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  1. 1. Emerging Hybrid and Electric Vehicles and Their Impact on Energy and Emissions<br />P. T. Krein<br />Director, Grainger Center for Electric Machinery and Electromechanics<br />Department of Electrical and Computer Engineering<br />University of Illinois at Urbana-Champaign, USA<br />
  2. 2. Overview<br />Early electric cars and advantages<br />Energy and power issues<br />The modern hybrid<br />Energy and environment motives for hybrids and electrics<br />Near-term; myths and trends<br />
  3. 3. Early Electric Cars<br />Electric vehicles are clean and easy to use.<br />Low maintenance, available infrastructure.<br />Electric motors were easy to control.<br />Motors havehigh power-to-weight ratio.<br />1914 DetroitElectric car.<br />Limited range.<br />Source: I. Pitel.<br />
  4. 4.<br />Early Hybrid Cars<br />The advantages of electric drives are substantial, but range is a challenge.<br />Hybrids can deliver energy for long intervals.<br />Retain the reliabilityand ease-of-useadvantages ofelectric cars.<br />The 1900 Porschehybrid.<br />
  5. 5. Gasoline Car Culture<br />The Ford Model T in 1909 made cars affordable. Original list price: US$290.<br />Gasoline was a waste product of oil refining.<br />Low-cost mass production, low fuel costs, and performance limits helped fuel-driven cars overtake electric cars by 1920.<br />Reliability has been improvingcontinuously for fuel vehicles.<br />There was little change inelectric car technology untilthe 1960s.<br /><br />
  6. 6. Revival<br />Revival of hybridcars about 1970.<br />New electronicsattempted in the1980s (GM Sunraycer).<br />Mature power electronics since early 1990s.<br />NiMH batteries maturedenough in the late 90s.<br />Li-ion almost there now.<br /><br /><br />
  7. 7. Revival<br />
  8. 8. Hybrid Designs Continue<br />The advantages of hybrids (no mechanical drive train) have long dominated for the heaviest vehicles.<br />At the largest sizes – ships andlocomotives – thediesel-electrichybrid has beenimportant sincethe 1920s.<br />
  9. 9. Energy and Power Needs<br />Electric motors have high power density and good control.<br />A car needs to store energy for range.<br />Alternatives:<br />Capacitors or inductors<br />Flywheels or springs<br />Compressed air tanks<br />Batteries<br />Liquid fuel<br />Figures of merit:<br />Useful storage per unit mass<br />Useful energy rate (power) per unit mass<br />A 90 HP electric motor based on automotive duty.<br />
  10. 10. Energy and Power Needs<br />
  11. 11. Energy and Power Needs<br />
  12. 12. Energy and Power Needs<br />
  13. 13. The Modern Hybrid<br />Series hybrid: energy “assembled” electrically.<br />
  14. 14. Source: Mechanical Engineering Magazineonline, April 2002.<br />The Modern Hybrid<br />Parallel hybrid: energy is assembled mechanically.<br />Credit: Honda<br />
  15. 15. The Modern Hybrid<br />The Toyota and Ford “dual” hybrids are parallel designs withsome series modes.<br />The Honda “mild” parallel hybrid uses a small electric machine to recover brakingenergy and allow easy engine start and stop.<br />Source: Toyota<br />
  16. 16. Hybrid Electric Cars -- Production<br />Honda Insight<br />Toyota Prius<br />Source:<br />
  17. 17. Hybrid Electric Cars -- Production<br />Honda Civic<br />Toyota Prius(2nd generation)<br />Source:<br />Source:<br />
  18. 18. Hybrid Electric Cars -- Production<br />Ford Escape<br />Lexus Hybrid SUV<br />Source:<br />Source:<br />
  19. 19. Motives for Electric Vehicles<br />Energy flexibility.<br />Energy efficiency.<br />Reduced emissions.<br />Cleaner, quieter carswithout performance changes.<br />For electric cars, the ultimate fuel source is hydro, wind, nuclear, or any electricity source.<br />Emissions are eliminated, or moved to a central plant where large-scale control is possible.<br /><br />
  20. 20. Motives for Hybrid Vehicles<br />
  21. 21. Emission Improvements<br />
  22. 22. Efficiency and Emission Improvements<br />Efficient engines not good for direct use can be installed.<br />Atkinson cycle<br />Brayton cycle (turbines)<br />The Prius achievesabout 90% reduction inexhaust emissions,with no sacrifice in performance.<br />Large improvements in hydrocarbons and carbon monoxide.<br />Possibility of zero-emission electric operation.<br />Volvo turbine hybrid prototype<br />
