminum and steel milling, to manufacture their parts. While effective, these traditional methods had notable drawbacks such as long lead times, high production costs per part, and a dependence on machine availability and workshop capacity. Other concerns included the high material waste, especially for parts that didn’t require metal strength. But most of all, the team found very limited agility when iterative changes were required. The transition to an electric vehicle also introduced new demands, such as the need for flame-retardant and electrically insulating components—something that is very difficult to achieve cost-effectively while using conventional methods. Selecting a 3D Printer To meet these challenges, Aixtreme Racing turned to 3D printing for its rapid, flexible, and material-efficient production capabilities. Not only did the technology provide faster development of lightweight custom components but gave the team greater independence from external suppliers and workshop scheduling bottlenecks. This gave the team an improved ability to prototype and test complex geometries quickly and easily while providing reduced material waste compared to milling processes. After researching the alternatives available to them, the team chose to purchase Raise3D products specifically because their faculty advisor had experience with the Raise3D Pro2, and was impressed by the print quality, reliability, and seamless workflow capabilities it offered. Raise3D printed parts had been mounted on previous vehicles, though not as extensively as planned for the upcoming e-car. The Raise3D Pro3 was selected for its generous build volume, more than sufficient for the team’s relatively compact parts, and the option to upgrade to a Hyper Speed Extruder if faster print times were required in the future. Materials and Applications Aixtreme Racing primarily uses Polymaker’s PC-FR filament for their high-voltage tractive system enclosures, which demand flame-retardant, electrically non-conductive properties in compliance with Formula Student regulations. Additionally, the team has been experimenting with a UL94 V-0 rated TPU 95A, which delivers additionally flexible components such as vibration-dampening parts, seals, small molds. Besides producing high-voltage and low-voltage enclosures for PCBs and cell fixations, Aixtreme Racing also uses PETG, PLA, and PC materials to print tools, test fittings, small molds, and prototypes such us the Red Stack Enclosure below. Raise3D’s Open Material Program allowed the team to access pre-configured material templates for PC-FR, minimizing setup time and ensuring consistent print quality. “We really appreciate the consistency of the prints and the seamless integration between the Raise3D cloud platform and the ideaMaker slicer. So far, all our prints have worked out very well — even without deep prior knowledge in 3D printing,” Luis Do Carmo said. The team relies heavily on ideaMaker for slicing and RaiseCloud for managing print jobs remotely. Features they particularly value include pre-configured material profiles for reliable, out-of-the-box performance; centralized job management via RaiseCloud, which allows multiple team members to manage prints independently; and efficient printer queue management, with minimal downtime between jobs. For information: Raise3D: https://www.raise3d.com/ Raise3D Demo Videos: https://www.raise3d.com/demo-video/ University of Applied Sciences Aachen: https://www.fh-aachen.de/en/ Previous Facebook LinkedIn Copy link Next

When you’re flying at up to 1,900 miles-per-hour in a fighter jet, you want to be confident that all of your equipment is working perfectly — particularly your face mask. Aircraft Oxygen Masks Are Essential Equipment — Here's How They're Tested for Safety When you’re flying at up to 1,900 miles-per-hour in a fighter jet, you want to be confident that all of your equipment is working perfectly — particularly your face mask. Edited by EE Staff Cool Stuff Apr 20, 2026 Manufacturers of products and equipment that will be used at different altitudes must perform testing so that the products meet or exceed customer performance expectations. These tests are often run through simulators that mirror the exact application. Whether we’re talking about an oxygen mask or oxygen regulator for an aircraft or vehicle or aircraft fuel components, altitude simulation is the easiest way to test the equipment in a controlled environment. Image courtesy of Proportion Air. Flight mask leak testing is a good example of the benefits of using a simulator. For the application shown in the drawing, the customer needed testing the design of aircraft mask components. The customer was looking for a means to make small changes in altitude inside their simulator while also achieving higher accuracy than they had been able to achieve with the device they were presently using. They turned to Proportion Air’s QPV high-resolution pressure regulator for the simulator. Image courtesy of Proportion Air. The QPV is an ultra-high resolution electro-pneumatic, closed-loop proportional pressure control valve designed and manufactured for very sensitive application. In this case, it was the perfect product for leak testing at low pressures. The customer found that they were able to achieve an unprecedented accuracy of ±5 feet at 50,000 feet—an accuracy of ±0.0013 PSI of vacuum. QPV pressure regulators use a variable orifice valve, which eliminates the digital steps of traditional ON/OFF solenoids. The QPV technology used in the altitude simulator is available for a broad range of chambers from small chambers to room-sized chambers. The company often designs and manufactures semi-custom and custom solutions for its customers. For information: Proportion Air QPV Series Lead image courtesy of DepositPhotos.com . Read more aerospace case studies >>> Previous Facebook LinkedIn Copy link Next

