Search

Inspired by the automation used in Halloween props, this engineer used creativity and technology to pull together a Halloween Box specifically designed to scare trick-or-treaters. How an Engineer Used Spare Automation Components for Spooky Halloween Fun Inspired by the automation used in Halloween props, this engineer used creativity and technology to pull together a Halloween Box specifically designed to scare trick-or-treaters. By Jay Rees, PE, “The Independent Integrator”, Rees Engineering Corp. Cool Stuff Oct 6, 2025 DIY/Home Applications In every haunted house, you’ll find automated props: chairs that rock on their own, slamming doors, rattling chains, drawers opening and closing as if by some supernatural force. These “tricks” enhance the “treat” of getting the life scared out of you. The process behind making a Halloween prop can be quite simple. Here is just one example of how a system integrator put used and spare parts to good use to frighten any trick-or-treater. This article is a perfect example of how creative design engineers are. As soon as Jay got his hands on a wooden crate, he knew it could be something much more than it was. —the EE staff. Trick or Treat I purchased a DURApulse 60HP variable frequency drive (VFD) from AutomationDirect as a replacement for a customer’s damaged VFD. When the shipping container was delivered to my shop, I immediately knew what the wooden crate would become. This crate was just the right size for building a Halloween Box. You may have seen similar Halloween props covered with labels, such as “Danger” or “Wild Animal”. I didn’t know at the time what the final result would be, but I could see “The Box” had potential. I wanted The Box to give the impression that some type of wild creature was inside and was desperate to escape. Because this was a hobby project, keeping down costs was a primary objective. As the owner of a system integration business serving multiple industries, I have accumulated spare components and hardware from retrofitting and upgrading applications. Case in point, the VFD shipping container came courtesy of a wastewater pumping station application. All photos courtesy of Jay Rees. The Box’s controller uses a CLICK programmable logic controller that was removed from a metal alloy chiller system. A C-more EA7 HMI, pulled from a fracking fluid control system, is used to provide displays and audio; I used pneumatic cylinders from previous applications and purchased a couple of new Nitra solenoid valves to assemble “the creature.” Finally, a Rhino power supply was borrowed from stock. Due to my odd assortment of pneumatic cylinders, the next challenge was to figure out what I could do with what I had. A couple of squat cylinders would fit on the bottom of the box, placed between the legs at opposite corners to rock the box and make it look like there was something moving around inside. All photos courtesy of Jay Rees. To give the impression that the ‘thing’ or ‘creature’ inside the box is trying to escape, a cylinder is used to push the lid open. With a padlock hasp connected to the lid, the staple and lock appear to hold the lid closed. What the observer doesn’t know is that the staple is installed in a slot, concealed by the hasp, and a small cylinder is used to hold it down so the lid only moves up and down a little bit. After a few ‘locked’ lid bounces, the cylinder retracts and the lid opens another couple of inches, giving the impression that the creature had broken the lock and is getting ready to escape. To add to the experience, when the lid pops up, a claw (from a Freddy Krueger costume) emerges from the gap in the open lid. All photos courtesy of Jay Rees. If that’s not enough excitement, the C-more HMI, displaying pictures of creepy eyes with simple animation to look like they are moving towards the audience, is mounted near the front of the box behind a small cage providing audio of growling, howling, and snarling animals. While the PLC controls the pneumatic actions, the audio is triggered to play through a set of old PC speakers. To provide a way to save energy when no one is around, and give a more realistic experience, retroreflective photoelectric sensors are used to bring the creature to life when someone approaches The Box. Putting together this project was a lot of fun. The challenge was figuring out what could be put together with stuff that was sitting on shelves and in bins. I still wonder what I would have been doing for fun if that DURApulse VFD ‘Box’ hadn’t arrived at my shop. All components mentioned in this article can be found at AutomationDirect . Learn more about Rees Engineering Corp. Previous Facebook LinkedIn Copy link Next

