Time traveling in the DeLorean is accomplished in three steps. In the first, he traveler turns on the “time circuits” using a rocking switch in the central console. Its use is detailed in the original Back to the Future, as below.
In the second, the traveler sets the target month, day, year, hour, and minute using a telephone keypad mounted vertically on the dashboard to the left, and pressing a button below stoplight-colored LEDs on the left, and then with an extra white status indicator below that before some kind of commit button at the bottom.
In the third, you get the DeLorean up to 88 miles per hour and flood the flux capacitor with 1.21 gigawatts of power.
To restore the power that Nedry foolishly shut down (and thereby regain a technological advantage over the dinosaurs), Dr. Sattler must head into the utility bunker that routes power to different parts of the park. Once she is there Hammond, back in the Visitors Center, communicates to her via two-way radio that operating it is a two part process: Manually providing a charge to the main panel, and then closing each of the breakers.
The Main Panel
To restore a charge to the main panel, she manually cranks a paddle (like a kinetic-powered watch, radio, or flashlight), then firmly pushes a green button labeled “Push to Close”. We hear a heavy click inside the panel as the switch flips something, and then the lights on the Breaker Panel list light up green.
Now that she has built up a charge in the circuit, she has to turn on each of the breakers one by one. Continue reading →
The velociraptor pen is a concrete pit, topped with high-powered electric fences. There are two ways into the pen: a hole at the top of the pen for feeding, and a large armored door at ground level for moving ‘raptors in and out. This armored door has the first interface seen in the film, the velociraptor lock.
Velociraptors are brought from breeding grounds within the park to a secure facility in a large, heavily armored crate. Large, colored-light indicators beside the door indicate whether the armored cages are properly aligned with the door. The light itself goes from red when the cage is being moved, to yellow when the cage is properly aligned and getting close to the door, to green when the cage is properly aligned and snug against the concrete walls of the velociraptor pen. There is also a loud ‘clang’ as the light turns to green. It isn’t clear if this is an audio indicator from the pen itself, the cage hitting the concrete wall, or locks slamming into place; but if that audio cue wasn’t there, you’d want something like it since the price for getting that wrong is quite high.
The complete interface consists of four parts (kind of, read on): The lights, the door, the lock, and the safety. More on each below. Continue reading →
With a ghost ensconced in a trap, the next step in ghostbusting is to transfer the trap to a containment unit. Let’s look at the interaction.
The containment unit is a large device built into a wall of the old firehouse that serves as the Ghostbusters headquarters. It’s painted a fire-truck red and has two colored bulbs above it. As they approach, the green bulb is lit. It’s got a number of buttons, levers, and cables extending into it. Fortunately for purposes of discussion, Stantz has to explain it to their new employee Winston Zeddmore, and I can just quote him.
“This is where we store all the vapors, entities, and slimers that we trap. Very simple, really. Loaded trap here. Unlock the system…” He grabs the red door lever and cranks it counterclockwise 90 degrees and lowers the door to reveal a slot for the trap.
“Insert the trap,” he continues, and a sucking sound is heard and the green lightbulb goes off and the red lightbulb turns on.
Then Stanz pulls the trap out of the slot and is able to, as he explains, “Release. Close. Lock the system.” (Which he does with the lever handle.)
Next, he presses the buttons on the front of the device, starting with the top red one and continuing with the second below yellow, explaining, “Set your entry grid. Neutronize your field…” Then he grabs the red lever on the right-hand size and pushes it down. In response, the lowest push button lights up green, the red bulb above turns off, and the green bulb illuminates once again.
Stantz concludes, “When the light is green, the trap is clean. The ghost is incarcerated here in our custom-made storage facility.”
The interaction here is all based on the unkonwn ghostbusting technology, but it certainly feels very 1.0, very made-by-engineers, which is completely appropriate to the film. There’s also that nice rhyming mnemonic to remember the meaning of the colored bulbs, which helps Zeddmore immediately remember it. And course with the red paint and thick plates, it feels really secure and conveys a sense of pith and importance. Still, if they had a designer consulting, that designer would most likely tell them talk about a few aspects of the workflow.
First, why, if there’s no breakpoint between the entry grid and the field neutronizer, can’t those two be consolidated into a single button? A gridtronizer? While we’re on the buttons, why is that third one looks like a button but acts just like a light? If it’s not meant to be pressed, let’s make it an indicator light, like we see on the trap.
Similarly, why do they have to press that last lever and wait for the green light? I get that a variety of controls feels better to convey a complicated technology that’s been hacked together, and that would be appropriate for a user to understand as well, but it seems error-prone and unnecessary. Better would be another pushbutton that would stay depressed until the unit was doing whatever it was doing behind the scenes, and then release when it was done. It could even be consolidated with the gridtronizer.
But while we’re including automation in the process, why would the ghostbuster have to press anything at all? If the unit can detect when a ghost has been sucked in (which it does) then why can’t it do all the other steps automatically? I know, it would be less juicy for the audience’s sense of ghostbusting technological complexity, but for the “real world,” such things should be fully assistive:
Insert trap (which gets locked in place)
Watch the machine’s lights indicating its four steps
Remove unlocked trap.
You might think for efficiency to have the trap removed immediately, but you really want the Ghostbuster’s attention on the system in case something goes wrong. Similar to the way ATMs/bancomats hold on to your card through a transaction.
Lastly, there should be some sense of what’s contained. In this scene there’s just Slimer in there, but as business picks up, it gets so jammed full that when EPA representative Peck recklessly shuts it down, it…you know…explodes with ghosts. Would a sense of the contents have helped provide him with a sense of the contents, and therefore the danger? A counter, a gauge, a window into the space, a “virtual window” of closed-circuit television showing inside the unit*, or a playback showing helmet-cam video of the ghosts as they’re being captured—would all help to convey that, Mr. Peck, you do not want to eff with this machine.
*IMDB trivia for the movie says this was originally included in the script but was too depressing to visualize so it was cut. But hey, if it’s depressing, maybe that would help its users consider the ethics of the situation. (Once again, thank you, @cracked, and RIP.)