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It takes a creative approach to develop the controls for a museum exhibit that simulates a bat’s echolocation. Museum Exhibit Technology Simulates Echolocation It takes a creative approach to develop the controls for a museum exhibit that simulates a bat’s echolocation. By Jay Rees, PE, Rees Engineering Corp. Museums Aug 18, 2025 Cool Stuff Over my years working as an Automation Systems Integrator, I occasionally get projects that are different from the normal industrial process and manufacturing systems, such as developing the controls for a unique museum exhibit to simulate a bat’s echolocation. This project was for the Children’s Center of Sofia, in Sofia, Bulgaria, which prompted the name “The Bulgarian Bat Detector.” In a near dark environment, the museum visitors rotate a viewfinder toward a display depicting an environment for bats. A couple of bats located in the display are the targets for the detector. As the viewfinder approaches the bat’s position, the sound level of an audio track increases in volume with a maximum level when pointed directly at a bat. The volume level decreases as the viewfinder leaves the bat’s position. Photo courtesy of Rees Engineering. The control solution required that the bats are actually detected, which meant that the controls must compare the direction of the viewfinder to the location of the bats in the display. The volume of the audio track is set based on the position of the viewfinder relative to the bats with volume increasing when approaching the bat and decreasing when leaving. The biggest hurdle encountered was how to control the audio volume without excessive development and testing while also keeping costs low. As an experienced automation systems integrator, I did not have a volume control solution in my bag of tricks, and it quickly became apparent that some type of hybrid solution was needed. The position detection and process logic would be handled with an AutomationDirect CLICK® PLC, the audio playback would use a commercially available digital audio repeater, and the volume adjustment solution would need to be built using electronic components. The viewfinder’s position is determined using a touchless Hall Effect encoder attached to the rotating shaft of the viewfinder to determine the rotational position of the magnet. The encoder output of 0.25V to 4.75V DC represents 0 to 360 degrees. This output range is perfectly suited for the CLICK’s built in 0V to 5V analog input. The PLC also has a built-in scaling configuration for the analog input providing the position’s 0-to-360-degree value. For the audio playback, I used the QuikWave™ EM38A, which is often used by museum exhibit developers. It allows MP3 audio files to be played in a variety of ways. For this application we used a playback script to run a single audio file in a continuous loop. Here's what a bat's echolocation sounds like. Audio Volume Solution One of the more challenging parts of the project involved how to control the audio volume from a PLC output. My customer, Andrew Tomasulo of Connect Interactives, came up with a solution that used Light Dependent Resistors (LDR), which consists of an LED and a photoresistor as a single device. The intensity of the LED regulates the resistance of the photoresistor. Because the only connection between the LED and the photoresistor is light, the photoresistor is an isolated and passive device. The PLC’s 0-5V analog output signal is used to vary the device’s resistance. In order to use the LDR solution for volume control, two LDR units are set up as a voltage divider. Two separate 0-5V analog outputs from the PLC provided opposite voltages to the devices (0-5V and 5-0V). The resistance of the LDR’s is from 1,200 ohms down to 60 ohms, which provides a full volume control range. The setup adjustment control uses four potentiometers to set the target locations for the bats in the display. The audio output volume increases and drops within +/- 10 degree range of the target. A 5V power supply voltage regulator (LM7805) was added to the circuit board to power the potentiometers. The outputs of the potentiometers are sent to an analog input module of the CLICK PLC. Photo courtesy of Rees Engineering. Packaging the System All of the components were packed into a 12- x 10- x 5-inch non-metallic enclosure. Field connections are made using Micro (M12) connections and the power cord uses a European Schuko plug (remember this unit is going to Bulgaria). The custom circuit board was hand assembled and mounted on stand-offs. Almost all of the components came from AutomationDirect except the audio playback unit, custom circuit board, potentiometers, and the power cord. Photo courtesy of Rees Engineering. This was a fun project with its share of challenges but in the end it all worked out (and no bats were harmed in the process). I’m thinking of adding a trip to Sofia, Bulgaria, to my bucket list so I can see and hear the unit in operation. For more information: Rees Engineering AutomationDirect CLICK PLC QuikWave Audio Player Previous Facebook LinkedIn Copy link Next

Motion control for the chairs in "The Voice" had to operate smoothly every time. The Technology Behind the Rotating Chairs on The Voice Motion control for the chairs in "The Voice" had to operate smoothly every time. Terry Persun Film and TV Jun 16, 2025 Stage Events The Scenic Route is a Southern California based global resource company that provides design and integration services to the entertainment, live event, and trade show industry. The company was tasked with the opportunity to work with The Voice, which required their chairs to rotate 180 degrees based on a simple push of a button. Also from Entertainment Engineering The chairs had to move smoothly and stop smoothly for the show. They chose to apply a proven motor drive to operate the motor. The operation required that the drive could sense two end-of-travel limit switches set at either end of the 180 degree movement. The company chose the AllMotion RGA440-10-CYC smart drive, which is a full-featured regenerative controller with the internal intelligence of a Programmable Logic Controller (PLC) built into the drive. When either of the end of travel limit switches would be tripped, the motor drive would stop the