Hasbro Toys - Star Wars Rey Skywalker Toy & More with ZBrush ! - 2019 ZBrush Summit

without further ado take it away Bobbi pleasure to be here thanks everybody showing  up I'm a digital product designer for Hasbro   and as it says up there and I swear I won't be in  PowerPoint very long but there's some terminology   that we'll need to talk about as we get further  along so that was me sounds right up off that   chair what's that see what I did there he's  bounced right off of his house hot stuff yeah   so I work in the sculpture department at Hasbro  which is this is the sign leftover from the wax   days but we're all digital now so all in ZBrush  some other programs but she brushes our program   so we really enjoy it yeah and these are some of  the some of the brands we work on there's probably   about 10 times as many that I've worked on it my  time they've come and gone but these are some of   the good ones and I am specifically on Star Wars  very happy about that big fan yeah and so I've   been about manufacturing so that's a big part  of what we do is you know it's really awesome   to make great sculpts and everything but in the  end of the day we do have to make product we are   trying to make things that can be reducible so  we're dealing with undercuts we're dealing with   wall thicknesses tooling issues plastic makeup all  that kind of good stuff so we dive in a little bit   I hear there's a very old-school basic animation  of how injection molding works for anybody who   doesn't know what that is so everything we make  has to be injection injection molded most of it   some stuff gets roto molded but this gives you a  basic understanding of what we're dealing with so   the part in red drops into a bin and you do that  about a hundred thousand times and you have your   Star Wars figures on the shelf but the tooling  is the part where the plastic is actually pumped   into so tooling is gonna be a big key word in this  presentation because tooling is a big part of what   we what we deal with it's basically the metal mold  but a couple of little tidbits there will make you   read all that so undercuts are another part of  it what the heck is an undercut so some of you   might be familiar with some of them not basically  anything that might lock the piece in the mold and   destroy it so we try to eliminate those as much  as possible another example of something that has   draft so the green one drafts well we don't worry  about undercuts on the green one the red one might   have some trouble so sometimes we have to add some  slope to some things this affects action figures   to not just Tupperware bowls or whatever that is  tooling this is a 3d render of a piece of tooling   but that one tool alone might cost $10,000 and  so for a six-inch Black Series figure you know   you you might be looking at 100 grand just for  one action figure but we could use that tooling   hundreds of thousands of times so there's a a side  B side will make you read all that stuff and that   tooling can get really complex to the point where  I don't even know really what's going on here most   of the time but one of the things we can talk  about is there's an A side and AB east side   to tools or sometimes there are slides sometimes  slides help us capture areas that would normally   be an undercut and essentially a slide is just a  third part of the mold so this blue area that is   lifting up on the right side it's catching that  undercut of the yellow part that's pretty crazy   how that works like a Swiss watch pretty nice and  sewing takes up a lot of room it tends to rust so   we got to take care of our tools this image on  the right actually does show something that I   might talk about later called short shotting so  these are some clone trooper legs on the right   side you can see there's like a piece of popcorn  in there some it's not quite a leg that's where   the plastic got pumped in and it didn't fully form  that's called a short shot if part's features on   our scopes are too small the plastic can't get  pumped into it it's an unsuccessful part and so   we deal with scrap rates at that point and there's  a whole thing that involved with that I just want   to talk a little bit about plastics because we  are going to be dealing with that that affects   how I sculpt things so one of our main plastics  is PVC it's a great material very versatile it's   a lot more forgiving with undercuts you can  still get some undercuts slightly flexible   it's a little bit more expensive and you can't  go too thick with it before it actually like the   planet's crust it starts to cool but the inside  is still hot and as it cools it shrinks and can   cause really weird deformations in skulls abs  probably the second most important plastic we   use it's very hard it's very durable it's also  kind of brittle in a different way it can be   used to capture bigger pieces where we'll hollow  them out core them out from the inside and then   sonic weld them together which is kind of just  what it sounds like high speed or high frequency   vibrations melting plastic together and then we've  got Pym Sal Khan Delrin whatever you want to call   it poly or whatever methylene very unforgiving  with undercuts low friction surface which makes   it great for joint pins and disks so when you  look at an action figure that we make and you   look at the the disc that is going to be the P  om the cell con Delrin whatever you want to call   it those are just different brand names polypro  so that's a good one for weapons you want really   crisp details on your your blasters or whatever  you can do them in polypro and they come out   really nice they they don't get deformed then  the package is very easily the only thing with   that is is they do tend to have pretty aggressive  shrink to them so if you get a really thick part   they kind of start to collapse in on themselves  and this is just an illustration to kind of show   how we can manipulate the density of plastics PVC  specifically we can go really hard with PVC if we   have something like a blaster or something that we  don't want to get bent up in the mold or we can do   something really flexible like my jacket if I did  this on a figure I'd want to do it at a low flex   or a high flexibility so that it could move they  wouldn't ruin your articulation so the main area   I want to talk about tonight is actually figure  articulation all the feedback we've been getting   about well what should we talk about it the ZBrush  summit obviously ZBrush is how we make toys but   specifically about articulation so it's it seems  to be a little bit difficult to kind of understand   where does it go how do we use it what joints to  use where and I we have some illustrations one of   our guys Val could put together years ago showing  the basic functions of a joint which joints we use   in certain places great little animation these  really quick fun stuff the old double knee so   this was a figure I did as a freelancer a few  years ago the episode a tray and it's a 6-inch   action figure it's proportional to her height at  1/12 scale plus 4% we'll talk about that 4% in a   minute with the black series line we try to be  extremely accurate with our sculpts we want it   to look exactly like it did in the film if not  better so on this figure you'll see some stuff   that's probably a little excessive for what it  needs to be as a 6-inch action figure but well   we all really love Star Wars so we put a lot into  it just to shows the part break out the main parts   that we would send for tooling so I'd love to just  be able to make it all as one thing and have that   be it but we got to break it up we got to figure  out how to put these things together layer the   fabric in a way that's not you know standing off  of her figure really big it actually is fitted to   her the way you see it in film but we're also  getting the minimum wall thicknesses we need   for production so this is kind of blown apart and  some areas shown in with the normals reversed so   all articulation all of it boils down to either  a sphere or a cylinder so it's either a flat   plane cylinder or it's a sphere sometimes it's  a combination of the both from that you can make   very very very intricate articulation schemes that  do all kinds of crazy cool stuff but ultimately it   comes down to cylinders and spheres this is how  a lot of those basic cylinders the spheres were   out late are outlined on this figure and then  some testing joint range of motion so we really   want to make sure we get the most range of motion  without really affecting the aesthetics too much   we want it's still really look good but we want  it to move to we're gonna put a joint in it we   want to get our money's worth so that elbow better  get over 90 range 90 degrees range of motion same   with the knee practically then you should go all  the way up if it's firing a blaster we want to   get that nice recoil kind of wrist and that's all  the stuff that really goes into trying to create   these action figures so this is the Rey we were  just looking at and the different polygroups for   the different groups this one's been baked down  decimated pretty far because I didn't to make it   run too slow but talked about the details that  we get if I ever meant Daisy I want to ask her   did like your brother or sister like hit you or  something there was like little things we could   pick up on and we can capture like that's a part  of their likeness that's a key part of an actor   is their portrait trying to really capture that  trying to make it work the eyelashes that's did   the 6-inch action figure really neat eyelashes  yeah yeah it did when you see it without the   eyelashes it looks alien looks different as soon  as we kind of work that out and actually then got   the deco to work with it it really started to pop  and look really cool now with that though there's   a certain feature size that we just get too small  and we can't capture also from this point back is   an undercut so we have to backfill these slightly  this is