  23. 23. Electric Vehicle Emissions Aspects<br />“Just” moves emissions to a power plant.<br />But:<br />Opportunity for large emission control infrastructure<br />Resource flexibility<br />Higher overall system efficiency.<br />
  24. 24. Emission Improvements: Electric<br />Emission impacts depend on generation resource mix.<br />Basis from average U.S. mix given here.<br />Large-scale reductions (>90%) in<br />Hydrocarbon emissions<br />Carbon monoxide<br />Oxides of nitrogen<br />Substantial reductions in carbon dioxide.<br />Small reductions in oxides of sulfur.<br />
  25. 25. Energy Issues: Electric and Plug-In<br />
  26. 26. Energy Issues: Electric and Plug-In<br />
  27. 27. Energy Issues: Electric and Plug-In<br />
  28. 28. Night Energy Shifting<br />Typical electricity price ratio day-to-night is about 6:1.<br />Sometimes electricity is free at night.<br />There is substantial night capacity available to charge vehicle batteries.<br />
  29. 29. Power Requirements<br />
  30. 30. Power Requirements<br />
  31. 31. Energy Costs<br />Take gasoline at $2.40/gallon, and a car that achieves 30 miles/gallon.<br />Energy cost is $0.08/mile.<br />Now take electricity at $0.12/kW-h, and a car that consumes 200 W-h/mile.<br />Energy cost is $0.024/mile.<br />But, much cheaper with night charging.<br />
  32. 32. Energy Costs<br />Example: if solar electricity costs $0.30/kW-h, costs to operate a car are still well below those of hydrocarbon fuel. <br />PV Module Costs<br />Source: Evergreen Solar<br />
  33. 33. Solar Power<br />
  34. 34. Charging Requirements<br />
  35. 35. Architectures -- Series<br />Probably favored for plug-in hybrids.<br />Rating 100%<br />Rating 30%<br />Rating 10%<br />
  36. 36. Implications<br />Battery charging: equipment is small compared to car systems – integrate into vehicle.<br />Even a modest charger, 2 kW, can recharge a modest plug-in hybrid in a few hours.<br />Minimal infrastructure implications.<br />
  37. 37. Myth: Limited market<br />“No one wants to buy a second car suitable just for commuting.”<br />Fact: Most driving needs can be met with a car that has just 40 miles of range.<br />Fact: Most of my neighbors own multiple cars, with at least one used almost exclusively for commuting.<br />Source:<br />
  38. 38. Myth: Inadequate infrastructure<br />“Houses and businesses will need much more electrical infrastructure to support plug-in hybrids and electrics.”<br />Fact: The best designs use about 150 W-h/mile.A 6 h charge from a 120 V outlet is more than enough for a 40 mile battery.<br />
  39. 39. Myth: Stepping stones<br />{Hybrid, electric, fuel cell} vehicle designs are a stepping stone toward longer term {hybrid, electric, fuel cell} vehicles.<br />Fact: ALL vehicle designs are increments toward people’s aspirations for personal transportation.<br />Source:<br /><br />
  40. 40. Myth: Industry as a group is converging toward the best solutions<br />“Existing design are proven and capable, and should be emulated.”<br />Fact: Hybrids on the road have not achieved the performance levels and efficiencies ofknown electric car designs.<br /><br />© Brad Waddell. Used by permission.<br />
  41. 41. Near-Term Trends<br />
  42. 42. Near-Term Trends<br />Emissions impacts are large and will be more substantial as resources shift toward renewables.<br />Renewables and plug-in vehicles complement each other well.<br />Efficiency is very high compared to biofuels, and compares favorably with petroleum.<br />
  43. 43. The Hollywood Studio System<br />Rebel Without a Cause (1955)<br />
  44. 44. The Studio System<br />Some have compared the Hollywood studio system to a factory, and it is useful to remember that studios were out to make money first and art second. Their product output in 1937 surged to over 500 feature films. By the 1980s, this figure dropped to an average of 100 films per year. During the Golden Age, the studios were remarkably consistent and stable enterprises, due in large part to long-term management heads--the infamous "movie moguls" who ruled their kingdoms with iron fists. At MGM, Warner Bros. and Columbia, the same fabled immigrant showmen ran their studios for decades. Power, then, was definitely situated with the studio heads.<br />