motor in that position. Resetting the chairs to the previous position would be accomplished by pressing a reverse pushbutton. Photo: The swiveling chair from The Voice The RGA-CYC Series provides an added logic board to AllMotion’s RGA400 controls. These controls are dual voltage, fully-featured regen drives in a rugged enclosure. As high-performance controls they maintain motor speed with automatic motoring and braking torque, while allowing high-duty cycle reversing and braking—great for limit switch applications. Included are a power on/off switch and separate forward and reverse speed potentiometers so independent speeds for each direction can be easily set. Controlling the motor is user-friendly too, by pressing a button on the membrane panel for stop, run, reverse, or jog (jog speed is adjustable). The user can also wire in remote pushbuttons in conjunction with the on-board buttons. These controls can operate in several modes with either one or two limit switches, including continuous cycling, single cycle, dwell, and more—including adjustable stop and dwell times. Although this application might appear to be very simple, it comprises many of the facets of motion control that would have previously required several components to accomplish. The AllMotion motor drive essentially replaced a PLC plus the PLC power supply. Not all applications will be this straight-forward, but as design engineers maintain an open mind about what the new smarter drives are capable of, they can apply the technology to solve applications in simpler and more efficient ways. For more information: AllMotion American Control Electronics The Scenic Route Previous Facebook LinkedIn Copy link Next

Industrial automation products can be applied to a wide number of unique applications, like the advanced control needed for a sophisticated escape room. Escape Room Experience Uses Automation Tools Industrial automation products can be applied to a wide number of unique applications, like the advanced control needed for a sophisticated escape room. Terry Persun Games Jun 16, 2025 Stage Events Escape rooms are immersive adventure games where players solve puzzles to break out from a themed environment within a set time. While seemingly unrelated to industrial automation, a systems integrator leveraged expertise gained from working in industrial applications to enhance escape room experiences through advanced automation. Andrew Schulman details how he applied industrial-grade automation to 13 Hour Escape Rooms’ Campground project. An Entertainment Game Changer Andrew Schulman, the founder of Schulman Engineering, transformed his mechanical background into a successful systems integrator career, executing industrial-focused projects across multiple sectors. His client in the escape room industry was a bit of a departure from the typical project and needed improvements to an existing PLC-based (Programmable Logic Controller-based) system that controlled audio and effects for enhanced gameplay and elevated player engagement. Schulman’s objective was to develop a flexible programming structure that could accommodate future expansions, while addressing immediate operational needs. Immersive environments of this type often incorporate digital control and programming to manage various technical elements, including sensors, sound effects, lighting, and countdown timers. To meet these and other needs, the AtuomationDirect Productivity 1000, stackable micro PLC was chosen for its extensive input/output (I/O) capabilities and compact design, managing over 200 unique I/O points through digital and analog interfaces. This architecture allowed for smooth gameplay, along with real-time interactions based on player actions. Minimizing Code Risk The original code used AutomationDirect’s Productivity Suite software, which simplified programming but relied heavily on latching bits to ensure that logic proceeded in the correct order. This is a valid programming approach, but without careful attention to detail the logic can be left in improper states. Photo: The AutomationDirect Productivity1000 stackable micro PLC manages more than two hundred I/O points located throughout the room, utilizing software-based drum sequencing instructions ; photos courtesy of 13 Hour Escape Rooms and Schulman Engineering. To enhance manageability, Schulman implemented drum sequencer instructions, simplifying the program and facilitating easier maintenance. The interactive and unpredictable nature of gameplay required robust programming practices to ensure system reliability. An AutomationDirect C-more headless HMI (Human-Machine-Interface) lets game operators monitor progress, and override actions where necessary, using a computer or mobile device. Sound Programming Practices An essential aspect of the escape room experience is sound design to enhance gameplay, and even deliver clues. The escape room design company had developed a custom printed circuit board (PCB) sound board to do this, featuring multiple audio ports. The PCB was controlled via RS-232 serial communication from the PLC, and it allowed for concurrent playback of multiple sound effects in different locations. This approach minimized wiring complexity and optimized the use of I/O resources, and it provided sound playback in different rooms throughout the game. As gameplay progresses, PLC logic determines which sounds to play, and whether playback is a single-time event or looped. Backstage Support To ensure reliable technical support across multiple game room franchises, a secure AutomationDirect StrideLinx VPN router was integrated into the system. This provides Schulman and the game owners with remote access for monitoring and troubleshooting, and it streamlined the programming and commissioning phases, both of which were accomplished without any required on-site visits. With a solid commitment to providing intuitive, quality products and exceptional technical support, AutomationDirect was an ideal partner for this unconventional application. Similarly, Schulman’s client was impressed by the resulting system performance, and the training and support provided so they could develop their in-house ability to maintain the system. Overall, the collaboration between Schulman Engineering and the entertainment company exemplifies how industrial automation can enhance interactivity, leading to a successful application that is both technically sound and creatively engaging. See the escape room video here . A version of this article was published in Automation.com . For more information: AutomationDirect Schulman Engineering 13 Hour Escape Rooms Previous Facebook LinkedIn Copy link Next

