Behind the Scenes: How 3D Physical Effects Shape Modern Films

Featured Guest

Zhu Dewei is a freelance modeler, concept artist and 3D creative partner, currently technical director at Beijing Blue‑Algae 3D Technology Co. He has contributed digital prop models, 3D‑printed pieces and special‑effects makeup for films such as Ghost Blowing Lantern , The Wandering Earth and Jin Gang Cuan .

Reality and Illusion: 3D Film Physical Effects

Physical film effects—also called practical effects—have existed since the birth of cinema and differ from CG effects by being tangible, real‑world elements. They include makeup effects, special props, miniature scenery, mechanical‑bio‑inspired props, large‑scale disaster rigs, and more.

The modern 3D workflow comprises 3D printing, 3D scanning, 3D modeling and 3D post‑processing.

· 3D Printing: An additive‑manufacturing process that builds objects layer by layer from digital models using powder‑based metal or plastic materials.

· 3D Scanning: Uses a 3‑D scanner to capture an object’s geometry from multiple angles, quickly generating a digital model.

· 3D Modeling: Creates virtual models with 3‑D software, forming the geometric data needed for later stages.

· 3D Post‑Processing: Includes mold making, sanding, painting, plating, coating, spray‑painting, baking, foam carving and other finishing techniques.

· 3D Mechanical Simulation Design: Integrates 3‑D technology, mechanical principles, electronics, embedded software, intelligent algorithms and makeup effects to achieve realistic motion and interaction.

Zhu Dewei’s team handles backend film props and real‑world set construction, collaborating with art departments and makeup crews to deliver immersive, tactile experiences for audiences.

Interview with Mr. Dewei on Film 3D Behind the Scenes

Q: When did you start working in movie 3D design?

A: I studied international trade in university, but after graduation I switched to 3‑D design in 2012, first in architectural visualization, then product visualisation, and eventually film and 3‑D printing.

Q: What does a film 3‑D designer actually do?

A: We create both visual CG effects and physical practical effects. Physical effects use 3‑D models and 3‑D printing to produce real props and sets that can be reused, complementing CG and reducing costs.

Q: How do you manage workflow and time on a film project?

A: We align our schedule with the shooting calendar, communicate proactively with the art department, and prepare props before shooting, adjusting as needed during production.

Q: What challenges have you faced?

A: Tight deadlines are the biggest challenge; early in the company we failed to deliver on time, which was a hard lesson.

Q: Which film left the deepest impression?

A: Jin Gang Cuan – the war scenes and the sacrifices depicted were profoundly moving.

Q: How does Chinese film 3‑D design compare internationally?

A: We still lag behind top‑tier software development and production pipelines, but talent is growing fast and many Hollywood blockbusters outsource to Chinese studios.

Q: What core skills are needed to become a film 3‑D designer?

A: Passion, continuous learning of new technologies, strong self‑learning ability, and solid artistic fundamentals to become a CG artist rather than just a technician.

Conclusion

We thank Zhu Dewei for sharing his experience; even during the Spring Festival he was already on‑site in Hainan. The rapid rise of Chinese movies like Nezha and The Wandering Earth showcases the vital, often unseen contributions of 3‑D designers.