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

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

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

Van Nuys, California, June 25, 2014—When Sebastian Lindstrom, co-founder of What Took You So Long, and his team journeyed to Liberia for their latest documentary, they employed an iPhone 5s equipped with the iPro Lens System® by Schneider Optics iPhone Lenses Used in Film Shoot Van Nuys, California, June 25, 2014—When Sebastian Lindstrom, co-founder of What Took You So Long, and his team journeyed to Liberia for their latest documentary, they employed an iPhone 5s equipped with the iPro Lens System® by Schneider Optics Terry Persun Film and TV Jun 3, 2025 “We are a small documentary production company that specializes in supporting non-profits and development entities around the world,” explains Lindstrom. “Our method of filmmaking depends on high-quality, lightweight equipment.” For the documentary about women with obstetric fistula, which was co-funded by the United Nations Populations Fund, the team took two Canon 5Ds to the West African country. And for the most audience-engaging results, they also took a 7D and an iPhone to capture slow motion and extreme close-up footage. “We shot with the iPhone 5s ─ mostly in 720p at 120-fps ─ and iPro Super Wide and Macro lenses,” he says. “The Macro captures the same details as a $1000 lens would. It’s amazing how close you can get with it ─ so close, we were able to position it just inches from a person’s iris,” which is shown in the opening sequence of the video. On the opposite end of the spectrum, “The iPro Super Wide frames a much bigger picture of the world than the native camera inside the iPhone,” Lindstrom adds. “While at a stadium in Monrovia for a big soccer game between Liberian and Ghanaian teams, the president of Liberia came out on the field to wish everybody ‘good luck.’ The iPro Super Wide lens enabled us to spontaneously capture innovative wide-angle shots for slow-motion content that will take audiences’ imaginations to the next level when watching our videos. In retrospect, we should have left the 7D at home, because the daylight footage we caught with the iPhone and iPro lenses was superior ─ and it was much easier to pack.” While the DSLR revolution gave the world access to smaller, less expensive cameras, Lindstrom notes that “Filming with a phone takes it to another level, as you can quickly position angles that your DSLR would require a jib for, and it’s something most people travel with anyway. And you could never get smooth traveling shots by holding your DSLR outside of a car window with your hand like we did with the iPhone. We believe that the iPro Lens System used in conjunction with the iPhone 5s for slow motion filming has the potential to become an important, value-added component for any type of documentary work. We plan to use them in all our upcoming shoots around the world as an integral part of our DSLR filming.” For the past five years, What Took You So Long has worked within more than 70 developing countries. “Some of the areas we travel to may not take kindly to visiting filmmakers,” he says. “So it’s very beneficial to be able to shoot with the iPhone ─ now with professional-grade lenses that are easy to conceal.” For more information: What Took You So Long Home Schneider Optics Lenses Previous Facebook LinkedIn Copy link Next

