Unique cooling solution is optimized to provide cooling for an electric Vertical Take Off and Landing aircraft capable of traveling flight distances of 1,000 km. Electric VTOL Aircraft Unique cooling solution is optimized to provide cooling for an electric Vertical Take Off and Landing aircraft capable of traveling flight distances of 1,000 km. Terry Persun Cool Stuff Jun 10, 2025 Conflux Technology designs, engineers, and produces additive manufactured heat exchangers for a variety of thermal challenges in multiple industries. Recently, they unveiled a collaboration with AMSL Aero, an Australian aircraft manufacturer involved in building the world’s most efficient long-range zero emissions electrical VTOL aircraft. Also from EE: Electric Race Car Uses 3D-Printed Components Under the first phase of the project to develop hydrogen fuel cell cooling for AMSL Aero’s Vertiia VTOL aircraft, Conflux developed three heat exchanger concepts, each focusing on minimizing weight and volume while managing continuous heat loads and reducing drag. The ultimate goal was to enable flight distances of up to 1,000 km. Already at its second phase, the company will optimize the design and manufacture of a full proof-of-concept assembly to evaluate its performance within Vertiia’s hydrogen fuel cell powertrain. According to Michael Fuller, CEO & Founder of Conflux Technology, ““Hydrogen fuel cells represent a transformative technology in Australia’s pursuit of sustainable energy solutions. We are proud to incorporate our heat exchange technology to enhance the efficiency and performance of Vertiia’s hydrogen fuel cells. Together, we’re advancing innovation in creating world-leading sustainable air transport.” The Conflux cooling solution will be optimized to provide cooling for high transient heat loads experienced during vertical take-off, landing, and hover operations. Weight, performance and packaging size are key constraints for aeronautical hydrogen powertrains. Geometrical freedoms granted by additive manufacturing means heat exchangers for these systems can be lightweight and conform to the space available. Conflux’s unique thin-walled, patented designs deliver thermal performance and low drag. Photo: A closeup of Conflux Fins AMSL Aero chairman Chris Smallhorn said: “In Vertiia we are building a hydrogen-electric aircraft that flies record-breaking distances at Formula 1 speeds, making Conflux Technology, with its storied history of innovation in motorsport and aviation, the perfect partner for us. Conflux’s AS9100D manufacturing and quality certification is critical in enabling Vertiia to become the world’s first long-range passenger-capable hydrogen VTOL.” Working together, the companies are pioneering a future where clean energy and cutting-edge engineering drive the aviation industry toward a greener and more sustainable future. This engagement further expands Conflux’s presence in aerospace applications, leveraging additive manufacturing to develop high-performance heat exchangers for next-generation aviation. Applications now extend across propulsion system cooling, transmission and gearbox cooling, environmental and avionics cooling, and power electronics cooling. As the demand for sustainable solutions accelerates, additive manufacturing is setting new performance benchmarks, delivering advanced thermal management solutions that conventional methods cannot achieve. Watch: News video of the Vertiia For more information: Conflux Technology AMSL Aero Previous Facebook LinkedIn Copy link Next

The company saved tens of thousands of dollars in only two months after installing new equipment meant to reduce prototyping lead times and help speed up product development. How an ATV Manufacturer Leveraged Industrial 3D Printing to Accelerate Product Development The company saved tens of thousands of dollars in only two months after installing new equipment meant to reduce prototyping lead times and help speed up product development. Edited by EE Staff Sports Sep 15, 2026 Cool Stuff Design freedom is an important advantage to Super ATV, a leading manufacturer of aftermarket UTV and ATV parts and accessories. The company designs and produces literally thousands of products that enhance vehicle performance, durability, and rider experience. From its early days operating out of a garage, Super ATV has grown into a major innovator with almost a half million square foot manufacturing and warehouse space and over 600 acres of dedicated testing ground. The company boasts having a vertically integrated engineering, manufacturing, and distribution operation where every product they produce is designed, prototyped, tested, and validated in-house to ensure quality, fitment, and reliability before even reaching a customer. Images courtesy of Raise3D and SuperATV. The company’s 3D Printing lab leverages additive manufacturing for product development, rapid prototyping, tooling, fixtures, and low-volume production parts. By integrating industrial 3D printing into its engineering workflow, SuperATV accelerates design validation, shortens development cycles, and enables faster delivery of durable, high-performance UTV and ATV vehicle aftermarket products that are built to withstand the toughest off-road environments. Aftermarket Challenges In order to compete in the highly competitive powersports aftermarket business, SuperATV must rapidly develop products for newly released UTV and ATV models while ensuring every component meets extremely demanding performance requirements. This means high part strength, dimensional stability, impact resistance, and temperature resistance. The ability to customize these parts is important as they must accommodate different vehicle platforms and performance requirements. Engineered parts undergo multiple design iterations before production, making development speed a critical aspect of the design cycle. Images courtesy of Raise3D and SuperATV. When using traditional machining methods each design revision increased machining costs and slowed the design cycle process. This meant that producing multiple prototype variations proved to be expensive and time-consuming. Plus, complex geometry optimization was often either difficult or cost-prohibitive altogether, reducing the design flexibility the company wanted. The alternative was often using outside sources while the company really wanted an in-house solution. To accelerate product development, SuperATV integrated the Raise3D RMS220 SLS 3D printing system into their engineering workflow. The RMS220 printer features a 75W fiber laser at 1064nm, paired with a galvanometer scanner, and F-theta optics. This configuration allows scanning speeds of up to 30,000mm/s, where competitive machines run at 12,000-20,000mm/s. The combination of higher power and faster scanning means that the RMS220 is geared toward productivity—just what SuperATV was looking for. Add to this the system’s 220x220x350mm build volume, integrated nitrogen generator, and detachable build units, and SuperATV ended up with a unit that balanced power, compactness, and workflow integration to provide a full workflow ecosystem. SuperATV uses a nylon PA12 powder to manufacture functional prototypes and production-ready engineered components. This material is not only strong but heat-resistant. It’s often used to print functional components rather than simply prototypes. As a quality all-around material, PA12 adapts easily to high-precision parts production. Very