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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

After running for decades on its original electro-hydraulic drive, Timber Lake Playhouse’s revolving stage system received significant behind-the-scenes upgrades in recent years. Upgrading a Small Town Theatre's Rotating Stage After running for decades on its original electro-hydraulic drive, Timber Lake Playhouse’s revolving stage system received significant behind-the-scenes upgrades in recent years. Ryan Poethke, ShowFab Stage Events Mar 13, 2026 Timber Lake Playhouse (TLP) is a 371-seat theatre that sits on a 10-acre campus, which includes housing for its staff, plus the associated shops and administration facilities needed to put on multiple performances every summer. Images courtesy of Ryan Poethke. From an engineering perspective, what makes TLP especially interesting is its semi-thrust stage—extending into the audience—featuring a 36-foot diameter section of the floor that rotates under electromechanical control. This moving floor, known simply as a “revolve” in theatre terms, allows scenery to be set up backstage, then rotated into place for quick scene changes. While the basic idea of a revolving stage seems fundamental, there has been significant progress in power transmission technology since TLP’s founding over 60 years ago. Changing Technologies in 2017 Originally, the revolve system was powered by an electro-hydraulic drive, consisting of a 5hp electric motor as the input power source, driving a hydraulic pump. In turn, the hydraulic fluid was used to operate a hydraulic motor which turned the stage through a large gearbox. This worked for decades, but eventually became unreliable and difficult to maintain. To improve this situation, I volunteered to upgrade the system to full electrical control. Having spent a summer working at the Playhouse, and now being employed as a controls engineer for ShowFab, which specializes in set building and entertainment fabrication, I possessed the right combination of experience and expertise needed to complete the upgrade. These images show the electric motor, gearbox, and associated pulleys, cables, and tensioning weights, all hidden underneath the theatre’s stage revolve. After removing the original hydraulic drive, an electrical-motor-driven gearbox was installed. Pulleys and sheaves, interconnected in part with a continuous loop of aircraft cable and tensioned by weights to establish the necessary friction, transferred the rotational motion to the stage. This robust mechanical setup quietly handles the system’s massive torque and moderate speed requirements without taking away from the experience of the play itself. To control the 240V three-phase electrical motor in both directions and at varying speeds, I incorporated an AutomationDirect GS2 AC variable frequency drive (VFD). Because the site happened to have electrical power available in a somewhat uncommon 240VAC open delta 3-phase format, the VFD was readily configured to operate the motor, with a small user-friendly control panel, to spin the massive stage turntable in both a clockwise and counterclockwise direction without issue. Motor Control Upgrades for 2025 This GS2 drive setup worked great for nearly two decades, but eventually the VFD began experiencing some intermittent faults, which were easily cleared but created a nuisance for users. In 2025, the team realized it was time for a refit. Again, I was able to volunteer my time. We took this opportunity to provide a few safety and performance upgrades, as well. For the upgrade, I selected the latest version of the AutomationDirect VFD family, the GS23, which includes the same functionality as the older unit but also offers many enhanced features. Of special importance for this project, the newer VFD could also accept a single-phase input to produce a three-phase output needed for velocity control, forward/reverse operation, and compatibility with the existing motor. The form factor of the new drive closely matched that of the older unit, allowing a new enclosure subpanel to be fabricated in advance to support a quick change-out. The GS23 provides easy-to-use stage control for the TLP team. While heavy industry commonly uses three-phase power to enable superior load carrying capacity for a given electrical load, the rotating stage was the last remaining piece of equipment at TLP that required three-phase power at the time of installation. With the new drive in operation, the three-phase requirement could be dropped, simplifying the facility’s electrical distribution system. Enhanced Operator Interface and Safety In addition to the VFD panel, the system includes an operator console with a direction switch, run/stop buttons, a rotation speed potentiometer, indicator lights, and a fault reset button, all sources from AutomationDirect. The operator console shown here uses several buttons, lights, and an e-stop button to provide a simple way for stagehands to operate the stage revolve. Within the VFD panel, the latest upgrade now includes an AutomationDirect Reer MOSAIC safety controller to monitor emergency stop (e-stop) buttons located at both the operator console and the stage manager’s position. If either e-stop button is pressed, the safety controller activates the VFD’s industry-standard safe torque off (STO) function, which causes the drive motor to coast to a stop. Another unique feature of the design regards how the cooling fan for the VFD enclosure is controlled. The goal was to turn the fan on whenever the VFD is started, and then to continue to run the fan for a period of time after the VFD is stopped to provide the desired cooling. This could be achieved with a hardwired relay, or with a small programmable logic controller (PLC), or by using the PLC function built into the G23 VFD. However, in this case it was determined that a practical way to achieve this control would be to use a safety controller auxiliary output. Designers appreciate it when they have multiple options for creating a solution. With these new improvements, the Timber Lake Playhouse is set up to reliably entertain audiences for decades to come, rotating the stage smoothly in either direction for scene transitions. What is going on behind—or more literally, below—the scenes may be interesting to stagehands and engineers, but when everything runs smoothly, the audience can get lost in the story itself. For more information: AutomationDirect GS23 Safety Controls ShowFab Timber Lake Playhouse Read more theater case studies >>> Previous Facebook LinkedIn Copy link Next

