As if we needed another reason to worship athletes, select Olympic hockey players will wear state-of-the-art, 3D-scanned uniforms custom-fitted to their body parts. That’s right, like superheroes.
Hockey equipment manufacturer Bauer officially unveiled the new line of high-tech hockey equipment, called “OD1N,” in December. CEO Kevin Davis has touted the gear as the “concept car” of hockey equipment. Pouring a cool million dollars into outfitting six elite hockey players, Bauer used a tech-friendly combination of composite materials, compression-molded foam and 3D optical scanning to personalize the equipment, while lightening the skates, protective gear and goalie pads by one-third.
Hockey enthusiasts will see the line in action on the ice when it debuts at the Sochi Winter Games in February. The equipment will be worn by the NHL‘s Jonathan Toews (Chicago Blackhawks/Team Canada), Patrick Kane (Chicago Blackhawks/Team USA), Nicklas Backstrom (Washington Capitals/Team Sweden) and goaltender Henrik Lundqvist (New York Rangers/Team Sweden). Claude Giroux (Philadelphia Flyers/Team Canada) and Alex Ovechkin (Washington Capitals/Team Russia) round out the group of six players who worked with Bauer to test the equipment.
Lundqvist has been practicing and playing with the Od1n goal pads since November, while Toews, Kane and Backstrom are sporting elements of the protective body suit.
Bauer’s new line of hockey equipment comprises skates, goal pads and protective base-layer suits molded to each player’s form.
The equipment’s weight reduction should provide a significant on-ice advantage. The skates alone, with their lighter, carbon-composite blade holders, amount to roughly 1,000 fewer pounds of lifted weight during a regulation game, according to Bauer. Lundqvist will lift 180 fewer pounds with the Od1n goalie pads, which replace traditional layers of synthetic leather with compression-molded foam that can be modified depending on the goaltender’s style of play.
“The benefit is not only in the quickness to the puck but in their ultimate endurance and stamina going into the third period,”
“The benefit is not only in the quickness to the puck but in their ultimate endurance and stamina going into the third period,” says Craig Desjardins, Bauer’s general manager of player equipment and project leader for Od1n. “For [Lundqvist], that was the difference between getting a block or getting scored on.”
Like many a concept car, Bauer also drew on new technologies via its designs. Using 3D optical scanning borrowed from the automotive industry, it manufactured protective base-layer suits molded to each player’s physique. The scans generated computerized models, from which Bauer designed custom equipment.
“Being able to customize, for example, a shin guard or elbow pad based on the individual geometry of a player, we’ve taken the guesswork out completely,” says Desjardins. “It’s going to better protect you if it stays in place.”
It’s all very spiffy, but in automotive terms, a concept car showcases radical new developments in technology and design that make it prohibitively expensive for consumers. The cars don’t often make it to mass production. The cost of Bauer’s own “concept car” design, with its attendant technological advancements, places the equipment well out of reach of all but the most elite hockey players.
Much like BMW’s shape-shifting sedan, the idea is to ogle Od1n, not to own it — although, Bauer will likely outfit a few more NHL bodies in the future.
Its creators are optimistic that certain elements will make their way to mass production, however.
“We’re trying to invent the future of hockey equipment, to show the industry and consumers where it could go, where it will go,” says Desjardins. “In the next few years, we’ll be able to take that technology down into multiple price points.”
So if, a few years from Sochi, your neighborhood is teeming with hockey prodigies, you’ll know why.
Film director and cinematographer Patryk Kizny – along with his talented team at LookyCreative – put together the 2010 short film “The Chapel” using motion controlled HDR time-lapse to achieve an interesting, hyper-real aesthetic. Enthusiastically received when released online, the three-minute piece pays tribute to a beautifully decaying church in a small Polish village built in the late 1700s. Though widely lauded, “The Chapel” felt incomplete to Kizny, so in fall of 2011, he began production on “Rebirth” to refine and add dimension to his initial story.