Brewing beer is a precise process that requires reliable motion feedback to ensure that each batch performs exactly as the brew master requires. Brewing Beer with High Precision Components Brewing beer is a precise process that requires reliable motion feedback to ensure that each batch performs exactly as the brew master requires. Edited by EE Staff Cool Stuff May 15, 2026 Community Beer Company in Dallas, TX is known for growing their own yeast in-house and for their top-notch equipment. They claim to have invested in the finest, most sophisticated brewing and packaging equipment made. This also meant that they focused on the best components as well—including encoders. Beer Making Process Part of beer-making involves mashing , where grains move through the mill, into the grist hopper, and are transferred via flex auger to the mash tun. Hot water is added at specific temperatures to convert the starches in the barley into simple sugars. Then there's lautering , which takes place in the lauter tun . It’s in this vessel where precise motion is needed to get the taste of the beer just right. The lautering process is where the liquid solution known as “wort” is separated from the solid grains, forming the foundation for the beer's flavor. The wort is then pumped into the boil kettle where the hops are added, contributing to the bitterness, flavor, and aroma of the finished product. From there, the liquid gets ready for fermentation , the final stage of the brewing process before bottling. Images courtesy of Encoder Products Company. Automating the Process Automating beer-making improves production efficiency and the quality of the beer, particularly during the lautering stage. Inside the lauter tun, a motorized rake gently breaks up the grain bed, allowing for the highest quality wort to be extracted. The grains are sprayed with hot water during this phase to recover all of the remaining sugars. On top of the lauter tun is the motor and gearbox which drive the screw jack, raising and lowering the rake inside as the liquid level changes. Community Beer found it challenging to properly position the rake inside the lauter tun, resulting in poor sweeping of the grains, slowing wort extraction, and inhibiting the entire brewing process. Images courtesy of Encoder Products Company. The team decided that they needed a reliable shaft encoder. Final specifications indicated that the encoder would need a quarter-inch shaft size, positive pulse polarity, and a resolution of 200 CPR. The interconnection would use a 6-pin MS connector. After some research, Community Beer reached out to Encoder Products Company (EPC) to help them better control the motion of the screw jack and rake inside the vessel. Working with EPC, Community Beer selected the company’s Model 716 Accu-Coder® encoder as their solution. The Model 716 is ideally suited for applications requiring a quadrature output. Designed for compatibility with most programmable controllers, electronic counters, motion controllers, and motor drives. The encoder comes in five versatile housing styles, quadrature output, and resolutions available up to 10,000 CPR It was discovered that putting the Model 716 on the gearbox driving the screw jack, was the best way to correctly raise and lower the rake inside the lauter tun, loosening the grains and effectively extracting the wort. With such a precise process, reliable motion feedback is a must to ensure the equipment functions efficiently so that each batch performs exactly as the brew master requires. After installation, Community Beer found that they had eliminating the bottleneck in the lauter tun. For information: Encoder Products Company Model 716 Accu-Coder Community Beer Company Read more about technology and food >>> 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

3D printing technology provides multiple solutions to the challenges facing drone design and production. 3D Printing Fixed-Wing Drones for Aerial Photography Applications 3D printing technology provides multiple solutions to the challenges facing drone design and production. Edited by Terry Persun Cool Stuff Jun 1, 2026 Aerospace About Dragonfly UAS As a company focusing on professional drone aerial photography applications in Taiwan, Dragonfly UAS has been committed to providing high-quality, customized drone solutions since its establishment. It has accumulated more than a thousand flight hours and executed more than a hundred cross-field professional cases. Its main businesses include aerial photography mapping machines, land analysis and planning applications, and other industrial applications. The company uses 3D printing to fabricate UAV test flight models. Dragonfly UAS’s main UAV model is the Vito. Although quadcopters fly stable, they also fly