flexible, the material, when thin, can be used for springs and, when thick, can provide structurally strong functional parts. PA12 is available in a variety of colors but can also be polished and dyed depending on the needs of the customer. Unlike conventional machining, the RMS220 enabled engineers to move directly from CAD models to physical parts within hours, dramatically shortening the design and validation cycles. Typical builds required approximately 12 hours while producing up to 16 functional parts in a single print, allowing multiple design concepts to be evaluated simultaneously rather than sequentially. Images courtesy of Raise3D and SuperATV. The mechanical properties and dimensional accuracy of SLS-printed PA12 provide SuperATV engineers with durable, functional parts suitable for fitment checks, assembly validation, and performance testing. The powder-bed fusion process enables complex internal geometries, lightweight structures, and integrated features that can be difficult or costly to manufacture using conventional machining. This allows engineers to optimize components specifically for additive manufacturing while consolidating multiple features or components into a single part. By combining PA12’s functional performance with the RMS220’s design flexibility, SuperATV can move beyond basic visual prototypes and produce parts that more closely represent their intended application. Engineers can rapidly modify, print, and validate customized UTV and ATV components in-house, reducing traditional manufacturing’s machining, tooling, and assembly requirements. The ability to produce multiple design variations within a single build streamlines fitment and functional testing, allowing engineers to evaluate and refine designs more efficiently. Images courtesy of Raise3D and SuperATV. Following the implementation of the Raise3D RMS220, updated capabilities have translated into measurable improvements across SuperATV’s engineering and product development workflow. Bringing SLS production in-house has reduced reliance on conventional machining and external manufacturing, providing faster access to functional prototypes, tooling, fixtures, and low-volume production parts. Key results included reducing lead times by up to 30 days; saving over $40,000 in the first two months of operation; reducing tooling investment, inventory, and other prototyping costs; accelerating validation; and greater engineering freedom. As SuperATV continues expanding its engineering and manufacturing capabilities, industrial SLS printing has become an important component of its product development strategy. The company will continue to leverage additive manufacturing for functional tooling, production fixtures, end-use specialty components, and low-volume manufacturing applications. For information: Raise3D SuperATV Read more about 3DP used for vehicles >>> Previous Facebook LinkedIn Copy link Next

Software enabled a popular swimwear company to reduce prototyping cycles, increase quality, automate workflows, and streamline collaboration. Reimagining Sports Swimwear Software enabled a popular swimwear company to reduce prototyping cycles, increase quality, automate workflows, and streamline collaboration. Terry Persun Sports Jun 16, 2025 Horst Dassler, the founder of Arena and son of Adidas founder, was on the pool deck at the 1972 Munich Olympics to witness Mark Spitz win his historic seven gold medals while setting seven new world records. Dassler immediately started forming plans for a swimwear company dedicated to aquatic sports and performance swimwear. Just one year after the Games, Arena launched Skinfit® as its first competition swimwear line. The new ultra-light fabric only weighed 18 grams and was designed to cling to a swimmer’s body like a second skin.Today , Arena is headquartered in Tolentino, in central Italy, and is still fully dedicated to producing premium swimwear, equipment, and accessories for swimmers. Also from Entertainment Engineering Fast forward to the present. Arena Chief Information Officer, Andrea Mazzanti, understood that the company needed to reduce the time spent preparing prototypes of new swimwear and related products. At the same time, he wanted to reduce the company’s carbon emissions. By moving to a 3D printing model, the company was able to shorten the life cycle for producing new product prototypes. Plus, by adding 3D EXPERIENCE® Works, Arena was able to ensure all its designers had up-to-date feedback to create, test, and optimize models in real time. According to Mazzanti, “Before 3D EXPERIENCE, the company’s workflow was messier—less predictable and more manual, and they often transferred data via Excel spreadsheets. With 3DEXPERIENCE, we have a single environment where designers can work together and quickly exchange information, which also greatly helps them collaborate with our partners.” Mazzanti said, “ 3D EXPERIENCE is helping us create an ecosystem, connecting all the necessary people with our designers.” Arena mainly uses 3D EXPERIENCE with Solidworks® and 3D Sculptor, along with Simulation. With 3DEXPERIENCE Works, the company has reduced its prototyping cycle by 70 percent while decreasing time to market and enhancing quality by reducing the number of product defects. Photo: Screenshot of a swim goggle lens in design software. Simulation helps Arena reduce their CO2 emissions. Leveraging Simulation to Preserve Resources Another welcome benefit of decreasing the prototype cycle is the increase in sustainability from reduced carbon emissions. Mazzanti continues, “By simulating everything in our design office, we don’t have to create multiple product samples or use third-party product samples, which reduces our CO2 emissions.” He predicts that digital technologies will continue to help Arena improve products for swimmers, particularly in capturing images and measuring and tracking data regarding the performance of fabrics on swimmers in the water. Technology can also help designers develop and test smart fibers. 3D EXPERIENCE® Works collaboration tools ensure that Arena designers have up-to-date feedback to create, test, and optimize models in real time. Besides reducing their prototyping cycle, Arena experienced a decrease in time to market, and enhanced quality by reducing the number of product defects. For more information: SolidWorks Arena Previous Facebook LinkedIn Copy link Next