Exploring the same church, “Rebirth” comprises three separate scenes created using different visual techniques. Contemplative, philosophical narration and a custom orchestral soundtrack composed by Kizny’s collaborator, Mateusz Zdziebko, help guide the flow and overall aspirational tone of the film, which runs approximately 12 minutes. The first scene features a point cloud representation of the chapel with various pieces and cross-sections of the building appearing, changing and shifting to the music. Based on LIDAR scans taken of the chapel for this project, Kizny generated the point clouds with Thinkbox Software’s volumetric particle renderer, Krakatoa, in Autodesk 3ds Max.
“About a year after I shot ”The Chapel,” I returned to the location and happened to get involved in heritage preservation efforts,” Kizny explained. “At the time, laser scanning was used for things like archiving, set modeling and support for integrating VFX in post production, but I hadn’t seen any films visualizing point clouds themselves, so that’s what I decided to do.”
EKG Baukultur an Austrian/German company that specializes in digital heritage documentation and laser scanning, scanned the entire building in about a day from 25 different scanning positions. The collected data was then registered and processed – creating a dataset of about 500 million points. Roughly half of the collected data was used to create the visualizations.
Data processing was done in multiple stages using various software packages. Initially, the EKG Baukultur team registered the separate scans together in a common coordinates space using FARO Scene software. Using .PTS format, the data was then re-imported into Alice Labs Studio Clouds (acquired by Autodesk in 2011) for clean up. Kizny manually removed any tripods with cameras, people, checkerboards and balls that had been used to reference scans. Then, the data was processed in Geomagic Studio to reduce noise, fill holes and uniformly downsample selected areas of the dataset. Later, the data was exported back to the .PTS ASCII format with the help of MeshLab and processed using custom Python scripting so that it could be ingested using the Krakatoa importer. Lacking a visual effects background, Kizny initially tested a number of tools to find the best way to visualize point cloud data in a cinematic way with varying and largely disappointing results. Six months of extensive R&D led Kizny to Krakatoa, a tool that was astonishingly fast and a fraction of the price of similar software specifically designed for CAD/CAM applications.
“I had a very basic understanding of 3ds Max, and the Krakatoa environment was new to me. Once I began to figure out Krakatoa, it all clicked and the software proved amazing throughout each step of the process,” he said.
Even with mixing the depth of field and motion blur functions in Krakatoa, Kizny was able to keep his render time to roughly five to ten minutes per frame, even while rendering 200 million points in 2K, by using smaller apertures and camera passes from a higher distance.
“Krakatoa is an amazing manipulation toolkit for processing point cloud data, not only for what I’m doing here but also for recoloring, increasing density, projecting textures and relighting point clouds. I have tried virtually all major point cloud processing software, but Krakatoa saved my life on this project,” Kizny noted.
In addition to using Krakatoa to visualize all the CG components of “Rebirth” as well as render point clouds, Kizny also employed the software for advanced color manipulation. With two subsets of data – a master with good color representation and a target that lacked color information – Kizny used a Magma flow modifier and a comprehensive set of nodes to cast and spatially interpolate the color data from the master subset onto the target subset so that they blended seamlessly in the final dataset. Magma modifiers were also used for the color correction of the entire dataset prior to rendering, which allowed Kizny greater flexibility compared to trying to color correct the rendering itself. Using Krakatoa with Magma modifiers also provided Kizny with a comprehensive set of built-in nodes and scripting access.
The second scene of “Rebirth” is a time-lapse reminiscent of “The Chapel,” while the final scene shows live action footage of a dancer. Footage for each scene was captured using Canon DSLR cameras, a RED ONE camera and DitoGear motion control equipment. Between the second and third scene, a short transition visualizes the church collapsing, which was created using 3ds Max Particle Flow with help of Thinkbox Ember, a field manipulation toolkit, and Thinkbox Stoke, a particle reflow tool.
“In the transition, I’m trying to collapse a 200 million-point data cloud into smoke, then create the silhouette of a dancer as a light point from the ashes,” shared Kizny. “Even though it’s a short scene, I’m making use of a lot of technology. It’s not only rendering this point cloud data set again; it’s also collapsing it. I’m using the software in an atypical way, and Thinkbox has been incredibly helpful in troubleshooting the workflow so I could establish a solid pipeline.”
