Making the Hulkbuster Suit with Fusion 360

HUNG NGUYEN: Good morning, class.

AUDIENCE: Good morning.

HUNG NGUYEN: Thank you. [LAUGHS] Very surprisingly, that you're able to answer me like that after a whole night of how many beers?

AUDIENCE: A couple.

HUNG NGUYEN: A couple? Who had more than five? Come on, don't be shy. [LAUGHS] I saw you walk in late. [LAUGHS] Anyway, welcome to our section, "The Making of Hulkbuster Suit with Fusion 360."

So, now that's me. You can read about me, but I do a lot of stuff and I love to do design buildings just for fun. And if you log into the Fusion Gallery, you'll see a few of my projects there and the model can be downloaded.

One of my award-winning is we designed a kayak, a very lightweight kayak, only 28 pounds, from a fallen tree and I've been using it. So the whole model is out there. I also play guitar, stuff like that. So I also have just a stick guitar that I made. And I play some sample on the Fusion Gallery and completely use Fusion 360. And that's my baby, my passion for it. Along with me, I also have Shaya. You want to say something, [INAUDIBLE].

SHAYA GHANBAR: Yeah. So, good morning, everyone. My name is Shaya Ghanbar. Well, the mastermind behind the whole thing is Hung, not me. I'm just here to support him. I'm from Ontario, Canada. I'm a mechanical engineer with experience in automation and design. In the past, I used different engineering and analysis software, such as ANSYS, Pro/E, Inventor, and other Autodesk products.

A few years ago I was hired by a softward consulting firm called SolidCAD. And now as a technical consultant at SolidCAD, I use my Autodesk software experience and engineer experience to help our clients.

HUNG NGUYEN: Thank you, sir. So let's move it on then. [INAUDIBLE] the next slides are going to-- basicallyl, who here know who is HulkBuster or what is HulkBuster? And why did you know it?

AUDIENCE: [INAUDIBLE]

HUNG NGUYEN: Oh, thank you. So this is just to remind you who is-- not actually know.

[VIDEO PLAYBACK]

HUNG NGUYEN: To quickly build a character for a second.

- All right everybody, stand down.

HUNG NGUYEN: [INAUDIBLE] one of my very favorite scene. And it's just cooking me. And I want to make this guy.

- That little witch is messing with your mind. You're stronger than her. You're smarter than her. You're Bruce Banner.

[ROARS]

Right, right, right. Don't mention puny Banner.

OK.

In the back? Dick move, Banner.

Veronica, give me a hand?

Sleep. Go to sleep. Go to sleep.

[END PLAYBACK]

HUNG NGUYEN: Did you note that he lost a tooth? After that punch?

[LAUGHTER]

Anyway, it's just cooking in my head since I watched this movie.

[VIDEO PLAYBACK]

[END PLAYBACK]

HUNG NGUYEN: And it never let go out of my head. So hopefully today, I'm going to share with you my dream. I'm going to bring this character to real life. Walking along the street.

So the project is called Hulk Buster. And basically, it how we're going to design a little Hulk Buster suit. And to that, I'm going to stress on the uses of building 360 design. And to that, we also-- before making it, we have to really try the performance to see actually it can do the work. And clearly, I'm with somebody who actually working on the robot arm to actually bring this character to life.

So by the end of this section, I should hope that you-- who here? You've been [INAUDIBLE] [BLOWS RASPBERRY] Fusion 360? Oh, that was perfect. But some of you, if you have not used it, then I hope that I'm going to build some inspiration so you can start using it. It's so easy. It's just so fun to play with. And a methodology of how to do it. And some inspiration for you. And a bit of fun. Just in imagination a little bit. After a whole night of drinking, and five or six beer, and so on. It sounds good?

So let's moving on to the next slide. How I started? Basically, I got on one of my trip in the wintertime, I was stranded. I was delayed. Eight hour delay in Toronto. So I've got to find something to entertain myself. So I thought, then I said let's build this guy. And I sat at the bar. I look at the television. CNN is on. Nothing on the news. No. Except fake news and birth certificate.

[LAUGHTER]

So I thought I should entertain myself, I just making this guy. So I'm going to share with you the general-- the workflow that I used. So if you're ready, come on. Let's warm up.

[LAUGHTER]

Let's do some warm up. And we start. Right? And help me along through any questions along the way. It doesn't have to be-- let's be really casual, and stuff like that. Right?