Chief sound engineer shares the challenges of live performance in a world-class historical venue. The Sound Engineering at the Vienna State Opera Chief sound engineer shares the challenges of live performance in a world-class historical venue. Judit Hollos Spoerli, Corporate Communications Manager at LEMO Stage Events Oct 19, 2026 Music As twilight settles over Vienna, the curtain rises on Mozart's beloved opera The Magic Flute. When the Queen of the Night unleashes the piercing opening notes of her famous “rage aria,” over 2,000 pairs of eyes and ears are spellbound, drawn to the vibrant stage of the Vienna State Opera. Her dazzling coloratura soars effortlessly, carried with crystalline clarity through the Staatsoper's masterfully tuned sound system. Image credit: ©Wiener Staatsoper/ Michael Pöhn. Backstage, unseen by the enraptured audience, lies a delicate cobweb of cables and connectors—an intricate, silent network binding microphone to loudspeaker, performer to listener. Athanasios Rovakis is the head of the Audio and Video Department and is responsible for ensuring that every performance sounds perfect—from rehearsals to final curtain, sound quality is paramount. Rovakis leads a team of thirteen professionals where a typical day involves rehearsals in the morning or an evening performance, and on some days both. The iconic Vienna State Opera opened on May 25, 1869. A blend of Gothic and Renaissance elements, with some details even influenced by Emperor Franz Joseph himself. The now world-famous Staatsoper, cherished by the people of Vienna, offers 1709 seats and 435 standing places. Each season, around 350 performances of over 60 different operas and ballets take place on the main stage and in the state rooms, alongside over 800 guided tours and other events. In total, around 900,000 people visit the opera house each season. Image courtesy of LEMO. Precision connectivity behind the scenes is handled by LEMO connectors, which play a crucial role in sound quality. The company’s 4S.304 connectors are hooked to the microphones and loudspeakers all over backstage, some of which have been there for nearly thirty years without failure. Other connectors include the 4E.675 and 3K.93C SMPTE, which are used to bridge to the world beyond the state—the Austrian Television’s OB vans linked to the heart of the stage. Again, these connectors have operated night after night for hundreds of performances every season—unseen but essential. Image courtesy of LEMO. According to Rovakis, “The geometry of the hall, the materials used, acoustic reflectors, and the layout of the boxes all contribute to the unique sound.” Yet, working with a historic building has its challenges. All technological upgrades must be carefully integrated to respect the existing architecture. The overall setup uses a wide range of equipment because the selection for each production must ensure that any sound system change is compatible with all sixty productions in the repertoire. Equipment selection is only made after thorough testing, to be sure that it meets the specific needs of the performances. “Over the past ten years, we have upgraded to a modern digital mixing console, installed wireless systems, high-quality modern loudspeakers, and a powerful video projector,” Rovakis said. The team performs a complete system check before every performance, which includes the connectors. According to Rovakis, “LEMO connectors have proven to be incredibly reliable.” For information: LEMO Vienna State Opera SMPTE Connectors Lead image credit: ©Wiener Staatsoper/ Michael Pöhn. Read more about music technology >>> Previous Facebook LinkedIn Copy link Next

Filmmakers and businesses get a creative refuge where they can plan, shoot, edit, score, and finalize projects. Virtual Production Stage for Film Filmmakers and businesses get a creative refuge where they can plan, shoot, edit, score, and finalize projects. Edited by Terry Persun Film and TV Jun 24, 2025 35North Studios is a state-of-the-art production studio that allows creators a peaceful space to focus on their craft and enjoy the process. The company’s full-service approach provides their clients with a well-equipped studio situated in Clear Lake, Iowa. At its 12-acre campus, 35North Studios operates out of a 225,000-square-foot-facility that includes soundstages and editing suites, in addition to a recording studio, equipment rental house and production office space. With an eye on the trends shaping entertainment and production, 35North Studios’ executive leadership began paying close attention during the pandemic lockdowns when virtual production projects started to accelerate. They conducted extensive research and evaluations into virtual production methodologies and the technologies that enable them. Soon after, they committed to building their own virtual production stage. Also from Entertainment Engineering: Photo courtesy of 35North Studios. “It’s just ingrained in us to always be looking forward and to stay ahead of the curve with the latest industry tools,” said Justin Fairfax, Director of 35North Studios. “We also saw the opportunity to be an early adopter in the Midwest.” Technically Advanced 35North Studios’ virtual production workflow features an OptiTrack camera tracking system—a 3D optical tracking technology with sub-millimeter accuracy for virtual production stages and other industry applications. OptiTrack is a 3D precision tracking systems that provides low latency output, easy to use workflows, and a host of developer tools. The system’s primary markets include drone and ground robot tracking, movement sciences, virtual production and character animation for film and games, and mixed reality tracking. The specific OptiTrack system used by 35North Studios is comprised of 12 SlimX13 cameras—a lightweight, high frame-rate capture product that includes a discreet profile and is designed with simplicity and usability in mind. The system also includes CinePuck, a camera tracking tool for virtual production studios that can be seamlessly integrated into any production workflow. The studio’s stage is also equipped with fine pitch LED video walls and ceiling from OptiTrack’s sister company, Planar, a leading provider of LED display solutions, and ARRI cinema cameras. Additionally, 35North Studios custom built all of its rendering nodes and computer hardware systems. Flexibility and Stability 35North Studios selected an OptiTrack system after evaluating the different types of motion capture technologies including how each one would support their vision for the new virtual production stage, both immediately, and long term. “We wanted our LED ceiling to be a reflective surface at all times, which automatically ruled out inside out camera tracking ,” Fairfax said. “If we had to place a bunch of trackers on the ceiling for positional tracking, then that would mean they would be visible in the reflections. We wanted to avoid that.” Because of their need for more creative latitude, their search eventually landed on optical camera tracking and the OptiTrack system. “For us, it’s all about flexibility and stability,” Fairfax said. “With an OptiTrack system, we are not tied solely to virtual production. For example, if we decide at a later stage to invest in an animated feature that needs motion capture, we can do that.” The flexibility of OptiTrack proved beneficial when 35North Studios wanted to expand its tracking volume. “We decided to also track our side walls to Unreal, which allows us to avoid having to remap everything every time we move one of those mobile walls,” Fairfax said. “That wouldn’t be possible using different tools.” The decision to integrate an OptiTrack system was also based on 35North Studios’ set up to use two ARRI cameras in their virtual volume and to be able to track both at once. OptiTrack provided the ability to track props, which the company can build into an active tracker and send to Unreal in real-time. “It’s such a multipurpose tool,” Fairfax said. According to Fairfax, OptiTrack provides several other advantages—the system is user-friendly, the equipment is dependable, and the software is easy to learn and understand. But what stands out the most is that the technology is virtually unnoticeable. “I haven’t had to worry about it being visible once on set,” Fairfax said. “It’s never a thought in my mind.” For information: OptiTrack Planar Epic Games ARRI Brompton Technology Previous Facebook LinkedIn Copy link Next

