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00:00:00 – 00:12:24
Adam Savage visits fbfx near London to explore the creation of the Master Chief armor for the Halo TV series with Alex and his team. They reveal the complex process of adapting CG models to fit human proportions, resulting in over 216 individual pieces for the Master Chief armor. This requires extensive 3D printing, molding, and casting, with an intricate undersuit crafted for flexibility and functionality. Stunt costumes are customized with neoprene padding for protection, and repairing suits on set is a crucial role handled by team member Balint.
The engineering behind the helmets is particularly intricate, featuring 3D scans, internal skull caps, and advanced electronic systems for lighting and ventilation. The helmets include high-frequency, camera-safe lighting control and are designed for comfort and compatibility with glasses. A DMX-integrated fan system is remotely controllable, allowing lighting personnel to manage it on set, ensuring the actor remains cool and the visor clear.
The discussion also highlights the precision of 3D printing and vacuum casting used to create custom parts, including detailed helmet interiors and 3D-printed fan scoops. Integrated technology like battery feedback systems communicates via Bluetooth and Wi-Fi, enabling simultaneous control of multiple suits. Current production advancements aim to make the new generation of Halo suits faster, stronger, and more efficient, building on the prototypes from the first series. The team expresses excitement about the improvements and looks forward to the final results.
00:00:00
In this part of the video, Adam Savage visits fbfx near London to discuss the creation process of the Master Chief armor for the Halo TV series with Alex and his team. They reveal that even though they start with CG models from the game, they face significant challenges in adapting these to human proportions, necessitating extensive remodeling. Each piece has to be rebuilt from scratch to maintain the correct silhouette and functionality. The process involves 3D printing, molding, and casting, with the Master Chief armor alone consisting of over 216 individual pieces. The undersuit is complex, made of several parts and different types of materials to ensure flexibility and functionality. Despite the CG models acting as guides, the majority of the work amounts to creating from the ground up.
00:03:00
In this part of the video, the discussion focuses on the costumes and props used for stunt performances. The stunt suits were customized to fit the stunt performers, who were generally shorter than the main actors, and included neoprene padding for protection. A crew member named Balint played a key role in repairing the suits on set. The video also highlights the unique gloves used in the costumes, noting that stock gloves were no longer available for Series 2, so they had to be handmade.
The conversation shifts to the helmets, particularly the engineering behind the chief’s helmet, which is custom-made using a 3D scan of the actor’s head. The helmet features an internal skull cap and complex electronic systems, including miniature fans and a multi-channel lighting controller, which were miniaturized to fit inside the helmet. The lighting controller boasts high-frequency, camera-safe modulation for lighting and fan channels.
00:06:00
In this part of the video, the speakers discuss the capabilities of a remotely controllable fan system integrated with DMX for studio use. They explain how the system can be managed from a small unit that simulates a studio desk, allowing engineers to hand over control to lighting personnel on set. The demonstration involves controlling multiple channels for lighting and fans, which are critical in keeping the actor cool and ensuring the visor remains clear. The system features magnetic connectors for easy setup and adjustment, especially in the jaw area where additional fans are located. The speaker then tries on the helmet and remarks on its comfort and functionality, including its compatibility with glasses and fully digital control for sound and lighting. They also highlight that the system can handle up to 512 DMX channels, providing extensive control options.
00:09:00
In this part of the video, the discussion revolves around the intricate details of 3D printing and vacuum casting used in the creation of custom parts. They explain how channels and frequencies work, allowing for a vast number of channels and universes. A customized 3D-printed fan scoop is highlighted, showing the precision and functionality achieved through SLS 3D printing. The detailed interior of a helmet is explained, achieved through a labor-intensive vacuum casting process that allows for finishing both inside and outside surfaces. They also discuss the integration of technology, such as battery feedback systems that communicate via Bluetooth and Wi-Fi, enabling control of multiple suits simultaneously. Additionally, the segment touches on the process of creating armor pieces, involving various materials, casting, and sewing techniques, emphasizing the craftsmanship and effort involved in production.
00:12:00
In this part of the video, the speaker discusses the progress of creating new Halo suits. Series two is currently in production, and the first series served as prototypes. The upcoming suits are expected to be faster, better, and stronger. The speaker expresses excitement about the improvements and looks forward to seeing the final results.