Small details like easy-to-use cases with squeak-free hinges enhance the high-end makeup experience. Innovative Pins Used in High-End Cosmetics Cases Small details like easy-to-use cases with squeak-free hinges enhance the high-end makeup experience. Terry Persun Cool Stuff Oct 27, 2025 There are a wide variety of plastics used in industry today, but only a few meet the demands and requirements for packaging cosmetics, some of which include PET, ABS, PCR and others. Regardless of which plastic material a company chooses to employ, the most important component might not be the cosmetic case itself. Functionality often plays an even more important role than aesthetics. We’re talking about the mechanism used to open and close the case: the hinge. There are a number of methods available to provide the hinge on cosmetic cases, such as snap-on or concealed hinges, butt hinges, and Solid Pin hinges, which have their own challenges. For example, a leading cosmetics packaging company of high-end products used two Solid Pins in their styrene case. The two pins caused the case to squeak when opened and closed. This was because the pins relied on deformation of the plastic for retention, which stressed the material and caused the noise. In addition, the holes had to be misaligned in order to keep the Solid Pins in place. Angular pressure caused by the misalignment along with the solid pins bending, also contributed to the squeaking. Image courtesy of SPIROL. The cosmetics packaging company looked for a new method that would allow multiple opens and closings without making a sound. After some analysis, the company chose to make minimal adjustments to their cases and incorporate SPIROL® Series 550 Cosmetic Coiled Pins as an excellent solution that eliminated the squeaking completely. Needed Modifications The plastic molding customer was willing to modify the existing hole size in the case to achieve the proper friction fit for the Coiled Pin. Further, redesigning the hole in the case allowed the company to incorporate a standard Series 550 Cosmetic Coiled Pin, which also reduced costs by avoiding the need for a custom solution. Rather than misaligning holes in the case, the uniform radial spring force of the Series 550 resulted in a controlled hinge movement. Image courtesy of SPIROL. Uniform radial spring force allows for controlled hinge movement and hinge quality that remains consistent over time. Controlled hinge movement is achieved with wider tolerances and lower molding costs than when a solid pin or cut wire is used. The inherent design of the Series 550 Cosmetic Coiled Pin allows it to flex and absorb impact preventing premature damage to the hole wall. This feature means the quality of the hinge is maintained throughout the life of the product, preventing the lid from flopping open and spilling the contents. In the end, the cosmetic company got a product that created a seamless experience for the user where the lid opened and closed smoothly and stayed securely in place. Overall, the company was able to solve its squeaking problem with minor permanent adjustments and save costs as well. Manufacturing Efficiency The use of the SPIROL Series 550 Cosmetic Coiled Pins simplified the design and manufacturing process. For example, the low insertion force and compression of the pin during installation minimized hinge stress and scrap. SPIROL had designed a pin installation system Model HC Horizontal Dual Pin Inserter to dramatically increase production efficiency with minimal operator training. The Inserter is lightweight and portable for ease of use and flexibility. The cylinder/driving head modules can be moved in and out with ease, and fixture changes are simple, which enables quick conversion from one assembly to another. Pins are delivered automatically to the installation site, eliminating the need for the operator to touch them during the assembly operation. For more information, visit SPIROL . Read more consumer-related articles >>> Top image from CreativeCommons.com . Previous Facebook LinkedIn Copy link Next

Stage lighting rigging uses spring cable drums to solve a complex challenge. Creative Rigging Solution for Moveable Nightclub Ceiling Stage lighting rigging uses spring cable drums to solve a complex challenge. Stage Events Jul 28, 2025 Cool Stuff Winner of the bronze vector award in 2024, French company Mecaoctet has created a movable ceiling for a nightclub in the Accor Arena in Paris. For the power supply, the designers rely on slip-ring-free spring cable drums from the igus e-spool series. The vector award jury was highly impressed by the unique technical solution used for the breathtaking light show. All photos courtesy of igus The movable nightclub ceiling consists of a fragmented mirror measuring 16x15 meters, which is divided into 32 triangular elements, 16 of which are movable. Each of these triangles has two mirror surfaces, one at the top and one at the bottom, with the edge consisting of an SRU LED strip. In combination with spotlights, a breathtaking light show with monumental shapes in motion is created above the heads of the guests. The design challenge was to set the triangles in motion and supply the LED strips with power. To solve this complex challenge, the engineering team involved chose to rely on three motorized winches, one at each corner of the triangles. For the power supply, the experts chose slip-ring-free spring cable drums from the igus e-spool series, which are fitted with hybrid cables and connected to the centers of gravity of the triangles. All photos courtesy of igus The stroke for the application is six meters. The speed is 0.5 meters per second. According to Mecaoctet, thanks to the igus solution they were able to avoid using complex coils with rotating collectors—which would have been very expensive and unreliable. Compared to a slider system with cable loops, the solution is also more fail-safe and aesthetically pleasing. The igus e-spool series are able to confine many different cables within a confined space and uniquely combines two different energy supply systems, puts no tensile load on the cables, can supply energy in all directions (horizontal, vertical, and diagonal), and is available for indoor and outdoor applications. Overall, the final design provided accuracy, reliability, and aesthetics. For more information, visit igus and Mecaoctet . Previous Facebook LinkedIn Copy link Next

