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The vests provide athletes and instructors with “data-driven insights on striking power, reaction time, stamina, and overall performance." Martial Arts Smart Training Vest Technology Aims to “Revolutionize” Combat Training The vests provide athletes and instructors with “data-driven insights on striking power, reaction time, stamina, and overall performance." EE Staff Sports Jul 31, 2025 Cool Stuff Century Martial Arts, a manufacturer of martial arts equipment, is acquiring 2020 Armor, who makes smart training technology for combat sports. Also from EE: Reimagining Sports Swimwear 2020 Armor is known for its impact-tracking vests and real-time performance analytics . The vests provide athletes and instructors with “data-driven insights on striking power, reaction time, stamina, and overall performance,” according to the company. As part of the acquisition, 2020 Armor’s technology will be incorporated into Century’s training equipment to provide real-time feedback and measurable improvement metrics for martial artists of all levels. “This acquisition aligns perfectly with our vision of combining traditional martial arts training with modern innovation,” said Michael Dillard, CEO of Century Martial Arts. “... we’re excited to integrate its advanced analytics into our products, empowering martial artists with tools that enhance their training like never before.” The integration of 2020 Armor’s technology into Century’s products is expected to roll out in the coming months, with “further innovations on the horizon.” How do the smart vests work? The smart vests are designed by “martial arts experts,” according to their website. They’re made from marine-grade vinyl and use technology to track performance metrics among other features. The vests, which can be linked with an app, provide stats on power, stamina, and reaction time, and also allow students to train using games. The 3.5 lb. vests use patented sensors built into them with ten different degrees of sensitivity. They can be charged with a USB Mini-B port for six hours of battery time, and they also have Bluetooth connectivity. Watch the video below to see the vests in action: SOURCE: Century Martial Arts Previous Facebook LinkedIn Copy link Next

Wildlife Filmmaker Remy Tarasin tells stories about the flourishing natural world, but also highlights where it’s struggling. It takes special camera gear to do the job right. Filming Elusive Wild Horses Requires Reliable High End Equipment Wildlife Filmmaker Remy Tarasin tells stories about the flourishing natural world, but also highlights where it’s struggling. It takes special camera gear to do the job right. Edited by Terry Persun Film and TV Aug 28, 2025 Cool Stuff In the heart of the Snowy Mountains of Australia, wildlife filmmaker Remy Tarasin embarked on an ambitious journey to capture one of nature’s most elusive creatures: a wild Brumby stallion. His documentary, In Search of the Grey , tells the story of a young grey colt he encountered years ago and the long, emotional journey to find him once again in a world where the balance between nature, culture, and conservation is as fragile as the terrain itself. With a background in environmental science and a deep-rooted passion for the wild, Remy brought a unique perspective to this project, blending technical expertise with heartfelt storytelling. His film doesn’t just capture beautiful imagery; it delves into the complex, multi-layered relationship between humans and nature. It’s a film about survival, change, and the profound impact that animals like the Brumby have on the cultural and environmental fabric of Australia. All photos courtesy of Sachtler. In his work, Tarasin must select and use the right equipment so that he can focus on the project and not the technology that assists him. For this reason, Tarasin and his team relied heavily on professional equipment to capture the raw beauty and unpredictability of the Snowy Mountains and its inhabitants. Key to the success of the shoot was the Sony FX6 camera and the Sachtler aktiv10 tripod, both of which proved essential in the remote, rugged environment. “The FX6 was perfect for this kind of documentary work,” said Tarasin. “It’s a full frame 4K camera with incredible internal frame rates and prerecord features that were essential for wildlife filmmaking. When you’re up in the mountains, you can’t have the camera rolling the whole time. The prerecord feature meant we could capture those fleeting moments without wasting power or storage.” Equally important was the tripod. Tarasin praised the Sachtler aktiv10 system for its adaptability and quick adjustments in the field. “We were constantly on the move, repositioning around