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

J.R. Clancy expands their rigging control console series to address the entire range of performance venues. Rigging Control Consoles J.R. Clancy expands their rigging control console series to address the entire range of performance venues. EE Staff Stage Events Jun 3, 2025 The family of SceneControl® 5000 controllers now has a console for performance spaces of every size, from the most complex performing arts center, sporting complex, and Broadway show to the high school, church, and college stage. The addition is the SceneControl® 5200 console, which provides programming capability for an unlimited number of cues, including the ability to control other stage machinery like turntables, wagons, chain motors, and even performer flying hoists. Small enough for venues with confined backstage space, the SceneControl 5200 console controls up to 24 axes. Venues using the SceneControl 5200 console will enjoy greater flexibility, expanding their ability to incorporate different kinds of equipment for exciting effects. If the venue’s needs change, the unit can be scaled up as required, because the SceneControl family has one across-the-board, flexible, fully compatible control system architecture. Upgrading or adding additional consoles becomes plug-and-play. The family of consoles includes three controllers for larger venues, offering the flexibility to grow with the changing needs of any venue: The SceneControl® 5600 offers dual 24-inch 1920 x 1080 screens, redundant parallel processing, and a 15.6-inch helm capacitive touch screen on the desktop. Greater video real estate means the operator can see more of what is going on within the system at any given time, with 3D wireframe views that display the performer space and all of its axes. Redundant parallel processor ensures that a hardware failure does not stop the show, and 3D programming makes it possible to fly performers or scenery on X, Y, and Z axes. SceneControl® 5500 provides many of the same features, plus a 10.1-inch master helm touch screen and 24-inch monitor screen to allow the operator to use the 3D wireframe view to see all the equipment in motion. This controller also features 3D programming capability for exciting performer flying effects. Redundant processing is included in the event of a hardware failure. Finally, the SceneControl® 5300 is a compact, mid-level operator console that can serve as the main operator interface as well as a localized backstage console. The 15.6-inch touch screen provides an intuitive, easy to use interface. As new productions and touring shows reach greater levels of complexity, performing arts centers will be able to integrate the same production values seen in New York or Las Vegas into their in-house rigging control system through the use of the SceneControl® 5000 series. For more information: J.R. Clancy Home Previous Facebook LinkedIn Copy link Next

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

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

A specially-made through-hole slip ring delivers all the right measurements. Testing Dirt Bikes is a Tricky Application, Requiring Specialized Components A specially-made through-hole slip ring delivers all the right measurements. Edited by EE Staff Sports Jan 6, 2026 Rotary Systems is often tasked with improving upon existing slip ring designs. In one such case the company facilitated the design and production of a slip ring encoder made specifically for dirt bike testing. Images and gifs courtesy of Rotary Systems. Testing dirt bikes can be a tricky application, so when a leading producer of measurement and testing equipment requested that Rotary Systems, Inc. (RSI) engineer and manufacture a specialized slip ring they took on the challenge. The testing customer needed a product that allowed a dirt bike motor to measure temperature and calculate drivetrain efficiency. This application required a compact slip ring needed to fit around the shaft of an axle. One of RSI’s specialties include through-hole slip rings which meant that their engineers had the experience and expertise to design the product in-house. How a slip ring encoder works In a basic sense, the slip ring encoder receives power directly from the motor and in exchange transmits data to the customer’s computers onsite. The testing customer is then able to detect extreme changes in temperature and, if the shocks are overloaded, the company can remedy the situation quickly. Working with other engineering teams to develop the best solutions is what keeps RSI at the top of their game. In this particular application the company’s engineering team worked hard to develop a product that withstood extreme environments like the rugged terrain of the motorcross trail, in order to ensure data was transferred as efficiently and safely as possible. For more information: Rotary Systems Slip Rings Other cool sports and racing articles >>> Previous Facebook LinkedIn Copy link Next

