people, the Rockettes Christmas Spectacular is all about the leggy dancers.
Daniel Sandoval has a much different take on the show.
A senior systems design engineer with Festo's Customer Solutions group,
Sandoval designed the motion control system for the show's largest moving set
element: a full-scale bus that carries 35 Rockettes plus one very lucky
point during the development process, the choreographer was rehearsing the
Rockettes and there I was geeking out on my laptop, oblivious to the dancers,"
Sandoval's priorities if you will, but it's a good thing he takes his job
seriously. The control system gives the
30-ft bus all its stage directions. It has to keep nearby performers safe
while positioning the bus within a quarter inch on the stage and closely
syncing a series of linear and rotational movements to the show's video
Designed and fabricated by Beyond Imagination Inc., a firm
specializing in scenery for Broadway shows and other entertainment
applications, the bus actually comes in two versions. One of them is a
fully autonomous DC version designed last year for use in Radio City Music
other is a new tethered AC version for use in the Rockettes' 2008 traveling
show. Festo Customer Solutions, the mechatronics consulting arm of Festo USA,
served as the controls system integrator.
offer design lessons that will strike a chord with engineers who build industrial
machines that will no doubt run way off Broadway. "The
motion control challenges we encountered are ones that pop up in industrial
applications too," says Sandoval. These challenges boil down to finding accurate, reliable and
safe ways to position high-inertia loads.
differences in their drive technology, the two buses play an identical role in
the show. They carry the dancers across the stage and then make a series of
rotational and linear moves in sync with video scenes that play in the
background. According to Donald Wright, owner of Beyond Imagination, "The idea
is to create the impression that the Rockettes are on a bus tour through
devised a system of motor-driven friction wheels that move the bus around the
stage. Mounted on carriages that deploy from the bus' sled-like chassis, the
soft rubber friction wheels make just enough contact with the stage to move the
bus along. One set of wheels propels the bus forward and backward. Another set,
mounted in a different orientation, handles rotational moves during which the
bus pivots on a large center bearing. "It's something like a tank turret
bearing," Wright says. The drive train uses air bags to deploy the friction
wheels, while pneumatic cylinders actuate the bearing, pushing it down against
the surface of the stage.
control systems coordinate all the movements, as well as auxiliary tasks such
as opening and closing the bus doors and spinning a set of cosmetic wheels that
reinforce the illusion that the bus is moving within the video scenery.
To sync the bus movements with what's going on in the show, both
bus control systems take their cues from a Medialon show control computer that Sandoval describes as "an alarm
clock on steroids." The show computer reads a SMPTE
time code that serves as a
the timeline for all the show's audio and visual elements and allows them to be
synchronized within a thirtieth of a second. "The Medialon pushes a cue to a
supervisory PLC," Sandoval explains. "Another set of PLCs then execute a fairly
simple motion profile." In all, the bus control systems use four Festo PLCs – two FEC-660 mini units and two
CPX-FEC modular units – to handle the motion and auxiliary tasks.
Sandoval interfaced the show
control computer and the PLCs using Festo's OPC server.
their reliance on a shared time code and show computer, the drive and control
systems for the two busses differ substantially. Each had its own engineering
challenges, but "the first bus was in many ways more innovative," says
Because Radio City Music Hall is a historic building, no holes
could be cut in its stage for a bus guidance system or for an electrical
tether. "We had to make the bus completely self-contained," says Sandoval. "And
that meant using a lot of big batteries and motors to drive the bus." It also
meant putting all of the control electronics, an HMI console, an air compressor
for the pneumatics and a hydraulic steering system on board. Sandoval also
created a wireless communications link from the bus to the show controller,
using a system that Control Chief originally developed for switch-yard locomotives.
The bus' motors lineup consists of six 5-hp golf cart
motors. Series wound traction motors of this type usually run in open-loop mode
and have contactor that reverse the polarity the field windings to change the
motor's direction. Four motors, two fore and two aft, handle the linear propulsion movements while
two additional motors take care of the rotational moves.