A team of students from a broad mix of engineering disciplines designed, built, and raced a solar-powered car across 3,000 kilometers of Australian wilderness. Here's how they did it. Race Car Crosses Continent With Nothing But Solar Power A team of students from a broad mix of engineering disciplines designed, built, and raced a solar-powered car across 3,000 kilometers of Australian wilderness. Here's how they did it. Alex Edwards, Protolabs Sports Aug 28, 2025 Cool Stuff What does it take to build a car capable of crossing a continent on nothing but solar power? For the Brunel Solar Team, it’s a combination of deep engineering talent, relentless motivation, and an ability to adapt under pressure. As the world’s most decorated solar racing team prepares for the 2025 Bridgestone World Solar Challenge, I sat down with two of its members, Merijn Kroon, Partnerships, and Lucas de Jong, Mechanical Engineer, to explore the innovation behind their latest vehicle, their collaboration with Protolabs, and what it really takes to chase the sun across the Australian outback. Each year, a fresh team of students from TU Delft in the Netherlands puts their degrees on hold to focus full-time on one ambitious goal: designing, building, and racing a solar-powered car across 3,000 kilometers of Australian wilderness. The team draws from a broad mix of disciplines—mechanical engineering, electrical engineering, architecture, aerospace, industrial design, and more. As Merijn explains, “There’s no course at university on building solar cars. What really matters is motivation and the willingness to learn fast.” All photos courtesy of Protolabs and Brunel. Each team is carefully selected by the outgoing group, with a focus on complementary skills. “It’s not just about technical know-how,” adds Lucas. “It’s about creating a team that communicates well, adapts quickly, and supports each other.” A Race Against Time and Nature This year’s race (2025) introduces fresh engineering challenges. It is scheduled two months earlier than usual, in August rather than October—right in the middle of the Australian winter. That means fewer daylight hours and lower solar intensity, directly impacting the energy available to the car. Compounding the challenge is a major rules shake-up. “We’re now allowed to use six square meters of solar panels—up from four,” says Merijn. “But that doesn’t mean we can just scale everything up. A bigger solar array introduces aerodynamic and structural complications, and all of this with two months fewer development time.” To make matters more interesting, the allowable battery capacity has been slashed to one-third of previous years. That makes smart energy management not just useful, but essential. “We can’t just rely on speed,” Lucas says. “Strategy becomes everything. From wind and weather to incline and sunlight patterns, the winning team will be the one that adapts fastest.” All photos courtesy of Protolabs and Brunel. To build a car this innovative on such a tight timeline, reliable manufacturing support is critical. “We’re always looking for partners who share our values around sustainable innovation,” Merijn says. “With Protolabs, the enthusiasm and willingness to collaborate stood out from the start. Their speed and precision made them a natural fit.” Protolabs supplied key CNC-machined components including the brake pedal bracket—crucial for safety—and the front suspension damper brackets. “These are high-load, safety-critical parts that must be lightweight but durable,” explains Lucas. “We used aerospace-grade aluminum and relied on finite element analysis (FEA) to validate designs before manufacture.” Thanks to tight coordination, complex, high-tolerance parts were delivered and mounted on the car in time for early testing. Once complete, the team focused on less time-sensitive parts, which included spares. Additional components were later 3D printed via Protolabs Network, at longer, more cost-effective lead times, adding valuable flexibility to the manufacturing process. By partnering with Protolabs, the team could accelerate the manufacturing process when the pace demanded it, and cruise when efficiency was in the pole position. Engineering a Safer Solar Future While the car is designed for maximum efficiency and lightness, safety remains paramount. “We’ve got an impact-resistant occupant cell, a balance-bar braking system, and new this year—a roll bar similar to Formula One’s Halo structure,” says Merijn. “The entire system is built to comply with strict safety checks during scrutineering in Australia.” Even with the lightweight design, the car remains incredibly stable. “The aerodynamic drag increases massively as you go faster, so our cruise speed is around 90 km/h. It’s all about efficiency—not max speed,” says Lucas. In fact, the team’s 2005 car still holds the solar racing speed record, clocking an average of 131 km/h over 3,000 km. The race itself takes place on public roads, with speed limits and real-world weather to contend with. “You only have one shot,” says Merijn. “Anything can go wrong—weather, mechanical, even wildlife. We heard stories of teams waking up with snakes in their tents.” More Than a Race While solar racing isn’t (yet) the future of commercial transportation, it has a vital role to play. “We don’t expect everyone to drive a solar-powered car tomorrow,” Lucas admits. “But solar as a range-extending technology? Absolutely. Some manufacturers are already exploring that.” View: NUNA 12S 3D Experience Ultimately, the race is a showcase—a proof of what’s possible. “If 18 students can build a car that crosses a continent using nothing but sunlight, what’s stopping the rest of the world from embracing renewable energy?” Merijn asks. Beyond the engineering challenge, both Merijn and Lucas agree that the experience has shaped them personally. “The biggest lesson is how to be part of a high-performing team,” says Lucas. “You learn how to work under pressure, communicate effectively, and put trust in each other.” The team is even coached by a former Olympic champion from the Dutch national hockey team—underscoring the importance they place on performance culture as much as technical expertise. For more information: Protolabs Brunel Solar Team Previous Facebook LinkedIn Copy link Next

