Greg has years of experience and expertise in creating the illusion of artificial life. Greg and partners Chris Chitty and Matt Ward founded Robotechnology in 1991, Australia’s first company specialising in designing and building animatronics for themeparks, film and television. Notably amongst a vast array of other projects, Robotechnology designed numerous animatronic characters for Babe.
After the success of Babe, Greg and Matt moved on from Robotech to pursue other interests and Greg has since collaborated with numerous other companies on a wide range of projects such as Babe 2, The Matrix, Farscape, Peter Pan, Racing Stripes, Star Wars Ep III Revenge of the Sith and innumerable television adverts.
Due to their complexity, all animatronic  projects are collaborations with numerous talented individuals and the work featured here also includes the labour of many others. On some of the non-Robotech projects featured here Greg has also collaborated with Sonny Tilders, Trevor Tighe, and sculptors Dave Elsey, Martin Rezzard, Nick and Paul from MEG, Richard Mueck , Paul Trefry, Warren Kelly, John Cox, Jason Baird, John Searle, and Belinda Villani.

Video samples
This is just a tiny sample of animatronics projects worked on over the years. The green Star Wars nemoidian alien was mechanised by Sonny Tilders and Lip Synch programming and control system developed by Greg based on Gilderfluke software and components. Here it is in the process of being programmed with dialogue for episode III.
The red mon calamari  Star Wars character was intended as a non featured background alien extra and was built in only a few days. It is shown held by sculptor Richard Mueck and is animated live only using simple RC sets. Like the nemoidian Alien, the mask is to be worn on an actors head and the actor makes no contribution to the facial performance.  Richard’s hand is making no contribution to its movements either.
The huge croc built for John Cox on “Peter Pan” had hydraulic mechs designed by Trevor Tighe. The Slave system is based on Greg’s voodoo control concepts and “delayed precision” to give organic quality to movements . The facial mechs are electronically mixed using Gilderfluke.
Dave Elsey models an unpainted giant hand sculpted by Martin Rezard and mechanised by Greg in a single day for Farscape. Leg extensions are worn by Adrian Getley for the Namtar character of Farscape.  The sharks were mechanised by robotech for a Jackie Chan film.
Lip Synch
Shark swims
What a croc
Give a big hand to Dave
Leg warmers
Mon Calamari
What a load of $@#%?!
A winning smile
Do Androids dream of Electric sheep?
The Robotech crew sure did for “Babe”. Twelve sheep characters were designed and built in only a few months and were filmed on location in Robertson surrounded a flock of real live sheep. With real fleece and smelling and moving like  genuine farm animals, even the real flock could not tell the difference. The sheep were sculpted by Belinda Villani and rubber skins made by John Cox. Christine Nagy tailored their stylish fleeces. Greg, Matt and Chris from Robotech made the animatronics. No detail was spared. The talking sheep heads designed and built by Greg even had robotic tongues that could lick or help pronounce words, and some special versions even had animatronic bums! Yes, their motorised bottoms were loaded up with carefully sculpted fake poo pellets and could poo on cue. Surely the pinacle of robotics technology has been reached!
Click on the sheep bums below right to see if everything worked out OK.
Just when you thought it was safe to get back in the water. 
These marine creatures are fully operational in open ocean. The 38 foot long full size humpback whale was an ocean going wet-submersible with ballast tanks, working blowhole, eyes and flukes, and caused more than a few raised eyebrows when on his custom trailer travelling down the highway. Greg sculpted and built the full size  duplicate of “Old Tom” for the ABC production “Killers in Eden”.  Tom could dive and surface at speed and had a working blowhole.   The great white was sculpted by John Cox and John Searle with animatronics by Robotech. He was designed to operate realistically in seawater alongside real sharks yet produce no electrical disturbance which would upset his live bretheren. Click his pic to see him in action in Jackie Chan comedy/action flick “First Strike”.
No need to get in a flap
These flying creatures were built with extreme care to match the real physiology of live animals. For the Pelican from Babe Pig in the City, each individual flight feather was mounted so that it would overlap and progressively splay as the wings open and closed. The wings could sweep , retract, extend and twist as well as flap. However after Greg had studied Pelican flight for months and designed the animatronics to be capable of exactly duplicating pelican flight movements,  puppeteers with little knowledge about birds or flying programmed him to flap as though he was swimming in treacle. Oh well..
Ferdy the duck was fitted with  a high powered flapping mechanism and adjustable wing extension and wing sweep. He generated a remakable amount of lift and thrust due to his natural wing stroke and realistic feathering work by Val Jones.
The Dragonfly was built by Greg and M.E.G. for an award winning Sony TV advert. The accurate polycarbonate twisting wing structure also generated a huge amount of lift when operated at speed.
Staying one jump ahead
The kangaroo was built in 1991 for a feature that never made it to screen yet the technological advancements and approach of building characters to be shot on location outdoors paved the way for Babe and movies which followed. The ten foot tall tin man was a shopping centre character who could run 7 days a week for years at a time without need for maintenance. With a video camera hidden in his head he could break off his prerecorded routines and interact live with shoppers.
 quicktime format