The MoonBike was specifically designed for speed, endurance, low maintenance, and fun. World's First Electric Snowbike is Highly Maneuverable and Reliable The MoonBike was specifically designed for speed, endurance, low maintenance, and fun. Edited by EE Staff Sports Apr 10, 2026 How do you get outstanding maneuverability across snow-covered terrain? That’s only one of the concerns MoonBike had when designing the low center of gravity, narrow width snowbike. Add to this uniquely designed bike optimized weight distribution and it doesn’t matter if you’re carving through groomed trails or navigating untouched powder, you get a responsive and agile ride every time. This high maneuverability is designed in. Born in the French Alps, MoonBike is now part of ENVO Drive, one of the leaders in light-weight and flexible electric mobility vehicles. ENVO’s acquisition ensures that MoonBike riders benefit from world-class service, global distribution, and continuous product innovation while preserving the original Alpine spirit. Images courtesy of ENVO Drive. Easy to ride for beginners yet thrilling for experienced riders, MoonBike offers a seamless riding experience, that is both smooth and stable. As an electric snow scooter, the MoonBike uses zero fuel, produces zero emissions, and runs silently, for eco-friendly performance. MoonBike Technology The MoonBike now uses the ENVO Stax pro with advanced CANbus for smarter, safer riding. Stax pro monitors battery health and diagnostics, delivering information to the rider directly on the MoonBike display. The ENVO batter incorporates a battery management system for safety and to increases battery life. Plus, the cells are optimized for freezing temperatures. In addition, the bike features a heated battery box that provides smooth performance even at -13 degrees F. This allows the MoonBike to maintain its power and reliability in the coldest conditions. Images courtesy of ENVO Drive. The MoonBike is designed with torque sensor technology that provides natural and intuitive power delivery to the bike, while the battery communicates with the charger for safer charging. The removeable battery has a range of up to 62 miles per charge, can be charged on or off the bike frame using a CC-CV smart Li-Ion charger. For high-speed stability and handling on trails as well as asphalt, the design includes what the company calls x-Fusion suspension where the suspension mono-shock front fork delivers up to 25mm of travel. With fewer than 200 parts, no chain, and no belt, MoonBike is engineered for simplicity and long-term reliability. Its direct drive electric motor requires minimal upkeep, making it an ideal winter vehicle for both personal and commercial use. The whole design concept was to allow customers to spend more time riding and less time wrenching. For information: Envo Drive Moonbike by Envo Moonbikes Read more sports articles >>> Previous Facebook LinkedIn Copy link Next

Watch this lecture from Nick Hutzler, Assistant Professor of Physics at Caltech Where Did Matter Come From? Watch this lecture from Nick Hutzler, Assistant Professor of Physics at Caltech EE Staff Mini Story Nov 11, 2025 We here at Entertainment Engineering magazine have very curious minds. Because of that, we’re often falling down rabbit holes and pulling on threads to learn more about things that a lot of people probably don’t think about too often. One of those things that interest us is the universe: how it came to be, what it’s made of, and why are we even here. Well, that last part we’ll leave to another post. To help drag you into our rabbit hole with us, we’ve got a Caltech lecture that explores the origins of matter in the universe. And questions the presence of anti-matter, dark matter, etc. In this lecture by Nick Hutzler called “Molecules, Mysteries, and the Matter of Existence” you’ll find some answers, more questions, and a lot of fun things to think about—all with some humor as well. See the lecture here: Previous Facebook LinkedIn Copy link Next