gonna be PVC so we do have a little bit   of flexibility there but obviously those aren't  realistic looking eyelashes for the scale though   when you see them at 6 inches it looks great this  figure had a lot of layering to it so there was   this secondary strap or not strap sash that kind  of went up around her back and down it's the same   thing you see on her episode 7 outfit it was just  a slightly different variation of that and then   there was this tunic underneath that had this  really specific repeating pattern all over it   and the reference that we got was really high-res  and I was able to make a repeating alpha from it   and use that with UVs to make this pattern on the  tunic but even that piece once I got done with it   we had to figure out well how is this gonna fit  over that so we had to dig a channel out of the   torso and then the torso has a mid torso pivot  Rocker join us some people call it down here so   that she can bend at the waist and we had to inset  all of that in a way that was very tailored so it   didn't look like she was wearing a life jacket or  something and then also the articulation in the   shoulder trying to work around that and making  sure that this wall thickness over the shoulder   didn't get too thin when I say wall thickness  you really don't want to go any lower than a   millimeter so if you go lower than a millimeter  chances are you might get a short shot issue or   it just might have a hole in it when we go to  print it too a lot of times we'll use formlabs   printers to do our tooling hard copies and if  you go to smart like point two there's there's   nothing any the best printer in the world could do  with that it's just gonna float away on the tray   essentially so we got a we got a deal with one  millimeter as our minimum diameter as far as a   wall thickness is concerned so does anybody have  any questions all right yeah oh my don't do that the food trucks still here just talking to the box   that's ringing hey what's  your name great okay do it we did receive a 3d scan it was a little bit rough  so we were able to use it to figure out what the   rough proportions of her face were but it did  not give us the fine details we we utilize the 3d   scans for capturing the proportions and especially  the height that usually come in at their actual   real-world real-world height so then when we go  to do our calculations to shrink it down you know   whatever her height is divided by 12 plus 4% that  gives us our our height that was really handy for   that but as far as the fine details all that had  to be resolved today and then it was a matter of   using photo reference we did receive reference of  her in studio from different angles and everything   and whenever I get something like that I take  that in a photo shop and I make a big collage   of all the reference images if I'm working just on  her head I will do a turnaround of just the head   and I really just focus on that for a while step  away come back and see how wrong I was Reese Culp   did again not Reese Kelton and additionally  sculpt on it again yes it's a little mix of   everything we don't always get scans though for  episode eight we got a few yeah let's take that   question a little further so like in the case of  the eye you were showing the you're showing the   eyelashes yeah they're gonna zoom in on that first  shirt all right so you're there you're working at   your desk and you're like okay I'm looking at this  and then is there a point in reference where you   let's say zoom out of it and take a look at it on  screen and say this is actually how big this thing   is gonna be sometimes yeah does that inform let's  say the amount of detail you're gonna stop at like   where's the stopping but a lot of people probably  know where's the stopping point with this thing   that's six inches well before I stopped on this  one oh yeah it's kind of a running joke about the   eyelashes and poor's scars stuff like that when  we're looking at it what for me it helps me to   have a texture to the face to have more details  to the face a lot of times I'll actually go in   and polypaint the faces to match the reference  I'm seeing because then when I continue on the   portrait I can I can be accurate about it I'll go  in and actually give them you know I have I have   an eyeball where the pupil is actually sculpted  and everything and I I turn off the eyeball that's   coming out and I look at the one with a poly  paint on it and that that's the point where your   portrait starts to you know like okay well this is  not working at all but you're at this next level   where if I can make it work with those pupils in  there then the rest of its gonna all come together   and the texture of the you know the skin and  the eyelashes all adds to that it helps helps me   anyway achieve a much higher degree of accuracy on  a portrait if my mind is already seeing something   that reminds me of what I would see in real life  I was hoping you'd say that yeah there was what   the Box just taught yeah there you go you're right  into it good question good question so for example   this piece here I would just cut my suspect part  thank you so you can start to look really fine   down in here I would turn on double something  you may not know what this is but this is the   transpose bar here we go it exists way back back  by Freaky Friday by five minutes yeah yeah I want   to evaluate the nose of a piece of jewelers  or a bracelet that has a gold transpose bar   like I would wear that like old-school ZBrush  yes are you in the building where are you I   say that I love the gizmo but some people don't  know what the transpose bar is my really let me   pause right there and take a moment of just brand  management here to the transpose line has a myriad   of functionalities available take a look at julie  for instance and then the neck bend that she's   got going on that could be facilitated by masking  using the transpose line to just do a quick little   error yeah right so take it away right there you  see when I drew that out and this is the main area   I'm worried about because it's almost like a tree  branch there's a point at which you get to the   very end and you can kind of come to a knife edge  whether you taper it but that branch leading out   to that point that definitely needs to be close  to a millimeter as close as you can get it so when   we look at this I am in a violation of that one  millimeter I'm at point 85 so that would actually   have been thickened up before it went fully into  production our stipulation then would be well fix   it but don't change it from the outside we don't  want to see the difference so inflate it inward   take it out of the shoulder the shoulder never  will come out of the body so nobody's really   gonna be able to tell that the ball the shoulder  got slightly reduced a little bit yeah the other   way we kind of measure things when we're looking  at total heights would be and I've got hotkeys for   all the menus don't ask me why but under 3d print  hub and just update update size ratio it's one   hundred and fifty one point six millimeters tall  and that's from whatever sub tool is currently   visible the very bottom to the very top and we  so I mention that come back to 104 percent or   the one the four percent PVC as I mentioned has  a habit of shrinking so any figure that has a lot   of PVC parts on it we will make 104 percent and  that's the parts that get sent over and then in   production it actually shrinks down and should be  the size that it needs to be at a hundred percent   so it makes it a little bit confusing if you have  to trade assets with people and they may not be   working at a hundred percent 104 percent and they  don't know what the heck you're talking about yeah let's see down here this whole skirt section this  would be a flexible PVC part it gets sandwiched   between the hip block area and the chest so if  we look at this piece alone this piece alone if   I have made it a complete wrap like I actually  use in the film when you go to move the legs   they'd be locked by this skirt you couldn't you  couldn't move it so we had to provide little   cutaway areas you see right here we've sliced  it away and then on the sides it actually has   a natural break point in the costume and then  again here beside the holsters just trying to   hide that stuff in there it's all about giving  it a lot of functionality but camouflaging it   really making sure it doesn't distract you trying  to keep it aesthetically pure so the PBC parts on   this pretty much everything but the pins and  the hip block the rest of it is all PVC and we   usually sculpt in this format where you've got  the character we call like an a pose you just   call it T pose we never sculpted anybody with  their arms straight out to the side her hand is   already in the trigger guard position ooh there's  a problem so right here this would have gotten   split off before production but her middle finger  touching her thumb that is a lock essentially we   can't actually mold that so we'd need to move  her thumb slightly away and then actually pull   the fingers slightly out and then recheck the  fit to the blaster it's like all these little   things kind of adding up to make sure that we get  exactly what we want on the other hand holds the   lightsaber this figure in particular has pretty  much the standard black series articulation for   its time we're upping our game I can't really  talk more about that so another figure that   kind of shares some similarities to this in that  it's a likeness sculpts Star Wars figure please   load Kiera from Han Solo so mother of dragons  herself now no eyelashes so slight difference   there you could see the effect if they were  eyelashes in there it might look a little   more natural like this one has separate hair  and that's so when we mold it we can actually   get some more undercut some more detail to it and  we just key it to the head so that when we do the   production they know exactly where that hair  is supposed to go