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Using 3-D Printing to Build a Small-Scale Figure of a Giant Creature

Lead systems engineer Jason Lopes walks us through the process of creating a maquette—a 10 to 18-inch 3-D figure—which gives the team a tangible and highly detailed representation of the creature.

Released on 07/21/2014

Transcript

(animal growls)

One of the ways that we work here at Legacy is anything

that we're gonna build full size that's a pretty

decent scale, we'll do in what we call a maquette,

basically a posed, scaled-down figure.

We print a smaller size anywhere between 10 inches

and 18 inches to get a representation

of what we're gonna print full size.

This is kind of like my safe haven.

This is my Utopia, this room.

It's a pretty special room.

A lot of what you see on the big screen,

this is where most of 'em come to life

for the first time, off of this machine.

[Guy In Back] It's a moment.

Yeah!

It's why we're all standing here.

That's exciting.

This is real now.

He's in three dimensions, it's official.

It just blows me away kind of.

That's the one thing about 3D printing.

It's taking something from the digital world

and bringing it into the physical world for the first time.

So it's almost like a delivery room in a hospital.

You're in here, you're taking something off the bed,

it's been being created for hours and it's been weeks

upon weeks that you've been talking about it

and seeing it on the screen, and then all of the sudden,

you have a representation of what you're about

to embark on for the next month.

You know, it just gets you more excited.

You see it, this is real, it's happening,

and this is the first stage of it.

All the detail is there, so the fur people can

take a look at him for reference at times.

The guys that are in there sculpting detail

back into the foam mill head that we did

can look at this for reference.

Placement or just in general talking,

this is why these visual references are great to have.

And then at the end of the project, they also turn

into great handout collectibles for some

of the key players on the team.

Robots in Jersey.

Ah, don't break 'em, we need 'em for tomorrow.

[Announcer] Go to hyzs518.com

for the entire Giant Creature series.

HOW TO MAKE A GIANT CREATURE - The Webseries

Produced by Stan Winston School for WIRED in association with: Legacy Effects, Condé Nast Entertainment & Stratasys

Executive Producers: Matt Winston, Erich Grey Litoff

Producers: John Ales, David Sanger

Director of Photography: John Ales

Production Coordinators: Maggie Sayer, Teresa Loera

Camera Department: John Ales, Jake Borowski, Ben Saltzman, Peter Gould, Chris Trueman

Production Intern: Nick Norton

Post-Production:
Lead Editor: Damien Acker
Editor and Live Editorial Lead: Yukako Shimada
Editors: Peter Gould, Jacob Goodman
Assistant Editors: Jake Borowski, Ben Saltzman

Giant Creature LIVE Team:
Live Coordinator: Christopher Vaughan
Live Editorial: Yukako Shimada
Cameras: Jake Borowski, Peter Gould, Ben Saltzman
Sound: Chris Trueman
Giant Creature Live Assistant: Ryan Cultrera
Production Interns: Nick Norton, Marni Roberts

Social Media for SWSCA: Andy Franco

Music by Network Music Lab: www.networkmusiclab.com

GIANT CREATURE CREATED BY LEGACY EFFECTS

Giant Creature Project Supervisor: Alan Scott

DESIGN: Jim Charmatz, Kourtney Coats, Darnell Isom, Scott Patton, Greg Smith Won-Il Song, Bodin Sterba

RAPID-PROTOTYPING: Jason Lopes

ART DEPARTMENT: David Monzingo-Supervisor, Vance Hartwell, Trevor Hensley, Akihito Ikeda, Mark Killingsworth, Mark Maitre, Jason Matthews, Paul Mejias, Rob Ramsdell, Christopher Swift

FABRICATION DEPARTMENT: Dawn Dininger, Ted Haines, Bruce D. Mitchell, Tracey Roberts, Amy Whetsel

PAINTERS: John Cherevka, Erick De La Vega, Jamie S. Grove, Derek Rosengrant

MODEL DEPARTMENT: David Merritt-Supervisor, Brian Claus, Ken Cornett, Alan Garber, Jesse Gee, James Springham

MECHANICAL DEPARTMENT: Peter Weir Clarke, David Covarrubias, Rich Haugen, Seth Hays, Russ Herpich, Hiroshi 'Kan' Ikeuchi, Jeff Jingle, Jim Kundig, Richard Landon, Lon Muckey, Brian Namanny, Hannah Wilk

ELECTRONICS DEPARTMENT: Rodrick Khachatoorian, Greg Keto

MOLD DEPARTMENT: Damian Fisher-Supervisor, Javier Contreras, Tony Contreras, Lou Diaz, Jeff L. Deist, Chris Grossnickle, Clay Martinez, Jacob Roanhaus, Frank Ryberg, Jaime Siska, Gary Yee

FOAM DEPARTMENT: Cory Czekaj-Supervisor, Ken Culver, Jacob Roanhaus

HAIR DEPARTMENT: Connie Grayson Criswell

3D PRINTING BY STRATASYS: Terry Hoppe, Bonnie Meyer Darren Perry, Isaac Damhoff, Michael Block, Jay Beversdorf, Kevin Nerem, Mac Cameron, Paul Merrill, Dan Wahtera, Jamal Muhammad, Bill Morrow, J Consuelo Mendez

RANCHO CA OFFICE UNDER TERRY HOPPE: Steve Gibson, Mark Bashor, Patrick Brault

BILLERICA OFFICE UNDER TERRY HOPPE: Leslie Frost

ADDITIONAL STRATASYS STAFF: Jessica Songetay, James Berlin, Chris Cates, Dustin Kloempken, Cathleen Kadletz, Marc Downie, Ryan Litman, Daryl Baumgartner

FUR BY NATIONAL FIBER TECHNOLOGY: http://www.nftech.com
Maggie Bloomer, Kim Clark, Fred Fehrmann, Emile Gagne, Carol Goans, Juan Gomez, Talia Harvey, Kaitlin Hardy, Allison LeSaffre, Kate Maloney, Chris McMullen, Abby Roy

"AUGMENTED REALITY" BY BLIPPAR: https://blippar.com/en/
Marc Florestant-3D Artist, Leon Tyler, Radu Nicolau, Matt Banyard, Gareth Upton, Mike Harris, Brian Morales, Cheena Jain, Patrick Aluise

FOAM MILLING BY ALCHYMIA: Alfred Kuan

SOUND EFFECTS BY ANARCHY POST: http://www.anarchypost.net
Dan Snow, Tom Boykin

SOUND & LIGHTING CONTROLLERS BY ADAFRUIT: https://www.adafruit.com
SPECIAL THANKS: John Rosengrant, Shane Mahan, Lindsay MacGowan

New Deal Studioses: Shannon Gans, Matthew Gratzner, Ian Hunter

Visit our WEBSITE: https://www.stanwinstonschool.com

SUBSCRIBE to SWSCA on YouTube: http://bit.ly/Zp70T4

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