Without any sound to distract you, you can hear your heart, lungs, and more — watch this video from Veritasium to explore what it's like to step inside an anechoic chamber. Exploring a Completely Silent Anechoic Chamber Without any sound to distract you, you can hear your heart, lungs, and more — watch this video from Veritasium to explore what it's like to step inside an anechoic chamber. EE Staff Mini Story Mar 2, 2026 Cool Stuff We here at Entertainment Engineering love the strange and interesting. We’re curious people. So, even though this piece is an older one, we were intrigued and thought to bring it to you. Being in extreme silence—with literally no sound to distract you—your body becomes the sound field. You start to hear your heart, throat, lungs. It is said that remaining inside the chamber for too long can become disturbing. One thing we do know is that it will likely affect everyone differently. Do you think you could stay inside an anechoic chamber for very long? Below is a video where David Muller from Veritasium investigates the concept. It’s recommended that you listen to the video using headphones. For more information: HBK World Previous Facebook LinkedIn Copy link Next

PC-based technology provides highly precise motion control and synchronization for all types of entertainment applications — including indoor attractions, signage, and more. "Flying Theater" has Spherical Projection Screen with Synchronized Effects for Immersive Experience PC-based technology provides highly precise motion control and synchronization for all types of entertainment applications — including indoor attractions, signage, and more. Edited by EE Staff Attractions Apr 3, 2026 Like many of the coolest applications, innovations from one industry are used in another industry to solve unique challenges. For example, Founder and Managing Director of Simtec Group, Bernd Kaugmann, used his extensive flight simulator expertise to enter the market for automobile component testing systems as well as entertainment applications. Today, custom-tailored motion simulator systems from Simtec can be found in entertainment theme parks, 4D theaters, and museums around the world. With its development of Screenflite®, Simtec has entered the digital signage field as well. Resembling a kinetic piece of art, the media information system catches people’s attention in airport terminals, train stations, or shopping malls. Simtec’s next generation of indoor attractions includes its Hexaflite® Flying Theater. The moving platform, featuring six degrees of freedom, is surrounded by a spherical projection screen with a diameter of up to 23 meters. After spectators have taken their seats, the platform tilts into a vertical position so that the audience sits directly in front of the giant screen. Linear acceleration ranging from ±0.7 g and ±1 g and rotations of ±15 to 20 degrees around all axes and the perfect synchronization with the projected images and special effects combine to generate a spectacular, highly dynamic flight-like experience that fully immerses the audience in the screen action. The moving platform is controlled by a Beckhoff CX5140 Embedded PC with a multi-touch Control Panel and TwinCAT 3 automation software. The nearly unlimited network expandability of EtherCAT and the high data transmission rate make it the ideal fieldbus system for such a large-scale project. According to Christian Spoer, Team Leader Software Engineer, “EtherCAT branching makes any network topology possible. Simtec also takes advantage of the redundancy supported by EtherCAT.” The complex safety solution for the motion system is based on approximately 100 digital TwinSAFE terminals in IP20 and local TwinSAFE I/O modules in IP65. In addition, four EL6910 TwinSAFE Logic terminals are incorporated and communicate with each other as well as with the higher-level CX5140. The signal and interface diversity of the Beckhoff I/O modules allowed the company to integrate the stage lighting control via DMX terminals as well as the compressed air measurement with appropriate measurement modules. Simtec has developed the closed-loop control technology for this application in-house in C++. Since TwinCAT 3 supports the C++ programming language, Simtec’s entire motion control programming was easily integrated into the TwinCAT 3 automation software and run in real time. The user interface of the Hexaflite® system is another proprietary Simtec solution developed in C++. Kinetic Digital Signage With its Screenflite® system, Simtec has entered a new market. The modular media information system, which weighs 5.3 tons, consists of three circular rotating levels. Each ring holds four LED screens, each with a surface of two square meters, that can be moved approx. 1.1 meters in and out with scissor arms and rotated with or against each other. Based on highly dynamic choreography, the LED screens move toward each other and separate again to form various combinations or shapes consisting of two, three, four, or six screens in rapid order. In addition, the flat screens on the upper and lower rings can tilt vertically. The mechanical design ensures that the screens don’t collide with each other. On each of the 12 screens, media content can be played in sync with the screens’ motion. Since the motion sequences are determined through programming, sequences in line with the system’s 20 degrees of freedom are possible. The kinetics are freely programmable and can be adapted by the operator’s content designer. “From a control perspective, the digital signage system is our most complex product,” says Christian Spoer. The greatest challenge lies in the precision of the various motion control speeds and their perfect synchronization. The three rings that move the LED screens via their scissor arms are not linked mechanically but communicate via Wi-Fi using TCP/IP (via ADS). Power and emergency OFF signals are transmitted via slip rings. Each ring uses an ultra-compact C6015 Industrial PC with an Intel Atom® quad-core processor that functions as an EtherCAT master to control the movements of the four screens. Because of their high performance, one of these IPCs can handle the synchronization of all three rings over Wi-Fi. The motion control runs in a C++ module with a linked PLC. “We programmed the axis control algorithms and the synchronization of the motion sequences that integrate into TwinCAT 3. The TwinCAT NC library provides the closed-loop controller and profile generator,” adds Christian Spoer. To control all 27 PTP axes on the digital signage system’s three levels, one- and two-channel EtherCAT servo drives from the AX5000 series, with integrated safety functionality, are used. To control the smaller motors for rotating the monitors, Simtec uses EL7201 servo terminals with One Cable Technology (OCT) connection because their compact design works perfectly in the limited space available. Simtec has used control technology from Beckhoff in multiple projects. The option to employ both centralized and decentralized PC-based control technologies works great for the company and is an important prerequisite for many applications. *Images courtesy of Beckhoff. For information: Beckhoff Simtec Group Read more about signage >>> Previous Facebook LinkedIn Copy link Next