Video camera and audio accessory boom poles K-Tek TadpoleX Holds GoPro Video camera and audio accessory boom poles EE Staff (pub. 2013) Cool Stuff Jun 4, 2025 K-Tek makes video camera and audio accessories boom poles and microphone support products. Tadpoles have become the popular solution for holding small HD action cameras. The newest member of the line, the TadpoleX, is made of black anodized aluminum. The unit’s three-section camera pole is engineered with the same precision as K-Tek’s market-leading boom microphone poles. With a fixed ¼-20 threaded stud mount, the TadpoleX is ideal for small cameras such as the GoPro. Plus, weighing just 8 ounces, the camera and accessory pole can extend up to 3 feet, 7 inches, yet collapses to an easily storable length of 19 inches. Designed for efficiency, the TadpoleX is quick and easy to use in an extreme sports environment. The sections securely lock in place with a simple twist. The pole also features a padded handgrip, made of closed-cell vinyl, to help insulate and cushion vibration. In addition, the comfortable-to-wear woven wrist lanyard cord, also adjustable, ensures that the camera attached to the K-Tek TadpoleX is secure. For more information: K-Tek Home Previous Facebook LinkedIn Copy link Next

Automated guitar plays more than two dozen songs Pneumatic Guitar Mimics Motion of Human Hand Automated guitar plays more than two dozen songs EE Staff Cool Stuff Jun 4, 2025 When employees at Clippard Instrument Laboratory set out to make a new exhibit for their 2012 trade show schedule, they wanted something cool and unique that would draw attention to their pneumatic and automation products. Their answer is a pneumatic guitar that plays more than two dozen songs with over 36 notes running on 50-psi air pressure. Rob Clippard, the guitar’s primary designer and developer, recalls part of the challenge was making the guitar. “We had myself and a few other engineers working on it, sometimes pulling all nighters,” he says. Others working on the project include Chris Rhodes, Jerry Grotelueschen, Brett Vidal, Bill Clippard and Ed Ehrhardt. The main design challenge was trying to mimic the motion of the human hand. “If you asked 100 engineers how to do this, you might get 100 different ideas on how to build a pneumatic system,” says Clippard. He adds one of the hardest parts was the “fret,” or the control of what would be the left hand that holds down the strings along the guitar’s neck. “You have to come off the strings with a certain velocity to mute the string at the correct time while sliding your hand to position your fingers for the next set of notes,” he explains. “Engineering the movement, positioning, and force feedback systems for this application is hard to replicate in a more cost-effective solution as pneumatics.” There were marketing challenges with the exhibit too. “With this exhibit we are getting people to think about new applications with pneumatics,” explains Clippard. “We are also trying to show that Clippard does more than sell pneumatic components. Our engineers use creativity to design, development, assembly, test, among other functions to simplify the tasks for other companies in terms of effort.” The pneumatic guitar has 58 electronic valves and 62 miniature pneumatic cylinders from 5/32” diameters up to half-inch bore that help mimic the motion of the human hand “fretting” , “picking” and “strumming” the six guitar strings. A Wi-Fi card and iPad with a midi player app control of the pneumatic guitar. All other guitar parts are standard, off-the-shelf units, except the manifolds. Engineers at the company normally custom design their own manifolds in house with Solidworks CAD software. But with this job, they were able to use a vector-based drawing program for tracing the outline of the guitar to guide laser cutting of the manifold and valve subplates. For more information: Clippard Home Solidworks Previous Facebook LinkedIn Copy link Next

The entire fleet of San Francisco Cable Cars now have better illumination while reducing the need for battery changes. Historic SF Cable Cars Upgrade to LED Lights The entire fleet of San Francisco Cable Cars now have better illumination while reducing the need for battery changes. Cool Stuff Aug 7, 2025 Opportunity Since 1873, the best lighting the historic San Francisco Municipal Cable Cars had was dim incandescent headlights that did not do anything for illumination. They were merely bright enough to serve as an indicator that a cable car was coming. Plus, the old incandescent lights would quickly burn out or break from the constant vibrations. “The biggest issue was the light on cold, wet, dark nights,” said Arne Hansen, Supervisor of Maintenance at the San Francisco Municipal Cable Car Barn. “We would change the batteries in the cars maybe 10 or 12 road calls in a night. We have better batteries that last much longer now, but still, with the GPS system and cameras, the equipment was draining the batteries pretty fast.” All Cable Car photos Courtesy of San Francisco Cable Cars. After over 140 years, the Cable Cars solved their lighting problems by simply upgrading to LED light bulbs from LEDtronics. Hansen said they