more slowly, whereas the Vito flies much faster, collecting large-scale data in a short time. Because high-end, multi-rotor and fixed-wing integrated models are more complicated to operate, the company provides smaller models for customers to practice. In order to meet the market demand for complex structures and rapid iterations, Dragonfly UAS worked through Kiden Trading Ltd., Co and chose the Raise3D Pro3 printer, achieving a full range of innovation from design to production. The Pro3 effectively addressed challenges in prototype verification and was leveraged to produce a number of jigs and auxiliary tools. Image courtesy of Raise3D. Transitioning to the Right 3D Printers Early on, Dragonfly UAS used fiberglass molding to manufacture drone parts, which was not only time-consuming, but also difficult to maintain the consistency of each part. Fiberglass can also be harmful to humans. The company then switched to a Delta 3D printer, which met some of the company’s basic needs, but printing speeds were slow, dimensional accuracy was insufficient for the application, and tolerances for each batch could be as much as 0.4mm different. In addition, drones require lightweight and high strength fuselages and finding the right combination of materials became a challenge. The Delta printers didn’t provide slicing software and templates suitable for filaments, which caused difficulties with R&D. Chris Lee, a senior R&D design engineer at Dragonfly UAS said, “R&D need to consider a lot when introducing new materials, not only physical properties but also printing stability, so changing materials is troublesome. We have to carefully evaluate each filament.” Image courtesy of Raise3D. Dragonfly UAS needed a complete solution that included printers, filaments, software, and post-purchase services as well as maintaining product quality, reduced development costs, and enhanced development convenience. Faced with those challenges, Dragonfly UAS chose a complete solution provided by Kiden Trading Ltd., Co featuring Raise3D printers. This included Pro3 Series 3D printers, ideaMaker slicing software, and high-quality pre- and post-sales services. Raise3D Pro3 offers higher speed printing (150mm/s-200mm/s), shortening a specific task from what used to take one week to one day. Lee said, “After we purchased the Raise3D Pro3 printer, it got better and better, and we directly started to print the fuselage. The same part that used to take a week to make now only takes one day. Plus, the tolerance of some components can reach 0.1mm, which means they can be assembled on the drone immediately.” Raise3D Pro3 uses a closed cabin design, which deters environmental factors on the printing process. The printer’s hardware configuration and preset parameters ensures stable printing quality and reduces the need to frequently adjust parameters due to material changes. Even during high-speed printing, print quality remains consistent and stable across the same batch and between different batches of models. Material flexibility is important, rather than sticking with the commonly used PLA material Dragonfly UAS tried materials such as Raise3D Premium PLA and Raise3D Premium ASA for different application scenarios such as outdoor use where they wish to better resist UV aging. Using ideaMaker, engineers can easily set printing parameters, such as creating support structures that are easily removable, thus simplifying post-processing steps. Image courtesy of Raise3D. The Pro3 printer was great at making the main structure of the drone and allowed the team to adjust their design plan according to actual needs. When When conducting functional testing of an aircraft, it is crucial to accurately control the weight and center of gravity distribution. Using the Pro3, Dragonfly UAS was able to quickly manufacture weight blocks that met the requirements for simulated test flights to ensure the proper balance and stability of the aircraft. In addition to core components, various auxiliary tools and fixtures were also efficiently produced through Fused Filament Fabrication (FFF) technology. This method not only reduced procurement costs but also allowed Dragonfly UAS to customize the most suitable tools according to specific work conditions. Motor mount printed using ASA filament. Image courtesy of Raise3D. Looking ahead, Dragonfly UAS plans to continue to explore more possible application areas and technology upgrade directions, such as to enhance the design of current support structures to make them more material-efficient and easier to disassemble. The company is also actively looking for more durable printing platform sticker materials to improve printing quality and user experience. For information: Raise3D Kiden Trading Ltd., Co. Dragonfly UAS Read more about drones >>> Previous Facebook LinkedIn Copy link Next