on a head every single time   this one also has a slightly different neck  than the previous one it's a double barbell   I think yes it is so the previous one just had  a disc with a ball at the top this one's got   a little bit more movement it goes side to side  and then at the bottom of the skull side to side what me my spines been fused for years what a ball  I'll take this one's got the flexible jacket over   top the shoulders but again situation where you  got to kind of push the chest in to make sure it   fits over it it still works this one also has a  skirt covering up everything here but it has the   slits on the side so you can still move the legs  and actually make stuff happen these both of these   I as I was going through them I saved all of the  articulation primitives used to create all the   joints I'm going to show you something and it's  it might be a little overwhelming but it still   applies to that cylinder or sphere theory these  are all of the articulation primitives used to   make most of the joints on this figure so I've  inverted them so you can kind of see inside of   them but the different boolean's the different  discs used to create the bullying's everything   the axis points certain boolean's stone to cut  away certain areas like the front of the back   of the hip all of this grew out of those spheres  and cylinders that I showed you in the slides and   I don't know when I started this I didn't know I  needed all these parts the the process revealed   the solution so I know what I need to do I know  the rules I have to go by but every single time   we do an action figure because the characters  are unique you have to figure it out each time   it's there's not a real road map for it so when  people asking about articulation just like well   make it work you know like you got to figure  it out there's you just do it a few times you   get some advice from people who've done it before  and you talk about the pros and cons of everything   and then you test it you try to work it out and  you test it to kind of give you an idea of what   I mean by that so this is the pants from the Ray  figure this is before thinking about articulation   just normal pants we then moved it in slightly and  raced it up because we knew we had to have this   tak that mid-torso pivot of the torso and then  all these dents that are here this is to make   way for the sash the skirt that's sitting over  it if I hadn't pushed those dents in and that   would have pushed the skirt out and made it a lot  puffy around the waist and it wouldn't look like   she did in the film so then the next stage is to  plan out the place where you want the ball joints   of the hips to go and then cut it so that looks  like this so kind of going from the bat to there   you can kind of see we're still maintaining a lot  of the aesthetics but we have started to shape in   the hips here if I were to try and find the ball  joint in here somewhere up that ball right there   that I just split away split away everything grew  from this ball so then the contour of this inner   edge is that sphere and that's what I mean when  everything starts from a cylinder or a sphere you   just use the primitives you set up cut the joints  test them see what they do it doesn't work reset   the joints tries to try a different arrangement  so then on her arms similar situation here design   skull first and then you cut on the joints  and eventually get to here so just pick the   location that looked anatomically correct cut the  joint rotated it by the axis I had picked maybe   I liked it maybe I didn't reworked it and then  finally made the final choice so a lot of this   stuff now - he's made so much easier by labelling  when that when I saw a demo for labelling I was   like oh my god we're a room full of people and  like me and one other person caught what it was   and we looked at each other just like oh my god  oh my god that was a great day so you know that   party is social like back absolutely yeah friend  yes so the way I generally work now is I do a lot   of high res sculpting and I decimate it almost  immediately after I'm happy with it and then   that will get libeling into something else or  I just polygroup everything I do need to work   on learning the organization and layers that has  been that had been added since then but that's   generally how it worked in the past but you get  such a high res result now where you're not having   to worry about dynamesh and things together  and you know at a really high rate and then   decimating them down that I used to take a lot  of time so no it doesn't so another figure that   shows basically the full-body transition would  be the six-inch Asoka figure this is probably   from 2016 here she is as a design sculpt no no  joints just matching the reference as best I   could in the position I know they needed to be  in but then I picked where my joint locations   work and I cut them in so this is the initial  sculpt we developed that then went on to be   too refined a bit more into the final THC which  you see it's a big file here so one two three you may have any more questions it's blinded  me catch I'm glad I'm not the one having to   catch the ball in the dark little it's a little  daunting hi I'm Debra Debra what's happening I   absolutely love the drapery that you've created  our designer how much is marvelous designer used   in your your work flow zero really tell me that's  not to say we're not interested we just don't use   it at this time our vendors might use it but  in-house we don't use it okay it's a brilliant   tool we love it to death yeah I do too yeah I  I could spend hours just throwing fabric around   and like laying it over boxes and spheres in  there and watching it fall on the ground I   love it so much it's awesome so are you is this  to mean that you're using ZBrush exclusively at   this point in this case right now like most of  like how much of this would you say was done   in ZBrush Oh 100% there you go yeah thank you  thank you that's yeah let's clarify that yeah   that was the question that's what I do right now  clarify the issue hey come on over there catch   you got this man Holy Smoke comes the letter  man hey shoot so we are right at the stage of   tooling what's the stage immediately before how  is the tooling made is it made from parts molded   part or vice first is it CNC milled sure see and  seeing is part of it a lot of times we'll do C and   C for ABS parts so that's a drill bit actually  drilling into steel and you know you got to you   got to account for undercuts in that because if  it's a drill bit going into steel unless it's on   an articulated arm you know how's it go straight  into the mold so you're automatically restricted   to the undercuts at that point for PVC stuff that  could be more of an electrostatic situation we're   basically welding apart into a piece of steel  so you you're not having to deal with the bit hello my name is Mark and I noticed on your  first model you add the hair yes and would you   be able to pull that up awesome I've been doing  a little personal work and like to experiment   with miniatures and stuff nothing super advanced  but just something what determines how close you   put the hair to the body cuz I notice the like  on the side of the cheek there you've got the   hair really pressed against the cheek but if you  natural it would just be dangling yeah it's kind   of curious about how your process where that goes  so on this figure I believe we did the hair right   here along this line and along the ponytail  that was a separate piece that got plugged   into the back of the head so the hair itself we  could make a little bit softer so that when she   moved her head it would squish it would it would  flex out of the way but then this hair along the   side of her head that was fused to the side her  head and I think in the reference it's kind of   just like little flyaways that lay next to her  head but we really we tried that with the episode   7r a where it was kind of hanging down from her  hair and because of minimum wall thickness is   it it looked a lot so we decided go a slight  different round and it's a stylistic choice   where we just fuse it to the head and squish  it to the side of the head something that might   be an issue with that is if you have too many  little individual things well we have to deco   these things they don't come out of the tooling  I already painted and everything so then somebody   would has to sit there with a brush and actually  match the exact placement of everything so if you   can kind of bunch more of the hair a little bit  more together that simplifies the deco it makes   things a lot easier and it's it looks like the  reference you're golden this is like one day   her hair might have been over here the other day  it might have been over there nice yes all right two for two hi I'm Rachel I I'm wondering you  know I was just outside looking at some of the   3d printed vendors and some of the incredible  models that I believed were painted post and   I didn't even realize that the amount of detail  could be put into painting at the printing level   so it just makes me wonder how are you guys  starting to maybe incorporate 3d printing into   more of like the production level rather than just  you know demo models sure as far as it relates to   color or just three pretty in general as like as  the future choice Hasbro's been 3d printing parts   for probably 15 years and when it comes to Star  Wars action figures it's an essential part of   our pipeline so once the licensure approves it  we then will print out a hard copy we call our   tooling hard copy and that becomes like the gold  standards like okay the licensure loves this we   love this this is what we want the final toy to  look like and it's usually like a formlabs print   so it's pretty essential to us as far as anything  after that it's all production methods after that   so you don't think 3d printing will replace that  mass-market I hope I hope it eventually does yeah   what about