ordered LED lights for the entire fleet and are very happy with their choice. Other operators have commented that the LED headlights have increased visibility tremendously. Photo Courtesy: LEDtronics. A19 style LED light bulbs were also installed inside the passenger cabins. Those lights, along with the PAR46 LED headlights, are saving the city money on energy as well as maintenance—especially in the winter when the lights are left on much longer. Between those advantages and the increased visibility, Hansen acknowledged that, “All the operators give it a thumbs-up. They all approved the change, and they all loved it. The project was a complete success.” For more information: LEDtronics San Francisco Cable Car Previous Facebook LinkedIn Copy link Next

Moog offers simulation motion bases and solutions installed in flight simulators, 4D theaters, and theme park rides around the globe. Motion Simulation Provides Essential Training, Theme Park Thrills, and More Moog offers simulation motion bases and solutions installed in flight simulators, 4D theaters, and theme park rides around the globe. Terry Persun Theme Parks Oct 13, 2025 Museums Motion bases are what’s used in flight simulation machines and are ideal for training without the risk of a crash if there’s a failure. These same systems are used in submarine simulation, racecar simulation, and more. But like many industrial systems and components, motion bases have an equally key application in entertainment for dogfight scenes, and ground travel, as well as for theme park rides. When designing for motion base simulators, regardless of the industry, customers want accuracy, repeatability, and long-life cycles. Moog has produced over 1,500 high-performance, human rated systems currently being used around the world and achieves a 99 percent uptime. Depending on the specifications the customer is looking for, Moog allows them to choose from hydraulic, pneumatic, electric, and hybrid-based technologies. Their all-electric E60 Series and electro-pneumatic P60 Series are designed to meet Level D certification requirements for flight training as well as vehicle and maritime simulation. Moog’s new P60 Series Motion System. Motion bases provide full control of heave, sway, surge, pitch, roll, and yaw using six legs incorporating high-density BLDC (Brushless DC) motors. In the hybrid model, the pneumatic preload supports the static load of the platform, allowing the electric actuators to focus on delivering precise, dynamic motion. This improves energy efficiency and reduces overall power demand while maintaining high-fidelity performance. This motion might be used to simulate turbulence in a flight simulator but might also simulate a space battle or driving along a bumpy road in a theme park ride. The stroke length of each of the six legs of the motion base is up to 62.5-inches. These systems provide reduced actuator peak forces through the use of bi-directional reusable end-of-stroke buffers, resulting in smaller joints. These smaller and thus lighter moving joints are what help to increase the payload capacity of the system—while reducing the system footprint. Motion base platforms can handle up to 14,000 kg, which allows the customer to create and mount their own application specific construct such as the cockpit of a jet, command center for a submarine, control console for a tank, or display screen for a theme park ride. The P60, which combines electro-mechanical actuators with integrated pneumatic support delivers high-fidelity motion with significantly reduced energy consumption of up to 75 percent compared to fully electric systems. Newer systems are designed with the latest technologies leading to a power cabinet that is 50 percent smaller than other systems on the market, saving valuable space particularly for theme park rides where compactness is a requirement. Using modernized electronics and removable battery systems also reduces energy use as well as environmental impact. Moog motion products, like this flight training device, can be applied to pilot training or be remotely controlled for entertainment such as theme park rides or movie set motion. Moog designs, manufactures, and collaborates with entertainment providers to seamlessly integrate motion systems into full-scale simulation solutions through off-the-shelf and custom motion systems. Working closely with the customer as a partner, Moog provides all the software needed to provide direction, speed, and distance for each of the six legs. Moog provides a graphic user interface (GUI) to the customer who then integrates their simulation or ride elements. Moog’s experienced team of engineers work hand-in-hand with the customer from concept to completion. *Lead image courtesy of Sogitec. All other images courtesy of Moog. For more information: Moog E60 and P60 Motion Systems Read more about simulation devices. Previous Facebook LinkedIn Copy link Next

