Props · Armour & costume · Camera & grip · Set dressing · Multiples

Film & TV 3D Printing

On set when you need it — not when the schedule allows. For the hero prop that doesn’t exist yet, the six identical copies the stunt team needs, and the rebuild that shoots Monday. Full-size in one piece to 900 mm, finished and painted in-house so it reads as metal, stone or leather — not plastic.

Get an instant quote → No CAD? Send us the sculpt

Film and TV 3D printing UK · 3D printed props · 3D printed armour and helmets · prop replicas and matched multiples

Overview

It usually starts with a prop nobody can buy

The designer has drawn something that does not exist. The stunt team needs six of them, identical. The art department has a clay sculpt and no CAD. The schedule moved, so it is needed Monday — and it cannot look like a 3D print on a 4K close-up.

That is the call we take. RYSE 3D is a UK polymer additive manufacturer — FDM, SLS, SLA, MJF — that makes the piece, finishes it, paints it and ships it: one roof, one team you can hold to account. To be clear on scope: we make props, not safety equipment. We can print a flexible stunt twin of a rigid piece, but we do not certify anything as safe to use on a performer — that call is your stunt coordinator’s. From a garage in 2017 to a UK factory and two King’s Awards, we make the things that have to be real by the time the camera rolls.

RYSE 3D production floor in Shipston-on-Stour with industrial 3D printers and finished prop components

● 3D scanning on-site — bring us a sculpt, a maquette or a part off a vehicle. No CAD needed to start.
● Finishing & paint in-house — smoothing, blasting, polishing, dyeing and paint. It leaves looking like the thing, not like a print.
● Identical multiples — hero, stunt, breakaway and spares, all off the same file.
● NDA-compliant and Cyber Essentials certified — your unreleased designs don’t leave the building.

Facility	8,000 sq ft, Warwickshire, UK
Production printers	100+ machines
Single-piece print height	900 mm
Express lead time	1–3 days (SLS, FDM and SLA)
Components in service	2.5m+
Quality	ISO 9001 — quality-managed, NDA-compliant
Scope	Props and set pieces — not safety equipment; stunt sign-off is your coordinator’s call

What we make for productions

The pieces that have to be real by Monday

These are the jobs we run for prop houses, fabricators and productions — made on the process that suits each one, finished so it reads on camera. Send us yours and we will spec it the same way.

3D printed weathered sci-fi weapon prop finished and painted by RYSE 3D for film and TV

Hero props & close-up detail

SLA high-detail · SLA masters for silicone · finished & painted in-house

Weapons, devices, badges and instruments that the camera gets close to. Printed at high resolution, then smoothed, primed and painted so the surface reads as metal, bone or stone — not as plastic.

3D printed full-size knight helmet and pauldron armour in nylon, finished by RYSE 3D

Armour, helmets & costume

FDM large-format to 900 mm · SLS nylon · light enough to wear

Full-size helmets, pauldrons, greaves and masks printed in one piece — no seam to fill, no joint to fail. Light enough for a performer to wear through a twelve-hour day, and strong enough to still fit on day forty.

Flexible 3D printed TPU stunt copy of a rigid prop, produced by RYSE 3D

Stunt copies & flexible parts

MJF TPU 01 · SLS TPU 90A · flexible, high-elongation

The same prop, printed flexible, for the take where it hits someone. TPU bends and springs back instead of shattering. We make it to match the hero piece — your stunt coordinator makes the call on whether it is safe to use.

Six identical 3D printed pocket watch props in a matched batch, made by RYSE 3D for continuity

Multiples & continuity

MJF / SLS · batch production · identical off one file

Six of them, or sixty. Off the same file, on the same machine, in the same batch — so the one you shoot on Friday matches the one you shot in week two. When one gets destroyed, the replacement is not a rebuild.

The breadth of our processes and materials makes additive a natural fit for a production schedule — one-offs, matched multiples, wearables and rigs, made fast and made again when the script changes. Tell us the piece and what it has to survive, and we will tell you the process that hits both.

The two we run most

Most production work lands on FDM or SLA

We run all four processes, but the majority of what we make for productions goes on one of these two. They solve opposite halves of the same problem: large-format FDM prints the full-size pieces whole, so a helmet or a pauldron has no seam to fill, and SLA gives the surface a 4K close-up can survive.

FDM — full-size props and armour, one piece

Helmets · armour · weapon bodies · set pieces · vehicle dressing

● A 500 × 500 × 900 mm envelope prints helmets, greaves and pauldrons whole, so there is no seam to fill and no joint to fail on day forty.
● Carbon-filled grades where a piece has to be stiff and light — PA6-CF and PA12-CF for camera cages, mounts and rigging adapters.
● ASA for set dressing that lives outdoors, and ABS where the piece is going straight to paint anyway.
● Nylon armour is light enough for a performer to wear through a twelve-hour day, which fibreglass and metal rarely are.