So how did my character come to life? So how did I do it? So last year-- who was here last year? In Fusion? Oh, perfect. So last year, I was here talking about how to make the Iron Man suit. And I made it with my son. So last year, I [INAUDIBLE] the Avenger part one, part two. So now it's actually now part two of the whole series.

The top line is the last year that I began how to make the Iron Man suit. And it's perfectly fit to my son because his dream is to go to Comic Con in San Diego. Yeah. So looking up that way, we went there. And we ran into Stanley. And Stan Lee signed behind the suit. So that was very pleasant. So this year-- I want us to go to the bottom line here. That is where I started with the photo, and the sketching that I download from the internet. And I slowly model it. And I will talk about how we going to design, how we make it completely with Fusion.

And these are the software that I use. So in our selection we do have ReCap, Inventor, and a bunch of stuff, right. So ReCap is not enough. So I look out, and I found another software called Make . And it's a free software. You guys should take a look at it. And the rest of it is completely Fusion. And I used to teach a lot of 3D students on Max. So I know the technique of 3ds Max. And I transfer that technique to Fusion. So along the way, hopefully that I'm going to share with you how to.

Well so that is the chart that I-- it's just easy for me and my partner to show you how we do it. So normally to make some suit that will fit a person. So you need a mannequin, right. You need a form. And then with the form, you start to use that form to start to sketching around, and design things. So it fit because it's personalized to each person.

And then after that, for the build, I will share with you how I take the part that I design. We're able to flat it out. And then nest it. And then you can in Fusion 360 to cut it out and assemble it together. That is what I talked about last year [INAUDIBLE] to talk quickly about 3D printing, and assemble together. And then after that, I lecture you how to use Fusion 360 to do all of the FEA joint motion, and study, and how to actually make it. OK. So [INAUDIBLE].

So to make the mannequin-- so I think, as you know-- now we do have multiple technique, and multiple file format that it can transfer from mesh all the way to solid. So to do a oriental looking like this with you know goatee like me, then you'll probably better to use a scan. Make Human. And then the format of that is going to be an OBJ and/or STL. Anybody familiar with it? Perfect. So from that, how you going to quantify it so that it can be a T-Spline in Fusion 360. And then turn into B-rep. And from that, it turned to a complete solid model. And with a solid model, you're able to do stress analysis, and all the other stuff.

So that is the-- in our selection, we do have ReCap. And in here, I actually use ReCap to scan myself just to get-- and then, as you know, with ReCap-- now with the mesh, with the point cloud, you can only hope send it to the service on the cloud. And about five, ten minutes later, you going to receive the mesh of this scan. Anybody try that? Are you happy about it? Yeah? And unfortunately, what I just heard, that Autodesk going to discontinue that service too. So you know, what can you do? Autodesk, take them and love them.

AUDIENCE: That photo was just discontinued?

HUNG NGUYEN: The mesh service. You have a scan. And then you bring it to ReCap. You fix all of the cloud point, and so on. And you can crop out whatever you need to turn it into a mesh model. Within ReCap Photo, it have an online service, a cloud based service that you can submit the point cloud. Five, ten minutes later, it notify you that your model is done, that you need to download. And then you have the triangulated mesh.

AUDIENCE: Right. That was ReCap Photo. Are you saying that that's not available anymore?

HUNG NGUYEN: Correct. They still going, but the plan is Autodesk going to discontinue that service. Why? I have no clue. But I thought it was clever. But anyway, I just inform you and maybe because of the voice, they will continue. So we have to--

So another way I do, in this case just to model my head so I can design the Iron Man mask to fit my model. I even had to grow a goatee so I look like Tony Stark. [LAUGHS]

So if you want to go with that kind of actual mesh, the fastest way for you is to use the software instead of ReCap. You can use a software called Make Human. And there's a website right there. And it's a free software. So let me moving on to the next slide to show you how it can be done.

SHAYA GHANBAR: So--

HUNG NGUYEN: Yeah. You want to--

[INTERPOSING VOICES]

SHAYA GHANBAR: Make Human is a software that's being used in the medical industry. Basically you start with nothing, and you define your parameters, such as the height, the eye color, the size of the person, the weight, and so on. And by defining those parameters, as you can see on the screen, the model starts changing until you get to a point that you have that physical body ready for you.