Building a large interactive exhibit took insight, innovation, and the perfect systems to get it right. Volcanoes Explode on Interactive Table Exhibit Building a large interactive exhibit took insight, innovation, and the perfect systems to get it right. Edited by EE Staff Museums Sep 12, 2025 Ideum recently completed an interactive exhibit for the Volcano Discovery Center located inside the Valles Caldera National Preserve. For 1.25 million years, Valles Caldera has been shaped by dramatic geological events, thriving ecosystems, and a rich tapestry of human history. These stories unfold across the 89,000-acre landscape and span vast stretches of time. To represent this significant landscape, Ideum, in collaboration with the National Park Service, created a 12-foot topographic relief map as a canvas for this rich history to be projected upon. Immersive Technologies Suspended above the map, a 4K projector brings the table to life with projection-mapped sequences that engage multiple visitors at once. Synchronized RGB lighting washes over the walls in colors, while a 6.1 surround sound system with a 15-inch subwoofer creates a dynamic audioscape that can be felt. The show control system ties into motorized roller shades that darken the room every hour for the signature volcanic eruption sequence, transforming the exhibit hall into a fully immersive, cinematic environment. All photos courtesy of Ideum. Interactive Touch Screen Displays While the large map table captivates groups, the experience is designed for multiuser interaction. Four Ideum-built 34-inch 5K UltraWide Presenter touch screen displays surround the perimeter of the table, giving multiple visitors simultaneous control of the projected animations. Each station offers games and activities tied to one of four themes: Cultural History: Traces human activity from archaic-period settlers to the present day, developed in collaboration with 38 tribes and pueblos to honor their enduring cultural connections to the Caldera. Geology: Features a scrubbable geologic timeline where guests can witness the Caldera’s primary eruption 1.2 million years ago, along with the formation of lakes, lava domes, and other dramatic landscape changes. Ecology: The exhibit’s most extensive library of animations allows users to visualize wildlife migration patterns, plant communities, watersheds, and wildfire impacts across the preserve. Scientific Discovery: Explores the scientific research that has occurred in the region, including paleomagnetics, geothermal research, and seismic monitoring efforts. Exhibit Design and Fabrication The Ideum team starts work on a project with an exhibit design phase where they collaborate closely with the customer to design an immersive digital experience that will be engaging for visitors of all ages. Using Geographic Information System (GIS) data provided by the National Park Service, the Ideum exhibit fabrication team created the true-to-life scaled model of the Valles Caldera landscape. The CNC topographic relief map model, exhibit base, and screen mounts were created entirely in-house. The floating screen mounts were a particularly fun engineering challenge—the end result being a low-profile hidden mount meant to fade away into the table. The mount is tied off to the center ring of the exhibit, allowing for structural rigidity and strength even under the weight of visitors leaning or hanging on the screen. All photos courtesy of Ideum. The topographic relief map, spanning 12-feet in diameter, was fabricated in sections using 3D milling operations on a CNC machine. The map surface was machine-milled from high-density foam, then coated with epoxy for durability and finished with projection-enhancing paint. This hard-wearing surface is easy to clean and resistant to damage. The pieces were trimmed to the outer diameter of the circle and glued together. The map was then cut apart into five organic shapes that follow the natural landscapes of the Valles Caldera. Once on site, the map was seamed together with silicone and repainted. The table’s substructure, built from steel and wooden joists, is clad in Staron and Nevamar Armored Protection, creating an ultra-durable piece designed to endure the heavy use of public spaces while maintaining a refined appearance. Beyond the Exhibit Hall Since the newly branded Volcano Discovery Center sits more than a mile from the park’s main entrance, Ideum and the NPS created a way to draw visitors into the new interactive exhibit hall. At the Welcome Station, a 65-inch Ideum Presenter is programmed to be a Digital Docent providing maps, FAQs, and other day planning tools. Most notably, it includes a countdown clock inviting guests to witness the “volcanic eruption” of the table every hour, a feature drawn from the visitor anticipation that surrounds Yellowstone’s Old Faithful geyser. For more information: Ideum Ideum Presenter Displays Innovative Design Valles Caldera National Park Previous Facebook LinkedIn Copy link Next

Lifting a Bed-of-Nails in a museum display demanded reliable performance, long product life, and simple integration. Bed of Nails Museum Exhibit Lifts with Ease Lifting a Bed-of-Nails in a museum display demanded reliable performance, long product life, and simple integration. Museums Aug 12, 2025 On a Bed-of-Nails lift table application, the question facing engineers was, “How much do you trust your linear bearing technology?” CW Shaw Inc, a designer and fabrication firm that specializes in bringing interactive, fun and educational museum exhibits to life was posed with this question. For linear ball-bearings, any slight contamination of the bearing cages can lead to breakage, stalling, or total machine failure, which results in a low rate of confidence when lying on a spiky table. After considering the design, load, environment, and