Entertainment Engineering co-founder Terry Persun shares his thoughts on innovation and failure for December 2025's editor's note. Editor's Note: You Can't Have Innovation Without Failure Entertainment Engineering co-founder Terry Persun shares his thoughts on innovation and failure for December 2025's editor's note. Terry Persun Editor's Note Dec 1, 2025 I’ve always been interested in how innovation happens and how problem-solving often leads to success. There has been a lot of research completed about learning from failure in order to eventually turn a creative approach into a success. We all know the stories about Walt Disney (we are still running articles about that company’s innovations), Steve Jobs, Oprah Winfrey, and as far back as Thomas Edison. For all of these people, multiple failures—often significant failures—eventually led to something innovative and successful. By giving your engineers the space to fail, you also allow more space for innovation, which can eventually carry your company to the forefront. In order for a company to be innovative, for a company to branch out and do more with their products and services, even to find new avenues for sales, some measure of failure must happen. But here’s the rub: how do you know when to stop and when to continue forward? How do you know when it’s just not the right time for the idea, or the move into a new market, or the acceptance for a new approach? You don’t. But at the same time, if you never break out from the crowd, you will never be able to offer something innovative or unique. Sometimes a result may even look like a failure at first but with some consistency will turn into a success. It’s a fact that people generally like to live in some amount of equilibrium, where change is minimal. This means that new ideas can be shut down before they get the chance to take off. But an engineer can't innovate without the freedom to experiment and—yes—fail; by giving your engineers the space to fail, you also allow more space for innovation, which can eventually carry your company to the forefront of your industry, rather than trailing behind or being average. If you’re an engineering manager, this means that you must protect your engineering staff. To be innovative, you have to present a safe and psychologically secure environment for them to try new approaches. Then you have to help your team learn from their failures while providing a positive memory of the experience—which makes them even more able to innovate further. Today, the most successful endeavors are a result of past failures, where the people and company learned from mistakes in order to clear a better path forward. Previous Facebook LinkedIn Copy link Next

A first-of-its-kind interactive digital touch table and software package is custom built for wine tasting. Custom Software and Touch Screen Technology Used for Wine Tasting Experience A first-of-its-kind interactive digital touch table and software package is custom built for wine tasting. Jim Spadaccini, Founder & Creative Director of Ideum Cool Stuff Jun 16, 2025 I am thrilled to be the first to announce that Ideum has released a new touch table called the Tasting Table . It comes bundled with software that facilitates wine tasting. The Wine Experience allows guests to learn more about the tasting process and share what they experience. The software provides a new way to experience wine, demystifying and deepening the tasting experience—part of the company’s Sensory Dining experience. Photo: Nebbiollo ripens on the vine in the author's backyard vineyard. It is not hyperbole to say that we’ve been working on this new interactive experience for decades. The last project I managed at the Exploratorium in San Francisco was the Science of Wine project, during which I was introduced to Ann Noble, the U.C. Davis Professor who developed the Wine Aroma Wheel, a custom and highly modified version of the open-source Wine Aroma Wheel which is important in The Wine Experience application. We’ve made it interactive, where guests can select and share the flavors they are tasting. Analytics are built into the software, so a winery that uses this application can see what their guests are experiencing, effectively crowd sourcing their tasting notes. How it Works The Wine Experience software is paired with our new Tasting Table, developed explicitly for tasting rooms, popup events, and other spaces where wine tastings happen. The Tasting Table has a unique design: It is bar-height and has an optically bonded 55-inch touch display. An onboard computer makes the system plug-and-play. The system is lockable, and the software only requires an internet connection to load new content. In addition, the experience uses our object-recognition system, Tangible Engine. This software allows the interactive coasters that are part of the Tasting Table to recognize up to eight different wines. Tangible Engine was the first object-recognition software package for projected-capacitive touch tables; many design firms, including ours, use it. Over the years, we developed experimental applications that involved tasting. The Interactive Coffee Experience was designed with Starbucks and appeared at several pop-up events. We also developed an interactive wine-tasting experience, the JCB Tasting Salon with JCB Wines. More recently we worked with MSC Cruises to create the Interactive Wine Bar for the Euribia cruise ship. These experiences and the great and knowledgeable collaborators we worked with have contributed to our thinking as we developed this exciting new wine-tasting experience. In addition, we worked closely with VARA Winery & Distillery, who provided excellent feedback during our extensive testing and tasting sessions! Photo: Ambassador and former NM Senator Tom Udall & entrepreneur Steve Case visit Ideum and try an interactive coffee tasting developed with Starbucks. Our mission was to create a guest-centric experience, focusing on individuals tasting the wine. We want to enhance the tasting experience, making the interactive less of a brochure for the winery and more about the social experience surrounding tasting and the joy of tasting fine wines. I’ve been interested in wine since working in a wine shop and a restaurant in my early twenties. I also have a small vineyard in Corrales, New Mexico, with 150 vines I’ve been growing for over a decade. This project blends my personal and professional interests like no other endeavor has. We’ve had our first pop-up event with VARA, with more planned, and will have our first permanent installation at the New Mexico Wine Association’s new tasting room in Old Town later this year. For more information: See the video Ideum Tangible Engine Sensory Dining Website Wine Aroma Wheel VARA Winery & Distillery New Mexico Wine Association Previous Facebook LinkedIn Copy link Next