So as you can see there, we were just changing things on the model to get to the point that this body is ready for the suit. So the purpose of this is to create the OBJ file to suit the dimensions and everything. And then once that's ready, we're going to move that. It's basically a fast and easy way of creating the human, and moving it into Fusion.

HUNG NGUYEN: It come with different race. Black, white, yellow, stuff that, with eye colors. It really is amazing software to use. And it's straightforward.

SHAYA GHANBAR: Now so the file can be imported. Once we save it as OBJ, we can import it to Fusion 360, as you can see here. And what we're going to do is we're going to convert the OBJ to T-Splines. And the program is going to do the analysis to convert that to T-Splines. But what's really nice about the Fusion here is when you convert that, you may also run into problems. You have your mesh. There might be an overlay and so on that is going to give you an error.

But it also shows you where the problem is coming from. So it highlights on the screen. And you can easily edit the feature. And then save your mesh, basically. So in this example, as you can see, those surfaces are overlapping. And all you have to do is basically to move the face away from each other so that they don't overlap anymore. And then you can proceed.

HUNG NGUYEN: So in Fusion, when you have topography crossing each other, it was recognize it. So you just simply move them apart, and it's going to fix the problem. It's nicely also give you the error. And when you highlight this, demonstrate this, it's very simple to fix.

So in this case, I just simply separate those surface. And then it will turn to a--

SHAYA GHANBAR: Solid.

HUNG NGUYEN: Yeah. So you see the mesh still in the background, but you have the body solid. Right there, I forgot to put the eyes in. But if you like, you can convert the mesh.

So that is the model when converted from mesh to human-- from Make Human to Fusion 360.

So now we have a form. Right, so we have the form. So in the next step that I say I'm going to explain to you, I need to make the mask fit to my face. So with solid, it's so easy. I just slide my head up, and just keep only the head down here. And I'm ready for the next one. So Shaya.

SHAYA GHANBAR: Yeah.

HUNG NGUYEN: Take it over.

SHAYA GHANBAR: Basically, as Hung said, once you have the solid body ready, it's very easy to disconnect parts. So in this case, we were working on the head. So we took the head off. And what we're going to do is we're going to use the free form feature, sculpting feature in Fusion.

Designers usually, we wouldn't-- what most of us offer traditionally is you have a 2D sketch, and then you convert that to a 3D. That's the conventional doing the design. With the free form, or just sculpting, you're a lot more flexible. In terms of your surfaces, now have four points. Each point, you can add more points. You can add more surfaces. And you can deform that to many features in many ways basically. So that allows us to create a mask for this head.

So what we do is bring this solid into the-- it's in the cloud basically, just saved there. We're going to bring it here to our space. And then what we're going to do in here is we have an image of the mask. We have two images actually, one from the front face, and one from the side. And we import the image to the program. We place it on a plane.

And so the really nice thing in here is, you can see, you're working on two different dimensions at the same time. Right, so you have the front face and the side face. And you can see how things are changing right at the same time. So obviously, when you bring the image in, it's not scaled to what you're looking for. So what do you do is you start picking points and measuring those points.

And then you come up with a factor to change the scale of the image to match the size of the head. And then we do the same thing for the other image, for the side view. And he also creates some reference points, some reference lines basically to define-- this is more prep work for creating the mask, just to have some reference points.

Yeah. And the same thing. You dimension the reference lines to figure out your scale.

HUNG NGUYEN: To summarize, you simply need two photos, the front, and the side way of any object that you'd like to model. And this technique actually come from the old day of 3ds Max. But in Max, it's harder. With Fusion, it's just so smooth and so easy.

So what you need to do-- so I have my head in there, and with the front sketching. And I need to scale it to fit to my head. And then now through Fusion 360, I just basically go and create a new solid, a new component. And in Fusion, you can also make the background of the image to be transparent so that you can actually sketch it on that a lot easier. So I just simply using a plane. Go ahead, Shaya.

SHAYA GHANBAR: Yeah. So with a freeform, we start with a plane. You can see that here it's flat. From the other side, you can see how thick it is. And what we're trying to do in here is by holding alt, you add more surfaces. And you can see that how the surface looks like. So from here, you can on a flat space basically you add more surfaces. Then from the other side, we obviously have to bend it around the mask.

