3D Printing PERFECT COLOR!

now bounce it what go for it good Lord okay I'm sweating Jason I'm asking you I know I know I know this doesn't make any [Music] sense hey everybody not in studio I'm here at a special place with my buddy Jason Joe see you good to see you this is gentle giant Studios and by the looks of our friend behind us you do some pretty incredible stuff pretty amazing stuff pretty amazing stuff what is gentle giant Studios well I I think I could summarize it really really easy and then we can go deeper in it but uh as Rick Baker once said GLE giant Studios is a cross between Frankenstein's laboratory and Santa's workshop and I think that's what you get here I kind of got a look at behind the scenes a little bit you know we had a touch we get to take everybody through this which is amazing what's your background so my background has nothing to do with this I was a skater kid from New Jersey that landed with a video camera in his hand so I went to art school to learn how to make film and video to make skate videos next thing you know I'm standing in here almost 30 years later I know they're going to want to see a lot of really cool stuff and I'm kind of fearful Java is going to drop us in the rancor pit can we move along let's go back and get theep what makes makes it amazing to show you guys this and introduce you to Jason is the amount of additive they're doing and how revolutionary it is it's next level a big reason for this is you know we're known 26 plus years of providing the quality that that you've seen already just walking in the building 26 years of creating these things yes creating them traditionally over 20 years ago bringing in technology from our Founders Vision scanning digital sculpting uh while it was archaic back then the sculp thing but it was a step into it and then physically output it so when I've come on board I look at that workflow for the past year and say okay this is an established workflow we know the result but what can we change between the letters a and Y before we get to Z okay and within those letter changes we become more efficient we introduce newer Technologies newer materials to Downstream workflow it much more efficient and faster to give our painters a bigger deadline we are now actually opening it back up for them so they have more breathing room inside of there see hug that's huge and and and addtive as a part of it and actually we have this Mamaki machine right behind us and that's part of what's enabling you to do this huge huge so yes we brought in full color technology right before the end of the year and we've been doing a lot of R&D before getting to that decision a lot of R&D but I decided to look at this differently rather than just color 3D printing we're going to break it down into three specific Lanes of our take gentle Giants view on what we think color 3D printing is first Lane is product IP you know your Micky you know your Bugs Bunnies you know all the characters oh like that sort of Ip like Lucas film Disney Warner Brothers like IP right like Mickey's got a specific red that's it's not red well that makes sense right I the the IP around their characters is going to encapsulate the the look and feel of them and when when I've done digital things with with certain characters you the color bring bringing that to the real world via 3D printing like with a Mamaki here it's difficult very difficult right color accuracy is the one difficult box the next box that's super difficult that ruins it all is print quality if something doesn't hold up to the quality everything else follows suit they don't care about the color now because they can't get past the quality and if they can't get past the color or the quality or one aspect of it then the entire character is ruined it's it's no longer an IP character entire character is ruined but more importantly and the more negative aspect of that is the technology now doesn't have a chance it has a bias against it yeah and they want to go back to a traditional way that they've always done that so on top of just having a color printer we realized that we were going to have to develop more than just the print if that makes sense well the the entire workflow of this Lane you have to develop it that means understanding color profiling that hardcore monitor calibration and we can get into that later uh but knowing what we can and can't produce in color right it's very difficult if you look at Frozen if you look at Elsa's skin that's a very complicated that's very difficult to hit that exact color and get a sign off well skin is hard and specific skin is even harder you got it so we focus our on the effort on what can we canot do and we made house color paletts for each of our clients that we work for with their full spectrum of color is and then we have subol palettes that go down into skin tones hair colors things like that and when an artist is working on said property doing a Mickey that I'll show you in a second they have the call outs that they know fall under the approved color match to what we've been traditionally doing oh because this this color palette that you've created is what your digital workflow can create and if that's approved by the IP holders for their characters then everybody wins this is why I love you exactly you got it and it's a very simplistic way of looking at it so I'll show you an example yes please so this is our first R&D output and here's the result can I hold Mickey yep you'll notice the colors are Beyond accurate this is what I remember like if I think back to to this Mickey Mouse and what I remember in animation this is it like this matches my memory if you'll look at it outside of the color remember that there's not any paint on this this is wait this is a print this is a print right off the makimaki but if you look at it you'll notice one thing it feels like a product you do not see what I call the DNA fingerprint Left Behind from the technology there's no layer lines well when they were do something like this traditionally we're talking about injection molded pieces injection mold no layer lines very smooth solid feeling got it this feels injection