McCune Audio, full-service technical event specialists, rely on classic 4088s and discreet 4060s to mic guests and props for the renowned conference. TED2014 Uses DPA Microphones McCune Audio, full-service technical event specialists, rely on classic 4088s and discreet 4060s to mic guests and props for the renowned conference. McCune Audio Stage Events Jun 4, 2025 Heard by thousands of people through live audiences, simulcasts, webcasts, and recordings, and millions more through online video engines, the annual TED Conference requires gear that matches its prestige. With discussions that address a wide range of topics within the research and practice of science and culture, microphones are vital to all TED audiences. To provide the ultimate in sound quality for presenters and performers at TED2014, technical team from McCune Audio/Video, the symposium’s sound services company, relies on DPA Microphones’ classic 4088 Directional Headset Microphones and d:screet 4060 Omnidirectional Microphone. TED2014 marks the second time that DPA Microphones is part of the audio setup for the conference. The McCune Audio team used the same selection of mics at last year’s event because of the high-quality audio of both mics and comfortable fit and feel of the 4088, each requests from production crew workers and presenters, respectively. “For years, the post-production crew was trying to get us to reduce the amount of room acoustics we were hearing in the recordings,” says Nick Malgieri, McCune’s Head of Audio for the TED Conference. “Because of the live PA system in the room, there was a slap-back echo always happening in the voice. We really used some pretty extreme processing paths with our previous mics just to try to help us get ahead of the issues. Once we switched to DPA 4088s, the added isolation let us really scale back on the processing. The sound was so much better that the post-production crew asked us to deploy ambient mics to capture the energy of the venue. That led us to the d:screet 4060s, which we use to pick up a lot of the stage noise from the props and scenery on set, such as chalkboards during presentations, a fire organ for a pyrophone performance or a target being hit by an archer.” The versatility of the DPA mics also plays an important role in the audio support at the TED Conference, which hosts 12 90-minute shows over the course of five days. Throughout each of these individual productions, Malgieri and his crew need to mic as many as 10 separate presenters speaking for up to 18-minute segments each. In these instances, the audio team uses the 4088s. The shows also incorporate other types of presentations, such as musical, theatrical or dance performances, or magical acts, which require the 4060s. “The technology setup for this show is very important because of the high turnover and the way the show is actually produced,” explains Malgieri. “We are doing three shows a day, with only an hour or so to reset between them, so we need high-end gear that can keep up with the constant demand and rigorous use.” As one of DPA’s most popular products, the 4088 is ideal for a variety of performing and vocal presentations. It is designed for acoustically demanding live performance environments, where background noise and feedback is a concern, and boasts the same open and natural sound qualities of the company’s other legendary microphones. Originally designed for use with wireless systems in theater, television and close-miked instrument applications, the d:screet 4060 capsule is highly unobtrusive. Because of its small size, this tiny condenser mic exhibits an exceedingly accurate omnidirectional pattern, and therefore does not need to be aimed directly at the sound source to achieve quality pickup. For more information, visit DPA Microphones . Previous Facebook LinkedIn Copy link Next

