14-07-2012, 09:44 AM
ANIMATRONICS
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WHAT IS ANIMATRONICS?
Animatronics is a combination of animation and electronics. What exactly is an animatronic? Basically, an animatronic is a mechanized puppet. It may be preprogrammed or remotely controlled. The animatronic may only perform a limited range of movements or it may be incredibly versatile. Later animatronics was used together with digital effects. Through the precision, ingenuity and dedication of their creators, animatronic creatures often seem as real to us as their flesh-and-blood counterparts.
An animatronic figure is often used in movies to create grand special
effects. Examples of these figures include the scare created by the Great White
coming out of the water in "Jaws" and the tender otherworldliness of "E.T." are
cinematic effects that will not be easily forgotten. The advantages of animatronics
has over digital effects in some movies is more realistic close-up shots. Another
use of animatronics in the entertainment industry is in theme parks. Rides such
as Its a Small World, Pirates of the Carribean, and Country Bear Jamboree at
Disneyland all include animatronics to transport the visitor into a new, lifelike,
fantasy world.
Animatronics are a specific type of robot. They defer from common robots such as robots used in search and rescue operations, in space, and in deep water because animatronic figures are not designed to be intelligent. Instead, they have been created mainly to entertain. Unlike many modern robots who respond to external stimuli, animatronics imitate the movements of intelligent characters with pre-programmed motions, words, and songs.
EARLY DEVELOPMENT OF ANIMATRONICS
The first use of Audio-Animatronics was for Walt Disney's Enchanted
Tiki Room in Disneyland, which opened in June, 1963. The Tiki birds were
operated using digital controls; that is, something that is either on or off. Tones
were recorded onto tape, which on playback would cause a metal reed to
vibrate. The vibrating reed would close a circuit and thus operate a relay. The
relay sent a pulse of energy (electricity) to the figure's mechanism which would
cause a pneumatic valve to operate, which resulted in the action, like the
opening of a bird's beak. Each action (e.g., opening of the mouth) had a
neutral position, otherwise known as the "natural resting position" (e.g., in the
case of the Tiki bird it would be for the mouth to be closed). When there was
no pulse of energy forthcoming, the action would be in, or return to, the natural
resting position.
This digital/tone-reed system used pneumatic valves exclusively--that
is, everything was operated by air pressure. Audio-Animatronics' movements
that were operated with this system had two limitations. First, the movement
had to be simple--on or off. (e.g., The open and shut beak of a Tiki bird or the
blink of an eye, as compared to the many different positions of raising and
lowering an arm.) Second, the movements couldn't require much force or
power. (e.g., The energy needed to open a Tiki Bird's beak could easily be
obtained by using air pressure, but in the case of lifting an arm, the pneumatic
system didn't provide enough power to accomplish the lift.) Walt and WED
knew that this this pneumatic system could not sufficiently handle the more
complicated shows of the World's Fair. A new system was devised.
In addition to the digital programming of the Tiki show, the Fair shows required
analog programming. This new "analog system" involved the use of voltage
regulation. The tone would be on constantly throughout the show, and the voltage would be varied to create the movement of the figure. This "varied voltage" signal was sent to what was referred to as the "black box." The black boxes had the electronic equipment that would receive the signal and then activate the pneumatic and hydraulic valves that moved the performing figures. The use of hydraulics allowed for a substantial increase in power, which was needed for the more unwieldy and demanding movements. (Hydraulics were used exclusively with the analog system, and pneumatics were used only with the tone-reed/digital system.)
There were two basic ways of programming a figure. The first used
two different methods of controlling the voltage regulation. One was a joystick-
like device called a transducer, and the other device was a potentiometer (an
instrument for measuring an unknown voltage or potential difference by
comparison to a standard voltage--like the volume control knob on a radio or
television receiver). If this method was used, when a figure was ready to be
programmed, each individual action--one at a time-- would be refined,
rehearsed, and then recorded. For instance, the programmer, through the use
of the potentiometer or transducer, would repeatedly rehearse the gesture of
lifting the arm, until it was ready for a "take." This would not include finger
movement or any other movements, it was simply the lifting of an arm. The
take would then be recorded by laying down audible sound impulses (tones)
onto a piece of 35 mm magnetic film stock. The action could then instantly be
played back to see if it would work, or if it had to be redone. (The machines
used for recording and playback were the 35 mm magnetic units used primarily
in the dubbing process for motion pictures. Many additional units that were
capable of just playback were also required for this process. Because of their
limited function these playback units were called "dummies.")