  45. 45. The rise of the studio system also hinges on the treatment of stars, who were constructed and exploited to suit a studio's image and schedule. Actors and actresses were contract players bound up in seven-year contracts to a single studio, and the studio generally held all the options. Stars could be loaned out to other production companies at any time. Studios could also force bad roles on actors, and control the minutiae of stars' images with their mammoth in-house publicity departments.<br />
  46. 46. Niche studio styles<br />The biggest cache of stars (Greta Garbo, Joan Crawford and Spencer Tracey, among others) and tended to put out a lot of all-star productions, such as Grand Hotel (1932). Paramount excelled in comedy, having Mae West, W.C. Fields, the Marx Brothers, Bob Hope and Bing Crosby at their disposal. Warner Bros. developed a reputation for gritty social realism, ranging from gangster pictures, which were often based on newspaper headlines, to war pictures and Westerns. 20th Century Fox forged the musical and a great deal of prestige biographies, such as Young Mr. Lincoln (1939).<br />
  47. 47. RKO provided a haven for Orson Welles (Citizen Kane, The Magnificent Ambersons, etc.) and dance supernovas, Fred Astaire and Ginger Rogers. RKO also created King Kong (1933). Columbia's major claim was director Frank Capra, including his masterpieces It Happened One Night (1934) and Mr. Deeds Goes To Town (1936), among others<br />
  48. 48. Universal thrilled and terrified audiences with the original Frankenstein (1931), Dracula (1931) and The Wolf Man (1941). United Artists, formed by silent greats Charlie Chaplin, Mary Pickford, D.W. Griffith and Douglas Fairbanks, specialized in distributing productions.<br />
  49. 49. Early censorship<br />Despite the early proliferation of film production that occurred during the classical Hollywood period, studios were also challenged by growing governmental censorship efforts that aimed to limit audience-pleasing films filled with unnecessary sex and violence. The movies were born as a low form of entertainment, and early on certain groups decried the movies' capacity to lower morals. Stars' scandalous cavorting--most notably, Fatty Arbuckle's conviction for a kinky sex-related murder of a model in 1921--increasingly threatened the public's good graces towards the motion-picture industry. By 1922, it looked as if the studios faced imminent government intervention.<br />
  50. 50. Rather than risk government intervention, the studios put William Hays, former Postmaster General of the United States, at the helm of the Motion Pictures Producers and Distributors of America organization (MPPDA), in the hopes of adequately self-censoring before the government intervened. The MPPDA also assembled a Production Code in 1930, a document that outlined, in excruciating detail, what could not be shown or said in movies.<br />
  51. 51. Though this system ultimately broke down (the current rating system was adopted in 1968), the mesmerizing power of movies to both exhilarate and corrupt audiences remains a central American preoccupation. For example, Hollywood films are still criticized for the way in which they seduce underage viewers.<br />
  52. 52. The Three Elements<br />Vertical Integration:<br />Production – The Making of the Movies<br />Distribution – The network that brought the films to the public – promotion, run times<br />Exhibition – The “Big Five” owned their own theatres<br />
  53. 53. Hollywood in the Twenties<br />After the first world war and with the destruction of much structure of European cinema, Hollywood established itself as the world capital of the film industry. This was also the result of the founding of major studios and the practice of what came to be called factory film making. <br />The way films were made quickly became standardize as the studios became organized and different people were assigned specific tasks. This cut cost drastically because, instead of each film having to have its own crew of various specialists, the different departments - props and scenery, costumes and make-up, advertisement and distribution, scripting and editing - worked on several films at the same time.<br />One of the first architects of the American studio system, Mack Sennett, is also responsible for establishing slapstick comedy as one of the dominate forms of silent cinema. In 1912 Sennett founded Keystone Studios, where over the years he produced thousands of one and two-reel shorts and hundreds of features.<br />A great number of Hollywood figures began their careers at Keystone, including Buster Keaton, Fatty Arbuckle, Gloria Swanson, Carole Lombard, W. C. Fields, and Frank Capra. Sennett’s most famous protégé was Charlie Chaplin, who first developed his famous tramp character while working at Keystone.<br />Buster Keaton in Steamboat Bill Jr. (1924)<br />W. C. Fields in Pool Sharks (1915)<br />
