A

Technical Seminar Report on

ANIMATRONICS

in partial fulfillment of the requirements for

the award of the degree of

BACHELOR OF TECHNOLOGY
in
Electronics and Communication Engineering
2015-2019

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 CERTIFICATE

This is to certify that the project report titled Animatronics being submitted by B.Himaja
bearing hall ticket numbers 15R11A04C5 in partial fulfillment for the award of the Degree of
Bachelor of Technology in Electronics and Communication Engineering is a record of bona-
fide work carried out under my guidance and supervision. The results embodied in this report
have not been submitted to any other University for the award of any degree.

ACKNOWLEDGEMENT

We, the Students of ECE department of Geethanjali College of Engineering and Technology,
would like to convey heartfelt thanks to Dr. S. Udaya Kumar, Principal of the college for the
wonderful guidance and encouragement given to us to move ahead in the execution of this
project.

We are highly grateful to the great personality in the field of Electronics, none other than
B.Hari kumar, Professor and Head of the Department of Electronics and Communication
Engineering of GCET for guiding and taking care of our career in this field. We are ever
thankful to the Professor.

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Lastly, we would like to thank our coordinator Mr.O.V.P.R Shivakumar, for giving us this
opportunity to present the technical seminar.

Above all, we are very much thankful to the management of Geethanjali College of
Engineering & Technology which was established by the high profile intellectuals for the cause
of Technical Education in modern era. We wish that GCET sooner should become a deemed
university and produce uncountable young engineers and present them to the modern technical
world.

With Regards
B.HIMAJA
(15R11A04C5)

CONTENTS
Abstract

List of Figures

Chapter 1: Introduction

1.1 When it is first used ?

1.2 Evolution of Animatronics

Chapter 2: What is Animatronics ?

Chapter 3: Block Diagram

3. 1 Components required

3.1.1 Flex sensors

3.1.2 AT mega 16

3.1.3 HT12E and HT12D

3.1.4 8051 Micro controller

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 3.2 Parts required

Chapter4: Formation of Animatronics

4.1 Formation steps

4.2 Physical Overview

4.3 Building your own animatronics

Chapter 5: Applications

5.1 Advantages

5.2 Disadvantages

Conclusion

References

ABSTRACT

Objective :
Animatronics refers to the use of cable-pulled devices or motors to emulate a human or an
animal, or bring lifelike characteristics to an otherwise inanimate object. Animatronics were first
introduced by Disney in 1962 for the film Mary Poppins (released in 1964) which featured an
animatronic bird. This was controlled fully by bicycle cables. Modern animatronics tend to use
robotics and have found widespread applications in movie special effects and theme parks and
have, since their inception, been primarily used as a spectacle of amusement. A robot designed
to be a convincing imitation of a human is more specifically labeled as an android.

Animatronics is a multi-disciplinary field which integrates anatomy, robots, mechatronics, and

puppetry resulting in lifelike animation. Animatronic figures are often powered by pneumatics,
hydraulics, and/or by electrical means, and can be implemented using both computer control
and human control, including tele operation. Motion actuators are often used to imitate muscle

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movements and create realistic motions in limbs. Figures are covered with body shells and
flexible skins made of hard and soft plastic materials and finished with details like colours, hair
and feathers and other components to make the figure more lifelike.

Conclusion: Creating a good animatronic figure that is able to perform constantly without fail
requires many special skills and lots of technical knowledge. Before assuming the task of
creating an animatronic figure, you should have a strong hold on how these things are
constructed and be willing to spend a pretty penny on equipment and materials.

Animtronics has now developed as a career which may require combined talent in
Mechanical Engineering , Sculpting / Casting , Control Technologies , Electrical / Electronics .

LIST OF FIGURES page no.