So live, you can kind of see where you're going from one side, and then go to the other side and add more surfaces. All you're doing here is mostly with the freeform, you have the scaling or you have the movement. The scaling is basically you scale the geometry. Or with the movement, you move the points. So when you move a point, that point is attached to another point connected through a line, a cord.

So basically those points all interact with each other. So when you move one point, you're moving the cord and other geometric surfaces at the same time. In this case, we're adding more and more faces on one side. And then we have to go to the other side. And then fix it to basically-- we're basically following the lines of what we see on the image.

And in a case that you don't have enough points, you can add more surfaces. You can add more points. You can divide the surfaces. You can have symmetrical geometry, or asymmetric.

HUNG NGUYEN: Anybody here actually using technique for any of your design? Or in very similar way? Nice. Yeah. So this is quite useful. If you double-click on the asset, you can wrap the whole asset. And you can hold out the alt key. You move them out. It automatically divide into more assets for you. And now you can manipulate the vertex. And if you have two vertex separate, you can also window them all and say weld them together. The moment you weld the vertex together, it merges all of the assets together.

And the way I love Fusion that it have multiple way to display your topography. What I use in here is basically a rough way of showing the model. And when you just play with all of the control point at the end, you just simply say turn it to a smooth surface. And boom, you have it wrapped really nice and quickly around.

Last year when I talked about this, I also talked about fashion design. I met one of the lady after that, and she actually-- you know in modern times fashion design, we're not going to make it anymore. We 3D print it, and so on. And it's very wearable.

And I actually use Fusion to do a lot of things for my dog. I had a three-headed dog for Halloween. And it's all designed by Fusion. And it's quite neat. And T-shirts that would actually take you a second to make it. And then with the other stuff that I'll show you later, you actually can cut out the pattern. Print it. Or actually sew them together. But here, because we're going to mainly control how to build. So I just skip that fashion show then. OK.

So can I [INAUDIBLE]?

So this is how I started the little recording of how I make the Hulk Buster. It's very much the same. So at the bar, you know, you can get bored. So I found two images. So it's again exactly the same. I just put the two canvas 90 degrees together. And this guy actually, on real life, he's about four meter high. You know, he's about four meter high. And I'll dream it. One day, we're going to make that walk along the streets of Paris.

[LAUGHTER]

And we actually thinking of doing it. So we talk about it later. But exactly the same. You know, there's the shows in Paris that all of the math scientists, they get together. They view all of the rowboat. And during the festival, they just walk along the street, and so on. It's really cool. And they travel around the world. I think this was in Ottawa. Last year, right? Last year in Canada. So it's just amazing to see all of the-- so it's really the same technique that I did. Just, you know, very much like the Iron Man. And just slowly. It's this kind of job that you need to get it done at the bar. OK.

[LAUGHTER]

Not at your office. Without the beer, you won't have any inspiration to do this. [LAUGHS] You know, what you're going to do? After eight hours of sitting there and waiting for your flight, right? It's brutal. So you know, I enjoy doing this way. So let me just fast forward the video because--

And by the way all of these will be posted on Fusion gallery. So if you want to download, follow this technique, you're welcome to download the video, and so on. So let me just forward to that part. That's where you see eyes. Again, I just put all of the point. The image background a perfectly helpful. Very helpful for you to lay out all of this.

So if you never using this technique, you should try it now. So Fusion also great. When you do something, you simply do half of it. And it's just like every CAD product. You can mirror to the other side. But the mirror in Fusion is it aligned mirror. So when you do the mirror, you manipulate a point on the left, the right will automatically update. Right, so they planted to each other. Not like--

SHAYA GHANBAR: It's a complete mirror concept, basically. You don't have to say only these features. You basically have a complete mirror on the other side. So you can just focus on one side, and you know that for sure the other side is going to follow.

HUNG NGUYEN: Yeah. So in here, slowly that what I did. At the very end of the video right here, you will see that I mirror it to the other side. And when I double-click, I want to make the cheek to be smoother. So when I turn into a smooth surface, you see that exactly what you can see right there. So you guys have any questions based on this one so far?

OK. So if not, well let's moving on to the next one. Again, this technique, if you go up onto YouTube, you search for a similar technique from 3D. Anybody using 3ds Max? Yeah. So this actually come from 3ds Max. But in Max, it harder to do. In Fusion, you can subdivide the screen. And it's so smooth. You don't have to go onto the sub-object behind to do that. So very similar. This is just run to exactly the same to Max.