Collapsing the church proved to be a challenge for Kizny. Traditionally, when creating digital explosions, VFX artists are blowing up a solid, rigid object. Not only did Kizny need to collapse a point cloud – a daunting task in of itself – but he also had to do so in the hyper-realistic aesthetic he’d established, and in a way that would be both ethereal and physically believable. Using 3ds Max Particle Flow as a simulation environment, Kizny was able to generate a comprehensive vector field of high resolution that was more efficient and precisely controlled with Ember. Ember was also used to animate two angels appearing from the dust and smoke along with the dancer silhouette. The initial dataset of each of angels was pushed through a specific vector noise field that produced a smoke-like dissolve and then reversed thanks to retiming features in Krakatoa, Ember and Stoke, which was also used to add density.
“To create the smoke on the floor, I decided to go all the way with Thinkbox tools,” Kizny said. “All the smoke you see was created using Ember vector fields and simulated with Stoke. It was good and damn fast.”
Another obstacle was figuring out how to animate the dancer in the point clouds. Six cameras recorded a live performer with markerless motion capture tracking done using iPi Motion Capture Studio package. The data obtained from the dancer was then ported onto a virtual, rigged model in 3ds Max and used to emit particles for a Particle Flow simulation. Ember vector fields were used for all the smoke-like circulations and then everything was integrated and rendered using Thinkbox’s Deadline, a render management system, and Krakatoa – almost 900 frames and 3 TB of data caches only for particles. Deadline was also used to distribute high volume renders and allocate resources across Kizny’s render farm.
Though an innovative display of digitally artistry, “Rebirth” is also a preservation tool. Interest generated from “The Chapel” and continued with “Rebirth” has enticed a Polish foundation to begin restoration efforts on the run-down building. Additionally, the LIDAR scans of the chapel will be donated to CyArk, a non-profit dedicated to the digital preservation of cultural heritage sites, and made widely available online.
The film is currently securing funding to complete postproduction. Support the campaign and learn more about the project at the IndieGoGo campaign homepage at http://bit.ly/support-rebirth. For updates on the film’s progress, visit http://rebirth-film.com/.
About Thinkbox Software Thinkbox Software provides creative solutions for visual artists in entertainment, engineering and design. Developer of high-volume particle renderer Krakatoa and render farm management software Deadline, the team of Thinkbox Software solves difficult production problems with intuitive, well-designed solutions and remarkable support. We create tools that help artists manage their jobs and empower them to create worlds and imagine new realities. Thinkbox was founded in 2010 by Chris Bond, founder of Frantic Films. http://www.thinkboxsoftware.com
https://scanable.com/wp-content/uploads/2014/01/LiDAR-for-Visual-Effects-Rebirth.jpg378756Travis Reinkehttps://scanable.com/wp-content/uploads/2025/01/SCANable_logo_emblemSimple-180x180.pngTravis Reinke2014-01-25 05:09:482014-01-25 05:09:48Krakatoa Creates CG Visual Effects from LIDAR Scans for Short Film “Rebirth”
Visitors to this year’s Sochi Winter Olympics will have the opportunity to see their face rendered on the side of a building in giant 3D mechanical polygons. The work of British architect Asif Khan, Megaface is like a cross between Mount Rushmore’s sculpted facade and the pinscreens that adorned executive offices of the ’90s.
The design of a 2000 sq.m pavilion and landscape for MegaFon, one of the largest Russian telecoms companies and general partner of the Sochi Winter Olympics.
3D photo booths within the pavilion and across Russia in MegaFon retail stores will scan visitors’ portraits to be recreated in by the pavilion. It’s facade is designed to function like a huge pin screen. It is made up of over 10,000 actuators which transform the building’s skin into a three-dimensional portrait of each visitor’s face.
The concept is to give everyone the opportunity to be the face of the Olympics.
The structure is sited at the entrance to the Olympic Park, and incorporates an exhibition hall, hospitality areas, a rooftop viewing deck and 2 broadcasting suites.
