Feature published in May 2021, discussing earlier productions and distinguishing physical object manufacture from digital effects.
3D printing serves several filmmaking activities: prop making, costume components and the production of faces for stop-motion animation. It turns a digital model into a physical object that crews can handle, adjust, finish and film. Its value depends on the project, material and filming requirements.
Distinguishing printed objects from digital images
A computer-generated image is rendered for the screen. A 3D-printed part is manufactured as a physical object. Both can contribute to the same film, but animated graphics or stereoscopic projection do not establish that additive manufacturing was used. Image quality also depends on lighting, photography and post-production.
The pieces worn by Queen Ramonda in Black Panther (2018) offer a concrete example. Julia Koerner describes designing the hat and shoulder mantle from Ruth E. Carter’s sketches, followed by laser-sintered PA 12 production at Materialise. These are physical costume components, not evidence that every costume in the film was printed.
Further reading: 3D-printed wearables behind the scenes of Black Panther.
Why do production teams choose 3D printing?
- Reproduce a digital shape and adjust its details through successive trials.
- Adapt a prop to a character or scene.
- Manufacture a series of small variations, such as facial expressions.
These possibilities do not eliminate craft work. Assembly, painting, fitting and on-set testing remain part of the process. Manufacturing time saved must be assessed alongside preparation and finishing time.
From digital model to physical prop
Design, manufacture and use on camera are distinct stages. How they fit together matters more than a general promise of lower costs.
A digital model can visualise a character or set without ever being printed. Physical manufacture additionally requires geometry and a file compatible with the chosen process. Mentioning sculpting or visual-effects software therefore does not establish that an additive part was produced.
For a customised part or small run, printing can avoid some tooling. Final cost still depends on quantity, size, material, supports and post-processing. A worn or handled prop must also meet the comfort, durability and safety requirements of its intended use.
Stop-motion animation at LAIKA
In stop-motion, the crew photographs an object or puppet in successive positions. Playing those images in sequence creates movement on screen. Interchangeable parts allow facial expressions to change.
At LAIKA, 3D-printed faces support replacement animation in films including Coraline, ParaNorman, The Boxtrolls and Kubo and the Two Strings. Digital models and physical parts work alongside the animators’ craft.
The process evolved between films. LAIKA’s account notes that the faces for Coraline required hand painting. Later colour and multi-material printing did not remove the other operations needed for filming.
Costumes and props: documenting each use
Applications should not be inferred from a film’s appearance. A costume can combine textiles, moulded parts, printed components and digital retouching. Identifying the role of 3D printing requires specifying the part, manufacturer and process, as in the Black Panther example.
3D printing is also a documentary subject. Print the Legend (2014) examines competition among companies in the sector. A film about the industry should be distinguished from a film whose props are manufactured using the technology.
Another approach to projection: Julien Maire
French artist Julien Maire presented Relief at iMAL in Brussels in 2014. His Man at Work projector uses a sequence of 3D-printed forms in place of flat film: their movement through the light animates a figure digging. The forms were produced by stereolithography. This artwork explores the physical support of the image; it is not a description of standard feature-film production.
A technique serving the production
3D printing expands fabrication options without replacing the full range of filmmaking techniques. These examples show specific uses: making a costume component, producing facial variations or experimenting with a projection device. Their value lies in the results achieved for the project and their integration into the crew’s work.
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