molded I could talk for hours on how we developed this but it's actually very very simple we knew that we weren't going to get absolute Studio approval final straight off of a printer right not cuz straight off of a printer it's going to look like a 3D print however now we go back to our traditional skill set can we develop a technique and a process that allows us to coat this and fill in the Peaks and valleys while enhancing the color on top of it now in FFF printing we have our layer lines we print at 0.2 millim 0.1 whatever right whatever but we always have our layer lines and and even when we go large with certain Technologies there's always there's Peaks you have to sand down and valleys you have to fill in before you do priming and painting and all of that yes okay so and those methods right you're either going to like Bondo fill or you know a filled primer if you will and then you take it down here we're bringing it back to a traditional world of your things now oh yeah so we've developed a process where we take the final print and we code it in stages and we can't let all the tricks out of the bag but there's a lot of different techniques that you learn over the years that you reapply years later into technology driven products and solutions so this is that staged urethane coating correct now Jason this is amazing it's beyond amazing and for that to be the first R&D output we knew we were heading in the right direction and you know one thing I will say is you know if we're going to do something that has a matte final finish we'll actually coat and gloss and mad at the end well because I'm noticing when I when when I look at this it's it's not glossy it it it has a reflectiveness just because it is a it's a plastic piece right but but it's not glossy my target throughout this waiting for this to finish Printing and get into that next step was maker Mark top of the bottle that's dipped into the red wax so now look at the back of that that looks oh that is a wax seal right there that's what we want wanted to hit for that okay and you did and we think we did a pretty good job you absolutely did on your first try first try not like Lego Batman first try and we've developed it Beyond this so second second output is same thing can I hold this of course you can this is Thanos dude and you know I'm looking on the bottom sides of things thinking you know support structure removal but there's none of that he's not glossy but his teeth and his eyes are we have different techniques so we can isolate areas we can really bring it to life depending on what the call out is these are both R&D examples this was just research this was you like we're going to we're going to mess around and see what we can do does this work enough that we can present our result of R&D to a studio people are blown away okay you get their eyes their their minds going but so let's take that and apply it to an actual physical job okay job an official an official job wow oh my gosh once again zero paint these are not done in one shot by the way we do them in keyed pieces okay and there's a reason why a it's a lot easier if you do have to clean up something but B there's limitations within color as you're laying it down large Flats right of a single color or black or a brown it's probably going to look streaky oh just just just those slight variations and how it's laid down okay okay so you know the weaknesses and this is a good can I Pi of course you can and this is a good tip for anybody getting into printing know your Technology's weakness because once you know the weakness you know how to battle it you can figure out the tactic for battling it so with that weakness we now cut all of the geometry and key it male and female and we Orient each cut piece to counter the weakness of how the printer lays down color oh right if we if we print this in one shot we've now sacrificed this model to just get an overall color right but if we cut the head off if the hair is a different piece the arms are a different piece the legs are a different piece that plug in now we can Orient every part of this body for the preferred matched resolution of the printer I see and get the best lay down of color Well normally what we're doing is we will Orient pieces so that either there's less support or support in certain areas that we can take off easier and you're like you know hold my beer don't worry we're going to take that and we're going to orient for color and color application so resolution of the print plus the color lay down and then we get the best uniform color out of the machine like I've seen this movie these are beloved characters there you go and part of The Whimsy of those characters that you have to recreate in the real world you've done phal fun phenomenal fun I get goosebumps every day I'm blessed every day when I see these outputs because I know we can push this industry now remember this is only one of the three lanes that we've identified and this is a huge Lane this is the bulk of our relationships is doing studi driven work like this okay so now on top of just being able to do this now we educate back to the clients like this is where the Technology's at this is what we're able to do by marrying this Tech and material with our traditional processes to give you the quality that you've been looking for well and once they see this then their minds just must run like crazy because they're like oh this is possible this means you can do this and this and this you got it now if I have to do three of these I'll have exact on all three if I have to do three traditionally there might be some variation might be a varation especially when you get into like think about it if this was going to be painted traditionally look at all that dress pattern work M and now you have to do it on three and if we're talking about a cartoon character especially a digital cartoon character then it has to be precise it's not just us that's part of this approval process the whole world that are fans that are looking at this stuff are actually part of the approval process cuz if they don't like what they see we're going to hear about it in comments