This is potentially very critical. Consider the environment of a theme park, where a show is repeated every few minutes, twelve hours a day, perhaps 350 days a year, for ten to twenty years. Yes, shows can be shut down for maintenance or repair, but this leads to disappointed guests. Reliability It’s an impossible ideal to create an animatronic show that never needs maintenance, but minimum down time certainly helps with guest satisfaction. There are two places to focus: the initial design itself, and the maintainability of the device. The attraction wants to appear to be operating at the edge: large, frequent movements at relatively high speeds. The designs 83 must be such that this appearance is provided, but with ample design margins so that failures are non-existent, or at best very rare.
Beyond that, potential failure modes must be understood and accounted for (probably using FMEA), and the easiest possible maintainability designed in to prevent, or, if need be, to repair any failures. Another consideration is operator satisfaction. Reliability If an animatronic attraction is operating on the edge of failure, operators might be motivated to lower the chance of failure by toning down the animation—having it go a bit slower than the designed speed, or reducing some range of motion. While this might make their lives easier, it can disappoint guests who have come with the expectation of operation at the designed limits. Proven reliability can convince the operators to let the attraction operate as designed, since it will not tax them unduly.
Where the animated figures are not designed to go through repeated cycles of motion, as in movies where each scene or shot may require different sequences of motion, control consoles may work best. For complex animation, especially in a theme park application where the show must go on repetitively for a long time, a digital system gives ultimate reliability. Special-purpose digital controllers can be designed and built Programmable Logic Controllers control software. Depending upon your application, budget, and complexity of animation, you might pick any of these today. The frames of movement were recorded on reel-to-reel magnetic audio tapes. When played back, the tapes generated audio signals that triggered the mechanisms that caused the figure to move—synchronized with the recorded dialogue, music, and special effects.