About Us Our Core Values We believe that design engineers are an investment in our futures. That engineers are interesting people who are motivated to produce something from nothing, or to produce something better from what we already have available. We believe that engineers deserve to have fun at their jobs, to enjoy technology, and to express their creativity in ways many people never get the chance to. Entertainment Engineering magazine was created as a magazine for engineers. Our goal is to provide technological pieces that provide ideas for tech transfer across all vertical markets from aerospace to semiconductor and from off highway to medical. While providing interesting information, we want engineers to ‘enjoy the ride’, to feel good about their jobs and themselves. And to enjoyably educate themselves along the way. Our Team Co-Founder Terry Persun For over thirty-five years, Terry Persun has been working in the B2B world in senior marketing and editorial positions. He has also taught physics and electronics at the college level. He has written and published literally hundreds of technical articles in over thirty different vertical markets for design engineers of various disciplines including electrical/ electronics, mechanical engineering, fluid power, machine tools, 3D printing, and more. Terry holds a BS and MA and applies his learning to everything he does. Co-Founder Bruce Wiebusch Bruce Wiebusch grew up in a family that was involved with B2B marketing, from strategic planning to sales, to editorial. Bruce has worked in senior marketing and editorial positions for over thirty years. He uses his business degree to enhance every aspect of his work life, including with Entertainment Engineering magazine. He has worked with several marketing agencies and has written and edited hundreds of technical articles for all of the major OEM publications in the B2B market. Bruce is also the author of a book on maximizing your PR. Content Production Nicole Persun Nicole Persun has worked with several online publications and businesses to provide everything from marketing strategies to editorial selection and delivery. An expert in content production, she continues to expand the capabilities of whatever business she is working with. Her services have been instrumental in helping online businesses to thrive and grow even in tough markets—as well as adapt to the ever-changing shifts in internet marketing. Nicole has both BA and MFA degrees that she uses in her everyday work. Editorial Advisor Joe Gillard After serving as Editor-in-Chief in several major business-to-business magazines, Joe Gillard brings a high-integrity approach to the editorial requirements of whatever magazine he works with. Joe comes from a strong background in the marketing agency business and has handled some of the largest online accounts for a number of companies. His approach to business and market development will help the magazine push into new markets and broaden its reach. Joe's years of experience is key to our growth plans. Our History An idea is a funny thing. If talked about, it gains momentum; if researched, it gains structure; and if acted upon, it manifests. When first created, Entertainment Engineering was the very first online-only B2B publication. We were ahead of our time and competing with traditional print magazines that were not ready to change to meet the times. We even considered moving to print to better compete directly. For years, we interviewed hundreds of design engineers in multiple disciplines in the OEM and MRO markets. Those engineers were adamant about what they were looking for in a magazine. We listened! Every month, these same engineers and more returned to Entertainment Engineering because the magazine was interesting and fun to read. We also learned that whenever engineering professionals read about a product or service, they instantly consider how that product or service relates to the projects they are presently working on. Our articles might be of general interest, but they have wide engineering applicability. We call that technology transfer, and it is how engineers learn about new technologies. What better place to learn than in fun and interesting entertainment applications, which provide an emotional component to their experience. Entertainment Engineering grabs their attention emotionally and feeds their curiosity with new technologies. Our readers are from over 24 different industries from aerospace to machine tool and from construction to semiconductor and from broadcast to medical. These engineers purchase a broad range of products in the OEM world. In fact, we reach engineers who decide and influence the purchase of products and services in most component- and device-level categories. The right magazine with the right articles and stories brings a targeted audience to its pages. And the best magazines bring readers back again and again, delivering motivated purchasers to you.

