3D printing

How is 3D printing technology leading to new creative opportunities? We interview three creatives for their expert insight

WORDS BY JAMES CLARKE

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A ghost figure from Destiny

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A 3D-printed set design model indicates the scale of the eventual human performers in relation to the practical set elements built for a sequence in Star Wars: The Rise of Skywalker (image courtesy of Jack Cave)

O ur conversation begins with props and modelmaker Jack Cave, as he sketches out how he came to work in the world of prop design and modelling. “From an early age, I had always been interested in 3D design and film, but I didn’t really know that a job in modelmaking was a possibility until I was at college studying architecture and 3D design. It was only when I got the chance to start building architectural models as part of the course that I realised modelmaking was really what I wanted to pursue.

After college I went on to study modelmaking at Arts University Bournemouth, and within a couple of weeks of graduating I managed to get a job working as a junior modeller in the art department on Star Wars: The Last Jedi.”

Cave then goes on to highlight the principal challenges of his work, and notes: “The main challenges always come down to timings – nearly everything has a very fast turnaround, especially on larger jobs. We’ll often produce one design, but then in a matter of hours a different variation of that design is needed. Being able to solve problems quickly is therefore vital, so rapid prototyping and sketch modelling techniques are essential for the quality and speed that I need to keep up with the various iterations of designs.”

With fantasy film projects allowing for a particular wealth of prop and set design opportunities, Cave notes how work on a fantasythemed project like a Star Wars movie or Aquaman differs in terms of a project set in our world in terms of creative choices. “Working on any fantasy film is great and it’s always fascinating to see the coming together of the imaginary worlds of the director and the designer,” he explains. “The freedom of not being limited to the real world does however has its challenges, for example it’s sometimes difficult to understand the proportions of CGI monsters compared to their surroundings. Films set within our world tend to have a slightly different feel, especially from a modelling point of view, as often we are tasked with designing architectural buildings where the details and dimensions are true to life. Whilst I really enjoy the freedom of a fantastical story, limited only by imagination (and budget!), I personally prefer working on films based in the real world, but with a supernatural element to them – you can feel grounded in the storytelling but are also not limited by the realms of possibility.”