High performance tooling proves essential in motorcycle design and rider experience. Precision Tooling Solutions Meets Creative Motorcycle Innovation High performance tooling proves essential in motorcycle design and rider experience. Kennametal Sports Aug 21, 2025 Cool Stuff When you strive for innovation, you can’t get much more advanced or even cooler than the partnership between Kennametal and Kraus Motor. High-performance tooling and sleek surface finishes make the perfect combination for unequaled craftsmanship. Kraus Motor is a custom CNC shop that designs and manufactures ergonomics, suspensions, and braking systems for motorcycles. Their focus is on consumer products based in an industry that is all about aesthetics and quality of finish. And that is super important to them because each product is front and center for the customer to see. All photos courtesy of Kennametal and Kraus Motor Co. When Kennametal learned that Kraus Motor had been fighting with different tooling for their aluminum and stainless steel products to obtain the right finish quality they needed, our representatives stepped in and presented solutions to solve their machining challenges. According to Satya Kraus, Owner of Kraus Motor Co., “The quality of the tooling has been great. Being able to speak with people who know what you're talking about—and are machinists and have done machining makes a big difference when you have a technical question. There's somebody there who understands what you're talking about and has some experience with it. I've found we get that with Kennametal.” Kraus Motor runs a ton of tooling through their shop and is making a big push to transform a majority of their drilling and milling solutions to Kennametal. Satya highlights that his machinists and programmers appreciate the Kennametal systems, tooling, and catalogs. A key benefit is the ability to load tooling models into their CAM systems directly. As a leader in their industry, Kraus Motor designs and fabricates their products using lathes, 5-axis machines and horizontal and vertical machines. Some of their complex tooling includes the use of 3D machining for their ball-end finishes. With so many machines and the need for several types of tools including Beyond™ Evolution cut-off inserts, Kennametal provides innovative options at every stage of product development. “You want to work with companies that are continuing to develop,” Satya said. As the industry continues to shift toward performance, ergonomics has become Kraus Motor's primary focus. Their research and development team, composed of experienced riders, understands what customers seek to experience. “Ergonomics is the first thing we attack. We set that bike up for the individual. If they are comfortable on that bike, they are confident on that bike. Then they are going to be able to use the OEM performance to its extent before they start adding some really high-grade suspension and braking technologies,” Satya explains. Kraus Motor is dedicated to producing products that require multiple operations and have features that must be precisely aligned with each other. With Kennametal’s precision tooling solutions and Kraus Motor’s dedication to creating a new functional experience for the rider, their partnership is set to push the boundaries of motorcycle design and manufacturing. For more information: Kennametal Kraus Motor Beyond Evolution Cut-Off Insert Previous Facebook LinkedIn Copy link Next

Games for iPhones, iPads, and iPod touch are becoming more fun. Free-to-Play Zombie Stampede Games for iPhones, iPads, and iPod touch are becoming more fun. EE Staff Games Jun 4, 2025 Bandai Namco Games has launched Zombie Stampede©, a free-to-play tower defense action game for iPhone, iPad and iPod touch. In Zombie Stampede players are immersed in a post-apocalyptic world ravaged by a devastating virus. Facing waves and waves of flesh-eating zombies through intense action sequences, the game proposes users to take control of a team of ferocious hunters with a variety of unique combat abilities and destructive weapons. Beyond the action, the game offers a powerful cocktail of strategy and collectability with multiple in-game commodities such as the Card Box filled with common and rare hunters and items to be added to one's game. Players also have to be tactical in their use of the precious Zombie Juice collected from slaughtered zombies on the battlefield and that helps unleash hunter skills. Bandai Namco Games America Inc. is a global publisher and developer of interactive content for platforms including all major video game consoles and computers, with marketing and sales operations in 50 countries across the Americas, Europe, the Middle East, Africa and Australasia. The company is known for creating games like PAC-MAN©, Tekken©, SOULCALIBUR©, NARUTO©, NARUTO SHIPPUDEN©, Dragon Ball©, GALAGA©, RIDGE RACER© and ACE COMBAT©. For more information: Bandai Namco Games Home Previous Facebook LinkedIn Copy link Next

Data centers handle vast amounts of information and depend on reliable power and efficient cooling. Industrial Pumps Power and Cool the Internet Data centers handle vast amounts of information and depend on reliable power and efficient cooling. Cool Stuff Aug 5, 2025 Data centers serve as the foundation of the internet, managing massive amounts of information. To maintain continuous and uninterrupted operations, modern data centers depend on state-of-the-art technologies that provide both emergency power and sustainable cooling technologies. Industrial grade vacuum pumps from KNF are customized to these specific requirements. Emergency Power with Flywheel Technology When it comes to critical infrastructure, such as data centers, effective and reliable emergency power solutions are essential. One innovative technology used to bridge power fluctuations is flywheel kinetic energy storage. Unlike rechargeable battery-based systems, flywheel systems do not degrade