Free-fall towers and vertical swings place extreme demands on equipment including high mechanical loads and wide temperature fluctuations. Here's how they achieve reliable and safe operation. Tower Rides at Theme Parks Require Elevated Tech Free-fall towers and vertical swings place extreme demands on equipment including high mechanical loads and wide temperature fluctuations. Here's how they achieve reliable and safe operation. Edited by EE Staff Theme Parks Jun 12, 2026 To ensure flexible designs are reliable even under adverse conditions, Conductix-Wampfler provides a wide range of modular concepts so that future expansions are easy to implement. Reliable and precise data transmission is the key to the safety and control of modern tower rides, which is why the company relies on real-time communication technologies that fit seamlessly into the attractions' designs. The optional use of customized colors enables perfect visual integration without compromising the attractions' spectacular appearance. The mobile control systems from Conductix-Wampfler guarantee safe and precise control even at high speeds and accelerations. With automated safety mechanisms and flexible motion programs, operators create an incomparable ride experience that meets the highest safety standards. Images courtesy of Conductix-Wampfler. Some of the key equipment that the company offers includes conductor rails that guarantee reliable power along linear travel paths. These rails can be bent into a ring to work with the rotating hanger on a vertical swing, enabling a 360 degree access to power and data. Even smooth winder use is possible through the use of an optional rail de-icing system. Conductix-Wampfler incorporates reliable real-time data transmission through slotted waveguide technology. Their inductive systems offer contactless, low-maintenance energy transmission and are ideal for rides that are subject to high mechanical loads due to acceleration and vibrations. To ensure that all motion sequences and effects are perfectly synchronized, the company incorporates their mobile control system. Mobile Controls Conductix-Wampfler Mobile Controls type ST-87x/ST-88x of the LJU “Series 8” control systems are compact, programmable Mobile Controls intended for driving a single motion axis. These control systems are designed for the operation and control of a defined range of motors in industrial and commercial plants. Images courtesy of Conductix-Wampfler. LJU Mobile Controls constantly evaluate the incoming commands from the system controller (e.g. via control rail) and determine the travel behavior of the transport suspension system by linking it to the current parameter setting locally implemented in the LJU Mobile Control Unit. In this way, different signals in different areas of the system can be used to achieve the desired travel behavior (e.g. slow positioning speed, high transport speed, brake release, etc.). The drive motor is driven as long as the control system detects a valid signal, and no stop command is received. External sensors connected to the control systems are monitored and evaluated independently by the control systems. If a stop command is detected, the control system brings the vehicle to a complete stop. After the stop command is cancelled, the control system starts up again according to the set delay time. Building blocks to add Functional Safety are available upon request. For functions such as manual movement of a vehicle, the control systems can be addressed by means of an infra-red hand-held remote control. Assigning parameters to the control system’s defined data records can be transferred to the control system using the MU-705 manual programming device. Data records consist of vehicle parameters, PCM configuration tables, and vehicle tables. Images courtesy of Conductix-Wampfler. The vehicle parameters and configuration switches are used to set the vehicle behavior according to the system requirements and are able to activate or deactivate individual control system functions. Various additional control system functions can be activated, deactivated, and set. Positive values from 0 to a maximum 65,535 can be set as parameter values. Configuration switches are a part of the vehicle parameters. Vehicle tables contain data, which is accessed by certain control system functions. This data is assigned to the system in which the vehicle control system is used. The vehicle tables are used to set values that affect the motion and positioning functions. In the PCM command system, different half-wave patterns are transmitted to the vehicle control system via the PCM hardware. The vehicle control system is able to recognize these commands and adjust its behavior accordingly. The PCM configuration table defines how the vehicle control system behaves with a PCM command. To decelerate a vehicle slowly, bring it to a controlled stop, and to spare the brakes, the control systems offer the option of regenerative braking. Application software and operating parameters can be transmitted to the control system via infra-red by means of the optional MU-705 manual programming device. The control systems continuously monitor the basic conditions of the vehicle and, in the event of a fault, issue a differentiated message via the integrated display and, if used, a collective fault message is sent to the higher-level system controller via the signal rail. The control systems are equipped with a display that allows easy and clear reading of the status messages or error states. For information: Conductix-Wampfler Mobile Controls type ST-87x/ST-88x Read more about theme parks >>> Previous Facebook LinkedIn Copy link Next

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

High humidity and salty seas were no match for this corrosion-resistant radar system customization. Creating a Rust-Resistant Radar System for Ocean Vessels High humidity and salty seas were no match for this corrosion-resistant radar system customization. Edited by Terry Persun Cool Stuff Apr 21, 2026 A major company in the aviation industry operates a large vessel designed specifically for ocean navigation. The radar system on this vessel required a robust motor to ensure reliable rotation under very challenging environments. Original motor designs exhibited significant rust and corrosion due to exposure to high humidity and salty seas. The client didn’t want to rely solely on an IP65-rated motor. It wanted a solution that would eliminate the potential for rust entirely. Dings Motion was able to customize their motor to withstand the extreme conditions of the open ocean where high humidity and salinity was ever-present, ensuring long-term corrosion resistance. The solution involved applying a specialized anti-corrosive Parylene coating to both the motor’s rotor and stator. Since stepper motors typically have a very small air gap between these component, Dings Motion increased the gap by a small amount and were able to maintain tight tolerances as well. This adjustment allowed for an even coating of the rotor and stator without affecting the motor’s overall integrity or operating specifications—which was essential for the application. Photo courtesy of Dings Motion. The results of the customizations delivered significant operational improvements, enhancing both efficiency and cost-effectiveness. The solution also required less maintenance and fewer replacements of the radar system’s motor. In fact, the customer achieved a 25 percent reduction in maintenance costs while maintaining a consistent operational uptime much longer than previous systems. Dings Motion was able to solve their customer’s challenges while providing additional features and cost savings for the life of their motors. For more information: Dings’ Motion Custom Solutions Read more marine applications >>> Previous Facebook LinkedIn Copy link Next