all the people that are you know do  you really want to yeah like what about all those   people those nice crash people are painting no yes  is me thinking about these folks sure no I get it   hopefully they'll go on to do more satisfying  how I mean yeah so somebody's painting my in my   units yeah I start wars action figure I like that  mmm-hmm hey give me the box anybody else come on   that's not so far all right great one two three  hey Winston uh yeah I was just wondering matching   the reference but what if the references in there  like a pose like how would that like would you   have to kind of know pose the figure without the  joints yet made like just to get a feel if you can   I think at that point if if we if there was zero  reference of that character or that figure and it   was just that one posed picture we'd probably  do our best to match the details but in the   standing pose you see because if we leave it in  the standing pose then everything we build after   that point will still work in that exact position  and we don't have to then you know transpose   things around and have to match a weird pose or  anything like that and frankly anything that's in   a pose like that if that character if that guy was  to stand up that's that's what we're looking for   we wouldn't be looking to try and you know match  the clothing details and folds to something that's   like really contorted off to one side or something  it's a good point there was a conversation I was   having with another colleague the other day here  at the gnomon School one of the other teachers   and it also has do with packaging mmm so basic  it's got a fit inside of this sort of standard   package right yeah yeah Packaging is a big part of  what we do can't be understated yeah so we wanted   to get into larger figures for the Black Series  that just by their nature you know a gomorian   guard is a lot bigger than a regular person and  we have a certain package depth height width that   we have to deal with in the Black Series so had to  develop a new segment specifically for that and if   especially if it's a if it's a none established  line and they're like oh we think it should be   this or that it's like okay well what are your  package limitations how many you know how many   packages do you need a carton that if how many go  on a pallet it's there's a lot of mass find it so   it's a big part of it package fit that's the that  can't be understated at all that's like I've know   the breathing big that's the money part of it  I mean yeah yeah we don't get the play unless   was any money okay Shane also ladies gentleman go  ahead ask some questions hey thanks for coming out   um yeah I love the stuff hey thank you touching  me Friday night so I'm just wondering if you could   could you demo doing the you actually do something  sure well it's like yeah I was you know the the   joints of the knees and the elbows are really  nice and I just wondered if you could I know   you kind of you know cooking show went through  and yeah I just wonder if you could show like   how you would actually live boolean out like a me  or something like that sure if you have time you   want to see the dark arts do yeah haha thank you  thanks might be boring but okay alright kill the   cameras people at home better be clapping at home  tapping on your keyboards the dark art and anybody   else got a question here is remoter long funky  Friday let's wait in the back I'm not gonna whip   this at you can can I take another question while  you're preparing the meat absolutely I'm gonna go   deep ready coat for certain Long's are you ready  20 yards Holy Smoke he did it touchdown 49ers hi   Hector um yeah I was wondering how it worked out  with the eyelashes and it that became more common   practice or it is it has yeah I don't know how  many people have noticed but on most of our action   figures now we use inkjet printing process for the  faces he's gonna see you get a photo real look to   the face and so with that they've been in more  accurately able to spray on where the eyelashes   should go and it's you know you zoom in on a  really close it it looks Pecola but at a distance   it looks photo real so somebody somewheres  painting those eyelashes on no it's a jet yeah   that that person I don't think they would have  ever painted the eyelashes hunt want to imagine   somebody painting the eyelashes yeah so this is  the figure if anybody out there is gonna be taking   my workshop on Sunday whoa this is the figure it's  just a random Star Wars esque figure that I'll be   having you guys actually articulate as much as  we can in four hours let's give you an idea one   joint could could take four hours so basically  amen that's true go into the essentials of it   we take one more back here absolutely I lifted the  mic for me didn't even give it back okay go ahead   state your name for the record oh yeah since  we're touching that what's your name Oh Jaime   Jaime Jaime oh good go far yeah um so can you tell  can you tell us on how do you guys figure out the   tolerances when it comes to the feelings in the  joints could you repeat that I'm sorry um talk   a little bit more about figuring out tolerances  and on the feelings and the joints I mean it's   all fitting it together and everything yeah that  at least while we're developing the figures is   limited or is set by the 3d printing technology  that we're using so for something like formlabs we   generally look at it like a point 1/2 millimeter  offset on most things if we want to be able to   build everything out put things together glue it  together if you just cut Abilene out of a disc and   then you stick it in the forearm well it's gonna  be too tight to actually assemble you'll have to   sand it down and if you've had to sand down like  20 disks on a figure that has to go out by noon   it's really stressful so adding that offset in  there is really great something that might change   after the fact that some joints might be insert  molded so that's a process where you stick the   disc preemptively into the arm mold and then  PVC is pumped into it to create the arm and it   traps the disc so I'm here to say that there's I'd  like to take a moment and say there's still a lot   of human interaction in the realm of making that  action figure yeah there's still a lot of hands-on   human touch that's going on I think it's important  to note that as well the assembly of a figure is   very important to like just how it goes together  can't somebody actually put this together when   they put it together is it in a way that they'll  they don't have to think about it so if you're   doing if you had to do 10,000 of these in a day we  have to make it in a way that it's easy enough for   them to spam Bam Bam Bam and put them together so  the kid I used to think that Hong Kong was a guy   and I'd walk around see I can't wait to meet Hong  Kong he makes all these toys one day I'm gonna   meet Hong Kong I don't know Julie huh I knew it  that's high one I've been looking for a Hong Kong   the whole time you must get a lot of work yeah  so I would I mean so this guy I don't really have   any details around the elbow so it kind of makes  it a good good joint to show up to sort of show   the process so I'm gonna split away that subtool  hopefully I will have made it a sub tool and this   is just something that's decimated like this and  I've already preset the ball and the cylinder that   I want to use and four joints specifically I like  to use the sphere with the poles and then the same   with a cylinder so get a pole here very few edge  loops in the middle that cylinders set at the dead   center of that sphere so that when I go to use  the gizmo which I do love whenever I go to rotate   things that cylinders should be at the perfect  access point in the middle and if I go to turn   it while holding shift I can do it by increments  I get my my post that goes up into the arm with   this I can see the post is gonna be really close  to the surface of the front of the arm as you so   I'm actually gonna want to take this and rotate it  back slightly but not too far I like there so the   post then will kind of come up into the meat of  the arm so if I left it where it was there's gonna   be a mushroom head on the end of this stem so when  they go to assemble it they pop the that stem into   the arm and you can't get it out most of the time  if you have action figures at home you don't care   about you want to learn more about this get a cup  of water microwave until it's almost boiling stick   your action figure in it wait about a minute  very carefully remove it with needlenose pliers   and then pull the whole thing apart because the  PVC is really soft when it gets warm and you can   kind of see how the action figures bill abs parts  they're not gonna care about that hot water you're   gonna have to put those in like a vise crank  it down and it'll shatter it and then you get   to see what the inside the ABS looks like you're  never getting that that toy is never gonna stand   on the shelf again and be proud but it's very  informative to kind of see how the toys are made many toys have died at his hands yep so I'm  gonna use this sphere to create my disc as   well turn it back 90 degrees something that's  kind of handy when you're dealing with a lot of   rotations like this somewhere in the preferences  I don't remember where is rotation steps and if   you manipulate this and then when you hold shift  you can rotate by that degree divided by four so   when I went to 90 I'm now rotating by one degree  so you got to be very mechanically precise that   gizmo is super handy with that kind of stuff if I  go and slide this back down to its default eight   then when I hold shift it's doing those bigger  jumps math so I'm gonna utilize the edge loops   that are in this sphere to help me create the  disc the first thing I want to do is try to find   the center point of this disc so I'm gonna online  the edge loops and I use the gray bar on the edge   to kind of tell me where that is so they