You can select the edge. You can rotate, move, and hold them together, insert more. Weld vertex, and finally, in Max you also have similar to Fusion, you apply what's called a surface optimization. So it will smooth exactly the same way.

Another technique that is really useful. Currently, in Fusion, if you want to do analysis and so on, you need it to be a real solid model. Right? And tons of [INAUDIBLE] sharing on the internet at the moment. You can download a quick Max model just in a second. But how are you able to print into Fusion, and then turn it into a solid model? So you can do some joints, some very scientific thing behind. Then if you file some mesh like this, there's some stuff you need to do.

In Max, you just apply a subdivide WSM to it. This is under modifier. You could lap all of the mesh together, and convert that to a poly mesh. And under modifiers, you can apply-- one thing that must do if you want to convert them to solid, is the number five. Apply the qualify all to turn all of the triangulated mesh into rectangular mesh. And with that, very smooth when you turn it into a Fusion 360 model.

So this is a quick video that I have made to show you. So I've done most of the head and the body. Now I want to bring in the arm and the shoulder pad. So there's another model on the internet. You can separate them out on 3ds Max. You can select them, subdivide to a component, and use that to export whatever you need out. And using the OBJ format. Make sure that you use OBJ format.

And then with that, to transfer this quickly, on the top, you pull out that little place. And you will see something called [INAUDIBLE], or turn it into a rectangular. And after you've done that, I just simply kick it out as a OBJ file one more time. And then on the next step, I will show you how to import into Fusion. And then turn that into a solid model. And with a solid model, you can do ton of amazing things with it.

So now in Fusion, you import the mesh. The mesh come in perfectly smooth. And now to turn it into a solid-- so that the mesh on top. In Fusion, you have a converter. So I just quickly convert. Just take a second. Everything turn into a T-Spline. And now after you finish this, you get out of this cut environment.

Then you will see it right away. One portion of it turned into a solid. The other one, it turn into a called an adjust surface. But now you can thicken it out. After you thicken it out, you can flat it out. Flat it out like sheet metal or so on to make.

OK. So make one. So I have the model. So how I'm going to make this one? As you know, I already make the Iron Man on the top. So I just want to review with you quickly how it can be done.

So with the surface already done on the model, the one thing you need to do is to look for a plug-in for Fusion 360. It's called ExactFlat. Anybody use ExactFlat? How you like it?

AUDIENCE: Works well.

HUNG NGUYEN: Work well. Yeah. So that exactly what I use. You can do a trial. And it's very, very quick to you use. I select them. And the few stuff that you need to do-- all you need to do is select the surface. So this is the quick video of how I flat out my Iron Man mask. And have it nested so that I can use any CAM products. The 2D profile cutting, to cut it out.

So you see, when you find the ExactFlat, all you need to do is to tell ExactFlat what piece you want to flatten out. So you use the plus side. You select [INAUDIBLE] that is supposed to be flattened out as one piece. OK. So that piece number two or number three that I want to add to it.

So now ExactFlat is actually a cloud based application. So with all of that, now you simply open an account, and login with your passwords, and so on. And then send it on the cloud. So this is the interface of ExactFlat. So you need to go in three different stages. First of all, you need to read the mesh. And it analyze the mask's three pieces that I want to flatten out.

So when it say the process at 100%, it's ready to go. And it count all the vertex for you, and so on. So now it read, and it optimized it. Now you hit the next button, called flatten. So it starts to analyze any-- you know, they use it for the car body, furniture, clothing design, and so on. It just turn it into a pattern for you to to make.

SHAYA GHANBAR: It also tells you the weaknesses that you have as well.

HUNG NGUYEN: Yeah.

SHAYA GHANBAR: If the material thins out, you can see where it's thinning out. So if you want to make modifications--

HUNG NGUYEN: Right.

SHAYA GHANBAR: --to either the material or the design.

HUNG NGUYEN: Yeah. So during the flatten pattern here, you also can peel down something that needs to seam in order to flat it out. Right, so it went in. It have some peel option. So you see in here, it peeled everything out. And it highlights something that it needs to be optimized. So you do one more step to optimize. So it analyze that last piece right there. When you see this completely white color, that actually did the most exact flat of any 3D model. So it is the live records. So after it's done. So you see it optimized everything.

Now that's the finished product. And you hit that. It will do a quick nesting for you. So it laid out all of this. So it's a really good tool. And I've been using it to flat out on almost anything that I want to cut out and make. So the next step to make it is-- Shaya, you want to take over?