with use, so they last much longer and are less expensive to maintain. They are also more compact, more efficient, and use more environmentally friendly and recyclable materials. Flywheel technology uses the kinetic energy of a rotating mass to store and release energy as needed. It consists of a high-speed rotating flywheel connected to a combined motor-generator. During normal power conditions, the motor uses electrical power to accelerate the flywheel to a high rotational speed. In the event of a power outage, the kinetic energy stored by the spinning flywheel is converted back to electricity to power critical equipment until slower starting systems such as diesel generators can take over. Advanced flywheel systems have rotors made of high-strength carbon fiber composites suspended by magnetic bearings that rotate in a vacuum enclosure. A KNF multi-stage diaphragm vacuum pump with a long-life BLDC motor can remove more than 99.5% of the air from the enclosure to create a very low friction environment, ideal for this application. This increases efficiency and minimizes drag, allowing some flywheel systems to reach speeds of more than 50,000 rpm. Sustainable Water-Based Cooling Systems As important as emergency power is to the reliable operation of any data center, efficient cooling is critical to maintaining optimal operating temperatures for servers and other components. Inefficient cooling and overheating can lead to performance degradation, hardware damage, and costly downtime. Moreover, when this cooling is done efficiently, it not only keeps the data center running reliably, but also reduces the need for a number of potentially harmful substances. Traditional cooling systems using conventional refrigerants often rely on substances such as fluorinated gases (F-gases), ammonia, or propane. However, these refrigerants can pose environmental risks by contributing to ozone depletion and global warming as well as safety and health risks. In response to these challenges, emerging technologies have turned to water as an energy-efficient refrigerant in closed-loop systems. Water-based cooling systems offer remarkable efficiency and sustainability, delivering energy savings of up to 80% compared to conventional cooling systems, while producing minimal CO 2 emissions. In addition, using water as a refrigerant poses no risk to the environment, making it a safe and clean alternative. The KNF N 952 diaphragm pump can be customized to meet the high demands of water-based cooling systems. Using water as an effective refrigerant requires precise, constant, and reliable vacuum conditions for the phase changes necessary for refrigeration. This places high demands on the vacuum pump, which must operate completely oil-free, within a range of 10 to 100 mbar abs. and a temperature range of 5° C to 45° C. In addition, compact size and overall robustness are critical factors in selecting the right vacuum pump for these systems. Thanks to its unique modular design, which allows for the optimal selection of materials for each application, diaphragm pump technology such as a customized KNF N 952 provides an ideal solution for handling demanding vapor environments and maintaining the required vacuum conditions. For more information, visit KNF . Previous Facebook LinkedIn Copy link Next

What happens when you take fictional characters and bring them to life? How does this change interactions with humans? And how does it all work? Can These Robots Bring Enchantment to the World? Meet the Mirokai What happens when you take fictional characters and bring them to life? How does this change interactions with humans? And how does it all work? Terry Persun Stage Events Sep 23, 2025 Cool Stuff Enchanted Tools, founded by Jérôme Monceaux, recently unveiled the Mirokaï, the prototype of a new generation of humanoid robots that are both wondrous and useful. The Mirokaï are endearing robot characters that were created as half-child, half-animal, fox-like creatures from outer space. Two of them are able to come to Earth: Miroki (the yellow one) and Miroka (the orange one). According to the characters’ strong backstory and the characters’ design, developed with the help of French animation expertise, the Mirokaï have been given an extra element of soul. Because the company believes that robotics can re-introduce a touch of enchantment to the world, rather than dehumanizing it, the team at Enchanted Tools aim to revolutionize robotics by improving the acceptability of robots to promote their large-scale adoption. A Brief Backstory Far, far away in the cosmos, there is a planet inhabited by benevolent beings who have achieved a state of harmony. These creatures of light, the Mirokaï, have guided humanity along the path of otherness since the dawn of time. From cave paintings to the first writings and melodies, they have inspired humankind down through the centuries. According to this backstory, for the first time, two of them have passed through the portal that separates our two worlds and have come to our aid in person. “I'm not perfect, but I'll do my best,” Miroki declares in a presentation video, before jumping into space and entering our reality. His spirit then slips into a kind of spacesuit—the robot prototype developed by Enchanted Tools—to create social bonds and a sense of unity. With this in mind, Enchanted Tools pooled the creativity of animation experts and industrial designers to change how we think about robots. “We were able to create a robot with personality, a robot with a depth that no machine has ever had. This is a disruptive and innovative approach to robot design,” says Monceaux. The challenge when creating the Mirokaï was not only to create robots that people would accept, but also ones they would find useful. This meant meeting three challenges of robotics. Automated navigation in semi-standardized spaces: Perched on a rolling ball, the Mirokaï move and can be moved—in any direction. If one gets in the way, a gentle push with a finger will make it roll away, whereas a two-legged or track-mounted robot would need to be lifted. Miroki and Mirokais are easy to use and to handle, which is an essential feature for mobility in social and work environments. Automated gripping of objects: the Mirokaï hands are uniquely designed to grip special