The installation consists of 10,000 actuators fitted with LEDs and arranged into triangles that can extend up to six feet out from the side of the building to form 3D shapes. Visitors will be invited to have their face scanned at on-site “3D photo booths” before Khan’s actuators will move to form giant 500-square-foot representations of the scans. Three faces will be shown at any given time for 20 seconds, and it’s estimated 170,000 faces will be rendered during the games. Visitors will also be given a link where they can watch a 20-second video showing the exact moment when their face was on the side of the building.
170,000 FACES WILL BE RENDERED DURING THE GAMES
Megaface will comprise one side of Russian carrier Megafon’s pavilion — the installation’s name itself part of the massive branding exercise that is the Olympics. It’s some way from completion, but Khan and Swiss firm iart, which is realizing Khan’s vision, have successfully demonstrated a prototype (shown below) that uses just 1,000 actuators to render a small-scale image.
https://scanable.com/wp-content/uploads/2014/01/Asif-Khan-MegaFon-Sochi-2014_10-1100x803.jpg8031100Travis Reinkehttps://scanable.com/wp-content/uploads/2025/01/SCANable_logo_emblemSimple-180x180.pngTravis Reinke2014-01-14 16:02:582014-01-14 16:02:582014 Sochi Winter Olympics to Feature Giant 3D Pinscreen of Your Face
ROCK HILL, South Carolina – January 3, 2014 – 3D Systems (NYSE:DDD) announced today the acquisition of Gentle Giant Studios, the leading provider of 3D modeling for the entertainment and toy industry. For over two decades, Gentle Giant Studios has led the development of state-of-the-art content using 3D scanning and modeling to develop and manufacture licensed 3D printed characters, toys and collectibles from a variety of franchise properties with global brand recognition, including Marvel, Disney, AMC’s The Walking Dead, Avatar, Harry Potter and Star Wars.
3DS plans to immediately leverage Gentle Giant Studios technology and vast library of digital content into its consumer platform and extend its existing brand relationships to further the reach of 3D scanning, modeling and printing for entertainment, toys, collectibles, action figures in conjunction with numerous blockbuster films and evergreen licensed properties.
“Gentle Giant Studios catapults 3DS’s consumer platform forward with highly curated, licensed characters, content publishing know-how and first-mover experience for the benefit of leading toy companies, movie studios and their merchandising divisions,” said Avi Reichental, President and CEO, 3D Systems.
Learn more about how 3DS is manufacturing the future today at www.3dsystems.com.
About 3D Systems Corporation
3D Systems is a leading provider of 3D printing centric design-to-manufacturing solutions including 3D printers, print materials and cloud sourced on-demand custom parts for professionals and consumers alike in materials including plastics, metals, ceramics and edibles. The company also provides integrated 3D scan-based design, freeform modeling and inspection tools. Its products and services replace and complement traditional methods and reduce the time and cost of designing new products by printing real parts directly from digital input. These solutions are used to rapidly design, create, communicate, prototype or produce real parts, empowering customers to manufacture the future.
Leadership Through Innovation and Technology
3DS invented 3D printing with its Stereolithography (SLA) printer and was the first to commercialize it in 1989.
3DS invented Selective Laser Sintering (SLS) printing and was the first to commercialize it in 1992.
3DS invented the Color-Jet-Printing (CJP) class of 3D printers and was the first to commercialize 3D powder-based systems in 1994.
3DS invented Multi-Jet-Printing (MJP) printers and was the first to commercialize it in 1996.
Today its comprehensive range of 3D printers is the industry’s benchmark for production-grade manufacturing in aerospace, automotive, patient specific medical device and a variety of consumer, electronic and fashion accessories.