trees and shrubs as the Brumbies moved across the frame. The ability to level the tripod in seconds with just one lever was crucial. Plus, the aktiv10’s lightweight design made it easy for the team to hike long distances while carrying all their gear. We were trekking up to 15 kilometres a day. Having a tripod that was easy to carry, quick to set up, and incredibly stable on uneven terrain made all the difference. We were able to capture footage that we otherwise would have missed.” All photos courtesy of Sachtler. One of the standout moments came when the team wasn’t even prepared to film. Late in the afternoon, they spotted a herd of Brumbies coming down through the trees, with the grey stallion trailing behind. “We weren’t set up at all,” Tarasin recalled. “But we raced to get the kit out, and within seconds, we had the tripod set up and the cameras rolling. Those moments are in the film—you can feel the urgency and excitement in the footage.” Reflecting on the gear, Tarasin added: “I would say that Sachtler tripods are absolutely designed by users, for users. It’s an insanely intuitive system. Everything that you would expect it to do and want it to do, it does that really quickly, really efficiently, and exactly the way you’d expect it to happen. I think any person, from an amateur to a professional, can pick up a Sachtler tripod and just become fluent in how it works.” Power management played a crucial role throughout the expedition, given the unpredictable nature of the shoot and the remote locations. Remy’s team relied heavily on Anton/Bauer’s Titon Micro 90 batteries to power the Sony FX6 and the SmallHD monitor, which were in near-constant use during their days in the wilderness. These compact batteries provided the durability and longevity needed for the harsh, cold conditions of the Snowy Mountains, ensuring that the camera remained operational for extended periods. “The Titon Micros lasted long enough to power both the camera and the monitor throughout the day, even in freezing temperatures, where other batteries might have struggled,” Tarasin said. With screenings lined up in Bristol and Sydney, as well as plans for a festival circuit, The Grey is set to make waves in the wildlife documentary world. And for Tarasin, the journey doesn’t end here. “There’s so much more to explore—so many more stories to tell.” For more information: Sachtler Sony Electronics Anton/Bauer SmallHD Previous Facebook LinkedIn Copy link Next

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

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

Although 18,000 festival goers are listening to live music for several days, neighbors needed the noise limited so that they could go on with their normal lives. Dampening Festival Noise to Create Positive Experience for Attendees and Neighbors Although 18,000 festival goers are listening to live music for several days, neighbors needed the noise limited so that they could go on with their normal lives. Edited by Terry Persun Stage Events Oct 17, 2025 Once a year deep in the heart of a Lincolnshire wood, with its winding pathways, derelict buildings, abandoned cars, deserted junkyards, old relics, and fairy lights, 18,000 revellers gather to immerse themselves in four days of live music, arts, performance, food, culture, wellness, and relaxation. Welcome to the Lost Village where music and festivities continue until 2:00 am. At one of the Lost Village events the sponsors—with the help of Three Spires Acoustics—needed to find a new approach in dealing with the night-time music noise limits to provide the festies with a good night out and the local community with a good night’s sleep. The woods are abandoned most of the year, but for four days in summer, a secluded woodland near the village of Norton Disney, Lincolnshire, comes to life when partygoers, DJs, artists, and the beat of dance music pervade the bucolic environment throughout the day and into the night. However, at 11.00 pm sharp, regulatory night-time noise level limits, imposed by the local authority, come into force and the volume is turned down. Imagine the disappointment and the dissatisfaction for both music fans and artists alike where a worst-case scenario could result in crowd management issues. The Right Balance For festivals such as Lost Village noise limits pose the challenge of keeping the right balance between the optimal concert sound and reduced noise in the surrounding environment. Keeping noise levels below prescribed limits is also essential to maintain a Premises Licence (permit to operate) and gaining local community buy-in. To get the balance right, Lost Village founder Andy George has been working closely with Three Spires Acoustics, an independent and leading