It’s important to have devices that easily integrate with your present system. Amusement Ride Animatronics with Minimal Maintenance Requirements It’s important to have devices that easily integrate with your present system. Terry Persun Theme Parks Jul 9, 2025 A well-known theme park required an additional electric actuator and motor that was compatible with the drives and controls it was currently using. The application was to reliably support and move a large and heavy animated prop nearly 280 times per day while providing minimal maintenance requirements. The engineering team from Tolomatic was able use the company’s online sizing software to quickly specify the correct actuator and motor and provide a STEP file to the customer the same day the request arrived. Also from EE: Here's How Jurassic World Rebirth Captured the Nostalgia of Film The animated prop moving solution included the Tolomatic B3W electric linear belt drive actuator, which not only fulfilled the customer’s load requirements, but supplied consistent, smooth operation, easy integration using Tolomatic’s “Your Motor Here” program, and provided the long life the customer was looking for. Once selected, the theme park designers were able to use the same motors throughout the park to effortlessly integrate the new attraction into their system. Photo courtesy of Tolomatic The company’s B3W actuators offer a maximum stroke of 100-inches (2.5 meters) with an operating speed of 2.5-3 inches per second (63-76 mm/sec). As a belt drive actuator, the device is capable of accommodating very heavy loads as well as handling high bending moments with consistently smooth operation. The B3W linear belt drive actuators incorporate an enclosed recirculating bearing system eliminating the need for external load guidance. The device comes in three body sizes, incorporates a wide urethane-steel belt that delivers greater thrust with no stretch, and offers strokes up to 574-inches (14,579 mm). Alternate belt materials and extended stroke lengths are available. For more information: Tolomatic Previous Facebook LinkedIn Copy link Next

Director Scott Brown required high quality results from his camera as well as post-production tools including editing, color grading, visual effects, and audio. Shooting the Vertical Musical 'Playback' for Mobile Viewing Director Scott Brown required high quality results from his camera as well as post-production tools including editing, color grading, visual effects, and audio. Edited by Terry Persun Film and TV Jul 28, 2026 Produced by Director Scott Brown’s indie company Second Rodeo for HOLYWATER TECH’s My Drama platform, “Playback” is a seventeen song original musical following Maddie Bryce (Amber Laird), a struggling songwriter whose rising success is tied to a secret she can’t afford to reveal. As AI reshapes the music industry, Maddie is pulled into a double life that forces her to confront identity and authenticity. The series also stars comedian and internet personality Hannah Stocking and America’s Next Top Model winner Sophie Sumner, alongside Royce Lundquist and Sarah Sampino. Images courtesy of Blackmagic. The series was shot using the Blackmagic PYXIS 6K digital film camera, with DaVinci Resolve Studio editing, color grading, visual effects (VFX), and audio post production software powering the full post production workflow. With “Playback,” the goal was to create something unique. The PYXIS 6K became a workhorse, particularly during pickup shoots. Brown explains: “Having a full open gate sensor as well as the incredible dynamic range of Blackmagic RAW really allowed us to capture a wide variety of images from a wide variety of environments, and have not only the exposure latitude, but the color space to make sure that all of our shots matched.” Images courtesy of Blackmagic. Brown shot open gate throughout, a deliberate choice that paid dividends in the vertical edit. “Not only does that give you the advantage of potentially having other distribution options later, it really opens up a whole host of options when you’re doing the vertical edit,” he said. The production also carried a relatively high volume of visual effects for a vertical microdrama, and that sensor flexibility helped keep options open across 12 reels of finishing work. Powerful Post Production Tools Post production for the show ran entirely within DaVinci Resolve Studio. “I really had the lightbulb moment of seeing just what a powerful tool this was,” he said. “I’ve been using other editing programs for over a decade, but with Resolve, especially with its most recent updates, it really has turned me into a huge fan of the program.” Images courtesy of Blackmagic. Editor Jim Berkenkamp, who came onto the project during the second half of the editing phase, explained, “Resolve made it easy to move quickly between editorial, audio, and finishing workflows while keeping everything centralized. That flexibility became really valuable as the project evolved.” Images courtesy of Blackmagic. For Brown, the ability to move between the edit page and the color page without a round trip was a particular advantage on a project with complex sequences. “You can get into your color workflow, realize that you want to change a couple of shots, and just jump right on over to the edit page, tweak those shots, and boom, you’re right back in the color page continuing where you left off.” With multiple machines across the office, both Brown and Berkenkamp relied on the Blackmagic Cloud Pod network storage solution to keep media and project files moving efficiently between workstations. “It helped streamline collaboration and allowed us to keep media and project updates moving efficiently between different workstations, especially while handling pickups, ADR, graphics, and online revisions simultaneously,” Berkenkamp said. For Brown, the decision to build the company’s workflow around Blackmagic Design tools was straightforward. “When you utilize those programs and stay within Blackmagic’s ecosystem, the incredible connectivity between different machines really becomes a no brainer.” Images courtesy of Blackmagic. “Playback” is available on the My Drama app. For information: Blackmagic Design PYXIS 6K Camera DaVinci Resolve Studio Read more about Film & TV >>> Previous Facebook LinkedIn Copy link Next

Ensuring the long-term reliability and performance of wearable sensors hinges on robust manufacturing processes. Precision Dispenser Provides Nontoxic Adhesive to Wearable Sensor Technology Ensuring the long-term reliability and performance of wearable sensors hinges on robust manufacturing processes. Anthony Buzzerio, Venkat Nandivada, Rohit Ramnath Cool Stuff Dec 9, 2025 From smart watches to fitness trackers to smart clothing, the growing field of wearable technology relies heavily on miniaturized sensors capable of providing accurate and continuous physiological data. This is especially true in the medical field where all types of demanding conditions including physical stress, thermal fluctuations, and exposure to bodily fluids can create a harsh environment. One of the keys to operational superiority includes biocompatible adhesives for encapsulating these delicate sensor components. Images courtesy of Nordson EFD and Master Bond. Here we’ll examine the selection and implementation of a non-cytotoxic adhesive chosen for its ability to encapsulate sensors from harsh environmental factors such as humidity, dust, and mechanical impact. We’ll also explore the automated dispensing