handles—or runes , to continue the fantasy narrative—that users can attach to objects they want the robot to lift. The radical simplicity of this all-purpose handle allows both Miroka and Miroki to achieve a 97% grip success rate, where market standard is about 60%. This is essential because a tool that fails 40% of the time is not satisfactory. Semantic and emotional interactions with untrained users: Each Mirokaï is capable of the level of interaction required to functionally understand and execute voice commands. Overall, the Mirokaï are simple robots. They are not the best at gripping, navigation, or interaction, but are adequate in all three areas to accomplish multiple tasks, including moving objects within a social environment. With the ability to carry loads up to 3 kg, Miroki and Miroka can be of use in all kinds of hospitality, transit, and leisure venues where staff recruitment can be difficult and where human interaction must take priority over logistics, such as hospitals, retirement homes, airports, trade shows, hotels, restaurant, etc. By means of simple voice instructions, the robot will be able to carry out tasks to make people's lives significantly easier. Presently, it is possible to encounter them—in testing—at AP-HP (Parisian hospitals), at the Cancer Institute in Montpellier with sick children, as well as in retirement homes in the USA. Several universities around the world have also purchased Mirokaï to use for research. Technical Challenges A major challenge in the design and build of the Mirokaï was that the company only had one year to complete the project. This meant that they had to find reliable products that were suitable for prototyping and could then ramp up to industrial scale production. According to Monceaux, “Working with maxon was the obvious thing to do—it was the safe choice.” The maxon team assisted Enchanted Tools with product design as well as in selection of the motor types while taking into consideration all of the technical constraints of the project. Chosen for the ball bot, were three the EC-i 40 motors with integrated planetary gearboxes. These motors provide maintenance-free operation and use an electronic controller to ensure high-precision speed and torque control. Other axes, such as arm joints, used 22mm diameter brushless DC (BLDC) motors from the company’s ECX torque range. BLDC motors from maxon are dynamic, durable, and highly efficient, providing long service life and higher speeds than comparable motors on the market. According to Kevin Schwartz, sales engineer responsible for Enchanted Tools at maxon France, and Max Erick Busse-Grawitz, Technology Transfer Manager at maxon International, “Because the application was in the area of autonomous robotics, where the systems needed to support themselves, and where the actuators are consequently both part of the solution and also part of the problem (due to weight, inertia, and size), we proposed motors with high power density and a high torque-to-inertia ratio; in other words, a low mechanical time constant, and gearboxes with high efficiency and high torque density.” The objective was to achieve a balance between technical performance and production cost. *All robot images courtesy of Enchanted Tools *All motor images courtesy of maxon. For information: maxon https://www.maxongroup.com/en-us EC-I 40 Brushless Motor https://www.maxongroup.com/maxon/view/product/488607 https://www.maxongroup.com/maxon/view/product/488607 Enchanted Tools https://enchanted.tools/ Previous Facebook LinkedIn Copy link Next

3D Printing is a game-changer in the movie and digital EFX industry. Large build volume and reliability at an affordable price for stunning special effects design has become a no-brainer investment. Film Studios and 3D Printing 3D Printing is a game-changer in the movie and digital EFX industry. Large build volume and reliability at an affordable price for stunning special effects design has become a no-brainer investment. Terry Persun Film and TV Jun 17, 2025 Veteran Makeup FX Artists Steve Yang and Eddie Wang from Alliance Studio—an entertainment design and build studio—discuss how 3D printing with Raise3D has shaped the new era of special effects and sculpture creation. Steve Yang: I moved to L.A. to get into the makeup effects industry. This was a time when the movie The Thing had come out already, American Werewolf in London , The Howling . These were huge innovations in makeup effects. I was lucky enough to get in with Stan Winston Studios when I first got here and work for him for a few months. Then I went to Rick Baker’s as a sculptor for Harry and the Henderson’s. And I think, it wasn’t until shortly after that I met Eddie. He was 17. Here’s this amazing kid, really talented, and he wanted to meet me. We instantly hit it off and have been friends ever since. Eddie Wang: Steve had this completely unique way of doing things. At the time everything was humanoid, what we called a “safe design.” It was all monster paint jobs using purples and flesh tones. Everything was done in a very boring fashion. And then Steve showed up to the monster maker contest with this hermit crab inspired, sea creature amphibian paint job with this samurai kilt underneath everybody was like, “Oh my God, it’s beautiful, it’s designed well, it’s something we’ve never seen before.” Steve Yang: In those days, everything we did in the industry was started with clay. We’d do maquettes, but our final products were always done in clay. And when I slowly moved out of the makeup effects arena, I started getting more into creating statues for video games. The first one I did was for Blizzard back in 2004, and it wasn’t until 2010 when they came to me, and they had this giant robot guy named Jim Raynor, a guy in the robot suit and they show me the 3D model and say, “We want you to make this.” At that point, it was totally different from what I’ve done before. Before everything was done traditionally, and now I’ve got this giant robot. And so that’s the first time that I really got into digital. Digital printing is a huge part of what we do now. A while back digital printing was something relatively new, now it’s everywhere. Every studio has a 3D printer. It just makes so much more sense. They are so much easier to work with. Plus it’s a one-to-one operation. You