consultancy involved with event noise management and regulatory control. Specializing in services and solutions for a diverse client base, they assess, resolve, and manage noise and pollution issues for, among others, entertainment venues and outdoor concerts. One of the main causes of discontent has always been the hard level reduction at 11:00 pm, which can result in a significant decrease of allowable offsite noise levels of up to 20 dB. They needed to find a way of overcoming this issue, while remaining compliant with regulatory requirements. An Innovative Approach Lost Village and Three Spires Acoustics came up with a simple but innovative approach—to apply a staggered reduction in sound levels between 11:00 pm and midnight. The solution was only made possible thanks to the flexibility and support of the local authority, North Kesteven District Council, and the use of technological advances in hardware including B&K 2245 sound level meters with Enviro Noise Partner (a complete, focused toolset for environmental noise measurements), combined with Noisy’s noise monitoring platform, integrated for use with B&K 2245 via the sound level meter’s open application interface (API). Once installed, the fully integrated Noisy platform allowed all stages to be monitored at front of house (FOH) or side of house (SOH) positions and provided a central control point displaying all onsite stage sound levels (LAeq and LCeq), along with three permanent offsite monitoring stations (connected via 4G router). Real-time monitoring enabled the engineers to follow, prevent, and correct the acoustic impact of internal sound and external noise levels and manage the staggered level reduction while remaining compliant with condition requirements. Reducing the sound levels gradually at each of the seven main stages discreetly acclimatized the audience to the lower limits over a period of one hour, making the shift/change in volume less dramatic than the step change of previous years. One of the main advantages of the Noisy platform is that it can accommodate SOH or back of house (BOH) mixer desk locations, by locating B&K 2245 sound level meters remotely at the back of a big top stage and Noisy tablet displays at SOH or BOH positions, both connected over a managed network. Traditionally, this was not possible without hard connection using long lengths of XLR cable. Power over Internet (POE) for both sound level meter and Noisy tablet displays also makes the system much more robust. The ability to schedule different parameters by stage and time and make on the spot changes reacting to off-site readings was invaluable. Satisfied audience and artists, full regulatory compliance, and very few noise complaints made the new approach a huge success. Although the Lost Village is located in a dense wood, high technology, flexibility, innovation, and reliable and efficient digital tools were crucial to the success of the event. Photos: Copyright © Lost Village. Thank you to Chris Hurst at Three Spires Acoustics for his help with this article. For more information: Hottinger Bruel & Kjaer Lost Village Three Spires Acoustics Noisy Software B&K 2245 Sound Level Meters Read more about concert technology >>> Previous Facebook LinkedIn Copy link Next

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

Font dels Colors fountain in Andorra’s capital city is automated and synchronized using PC-based control system. PC-Controlled Water, Light, and Audio Installation Font dels Colors fountain in Andorra’s capital city is automated and synchronized using PC-based control system. Terry Persun Stage Events Jun 12, 2025 Fluidra S.A. creates impressive installations involving water, light, and music, including the Font dels Colors fountain. The company relies on PC-based control from Beckhoff, whose openness and flexible approach to creativity open up a whole host of possibilities for designers. Fluidra’s technical skills and Beckhoff’s expertise in automation technology are at the heart of spectacular water displays such as the twin fountains in Plaça de Catalunya (Barcelona), the fountains in La Pedrera Park (Argentina), and the Vadistambul shopping center fountain (Türkiye). These projects contain PC-based control technology from Beckhoff, including TwinCAT 3 PLC/NC PTP and TwinCAT 3 HMI Server as software, plus EtherCAT Terminals and EtherCAT Box modules—which can be installed in a decentralized configuration—acting as the I/O level. The lighting technology is integrated using technology including EL6851 EtherCAT Terminals (DMX master). A CP2216 multi-touch built-in Panel PC allows technicians to control the system as required, call up status messages, and respond to alarms. Developed by Fluidra in collaboration with architects