equipment used to achieve the accuracy and consistency required for production. To ensure that the manufacturing process was optimized, Nordson EFD partnered with specialty adhesive manufacturer Master Bond. The product selected for this encapsulation process needed to meet several key requirements to ensure its effectiveness and compatibility with the wearable sensor, including a low-viscosity epoxy with capillary flow characteristics for precise dispensing, the material needed to be curable below 80oC to protect heat-sensitive electronic components from damage, and it needed to be a non-cytotoxic encapsulant to ensure safe use when used against a human body. Finally, the dispensing process had to be automated and capable of dispensing approximately 3cc of the material per sensor consistently. Material Solution Master Bond’s EP21LSCL-2Med, a two-component epoxy adhesive, met the overall application requirements. The product has an ISO 10993-5 non-cytotoxicity rating, which qualifies for wearable sensors. EP21LSCL-2Med was specifically engineered for low-temperature heat curing, which was instrumental in protecting the integrity of the sensitive electronics within the device. Important was the adhesive’s low mixed viscosity—measured at 500–1000 cps at room temperature—making it highly suitable for capillary action, which ensured that intricate spaces were properly filled with no voids. The Master Bond EP21LSCL-2Med has a working life of 6-8 hours. The working life of a fluid is the amount of time before the epoxy becomes too thick to be applied. An additional consideration for fluid dispensing technology selection was that once the Master Bond compound was thawed to room temperature from the -40° C freezer in the manufacturing process, it could not be re-frozen. This fact informed the dispense solution selection for the application. Images courtesy of Nordson EFD and Master Bond. The material was packaged in pre-mixed and frozen syringes (stored at -40oC until use), delivered in 3cc Nordson EFD syringes, making the process highly efficient and reducing waste. Operators could simply thaw and load the syringes into Nordson's dispensing system, streamlining the workflow and minimizing handling errors. Dispensing and Packaging Nordson EFD offers several fluid dispensing solutions for effectively encapsulating wearable electronics. The company’s broad selection of fluid dispense solutions enables manufacturers to choose the right technology for their unique application needs. To meet the requirement for the material to flow easily around the sensor components and fill the intricate spaces without leaving voids in the application, a fluid dispenser, valve, automation, cartridge, and tip technologies were required. To maximize the usage within the Master Bond EP21LSCL-2Med’s working life, Nordson EFD engineers recommended using the Ultimus V high precision dispensers, which provided a benchtop fluid dispensing control for the manual or automated application of fluids. As the viscosity of the epoxy changes, the full electronic press regulation feature keeps the critical fluid dispensing processes consistent from start to finish. The Ultimus V fluid dispensing solution shot size stays consistent regardless of changes in viscosity of the epoxy. This solution also offered electronic control of the dispensing time, air pressure, and vacuum. Once programmed the air pressure automatically adjusts as the fluid gets thicker. If larger volume is required (30cc or more), an xQR41V Series needle valve can be an alternative to avoid full-to-empty variation issues. The design of the xQR41V allows for quick fluid change-over and easy cleaning of wetted parts at the end of the shift. The needle valve features a patented quick release clasp, enabling fast and easy servicing in the field. In addition, the low level of fluids retained in the fluid body reduces fluid waste, and the reduced form factor of the solution increases production capacity. Images courtesy of Nordson EFD and Master Bond. After benchtop testing was successful, in order to meet the longer time requirement for automated dispensing, Nordson EFD advised that the customer use the EV Series of tabletop automated dispensing systems for easy integration into the manufacturing operations. The consistent application of the fluid was maintained by using Nordson EFD for general purpose orange or red stainless-steel tips. The orange tip is 23 gauge and has an inner diameter of 0.33 mm/0.013-in. This tip is most optimal when the material is applied manually. The red tip is 25 gauge and has an inner diameter of 0.25 mm/0.010-in, which is more suited for automated processes. Nordson EFD uses a laboratory-focused approach to recommending fluid dispensing technologies—evaluating fluids, substrates, application goals, and production needs to provide a consultative approach to selecting the right solution. Minimizing Air Bubbles for Pre-mixed and Frozen Packaging One of the most common challenges in dispensing epoxy adhesives is the presence of air bubbles. To address this, Master Bond implemented rigorous degassing protocols during the packaging process. After mixing the two components of the EP21LSCL-2Med, the formulation underwent centrifugation at 2000–3000 rpm for 1–2 minutes. This critical step effectively removed entrapped air and reduced the risk of voids during application. Using a centrifuge system like the ProcessMate 5000 Universal Centrifuge is a proven way to ensure no air pockets exist after thawing the epoxy used in this application. This approach only eliminated the need for on-site mixing, a process prone to variability and contamination, but also dramatically improved production uptime and consistency. The collaborative application of Master Bond’s innovative pre-mixed and frozen epoxy alongside Nordson’s best-in-class dispensing technology proved instrumental in the customer's success in manufacturing their wearable sensor solution. For more information: Nordson EFD Ultimus V Dispenser xQR41V Needle Valves 3-Axis EV Dispensing Robot ProcessMate 5000 Master Bond EP21LSCL-2Med About the authors: Anthony Buzzerio is the Application/Systems Engineer II at Nordson EFD; Venkat Nandivada is the Manager of Technical Support, Master Bond; and Rohit Ramnath is the Senior Product Engineer at Master Bond. Previous Facebook LinkedIn Copy link Next