design stuff on the computer digitally and you get exactly what you designed. The first printer we ever bought was a Makerbot, but it was too small, and we needed something bigger, we need solutions. So, we started researching into larger printers, and we looked at every company. I think we were on a tour of Blizzard Studios when Brian Faison said you should look into Raise3D. Sure enough we contacted John over at Raise3D and he had a printer here ASAP. He rolled it out of the truck, plugged it in, and showed us how to use it. That was pretty much the history. What we got with Raise3D was a bigger build space and higher resolution. We were able to actually make some of the parts we needed for the big life-size statues. We print them, take them to the back, clean them up, and do a regular finishing on them. You can’t tell the difference between that and the parts that we actually farm out to the big printing companies. You do one job, and it pays for the printer. Oh yeah, the price was a huge thing because the ones we were looking at were two and three times more than a Raise3D printer. We were expecting to purchase one system, but we were able to afford two of them. Since then, we have recommended Raise3D to so many people. As artists, and being creative every day, we think of unique ways of utilizing this technology and the machinery. We can do things that we have never done before. See conversation video here: https://www.youtube.com/watch?v=BYd7eS4o2ws&embeds_referring_euri=https%3A%2F%2Fwww.raise3d.com%2Fcase%2Fthe-advanced-tech-behind-movies-heres-why-every-film-studio-now-owns-a-3d-printer%2F See Alliance Studios video here: https://www.youtube.com/watch?time_continue=14&v=ZDGIuNLDvXM&embeds_referring_euri=https%3A%2F%2Falliancestudios.gg%2F&embeds_referring_origin=https%3A%2F%2Falliancestudios.gg&source_ve_path=Mjg2NjIsMjg2NjY For information: Raise3D: Https://www.Raise3d.com Raise3D Demo Videos: https://www.raise3d.com/demo-video/ Alliance Studios: https://alliancestudios.gg/ Previous Facebook LinkedIn Copy link Next

Entertainment Engineering talks with the best-known and most highly respected special effects companies in the film business to discuss creativity, freedom, and herding cats. Dave Merritt is Model Shop Supervisor at Legacy Effects, and took time out of a very busy day to speak with us. Here is part of that conversation. Creativity on a Monstrous Scale Entertainment Engineering talks with the best-known and most highly respected special effects companies in the film business to discuss creativity, freedom, and herding cats. Dave Merritt is Model Shop Supervisor at Legacy Effects, and took time out of a very busy day to speak with us. Here is part of that conversation. Derek Wells Film and TV Jun 4, 2025 EE: First of all, how many men and women do you typically employ, and what are their specialties? Dave Merritt: Legacy Effects operates from a core group of about 45 people, and we can quickly ramp up to 150 people as more projects come in. We staff all types of specialists, but we separate them by departments; some departments include more than one specialist. The Departments are broken up into Art, 3D Modeling, Mechanical, Fabrication (which includes hair and fur), Electronics, Molding and Casting, and the Model Shop. EE: Creativity is an important aspect of Legacy’s production. How often do you start with one design and end up with something completely different based on inputs from different departments? Dave: We strive to create exactly what our clients desire, but there are times when our staff collaboration may change our approach to the final project. Typically our timeframes are short so a great deal of collaboration needs to happen during the project. For example, we may use materials and processes from one department to replace a more time consuming method in another department. EE: What percentage of your projects have some sort of motion involved? And do your designers typically use electric, pneumatic, or hydraulic components for the motion? Dave: About 50 percent of our work involves some sort of motion. That motion can incorporate everything from simple rod puppets to large hydraulic systems depending on the individual project. In Real Steel, the robot Atom was built with rod puppet arms and a hydraulic head which allowed for a smoother and more fluid operation. EE: For any single project, how many different designers are involved? Dave: Each department has input on the design of a project. For instance, 5 key designers from various departments were involved with the Iron Man suit. Our Fabrication Dept. dealt with how the materials would work together as a whole; Mechanical worked out hinge points and fasteners, while the Model Shop and Mold Dept. focused on the patterns and casting process. Then, Electronics followed up with the lighting and wiring harness. Now for something like the aliens in Cowboys and Aliens, the same process applied, but the puppet was more organic, so the Digital and Real World Sculptors, Mechanics and Mold Dept. were more predominate in the build. EE: How do you use the computers you have in-house, since you don’t provide CGI to your clients? Dave: We utilize 3D modeling in order to visualize what we are going to build and to identify specific elements that may go through the rapid prototyping process. We use our in-house system to produce maquettes for clients as well as small detail components. EE: How many projects do you work on at any one time? Dave: We typically run four to six television commercials and two to four feature films at one time. EE: If you had only a few words to explain how it is to work with such a diverse and talented group, what would you say? Dave: It's a very rewarding experience to be able to work in a creative environment with such talented people. EE: Thank you for taking the time to answer our questions. Dave: Thank you. For more information: Legacy Effects Home Previous Facebook LinkedIn Copy link Next

