Transcript:
Now, over 15 years ago. I decided that I was gonna start a toy company. One of the things that I wanted to do was to just make the coolest figures that were out there. The visual look of them. Just add more detail. More paint! You know, was only gonna work if I actually had some big images that I was making those toys on them, so we started the company with a character called spawn a comic book. I create it, and eventually I knew that I was gonna have to go and chase down some bigger brand names than that little small character. I created as the years went by. We ended up doing sports and some other comic books. TV movie show. But then eventually the conversation came around to videogames. I wanted to be able to take what we’re starting to set our company apart, which was the amount of detail we were putting into it. We were able to survive against the big giant toy companies only for one reason because we just were making a cooler better-looking toy and we wanted to then branch out and take that cool walk to people who were playing video games and on that short list had to be the Halo franchise and so we ended up making a call-out to Microsoft. Luckily, they were in a mood. They were having a good run with the video games and we were able to get the contract just before Halo 3 launched. This is a big task for Mcfarlane, Toys and myself was. How can we bring that talent now to Halo? When we first began doing the first line of toys, this is with 4 Halo 3 We literally had to take the reference that we could see with our own eyes are saying reference than anybody else would have seen. And then we had to basically take our clay or digital. You know, 3d modeling and we had to look at that image, and then we had to make an interpretation of them we were, we were sent reference. We had to look at the reference and I’ve got the best sculptors in the business. Take a look at some of this stuff and blow your mind. How were we able to look at the reference and make an interpretation of it and then eventually make a toy out of it, although. I thought we did a great job. It’s not the best way what I was hoping for. Is that once we got past that first wave of toys I would be able to sort of have built up enough sort of confidence on Microsoft’s part to be able to ask them for the keys to the cars. Which, for me was their 3d models. And here’s. Why that made so much sense? I wanted to take what was actually there. I wanted to make the Master Chief. Has he actually exist in the game? Why, why do Mcfarland interpretation of Master Chief? Why not just do Master Chief? And so we were able to get past? That was that was the big hurdle for me once we got past that, and they gave us those models. It then becomes the next step, which is taking those existing models from the video games put in all the joints. Then we go to the next step, which is to actually make a 3d model up. You’re about to make toys. Todd, and when you do that, they have to be three-dimensional. And so I’m gonna walk you through some of the process and hope you’ll find some of it interesting along the way. Thanks [Music] [Applause] [Music] [Applause] [Music]. Hi, my name is Chris Rad. I’ve been working for Mcfarlane Toys since 1999 I started as a traditional sculptor working in clay about four years ago. I switched over to working digitally and it was an interesting transition. There are a lot of techniques that you use in clay that don’t necessarily apply to digital work, but the digital work is a lot quicker and actually a lot cleaner, especially if we’re able to use actual game models. The fact that we have their resources available to us makes our final sculpt that much better because it gets the models as accurate as possible. [MUSIC] [Applause] [Music] [Applause] [MUSIC] [APPLAUSE] [MUSIC] [APPLAUSE] [MUSIC] [APPLAUSE] [MUSIC] [APPLAUSE] [MUSIC] [APPLAUSE] [MUSIC] [APPLAUSE] [MUSIC] [MUSIC] [APPLAUSE] [MUSIC] [Applause] [Music] [Applause] [Music] [Applause] [Music] You [Music]?