A behind-the-scenes look at the technology that brings dinosaurs to life at Seattle’s Burke Museum of Natural History and Culture. What Does Dinosaur Skin Feel Like? Here’s How Scientists 3D Scan and Print Fossils for Museums A behind-the-scenes look at the technology that brings dinosaurs to life at Seattle’s Burke Museum of Natural History and Culture. Nicole Persun Museums Mar 16, 2026 Cool Stuff Dinosaur exhibits can leave a lasting impression on museum goers — but not all dinosaur fossils leave an impression quite like the hadrosaur specimen at the University of Washington’s Burke Museum of Natural History and Culture. This fossil is particularly special because, in addition to the skeleton, it also contains impressions of the dinosaur’s scaly skin. With 3D scanning and 3D printing technology, scientists at the Burke were able to recreate the skin and give visitors a chance to feel what it’s like to “pet” a dinosaur. We spoke with the Burke’s Fossil Preparator Michael Holland to get the inside scoop on the technology he uses to bring dinosaurs to life. About the specimen The skin belonged to a juvenile E dmontosaurus , a type of hadrosaur — a group more commonly known as duck-billed dinosaurs — found in the Hell Creek Formation in eastern Montana. The Hell Creek Formation is a well-known and heavily-studied geological rock unit dating back 66 million years. It’s famous in the paleontological world for preserving the Cretaceous/ Paleogene boundary, providing a snapshot of the “extinction horizon” — a literal line in the earth that marks the abrupt extinction of the dinosaurs. “It’s an extraordinary environment because, in addition to having that extinction horizon, it offers some really amazing preservation of everything that was around before and after that time,” explained Holland. “It’s chock full of everything, especially dinosaurs. Some of the most iconic dinosaurs that you can think of — the ones that everybody knows — can be found there. The first T. rex was discovered there in 1902.” Hadrosaur skeleton being prepared in the lab. The spotlight is shining onto the skin impression. Photo Credit: Chris Snyder | Burke Museum of Natural History and Culture Hadrosaurs were herbivorous, traveled in large herds, and nested in colonies; they were a common part of the Hell Creek ecosystem. “They were big animals. The largest one I know about was 50 feet from nose to tail,” Holland said. “Ours, mercifully, is only about 18 feet in length.” But the Burke’s specimen didn’t arrive from Montana at the museum’s onsite lab in Seattle already fit for 3D scanning and printing. It takes fossil preparators like Holland to get the pieces ready. “I have a whole team working with me,” he said, “and we’ve divided it up into different zones.” Holland and his team use a range of tools depending on the rock matrix surrounding the fossil. “In some cases, it can be surprisingly soft, barely compacted/consolidated sand or flaky layers of mudstone. In other instances, it can be hard as concrete.” If it’s a softer matrix, Holland uses hand tools, including dental tools: “Anything that’s good for fine detail work.” For the harder stuff, Holland relies on power tools like air scribes, which are pen-sized pneumatic “mini jackhammers” that can pulverize the rock. “Along with the removal of the matrix comes the stabilizing and the consolidation of the fossil itself,” Holland went on. “The surrounding matrix is largely what’s holding the pieces together, so as you strip that away, the fossil wants to fall apart.” Hadrosaur neck vertebrae in the process of being prepared. Photo Credit: Chris Snyder | Burke Museum of Natural History and Culture Chemical consolidants are used to keep the fossil together as scientists remove the rock. The solvent-based adhesives (as opposed to reaction adhesives like superglue) are archival-grade, clear, colorless polymers that can be dissolved if needed. “It’s kind of like putting together a puzzle. In instances where the bones have already eroded out of the ground and been collected at the surface, it can be quite challenging, because the pieces are already scattered,” Holland said. After all that work, why replicate the fossil with 3D scanning and 3D printing instead of putting the original on display in the museum? Holland emphasized that creating replicas allows scientists to continue their research on valuable specimens while also sharing their findings with the public. 3D Scanning Historically, paleontologists would restore and replicate fossils with molds and clay. “I’m not going to say molding and casting is dead, because there are still some instances where that’s really what you need,” Holland explained. “But in many instances, I’m finding that a lot of the work I’m doing now is what I call the hard and soft phases. The hard phase is prepping the bones, and the soft phase is when I bring in the devices and software.” Burke Museum fossil preparator Michael Holland uses the Artec Space Spider to scan the skin impression. Photo Credit: Chris Snyder | Burke Museum of Natural History and Culture Holland relies on two different handheld structured blue light scanners from Artec: the Eva for larger pieces and the Space Spider for more detailed scans. According to Ian Sayers — a 3D Scanning Product Manager at Hawk Ridge Systems whom Holland relies on to answer questions about the technology — what makes Artec’s scanners especially unique is their ability to operate without traditional target stickers. “Artec’s handheld structured light scanners are able to generate accurate, full color 3D models with the exquisite level of detail paleontologists are looking for.” Speaking of detail, in the case of the Burke’s hadrosaur, there’s another consideration: the fossil has both “positive” and “negative” skin prints. In some areas, the skin was pressed into the mud, leaving a negative imprint much like a footprint. But in other areas, sediment filled in that negative imprint, creating a positive rendering. The Space Spider, in particular, can pick up on these minute details down to 0.1 mm resolution. Once the specimen is scanned, Holland brings it into the digital space to “squish digital clay” using Maxon ZBrush, a digital sculpting software. It’s there that Holland is able to restore the fossil in digital space, filling in gaps if needed. Hadrosaur skin impression. Photo Credit: Chris Snyder | Burke Museum of Natural History and Culture 3D Printing With the fossils prepared, scanned, and restored in the digital space, the next step is to bring the replica to life with 3D printing. The Burke museum has multiple 3D printers, but they’re older models; lately, Holland has been using his own machine at home: a brand-new Bambu Labs H2S. “Bambu Labs has cracked the code on 3D printing in terms of getting a remarkably reliable, consistent machine — at a pretty accessible cost,” Holland said. “In terms of dollars versus performance, it's really impressive.” Though Holland is printing large specimens (in addition to the hadrosaur project, Holland was also working on printing a 6-foot-long triceratops skull), the printer itself has a build volume of about a 13-inch cube. This means that Holland often prints large bones in multiple sections — a technique he prefers to one massive printer, because, in case of a printing error, it’s easier to fix a small section than to start over on an entire dinosaur. Holland prints the fossils using PLA (polylactic acid) filament, a plant-based plastic. While it’s not as tough as other options like nylon or ABS, PLA is cheaper and doesn’t give off as much smell. Before 3D printing was an option, “Material expenses could be pretty significant. In molding and casting land, the RTV silicone that we use to make molds cost about $100 a gallon,” Holland said. Not only that, the casts are often solid and heavy. 3D printed fossils, on the other hand, have a honeycomb-like structure on the inside; they’re more durable and lighter weight, making them easier to mount in exhibits; and they can be replicated as many times as needed without needing to replace a worn-out mold. When it comes to displaying the fossil in an exhibit, Holland has been experimenting with 3D printing the mounting armature, too. “With some specimens, the weight is going to be so much that I'm not sure I would want to trust anything other than steel if I’m mounting the real bones,” Holland said, adding that, “I’ve done a few smaller specimens where the armatures are entirely 3D printed.” Holland also sees a future where he could blend both techniques for better fossil mounts: “I think there are going to be some opportunities where I can do steel where it's necessary and then some 3D printed components, too.” Burke Museum of Natural History and Culture’s fossil lab being viewed by visitors. Photo Credit: Chris Snyder | Burke Museum of Natural History and Culture Old and new Paleontology is at an interesting crossroads in technology, with fossil preparators like Holland using a mix of hand tools and power tools, 3D printing and metalwork. Holland still hand-paints the plastic replicas himself, noting that he’s yet to find a printer that can capture the unique patina-like coloration of real fossils. But as the technology evolves, so, too, does Holland’s process. For more information: Burke Museum Artec ZBrush Bambu Labs Lead image: Burke Museum fossil preparator Michael Holland looks at hadrosaur skin impression. Credit: Chris Snyder | Burke Museum of Natural History and Culture Read more about museum exhibits >>> Previous Facebook LinkedIn Copy link Next