Fluid power components help the wicked witch levitate at the end of Act 1. Wicked Technology Defies Gravity on Broadway Fluid power components help the wicked witch levitate at the end of Act 1. Stage Events Jul 22, 2025 Cool Stuff Although Wicked recently came to the big screen, the Broadway edition of Wicked is still playing at the Gershwin Theatre—since 2003—and is currently the fourth-longest running Broadway show. The play focuses on the friendship between Elphaba and Glinda. At the climax of Act 1, a hydraulics system installed and maintained by Atlantic Hydraulic Systems provides the power and control to raise the witch 20 feet above the stage as she sings “Defying Gravity.” The company built their hydraulic system for the play around two Parker pressure compensated 8 GPM hydraulic gear piston pumps with a maximum flow of 7.9 gallons per minute and at 2600 psi pressures. These pumps are specially designed to use mineral oil, fire-resistant fluids. For additional control, the platform that the witch is raised on also incorporates two 15 horsepower, totally enclosed fan-cooled TEFC electric motors. These motors typically operate from a 230/460V three-phase power source, and typically operate from around 1800 rpm to 3600 rpm. The Wicked Hydraulic Levitator, which raises the actress into the air, does not contain an on-board hydraulic power unit. Instead, a remote hydraulic power unit charges up accumulators on the levitator prior to being detached. Proportional valves and redundant circuitry are employed to assure the actress’ safety throughout the show. For more information: Atlantic Hydraulic Systems 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

Creativity and innovation thrive when the engineer is having fun. Editor's Note: Start With What's Cool Creativity and innovation thrive when the engineer is having fun. Terry Persun Editor's Note Sep 30, 2025 We here at Entertainment Engineering believe in the concept of technology transfer where you, our reader, transfers the creative solution from one industry—in our case entertainment—to another industry with minimal tweaking. In many ways, the entertainment industry is the one that is pushing the technological envelop the furthest. Stage presentations must use real-world solutions to provide fantastical experiences. Movies are being made with increasing software expertise and development paired with live presentations to bring the viewer as close to the action as possible. Thrill rides are pushing the boundaries by including audio/visuals along with speed and height. Industrial components are finding their way into everything from sports equipment to Broadway stages to outer space. Creativity and innovation thrive when the engineer is having fun. Our ethos is to start with something cool and then go into the technologies that make it that way. Entertainment Engineering builds on technologies that are being implemented in new ways, pushing outside of standard boundaries, and upping the amplitude on the cool factor. We aim to deliver you to the companies who have the knowledge to implement these new solutions so that you can learn from them and transfer their solutions into relevant applications in your own industry. We firmly believe that creativity and innovation thrive when the engineer is having fun. We hope our content fosters that sense of joy, excitement, and out-of-the-box thinking. Thank you for indulging me while I gush over our purpose in doing this work. Your engagement matters to us. We want you to get information on the technologies you use every day while enjoying the ride. Let us know how we’re doing. And let us know what more we can do for you. Terry Persun Co-Founder of EE Previous Facebook LinkedIn Copy link Next