Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2016-11-25T17:05:53Z No. of bitstreams: 2 Tese - Flávio Gomes de Oliveira - 2016.pdf: 9731436 bytes, checksum: eed88b1e37dae3d5c5ee11eebff687d9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2016-11-28T17:32:37Z (GMT) No. of bitstreams: 2 Tese - Flávio Gomes de Oliveira - 2016.pdf: 9731436 bytes, checksum: eed88b1e37dae3d5c5ee11eebff687d9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-11-28T17:32:37Z (GMT). No. of bitstreams: 2 Tese - Flávio Gomes de Oliveira - 2016.pdf: 9731436 bytes, checksum: eed88b1e37dae3d5c5ee11eebff687d9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-11-01 / This work consists of a research on the use of puppets in many audiovisual productions, and also at analyzing the various types of puppets that are made for this type of application. After this analysis, map production system of this type of character by means of an inventory of the main characteristics that involve the proABSTRACT duction, use and animation of this type of character. Finally, propose the production of a short film made with various puppets that exemplifies the data obtained during the bibliographical research, this step presents the production processes of each type of puppet and the animation process thereof. / Este trabalho consiste em uma pesquisa sobre o uso de bonecos em produções audiovisuais diversas, bem como, analisar, os diversos tipos de bonecos que são produzidos para este tipo de aplica- ção. Após esta análise, mapear o sistema de produção deste tipo de personagem por meio de um levantamento das principais características que envolvem a proRESUMO dução, uso e animação de personagens deste tipo. Por fim, propor a produção de um curta metragem feito com bonecos diversos que exemplifique os dados obtidos durante a pesquisa bibliográfica, nesta etapa, são apresentados os processos de produção de cada tipo de boneco bem como o processo de animação dos mesmos.

The focus of this project was to construct a humanoid animatronic head that had sufficient degrees of freedom to mimic human facial expression as well as human head movement and could be animated using face-tracking software to eliminate the amount of time spent on trial-and-error programming intrinsic in animatronics. As such, eight degrees of freedom were assigned to the robot: five in the face and three in the neck. From these degrees of freedom, the mechanics of the animatronic head were designed such that the neck and facial features could move with the same range and speed of a human being. Once the head was realized, various face-tracking software were utilized to analyze a pre-recorded video of a human actor and map the actors eye motion, eyebrow motion, mouth motion, and neck motion to the corresponding degrees of freedom on the robot. The corresponding values from the face-tracking software were then converted into required servomotor angles using MATLAB, which were then fed into Visual Show Automation to create a performance script that controls the motion and audio of the animatronic head during its performance.

Det här examensarbetet genomfördes på ett företag som tillverkar dekor till nöjesindustrin ex. nöjesparker och eventbyråer. I dagsläget tillverkar företaget stillastående dekor, men har en vision att i framtiden bygga in olika sorters rörelser. Frågan de ställer sig är hur? Uppdraget var att nysta i frågan och resultatet är ett introduktionsförslag på hur företaget kan påbörja sitt arbete samt 9 designprinciper för utformning av underhållningsprodukter. Förarbetet innebar en litteraturstudie, benchmarking, intervjuer med andra företag inom underhållningsbranschen samt en analys av uppdragsgivaren och dess förutsättningar. Litteraturstudien visade framförallt hur socialt betingat underhållning är och vikten av att ta hela interaktionen i akt. Ofta skapas en historia runt produkten som steg för steg försöker väcka känslor hos användaren. Högst prioriterade värdeord hos de företag som intervjuades var ”nytt”, ”wow-effekt” och ”den kreativa visionen”. Vanligast återkommande arbetsstrategier var ”förstå användaren”, ”ständigt utvecklas”, ”prototypa” och ”blanda olika tekniker”. Analysen av uppdragsgivaren visade att de anställda hade svårt att ta sig över kunskapströsklar. Detta bottnade framförallt i en paralyserande uppfattning av okunskap och en rädsla för att göra fel. Arbetet fokuserades på att hjälpa detta behov. Introduktionsförslaget, ”kunskapslabbet”, är en arbetsyta där användaren snabbt kan bygga fysiska prototyper. Arbetsytan fungerar som en interaktiv lärobok, de prototyper som byggs sparas och används som utbildande material vid nästa användningstillfälle. Detta blir en cirkulerande inlärningsprocess som innebär att arbetsytan automatiskt expanderar i takt med att företagets kollektiva kunskapsnivå höjs. Konceptet fick framförallt positiv respons för att arbetsytan upplevdes lättillgänglig och inspirerande medan negativ kritik berörde hur dokumentering av ny kunskap skulle uppehållas under en längre tid. / This batchelor’s project was carried out at a company that manufactures decor for the entertainment industry, e.g. amusement parks and event agencies. Currently, the company manufactures stationary decor, but has a vision to integrate different kinds of movement in the designs. The question they ask themselves is how? The objective was to explore this issue and the result is an ”introductory proposal” on how the company can begin its work together with 9 design principles for the design of entertainment products. The preparatory work involved a literature study, benchmarking, interviews with other companies in the entertainment industry as well as an analysis of the client and its conditions. The literature study emphasized how socially conditioned entertainment is and the importance of taking the whole interaction into account. Often a story is created around the product that  step by step tries to evoke emotions in the user. The highest-priority value words of the companies interviewed were ”new”, ”wow effect” and ”the creative vision”. The work strategies most frequently mentioned were ”understand the user”, ”constant development”, ”prototype” and ”mix different technologies”. The analysis of the client showed that the employees had difficulty getting over knowledge thresholds. This was primarily rooted in a paralyzing perception of unfamiliarity and a fear of making mistakes. The project was focused on helping this need. The introductory proposal, the ”knowledge lab”, is a workspace where the user can quickly build physical prototypes. It functions as an interactive textbook, the prototypes that are built are saved and used as material of knowledge the next time they are used. This becomes a circular learning process which means that the workspace automatically expands as the company’s collective knowledge level increases. The concept primarily received positive response connected to that it was perceived as easily accessible and inspiring, while negative criticism was concerned about how the documentation of new knowledge would be retained for a longer period of time.