Fig 1 ……….....Block Diagram.…………………………. 5

Fig 2…………...Flex Sensor…………………………….. 6

Fig 3 …………...Pin Diagram of Atmega……..…………. 7

Fig 4………..... Pin Diagram of HT12E &HT12D…..........8

Fig 5 …………. Mini Servo Motor.……………...………. 9

Fig 6………....... Pin diagram of 8051……………...…...... 10

Fig 7 …………. Mechanical parts…….………………….. 12

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Fig 8………… Motion Control Electronics…………........ 12

Fig 9……….... Design Process …………….……………. 13

Fig 10……….... Sculpting………………………………… 14

Fig 11…………. Mold making…………………………… 14

Fig12………….. Armature Fabrication ………………….. 15

Fig 13………… Costuming ………………………………... 15

Fig 14……….... Animatronic kit…………………………...... 16

Fig 15……….... Animatronic Creature…………………….. 18

Chapter1 : INTRODUCTION
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 onn or off. Tones were recorded onto taper, 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 value to operate, which resulted in the action, like the opening of bird’s beak. Each
action (Eg: Opening the bird’s mouth) had a neutral position, otherwise known as the”neutral
resting position”. When there was no pulse of energy forthcoming, the action would be in, or
return to, the natural resting position.

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 This digital/toned- reed system used pneumatic values exclusively that is, everything was
operated by air pressure. Audio-Animatronic’s movements that were operated with this system
had two limitations.

1.The movement had to be simple-on or off.(Eg: The open and close beak of a Tiki bird of an
eye, as compared to the many different positions of raising and lowering an arm.)

2. The movements couldn’t require much force or power (Eg: 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 pneumatic system couldn’t 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.")

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 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 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.

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.

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.

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Chapter 2: What is Animatronics?

ANIMATION + ELECTRONICS = ANIMATRONICS

Animatronics is a combination of animation and electronics. Animatronic

is a mechanized puppet. It may be pre-programmed or remotely controlled. The animatronic
may only perform a limited range of movements or it may be incredibly versatile.

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 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. 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. 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

 It is 43.5 feet long -- almost as long as a bus -- and weighs 24,000 pounds.
 It is powered entirely by hydraulics, even down to the blinking of the eyes. This is
because the creature was made to work above and below water.
 There are 42 hydraulic cylinders .
 The creature moves on a track that is 140 feet long and made from a pair of 12-inch
steel I-beams.
 All pivots use roller-bearing construction.
 All large steel pieces were cut using water jets.

Chapter 3: BLOCK DIAGRAM

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 Fig1 Block diagram

In the block diagram we have flex sensors whose resistance varies with flexing .Flex sensor is
connected as a voltage divider circuit and output is connected to a buffer. Voltage variation can
be calculated by Vout. Output of a buffer is given to analog pins of ATmega 16 board. Inside the
controller analog data is converted to digital based on 2 output values . 4Bit data is sent to Input
ports. 4Bit output is given to HT12E encoder and it transmits data.

At receiver, received signal is decoded and given to 8051 controller. The animatronics arm
imitates according to voltage values of flex sensors. Pulse width of servo motor is changed
according to received data.

At transmission we have HT12E with 4 push buttons and 433MHz transmitter. Buttons for
forward, backward, left and right.

At receiver, RF section RF receiver will receive the transmitted data and HT12D decodes received
data and sends 4 data bits to motor driver L293D.

3.1 COMPONENTS USED

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  Flex Sensors
 Op amps
 ATMEGA 16
 8051 Micro controller
 DC motors
 Servo motors
 Motor shield L293D
 HT12D and HT12E

3.1.1 FLEX SENSORS

This flex sensor is a variable resistor like no other. The resistance of the flex sensor increases as
the body of the component bends. Sensors like these were used in the Nintendo Power Glove.
They can also be used as door sensors, robot whisker sensors, or a primary component in
creating sentient stuffed animals. Flex sensors are available in two sizes: one 2.2" (5.588cm)
long and another coming in at 4.5" (11.43cm) long.

Left flat, these sensors will look like a 30kΩ resistor. As it bends, the resistance between the two
terminals will increase to as much as 70kΩ at a 90° angle.

Fig 2 . Flex sensor

By combining the flex sensor with a static resistor to create a voltage divider you can produce a
variable voltage that can be read by a microcontroller's analog-to-digital converter. Flex sensor is
connected as voltage divider circuit and output will be given to a buffer. Voltage variations can
be calculated. Output of the buffer is given to analog pins of Atmega-16.

3.1.2 ATMEGA-16

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 ATmega16 is an 8-bit high performance microcontroller of Atmel’s Mega AVR family with low
power consumption. Atmega16 is based on enhanced RISC (Reduced Instruction Set Computing,
Know more about RISC and CISC Architecture) architecture with 131 powerful instructions. Most
of the instructions execute in one machine cycle. Atmega16 can work on a maximum frequency
of 16MHz.

