Issue link: https://digital.copcomm.com/i/1546058
the powers that be don't understand timelines and they bring me on a bit later or they're sourcing some things from elsewhere, and I'm playing catch up. Working late hours doesn't bother me at all; I'll do whatever it takes to get the job done. But a lot of supervisors, designers, and producers don't know what goes into 3D printing, so they don't understand how long things can take. Despite that, they all recognize this is a great tool to have, being able to produce renders or creating a 3D model and spinning it around in space, or full 3D samples. A lot of times not having exposure to someone like me or my capabilities, they don't always know that, so part of my job is helping them understand the capabilities and what we're able to do beyond concept art." While this use case may seem more obvious in superhero movies or even war movies where the use of 3D printing for armor may be easier to swallow, Coats's work can go beyond the fantasy and even enter the mundane. "Maybe there's Above: The first 3D print of Nakia's helmet for her underwater suit; Right: The renderings for Nakia's submersible suit in Black Panther: Wakanda Forever, costume designed by Ruth Carter. "We're all prey lucky to be in this union, no maer what your position is, and to be able to have some sort of creative effort to be a part of the process." —KOURTNEY COATS a piece of jewelry the production can't afford—I can scan that and I can go back and either create a one to one replica for the designer, or even change and modify it and 3D print it. The possibilities are endless." For his work, Coats has many specialized tools. "I have several 3D printers, both FDM and SLA. I have my own handheld scanner that I use. For rapid prototyping, I rely on an FDM printer. For detailed work or pieces that are more ornate, I rely on an SLA or resin printer." Outside of costuming, Coats enjoys using his engineering background to create digital models and 3D-printed objects for himself and others. Mostly, he creates his own costume parts or collectible pieces, as well as printing for RC cars, a connection to his background in transportation and automobiles. Coats was sworn into Local 705 in 2020 and is entering his sixth year in the union. As far as Costumers looking to get into the industry, Coats advises, "Make sure that whatever skills you're bringing to the table, you've worked through and are ready to go. When you get into the union, you have to be a member that can produce whatever your specialty is. We're all pretty lucky to be in this union, no matter what your position is, and to be able to have some sort of creative effort to be a part of the process." soft goods to complete not only the underwater suit, but many of the other costumes too. Another great project was Rebel Moon, where there were a lot of opportunities to work directly with Costume Designer Stephanie Porter. It was very collaborative, and we even got to work closely with director Zach Snyder; he came around a lot and looked at our work. Compared to working at the special effects shops, being in 705 has given me more access to be involved in fittings, get notes, and feedback quickly, really work through the process with the designers and concept illustrators involved, and knock out the process of providing good work." The kind of work that Coats specializes in is still not widely known across productions. One of the challenges he faces is getting the proper time to produce his work, especially as timelines shrink across all productions. "There's been a few projects where some of the pre- production has already started and 12 FALL 2026