Gentle Giant Studios is the leading provider of 3D digital data and is the first company to utilize digital data and 3D printing technology for the consumer products and entertainment industries. Creating beloved 3D characters from a variety of franchise properties with worldwide name recognition, including Star Wars, Marvel, Avatar, Harry Potter, AMC’s The Walking Dead, and The Hobbit. Gentle Giant produces a wide range of products that are manufactured using the highest quality utilizing the most advanced 3D scan to print techniques and a team of incredibly talented artisans that digitally captures the likenesses of actors, props, and scenery to accurately model and recreate these images for fans and collectors everywhere. Gentle Giant Studios also provides prototyping and product development services for consumer products, fine art, theme parks, and provides on set digitizing services for major motion pictures.
https://scanable.com/wp-content/uploads/2014/01/3D-Systems-logo.jpg9341000Travis Reinkehttps://scanable.com/wp-content/uploads/2025/01/SCANable_logo_emblemSimple-180x180.pngTravis Reinke2014-01-05 21:50:312015-05-21 19:18:083D Systems buys company behind Star Wars, Hobbit and Harry Potter models
Leica Geosystems announces a major set of updates for its point cloud software applications within its flagship Leica Cyclone and Leica CloudWorx families. These updates save a significant time in the office per day and make it more convenient to work with rich, as-built point cloud data. This is the company’s largest set of point cloud software releases to date.
“What we’re seeing in the market is that our customers are using laser scanning in an increasing variety of scenarios and under more demanding circumstances, so they need more options for working with point cloud data and they need to do their work even faster,” states Chris Thewalt, VP of Scanning Software. “Overall, we continue to see strong growth of 3D laser scanning/High-Definition Surveying (HDS) with a corresponding expansion and diversification of our user community’s needs. In response, we’ve been investing heavily in a number of our standalone Cyclone and our plug-in CloudWorx point cloud software applications. This large set of releases reflects that ongoing investment.”
Leica Cyclone and Leica CloudWorx families
• More flexible licensing lets users easily move licenses between the field and office and on-or-off a network.
• Users on customer support can implement license upgrades on their own at any time
• Rentals are now available for as short as one week for most products; discounts are available for extended rental periods
Leica CloudWorx for AutoCAD 5.0
• Plug-in for AutoCAD saves hours in the office for working with 3D point clouds in AutoCAD for both experienced users and users new to working in 3D
• Easier X,Y,Z coordinate system setup and faster navigation to desired views; faster creation of 2D drawings; faster ground surface and TIN creation; and, faster selection of high, low and ground points
Leica CloudWorx for 3ds Max 2.0
• New Leica CloudWorx plug-in family member (replaces Leica CloudWorx-VR)
• Eliminates prior need to export from Cyclone and import to Leica CloudWorx-VR; users now enjoy direct data access to Cyclone files
• Adds rich set of standard CloudWorx plug-in tools for working more efficiently with point clouds in 3ds Max
Leica CloudWorx for PDMS 1.3
• Plug-in for PDMS adds valuable option of importing plant models from PDMS directly into Leica Cyclone and exporting models created from point clouds in Cyclone directly into PDMS
• Avoids prior need to import/export models into/from PDMS and Cyclone via AutoCAD or MicroStation
• Supports direct import of PDMS models into popular Leica TruView software
https://scanable.com/wp-content/uploads/2014/01/Leica_CloudWorx_for_AutoCAD.jpg358565Travis Reinkehttps://scanable.com/wp-content/uploads/2025/01/SCANable_logo_emblemSimple-180x180.pngTravis Reinke2013-11-13 17:12:122015-02-13 21:44:46Leica Geosystems announces updates for its point cloud software applications
As 3D laser scanning has become easier and more affordable it has become the technology of choice for ‘as-is’ data capture. LFM Server™ enables users to maximize the value of the rich information that laser scanning generates.
LFM Server is the most advanced solution available for accessing pre-registered laser scan data and working with it directly in 3D CAD systems. It is simple to use and offers unrivalled performance and functionality.
There are many different 3D laser scanners and 3D CAD systems in use today. LFM Server has been developed to provide users with maximum freedom of choice of both scanning and design systems. It can read unstructured data from various scanner types; not only terrestrial laser scanners but also hand-held, mobile or aerial scanners.
Designed to work with data from even the highest-resolution scanner, LFM Server enables users to work with datasets of unlimited size and exploit photorealistic, 360° BubbleViews™.