The ultimate test for animation on-screen might be piano playing, where every key must be hit in its exact place, and the fingers’ motion has to match perfectly. Animating Realistic Piano Performances is Tricky. This Motion Capture Tech Provides a Solution The ultimate test for animation on-screen might be piano playing, where every key must be hit in its exact place, and the fingers’ motion has to match perfectly. Edited by EE Staff Games Aug 4, 2026 When animating piano playing, most animators have traditionally been forced to compromise, often sacrificing accuracy for speed and cost. Even as AI tools are flooding the market, piano animation remains far too complex to automate convincingly. Het Nieuwe Kader, one of the Netherlands’ leading animation studios, saw this as a challenge. They chose to put MANUS Metagloves Pro, an EMF-powered finger tracking solution to the ultimate test. Unlike other motion capture (mocap) systems, Metagloves Pro are unaffected by occlusion or drift. Images courtesy of OptiTrack. Because the Metagloves Pro focus on finger tracking, Het Nieuwe Kader paired them with OptiTrack for positional accuracy. According to Co-Owner and Head of 3D & Visual Effects, Niels, “We attached markers both to the gloves and at the beginning and end points of the piano keyboard. This setup gave us a reliable relative position between the fingers and the keys, ensuring every motion lined up naturally.” Surprisingly the setup was quick and easy. When one of the actors was delayed, it was easy to use a stand-in for calibrations so that when the performer arrives, they simply slipped on the gloves and, within seconds, was ready to record. “That kind of flexibility saved us valuable time during the session,” Niels said. Images courtesy of OptiTrack. The team used twelve Prime X 13 cameras for the demo. Once everything was calibrated, the team started to capture the piano performance. In MANUS Core, even the subtlest fingertip movements translate smoothly into animation data. Watching the model play in real time allowed the team to witness every twist, press, and release represented with remarkable fidelity. Niels said, “For us, this was a breakthrough moment: the gloves weren’t just capturing the movements, they were literally a digital representation of the performer’s hands.” Traditionally, piano animation requires hours of post-recording work—correcting occlusion errors, fixing drift, and ensuring fingers made believable contact with keys. Using Metagloves Pro eliminated most of those issues as they were already solved at the capture stage. This meant that time spent in Autodesk Maya could be spent on what really mattered—the artistry. Instead of repairing broken data, the team was able to spend that time on refining and stylizing the performance. For example, key alignment only required minor adjustments since finger trajectories already matched the keys closely. Dynamics were handled in the graph editor where velocity curves could be enhanced to emphasize the natural weight and rhythm of each keystroke. With reliable data as a base, it was easy to experiment more freely—adding wrist rolls, exaggerating fingertip pressure, or pushing timing slightly off-beat to achieve a more expressive, stylized feel. “This flexibility is the real benefit of the workflow: by removing technical distractions, the gloves gave us space to focus on expression, style, and creative intent, rather than just accuracy,” Niels said. Images courtesy of OptiTrack. In addition to creating the animation, the company took the opportunity to experiment beyond human performance by rendering a robotic hand driven with the Metagloves Pro. Every subtle movement of the human hand was accurately mirrored by the digital counterpart, demonstrating not only precision but also the potential for applications in robotics, virtual production, and beyond. With this workflow, what was once an animator’s nightmare has become a seamless process, opening the door to both authentic realism and creative stylization in hand animation. For information: OptiTrack Het Nieuwe Kader MANUS Metagloves Pro Read more music related case studies >>> Previous Facebook LinkedIn Copy link Next

The iglide® self-lubricating, maintenance-free plastic bearings are being used in the design and development of a single-passenger, urban commuting vehicle. Personal Transport Vehicle Uses Plastic Bearings The iglide® self-lubricating, maintenance-free plastic bearings are being used in the design and development of a single-passenger, urban commuting vehicle. IGUS (originally published in 2013) Cool Stuff Jun 4, 2025 The Personal Transport Vehicle, Ground (PTV-G), is the brainchild of Redbud Technology LLC out of Union Grove, AL. The design uses an articulated steering geometry where the inclined steering pivot is positioned just behind the occupant, and as a result reacts like a high-performance, two-wheeled motorcycle. iglide plastic plain bearings are used in both the independent rear suspension and in the rear wheel lean-and-tilt mechanisms. The bearings are ideal for the harsh, dirty operating environment of the vehicle since they will not corrode and require no maintenance or external lubrication. The low cost and easy installation of the bearings is also an important benefit. In conjunction with the company's Y.E.S. (Young Engineers Support) Program, igus donated bearings at no cost to a group of students working on the project. The vehicle’s subsystems are being assigned to high school seniors and community college and university programs as special projects in order to encourage a younger generation to participate in the study of science, engineering, and manufacturing technologies. Photo: Rendering of the ongoing REDBUD™ PTV-G™ project Redbud is committed to projects that serve as educational resources to advance the knowledge of those who study and practice design, engineering, and manufacturing in the US. They seek to establish relationships with educational institutions and seasoned mentors to foster new learning models. igus’ Y.E.S. Program has a similar mission: to foster the mechanical design ideas of students with a passion for engineering, while at the same time educating them on the merits and benefits of plastic components. Redbud Technology is actively evolving the design and engineering of an urban PTV-G™ based on the plan form of a delta trike. The REDBUD™ PTV-G will serve as an educational resource to help technical high school, community college, and university students develop and analyze advanced single passenger commuting concepts, which includes fundamental 3D CAD/CAE/CAM, design, innovative engineering, and economical manufacturing, assembly, and lifecycle maintenance. For more information: igus Y.E.S Program Previous Facebook LinkedIn Copy link Next