SHAYA GHANBAR: Yeah. So in order to manufacture this, we need to use a nesting software. Unfortunately with Fusion, we don't have nesting software. So we're using a workaround here. We basically created a material, which is our stock material. And then the imported files, which came from ExactFlat-- that's what you see on the screen now. So what we're going to do is we basically manually have to grab those pieces, and put them in the stock.

So I mean, if you're familiar with the CNC machining, or water-jet machining, you kind of have to figure out how you're going to put these pieces together. So you're using the least amount of material basically. So in this case, basically the person who is doing this knows how to fit this together to maximize the material that you have available. And then the thickness of material is also same as the thickness of what we brought in from ExactFlat.

So you basically use something called joints in Fusion to lay this over on this material. And then once everything is done, that's a pattern that you're going to be using for machining.

HUNG NGUYEN: Just as you know, Fusion it has-- what's that? Fusion, it have almost everything from start to finish. You build something, you create something, and you can build exactly. So inside Fusion, you also have CAM. It supports multiple processors out there. Here it's just basically a 2D profile cutting.

So within Fusion, that is what you need to do. You verify the machine. You verify the cutter. You verify the part, this dark material behind. And it will ultimately generate on the tool path for you. And here, this is the preview of how the two paths-- you see the two paths. They come in and cut it out.

And so that's exactly the same thing that I used to cut out the material. What I did is with a half inch of rubber. And I use that. And I have a small machine to do that. And after, me and my son bend together and glue it together. Because if you actually wear this, the Iron Man suit, we extract the physical weight out of it. It's two tons. So I don't know how you're going to walk. [LAUGHS] So that why we end up using rubber sheet. And it worked well for it.

SHAYA GHANBAR: With the CAM side of Fusion, you can do up to five-axis machining.

HUNG NGUYEN: Yeah.

SHAYA GHANBAR: Water-jet cut, laser cut.

HUNG NGUYEN: Right. For the Hulk Buster, I was thinking of not doing that. But you know, you walk around at the exhibition. You see tons of 3D printers now. So I think that it-- currently, I'm just studying the joy. But if I decided to make the rest of it, I probably going to do the 3D printing rather than the flat work, because we want to make it really good. So you know, Fusion 360 is one of the most popular program for 3D printing. Anybody here actually use 3D printing for Fusion? Excellent. You enjoy it?

AUDIENCE: Yeah. [INAUDIBLE]

HUNG NGUYEN: Perfect. So anyway, let's moving on here. So the next part is how I test it. So this is the quick photo of me when my son is not around. Then I actually do 360 photo around here. So when we put the suit together, I know where to trim and really custom fit him. So that is one way for me to test the best fit of it.

I also, moving on, because I have the luxury of using Fusion. So as you know, in Fusion, you can do really high-end scientific analysis. So Fusion come with static model, frequency, thermal. And it's one of the best simulation packets out there. And one of my favorites is the event simulation. So what I did is-- OK. Assume that the mask is actually made in real life. And it have the thickness.

So if I shoot a bullet through it, what's going to happen? So in this simulation here, I actually use event simulation. And I shoot the bullet straight to the mask. And make it out of-- in this case assumedly make it out of platinum. And the bullet is lead. So you will see that when I run the simulation, it will come in. And then ding [INAUDIBLE] the Iron Man. So it's very scientific behind.

But if I'm doing something wrong here-- let's say I'm going to revert that by using the wrong material. So I put my head behind that mask. And the mask is actually made out of lead. And the bullet assumedly in this simulation, it's made out of platinum. Then you'll see the disaster going to happen right there. So close your eye. This is not for kid.

[LAUGHTER]

And it's just amazingly well done with it.

SHAYA GHANBAR: So depending on the size of mesh that you have for your FEA analysis-- if you have a finer mesh, obviously you get a more accurate result of what's going to happen in the future.

HUNG NGUYEN: Yeah.

SHAYA GHANBAR: And all the analysis is also done in the cloud. So you send it to the cloud. It starts analyzing and everything. And then you can keep working, or you can do your daily work basically.