necessary long-term operation, CW Shaw opted for Simplicity pillow block housings to guide the support rails on the Bed-of-Nails lift table for a museum exhibit. To demonstrate the full effect of the exhibit, the lift table needed to be raised and lowered by 3-inches, handle loads up to 1,000 lb (for safety), and move at a moderate speed of 5-feet per minute. Potential contamination was a major factor CW Shaw considered. Any trace of dust or particulate posed a risk of system failure, raising safety concerns. Therefore, CW Shaw sought a linear motion system that would not fail under contamination (dust and carpet fibers). Since most museums operate on fixed budgets, CW Shaw also held maintenance-free operation as a crucial design prerequisite, which is why the company designers turned to Simplicity linear plain bearings and pillow block assemblies. The Linear Pillow Block Solution Simplicity products from PBC Linear became a proven solution when requiring maintenance-free, worry-free linear motion. Designed and refined for over 25 years, Simplicity technology has been successfully applied in some of the most extreme environments: temperature extremes, high contamination, and shock and vibration. The bearings travel using a proprietary Frelon liner which transfers the load and glides over dust and other particulate without damaging the shaft. Also, since the pillow blocks are precision designed with no rolling elements, Simplicity pillow block housings will never catastrophically fail, allowing for reliable and safe linear guidance of the support rails. Two Simplicity pillow block assemblies were installed at each end of the lift table to support the load and guide the lift rails. CW Shaw noted no problems in performance and, over time, has implemented the design for several nail bed exhibits throughout the country. For more information: PBC Linear Plain Pillow Block Free Product Sample CW Shaw Previous Facebook LinkedIn Copy link Next

Mark Rober’s latest engineering video pitches legendary Portugal soccer player Cristiano Ronaldo against a robot goalie. See who’s up to the challenge. Robot Goalie Has Sub-Millimeter Accuracy Optical Tracking Mark Rober’s latest engineering video pitches legendary Portugal soccer player Cristiano Ronaldo against a robot goalie. See who’s up to the challenge. Edited by EE Staff Feb 16, 2026 Mark Rober, a former NASA engineer, has an innovative and entertaining approach to science, technology, engineering, and math (STEM) education, which is a global inspiration for him. He records and uploads his adventures regularly on Youtube to get the word out. He’s also the founder of CrunchLabs, an exciting and impactful STEM brand. Recently, Rober partnered with OptiTrack, a designer and manufacturer of precision motion capture technology. He used the company’s PrimeX 120 camera system to power a high-speed, high-G tracking behind his newest project where Cristiano Ronaldo fired high speed penalty kicks at a robot goalie capable of accelerating at 10 Gs. Image courtesy of OptiTrack. To track an 80 mph (120 km/h) ball launcher, full-speed professional strikes, and a robot moving fast enough to tear its own mechanical components apart, OptiTrack deployed a 20-camera volume of PrimeX 120 cameras running at 500 FPS, combined with passive retroreflective markers placed on the ball. The PrimeX 120 features customed designed ultra-low distortion “fast glass” lenses for optimal tracking. The PrimeX 120 is an 18mm lense with wide-band anti-reflective coating for greater light transmission, larger volumes, and more precise 3D data. Image courtesy of OptiTrack. The capture volume was engineered around the penalty box, with the system configured to track anything entering the strike zone with sub-millimeter fidelity. OptiTrack participated with a full on-site engineering team that supported both the Portugal shoot and earlier development testing performed in California. According to Rober, “OptiTrack’s tracking is so accurate and so fast that it let us push this experiment way further than I thought was possible. It’s the only system that could keep up with Ronaldo’s shots.” Unlike traditional sensor systems, OptiTrack’s optical motion capture allowed Rober’s team to calculate the ball’s predicted path in real time. With that data, the system calculated ball trajectory data and streamed it directly from OptiTrack’s system to the robot. This enabled the robot to not only anticipate where the ball would cross its line but to move to the exact location with extreme speed—fast enough to stop the kick. When Mark approached OptiTrack with the idea, the company knew that their PrimeX camera system was the right product to deliver the data needed fast enough to block the kick. The 500 frames per second required for the experiment was comfortably within the normal operating range of the technology. Sidney Rittenbert Jr., CEO of OptiTrack said, “We’re proud to support ambitious engineering projects like this with the reliability our customers depend on every day.” The video is available on the Mark Rober YouTube channel and has additional approved behind-the-scenes footage and technical breakdowns you can find showcased on OptiTrack’s social media channels. For information: OptiTrack PrimeX 120 Mark Rober on YouTube *Lead image courtesy of DepositePhotos.com . Read more about technology in sports >>> Previous Facebook LinkedIn Copy link Next