  54. 54. By 1917 Chaplin had gained such star-power that he was offered a one-million-dollar contract with First National to produce eight films. This deals enabled him to establish his own studio, where he made all of his films from 1918 until he left the U.S. in 1952.<br />In 1919, along with D. W. Griffith, Mary Pickford, and Douglas Fairbanks, Chaplin formed United Artists which was at first solely a distribution company that allow them a way of competing with the bigger studios. With the combined financing of United Artists Chaplin was allowed total control to create a body of work that sophistically deals with the human condition and modern life.<br />His great films include The Gold Rush, City Lights, Modern Times, The Great Dictator, and Limelight.<br />In 1953, while Chaplin was on tour in Britain, He received a telegram from the U.S. State Department denying him entrance back into the U.S. unless he agreed to appear before a board of inquiry to answer charges of political and moral turpitude. Chaplin refused and later responded by making the 1957 film A King of New York, a film about a European head of state who comes to America and his ruined by malicious charges by the House Un-American Activities Committee.<br />
  55. 55.
  56. 56. The “Big Five”<br />The Studio moguls<br />The “Big Five” and “Little Three” (Universal, United Artists, Columbia) controlled 95% of the theatres in the US<br />This system begins to take root in the 1920s and takes off the in the 1930s<br />The Jazz Singer, 1927<br />
  57. 57. Metro-Goldwyn-Mayer (MGM)<br />Metro-Goldwyn-Mayer (MGM)-established in 1924 from parent company Loew’s Inc- leader in stars and glamour- Gone with the Wind and The Wizard of Oz (both 1939)- Judy Garland, Spencer Tracey<br />
  58. 58.
  59. 59.
  60. 60. Recipe for an Epic:<br /> All-star cast<br /> Over 50 speaking roles and 2400 extras<br /> Film in three-strip Technicolor<br /> Shoot and edit a final cut that runs close to four hours in length. To do this half a million feet of film was actually shot (approximately 85 hours of raw footage). <br /> Elaborate costumes: Over 5000 items designed for wardrobe <br /> Enormous sets: 90 sets built (the 'City of Atlanta' set alone having over 50 buildings). <br /> For the famous "Burning of Atlanta" scene, the crew actually burned down a bunch of old sets on the studio backlot. The fire was so intense that the local fire department got calls reporting that MGM was burning down. This single scene cost $25,000 to film.<br />The total budget for the film was over $4 million, topping all previous records. But once again Selznick’s gamble paid off. When Gone With the Wind was released in 1939 it broke all box-office records. The film continues to generate income for MGM and it is estimated to have grossed $200 million.<br />
  61. 61. The Wizard of Oz: Trouble in Paradise<br />There was a great deal of fighting between the studio heads and the people involve in the making of The Wizard of Oz. A total of four directors were involved. The first was Richard Thorpe (lasted two weeks) and then George Cukor (lasted two or three days). Victor Fleming (the credited director) was involved for four months, but was hired away by David O. Selznick to direct Gone With the Wind. King Vidor was brought in to finish the production, which took him ten days. This consisted mostly of completing the film's opening and closing sepia scenes that take place on the farm in Kansas.<br />Even with the different directors, the film is a stunning piece of art, with wonderful scenes that include flying monkeys, hundreds of dancing munchkins, the Emerald City and the famous Yellow Brick Road.<br />
  62. 62. Paramount<br />Established as Distribution company in 1914; acquired by Zukor in 1917, who merges it with his production company<br />First “vertically integrated” company<br />Marlene Dietrich, Mary Pickford, Bing Crosby<br />
  63. 63.