HUNG NGUYEN: Now, the best part--

[VIDEO PLAYBACK]

HUNG NGUYEN: How I'm going to make the [INAUDIBLE] at the moment you see that the robot, the way it moves. At that point you need to see the guy, how it goes. We don't want robot to move that way. Because any way [INAUDIBLE] that allows his [INAUDIBLE] movement of the human to like a samba. So on the right hand side [INAUDIBLE] it out. I actually do a lot of research. And I found a group of people in Canada.

[END PLAYBACK]

HUNG NGUYEN: And--

[VIDEO PLAYBACK]

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HUNG NGUYEN: And I ran into a half mad scientist. I met Earl. Gifford, you want to say hi to everybody? So Earl is the assistant of one of the robot with arm design concept in Canada. They come up with an invention that to me could bring softness to any joint of the robot movement. And we believe that going to work. And we actually in the process of making [INAUDIBLE]. So you see, it's what is called the rotational envelope module.

So you see the movie when-- before, the Hulk Buster punch the other guy, a bunch of pieces come in. And it connected together, and it make that arm. That what we want to do. So each module, it can rotate around itself. And it can be put together separately. Each module will come together. And you see, it has a lot of room. Let's assume that you wear that suit. Your arm inside. You need a lot of room to pass cables, to put all kind of stuff inside. Correct? So the [INAUDIBLE] traditional joint not going to work for us.

So compare to the traditional joint here. You see, if you use cylinder, and compare it to what they invented-- it's called a REM joint. You see, a lot of room inside. And each module is individually powered, and allow more joint independent. The articulation of the design, it can reach way more than 180 degree. So it's not too like traditional cylinder as you see them compare side to side like this.

SHAYA GHANBAR: So traditionally, you have something called a four-bar mechanism, which you're limited in terms of degrees of freedom. With this concept here, I can't say you're unlimited, but your degrees of freedom just goes exponentially.

HUNG NGUYEN: Yeah. So the moment I saw that, I contact them. And we work together. And I want to use this joint in my Hulk Buster. And they agreed. So we've been working together. And basically take on that. You will already see compare with the revolute, translational, or universal, or other ball joints. Compared to what able to pass cable and put my arm-- it had 90% of free space inside anyway. So that's the type of suit that we can actually-- it's a wearable suit, right. So agree or not. So it's just this joint that I've never seen in any other places yet.

So let moving on to how we actually making it. So clearly we're doing the arm with two joints. And we do the stress analysis on it. And we add four different load scenarios too. And [INAUDIBLE] we were really happy with the result out of it. So the deformation, it only mainly happened on the top where it's stationary. There's no twist and turn. And all of the equivalent stress and yield strength went very well.

SHAYA GHANBAR: So the colors you see on the screen. It's the stress. The red means you had the highest point of stress. And then the blue is the least.

HUNG NGUYEN: Yeah.

SHAYA GHANBAR: So that's how you figure out if your material is strong enough or not.

HUNG NGUYEN: So that is the composition but behind this kind of joint, of the REM. So as you see, it rotate around each other. And it going to have a drive system inside. So if you'd like to, if you really want to learn more about this kind of invention, you could draft Earl after class. He love to share the idea. That half-mad scientist sitting there. [LAUGHS] OK.

So let me just moving on how we actually making it. So it very potential benefit for getting off the singularity for a robot. You know, robot, a lot of time when it could--

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HUNG NGUYEN: [INAUDIBLE]. So in this case, after one--

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HUNG NGUYEN: --of the study by Stanford. So with our REM, we believe it potentially can overcome that. And while we're doing that, we also--

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HUNG NGUYEN: Have one of this next robot--

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HUNG NGUYEN: --for rescue. It moving along the ladder. [INAUDIBLE] we believe that you can see the traditional of joint compared to what they invented. I believe it going to overcome this next robot, that it can [INAUDIBLE]. Do you agree with me on this one? It potentially here. That's the only thing. It's really scary, right? It come to you through your vent.

Yeah. But you see [INAUDIBLE] if we able to modify this in the way the joint they invented, I think we can be able to improve a lot to them.

Really scary. I don't want to see it.

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HUNG NGUYEN: So this is this day, we currently make it. So that joint, we actually-- this is day one.

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HUNG NGUYEN: We have [INAUDIBLE] and it really [INAUDIBLE]

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HUNG NGUYEN: --to say to you know that the driving mechanism--

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HUNG NGUYEN: [INAUDIBLE] one of the drills. Is that right? In the back.

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HUNG NGUYEN: And then on stage, we add this stabilizer inside.