Three banks of batteries provide the 48-volt juice for the motors. Two
of banks handle the motion, while the third acts as an auxiliary power unit,
running a set of inverters and powering the spinning wheels and other
This arrangement created a couple of design headaches for
Sandoval. One was related to achieving the desired positioning accuracy. The
14,000-pound bus, with its high inertial loads, has to hit linear positioning
targets down to 1/4 inch and and rotational positions to a 1/10 degree. At
first, Sandoval tried to control the golf cart motors with simple open-loop
commands, which is how they run out on the links. This control scheme, however,
couldn't compensate in the difference in loads between an empty and full
So Sandoval went back the drawing board and redesigned the
controls. His second system added a tachometer to the golf cart motors and implemented
PID control of both velocity and position with the position feedback coming
from a set of quadrature encoders mounted on idler wheels beneath the chassis.
"We took an ugly golf car motor and made it act like a crude but effective
servo," he says.
As part of the move to closed loop control, Sandoval also tweaked
the bus' trapezoidal motion profile a bit to account for the fact that his
makeshift servo won't hold position the way a true servo system will. For the
bus to hit its marks on stage, Sandoval's control algorithms incorporate a calculated
"coasting" period as well as the acceleration,
target velocity and deceleration periods that make up a traditional trapezoidal
big engineering challenge relates to the distributing analog power command to
the motor drives. In this system, motors sets that need to work together are
powered by separate, galvanically isolated 48-volt battery packs located at
opposite ends of the bus. Yet they all have share a single current loop from
the PLC. "Maintaining the analog signal integrity in this environment was a
huge problem," Sandoval says, adding that series wound motors have "gigantic
current" requirements and grounding issues that made matters worse.
He found a simple, inexpensive solution to the problem in the
form of two DC selectable signal conditioners with 3-way isolation. Available
for $119 from Automation Direct, the signal conditioners take in a 0 to 20
milliamp signal from the PLC and output identical 0-5 volt power commands for
PWM control of two independently powered motor drives with isolated grounds."It's a nifty little box that
solved all our isolation problems," Sandoval says.
As for the second bus, its drive design was in many ways more
straightforward. It plays a role in the traveling show whose stage design permits
an electrical tether. The drive system for this bus works as a position servo. Its friction wheels are direct-driven by SEW-Eurodrive AC induction gearmotors
configured for voltage flux control. "I was extremely impressed by
their rock-solid velocity regulation," Sandoval says.
In all, there are four of these drives working in master-slave configuration – a
pair of 7.5 hp models for linear propulsion and a pair of 5-hp motors for
Encoders on their own idler wheel assemblies provide true position
feedback even if the drives happen to slip a bit.
Sandoval controls the motion with what he describes as a "fairly simple
trapezoidal profile" to which he has added a coasting period. The PLC
calculates that profile. It then outputs the appropriate instantaneous velocity
for the drives, which close their own velocity loops with the help of a
resolver on each motor.
difference is that the AC bus closes the velocity in the drive while the DC bus
closes velocity in the PLC," Sandoval says.
Moving the bus was only one part of Sandoval's control design
mission. Given the proximity of the performers to the moving bus, the project also had a strong
safety focus. Sandoval had his work cut out for him here too. "I've found that
theater people know a lot about the traditional hazards found on a stage, but
they don't necessarily have a thorough understanding of the safety implications
of modern automation systems," he says.
Fortunately, Festo Customer Solutions deals with those safety
implications in industrial settings day in and day out. And both buses have
E-stop provisions along the lines of what you would find in a factory. On the
AC-bus, for example, E-stops that quickly cut the power to the drives are located
on the bus itself and off-stage at an operator station. Its safety system
further features wireless communication provisions that kick in only if the bus
loses communications via its tether. And all its pneumatically-actuated devices
are on springs, so they return to their safe position in the event of power
system does, however, make concessions to stagecraft. Both buses have doors
that open automatically, but a stagehand masquerading as a driver has to close
the bus doors manually. The stagehand also has access to a manual override via
a joystick on each bus' onboard console. Finally, the system employs a classic
"dead mans' switch," a pedal that the stagehand has to depress whenever the bus
is in motion.
To get the
bus up and running quickly after any loss of power-for safety or any other
reason-Sandoval also added an uninterruptible power supply to the AC bus. "It
keeps the CPUs in the PLCs and drives from going to sleep, saving us 30 seconds
or more in reboot time," he says.
30 seconds may not sound like a lot of time, it really can be a show stopper.
"That's entertainment," Sandoval says. "The show really does have to go on."