  64. 64.
  65. 65. Fox (later 20th Century Fox)<br />
  66. 66. The Big Five: 20th Century Fox and the Blockbuster<br />William Fox founded Fox Studios in 1914 and began building his empire by buying up chains of movie theatres. This coincided with a production strategy that emphasized big spectacle. Fox had early success with this strategy with such films as Seventh Heaven (1926) and What Price Glory (1926). Both films were box-office hits, but Fox soon found himself locked into this format, as he needed to continue to gamble with big budgets films to offset production cost and the company’s real estate holdings.<br />It was under these conditions that F. W. Murnau made his 1927 film Sunrise. The film cost more than $1.5 million to make and included one of the largest sets ever constructed in the history of film, consisting of a city boulevard with moving streetcars and village square. The sets took up a space a mile long and half a mile wide.<br />
  67. 67. William Fox continued in this manner until the stock market crash of 1929 brought about the Great Depression. In 1930 with a national decline in box-office revenue and the studio close to bankruptcy Fox was ousted from the broad of directors. Five years later the studio merged with a small independent, 20th Century Pictures, to become 20th Century Fox. Darryl Zanuck, a former producer at Warner Bros, was put in charge of studio production. One of the first things Zanuck did was to secure the contract of one of the most popular stars in Hollywood, the seven-year-old Shirley Temple.<br />It is not surprising that with the Chase National Bank as a major investor and with Shirley Temple being the studio’s primary asset, Zanuck favored “safe” films that often carried strong pro-republican sentiment.<br />A glaring exception to this policy is John Ford’s The Grapes of Wrath (1940). It is a stunning indictment of the of financial institutions that profited at the expense of poor farmers by foreclosing on mortgages and loansand forcing hundreds of dispossessed families off the their land.<br />
  68. 68. Warner Brothers<br />Established in 1924 by Harry, Jack and Albert Warner<br />1st Sound film – The Jazz Singer (1927)<br />Assembly line production<br />
  69. 69. Warner Bros is best known for its innovations in sound technology. In 1925 Warner partnered with Western Electric to develop a sound system. This involved a massive investment as the company had to reconvert all its theatres. <br />Two years later, with much fanfare, the studio released The Jazz Singer. It was herald as the first “talking picture” and was a huge international success, eventually grossing 3 million dollars. <br />The sound was recorded on discs that each had a total playing time equal to one reel of film. Because this form of synchronized sound was rather unreliable, it was soon replaced by sound recorded directly onto film.<br />The Big Five: #1. Warner Brothers<br />“You ain’t heard nothing yet”<br />
  70. 70. The genre that Warner Bros is most associated with is the gangster film. In 1939 the head of production at Warner, Darryl F. Zanuck, announced a series of films whose stories would be drawn from newspaper headlines. This was the inspiration behind both Little Caesar (1931) and The Public Enemy (1931), and the commercial success of these two films determine studio policy the rest of the decade. Gangster movies made a lot of dough.<br />
  71. 71. Warner Bros is of course is also known as the home of Bugs Bunny and the rest of the Looney Tunes characters.<br />Looney tunes began as a way to promote the vast library of musical scores that Warner had acquired. The Walt Disney Studios were the first to introduce the format of short musical cartoons with their highly successful series called “Silly Symphonies.”<br />Warner Bros quickly copied the format by hiring ex-Disney animators and by featuring a mouse character named Bosko that very much resembled Mickey Mouse.<br />Looney Tunes animators eventually distinguished themselves from Disney by developing scenarios that were more risky or “adult.”<br />