Blending creativity, innovation, and technology helped make this Comic-Con event light up. Wicked Technology on Stage at Comic-Con Blending creativity, innovation, and technology helped make this Comic-Con event light up. Edited by EE Staff Stage Events Nov 25, 2025 Held at the Manchester Grand Hyatt’s Seaport Ballroom, the audience members for the Her Universe Fashion Show experienced a Wicked -themed immersive lobby featuring pop ups such as a KISS nail booth, photo ops, film props and costumes, and LEGO big builds. From elaborate couture fashion and musical performances to a technology enhanced magical runway entrance by Eckstein herself, the event was designed to captivate and inspire. Her Universe images courtesy of Mark Edwards Photography. The runway serves as the stage for a group of selected designers who created and showcased their designs—some of which were inspired by the Wicked fandom—during the 2025 Her Universe Fashion Show. At the end of the night, Lynleigh Sato and Caitlin Beards were chosen by both the audience and an expert panel of judges as the winning designers. They were awarded a cash prize of $2,000 USD each and have been offered the opportunity to design a fashion collection with Her Universe. Central to this vision was the transformation of the stage into the World of Oz, a feat made possible by ALTRD Projections and Barco’s state-of-the-art projectors. Delivering Impactful Visuals This year’s production presented a unique spatial and creative challenge: how to deliver high-impact visuals across four separate projection surfaces. The team needed a solution that delivered consistent brightness, sharp resolution, and vibrant color across each of the four side screens—two on each side of the stage—while maintaining visual cohesion with the central LED display. For the immersive experience of the show, it was critical to attain seamless integration and high performance across all of these distinct surfaces. Four high-performance Barco UDX-4K40 projectors, known for their unmatched brightness, 4K resolution, and color fidelity, were instrumental in creating a cohesive, large-scale projection canvas of the four side screens that framed the runway. The UDX’ ability to deliver consistent, vibrant imagery across wide surfaces allowed the creative team at ALTRD Projections to design and execute a fully immersive runway backdrop. The visuals were crisp, dynamic, and emotionally resonant, bringing the magical world of Oz to life. Product image courtesy of Barco. The projectors handled complex motion graphics and color-rich content with ease, ensuring that every detail was rendered with cinematic precision. Barco’s technology didn’t just support the show’s visuals, it elevated them, enabling a level of storytelling and spectacle that matched the ambition of the designers and performers. The result was a flawless fusion of fashion and technology. Her Universe images courtesy of Mark Edwards Photography. The visuals created by the Barco projectors were meant to provide a wickedly memorable evening for attendees by elevating the entire production and immersing the audience in a fantastical experience that matched the creativity of the designs on the runway. The show drew record attendance and rave reviews, with fans and judges alike praising the visual storytelling and technical excellence. By blending creativity and innovation, Barco was a committed technology partner enabling Her Universe to push the boundaries of fashion and fandom once again. The Her Universe Fashion Show, now in its 11th year, has become a cornerstone of San Diego Comic-Con, celebrating fandom through fashion. Presented by Universal and hosted by Her Universe founder Ashley Eckstein, the 2025 edition was themed “Defying Fashion: Fashion That Defies Expectations” inspired by the popular Wicked franchise. This year’s show reached new heights in creativity, inclusivity, and visual spectacle. For more information: Barco UDX-4K40 FLEX Her Universe See other theatre and stage case studies >>> Previous Facebook LinkedIn Copy link Next

Multiple rigging systems and bungie-assisted motion bring 'Puppet Master - Into Thin Air' to life through immersive, multi-axis flight choreography. Custom Aerial Rigging for Stage and Theatre Multiple rigging systems and bungie-assisted motion bring 'Puppet Master - Into Thin Air' to life through immersive, multi-axis flight choreography. Gavin “Wild” Smith, Founder of Aero Motion Australia Stage Events Aug 5, 2025 Film and TV Aero Motion Australia designs and produces custom rigging systems for aerial performance across stage, theatre, circus, and screen. With deep roots in aviation and an unrelenting pursuit of visual wonder and technical mastery, the company continues to redefine what’s possible in the air—creating elegant, mechanical solutions for complex motion. For the theatrical performance, Puppet Master - Into Thin Air , Aero Motion developed a uniquely manual rigging system design capable of supporting dynamic, three-dimensional flight on multiple planes of axis, without relying on motors or automation. The system combined an overhead catenary or dual running slacklines, diversion pulleys and compound rigging pulleys with 4:1 advantage that assisted with the lifting of the aerial artist, and bungies to create an expressive movement language suited to the show’s surreal themes. At the core of the design was an overhead catenary dual rope running span line system or slackline engineered with mechanical advantage—a rope-and-pulley method that amplifies the operator’s lifting force, allowing the artist to be flown by hand. The performer was suspended from a rolling point mounted mid-span, enabling single-plane, multi-axis flight. This setup produced a pendulum-style motion across the stage, with the performer rising from an offset floor position interacting with a ground based artist and ‘floating’ through space. All photos courtesy of Aero Motion Australia To push beyond a linear flight path, a secondary tangential rigging system was introduced. This added an orbital layer of motion by tethering to the rolling point, allowing the performer to traverse complex arcs. Coordinating both systems demanded not just technical precision but also a skilled human counterweight operator—something Aero Motion believes can be trained within circus and stunt rigging disciplines. To assist with vertical movement along the Z-axis, custom-built bungy cords connected a corset-style harness to a circular spreader bar, providing elastic lift and responsive recoil that enhanced the rigging’s mechanical rhythm. These bungy cords are hand-crafted using raw materials