ATmega16 has 16 KB programmable flash memory, static RAM of 1 KB and EEPROM of 512
Bytes. The endurance cycle of flash memory and EEPROM is 10,000 and 100,000 respectively.
ATmega16 is a 40 pin microcontroller. There are 32 I/O (input/output) lines which are divided
into four 8-bit ports designated as PORTA, PORTB, PORTC and PORTD. ATmega 16 has various
in-built peripherals like USRAT, ADC, Analog SPI,JTAG etc. Each I/O pin has an alternative task
related to in-built peripherals. The following table shows the pin description of ATmega16.

Fig 3: Pin diagram

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3.1.3 HT12E and HT12D
The HT12E Encoder ICs are series of CMOS LSIs for Remote Control system applications. They are
capable of Encoding 12 bit of information which consists of 8 address bits and 4 data bits. Each
address and data input is externally programmable or fed in using switches.

The HT12D Decoder ICs are series of CMOS LSIs for Remote Control system applications. These
ICs are paired with each other. For proper operation a pair of encoder/decoder with the same
number of address and data format should be selected (HT12E is paired with HT12D). The
Decoder receive the serial address and data, transmitted by a carrier using an RF transmission
medium and gives output to the output pins after processing the data.

Fig 4: Pin diagram

Servo Motors : Servomotor is a rotary actuator or linear actuator that allows for precise
control of angular or linear position, velocity and acceleration.[1] It consists of a suitable motor
coupled to a sensor for position feedback. It also requires a relatively sophisticated controller,
often a dedicated module designed specifically for use with servomotors. Servomotors are not a
specific class of motor although the term servomotor is often used to refer to a motor suitable
for use in a closed-loop control systems.

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Servomotors are used in applications such as robotics, CNC machinery or automated
manufacturing.

Fig 5: Servo motor

3.1.4 8051 MICRO CONTROLLER

8051 microcontroller is designed by Intel in 1981. It is an 8-bit microcontroller. It is built with 40
pins DIP (dual inline package), 4kb of ROM storage and 128 bytes of RAM storage, 2 16-bit
timers. It consists of are four parallel 8-bit ports, which are programmable as well as addressable
as per the requirement. An on-chip crystal oscillator is integrated in the micro controller having
frequency 12MHz.

The system bus consists of an 8-bit data bus, a 16-bit address bus and bus control signals. All
other devices like program memory, ports, data memory, serial interface, interrupt control,
timers, and the CPU are all interfaced together through the system bus.

Features of 8051 :
 16 bit timers (usually 2, but may have more, or less).
 3 internal and 2 external interrupts.
 Bit as well as byte addressable RAM area of 16 bytes.
 Four 8-bit ports, (short models have two 8-bit ports).
 16-bit program counter and data pointer.
 1 Microsecond instruction cycle with 12 MHz Crystal.

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 Fig 6 : Pin diagram

3.2 PARTS REQURIED

The Outer Shell

The outer shell is what the audience sees. The appearance of the figure helps give it realism and
adds to its overall character. Materials for the figure's outer shell may include:

 Hair
 Eyes (glass, plastic, or LED)
 Skin (foam latex or silicon-based)
 Clothing
 Accessories (eye glasses, hats, props, etc.)
 Fabric (for puppet-type animatronics)
 Metal (for robot-type animatronics)

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 In order to make skin for an animatronic figure much more supplies are needed. A figure's head,
neck, hands or any other part that needs to be flexible, must first be designed and created. In
order to pour the skin needed from foam latex or silicon-based material, a sculpture or life-cast
must first be made. This requires either clay or alginate. Generally, to make a mold of the
sculpture or casting, plaster of Paris, burlap, and additional clay are needed. The skin material
can then be poured into the mold, using a mold release. Each material has a different procedure
for making the final flexible skin, such as foam latex is quite a bit different. There are some good
reference videos to show you how to make animatronic skin. Manufacturers of the skin products
typically also provide basic instructions on how to use each product.