the joy is wonderful the anxiety is wonderful Mickey's wonderful Thanos I can't say he's wonderful but he's wonderful he's Thanos you know hard one right it is a hard one and I feel like like there's more still right remember I said there's three lanes to how we were looking at color yes so Lane one we checked the Box okay Lane one check and that's our workflow now uh we develop on top of it and see if we can push it even more but right now we're locked and that's how we're delivering so lane two lane two lane two is a cool Lane creation creation what's in that mind okay well not a lot right now but but anything that's in there we're going to try to get out okay so rather than taking known IP you're you're taking things from thought processes yourself yeah think specialty Collectibles more stepping into an art form if you will okay of of creation uh so with that being said here's our first R&D of that dude for the grateful that estate this is printed it's printed in one shot it's pretty amazing piece yeah what I really like about the piece is that it marries with a traditional ceramic base so now we have modern modern here you hold that and ceramicist work that blend together oh this is like non-printed ceramic traditional art made this that's what we really like here is when we blend everything right so this is a beautiful piece that was enabled by technology and because of the resolution like if you look at those spores on the inside there's no way to do this no there's there's there's depth and there's High detail at depth High detail there's translucency within the color there's texture Eyes On Top of the skull on top of the cranium people will say oh you printed the inside and then you it no but but I mean you could 100% could but I mean that opens up another ball of problems as well but there's no bubbles B go no bubbles and it is clear you have Clarity secondly it's transparent yes but what was really even cooler about this is understanding the refraction index of the material when you're embedding something inside of it okay okay we're looking through a transparent sphere at something so then is the geometry of the skull inside like if we were to remove all the transparency would the skull look different yes that's so cool and that's what you have to do remember I said you play to weaknesses of technology in this case it's not a weakness in this case it's like right if we're going to put something inside phys you got it so how can we now mess with depth how can we mess with something appearing much larger than it is on the inside right now we can control the look we control the distance from the front faces of the model to the inside edges of the surface of the sphere oh that's so cool I I need to show you a visual example which explains it so this next example there's an embedded object just like this okay but the ask was on this object it's a frog we want the knees of the Frog to be hitting the inside of the wall of the sphere someone someone would say right up oh just scale it up to the edge of the sphere if you do that it's going to look all out of distortion and things like that so what's inside of here is a pretty tiny frog that's magnified to what the client asked for May I you may it's tiny tiny not meaning microtiny no but it is not the scale that you're looking at it okay well cuz if I look at the side and I and I look at the nose of the Frog it looks like it's just right up against there but then I do this and I know that there's depth and there's no way it's actually that close and so the what lensing or whatever that we're getting by looking through this transparent sphere is giving us these distortions but when you approach it head on you're like oh the knees are right up against the edge of that sphere and then you look on the side and you're like oh no they're not exactly no they're not Jason it's printed it's pretty cool that's Lane number two but within Lane number two here's another nice Discovery okay okay so this is printed that's printed that's what it looks like when it comes off okay I want you to drop it what are you normally told when you're handed a 3D printed part well when I'm handed something that I believe to be is fragile I tend to hold on to it really tight and I would be in trouble if I dropped it please drop so what please drop like my heart's beating Jason take a step out okay drop it oh now bounce it what go for it good Lord okay I'm sweating Jason I'm asking you to I know I know I know this doesn't make any sense what this is very important for us being able to have it withstand but this is okay so something like this this wonderful piece of art that you've created that bends physics to make it look the way it does if someone were to accidentally drop it you just polish off that spot and it's good to go if it even scuffs this is an unfinished just put that anywhere marble right scaled down yeah yeah oh marble okay and this is how we discovered this this marble in conversation just fell and the energy return on it was almost one to one oh so now we know that we can provide materials that when accidents do happen or even shows like we're doing now we have a robust material this is like new science with this stuff it's pretty amazing and I really have to give the credit over to the other Japanese team that is working on materials and things like that that's huge for us I was just going to be careful about handing it to you but I guess I don't have to be careful about handing it to you which is okay so that's lane two that's lane two lane two the third lane is the most difficult Lane scanning humans and animals 3D scanning humans and animals in color okay getting correct color representation before it's a final model then fed into the printer and to be output without Shadows baked in to look like when the subject matter was here getting scanned oh my god without Shadows we've like uh producer David and I we've we've taken some cool images when we've been on location with like polyam and those Shadows are baked in like you you can't get rid of them correct unless you utilize AI tools and specific programs and develop a workflow and this