Gimbal fluid head enables smooth, shake-free panning without micro-jitters for perfect shots. To Capture Fast-Moving Subjects, Photographers Need the Right Equipment Gimbal fluid head enables smooth, shake-free panning without micro-jitters for perfect shots. Edited by Terry Persun Film and TV Oct 10, 2025 A photograph is more than an image—it’s a piece of art suspended in time. It captures light, emotion, and motion, distilling them into something lasting. Some photographs tell stories. Others reveal the unseen. The finest do both—and they endure. One of nature photography’s most captivating subjects is the Gruccione , or European Bee-eater—a bird whose radiant plumage and elegant flight have made it a favorite among wildlife photographers such as Michael Lovera. Yet the Gruccione is far from an easy subject to photograph. Found along riversides and meadows from late spring to mid-summer, the Bee-eater’s beauty is rivaled only by the challenge of capturing it. Migratory by nature, the Bee-eater spends winters in sub-Saharan Africa and returns to Europe each year to breed. This long journey across continents makes it a symbol of seasonal change, endurance, and ecological connection—a perfect metaphor for timelessness, motion, and return in visual storytelling. Its plumage is among the most colorful in Europe, with a turquoise chest, golden-brown back, lemon-yellow throat, and bold black eye stripe. It nests in colonies, digging long horizontal tunnels—sometimes stretching 1–2 meters— into sandy riverbanks or soft cliffs. These nesting sites, often reused year after year, are typically precarious and hard to access, requiring photographers to set up on unstable ground or even in water. As its name suggests, the European Bee-eater feeds mainly on flying insects such as bees and wasps, which it catches mid-flight with remarkable precision. Before swallowing stinging prey, it performs a dramatic behavioral flourish: rubbing the insect against a branch to remove the stinger. Capturing this moment adds narrative depth to a photo and rewards the patient, observant photographer. During nesting season, typically between May and July, Bee-eaters establish colonies along exposed slopes or sandy banks. Photographers seeking the most compelling images often work near these sites, building camouflaged hides and enduring long, silent hours in often extreme environments. High temperatures, harsh light, persistent insects, and unpredictable terrain make reliability non-negotiable. Gear with Unshakable Stability On Michael Lovera’s journey to capture the Bee-eater, the Gitzo Systematic Tripod and Gimbal Head proved indispensable. The four-section systematic tripod, combined with the G-lock system, allowed for quick and precise height adjustments and adaptability on any terrain—from riverbanks to uneven ground—while providing excellent stability for ground-level shots, which Lovera noted as a personal favorite. Rubber articulated feet played a crucial role in maintaining grip on difficult surfaces, including slippery submerged rocks under flowing water. The tripod absorbed shocks and kept the setup steady and secure from the first moment. Thanks to its fluid movement and total control, the Gitzo Gimbal Head performed flawlessly not only in photography, but also in video work—enabling smooth, shake-free panning without micro-jitters. The ergonomic knobs with superior grip ensured full control, even when wet or in contact with water—a common scenario in wildlife photography where fast reactions are everything. The carbon fiber legs of the Systematic and the magnesium construction of the Gimbal made the entire system light and easy to carry across long treks and difficult landscapes. For wildlife photographers constantly balancing performance with portability, this combination delivered the perfect compromise between quality and weight. “In these products, I found the security I was looking for—without giving up anything else—security, stability, or elegance. Gitzo provided the stability I needed to shoot with absolute precision—even when partially immersed in water.” This article is part of the “Photography That Lasts Forever” campaign by Gitzo. This was a Gitzo adventure with Michael Lovera. For more information: Gitzo GT4543LSUS — Gitzo tripod Systematic, series 4 long, 4 sections . GHFG1 — Gimbal Fluid Head. Michael Lovera on Instagram Read more about photography . Previous Facebook LinkedIn Copy link Next