Art and technology came together to create a dramatic stage show with music, video, and lasers. Giant Kinetic Dragonfly is Half Helicopter, Half Light Show Art and technology came together to create a dramatic stage show with music, video, and lasers. Edited by EE Staff Stage Events Jan 13, 2026 Music Under a sky pulsing with music, fire, and anticipation, one of the world’s most electrifying festival stages lit up in spectacular fashion as Arcadia’s Dragonfly took flight. This legendary kinetic sculpture—part helicopter and part creature of light—is now bigger, brighter, and bolder than ever. With a fresh wave of creative ambition and technical wizardry, CPL delivered its most dazzling projection package to date, transforming the Dragonfly into a living, breathing canvas of motion and story. The Dragonfly, a 13-metre-long repurposed Royal Navy Sea King helicopter turned kinetic sculpture, is the newest centerpiece of Arcadia’s performances. Known for blending fire, light, music, and movement, the installation has evolved into a symbol of transformation and unity. In 2025, Arcadia expanded its creative vision by incorporating the tail of the Dragonfly into the projection canvas for the first time, creating a fully animated, 360-degree visual experience. See the people behind the project: Video elements of the project were a collaboration between Arcadia founders Bertie Cole and Pip Rush, technical manager Katie Davies, and creative partners including Dave Whiteoak of Video Illusions, Ben Rushton-Vaughan of Cucumber Productions, Dickie Burrow of CPL Enhanced Technology and content creators Astral Projekt. The show also incorporated the powerful Waraloo ceremony, developed in collaboration with the WadjukNoongar nation of Perth, Australia to blend ancient Aboriginal storytelling with cutting-edge visuals, lighting, and performance. The team needed to project high-resolution, high-brightness visuals onto the Dragonfly’s complex geometry of curved and angular surfaces, including its newly integrated tail section, while maintaining perfect synchronization with LED and lighting effects. Outdoor conditions, the scale of the structure, and the need for seamless integration with other media systems added further complexity to the task. The presentation required flawless integration for smooth synchronization across projection, LED, and lighting effects while providing reliability throughout the multi-day festival. Images courtesy of @shotawaydotcom and Arcadia Meeting Unprecedented Demands CPL deployed six Barco UDX-4K32 laser projectors, each delivering 31,000 lumens of brightness and 4K UHD resolution for vibrant and clear projections even in challenging outdoor conditions. Their 3-chip DLP technology provided the color fidelity needed to bring Astral Projekt’s custom animations to life. Fitted with TLD+ 2.74–4.43:1 4K UHD lenses, the UDXs allowed for precise mapping onto the dragonfly’s curved and angular surfaces. Projectors were double-stacked, meaning two 4K images were overlaid to increase the brightness to the level needed to match that of the dragonfly’s head, which was constructed from transparent hexagonal LED screens, and allowed for the precise mapping onto the complex geometry of the dragonfly structure. The high brightness and 4K resolution ensured that every detail of the projection was visible, allowing festival attendees to fully immerse themselves in the Warraloo story while appreciating the transformed helicopter. Images courtesy of @shotawaydotcom and Arcadia The use of Barco UDX-4K32 projectors significantly enhanced the visual impact of the Dragonfly stage and were crucial in creating the immersive experience that Arcadia is known for. By combining Barco’s cutting-edge technology with Arcadia’s visionary creativity, CPL helped transform a repurposed machine of war into a radiant symbol of unity, culture, and innovation. The expanded projection mapping—especially the dramatic tail visuals—added a new dimension of movement and storytelling to the Dragonfly. Together, CPL, Arcadia, and their partners set a new standard for immersive festival experiences. For information: Barco UDX-4K32 laser projectors TLD+ 2.74–4.43:1 4K UHD lenses Arcadia In Glastonbury Read more about concerts >>> Previous Facebook LinkedIn Copy link Next