How large synchronized telescopes utilize industrial devices and PC-based control technology. Discovering Traces of the Big Bang Requires Telescopes with Precise Controls How large synchronized telescopes utilize industrial devices and PC-based control technology. Edited by Terry Persun Cool Stuff Dec 9, 2025 The Instituto de Astrofisica de Canarias (IAC–Institute of Astrophysics of the Canary Islands), a research institute at the University of La Laguna, Spain, operates two astronomical observatories on the Canary Islands: the Roque de los Muchachos Observatory on La Palma and the Teide Observatory on Tenerife. These two locations enable astrophysicists to explore the limits of space. To do this, the IAC partnered with Beckhoff. The partnership between IAC and Beckhoff began with the first telescope for the Q-U-I Joint Tenerife Experiment (QUIJOTE I) over twelve years ago. Its aim was to characterize the polarization of the cosmic microwave background (CMB) and other galactic and extragalactic emission processes in frequency ranges from 10 to 42 GHz, and to discover traces of the Big Bang in this way. All other images ©Beckhoff. The telescope’s enormous dimensions are precisely aligned with stars and galaxies and tracked using a control system based on TwinCAT 2 NC PTP and a C5102 19-inch slide-in Industrial PC, which precisely controls the azimuth and elevation of the telescope. In addition to the digital and analog inputs and outputs required to control the telescope, the EL6688 (IEEE 1588/PTP) communication interface facilitated the programming and implementation of the Precision Time Protocol. This EtherCAT Terminal supports PTPv1 (IEEE 1588-2002) and PTPv2 (IEEE 1588-2008) as a device in the IEEE 1588 synchronization system. “Clock synchronization is crucial for synchronizing telescopes very precisely with the movements of the stars and galaxies being observed,” states Jose Miguel Herreros, Engineering Director of IAC. Another major challenge was moving the axes with exceptional precision at both very slow speeds and higher speeds. The reason for this was the significant moment of inertia on the direct drive of the azimuth axis, which required extensive adjustments to the speed controller in the AX2000 servo drive used at the time, recalls Roberto Iraola, Sales Manager at Beckhoff, who adds: “This was fundamental to the project’s success.” This project was followed by the QUIJOTE II telescope for the TFGI (Thirty and Forty GHz Instrument), which consists of a total of 30 receivers. AX5000 digital compact servo drives were already in use with this telescope. Beckhoff developed both telescopes in close cooperation with Spanish company IDOM, while IAC employees developed the control software. In 2022, both control systems were migrated to TwinCAT 3 and C5240 19-inch slide-in Industrial PCs. “We are currently working with Beckhoff on many projects such as ‘Harmoni’ for the Extremely Large Telescope (ELT), robotic telescopes, and various instruments mounted on these telescopes,” says Jose Miguel Herreros. All other images ©Beckhoff. Extensive Modernization The Carlos Sánchez (TCS) and IAC80 telescopes at the Teide Observatory on Tenerife are manually controlled by astronomers using computer applications that were developed back in the 1990s. Although some modernization measures have been carried out, a large part of the control system is still based on components that are now completely outdated. A project that started in mid-2019 and has not yet been completed aims to migrate the control systems of these telescopes to state-of-the-art, robust software and hardware, and to implement advanced remote control in the process. This future high-level control software will be based on the ROS (Robot Operating System) open-source operating system, while the underlying control architecture will be based on EtherCAT and TwinCAT 3 from Beckhoff. To reduce the possibility of technical risks affecting the project, the team developed a telescope simulator to represent the telescopes’ drive system and data network, and provide a virtual test bed for developing and testing the new system. An ongoing investigation is assessing the suitability of using TwinCAT Vision for automatic star tracking by telescope—an autoguiding system has been selected for testing and can also be used for other telescope tracking systems. All other images ©Beckhoff. Different Site, Same Technology The Roque de los Muchachos Observatory (ORM) on the edge of the Caldera de Taburiente National Park, sitting at an altitude of 2396 meters in the municipality of Garafía (La Palma), boasts one of the most comprehensive telescope technologies in the world. Thanks to the clear atmosphere and its location far away from disruptive light waves, the observatory offers ideal conditions for astronomical research. This is why the location has been home to some of the largest-ever telescope projects as well as the new generation of Cherenkov telescopes for exploring the universe using very high-energy gamma rays. The observatory operates what is currently the world’s largest optical and infrared telescope, the Gran Telescopio de Canarias (GTC), alongside twenty other telescopes and astronomical instruments for applications such as nocturnal, robotic, solar, and astrophysical observations involving high energy. These telescopes have already made significant progress in exploring the universe: for example, identifying the most distant galaxy or confirming the existence of black holes and the accelerated expansion of the universe. Cross-Industry Application With a mirror diameter spanning 10.4 m, the GTC is the largest telescope at this observatory. Its planning phase began in 1994 and the GTC was put into scientific operation around 15 years later in 2009. As the technology of the control system specified at the time eventually became outdated, it has since been replaced by PC-based control. This occasion also enabled subsystems such as building automation and lighting systems to be integrated. “We have been able to implement these subsystems thanks to Beckhoff’s open PC-based technology and its experience in building automation,” explains Roberto Iraola. The close cooperation between Beckhoff and GTC extends not only to modernization, but also to the development of new technologies such as instrument calibration modules (ICMs). In the GTC, this system consists of a series of lamps with defined wavelengths and a mechanism for positioning a parabolic mirror that reflects the light onto the telescope mirror. PC-based control is used to control and dim the ICM’s spectral and incandescent lamps. A CANopen interface (master) for operation with the existing CANopen infrastructure was also implemented. Beckhoff technology has also played a role in other projects, such as monitoring and controlling the helium tank compressors and their refrigerants. *Lead image ©AdobeStock/underworld. For more information: Beckhoff TwinCAT Automation Software Industrial PC Institute of Astrophysics of the Canary Islands Read about the automation of other telescopes >>> Previous Facebook LinkedIn Copy link Next