Structure

This is the support framework of the animatronic figure. It includes the framing that supports
the outer shell and mechanics of a figure. the structure is generally built out of composites,
plastic, other metals, or wood. You will generally need the following tools to construct the
structure of the figure:

 Bench vise
 Drill (good) or drill press (better)
 Drill bits
 Hack saw
 Small bolts and nuts
 Various screwdrivers and pliers

Sound Components

Audio is needed for a good animatronic figure. In order to program sound with
movement specialty electronics are needed. Manufacturers such as Gilder fluke, Blue
Point Engineering, and Alcorn McBride made audio repeaters that are specifically
designed for animatronics.

Mechanical

The mechanics components of the figure provide motion and life to a character. There are
different components that are useful in animatronics to provide motion. Analog or digital
pneumatic systems, servo motors, linear actuators, DC motors, air bladders, cables, gears or
cams, and stepper motors are all used to create movement of a figure. When a pneumatic
system is used an air compressor, an air filter, air supply lines, T-connectors, poppet values,
needle valves, and adjustable pressure valves are needed to control a cylinder. Mechanical parts

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must be designed reliably. Moving parts and connections that can wear out must be placed so
they are accessible in the future for replacement.

Fig 7: Mechanical parts

Motion Control Electronics

Animatronics control is typically performed by using electronics with embedded

microcontrollers. Companies like Gilder fluke, Parallax, Brookshire Software, See Tronics, and
more make motion control cards that are designed for animatronic figures. In most cases an
electronic control board is used to control timing of the figure and send out data for movement
and sound.

Fig 8 : Motion control electronics

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Chapter 4: FORMATION OF ANIMATRONIC
4.1.1 Steps of formation:

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.

Fig 9: Design process

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.

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 Fig 10 : Sculpting process

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. 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.

Fig 11: Mold making

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

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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.

Fig 12: Armature fabrication

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.

Fig 13: Costuming

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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 “life.”

4.2 Build your own animatronics

Everything you need is included in the easy-to-use kit. Connect the cable to your PC's serial
port, install the software and you are ready to start.

N o s o l d e r i n g o r programming skills required. If you can use Windows you can use
this Animatronics Kit . The software allows you to record the movements of hobby servos (up
to two billion moves) and play them back exactly as recorded. Make your creation come
to life!

Fig 14: Animatronic kit

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Kit includes:
Servo controller circuit board
Two Hitech HS-300 hobby servors
Mini SSC panelv1.2 software
Battery pack
Two servo horn assembly packs
Illustrated Instruction manual
System requirements:
486 or high processor(Pentium recommended)
8megabytes of RAM (32 recommended)
3.5’’ 1.44 MB floppy
Windows 3.x, 95, 98 or NT
Available serial port
20Megabytes of hard device space

Mini SSC panel v1.2 software:

It is a window based computer program that allows ypu to explore the exciting world of
animatronics with ease. With this program, you can control the movements of standard hobby
servos attached to just about any creation you can imagine. Create robot figures that move on
your command or puppets that seem to come alive. The possibilities are endless.

What is Mini SSC Panel? :

The Mini SSC Panel is a graphical user interface allowing ypu to easily control standard hobby
servos attached to serial servo controller (SSC) circuit board. This interface provides setup,
movement control and movement recording/playback features.

Chapter 5: APPLICATIONS

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  Used in military applications
 Used in entertainment area
 Used in creating special effects in movies
 Used in Disneyland

ADVANTAGES:

 Use to make very large and complex life animals.

 Use to train soldiers for danger operations.
 It can use to test new equipment and their behavior.
 Gives the real life experience

DISADVANTAGES :

 It’s very costly process

 A lot of skilled person are required
 Very complex process
 It takes a lot of time to build it.

Fig 15: Animatronic creature

CONCLUSION :

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Creating a good animatronic figure that is able to perform constantly without fail requires many
special skills and lots of technical knowledge. Before assuming the task of creating an
animatronic figure, you should have a strong hold on how these things are constructed and be
willing to spend a pretty penny on equipment and materials.

Animtronics has now developed as a career which may require combined talent in
Mechanical Engineering , Sculpting / Casting , Control Technologies , Electrical / Electronics .

REFERENCES:

1. www.howstuffworks.com
2. www.animatronics.org
3. http://www.mister-computer.com
4. http://www.lifeformations.com

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