[Frank Ippolito] You know the the one character Flack has
these little like plushies hanging off
of his backpack and instead of trying to
like figure out how to pattern this
thing or taking and printing it or doing
whatever, we just build out half of the
plushie. Then Hans was able to just
pattern right onto that and then now
she's making these like cool little
plushies and you know kind of a quick
turnaround.
[Sami Lee Woolhiser] I think what I love about all
the processes that you're using is that
you're really good at walking line
between combining digital fabrication,
new modern processes and really really
traditional sculpture fine art kind of
processes with creating the foam
bases and taking the 3d models directly
from the games you're maintaining that
trueness to to what the the game design.
But then also incorporating you know
meeting the lines between engineering
and you know the fine art sculpture
aspects.
[Frank Ippolito] Well, I've always thought that special effects or makeup effects or
props or any of these things this
industry that I'm in it's it's a really
technical art. You have to kind of find
this happy medium to make art in a very
technical way.
[Sami Lee Woolhiser] And also because you have
so many options of how to do something
you can be selective about the process
for every single problem that you're
trying to solve kind of allowing the
vision to inform the processes that
you're selecting.