This thesis investigates the development of an animatronic robot with the objective of showing how modern animatronic models created as special effects have roots in models created during the scientific and mechanical revolution of the 17th and 18th centuries. It is noted that animatronic models that are available today have not been described in any great detail and most are covered by industrial secrecy. This project utilises technologies developed during the latter part of the 20th century and into the beginning of the 21st century to create the design of the animatronic robot. The objective of the project is to bring effective designs for animatronic robots into the public domain. The project will investigate a large variety of different mechanisms and apply them to various functioning parts of the model, with the design and method of each of these functions discussed. From this, one main part of the project, the jaw, will receive the focus of construction. Once the construction is complete this will be evaluated against what improvements and changes could be made for future iterations, with a revised design produced based on what has been learned.

Army first responders, specifically Combat Medics and Combat Lifesavers, provide medical intervention while in the field. Didactic as well as hands-on training helps to prepare these first responders, and one module they receive involves bleeding control. First responders are taught to use the Combat Application Tourniquet® (CAT® ) to stop bleeding from limbs subjected to severe injury such as amputation, gunshot, or severe lacerations. A training aid like the Multiple Amputee Trauma Trainer™ (MATT™) simulator provides tourniquet training using a lifelike bilateral lower limb amputee. In addition, MATT™ combines movement and resistance while the first responder applies the tourniquet, mimicking conditions one would see in a real situation. This research describes tourniquet history, appropriate usage, field tourniquet review, surgical tourniquet, CAT® bleeding intervention procedures, bleeding physiology and complications, prehospital tourniquet use in recent conflicts, medical simulation fidelity, and a review of the value of animatronic movement during tourniquet simulation-based training. I then evaluate the effectiveness of animatronic movement during tourniquet training using the Advanced MATT in an experiment using Army first responders. The control group experienced no movement while the experimental group experienced movement when applying a tourniquet during the lab-training. Each group then alternately experienced Advanced MATT movement during an immersive scenario along with fog, strobe lights, and battle sounds. It was hypothesized that 1) In the immersive scenario, the experimental groups (i.e., those who were trained on a moving simulator) would have a faster reaction time as compared to those participants who did not receive training on the moving Advanced MATT simulator; 2) In the iv lab-based training, the experimental groups would have a slower reaction time; 3) In the immersive scenario, the experimental groups would have a faster tourniquet application time when subjected to movement while in the lab-based training, but the experimental groups would also have a slower tourniquet application time when initially subjected to movement in the laboratory-based training; finally, 4, 5, and 6) Participants who completed lab-based tourniquet training on the Advanced MATT simulation with animatronic movement would report higher perceived realism scores than participants who complete the training on a static version of the Advanced MATT and participants who completed a tourniquet training immersive scenario on the Advanced MATT simulation with movement would report higher perceived realism, presence, and self-efficacy scores than participants who complete the training on a static version of the Advanced MATT. The empirical results show a significant overall training effect of the Advanced MATT simulator (with or without movement). For reaction time and tourniquet application time, involving simulator movement was significant over varying scenarios. A small reduction in reaction and tourniquet application time on the battlefield may be extremely beneficial on the battlefield. Participants who received movement generally gave more positive reactions than those who did not received movement, although these results failed to reach statistical significance. Participants who received movement, followed by a scenario without movement rated the subjective ratings the lowest, suggestive of the lack of movement. Furthermore, despite the order movement was received, no large drops in performance occurred in any condition, indicating that negative training was avoided

This thesis investigates the development of an animatronic robot with the objective of showing how modern animatronic models created as special effects have roots in models created during the scientific and mechanical revolution of the 17th and 18th centuries. It is noted that animatronic models that are available today have not been described in any great detail and most are covered by industrial secrecy. This project utilises technologies developed during the latter part of the 20th century and into the beginning of the 21st century to create the design of the animatronic robot. The objective of the project is to bring effective designs for animatronic robots into the public domain. The project will investigate a large variety of different mechanisms and apply them to various functioning parts of the model, with the design and method of each of these functions discussed. From this, one main part of the project, the jaw, will receive the focus of construction. Once the construction is complete this will be evaluated against what improvements and changes could be made for future iterations, with a revised design produced based on what has been learned.