can tell  that that's the centerline edge loop so I'm gonna   use the old this is really old trick holding ctrl  and shift select lasso tapping on the different   edge loops perpendicularly will clear away or  hide the edge loops along that path now look at   the top and I'm gonna split away and then back up  in my undos so that I still have my sphere so now   I've got this piece I turn on double and then I  can close holes and that's starting to look like   the disc that will end up in the arm so from  here I could probably go ahead and dynamesh it   gets some resolution in there a little bit higher  than a default was that looks pretty good bzp for   the project rush and project those details onto  the disk so now my disk looks like this so that's   how you camouflage the details on a disk sure so  if I back up so we made a disk I Dyna messed it   Portia yeah so the dynamesh is just so that when  I project it I'm not getting any crunchy topology   and then the shortcut is B for brush Z and then  P for project and I just leave it on the default   settings spray it and spray it again so now that's  sitting on the surface there I have a feeling when   I go to look at where the pin is going through  that disk that the wall thickness from here to the   pin is gonna be really thin and I'm actually gonna  have to go back to that original arm and slightly   push the cloth of a little bit I'm starting to  fudge the design but if it helps the joints work   better nobody's gonna be the wiser at the end of  it so that's my disk pretty much looked at here   the main thing you'd want to do with this arm is I  can see where the ball joint is going to be I need   to separate this to its upper and its lower halves  so I'll go ahead and just duplicate it and then   quick and dirty shop it now where I'm chopping  through here is because I want a little bit of a   backstop to the elbow that backstop is is so that  you can't hyper extend it and make it look like   you broke his arm but also yeah exactly okay on  bad guys because then your hero can like God you   know break the arm of the bad guy and it's kind  of fun some of the people on the team don't agree   with that but I think it's great so I'm gonna  chop through right about here because I think   that's about where I want the back of the elbow  to be but I can be pretty loose up to here because   you'll see in the cut the way it's gonna be done  so close that off so this ball will eventually   be my live bullying so I can get a preview of  what that will look like we got some problems   here so I probably need to pull the sleeve out a  little bit so that that side part of the joint is   not showing and that's more of just a camouflaging  thing you could have the joint really exposed then   you get a ton of range of motion but then you've  just got a figure with a bunch of really weird   like tumor shapes all over it and nobody's really  happy so we go back to turning labelling off oops I'm just gonna pull this out and right now I can  be kind of loose with it I'm gonna start to fall   off as I get up to here because you'll see in a  minute I'm gonna actually push this part of the   arm back a little bit and that'll be for range  of motion here I'm getting a zigzag don't really   want that because it'd be a little bit distracting  and it might actually cause some moulding issues   so I'm gonna just kind of fill that in smooth it  fill it pack that off so from here we got enough   to where I can start actually maybe cutting  that bullying out yeah I think I'm gonna trim   some of that away as we go oops make bully mesh  shorten my list here upend the arm so now I'm   deck at the bottom here I generally don't get too  fancy with my bullying hierarchies I generally   just do one or two at a time I get stuff from  vendors who clearly can mentally juggle a lot   more than I can where there's just dozens of  hierarchies and it's all set up to where this   idiot can just go make life bullying and it's  done but generally I kind of keep it more a lot   more simplified than that so I'm not even sure  I want to keep this bullying so I don't get too   far into it use myself so here I've got the cut  but we got some thin walled areas so like I was   talking about before measuring things you said  Oh so that's no that's not gonna be any good yep   so just yeah this whole menu of mine is just  my crutch and right at the top is double and   flip and for those who don't know in the tool  pallet down here display properties there they   are double and flip that's pretty crucial for  us to just be able to x-ray through things very   quickly and I'm just gonna use that curve brush  again and just start chopping what I'm looking   to do is create an edge that is at least like  half a millimeter you know I can like I said   before you can cut a knife edge it a little  bit the very end of it doesn't have to be a   millimeter which you want to just try and trim  some of this junk off and then look at it again   so from here I need to start thinking about the  lower half as well so I'm gonna go back to the   main arm how do i how do I create the shape that  is the top of the lower arm that's pretty simple   because the sphere is already kind of occupying  that space so I'm gonna duplicate this again this guy this guy duplicate Sopot and right now  I'm just gonna chop it off and see what we get   so here again when I talked about the okay big  ball this arm I don't want that to stay that   way so for now I'm actually going to I'm gonna  duplicate this goes into a one a long there yeah   yeah partly I got another trick too one thing I  like to do sometimes click curve which normally   is set to you know a hundred percent where it just  very versus mercilessly chops through things what   sometimes I like to do if I want to maintain  that shape a little bit is my hold spacebar and   then hold command and shift I get the Z sent  intensity for the clip curve brush and I just   set it down a little bit so then when I hit this  it's actually keeping some of that spherical shape   so I haven't completely ruined that shape  but it's it's a little more of an organic   look to it that's one way you can do it for this  arm in particular we do need it to kind of match   that cloth pretty closely so I probably wouldn't  use this I would probably just go back to this   arm and do the same trick I did with the disc  camouflage it completely the important part is   the part in between we can't see right now this  part at the top of the sphere when I combine this   with the lower arm now it's starting to look like  what we might need again I think I'm a little bit   too close here but we're just gonna do this for  demo purposes here and I think we can just go   ahead and merge those together so I just merged  down I've got it on a hot key and look at it with   the upper arm okay so we've got some interference  points here where there's coplanar edges we don't   we can't have that this upper arm I need to clean  this up to a point where it'll be a useful bulling   for me to then create the edge on the lower  arm but I've got it kind of started right now   so from here this is kind of just cleaning  up some of those things that we saw before I've lost my quick keys so much Jared  dynamesh over here I want to dynamesh   it because I want a little bit of resolution  there that I didn't have before I've lost my   quick key for some reason his crutch  is gone he's fallen for the floor all   right so it's over here this is just trim  dynamic one of the standard brushes when   you get a real thin edge like this trembling  hammock kind of gets a little confused that's   where I might go back with something like the  clip curve and just try and help it up there there dynamesh it again then smooth it something  else you could do to thicken this edge if I go to   the move brush and I turn on back face masking  I can then add thickness to that edge without   disturbing the inside of it yeah happy now yeah  Oh back face masking so remember that for those   who don't know brush he talks about all this cool  stuff and then doesn't show us where they thought   I'm asking back face mask but a face mask you  may important enough to put at the top that's   right in the menus put that in the shortcut menu  there yep maybe all the time so this is just done   and smoothing so don't want a really distracting  hard edge there so then we can look at how it fits   on this arm now so here's where I'm going to do a  bit of offset work so I've got this is kind of my   master copy arm right now I'm gonna go ahead and  duplicate it again and how do you make an offset   sit down here I've got the deformation palate  completely duplicated here don't ask me why and   I'm gonna inflate I'm just gonna guess at this  point that it's point or one point two it didn't   quite look like enough you see I kind of move a  little bit there you can check it by doing the   same thing we do with a transpose bar to technic  this thickness on other stuff you can do here oops really zooming in not quite big enough  so we got to go about twice that amount   so let's just add let's try point a do  and it's gone just go back to here and   just do to a lot of times is to depending  on the ZBrush Z tool document size it might   be more that actually looks pretty good Oh  point one two fantastic so that's our offset   that then becomes Abilene which then gets  chopped away from the arm here okay fine everybody whoa whoa take this to everybody else  you must hold the cube hold the keys beacon to   the cube so you're essentially boolean that top  arm that you just made away from the bottom arm   that's slightly in really offset right just just  wanted to clarify you see that right there a   story a quick safe ask me when you're finished  I'm a meltdown at three in the morning there's   no quicksave come to work and save me a great  save yeah I get pretty sloppy a lot of times   where I just work out on my quicksaves and I  know what your something will happen like to   the computer or not to ZBrush and no of course  I had a job