How Big3D Did It

Project Preparation: Working in close contact with the agency and artists at SONY, we advised them on the technical requirements necessary to produce the best possible animation sequence.

Day 1. Big3D.com downloads the original digital art from the client. The artists at Big3D.com develop the animation sequence and separation of elements into their respective 3D and focal layers. We immediately suggest alterations which would make a more dramatic impact to the piece. The Big3D.com creative team produces proofs of both versions of the art, which were couriered to the client for their review.

Day 2. The art changes are incorporated into final art. Plates are imaged at 6500dpi as the project director from the client jumps in his car to arrive in time for the press check. Client gives approval to print and Big3D.com goes into overdrive to meet the delivery deadline. The deadline is absolute, there is no additional time to produce the job.

Day 3. As the Lenticular front-side of the piece comes off press, skids of press sheets are moved to the laminator for polypropylene backing application. After lamination, the piece is sent back through the press for backside printing then sent to the cutter for trimming and boxing.

Day 4. Client calls with a last-minute change for any unprinted pieces. New plates are imaged and hung on press during a planned changeover. The project keeps on schedule with no time lost or extra charges to the client. Day 10. Job is boxed and on pallets, ready for the truck. Deadline is met.

Production factoids:
• Over 10 tons of lenticular lens material
• 538,000 pieces
• 29.62 miles of laminate backing
• 100 pounds (45Kg) of UV ink
• Packed in 600 boxes on 8 skids

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