Pere Cervós of Pere Cervós Arquitectura and Ricard de Deus of Causa Estudi Arquitectura, alongside the construction company Locub S.A., the Font dels Colors water display combines an impressive installation with light and music located next to the Gran Valira river and the Puente de París bridge in the heart of Andorra’s old town. This attraction transforms the city promenade into a living work of art that captivates tourists. Another special feature of the project is its innovative, sustainable approach in which the water for the cascades is taken from the river and then reused. Precise synchronization PC-based control allows all the components of the Font dels Colors and other projects to work in perfect synchronicity—from the lighting effects and background music to the dynamic choreography of the water jets and pumps. Fluidra makes full use of Beckhoff’s extensive modular I/O portfolio, which covers everything from simple digital inputs and outputs to motion control and AM8000 servomotors. The communication options with DMX management systems are a key advantage; Fluidra uses these for programming and operating the water installations, for example. Photo: The lighting scenarios and motion sequences created using 3D DMX software are converted into precise, synchronized control signals for the nozzles, pumps, and LED lights, working on the basis of a PC. Fluidra uses its 3D software to create the sequences for its water displays, from the jets and illumination features to the sound system. The control data for the light and water jets is then output via what are known as DMX control universes. These sequence programs are installed on a separate DMX player, which is included in every system. The sequences are transferred to the CP2216 Panel PC via an EL6851-0010 EtherCAT Terminal (DMX slave) and EtherCAT, and are executed in TwinCAT 3 PLC/NC PTP—in other words, converted into control signals for the various components, including the servomotors. Any components with a DMX connection can be integrated directly via additional EL6851 EtherCAT Terminals (DMX master). To allow intervention in the sequences on site, DMX control channels required for this purpose were created for each device in TwinCAT 3 HMI. Operators can also access the system remotely and respond quickly to an alarm message by email. Conserving water resources The solutions from Fluidra and Beckhoff don’t stop at aesthetics and technology, however. Both companies are also committed to using ecological resources sustainably. For this reason, Font dels Colors has implemented a water cycle that significantly reduces consumption and ensures efficient use of the valuable resource of water. In addition, UV filters and disinfection systems have been installed to maintain high levels of water quality without the use of harmful chemicals. According to the experts at Fluidra, this integrated approach involving technological and ecological innovations is setting new standards for planning and constructing water systems. Combining aesthetically appealing water displays with ecological responsibility points the way toward a more sustainable and exciting future for urban spaces. For more information: Fluidra Beckhoff Previous Facebook LinkedIn Copy link Next

Acoustic echosounder simultaneously collects bathymetric, seafloor backscatter, and water column backscatter data to identify seafloor and water column features. Mapping the Seafloor for Underwater Explorations Acoustic echosounder simultaneously collects bathymetric, seafloor backscatter, and water column backscatter data to identify seafloor and water column features. Edited by EE Staff Cool Stuff Sep 9, 2025 Header image caption: High-resolution seafloor mapping revealed unusual pancake-like features of a seamount in the Moonless Mountains chain in the Eastern Pacific. To plan efficient and safe operations, Nautilus (sea exploration ship) often creates its own seafloor maps—particularly when exploring little-known regions of the ocean. To facilitate this operation, the ship incorporates various equipment that provides high-quality seafloor maps at depths to 7,000 meters (23,000 feet). Whether focused on a canyon, seamount, or shipwreck, creating a map allows the crew to identify potential targets, cutting down exploration time and boosting mission efficiency. Before ROVs are deployed, the team must first map the area to understand the characteristics of the region and identify potential benthic habitats, seeps, and other environments and resources worthy of exploration. In addition to informing dive objectives, Nautilus transit routes cover unmapped areas of the ocean and contribute to the Seabed 2030 initiative, an international collaborative project to combine all bathymetric