was it five hundred quick saves in   there I walk into Paul's office I said you know  I had had an issue last night was my problem but   at the same time like we need a quick safe so  then we got quizzes you should have to ask the   elves ZBrush Ellis Hindon where did you go you  again state your name mark mark mark I'm uh I   heard you said something about slightly inflate  when you're inflating like the one portion from   the other what degree of inflation do you do  like what's the golden number that that's the   point 1/2 millimeter usually if you want parts of  printed parts with our current technology to kind   of fit together at a decent amount point - is  about as low as you want to go and that's like   in the in-flight menu when you import a number  that could depend on the the world space in the   Z tool itself so I I would recommend when you  first start working in your Z tool test it out   so you know make a make a sphere inflate it  to just any degree and then measure it with   a transpose bar and then you'll kind of get that  litmus test for that particular Z tool sure it's   one of those things you know that 7th 9th chord  we're talking about there after that Emmet you   know okay good so a lot of times would also do is  use this gray box a lot just as an eyeball aid so   I'm gonna measure from this little point and I  want to make this reading be 0.12 as close as   I can doesn't have to be we're not going to the  moon on this thing so you know don't worry about   the science of it but that's my mark and then I  go to the inflate and I just test it let's see   what one does it gets me about halfway so I know  then if I back up and I type in two that gets me   pretty close and from that point on as long as I  don't take and append my sub tools into somebody   else's Z tool that might have a different unit  world space you should be able to just type in   two every time and that offset in your Z tool  will always be 0.12 something that's also handy   for stuff like that is if you're just having and  this works for scaling as well if you're having   an issue you just can't quite dial it in or the  the inflate just jumps really really big and you   can't type in a decimal point small enough is  a little trick I use with layers so you set a   layer and then you inflate well then all I have  to do is go into the layer palette and just very   carefully set it and then I bake I'm done but I  then haven't learned what that unit is and I'm   gonna have to do that every time with every part  I usually don't go that method especially we like   scaling if we took that which we did the six inch  episode a tray that was a six inch figure but then   we also made a three and three quarter figure  and you know you could export OBJ's take it into   Maya and you know just type in the numbers but  want to just keep it all in see brush so that's   the method we use sometimes is well we know  the height we need to get out based on the   calculations which is just take their height and  divide it by eighteen and that's your three and   three-quarter inch figure you brush reminds me  like one of my favorite uncle's house he always   told me a five-spot and say go play some cards why  won't you yeah yeah he says like favorite uncle's   house just stick with him anybody else stick  would be kid yeah yeah yeah that layer trick   can be pretty handy any questions any questions  take advantage forget about it no collisions no okay you've given Thrall them they  got the look of you differently right   yeah no we're just really more stuck in the  digital clip I'm here all week so fantastic   we can hang some toys in the sky yeah well  sit it's at this point that we could take   that pin and actually test it see if this  joint is even working on how much range of   motion are we gonna get out of this are  there any places colliding that I don't   know about her I'm not paying attention to  and that's we can go back to where is it absolutely I remembered there was one I don't  want them to feel left out it's like two summits   happening at the same time the one happening  at home with the pants and the one happening   here with the pants well that's a question when  it's possible between the two parts torpid Borba   how many people work on a typical sculpt and how  much time does one sculpt take at Hasbro sure ie a   Star Wars figure let's say so basically you know  how many people are typically working on one of   these things and how long does it take you could  stretch the truth on the how long does it take I wish I just say I was gonna say for the project  managers on my team six weeks yeah exactly we   usually like to try and give freelancers like  on a six six inch figure yeah it's like a movie   figure that has a portrait and yeah really needs  to be absolutely perfect spot-on is what you're   saying we'd like to try and give people four  weeks four weeks four weeks you do the whole   character mm-hmm so and that that might be from  concept art that might be from nothing just an   email from somebody saying hey we need an episode  for Luke or whatever and they give us nothing and   we're like okay great well we'll assemble all that  stuff and do it but and as far as how many people   get worked on or work on it yeah that can depend  like a freelancer might need to go on vacation and   so then it goes to another person or it comes  in we like it but then maybe the licensor had   some comments and then it goes out there in  the house people but typically it Sarah may   not be in the crowd to say that again no it's  like we're back in the neighborhood yeah once   Julie if we get over here we might be able to  handle it in-house it might not have to go out   to a freelancer again right in which case it  might go to several people depending on what   they're working on so but typically if you were to  say hey Louie you're gonna do Billy Dee Williams   you know Lando calories you Billy Dee Williams  right you can say okay he got four weeks to do   this ideally and I'm just gonna stick me in Billy  and Julia absolutely you and Billy are gonna be   good friends in those books yes okay fair enough  there you go anybody else no ideally we'd like   to try and give our freelancers autonomy to work  on a whole figure by themselves cuz that there's   nothing better than getting to work on something  put your heart and soul into it and then however   many months later you actually get to buy that  action figure and it looks mostly the way you did   it and it's like work on the point so slipping  it in there it slip the jab here we said we can   think you worked on the figure you get to go to  these shells you get to buy the thing I don't get   one sent in the mail them you don't send me one of  the men nope nope I'm missing support your company   that's right that's right oh yeah get your Joe  box Rivage get sent in your you P oh yeah this   agent I mean yeah the old school days here's my  major blood help yeah anybody else oh whatever   you were are you ready for it okay this is gonna  make it chibs up oh wait touchdown Wittelsbach the   dark web so is there a reason that you when you're  developing your cutters for your joints I do a lot   of stuff mechanical he's a jewel by the way and  so I build the airspace into the cutter itself as   it just that your joints yeah change so much that  you don't just have a standard cutter correct yeah   yep that's pretty much the answer I was talking  about those smarter people are you're smarter   people than me earlier a lot of those people  will do that I just check that blender through   it Twitter time twitter twitter time brought to  you by twitter man make it be work for it today   here we are awesome okay let's see here we got  someone here on the Twitter let's get the name   this is another question from Doug e dougie dougie  when making a ball-joint how do you make sure the   ball will fit into the socket in production  plastics will swell or shrink so how do you   compensate for this and make the ball pop into  the socket let me say this one more time we're   making a ball joint how do you make sure the ball  will fit into the socket in production plastics   will swell or shrink so how do you compensate for  this shrinkage sir to make the ball pop into the   socket I don't want to get into too much stress on  a Friday night I mean wow Julie okay I couldn't do   a job isn't she I know I know I know hey listen  I'm with you well the answering the questions to   answer the question you you kind of see how it's  done in the past and pop open some sample figures   that you've done in the words been satisfied or  not yeah yeah well the ball joint like that it's   a snap in snap that'd be one weird benefit from  dunking in the hot water and it wouldn't hurt it's   just past you the prints music the heat between  you and me yeah so so yeah it we end up usually   doing I think much more conservative offsets on  something like so that that Kiera her neck was   a pop on the barbell neck yes so if we look at  that a lot of noise from outside yeah a lot of   noise there shut the door I'm fine with it it's  fine you try to think here so this one and then   we'll look at the double bar building sorry Shane  we're getting distracted from that elbow but we'll   get back to him that fur coat is scan data ah no  no it wasn't I don't think we got a scan for her   actually looks cool unfortunately yeah well I  have you here I may as well compliment you good so like they say flattery will get you everywhere  look here so I'm a my conservative is production   standards might actually I don't want to say  undercut so from this edge to about here isn't   under cotton but that's okay on a flexible part  because it's flexible it can handle the abuse   in production they probably would have entrapped  that ball maybe even almost up to the stem because   they don't want it falling apart they wanted to  be nice and safe we're all about trying to make   it safe and durable follow both right it's really  our answer for that as well you need to make that   stem diameter a