“Down in new zealand way down the bottom of the south pacific and we always always feel it s best to get the creative people down here to show them we re about and to open their eyes to the world of wit. Which is a world that we re trying to create magic. And so. When a director comes down here such as dean did on power rangers.
It really helped him to go from the artwork to go from the 3d models and actually see the pieces and hold them and we can kind of get this creative collaboration. Which i think with dean has been really really awesome my involvement on power rangers was to help lead the charge on taking the designs that legacy effects had produced and helped evolve those designs. So we could build this suits. One of the key concepts for the suits was that they feel like they re actually growing and that they re organic.
They re not like a suit that you put on using zbrush which is a 3d modeling program. We started to model the designs to give an understanding of how those designs with looking three mentions and so you can spin it around and also we to review. Where there might be some problems and then we were just the design on the 3d model to try to compensate for them we then start printing the pieces and start having a look at it and in a costume department is involved and then it starts getting much bigger in the very beginning..
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We were developing a lot of textiles and print getting nice textures into the fabric. So there was a lot of r d. Going. On and then we worked a lot with the pattern making trying to hide seams.
Where we wouldn t normally have seams on the body to make it a bit more skin like there s this amazing thing that we felt through dean s imagination of having this under texture and in this this over texture of these clear armor pieces. Which is quite a difficult task. And we ve never had something like it before because usually when you re making armor. You have all these rigging points underneath.
It and you can always go behind it but with with this armor you could see all your fixing. So we had to figure out a way to attach it to the suit. So it was so exciting to be given this opportunity partway into the project jean and kelly came out and visited us..
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And that was great to have them on site. Because we got to show them the fabrics and i got to handle them and see how they and they worked in a different light. The power rangers design has like a galaxy or universe inside their chest. And so we talked with sean from the effects about how to create data with obviously got markers and trackers to put his cg and but we also need to create light that would be emanating from their chest.
So we ve got this very very flat pack led systems that go in the chest plates. And so that s what these blue and green veins are for is their to trying to be replaced digitally and will show their energy running through it with the light part of the costumes. We had to spring print. The print and different directions.
So that it flows like the energy was flowing with your body one of the biggest challenges was actually the color because the color of the ranges. They look a uniform color. But the carson guys had to fiddle with their mixes..
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So much because the density of the piece how thick. It is we change the colors all up there was like 2000 components that we cast and each one of them was so precisely lenzi. One of our designers was asked to help come up with some ideas around the battle damage because of course. The suits.
Don t just stay in a pristine state. And so there was quite a bit of conceptual design done around kind of how we could destroy all the pretty work that we had done. It s been cool to be able to have these power rangers and have this new look that dean is putting onto the members new sort of spin. They re getting a combination of all these new products is something that s been a new step for us.
So it s quite exciting to see it all finally come together and it s really good because they are such complex suits. We really wanted to make sure that when we hand these things over that the cast feel comfortable in them we wanted to ensure that on camera. They looked as beautiful as we have made them in the workshop and is user friendly because you know the power rangers you know in addition an amazing martial arts and stunts and we don t want to inhibit that you know anyway so tree and myself we re going to travel to canada and and help shoot come in and be on this on set to make sure that they look really awesome..
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We re gonna be training a few of the crew up there so they know all about our suits. And then we re gonna be on set with them for a few weeks. Which is always satisfying for me getting to do the development for making and then going on set. I ve tried on a power ranger suit to help test the suit.
But once i actually got it on it had to feel quite cool and started doing some martial arts moves and it was yeah. The 14 year old load came back to gonna go yeah oh snap ranger. ” ..
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description:
“On the anniversary of Power Rangers, we take a look back at the hugely challenging, incredibly rewarding, process of developing the Rangers suits intergalactic armour. nnWith an embedded texture, glowing veins u0026 and a technically advanced Lycra underlayer, these suits were awesome fun to help design and create – and we were thrilled to have the opportunity to work with the Power Rangers crew on set in Vancouver!nnRead more about the design u0026 manufacturing process over at http://bit.ly/2GbVZ8UnnGo behind the scenes with us:nFacebook – http://www.facebook.com/wetaworkshopnInstagram – http://www.instagram.com/wetaworkshopnTwitter – http://www.twitter.com/wetaworkshopnnhttp://www.wetaworkshop.com”,
tags:
weta, weta workshop, power rangers, sci fi, superhero, costume, armour, suit, design, concept design, filmmaking