data in order to create a comprehensive map of the ocean floor. Nautilus. All images courtesy of Ocean Exploration Trust. Multibeam Echosounder Mounted on the hull of the vessel is a Kongsberg EM302 multibeam echosounder capable of accurately producing state-of-the-art maps covering large areas of the seafloor. The echosounder maps the seafloor at depths between 50 and 7,000 meters (300 to 23,000 feet) while cruising at ship speeds up to 12 knots (14 mph). The transmit array emits acoustic pulses that ensonify the seafloor with a wide fan-shaped swath of sound, while a second transducer receives the return signal echoes. Each pulse sends many beams of sound in a fan shape toward the seafloor. When these pulses strike the seafloor and return to the transducer/receiver combination mounted on the hull of the ship, the system computes a “sounding” associated with each returning pulse via the time it took to travel down and up through the water column. Because the ship is moving between the transmit and receive functions, a motion sensor connected to the system allows the echosounder to “steer” the sound pulses to correct for the ship’s rolling and swaying motions. This allows the ship to collect an even distribution of data from the seafloor. Received soundings are combined with the ship’s Global Navigation Satellite System (GNSS) information, to produce a grid or “digital elevation model” of ocean bathymetry—essentially a topographic map of the seafloor. Images such as those from Google Earth and other satellites offer very little modern depth observations and only provide general highs and lows of deep-sea topography. A depiction of the seafloor using satellite data (left) and after a Nautilus pass (right) with multibeam sonar data processed in QPS Qimera. All images courtesy of Ocean Exploration Trust. The multibeam echosounder acoustically “sees” different scales and resolutions at different depths. When Nautilus is mapping, the multibeam sonar fan covers a different width (scale) on the seafloor depending on the depth, however the number of measurements across the swath of the fan remains the same. In shallow water, the soundings are closer together delivering many details of the seafloor in a small area (higher resolution data). In deeper water, fewer details are available (lower resolution) but the multibeam fan of soundings covers a much wider area. In addition to the depth, the signal strength that the sonar receives back from the seafloor (“backscatter”) will be different depending on the type of seafloor that reflects the ping. By making corrections to this signal to account for the changes as it went through the seawater from the ship and back, the processing can extract information to indicate variations in the seafloor type. Reflections from rocky seafloor will generally provide a stronger signal than a muddy area. Backscatter measurements are then combined in another grid called a backscatter mosaic, which can be combined with the bathymetry grid to provide a better understanding of the shape and seafloor type. The multibeam echosounder can also detect phenomena in the water column, such as plumes of bubbles emanating from the seafloor that indicate gas seeps. To date, the Nautilus has documented thousands of methane seeps along the Cascadia Margin off the Oregon and Washington coast. Sound waves reflect strongly off gas bubbles emanating from the seafloor. All images courtesy of Ocean Exploration Trust. Exploring Sub-surface Faults Revealing structures below the seabed is just as important as discovering the seascape and habitats above. To complement the multibeam mapping work, the team uses a Knudsen 3260 sub-bottom profiler and echosounder. Mounted inside the hull of Nautilus , the echosounder operates at low frequencies to penetrate and reflect off of the layers of sediment, revealing a cross-section of the seafloor structure. The dual-frequency profiler operates at 3.5Khz or 15Khz (two discrete channels with separate transducers) and is capable of full ocean depth soundings. An acoustic pulse is directed through the water column to the seafloor and then captured by the system as it bounces back from each layer. Scientists use this data to identify subsurface geological structures such as faults, ancient channels, and buried levees. In early 2023, Ocean Exploration Trust installed a Kongsberg Simrad EC150-3C 150 kHz transducer on E/V Nautilus . Mounted within the ship's hull, the EC150-3C is the first of its kind to combine an acoustic Doppler current profiler (ADCP) and an EK80 split-beam fisheries sonar into one instrument. The ADCP, which measures the speed and direction of currents at various depths underneath the ship supports safe remotely-operated vehicle (ROV) operations and provides data for improving oceanographic current models. The integrated split-beam echosounder maps and characterize features found within the water column, such as biology, scattering layers, and potentially bubble plumes. The EC150 will equip E/V Nautilus with the capability to better serve as an operations hub for multi-vehicle operations, increase OET’s capacity to explore and map the water column, and to collaborate with partners from the Ocean Exploration Cooperative Institute to advance combined robotics and new technologies to increase and advance the pace of ocean exploration. For more information: Ocean Exploration Trust & Nautilus Live Kongsberg Simrad EC150-C Seabed 2030 Qimera Previous Facebook LinkedIn Copy link Next

This original short film, Remembering, was produced using virtual production techniques and a companion Augmented Reality experience to extend the film beyond the screen and into the audience’s home. Disney Short Film Brings Augmented Reality Into Your Living Room This original short film, Remembering, was produced using virtual production techniques and a companion Augmented Reality experience to extend the film beyond the screen and into the audience’s home. Terry Persun Film and TV Aug 26, 2025 Cool Stuff The Disney short film, Remembering , by Emmy® Winning director Elijah Allan-Blitz, stars Academy Award® winner Brie Larson as a writer who loses an important idea. Her inner child then goes on a journey to find it. The director and Disney wanted a powerful way to elevate the viewing experience of the film for Disney+ Subscribers. The challenge was to capture the surprise, joy, and wonder Larson’s character feels and allow Subscribers to feel those same emotions. Disney and StudioLAB, The Walt Disney Studios' advanced development division for innovation in creative technologies, pulled together two important technologies—virtual production and augmented reality—to produce Remembering— through the use of game engine assets filmed in an LED stage, and using the full potential of virtual production techniques. The company then published those assets into a mobile Augmented Reality application that was also built in a game engine to extend the 'World of Imagination' beyond the screen and into the audience's home. Available via an app to select Disney+ subscribers, this first interactive content on Disney+ was triggered by specific moving images. When prompted, subscribers simply hold their device up to their TV screen to see an enchanting waterfall scene expand into their real-world living room, complete with frolicking dolphins, bright blue butterflies, and blossoming trees. When developing the app, ease of use was top of mind. So, all it takes is for the Disney+ subscriber to scan the room they’re viewing the film in, then wait for the prompt in the movie to hold up their device. According to Director, Elijah Allan-Blitz, “This is part of the future of how humanity will interact with entertainment. The Augmented Reality experience moves away from a typical passive experience of streaming and allows viewers to engage with it in a deeper way. That makes it something that you’re going to remember on a deeper level than just something you watch. It’s actually something you did.” Remembering: The AR Experience is the first Augmented Reality app that connects directly in sync with content on a streaming platform. This first-of-its-kind companion app provides an early look at the potential of AR experiences to enhance movie storytelling when viewers are watching at home. For more information: Magnopus AR Disney+ Previous Facebook LinkedIn Copy link Next

Tailored to TED’s high-stakes live event environment, the new communications upgrade provides robust, real-time capabilities across both on-site and remote production teams. Complex Communication Needs at TED's Live Events Require Seamless Comms Tailored to TED’s high-stakes live event environment, the new communications upgrade provides robust, real-time capabilities across both on-site and remote production teams. Edited by EE Team Stage Events Oct 27, 2025 TED Conferences LLC recently partnered with Clear-Com® to enhance its live production capabilities through a custom intercom solution centered on the Arcadia® Central Station communications platform. Clear-Com’s Applications team, represented by John Ferrante, led the installation at TED’s New York production facility, configuring an end-to-end system designed to support the complex communication needs of TED conferences. The Arcadia Central Station, upgraded to the latest firmware release, was integrated with an extensive suite of FreeSpeak II® digital wireless products, IP transceivers, wireless beltpacks, and remote connectivity