SLA — hero detail, straight off the machine

Hero props · insignia · control panels · lenses · silicone masters

● The smoothest surface we print, which is what a hero prop needs before it is smoothed, primed and painted to read as metal, bone or stone.
● Clear for lenses, vials and light-up devices, and Flexible 80A for soft-touch parts.
● Also the master of choice for silicone moulding, when the department wants to cast the copies themselves.
● Build envelope is 353 × 196 × 350 mm, so anything larger is split, bonded and finished in-house rather than turned away.

We’re not a print shop — we’re the workshop behind the workshop, for pieces that have to be right on camera and ready on the day

Two people usually sign this off, so here is what each of you walks away with.

For the art department

● Start from a sculpt, not a file — we 3D scan your maquette or practical part and work from that.
● Geometry you can’t carve or mould — undercuts, internal channels, lattices, one-piece armour.
● Finished, not raw — smoothed, primed and painted in-house, so it reads as metal, stone or leather, not plastic.
● Full-size in one piece — up to 900 mm tall, so helmets, greaves and pauldrons don’t need seams.

For production & the line producer

● It lands on the day — 1–3 day express when the schedule has already moved.
● Multiples that actually match — hero, stunt and spares off one file, so continuity holds.
● One supplier, not five — print, paint, finish and inspect under one roof.
● Your unreleased design stays yours — NDA-compliant, Cyber Essentials certified, full traceability.

Range of 3D printed film and TV props by RYSE 3D — helmet, gauntlet, mask, telescope and set dressing, finished and painted

Where our parts turn up

Feature filmHigh-end TV dramaCommercialsProp houses & fabricatorsCostume & armourySFX & creature workshopsCamera, grip & riggingTheatre & live events

Send us the model or the scan →No CAD? Send us the sculpt

What we run

Tell us the piece. We’ll tell you the process.

Nobody orders “an SLS part”. They order a helmet an actor has to wear for twelve hours, or a blade that has to break on cue. FDM and SLA take most production work, but we run all four processes, so the piece goes on the one that suits it, not the one machine we happen to own.

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SLS · Selective Laser Sintering

Tooling-free functional nylon. Max build 165 × 165 × 300 mm, up to 500 × 500 × 750 mm for PA12-CF. PA12, PA12-GF, PA12-CF, PA11 (plant-based), TPU 90A. Best for costume components, wearable rigs and articulated pieces — no supports to scar the surface. 1–3 days express, 5–7 days standard. A Formlabs Fuse X1 arrives December 2026, the first in the UK.

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FDM · incl. large-format

Engineering-grade & large parts. Max build 500 × 500 × 900 mm (340 × 320 × 340 mm for PPA-CF). PA6-CF, PA12-CF, PA6/12-CF COPA, PA6-GF, PPA-CF, PET-CF, PC-FR, PETG-CF, ASA, ABS. Best for full-size helmets, armour, weapon bodies, set pieces and vehicle dressing, printed whole so there is no seam to hide. 1–3 days express, 5–7 days standard.

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SLA · Stereolithography

High-detail, rigid & flame-retardant. Max build 353 × 196 × 350 mm. Rigid 10K / High-Temp Ceramic-Filled, Tough 2000, Black PU Cast-Like, Flame-Retardant (UL94 V0), ESD, Clear V5, Flexible 80A. Best for hero close-up props, insignia, control panels, clear lenses, soft-touch parts in Flexible 80A, and masters for silicone moulding — the smoothest surface we print. 1–3 days express, 5–7 days standard.

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MJF · Multi Jet Fusion

Durable functional end-use. Max build 380 × 284 × 380 mm. PA 12, PA 11 Gen2, TPU 01 (291% elongation). Best for batches of identical parts — hero, stunt and spares off one file. Finished bead-blasted grey, through-dyed black or vapour smoothed. Lead time 5–7 working days, standard only — there is no express tier on MJF.

Not sure which? That is the point of the quote — send the model, the scan or a photo of the sculpt and we will spec it for you, free at our instant quote tool.

Where we fit

When we make your pieces, here’s where they land

Additive earns its place when the thing does not exist, when you need more than one of it, when it has to be lighter than the real thing, or when the schedule has already eaten the time you had to make it by hand. On a production, that is most of the bench.

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Hero props & close-up pieces

SLA / SLS. Weapons, devices, insignia and set dressing that hold up on a 4K close-up — high-detail, then smoothed, primed and painted in-house.

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Armour, helmets & costume

FDM large-format / SLS. Full-size helmets and armour printed whole to 900 mm — light enough to wear all day, strong enough to survive the day.

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Stunt & safety-conscious copies

MJF TPU 01 / SLS TPU 90A. Flexible copies of rigid props for the stunt version — they bend and spring back instead of snapping. Signed off by your stunt coordinator, not by us.

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Multiples & continuity

MJF / SLS. Hero, stunt, breakaway and spares, all off the same file. When one gets destroyed on take four, the next one is identical.

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Camera, grip & rigging

FDM-CF / SLS. Bespoke mounts, brackets, cages and adapters in carbon-filled nylon — stiff, light, and made for the one camera you actually have.

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Scan, rebuild, reprint

3D scanning plus any process. Scan a sculpt, a maquette or a part off a vehicle, rebuild it digitally, and print it at any scale — as many times as you need.