little bit smaller so that we  still get that range of motion we were hoping   to get so one thing is related to another yeah  so it's it's a bit of back and forth with that   and then even in production they are gonna need to  you know dial that in a little bit further than we   can remotely so hope that answered the question  so I kind of got to the point where I used the   axis to tests this VD range of motion and I'm  not really happy with that it is over 90 degrees   Polly it could be better so what what is better  so if I hold this down I want to get 115 degrees   range of motion personally for me yeah yeah I  you know there's a amongst toy people there's   an argument why don't you guys do double elbows  like speak freely cuz we're you know brothers in   arms here get it all certain people on the team  feel that a single elbow is aesthetically more   pleasing interesting when you see a double elbow  or double knee bent into its full position kind of   looks like it got run over by a truck it doesn't  look anatomically correct might be with this one   on the wreck maybe more cycle accident but it  does usually if it's done well enough a double   knee or a double elbow does give you really great  range of motion yeah but we can get pretty close   to there with a single elbow if Paul was here he'd  be talking about right-click navigation but that's   a whole other pixologic internal argument that's  been going on for years like some people like the   skull for the mouse walked into a minor so pretty  good at it mr. King oh right in the gut all right   can you comment on how much time production gets  or manufacturing or from beginning to end at the   time timeline yeah well generally when we sort of  you know kickoff a figure find out we need to do   it to when it ends up on shelves I mean that that  can vary but it's it's I'm around of here usually   yeah which the faster they keep making movies  the more difficult that gets yeah yeah absolutely   okay so we interrupted you but go ahead you're  saying you won what do you say 115 yeah 115 is   not only what I try to get now some characters  just aesthetically we'll have something in the   way yeah that it's moved it changed it Oh would be  a big problem for us it would be like a piece of   armor that is very distinct to that character and  we just can't touch it it has to be there it can't   move it that's when we got to figure out some  creative solutions to how that joint might need   to work but on this character is just a sleeve so  we can we can start pushing things around within   tolerances it's one trick I kind of like if you  don't want to have to make adjustments to the   just the mask pen an intuitive way to make kind of  a gradated gradiated mask is to zoom way the hell   out and then mask with the lasso and you get a  super soft mask and the closer you are the tighter   it gets so we keep getting closer I use this all  the time so it just helps me make a quick radiant   you know you could do it the other way where you  grab this and then you change it to that and then   you know get your gradient that way but sometimes  you get some striations in it will actually see   the the gradient is just not high-res enough so I  just generally work that way and I'm gonna use it   here to push in the top part of the arm why not  just use the move tool and the good old transpose   bar and just kind of lift this out of the way so  it's gonna be a balance of manipulating the top   part of the arm but also pushing in the forearm  where it's gonna connect let me get my brushes I   actually want to go back to back face mask just  push that in and you can check it real quick by   flipping the normals I generally turn on polyframe  with the lines off just because it creates a   highlight color for me to kind of see when certain  things are colliding so if I push this in I can   immediately see pretty quickly I've got a problem  there just my own little trick so that's pretty   good I'm gonna return that arm to its original  position or pretty close to it I can do it very   precisely if because there's undo history on this  forum right now but I've already manipulated the   forum so I'm gonna make a copy of it go back to  the previous one then set it down lower then use   this guy so one thing I'd also like to say too  that's kind of fun is between the transpose bar   and the gizmo you can create kind of a memory so  as they're sometimes I'll change to a sub tool and   my gizmo will be way off camera and I don't want  to have to zoom out to grab it so I'll switch to   the transpose bar and then I'll switch back to the  gizmo gizmo automatically goes back to where the   transpose bar was wanted to be the middle I can  just click there but I can also get I can transfer   that location using the transpose bar so from here  if I want to use that axis but I was on the gizmo   or whatever if I switch to the transpose bar and  I switched to the other sub tool the transpose bar   stays where it is whereas the gizmo is gonna move  to wherever the gizmo last was and I can use that   instead of using the gizmos move all options if  I didn't want to have to do that and just rotate   it back down ooh that's pretty close I'm gonna  delete the one I don't need which is that one   because I've moved that part in and now I've got  a joint that I'll do 115 degrees range of motion   again that disk is gonna be really thin in the  front so if I'd have done it my job correctly I   probably would have beefed just beef that up with  just a little bit to add a little more thickness   to it it's also kind of distracting to me that  there's a really hard edge here and as long as I   don't come out of the spheres if I don't come out  of the sphere if I actually just push in the joint   should still work and what mechanically lock in  anyway I'm just gonna use transpose term dynamic   knock that edge down a little bit maybe give it a  little smooth bada-bing the other thing we try to   do too is well what does the joint look like when  it's posed so we would actually have people sculpt   fabric texture into the joint here and just  standard brush just so that there's something   there where it's not just a blank ball when it's  posed that detail needs to be then projected   onto the disk so that it's nice and camouflage as  well obviously yeah that's is that the best cost   sculpting you can do yeah perfect right nailed  it first try millions of people watching around   the globe you just did that in front of all those  feel real good about their cloths cool yeah right   yeah know that I have a few brushes that kind of  helped me with claw claw sculpting and they don't   obviously do the work for you but it does kind  of help to sort of create a surface that gives   you happy accidents and this is just based off  an alpha from a phone I got online and it just   creates a certain movement to the surface I'm  just you know it's gonna drag alpha that I will   then use my brain kind of sees that I go I kind of  like the way that wrinkle just hit and then I'll   go on with standard brush and start you know cloth  sculpting stuff some stuff around now if that were   to get printed you'd never see those wrinkles  that's just the beginning though I'd set him   a lot deeper as we went along yeah articulation  schemes can get kind of nuts especially if you   have a forearm monkey so a little boy I think  we did three passes on this guy it was like   three because we've initially got him his concept  art then we got some good photos and then we got   some more photos so he went through plenty of  revisions and we spent a lot of time and love   and energy on him he obviously is a format where  you're not gonna get just traditional joints from   a black series figure on this guy or they're  gonna just be set up differently and there's   all kinds of problems involved with this but we  push this one to the limits he's got a bunch of   secondary PVC parts that need to get added on  but can't restrict his range of motion he has a   triple torso well quick question sure for me to  you would you consider this in this particular   case this figure is gonna be more expensive to  make yes okay so there's we can't think about it   the line is a horse so then you know it's like any  other business you have a certain amount of you a   budget of course so you got a this one's gonna be  really heavy okay well something else has got to   change somewhere else so you would modulate the  complexity of something else along the line and   then essentially what would happen is you know  this might be a loss leader and not be produced   in the same numbers as the other ones correct so  then you get your it's all there's number geniuses   that Hasbro that I'm glad they're they're being  figured that I don't know make more accounting   types okay good you don't Matt so good you'll  mess this isn't trying to create this tour so   if three oops so it's essentially three balls  stacked on top of each other but then we have   to make somehow make the barbells all function to  actually work and the range of motion has got to   be accounted for in the cones so that cone is the  negative space that that bar can then move in any   direction so if anybody has this toys really test  it out because we worked really hard to make that   work but the barbells themselves have to trap  into each other because there's just no room   to have this ball sitting down far enough to then  get the wall thickness between the layers so they   actually had to interact in that way and kind  of chained together almost like a little tripod   for a camera and then the upper or the chest I  mean there's like very little room at all here   for the different pins and everything they have  to go into that we had to make sure the spacing   was right but I did kind of feel what we were  done with that just like drop the mic I've done   all I can shouldn't between those two pieces of  front part of the torso and the back part of the   torso there are also male and female component  parts that are gonna clip together to