A discussion about why one might get into engineering and the many ways to apply continued learning and experience. WATCH: One-on-One with Henry O’Bryan of Biomerics A discussion about why one might get into engineering and the many ways to apply continued learning and experience. EE Staff Videos Oct 7, 2025 DIY/Home Applications In Entertainment Engineering’s second one-on-one discussion, we spent time with Henry O’Bryan, Design Transfer Engineer at Biomerics, a company that provides solutions to the medical device industry from concept review through manufacturing. The company employs multiple engineers with varying expertise to help their customers bring their products to market. Together, Henry and Terry Persun, co-founder of Entertainment Engineering , talked about how Henry ended up becoming an engineer, what his present job entails, and how his hobby working with projects from Bottango add to his capabilities and value on the job. Bottango is an animatronics development tool that encourages creativity in robotics. It’s always interesting to hear how individuals pull together what they do at work and what they do outside of work to create a life that is both interesting and forward thinking. Design engineers are some of the most creative people working today. They often mix several categories of engineering along with creative concepts and ideas at work and at home. For more information: Biomerics Bottango Bambu Lab Previous Facebook LinkedIn Copy link Next

Pulled from aviation technology for pilot feedback and arcade games like Astro’s Playroom and Cyberpunk 2077, haptic feedback is used in movie trailers — among numerous other applications. Haptic Feedback Rumbles Your iPhone for the F1 Movie Trailer Pulled from aviation technology for pilot feedback and arcade games like Astro’s Playroom and Cyberpunk 2077, haptic feedback is used in movie trailers — among numerous other applications. Terry Persun Film and TV Aug 13, 2025 Sports The latest trailer for F1:The Movie , when viewed in the Apple TV+ App on an iPhone running iOS 18.4 or later, uses haptic feedback to provide the feel of the car engine as it rumbles into life in the pitlane. Keep watching because additional feedback synchronizes with gear changes and tire squeals as the car races around the track. All photos courtesy of AppleTV You’re familiar with haptic feedback by how your smartphone buzzes when someone calls and how game controllers shake, buzz, and rumble to make your experience feel more real. Haptic feedback has been around since the 1970s and is the feedback used on surgical robots so that doctors can maintain their feel of what’s going on during surgery. For this reason, the technology is also used in training simulators where soon-to-be doctors can experience how tissues, veins, and organs feel without using a human body. The automotive industry has incorporated haptic feedback as part of their Advanced Driver Assistance Systems (ADAS) for safety reasons—such as alerting drivers to potential hazards like lane departure and collision warnings. In manufacturing, haptics is used as feedback on robots allowing them to detect when there are product inconsistencies. Subtle variations in the texture of specific products can alert the robot to send an alarm to the supervisor to employ a human to inspect the anomaly. Even interactive product displays are using haptic feedback to allow customers to feel the texture, weight, or other physical properties of a product in a virtual setting. This adds to the information companies can now provide a customer before a purchase is made. The haptic technology market is estimated to be worth over $3.9 Billion. As companies like Apple explore its many applications, this market will only grow larger. And to that end, the new F1: The Movie trailer may be the start of a new experiential way to enjoy all sorts of entertainment. For more information: Apple F1: The Movie Previous Facebook LinkedIn Copy link Next

Before a full-scale model could be manufactured, prototyping focused on smaller, more manageable designs allowing for greater creativity while keeping costs down. Prototypes Played a Crucial Role in Development of Tabletop Cricket Game Before a full-scale model could be manufactured, prototyping focused on smaller, more manageable designs allowing for greater creativity while keeping costs down. Edited by EE Staff Games Oct 30, 2025 TG&A (Tom Grimm & Associates, Inc.) is an international product development company that performs everything from concept exploration and creation to engineering development and manufacturing. The company’s projects are always managed collaboratively and with budgets and time-to-market in mind. Before producing a 56-inch x 40-inch office version of CricketLive, the game was first developed in a reduced size. TG&A worked closely with ThrowMotion in the early