is what I've been saying in my whole career I love 3D printing everyone knows I love 3D printing like crazy I've been doing it for about 20 years but it's moot because I'm spending most of my time before the print preparing for the print okay right so I firmly believe that software is a huge driver to even better quality and doing things that you just never been seen before so the result result this is the end product this is the cool thing so this is a scan with 140 plus cameras utilizing AI tools to fill in areas like under armpit and things like that that couldn't have been captured okay no Artistry on top of it nothing's recreated so it's everything from the capture oh okay this is one this is the capture with your workflow and product no digital sculptor on top of it painting or anything like that wow wow so this is his tattoo this is kid Cy has kid Cy seen this oh he's in love with it he's got one on top of his mantle as he should and that's amazing and then you take it to wait wait wait but the surface like the skin like we talk about subsurface light scattering on skin and stuff so yeah we're fully color corrected and we make adjustments in that color correction understanding the process of our coating that's going to be applied traditionally okay and then we have the result in my opinion when you 3D print in color humans no matter what technology you use I feel that if Falls more on a yellow Hue overall to the colors yeah we need to bring them back into reality and we think we've figured out the way well I mean you've put forth some incredible evidence to prove your theory here y so we took it one step further uh this is difficult yes but now if we bring in more colors and contrasts that uh make it very difficult to to differentiate between a black and a dark blue and things like that oh okay it becomes very difficult so working within those tool sets oh that's really good it's finished here this looks like a different material than this you got it that would be so hard to do so it's super exciting for us we think it's results that people haven't seen before it's a completely different look at color normally people have one specific function for color like if you look at like with all their puppets that they're doing they're doing facial replacement that's their need yeah of course we service many different types of needs here so that's why we broke it down to three lanes and I'd like to show you what supports that now in those two other groups oh right over here yep let's go let's do it it looks like we're in a the paint area and I see some color pettes behind us is this part of it yeah so this this is applies to Lane one and Lane three of the photogrametry and the product IP oh okay I'll give it to you in a nutshell and then you can dissect it we know what the color profile is of the printer driver yes we know what our clients expectations are of color I spoke to the Reds for Mickey yellows for Tweety Birds so now we get all monitors on calibration together okay okay and we start building color pallets spearheaded from our traditional head of paint department scottt cuz he knows color these are like we can do this to match your stuff the families so these are generic profiles that we put up for today's example but picture Disney palet uh you know whatever property pet every digital artist has one of these physically on their desk these are output straight from the makaki oh they Jas I thought these were paper printed they're physical printouts of the colors that of course this makes sense in the families that are approved so now when they're wide we can just say give me05 for that blue it just all coalesced like these are from the Mamaki of course they're from the mimaki because these are what you're capable of doing correct good Lord then then Scott developed subp palets meaning think about I keep saying it Elsa from Frozen that skin tone can we hit it so we have a skin tone palette we hit it this is how our approach has been and this even applies to photogrammetry because now we can put this in a real uh real lit environment to understand colors as they're blending together it just opens up the door and more importantly it also shows us what we can't reproduce to try to figure out so now we mix at times we can mix a digital output in color to a traditional craftsmanship of paint to come up with the final look dude this is insane oh my gosh this is perfect and it makes total sense because you're taking the output of the machine you're handing it to the client and the client says we approve of these colors and you're like okay we can now do anything now by the way these are 3 months old in our R&D so we have evolved much further than what you see here R&D Is Never Done in this color world no of course it's not you're always going to be better we're going to be pushing pushing pushing but we think we've done a pretty good job and we think everyone at rapid and all the shows that see our work are really going to be impressed oh 100% And that's actually great I know you have to run but everybody that's watching right now you get to see this at rapid TCT in Los Angeles you get to see Jason and gentle giant Studios at the Hollywood Showcase there's actually a code down in the description we get people in for free go to the link use the code you get in for free and you can see Jason you can actually give him a high five and a hug you can go to General giant Studios at the Hollywood Showcase that's right like I'm going to be there thanks for watching if you made this far you're awesome don't forget to hug each other more fight for cause you believe in and 3D print all the colors yeah yeah and as always high five you want one hell yeah I want one let's do it always a pleasure oh dud always a pleasure dude I love you come here love you too man all right let's go come on okay

Channel: 3D Printing Nerd

Views: 326,193

Keywords: 3d printing nerd, joel telling, joeltelling, 3d printing, 3dpn, gentle giant, jason lopes, grateful dead, dead and company, sphere, Las Vegas, inside out 2, anxiety, joy, Mimaki

Id: QazoNt6qPG4

Length: 27min 11sec (1631 seconds)

Published: Fri May 31 2024