via Clear-Com’s Gen-IC® virtual intercom. All photos courtesy of TED Conferences LLC. As part of the upgrade, TED also transitioned from its legacy analog wired intercom to the HelixNet® Digital Network Partyline System. This configuration streamlined on-demand communications across multiple teams, making the system adaptable for both live shows and distributed production workflows. The heart of TED’s new communications system integrates seamlessly with its existing network, allowing Clear-Com equipment to connect with other audio systems across the venue with minimal latency and pristine audio fidelity. Integrated IP and Dante-enabled channels further expand TED’s ability to manage communications in real time. This setup enables TED to retain established communication flows while introducing the flexibility and scalability of Arcadia as the organization gradually transitions to its new infrastructure. Gen-IC adds another layer of remote connectivity to TED’s operations. Six IVC links connect remote team members directly into TED’s on-site Arcadia infrastructure, delivering seamless integration between local and remote participants. This functionality is supported by an LQ® Series IP Interface connected to the Gen-IC Cloud, which provides TED’s production team with dynamic control over both remote and local communications channels. Gen-IC’s ability to easily integrate remote users has been transformative, enabling TED to remain agile while maintaining the highest standards of audio quality. All photos courtesy of TED Conferences LLC. Through on-site training, TED’s team can now configure channels, assign users, and manage remote links, providing a future-proofed system that scales with the organization’s growth. This workflow reflects the unique challenges TED faces as a hybrid live event and content production organization, blending elements of broadcasting, streaming, and high-end meeting production—demands that resonate with today’s cutting-edge producers of corporate AV events. Clear-Com’s installation of Arcadia, along with the migration from analog to HelixNet digital wired comms, deployment of FreeSpeak II beltpacks, and integration of Gen-IC, equips TED with a flexible, reliable communication solution that supports the present and future demands of live event production, remote collaboration, and content distribution. This empowers TED’s talented team to deliver programming with greater efficiency and quality. For more information: Clear-Com TED Conferences Arcadia Central Station HelixNet Partyline System LQ Series Read more about stage productions >>> Previous Facebook LinkedIn Copy link Next

Lightweight boat demonstrates flexible on-site manufacturing capabilities of 3D printing using industrial robots. Robot 3D Prints Fiberglass Boat Lightweight boat demonstrates flexible on-site manufacturing capabilities of 3D printing using industrial robots. Jonas Micheler, Global Content Marketing Manager Sports Sep 4, 2025 Cool Stuff Strikingly blue, this 6.5 meters long, 2.5 meters wide, 800 kilograms boat, the MAMBO (Motor Additive Manufacturing Boat), is the world’s first 3D printed boat built using KUKA robots—and finished by an expert hand. Moi Composites came up with the idea and then collaborated with leading experts from the automation sector, including Autodesk UK and the boatbuilding industry during the realization of the project. The first 50 percent of the boat was produced at Autodesk’s advanced production facility in Birmingham, which included parts of the hull produced using KUKA robots. Simultaneously, KR Quantec in Milan printed the second half of the boat. Final assembly of the MAMBO was carried out in a shipyard in Milan where the individual components were joined and coated in order to create a one-piece sandwich structure without hull-deck division. The makers want to use the different locations to demonstrate one of the strengths of 3D printing with industrial robots: flexible on-site manufacturing. This process was cloud-based, enabling the team from Moi Composites to monitor progress at all times. All photos courtesy of KUKA. The fiberglass boat is revolutionizing design in boatbuilding Moi Composites unveiled MAMBO to the world at the “Boat Show” in Genoa a few years ago, where it impressed visitors with its unique design: side elements reminiscent of waves and a fin-like form that becomes more accentuated toward the stern. Gabriele Natale and Michele Tonizzo, co-founders of Moi Composites, wanted to use innovative 3D printing with industrial robots to encourage traditional boat builders to exploit the advantages of automation, saying, “This approach not only saves time and materials, but opens up new, unprecedented design possibilities—such as the