All that being said- our test cutters did also try out a newer digital program- CLO, and have enjoyed working on it. The cost is more affordable for smaller companies, and unlike Gerber, it is possible to have a months’ subscription.
The advantages of the digital patterning capability are real. Storage of information and pattern work, long distance communication- i.e. designer consultations, sharing of files, the savings in time and resources just to begin. Large period film productions would benefit from having these capabilities for multiples, grading and outsourcing work. After conversations with our test cutters and coordinator, I can see the possible start of the integration of digital technology into active regional theatre costume shops. It may take patient persistence to put into practice, but those interested in pursuing this area may well find themselves in demand, and of valuable support to our senior cutters, stitchers, and shop managers, as well as seasoned costume crews on film.
I can see that there will some hiccups- cost of the programs, and computers, copyright discussions on pattern work, customizing avatars to work in the world of real bodies, to name but a few. But I am delighted to have been a part of this exploration into digital pattern work and 3D imaging.
Heads up! You can register for the second annual CLO 3D Virtual User Summit, a two-day event ( March 21, 22,) with Main Stage Presentations from over 15 of CLO's clients and partners.
Discover some of the new updates they have coming down the pipeline. Attend Design Workshops with CLO 3D designers to up your CLO skills and get your design questions answered in real-time.