Business Benefits
Open on the input
LFM Server can read a wide variety of 3D data capture formats
Open on the output
LFM Server interfaces seamlessly with all leading 3D CAD systems
Unlimited Datasets
InfiniteCore™ technology enables project datasets of unlimited size to be readily created and accessed
Increased Productivity
The intuitive 360° BubbleView makes it easy to verify clashes, review laser scan data, or simply become familiar with the site
Clash-free Design
Accurate, detailed ‘as-is’ information minimizes the business risks of revamp projects
Business Flexibility
Import scans from a wide variety of scanner types and data formats into a single dataset
For more information about LFM Server 4.2’s great new features, contact us or read more here.
https://scanable.com/wp-content/uploads/2013/06/LFM-BubbleView-Hotspots.png413679Travis Reinkehttps://scanable.com/wp-content/uploads/2025/01/SCANable_logo_emblemSimple-180x180.pngTravis Reinke2013-06-20 21:19:072015-05-21 19:26:47LFM Server 4.2 – Introducing Key New Features
A key addition to the complete 2014 portfolio of Suites is Autodesk® ReCap™ product, a family of powerful and easy-to-use software and services on the desktop and in the cloud to create intelligent 3D data from captured photos and laser scans in a streamlined workflow. Autodesk ReCap is the first industry solution to bring together laser scanning and photogrammetry into one streamlined process. In addition, no other solution on the market provides the visualization quality and scalability to handle extremely large data sets.
The Autodesk ReCap product line comprises two main offerings – Autodesk ReCap Studio and Autodesk ReCap Photo. Autodesk ReCap Studio makes it easy to clean, organize and visualize massive datasets captured from reality. Autodesk ReCap Photo helps users create high-resolution textured 3D models from photos using the power of cloud computing. Rather than beginning with a blank screen, Autodesk ReCap now enables any designer, architect or engineer to add, modify, validate and document their design process in context from existing environments.
For example, a civil engineer can bypass an existing bridge or expand the road underneath digitally and test feasibility. At construction phase, builders can run clash detection to understand if utilities will be in the way. Urban planners can get answers to specific design questions about large areas, such as how much building roof surface is covered by shadow or vegetation.
ReCap Studio is a data preparation environment that runs on the desktop. Users can import captured data directly into Autodesk design solutions, such as AutoCAD®, Autodesk® Revit®, Autodesk Inventor®, etc., to conduct QA and verification of data. The data can come from non-intelligent, black and white sparse point clouds to intelligent, visually high appealing content. ReCap Studio will ship in Autodesk product and suite installers or be available for free on the Autodesk Exchange Apps store.
ReCap Photo is an Autodesk 360 service designed to create high resolution 3D data from photos to enable users to visualize and share 3D data. By leveraging the power of the cloud to process and store massive data files, users can upload images on Autodesk 360 and instantly create a 3D mesh model. ReCap Photo is available with Standard Suites entitlement and higher.
Key features of Autodesk ReCap include:
Visualize and edit massive datasets: On the desktop, ReCap users can view and edit billions of points to prepare them for use in Autodesk portfolio products to enable realistic in context design work
Professional-Grade Photo to 3D Features: ReCap unlocks the power of ubiquitous cameras to capture high-quality 3D models, bringing reality capture within reach of anyone with a camera. ReCap supports objects of any size and range, full resolution for high-density meshes, survey points and multiple file exports.
Photo and Laser: ReCap incorporates the best of both photo and laser data capture so that customers can use photos to fill in holes or augment laser scan data. Users can both increase photos scene accuracy with laser points and add photo-realistic detail to laser scans. Create point clouds from photos, align scans and photos and convert professional grade photo to 3D models.
Autodesk continues to invest in developing sophisticated, easy-to-use reality capture technologies. The company has made several key acquisitions including Alice Labs and Allpoint Systems as well as applied its own research and development resources to accelerate the mainstream adoption of these technologies. As customers are looking for ways to easily and accurately capture the world around them, Autodesk ReCap streamlines Reality Capture workflows, making working with Reality Capture data easy, quick and cost effective.