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

Innovative tools help to make NASCAR manufacturing of parts faster, more efficient, and of higher quality. How NASCAR's R&D Group Optimized Its Machining Processes with Next-Level Components Innovative tools help to make NASCAR manufacturing of parts faster, more efficient, and of higher quality. Edited by Terry Persun Sports Dec 1, 2025 Lead image courtesy of Depositphoto.com . NASCAR’s Research and Development (R&D) facility relies on premium innovation to create the right solutions to manufacture next-level components ensuring speed, precision and above all, safety at all stages of development. According to Bob Duvall, Managing Director of NASCAR’s Competition Partner Program, “NASCAR teams are always looking for the best in class, and Kennametal aligns perfectly with that standard.” Behind every racecar, there's a team of dedicated professionals ensuring that each component is machined to perfection. This involves using reliable tooling solutions in a prototyping environment where parts need to be designed, programmed, and manufactured within tight tolerances—and tight deadlines. Increasing Material Removal Rates Recently, NASCAR upgraded its CNC machinery to enhance its manufacturing capabilities. To fully leverage this new technology, Hank Fowler, NASCAR’s Manager of Manufacturing turned to Kennametal which has been instrumental in optimizing NASCAR’s machining processes. “Upgrading our machines has significantly sped up my cutting processes,” said Fowler. “With the addition of flood coolant and Kennametal tools, I’ve been able to increase my material removal rates as well as improve surface finishes and reduce the need for post-processing operations like deburring.” Image courtesy of Kennametal. Fowler also mentions that once he has a part number, he speaks with his rep for additional insight as to whether or not a better option may be available. Shipping tools on time is also critical for success on timely projects. For example, when Fowler was working on a manual turning job that had a .094” groove in chromoly steel, he made a simple phone call and was able to get the tool holder and inserts on time to deliver parts. This reliability is essential for NASCAR’s fast-paced manufacturing needs, where even a slight delay can impact testing and development schedules. As part of NASCAR’s R&D group, Fowler and his team handle a wide variety of tasks. Their most common machining projects include creating inspection tools for their competition group and fixturing for various types of testing within the R&D team. Recently, the team worked on an inspection tool made with 303 stainless steel which featured a tight tolerance slot. In the past, they would have been nervous about this job, but after ordering a 3/16” HARVI™ I TE, they completed the task effortlessly. Kennametal's HARVI I TE high-performance solid end mills are designed with an innovative twisted end face that allows for ultra-aggressive cutting capabilities while also promoting stability in any type of cut. It also offers a number of proprietary features such as a precision faceted eccentric relief reducing vibrations and friction for excellent cutting conditions in multiple materials, and an innovative flute design with chip gashes within the flutes to reduce cutting forces, promote tool cooling and support efficient chip evacuation. The HARVI I TE design also features asymmetrical divided flutes and a variable helix, which enables vibration dampening even at the highest feed rates. Image courtesy of Kennametal. The partnership between NASCAR and Kennametal is a perfect example of how precision tooling can be successful in high-stakes environments. With Kennametal’s reliable and versatile tools, the R&D team can meet the demanding requirements of NASCAR’s manufacturing processes. For more information: Kennametal HARVI I TE NASCAR Read more about racing >>> Previous Facebook LinkedIn Copy link Next