uniquely-shaped hull of the MAMBO fiberglass boat.” Traditional boatbuilding is not nearly as flexible as 3D printing. Robots have the freedom and precision to produce any conceivable geometric form, including those that could not be realized by other means. All photos courtesy of KUKA. All individual components of MAMBO are made of glass fibers, printed in 3D using the Continuous Fiber Manufacturing (CFM) process patented by Moi Composites. This innovative 3D printing process starts as a three-dimensional model that is processed by software and implemented using robots such as the KR QUANTEC. In this way, the KR QUANTEC can process continuous fibers that are impregnated with thermosetting resin. CFM not only saves unnecessary weight but also enables a core to be printed that increases the stability of the boat. The technology offers further advantages, too: real-time curing without the need for specific molds. This reduces costs and lowers the profit threshold for companies even in the case of small batches. For more information: KUKA Moi Composites Autodesk KR Quantec Previous Facebook LinkedIn Copy link Next

Vertical take-off and landing aircraft uses hydrogen-electric technology to complete landmark 523-mile flight. This Electric Air Taxi has Only One Byproduct: Water Vertical take-off and landing aircraft uses hydrogen-electric technology to complete landmark 523-mile flight. Cool Stuff Jul 29, 2025 On June 30, 2025 Joby Aviation, Inc., a company developing electric air taxis for commercial passenger service announced that its electric air taxi has completed a series of piloted, electric Vertical Take-Off and Landing (VTOL) wingborne flights in Dubai, marking the start of its commercial market readiness efforts in the region. These efforts will further develop Joby’s readiness in anticipation of carrying its first passengers in 2026 and marks a major step in the company’s three-pronged commercialization strategy: direct operations, aircraft sales, and regional partnerships. In July of 2024, Joby demonstrated its potential for emissions-free regional journeys. The company’s hydrogen-electric air taxi demonstrator had built on Joby’s successful battery-electric air taxi development program and demonstrated the potential for hydrogen to unlock emissions-free, regional journeys that didn’t require a runway. The hydrogen-electric program built on technology developed by Joby subsidiary H2FLY and was supported through Joby’s partnership with the U.S. Air Force’ Agility Prime program. The landmark test flight, believed to be the first forward flight of a vertical take-off and landing aircraft powered by liquid hydrogen had been completed using a converted Joby pre-production prototype battery-electric aircraft fitted with a liquid hydrogen fuel tank and fuel cell system. It landed with 10% of its hydrogen fuel load remaining. Jacob Wilson, (Acting) Branch Chief, AFWERX Agility Prime, said: "Agility Prime has been very supportive of hydrogen-powered aircraft development and testing as it aligns with the program’s goals to advance transformative vertical lift technologies and broader Department of Defense operational energy goals of energy substitution and diversification, and energy demand reduction.” All photos courtesy of Joby Aviation Joby’s hydrogen-electric demonstrator was part of the Company’s future technology program and was the result of several years of collaboration between a small team at Joby and H2FLY, Joby’s wholly-owned subsidiary based in Stuttgart, Germany. The converted aircraft previously completed more than 25,000 miles of testing as a battery-electric aircraft at Joby’s base in Marina, CA. Using the same airframe and overall architecture as Joby’s core, battery-electric aircraft, this demonstrator featured a liquid hydrogen fuel tank, designed and built by Joby, which stored up to 40 kilograms of liquid hydrogen, alongside a reduced mass of batteries. Hydrogen was fed into a fuel cell system, designed and built by H2FLY, to produce electricity, water, and heat. The electricity produced by the hydrogen fuel cell powered the six electric motors on the Joby aircraft, while the batteries provided additional power primarily during take-off and landing. As part of Joby’s wider commitment to leading the way on the development of new aviation technologies, it recently acquired Xwing Inc., an industry leader in the development of autonomous technology for aviation. Xwing has been flying autonomous aircraft since 2020, with 250 fully autonomous flights and more than 500 auto-landings completed to date, using the Superpilot software it developed in-house. For more information: Joby Aviation H2FLY U.S. Air Force’ Agility Prime program Previous Facebook LinkedIn Copy link Next