hold it   together when does that get implemented the tent  they may have done this upper chest as not just   a beard abs and just use a couple different pieces  to mechanically trap it that's the best use of ABS   on action figures okay maybe there's a lot of  pop in joints that makes me think it probably   wasn't but there's ways they could have done  it the other way as well and is that a standard   approach that's used in some the interior for  instance like on a line would that be or would   that be dependent on the action figure in question  it's very dependent on each character's beautiful   answer I pass you to this gentleman right here  Shane Olson go ahead with the question here   I wasn't a question I just wanted to say thank  you so much for the demo absolutely my pleasure you got a buck you have a few minutes left here  so you want to field some questions or like you   know yeah anybody anybody take advantage of the  guy you know I'll take advantage of the guy miss   Friday night night you suppose a big party don't  forget got questions in the back there you gonna   catch it yeah well then I'm gonna bring it to you  this time this was it Barbara was your name again   but Deborah I'm sorry I don't want to hit you in  a head they're losing my moxie you're out hi I'm   shooting for the record my girl is Jose Jose I  was a I was just wondering what's the difference   between the double elbow and the single elbow sure  sure it's a factions in the lunchroom actually at   this point just give her you a red shirt are  you a blue shirts right hey listen you go sit   over there man I don't really if it serves the  figure better I don't really care either way but   there's people that it's a big problem for him  so the knees on this Ray they are double knees   and so that is just to flat plain joints aligned  perpendicularly to the direction of the lake so I   isolate this you can see the cylinder here and  you can see the cylinder there and we've also   actually drilled holes through it there so that  when the model makers we actually print this out   that's a pilot hole for them they can drill that  out they can hammer in a little pin and then we   take it to marketing meetings or whatever and  can actually pose the action figure around when   we look inside of this you can start to see the  cylinders a little bit more plainly so this will   rotate from this axis so you'll get about half  way back and then it'll rotate again from this   axis so really her heel should be able to touch  the back part of her thigh because it you know   it's two joints the single the single joint would  be the one I demo where it's a ball joint but it's   really the disc which is a flat plane disc that's  doing the rotating up it's just the ball joint can   also go side to side whereas the double knee can  really only bend along those two axis you have to   then add a third joint a rotational joint in the  case of the thighs at the top of the thigh here   to allow you to actually kind of pivot the whole  leg one direction or the other so if we had done   double elbows on this Ray she would have needed to  have a break and actually this design would have   been nice for it here at least because there's a  break point where the arm wraps kind of squeeze   her arm we could have put a break point here and  that would have been our flat plane joint but a   lot of times there's not a ton of room between  where that pin goes down lower and where the pin   from the elbow comes up so you get cramped for  space at that point but on some other figures   aesthetically it just doesn't look good if you  have to put a break here and have the arm move   it back and forth just use a single elbow I'm  gonna get so many comments online about this   he's a hater yeah I honestly whoever serves the  figure better looks better works better I'm fine   with it brother it's a safe space photo Thank  You Louie well here it is oh yeah nobody else   saw a hand up earlier mitosis square at you won't  pilgrim show yourself it's late in the day I'll   be afraid Hugh you had your hand up didn't you I  know you did ready rugby Mike you got it what so   I'm gonna look at the forearm character you just  had before okay you mentioned that around like an   estimate there was about a four week period on  a character to this complex with multiple arms   multiple waist joints are you willing to you  know get more time for that kind of project   normally yeah normally we would look at that and  go and then yeah he's gonna need a little more   time we were in a position with this one that the  schedule just was so tight I had I had to rescale   major portions of this in like two or three days  I think we had to be me I didn't have time to even   send it out salaryman so I just all night heard  it until it was done and got it in on time but   that's that's a case where the timeline is just  so super tight but for a freelancer setting out   to set up that project that timeline yeah we  would probably want to give you a little more   time that one going to the Twitter feed let's  find out here we've got I'm not really seeing   what do you giving me the finger of death here  is everything tell me Jim office tell me it's   okay you get a question at a delay you're just  screaming get it check it what what do you say Oh check the other check yeah because your date I'm  sorry man okay this question comes from heavy j10   heavy juice day heavy J I like that name heavy J  on a Friday night down how many formlabs printers   are in there they're gonna be Julie it never ends  I already have you Thank You Don wait hold on a   second and even ask you the question what are  we like connecting here like how many formlabs   printers do we have in the building you know how  many for glam printers are in the Hasbro offices   and how much time do you guys actually print out  your own stuff instead of work stuff what is this   guy that's a trap that a company pen I don't know  I have my own form to actually so I get Thai write   all day long at home if our boys set themselves we  actually have the the form cell which is I think   it's ten form two printers with an automated arm  it's this whole cabinet thing and this really Star   Trek what a name like cell you know yeah there's  trouble coming don't worry I think there so yeah   it's a really great piece of machinery and like  it it basically loads the trays it unloads the   trays it manages all of different projects and  it's amazing to watch so there's those tend I   think there's at least a couple that are just  free of that and they're kind of experimental   ones yeah I think we've gotten a form three and  we're working with that and then there's half a   dozen other types of 3d printing technology that  we have that's not stereo lithography I've got   some FDM printers we've got some powder style  printers and some other printers I can't talk   about cool cool stuff yeah really great you use  an FTM printer let's say for a just a really quick   representation of some content and nothing really  serious just to kind of get the idea of that's   when structure somebody comes into your office  and they're like dude I need this like in two   hours or whatever it is low in a meeting you're  gonna get what you get and that's what we've been   print out for them sure enough okay yeah well  that was a heavy J question on a Friday night   it does anybody oh look hold on a second here is  a question from prime okay Clark I like the names   these people give themselves yeah prime okay  Clark says do you consider the molding process   when sculpting yes I mean yeah I should've talked  about that well what happened yes so the way we   deal with that yes we do we absolutely do that's  we wouldn't have this job if I didn't so for this   we are let me go back to the arm the way we check  for how it's gonna get mold is we generally know   about what it needs to be and actually I have  a new I have a thing I can show you guys what   is that oh my is that the timer is that the two  minute warning if the smoke reaches you the big   hook will come out and pull you off so you the  smoke machine is just yeah source nature okay the   short answer is yeah yes we do absolutely a couple  of tricks for that only smell goes out of control   if you want to see undercuts group front it's just  a polygroup option and that kind of shows you if   you think you know where the parting line is on  one half of the mold so what we're facing would   be one half of the mold and then the back side  of you the other half of the mold you're being   engulfed oh god I'm dying the look and there goes  you brush that polyframe will actually paint he's   done yeah you didn't see me click the X it will  show you the part line basically and you can make   adjustments to the sculpt group front again and  see if anything is highlighting weird what you   ideally want is a nice clean line that runs  down that part having a little more knowledge   about how to mold and cast things is really great  for what we do it's it's pretty essential so why   don't we put our hands together here in the live  studio audience at the gnomon green screen hanger   guys the shot of the Hollywood sign paul panait  ladies and gentlemen from hasbro brought to you   by this has been in sponsorship with formlabs  what an amazing presentation we cleared up a   lot of the smoke we cleared the air as they  say dissipates really quickly you know it's

Channel: Pixologic ZBrush

Views: 64,409

Rating: 4.9611821 out of 5

Keywords: zbrush, zbrush tutorial, zbrush hair, zbrush speed sculpt, zbrush hard surface, zbrush beginner tutorial, zbrush 2019, zbrush 2020, pixologic, zbrush free, z brush, sculptris, pixelogic, zbrush download, zbrush core, zbrush trial, zbrush brushes, blender, 3d coat, 3d modeling, digital sculpting, adobe live, zbrush student, star wars toy rey, star wars toys rey, star wars rey hot toys, rey skywalker toy, rey lightsaber toy rise of skywalker, star wars toy, star wars toys

Id: P08kuTIRziE

Length: 86min 13sec (5173 seconds)

Published: Sat Sep 28 2019