The real life WALL-E that visits newsrooms, tradeshows, and goes on media junkets had to look like the animated WALL-E from the movie. It appears that, like life, there’s a process that has to be gone through in order to look older. Making WALL-E Look Battered The real life WALL-E that visits newsrooms, tradeshows, and goes on media junkets had to look like the animated WALL-E from the movie. It appears that, like life, there’s a process that has to be gone through in order to look older. EE Staff Film and TV Jun 4, 2025 Because the WALL-E from the movie has been around for a long time, his body had been weather worn and beat up by the work he does – compacting trash and stacking it neatly. Computer animation allowed animators to create the look and feel of a well-worn WALL-E, but transferring that same look and feel to a ‘real’ robot was another story. Pixar utilized sophisticated computer graphics to create the digital representation of this fun-loving robot. This digital data was well suited for rapid and precise fabrication of all of the external covers that comprise WALL-E. Although, the covers could have been created in a number of ways, the Disney Imagineering team chose to have the parts created on an SLA rapid prototyping system (see sidebar on the SLA process) The form, fit and overall appearance of the prototype SLA covers were validated with a working robot. The final covers for the traveling robot needed to be significantly tougher than the initial SLA covers. Advanced cast urethane covers were reproduced using a silicone tool created from the SLA masters. The cast urethane process has been accomplished a number of ways by a variety of companies. Although we don’t have information on which method was used for the job, here’s an explanation of what the process might look like. General practices for secondary processing of the master might look similar to what some services do for their customers. Here’s one method that may be used: First prepare a master pattern — created using SLA, CNC, or PolyJet technology — that is worked to a desired surface finish. Then carefully position tape in specific areas to create joint or parting line to assist with cutting the pattern out of the mold. After this step, a mold box is built to enclose the master pattern. The box size is minimized so that the poured Platinum-based Silicone material is not wasted. The master is elevated off the floor of the box to allow the Silicone to surround the master. The material is allowed enough time to cure and then the cured mold is cut into two halves and the master pattern removed. A two-part polyurethane liquid is mixed and then poured (with a proprietary pressure differential) into the mold. The polyurethane filled mold is then placed into a proprietary pressure oven and the final cast polyurethane part is allowed to fully cure thus achieving maximum mechanical properties. Finally, the top half of the mold is removed and the final cast part is removed from the mold. The stressing and rust texture for WALL-E was reproduced from the animated production using paint. “Exterior components – including the treads and details on the inside of the WALL-E camera eyes – were based on the movie data and placed ‘on-model’ to look as authentic as possible,” according to Akhil Madhani, Principal Technical Staff Director for Walt Disney Imagineering Research & Development. “For motion, the tracks are driven using custom designed brushless DC servomotors, which operate through planetary gearheads,” Akhil said. The remaining motors are standard brushed motors using a variety of reduction mechanisms. All the mechanisms themselves were custom designed, including the tracks and treads. As with WALL-E’s panels, the tread texture was copied from the movie models. Control software, as well as all the animation software, was written in-house at Disney and Pixar. This includes the system that allows the company to play Pixar-created animation on the physical robot in order to maintain its character. Designing the ‘real’ WALL-E was, as many Disney projects, highly proprietary, allowing only for general information to be discussed. Akhil did say that “every part of the system, including electronics, was included in the CAD model.” His team used Pro/engineer CAD software for design. Previous Facebook LinkedIn Copy link Next