3D printed film and TV props by RYSE 3D — helmet, knight helm, weapon prop, creature piece and period set dressing

Got one of these on your bench now? Send it over — you will get a price back, not a sales call, at our instant quote tool.

Where additive pays off

Right piece, right process

Additive isn’t the right answer for every piece on the bench, and we’ll always tell you so. Some things are still faster carved, cast or sewn. Printing wins when the thing doesn’t exist yet, when you need it more than once, when it has to be lighter than the real material, or when the schedule has eaten the time you had to make it by hand.

The usual way	With RYSE 3D
Sculpt it, mould it, cast it — a week gone before copy one	Print the master, or print the part — first copy in days
Hand-carve each copy, and each one is slightly different	One file, one batch — every copy identical, forever
Fibreglass or metal armour the performer can barely stand up in	Nylon armour light enough to wear through a twelve-hour day
Script changes, and the mould is now scrap	Change the model, print it again — nothing to re-tool
A rigid prop that cannot go anywhere near the stunt team	A flexible TPU twin of the same piece, off the same geometry

Where additive wins for you

✓ The piece does not exist and cannot be bought.
✓ You need it more than once, and every copy must match on camera.
✓ It has to be worn, carried or swung — weight is the whole problem.
✓ The schedule moved. Again. 1–3 day express when the date is real.

Where we’ll tell you straight

● We make props, not safety equipment. We can print a flexible stunt twin of a rigid piece, but we do not certify anything as safe to use on a performer. That call is your stunt coordinator’s.
● A camera-ready finish is work, not a print setting. Nothing comes off a machine looking like forged steel. We prime, fill, smooth and paint in-house, but the hero finish is a process and we price it honestly.
● Prosthetics and soft costume are not our job. Silicone, foam latex and fabric belong with your prosthetics and costume houses. We will happily print the buck or the substructure they build on.
● Large set builds are often cheaper carved. Above a metre or so, foam and timber can beat printing on cost. We will say so.

Send the model, the scan or a photo — no charge →

FAQ

Film & TV 3D printing FAQ

Can you 3D print film and TV props?

Yes — props, armour, helmets, weapon bodies, set dressing, camera rigs and matched multiples. We print the piece, then smooth, prime and paint it in-house so it reads as metal, stone or leather rather than plastic. Bring us a model, a scan or a photo of the sculpt; you do not need CAD to start.

Can you make a prop from a clay sculpt if we have no CAD?

Yes. 3D scanning is on-site, so bring us the maquette, the sculpt or a part off a vehicle and we will scan it, rebuild it digitally and print it at whatever scale you need — as many times as you need. That is one of the most common ways a job starts here.

Can you print a full-size helmet or armour in one piece?

Up to 900 mm tall on large-format FDM, so helmets, greaves and pauldrons come out whole with no seam to fill and no joint to fail. Nylon armour is light enough for a performer to wear through a twelve-hour day, which fibreglass and metal rarely are. Larger than that and we split, bond and finish it in-house.

Can you make stunt-safe versions of a rigid prop?

We can print a flexible twin of the same geometry in MJF TPU 01 or SLS TPU 90A, so it bends and springs back instead of shattering, and we make it to match the hero piece. But we make props, not safety equipment — we do not certify anything as safe to use on a performer. That call is your stunt coordinator’s.

Will it look like a 3D print on camera?

Not once it is finished, but be aware that the finish is the work. Nothing comes off a machine looking like forged steel. We prime, fill, smooth and paint in-house so the surface reads correctly on a 4K close-up, and we price that as a process rather than pretending it is a print setting.

Can you make identical multiples for continuity?

That is what MJF and SLS are for. Six of them or sixty, off the same file, on the same machine, in the same batch — so the one you shoot on Friday matches the one you shot in week two. When one gets destroyed on take four, the replacement is not a rebuild.

Do you make silicone prosthetics or soft costume?

No — silicone, foam latex and fabric belong with your prosthetics and costume houses. We will happily print the buck, the master or the substructure they build on, and SLA masters for silicone moulding are a regular job here.

How fast can you turn a prop around?

Express lead time is 1–3 days on FDM, SLS and SLA, with 5–7 days standard. MJF runs 5–7 working days, standard only — there is no express tier on that process. If the schedule has already moved, say so and we will put the piece on whichever process makes the date.

Will our unreleased designs stay confidential?

Yes. We are Cyber Essentials certified and work under NDA as standard, with full traceability on every job, and everything is printed, finished and painted at our own ISO 9001 facility in Shipston-on-Stour, Warwickshire. Your designs do not leave the building.

Ready when you are

You’ll want to see what we’d do with your piece.

Send the model, the scan or a photo of the sculpt and get a price back, or post us the piece and we will 3D-scan it. Props, armour, camera rigs and matched multiples, printed, finished and painted under one UK roof.

Get an instant quote → No CAD? Send us the sculpt

Printed, finished and inspected at our own ISO 9001 facility in Shipston-on-Stour, Warwickshire. Call us on 024 7736 0144 or request a free sample pack.