Eventually, there would be a number of actions for each figure,
resulting in an equal number of reels of 35 mm magnetic film (e.g., ten actions
would equal ten reels). All individual actions were then rerecorded onto a
single reel--up to ten actions, each activated by a different tone, could be
combined onto a single reel. For each action/reel, one dummy was required to
play it back. Thus for ten actions, ten playback machines and one recording
machine were required to combine the moves onto a new reel of 35 mm
magnetic film.
"Sync marks" (synchronization points) were placed at the front end of each
individual action reel and all of the dummies were interlocked. This way, during
the rerecording, all of the actions would start at the proper time. As soon as it
was finished, the new reel could be played back and the combined actions
could be studied. Wathel, and often times Marc Davis (who did a lot of the
programming and animation design for the Carousel show) would watch the
figure go through the motions of the newly recorded multiple actions. If it was
decided that the actions didn't work together, or something needed to be
changed, the process was started over; either by rerecording the individual
action, or by combining the multiple actions again. If the latter needed to be
done, say the "arm lift action" came in too early, it would be accomplished by
unlocking the dummy that had the "arm-lift reel" on it. The film would then be
hand cranked, forward or back, a certain number of frames, which changed the
start time of the arm lift in relation to the other actions. The dummies would be
interlocked, and the actions, complete with new timing on the arm lift, would be
recorded once again.
With this dummy system, the dialogue and music could also be
interlocked and synched-up with the actions. Then the audio could be listened
to as the figure went through the actions. This was extremely helpful in getting
the gestures and actions to match the dialogue.
The other method used for programming a figure was the control harness. It was hooked up so that it would control the voltage regulation relative to the movements of the harness. Wathel tells horror stories of sitting in the harness for hours upon end, trying to keep every movement in his body to a minimum, except for the several movements they wanted for the figure. This method had the advantage of being able to do several actions at once, but obviously due to the complexities, a great deal of rehearsal was required.
There was also a harness for the mouth movements. Ken O'Brien, who was responsible for programming most of the mouth movements, used a transducer at first for the mouth programming. Later they designed a harness for his head that controlled the movement of the jaw," remembered Gordon Williams, recording engineer on the AA figures for the Fair. "It was easier for him to coordinate the movement, because he could watch the movement at the same time that he was doing it."
FORMATION OF ANIMATRONICS
Step 1: Design Process
During the design process, the client and the company developing the animatronics decide what the character will be,its appearance total number of moves, quality of moves, and what each specific move will be. Budgets ,time lines and check points are established. Many years have been spent to ensure that this critical step is as simple as possible. Once this critically important stage is solidified and a time line is agreed upon, the project moves to the sculpting department.
Step 2: Sculpting
The sculpting department is responsible for converting two-
dimensional ideas into three-dimensional forms. This team can work from
photos, artwork, videos, models, statuettes and similar likenesses. Typically, the client is asked to approve the sculpting before it goes to the molding department.
Step 3: Mold making
The molding department takes the form created by the sculptor and
creates the molds that will ultimately produce the character skins. Molds can
be soft or hard, single or multiple pieces, and reusable or non-reusable. To get
the sculptor’s exact interpretation, mold making is both an art form and an elaborate technical process. The process can be very time-consuming and complicated. It can be so unnerving that some animation mold makers even refer to it as “black magic.”
After the mold is finished and cured, it is ready for skin making. Fiber glass shells are simultaneously being laid up to form the body and limb shapes. Some of these shapes are reusable stock pieces, but the majority of shells are custom made for each character.
Step 4: Armature Fabrication
Meanwhile, various body armatures are being created and are
assembled in the welding metal-fabricating areas. Each of the robot’s
movements axis points must have an industrial-rated bearing to provide action
and long life. Each individual part requires a custom design and fabrication.
These artisans are combining both art and technology to achieve realistic,
lifelike moves.
As the armature takes shape, the actuators, valves, flow controls and hoses are installed by the animation department. The technicians select those components carefully in order to ensure the durability and long life. As it’s assembled, each robotic move is individually tested and adjusted to get that perfect movement.
Step 5: Costuming
The costume, if there is one, is usually tailored to the character and its
movements. Animation tailoring can be a very difficult tedious process considering the variables. The outfit has to allow for easy acces to the character’s operating mechanisms. It must also “look” normal after movement has taken place. The costume must be designed to provide hundreds of thousands of operations without wearing out and without causing the skin areas(i.e. around the necks or wrists) to breakdown as well.
Step 6: Programming
Finally, if it is an animated character the electronic wizard move in to connect the control system into valve assembly in the preparation for programming. Programming is the final step, and for some animations it is the most rewarding. Programming can be done either at the manufacturing facility or at the final installation site. In programming, all the individual moves are coordinated into complex animated actions and nuances that bring the character to “life.”