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HUNG NGUYEN: And the small motor actually [INAUDIBLE].

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HUNG NGUYEN: So we go--

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HUNG NGUYEN: Now on stage four, we getting somewhere here. That if you'll noticed, if I actually play the video, you'll see there's a internal motor install, the stabilizer. And there's room to use. There is plenty of room in this invention. The scientist put his hand through it. So imagine that the arm can slide too. And it can be sealed. It can be further modified, and so on.

So that is the end-- currently where we are. So I hope with the time coming along, I think this kind of stuff--

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HUNG NGUYEN: --is going to come to you very soon. In real life, right. You're going to have a guy going to walk on the street, rescue people, and so on.

- Whoa, this is amazing man. It's like being the hulk, but not actually.

I'm OK. I'm OK.

There's too many of them. Get off. [SCREAMS]

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HUNG NGUYEN: To conclude this one, and because with time, we're running out first. So I think that it might call for you. So I think Albert Einstein another Hulk. He say that imagination is more important than knowledge. Which is true. Stretch your imagination. And we're going to get it someday. And between fictional and fact, it should take note in between. Is that right? [LAUGHS]

So anyway, thank you so much. And I hope that you have some fun when you see my show. So if you have any-- thank you the Adam Bakir and others for this great invention. And I really believe in it. Thank you for the Fusion team who make just amazing software. And I really enjoy it. And the being. And so on.

And if you want to talk to us, that is where we are going to be. We at the SolidCAD is the member [INAUDIBLE] marketing with Autodesk. So we are located right in the center of the exhibition. So if you drop by all of your--

SHAYA GHANBAR: Yeah. You just have to show the card that I handed out earlier, and you get a prize basically.

HUNG NGUYEN: Yeah.

SHAYA GHANBAR: They're like virtual reality classes, memory sticks, so there's good stuff.

HUNG NGUYEN: Is there any question? Yes sir?

AUDIENCE: What sort of flat are you getting out of ExactFlat? Are you getting just a flat and a mesh? Are you getting--

HUNG NGUYEN: You get a DXF.

SHAYA GHANBAR: DXF?

HUNG NGUYEN: You get a DXF. And it's quite nice. You can also verify the taller so that it nests properly for you, and so on. Quite neat.

AUDIENCE: You could take all those DXF files and run them through an external nester and then bring them--

SHAYA GHANBAR: Yeah.

HUNG NGUYEN: Correct.

SHAYA GHANBAR: Definitely. Yeah.

HUNG NGUYEN: Correct.

SHAYA GHANBAR: Yeah.

HUNG NGUYEN: Yeah. Any other questions? Come on. Don't be shy. [LAUGHS] Any? Come on, stretch out the imagination a little bit. Yes sir?

AUDIENCE: Does someone that's looking to learn, would you suggest getting [INAUDIBLE]

HUNG NGUYEN: Those Fusion 360. It's so easy to use. And the material falling in is going to overflow that person. It's so much. Almost every topic of it.

AUDIENCE: [INAUDIBLE]

HUNG NGUYEN: Oh, a 3D [INAUDIBLE] mask, it was designed long time ago for movie industrial, game developments, stuff like that. So it's not meant for engineering

SHAYA GHANBAR: Or rendering, or any

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HUNG NGUYEN: Yeah. For rendering. But we're fusing it in engineering devoted software.

SHAYA GHANBAR: It's basically from design to analysis and manufacturing. So you have the whole side

[INTERPOSING VOICES]

HUNG NGUYEN: The whole thing in there. And where on traditional map you make character, you build a house, you burn the house, you make people running around, shooting, special effects for movie, and so on. But you are not able to do from design all the way to send to the compact, cut it out, put together, and do the analysis like a bullet go through the head and stuff. No. You cannot do that.

SHAYA GHANBAR: It's also the price factor as well. I mean, Fusion is-- compared to what you get is really cheap.

HUNG NGUYEN: Yeah. Yes?

AUDIENCE: Could you probably handle also larger assemblies [INAUDIBLE] Fusion? Or is this [INAUDIBLE]?

SHAYA GHANBAR: It is still a weakness with the program, large assemblies. It is getting there. But I don't know what the limit is. I can't tell you if you have 2,000 parts it's going to be a problem. I don't know what that borderline is. But for the longest time, the drawing part was bad, I would say. But now it has been improved. So that side of it is getting better.