design, providing the Batsman mechanism and one of several bowler mechanisms as well as the basic configuration of the field and its ball-return geometry. Once design features were determined, the final construction was scaled for use in arcades. Cricket is a bat-and-ball game where two teams of eleven players each alternate between batting and fielding, similar to baseball. There are a number of differences such as the shape of bat, the bowling action, and the shape of the playing field, but ball dynamics (speeds) are similar. The batting team scores runs by hitting the ball and running between three-stump wickets or hitting boundaries. The team in the field tries to either bowl out the batsmen, catch their hits, or run them out. In the tabletop cricket game, a real ball is bowled by one player, the bowler, and a batsman, controlled by his opponent, tries to hit the ball. The player is able to swing the bat and swivel the player in multiple directions to try to hit the ball. Sensors and a mounted tablet app display, tracks and shows the scores in real time. The CAD images below illustrate the development of the first prototype of the movement mechanisms for the batsman. The basic mechanisms have changed only slightly since the prototype was built. Images courtesy of TG&A. Alternative mechanisms for the bowler included a user-guided mechanical version and a fully electronically controlled mechanical bowler. Both were developed through the prototype phase. Ultimately though, the cost of manufacturing won out and drove the design toward the simpler user-guided, spring-loaded mechanism. Images courtesy of TG&A. Multiple iterations of the table design were also created and modeled from the original arcade-driven, larger size which enabled multiple players to participate, to the final smaller home/office appropriate size. Images courtesy of TG&A. Although TG&A was not involved with the final product shown at the top of this article, many of the prototyped mechanisms remained. Watch out for a home version of the cricket game coming to market in 2026. For more information: TG&A ThrowMotion, Inc. Read more about games >>> Previous Facebook LinkedIn Copy link Next

Beckhoff provides the automation flexibility and reliability needed to convert walls, floors, and backdrops according to performance schedules. 60 Stage Configurations Supported by Flexible Automation Beckhoff provides the automation flexibility and reliability needed to convert walls, floors, and backdrops according to performance schedules. Edited by Terry Persun Stage Events Sep 12, 2025 The Perelman Performing Arts Center in New York (PAC NYC) offers visitors a truly unique theater experience. Advanced stage technology makes its three performance spaces extremely versatile. At the foot of Manhattan’s One World Trade Center building and across from the 9/11 Memorial & Museum stands the PAC NYC. While it offers programming similar to other major New York City theaters, the mission of this gathering space is distinctly communal. “PAC NYC is a place of civic healing,” says Miranda Palumbo, Director of Digital Content at PAC NYC. “Because we are on the World Trade Center campus, it's our responsibility to help everyone celebrate life.” The venue features three performance spaces that can flexibly combine or divide into over 62 configurations. The backstage technology also supports dynamic set changes and flying performers through the air. To harness the necessary engineering behind the performance art, PAC NYC directed The Chicago Flyhouse, Inc. and its programming partner, ELPLANT, to implement a safe, reliable, and flexible stage automation system. Flyhouse provides rigging, hoisting, and performer flying equipment for venues across the world ranging from hospitals and high schools to theaters and arenas. Distributed Control Flyhouse incorporated its distributed “MoM-and-Kid” control concept where a central server, Master of Machines,(MoM), communicates to distributed modules (the Kids). The more than 30 Kid modules at PAC NYC each have their own Beckhoff CX9020 Embedded PC and EtherCAT I/O wired to control Flyhouse’s ZipLift hoists and other equipment. The modules can be easily moved, connected to other hoists, or swapped for maintenance. Image courtesy of Beckhoff. The large number of Kid modules and their associated motion axes throughout the theater level raised the bar on the facility’s networking capabilities. The Flyhouse technologies also needed to interface with other vendors’ solutions such as the systems to raise and lower the massive walls or change the