Autodesk is the only company who has combined laser scanning data and photogrammetry into one product family to address and streamline the entire workflow. Whereas traditional point clouds appear as dots, Autodesk technology can now visualize truly massive point clouds as realistic surfaces. Unique to Autodesk is that users can interact with these huge data sets doing CAD-like operations such as selection, tagging, moving, measuring, clash detection, and object extraction, all with native points. Laser scanning and photogrammetry are historically very expensive and data intensive. Autodesk’s goal is to democratize the process of reality capture so that anyone can capture the world around them to create high quality 3D models.
https://scanable.com/wp-content/uploads/2013/04/ReCap.jpg4941060Travis Reinkehttps://scanable.com/wp-content/uploads/2025/01/SCANable_logo_emblemSimple-180x180.pngTravis Reinke2013-03-27 21:47:512015-05-21 19:28:02Autodesk Aims to Streamline Use of Point Cloud Data
Industrial Light & Magic, a division of Lucasfilm Ltd. and now owned by The Walt Disney Company, forever changed the way movies are made and how we as the viewer experience them. The movie-making geniuses have continually raised the bar in computer-generated imagery (CGI) and visual effects (VFX) year after year since the company’s founding by George Lucas in May of 1975. Released today, ILM takes us behind the scenes to show us how they used laser scanning and other tools to transform Mark Ruffalo into the lovable Hulk character that almost stole the show in Marvel’s third highest-grossing film of all time, The Avengers.
Check out more ILM movie magic on their YouTube channel.
https://scanable.com/wp-content/uploads/2013/01/The-Avengers-006.jpg11522048Travis Reinkehttps://scanable.com/wp-content/uploads/2025/01/SCANable_logo_emblemSimple-180x180.pngTravis Reinke2013-01-14 21:42:092015-05-21 19:31:51How ILM Used Laser Scanning to Give Life to the Hulk in Marvel’s The Avengers
Leica Geosystems Announces Cyclone 8.0 Software – Major Advances for “Point Cloud” Office Productivity, Spatial Data Connectivity, and Customization
(Heerbrugg/Switzerland and Hanover/Germany, 9 October 2012) – Leica Geosystems announces the next major release of its flagship software, Leica Cyclone 8.0. In addition to providing further improvements in office productivity for processing as-built laser scan data, Cyclone 8.0 gives users powerful, new capabilities. Users can now directly connect point cloud data with other spatial data sources (such as 3D models) and readily share and re-use modeled data. Leica Cyclone 8.0 is being introduced at Intergeo as supporting software for the new Leica ScanStation P20 ultra-high speed laser scanner.
Office Productivity Gains
Cyclone 8.0 features several enhancements that increase office productivity, often significantly:
[listdot]
20 – 50% faster scan data import
Automatic conversion on import to Enhanced Working Format, for faster data processing
Automatic creation of all pipe cylinders, with a single click, for an entire project or for a selected set of scan data, even during import
Automatic creation of TruView Hotlinks, linking scan points in panoramic TruViews to asset information
Easy saving and re-use of complex models created from geometric primitives
New “scripting” capability speeds repetitive or customized sequences of model building
Fewer clicks and a modern CAD-like interface for popular “Move” and “Rotate” commands[/listdot]
Now offers full, end-to-end 3D modeling solution with 9 new features and enhancements including valve/flange placement, demolition tool, custom spec editor, high-definition visualization and more
Herndon, Virginia — December 12, 2012 — ClearEdge3D today released EdgeWise Plant™ 4.0, with 9 major new features and enhancements that create the fastest end-to-end pipe modeling solution on the market. The software automates the 3D modeling of complex process plant facilities, cutting up to 85% of labor from the modeling workflow.
Robert Greenhalgh with Ramboll Oil & Gas used the software on a recent North Sea offshore project. “We reduced our 3D modeling time substantially with EdgeWise Plant 4.0,” said Greenhalgh. ”Building standard pipe fittings on top of the powerful automated tools makes 4.0 the complete pipe modeling package.”
Open on the input