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

How 3D scanning specialists digitally captured multiple buildings in one of the busiest areas of the Grand Duchy of Luxembourg with sufficient detail for VR/AR applications. Capturing an Entire Palace Complex with 3D Scanning How 3D scanning specialists digitally captured multiple buildings in one of the busiest areas of the Grand Duchy of Luxembourg with sufficient detail for VR/AR applications. Paul Hanaphy Cool Stuff Apr 27, 2026 Architecture When Artec 3D’s support team got the call to digitize Luxembourg for the World Expo, they were delighted. Push 3D scanning to its limits and put your country on the map? What an opportunity! But as they sought out the fastest, most straightforward method, there were a few hiccups. Initially, they tried digitizing a sugar model of the palace with the high-resolution Artec Spider II. While it featured a very realistic appearance (and Spider II captured its nuances brilliantly) the replica didn’t have the geometric accuracy necessary to create a true one-to-one 3D model. Artec Spider II capturing a sugar model of the Grand Ducal Palace in Luxembourg. When this shortcut didn’t work, the Artec team were left with no choice: they’d have to scan the Grand Duke’s Palace itself. This came with its own challenges. Artec Ray II is fantastic at capturing large objects and areas. However, its tripod-mounting limits what it can “see” from above. Fortunately, Artec Studio features drone-compatible photogrammetry. The next problem was how to get a drone in the air around a busy heritage site. This meant visiting the Palace’s Premier Conseiller , who managed to get permission for the flight. Lastly, there’s the issue of pedestrians. The popular tourist attraction is often swarmed with people. In 3D data capture, this is bad news as it can lead to obstructed details and motion blur. But thanks to a bit of cautious double-scanning, Ray II’s built-in Visual Inertial System (VIS), and advanced algorithms inside Artec Studio, the team was ultimately able to capture an incredibly large yet detailed 3D model—with a realistic appearance for immersive VR applications. Scanning Results According to Keynan Tenenboim, one of the 3D scanning specialists behind the project, Ray II data capture wasn’t actually that difficult. Its VIS system allowed it to track its location in a 3D space, meaning users only needed to position the device for capture from all angles. The real challenge was scanning from a sufficient distance to capture at scale. Ray II can achieve an accuracy of up to 1.9 mm from a range of ten meters. But if Tenenboim got too close, some parts of the palace’s architecture would obscure others. This meant taking a step back—to a range of around 20 meters, so the whole structure was in view, and making a loop around the complex. The final 3D model of the Grand Duke’s Palace. While Tenenboim was scanning with Ray II, his colleague Jerry Klein was piloting a drone over the area. Though he had permission to fly, this would be no easy feat. The palace is surrounded by a complex network of roads, and any navigational error would’ve been hugely expensive. Yet, despite not being an experienced pilot, Klein managed to capture the scene in its entirety. “The advantage of capturing pictures is that you get higher-fidelity imagery and less noise. In Artec Studio, you can also create 3D models from videos—I captured both just to be safe,” Klein said. Merging Datasets Artec Studio is now an all-in-one toolbox for capturing, processing, and combining 3D datasets picked up with structured-light, laser, and LiDAR scanners, as well as photogrammetry. To merge 3D scans and photos/videos, users first need to generate 3D meshes. “Ray II’s VIS system basically aligns all the scans automatically, so when data is uploaded to Artec Studio, all of the objects are already pre-aligned,” said Tenenboim. “Instead of seeing 100 disparate scans, you would actually see one object on screen.” Generating a 3D mesh with AI Photogrammetry is a little different but still yields excellent results. Artec Studio’s algorithms turn photos or video into a “model preview” with an adjustable bounding box. Once told which captured data to use, the software generates lifelike 3D models in real time, which can be merged with those created from 3D scans for high detail at scale. Inside Artec Studio, it’s also possible to fill holes, remove moving objects, map textures, and decimate models to reduce the number of polygons. All of this allows users to add polish—and in the case of Artec’s 3D scanning experts, it was critical to creating lightweight models for VR use cases. Embracing Next-Gen Heritage Preservation Combining Ray II, AI Photogrammetry, and handhelds like the wireless Artec Leo, the team were eventually able to digitize other landmarks for the Luxembourg Pavilion. This includes “Hollow Tooth,” a UNESCO heritage site with a cliff on one side, requiring the use of a drone where data was again merged with Ray II scans—for a model captured from every angle. Alongside all the other beautifully captured models, Hollow Tooth is now available to view via the Osaka Expo app, in a way that brings the country’s history to new audiences. In fact, visitors to the expo itself can join those tuning in remotely to “tour” popular heritage sites in VR. A 3D model of Hollow Tooth, also captured with Ray II & AI Photogrammetry. Klein sees significant potential for this approach, not just in heritage preservation, but other large-scale applications, where different 3D scanners and photogrammetry can bring users incredibly high accuracy and capture scale: the best of both worlds. “I can see this approach being applied everywhere from the Hollywood film industry to video gaming—anywhere you traditionally care more about texture than about geometry.” Images courtesy of Artec 3D. For more information: Artec 3D Ray II Artec Studio Grand Ducal Palace Read more about 3D scanning and printing >>> Previous Facebook LinkedIn Copy link Next

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