Presented by –
Y.Naga Harika
S.Mounika Lakshmi

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Abstract
Animetronics is a use of the Electronics & Robotics in the Mechanised pappets to make them alive. Animatronics are mainly used in the movie making, but also in the theme parks and in the other forms of the entertainment.
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. 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.)
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.
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."
What is animatronics?
Animatronics is the technology employing electronics to animate motorized puppets. An animatronic figure is often used in movies to create grand special effects. Examples of these figures include the giant dinosaurs of Jurassic Park, the title character from ET, and the personable robots from Star Wars. The advantage 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.
DEPARTMENTS INVOLVED IN ANIMATRONICS
EARLY DEVELOPMENT
As the definition implies, animatronics is the combination of the ancient art of puppetry with modern electronic technology. Examples of elementary puppets have been found in early Greek, Hindu, and Egyptian cultures. The first puppets were marionettes. Later, the rod puppet was developed in Bengal.
With the American Industrial Revolution of the nineteenth century, came simple automata novelties for wealthy children. However, the form of puppets used in theatres had not changed significantly since their original invention.
The first use of modern animatronics were invented by Imagineer Lee Adams for the Enchanted Tiki Room at Walt Disneys Disneyland. Here, birds were created to look as though they were singing. A tape was made of the singing and when it played it shook a metal rod which completed an electronic circuit which moved the birds mouth. These early animatronics were all digital systems (with only and on movement and an off movement). To improve the attraction for the Worlds Fair, analog systems were created which, for example, allowed the narrators head to move from side to side, varying its position throughout the show. Walt Disney trademarked the term audio-animatronics as the name of this new technology and invested much of his time and capitol into further advances.
These advances include the creation of the Lincoln head exhibited in the 1964 Worlds Fair. This head took about a year to build and could imitate blinking, winking, eyebrow movement, and most importantly, talking. The talking was achieved by attaching solenoids, wire coils which pushed forward rods. When current was running, the rods pushed open his mouth.
Animatronics made by Disney are now controlled by an animation control console, which still programs movement one electronic frame at a time.
After the pivotal creation of Disneys early animatronics, animatronics began being used more frequently in movies as well as in theme parks. During the creation of Star Wars, Yoda was one of the first animatronic figures made with technology that closely imitated skeletons.
FUTURE OF ANIMATRONICS:
It can be speculated that animatronics will not be a large player in the future of cinematic special effects and theme parks. Because of the growing ease and versatility of computer graphics, animatronics are being used less and less to render life-like fantasy creatures in movies. It is much less expensive to create a digital version of imaginary monsters, then to build them in a life-like size. The other main use for animatronics, themeparks, has also seen a decline in the need for mechanized puppets. Newer theme parks are built around attractions such as roller-coasters and the importance of visual stimulation such as animatronic figures has been downplayed in favor of the thrill of an adrenaline rush. Furthermore, the initial wow-factor which applied to animatronics when the Enchanted Tiki Room has worn off because of an audience used to seeing many the technological marvels on television and through the Internet. Nevertheless, animatronics have played a large role in the theatre for a long time and that is unlikely to change unless theatre as a whole becomes less important with the easy accessibility of movies and television.
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: Model 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. Fiberglass 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.
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.”
AN EXAMPLE: MAKING OF ANIMATRONIC SPINOSAURUS USED IN JURASSIC PARK
• Put it on paper.
• Build a maquette (miniature model).
• Build a full-size sculpture.
• Create a mold (from the sculpture) and cast the body.
• Build the animatronic components.
• Put it all together.
• Test it and work out any bugs.
In the Beginning
The first two steps in creating an animatronic figure are the sketches and the miniature model.
The first thing that happens with any animatronic figure is that an artist creates preliminary sketches of the creature. The Spinosaurus sketches were developed by working closely with expert paleontologist Jack Horner and the crew working on "Jurassic Park III." The sketches are analyzed and changes are suggested. Eventually, the artist creates a detailed illustration of the creature. In the case of Spinosaurus, SWS went from preliminary sketch to final design in about three weeks.
An artist sketches the Spinosaurus