floor configuration to be flat or stairstep up. This meant that safety zones had to adjust dynamically as spaces changed to ensure human and equipment safety. “Even though the duty cycles are relatively short in theaters, we needed the reliability that comes with industrial automation.” Beckhoff supplied an ideal solution. The EtherCAT and PC-based control technology provides a foundation for seamless operation and high adaptability. Flyhouse collaborated with Beckhoff USA and ELPLANT to design next-generation control modules. ELPLANT, an ISO 9001-certified systems integrator based in Serbia, brought expertise in industrial automation and entertainment applications. CEO of ELPLANT, Aleksandar Arsić , explained, “Beckhoff was undoubtedly the logical choice, as few systems could provide such a modular and configurable architecture.” The system incorporated TwinCAT PLC, NC PTP motion control, TwinSAFE safety systems, extensive EtherCAT communication, TwinCAT PLC visualizations, TwinCAT HMI, database communication, and ADS with third-party applications, such as C# WPF (Windows Presentation Foundation) operator consoles and similar solutions. Real-time communication allowed the team to configure the topology so that each embedded PC or other EtherCAT device operated as an independent sync unit. Much of the equipment also features EtherCAT P, which combines data and power on one cable. This configuration allows techs to remove or add Kid modules without taking all the others offline. Beyond sheer speed and robust diagnostics, the EtherCAT supports free selection of topology. It also offers hot connect functionality and automatic addressing of devices, simplifying component exchange and plug-and-play installation. Flyhouse also harnessed integrated functional safety with TwinSAFE terminals. Here, safety information is transmitted via Safety over EtherCAT (FSoE) over the standard EtherCAT network, rather than a separate, hardwired system. Beyond the reduction in wiring effort and cost, TwinSAFE simplified implementation of the configurable theater concept. Flyhouse deployed its Ease® Control Console in each theater space, simplifying axis operation with joysticks and a multi-touch screen with a visualization built with TwinCAT Human-Machine Interfaces (HMIs). The consoles can’t access axes outside the operator’s line of sight for safety reasons, so, when raising walls to combine spaces, the consoles need to control all the axes in that larger room. Likewise, E-stop buttons need to halt all motion in combined spaces if required, meaning that the MoM-and-Kid architecture must change on the fly. This could have been incredibly complex to implement, but with the flexibility of EtherCAT and software capabilities in TwinCAT, it was seamlessly implemented. The modular system will continue to support upgrades, and with a scalable, future-proof automation platform, this process won’t require a rip-and-replace of infrastructure. Instead, technicians can simply make changes in software or replace a device with a newer version. Beyond reducing costs, this approach avoids unwanted intermissions to find obsolete components. To Mark Witteveen, when the lights dim and the stage comes to life, the audience isn’t thinking about automation, he says. “They’re simply immersed in the magic. And that experience makes all the effort worthwhile.” For more information: Beckhoff PAC NYC Flyhouse Elplant Previous Facebook LinkedIn Copy link Next

EE co-founder Terry Persun spoke with Michael Cuaresma of Festo about how applications in entertainment find their way into other industries. WATCH: One-on-One with Michael Cuaresma of Festo EE co-founder Terry Persun spoke with Michael Cuaresma of Festo about how applications in entertainment find their way into other industries. EE Staff Videos Dec 9, 2025 Theme Parks In our most recent conversation with design engineers from various industries, we spent time with Michael Cuaresma, a Mechatronics Applications Engineer for Festo. We got to talk about how and when Michael got interested in becoming an engineer, about his education, and a particular application for the entertainment industry. Michael’s enthusiasm for design came through as the conversation delved deeper into application-specific details. He also mentioned how he started with Festo and the learning curve needed to work with a company with so many different products used in such a wide variety of industries. Watch the interview: For more information: Festo DPMT Product Other videos in our One-on-One series >>> Previous Facebook LinkedIn Copy link Next