similar to those found in AJ Hackett-style systems, tailored specifically for aerial performance applications. The construction method is intricate, carefully calibrated to achieve the desired elasticity, rebound characteristics, and overall dynamic response required for the choreography. While highly effective in delivering a fluid and energetic performance, the bungy rubber is inherently prone to wear. As the cords stretch and recoil, the energy exerted under tension generates internal heat, which gradually degrades the rubber from the inside out. Because of this, each bungy rope has a limited operational lifespan and must be closely inspected and monitored for signs of fatigue or damage before every use. Swivels enabled the spreader bar to spin freely. As the performer’s rotational speed increased, the system exhibited a striking physical effect—gyroscopic precession. This phenomenon is the change in orientation of the rotational axis of a spinning object when an external force is applied. Rather than moving in the direction of the force, the spinning object responds 90° later in the direction of its rotation, introducing new rigging geometry and layout design challenges. Aero Motion addressed this by offsetting the rig’s secondary tangential rigging system geometry to allign this to contain the full X-Y-Z motion envelope within a 15-meter (50-foot) high studio space. “The performer’s movement became both aerial and orbital—suspended in a mechanical ballet that was entirely human-powered,” says Gavin “Wild” Smith, Aero Motion’s founder. With the full spectrum of the rigging universe engaged, Puppet Master - Into Thin Air became a rare example of immersive, live performance engineering, where rigging, choreography, and physics converged. Technical Details for Engineers & Riggers: Primary System: Overhead running span line or slackline span, with 2:1 to 4:1 mechanical advantage pulley system, no automation, operated manually. Rolling point is a dual pulley on both overhead running catenary lines that rolls along the span, Kernmantle static rope 11mm diameter is used throughout the system Flight Domain: Single-plane pendulum flight with a radial rigging system manipulating the main system. Secondary System: Tangential tether to rolling point enables X-Y movement in arc, requires human counterweight operation for control. Vertical Control: Custom elastic bungies in parallel, fitted to a bespoke circular spreader. Rotation produces gyroscopic precession. Considerations: Operator training essential. Flight path management requires anchor point offsetting and clear stage-to-roof clearance of ~15m. No load cell integration. Relies on operator feel and controlled descent/lift. For more information: Aero Motion Australia Watch Puppet Master - Into Thin Air Author Bio: Gavin “Wild” Smith is the founder of Aero Motion Australia, a specialist in custom aerial rigging for circus, stunt, theatre and aviation environments. With a background in both engineering and mechanical systems as well as creative performance, his work bridges the gap between engineering precision and artistic expression. Gavin’s rigging designs have featured in live events, feature films, and high-risk helicopter operations around the world. Previous Facebook LinkedIn Copy link Next

Designing the right servo drive for camera motion in deep sea explorations meant the drive had to experience extreme pressures up to 8,800 psi. How a Deep Sea Camera Servo Drive Endures Extreme Pressures Designing the right servo drive for camera motion in deep sea explorations meant the drive had to experience extreme pressures up to 8,800 psi. Edited by EE Staff Cool Stuff Dec 2, 2025 At 6,000 meters below the surface of the sea, pressures can reach 8,800psi. The Titanic is only 3,800 meters below the surface. Equipment, such as the camera motion device, used at that depth often has to be encased inside a thick sealed container. When the customer approached ADVANCED Motion Controls (AMC) about using their servo drives without a sealed container, the customer suggested an alternative approach—submerging the electronics in a non-conducting oil bath. After speaking with AMC’s applications engineers the customer was encouraged to “give it a try” even though AMC had never tested their devices at the required depths. The customer purchased a standard DigiFlex servo drive and performed high-pressure testing of the device while submerged in the oil bath. The drive held up considerably well except that the standard electrolytic capacitors (shaped like small cans) were being crushed by the pressure. The customer’s solution during the testing process was to drill a small hole in the capacitor housing and allow the oil to equalize the pressure. This worked perfectly for the prototype but as a manual modification would be costly and inefficient in a production setting. Images courtesy of ADVANCED Motion Controls. After some design considerations, the AMC applications engineering team provided a custom solution using high-pressure tolerant, solid-state capacitors, which could easily handle the pressure naturally and without needing additional modification. For feedback, the customer proposed incorporating a magnetic encoder chip, which required a magnet on the rotating shaft and a sensor chip positioned precisely above it. The AMC team chose to design a custom daughterboard that the drive could plug into. The daughterboard held the sensor chip in perfect alignment with the motor shaft magnet—solving the mechanical difficulty of alignment and saving the customer from having to build their own brackets—reducing the mounting footprint. The customer required that the main communications between the drive and the host was set up using standard RS-232. Images courtesy of ADVANCED Motion Controls. Through a committed approach to make the design work, and by overcoming multiple challenges, AMC was able to work with their customer to produce the perfect solution to a difficult project. The underwater camera became a successful and integral product for undersea explorations. Cross industry applications for AMC technologies are explained in this video: For more information: ADVANCED Motion Controls DigiFlex Drive Servo Drive Selector Other underwater applications >>> Previous Facebook LinkedIn Copy link Next