  72. 72. RKO (Radio-Keith-Orpheum)<br />
  73. 73. The Big Five: RKO and the film factory<br />RKO was formed at the beginning of the sound era. Its parent company was RCA (the Radio Corporation of America), which was headed by the tycoon John D. Rockefeller.<br />RKO was partly responsible for streamlining Hollywood film, by instituting “unit production.” This involved RKO contracting independent producers who responsible for making a specific number of films that had a specific style or storyline (e.g. all of RKO’s musicals were made by a single crew on a single sound stage). In this way, different producers were put in charge of different genres.<br />By doing such things as recycling film footage and sets, and by writing screenplays geared for the different stars contracted to RKO, the studio was able to facilitate mass production.<br />
  74. 74. Citizen Kong<br />Even with this factory approach, RKO is not really associated with a particular genre. This is partly because the studio kept changing its production policies and did not commit to any one type of film (although it did make a number of Fred Astaire musicals).<br />The studio is mostly remembered for producing two classic films: King Kong (1933) and Citizen Kane (1941).<br />It was television that killed RKO. First RCA sold off its interests in the studio to concentrate on development of film’s strongest rival, television (NBC would soon become the company’s new flagship). And then in 1953, after another tycoon, Howard Hughes, took control of RKO, it could no longer compete and sold off all its assets. The studio facilities was brought by Desilu Television Productions.<br />“It was beauty that killed the beast.”<br />
  75. 75. The Development – 1920s<br />The Movie Companies move to Hollywood<br />Vertical Integration<br />Self-Regulation and Production Codes<br />Introduction of Sound<br />
  76. 76. The Development – 1930s<br />
  77. 77. The Development – 1940s<br />WWII<br />1946 record year (4 billion tickets)<br />Move to suburbs<br />Supreme Court Ruling in 1948 forces “Big Five” to sell their theatres<br />1950s introduce television to a mass audience<br />
  78. 78. American Star System<br />
  79. 79. Stars<br />
  80. 80. Stars<br />“God makes the stars. It’s up to the producers to find them.” (Goldwyn)<br />Golden age of star system coincided with the supremacy of the Hollywood Studio system<br />What were some of the areas of control that the studios had over movie stars?<br />Issue of types – what are some types of roles<br />
  81. 81. Stars<br />“Whenever the hero isn’t portrayed by a star, the whole picture suffers.” (Hitchcock)<br />What are the disadvantages of casting a star?<br />Stars as signifying entities – celebrities show up in films already carrying bundles of associative meaning<br />What are the distinctions between a personality star and an actor star?<br />
  82. 82. Personality or Actor?<br />
  83. 83. Personality or Actor?<br />
  84. 84. Personality or Actor?<br />
  85. 85. Personality or Actor?<br />
  86. 86. Casting<br />
  87. 87. Casting<br />In Jackie Brown, Tarrantino cast Pam Grier, star of many blacksploitation films as the heroine<br />Actors can carry cultural baggage or significance that can add or detract from their meaning in a particular film<br />What are some other examples of inspired casting?<br />
  88. 88. Original Castings<br />Often it is interesting to consider the original castings of films to realize how attached we become to particular starts inhabiting roles<br />
  89. 89.
  90. 90.
  91. 91.
  92. 92.
  93. 93.
  94. 94.
  95. 95.
  96. 96. Cast this Film<br />
  97. 97. Rebel Without a Cause<br />James Dean dies in 1955, at the age of 24, in a car accident<br />Sal Mineo dies in 1976, at the age of 37, from a stabbing<br />Natalie Wood, dies in 1981, at the age of 43, from drowing<br />How does the premature death of celebrities influence their legend? Ref Heath Ledger?<br />