Robots of the entertainment industry are given life by character animation, where the goal is to emotionally connect with the audience to tell a story. In comparison, real-world robot movement design focus more on managing physical limitations like sensor accuracy and power management. Tools for robot control are thus more likely to resemble engineering control consoles and not artistic character animation tools. When the goal is to build expressive physical robots, we’ll need tools like ROBiTS project to bridge the two worlds.
As an exhibitor at Maker Faire Bay Area 2019, this group showed off their first demo: a plugin to Autodesk Maya that translate joint movements into digital pulses controlling standard RC servos. Maya can import the same STL files fed to 3D printers, easily creating a digital representation of a robot. Animators skilled in Maya can then use all the tools they are familiar with, working in full context of a robot’s structure in the digital world. This will be a far more productive workflow for animation artists versus manipulating a long flat list of unintuitive slider controls or writing code by hand.
Of course, a virtual world offers some freedoms that are not available in the physical world. Real parts are not allowed to intersect, for one, and then there are other pesky physical limitations like momentum and center of gravity. Forgetting to account for them results in a robot that falls over! One of the follow-up projects on their to-do list is a bridge in the other direction: bringing physical world sensor like an IMU into digital representations in Maya.
Light painting is the process of moving a light while taking a long-exposure photograph, which creates a sort of drawing from the path of the light source. It’s been done in one way or another since at least the early-to-mid 1900s, but modern hardware and methods have allowed for all kinds of new spins on this old idea. [Josh Sheldon] demonstrates just how true this is with the light painting he did for a gum ad, showing what’s possible with a single multicolor LED under CNC control combined with stop-motion animation techniques. The rest of the magic comes from the software. [Josh] designs the animations in Blender, and the paths are then exported and used as the instructions for his self-made Light Painting Machine. The machine therefore recreates the original animation with lights and camera and not a single computer-generated graphic.
For those of you who would like to know more, there are plenty of details on [Josh]’s Light Painting Machine on GitHub along with a more in-depth description of the workflow and software, so check it out.
So, a little hard to choose a topic, but we asked Simon to talk a bit about his recent Enigma watches. He has managed to put an electronic emulation of the Enigma cypher machine from World War II into both a wristwatch and, more recently, a pocket watch. They’re both gorgeous builds that required a raft of skills to complete. We’ll start there and see where the conversation takes us!
Please join us for this Hack Chat, where we’ll discuss:
Where the fascination with Enigma came from;
Tools, techniques, and shop setup;
Melding multiple, disparate skill sets; and
What sorts of new projects might we see soon?
You are, of course, encouraged to add your own questions to the discussion. You can do that by leaving a comment on the All Things Enigma Hack Chat and we’ll put that in the queue for the Hack Chat discussion.
Click that speech bubble to the right, and you’ll be taken directly to the Hack Chat group on Hackaday.io. You don’t have to wait until Wednesday; join whenever you want and you can see what the community is talking about.
From the banks of levers and steam gauges of 1927’s Metropolis to the multicolored jewels that the crew would knowingly tap on in the original Star Trek, the entertainment industry has always struggled with producing imagery of advanced technology. Whether constrained by budget or imagination, portrayals usually go in one of two directions: they either rely too heavily on contemporary technology, or else they go so far in the opposite direction that it borders on comical.
But it doesn’t always have to be that way. In fact, when technology is shown properly in film it often serves as inspiration for engineers. The portrayal of facial recognition and gesture control in Minority Report was so well done that it’s still referenced today, nearly 20 years after the film’s release. For all its faults, Star Trek is responsible for a number of “life imitating art” creations; such as early mobile phones bearing an unmistakable resemblance to the flip communicators issued to Starfleet personnel.
So when I saw the exceptional use of 3D printing in the Netflix reboot of Lost in Space, I felt it was something that needed to be pointed out. From the way the crew made use of printed parts to the printer’s control interface, everything felt very real. It took existing technology and pushed it forward in a way that was impressive while still being believable. It was the kind of portrayal of technology that modern tech-savvy audiences deserve.
It left such an impression that we decided to reach out to Seth Molson, the artist behind the user interfaces from Lost in Space, and try to gain a little insight from somebody who is fighting the good fight for technology in media. To learn how he creates his interfaces, the pitfalls he navigates, and how the expectations of the viewer have changed now that we all have a touch screen supercomputer in our pocket.
When we were in school, every description of how transistors work was pretty dry and had a lot of math involved. We suppose you might have had a great instructor who was able to explain things more intuitively, but that was luck of the draw and statistically unlikely. These days, there are so many great videos on the Internet that explain things that even if you know the subject matter, it is fun to watch and see some of the great animations. For example [Sabin] has this beautifully animated explanation of how MOSFETs work that you can see below.
It uses the same basic graphics and style as his earlier video on bipolar transistors (second video, below) which is a great one to watch, too. In all fairness to your electronics teacher, the kind of graphics in these videos would have cost a fortune to do back in the 20th century — just watch some of the videos we talk about in some of our historical posts.
3D printers have long since made it easy for anyone to make 3-dimensional zoetropes but did you know you can take advantage of a 4th dimension by stretching time? Previously the duration of a zoetrope animation would be however long it took for the platform to rotate once. To make it more interesting to watch for longer, you filled out the scene by creating concentric rings of animations. [Kevin Holmes], [Charlie Round-Turner], and [Johnathan Scoon] have instead come up with a way to make their animations last for multiple rotations, longer than three in one example. If you’re not at all familiar with these 3D zoetropes, you might want to check out this simpler version first.
Their project name is 4-Mation but they call the time-stretching technique, animation multiplexing. One way to implement it is to use one long spiral beginning in the center and ending on the platform’s periphery. It’s the spiral path which make the animation last longer.
In their Fish eating Fish animation, the spiral is of a small fish which exits a clam at the center and gets progressively larger as it spirals outward until it swallows another fish located in a ring at the periphery. Of course when you look at it with a properly timed strobe light, there is no spiral. Instead, it appears as though a bunch of fish move more-or-less radially out from the center. The second video embedded below walks through the animation step-by-step, making it easier to follow the intricacies of what’s going on.
Other features include built-in strobe lighting and both manual and phone app control. This project is a product for a kickstarter campaign and so normally, details of the electronics would be absent. But clearly [Kevin] is familiar with Hackaday and sent in some additional info which you can find below, along with the videos.
Light painting: there’s something that never gets old about waving lights around in a long exposure photo. Whilst most light paintings are single shots, some artists painstakingly create frame-by-frame animations. This is pretty hard to do when moving a light around by hand: it’s mostly guesswork, as it’s difficult to see the results of your efforts until after the photo has been taken. But what if you could make the patterns really precise? What if you could model them in 3D?
[Josh Sheldon] has done just that, by creating a process which allows animations formed in Blender to be traced out in 3D as light paintings. An animation is created in Blender then each frame is automatically exported and traced out by an RGB LED on a 3D gantry. This project is the culmination of a lot of software, electronic and mechanical work, all coming together under tight tolerances, and [Josh]’s skill really shines.
The first step was to export the animations out of Blender. Thanks to its open source nature, Python Blender add-ons were written to create light paths and convert them into an efficient sequence that could be executed by the hardware. To accommodate smooth sliding camera movements during the animation, a motion controller add-on was also written.
The gantry which carried the main LED was hand-made. We’d have been tempted to buy a 3D printer and hack it for this purpose, but [Josh] did a fantastic job on the mechanical build, gaining a solidly constructed gantry with a large range. The driver electronics were also slickly executed, with custom rack-mount units created to integrate with the DragonFrame controller used for the animation.