By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. To browse Academia. Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Download Free PDF. Design of Animatronics Effector. A short summary of this paper.
Download Download PDF. Translate PDF. Journal of Automation and Control, , Vol. In addressing multiple element tentacles It is key to the design of mechanical gripper, gripper which defines agility as well as the type of grasping and handling options. The aim is to create a robotic arm. Approximation of kinematic human hand was our top priority in developing this animatronic hand.
Each side of the joint range of motion is again the same or very close to that of a human hand. Edison invented an infant-sized doll, with a tiny, built-in phonograph, to effect speech. The face was rigid and fixed. It had a hard shell head and an abstractly human ragdoll body—like most baby dolls then and since. It was a mechanically-driven speaking doll.
Sadly, the little records wore out after only 4 or 5 plays, so the toy flopped. Many dollmakers have since sought ways to animate their dolls. Perhaps the best and most relevant example of this In the prior art is U. It also used a phonograph to playback speech. The ingenious design also actuated the eyes and lips to move crudely according to the phonograph pickup. But no blinking, no jaw movement. It was not electronic—a string had to be pulled each time by the user, this drove all the internal gears and clockworks to play the phonograph and move the eyes and lips.
But this was the extent of the animation and the realism. Examples of similar animated baby dolls include U. Each had a one or two of the defining features required by an android robot. With the rapid advancement of electronics through the 20 th century, and their miniaturization, the field of robotics accelerated its advancement. Walt Disney's theme parks erected early animatronic displays. The first attempt at high realism was made, and a high degree of artistic effort was invested.
Animatronic figures which were quite convincing, from a distance. Though still relatively immobile, confined in their movement to a small area, they did appear to speak, emote, sing, dance, and interact with each other.
With this approach to animatronics, one or more puppets was hooked-up to an external, immobile hydraulic, pneumatic, or electrical drive system. Individual puppets did not have an internal, self-contained drive system, and were not free to be carried or moved while in operation. In most cases, they were not true robots—in that they were not self-directed in their behavior. A human operator had to either set up a control program ahead of time, to execute a series of behaviors, or else cue the puppet in real-time, by remote control.
It is important to make a technical distinction between puppets and robots. A puppet's actions are decided ahead of time, or on-the-fly by a human operator. In contrast, a robot makes its own behavioral decisions using a built-in logic.
Some relevant animatronics patents include U. Hollywood film studios also contributed to the advancement—especially from the aesthetic end. But also in developing cheaper, lighter, and lower-power approaches. Special effects departments developed aesthetically-convincing puppets, using molding and casting techniques, glass eyes, and wigs.
They mounted elastic skins over mechanical armatures. Again, these were not autonomous robots, but human-operated puppets. With regard to true autonomous robots, some prior art patents outline designs which encompass one or a few of the defining characteristics of a true robotic android. However, this robot consists of a naked framework with only a rough bipedal shape. It was a clunky metallic armature, with no contiguous, anthropomorphic containing shell or skin.
This robot had no fingers, no hands. It had no mouth, no pivotable jaw, and no facial features. The head was not shaped anatomically, it was just a sphere. Not intended as an anatomical model. It was not claimed to be capable of operation under water.
More relevant is U. This was an electronic device to animate a cast rubber face: opening and closing the mouth, moving the jaw, rounding or stretching the mouth, and drawing the lower lip inward relative to the upper lip in time with an audio signal. Pre-recorded audio could be fed into the device. It used analog circuits to detect specific waveforms corresponding to vowel sounds in the audio signal analog parsing , and actuated the appropriate mouth and lip movements that a human being would make in speaking those sounds.
With playback of the audio, the face appears to speak. Though limited in scope to just the mouth, this was an early attempt at mimicking facial expressions. It did not encompass blinking or eye movement. It was limited in scope to only a face.
The design included no body. It was an analog signal-processor, not a robot executing behavioral software. Ultimately s human made the decision ahead of time as to which words would be spoken.
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