Your very own 3D fig­ure

3d fig­ures are pop­u­lar among peo­ple who want to mark such spe­cial oc­ca­sions as wed­dings.

The Star Malaysia - Star2 - - LIVING - By RYUZO SUZUKI

FOR about five min­utes, the woman stands as still as pos­si­ble while a man passes a hand-held de­vice around her whole body. When the or­deal is over, she sighs with relief.

This hap­pens at a stu­dio that makes 3D fig­ures in the Ichi­gaya dis­trict of Shin­juku Ward, Tokyo, in Ja­pan. Both the woman and the man, who wields a 3D scan­ner to scan her, were deadly se­ri­ous be­cause pre­cise data can­not be recorded if the model moves dur­ing the process.

Sony Mu­sic Com­mu­ni­ca­tions Inc started sell­ing the 3D Print Fig­ure prod­uct last year, in which a fig­ure is sculpted us­ing full-colour 3D scan­ners.

To cre­ate the fig­ure, the scan­ner first ob­tains data through the scan­ning of a per­son from head to toe.

Then a com­puter mod­els the data and out­puts im­ages through a 3D printer us­ing colour ink, spe­cial bond­ing ma­te­ri­als and white plas­ter pow­der. The price for a fig­ure ranges from ¥49,000 to ¥120,000 (RM1,589 to RM3,898), de­pend­ing on the size.

Ac­cord­ing to Yo­suke Takuma, who planned this busi­ness for Sony Mu­sic Com­mu­ni­ca­tions, th­ese 3D fig­ures are pop­u­lar among peo­ple who want to mark such spe­cial oc­ca­sions as wed­dings and ma­tric­u­la­tion cer­e­monies.

It takes about two months to pro­duce a 3D Print Fig­ure.

Rie and Makoto Shimizu, who plan to hold their wed­ding cer­e­mony in Osaka this month, vis­ited the stu­dio.

“We want to wel­come our guests at the wed­ding in an un­usual way and thought it would be a good idea for fig­ures just like us to hold boards wel­com­ing the guests,” Shimizu said.

Koji Iwabuchi and his wife Yumi vis­ited the stu­dio to or­der fig­ures to com­mem­o­rate their 20th wed­ding an­niver­sary.

“It’s like photography at the end of the Edo pe­riod (1603-1867) as we can­not move at all,” Iwabuchi said.

“It’s in­ter­est­ing to feel like Sakamoto Ry­oma. In the fu­ture, it might be­come an or­di­nary thing, but it’s fun that few peo­ple have ex­pe­ri­enced this,” he said.

Ry­oma (1836-1867), an Edo pe­riod fig­ure who en­vi­sioned a Ja­pan free from feu­dal rule, is also known as the sub­ject of some fa­mous pho­tos from that time.

Iwabuchi said: “How­ever, as ev­ery­thing is re­pro­duced very ac­cu­rately, in­clud­ing body shape, hair tex­ture and wrin­kles in the cloth­ing, it would be great if they re­touched the fig­ure slightly.”

“No mat­ter how ad­vanced the tech­nol­ogy is, the qual­ity of the fig­ures ul­ti­mately de­pends on the ana­log skills of peo­ple in­volved, such as how quickly and well tech­ni­cians can scan sub­jects, how much ex­pe­ri­ence they have in ad­just­ing scanned data, how much time they can spend on the work or how good their fin­ish­ing touches are,” said Takuma. – The Yomi­uri Shim­bun/Asia News Net­work

Cap­tur­ing the whole pic­ture: This com­pos­ite pho­to­graph shows the process of ac­quir­ing data by scan­ning rie Shimizu’s en­tire body with a 3d scan­ner. Sev­eral gi­ga­bytes of data are recorded dur­ing each scan.

Makoto Shimizu and his wife, rie, check the 3d data on a com­puter af­ter they are scanned.

Out­puts made of plas­ter pow­der, ink and bond­ing ma­te­ri­als from a 3d printer.

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