Eye-catching digital artwork from Ayrton Diaz encompasses the unlimited creative possibilities in the world of digital sculpting. What Goes into Sculpting a Digital Character? Eye-catching digital artwork from Ayrton Diaz encompasses the unlimited creative possibilities in the world of digital sculpting. Nadia Yangin Games May 26, 2026 This interview with Ayrton Diaz was published on Maxon.net and has been republished here with permission, courtesy of Maxon. 3D character artist Ayrton Diaz was compelled to create a project that would set him apart and carve (sculpt!) the path to greater opportunities. In this interview, Diaz walks us through how he combined the ZBrush and Adobe Substance 3D bundle with additional tools in his workflow to breathe life into “The Guardian,” the detailed character he created while learning the AAA videogame workflow at Zombie Art School. Images courtesy of Diaz. Every character has a story, but exceptional characters wear the details of their history right on their sleeves. “The Guardian,” offers textured elements alluding to a hidden past. Tapping into the recently released ZBrush and Adobe Substance 3D bundle, Diaz created an eye-catching piece that encompasses the unlimited creative possibilities in the world of digital sculpting. What draws you to character design? Diaz: I love science fiction, pop culture, film, and video games. Growing up, I spent hours playing computer games like “StarCraft,” “Warcraft,” and “Age of Empires.” I was always fascinated by everything that could be created on a computer. Later, I became very interested in film, photography, and art direction. I love creating characters. Through them, I can tell stories and imagine they have a life and something to say. That’s why I pay a lot of attention to every stage of production. Every detail, texture, material, pose, and environment reveals something. Take us through your character design process and the tools you used. Diaz: First, I gathered references in PureRef to guide the project. Once I had an overall vision, I started the blocking phase in ZBrush, establishing all elements and broad shapes that define the character’s presence and what they convey. I used Marvelous Designer to simulate all the garments, then went back to ZBrush for the final sculpt. Images courtesy of Diaz. I began working on details that are visible at a mid-range distance and then started adding more definition like pores and scratches. When simulating garments, I polished shapes, refined wrinkles and seams, and added fine detail. I adjusted intensity and size to create wear and damage. Once the character’s outfit was finished, I moved on to detailing each object individually. I did the low poly in Maya, where I created a game-ready, optimized retopology using Quad Draw, and used RizomUV to unwrap the UVs. Baking and texturing in Substance Painter was an enjoyable stage of the process where I played with tonal variations to add contrast and richness, using stronger tones to add storytelling elements like stains, dust, sun, and damage. Images courtesy of Diaz. Finally, I set up the lighting, prepared the scene, and rendered the final images in Unreal Engine. Throughout the process, I constantly moved between different software, which shows how they all work together in my specific workflow. What ZBrush brushes or techniques did you use to create such striking detail? Diaz: For certain elements, like the straw cape, I used a few steps to get the detail right. I treated the straw elements that fall over the shoulders like hair cards (game-optimized hair). I sculpted several straw variations in ZBrush, changing shapes and quantities in small groups, and placed simple rectangular planes on top for projection. I brought everything into Substance Painter, baked the straw details onto the planes with opacity enabled, and refined the tips and edges of each straw to make them more visually interesting. Finally, I brought these polygons back into ZBrush along with the character and duplicated them around the shoulders. Images courtesy of Diaz. When it came to the straw hat, I started modeling in Maya but it was made of radially symmetrical pieces that needed some breaks and imperfections to make it feel more natural and used. I moved the asset into ZBrush and used the large Move brushes to break the symmetry of the main silhouette, shifting some of the strips, breaking geometry, and adding a sense of wear and irregularity. Images courtesy of Diaz. Overall, the finest details were made with the most basic tools. ZBrush has brushes that are like the ABCs of digital sculpting: the Standard brush, DamStandard, and the Move brush. Other than playing with alphas and intensities, you don’t need anything more than these brushes to start creating impressive details. I don’t feel like there are special techniques, but rather a correct and intelligent use of what we already have. How long did it take you to complete this project from start to finish? Diaz: The whole process took around four and a half months. The most time-consuming part was the high poly in ZBrush. Detailing all the clothing and objects took about a month and a half. For information: Maxon + Adobe ZBrush Ayrton Diaz Previous Facebook LinkedIn Copy link Next