The Podcast about making Prosthetics

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In this hefty (nearly 3-hour long) episode of ‘Battles with Bits of Rubber,’ we dive into an engaging conversation with Brian Best, an expert in prosthetics and mould making. Brian shares his journey from being a passionate teenager who loved Gremlins (who didn’t from that generation?) to becoming a professional mould maker and ZBrush enthusiast.

He discusses the evolution of his career and how he navigated the challenges of different materials and techniques in moulding and sculpting, and it was following his progress that made us move towards it.

Check out Brians excellent work on Instagram: @brianbestfx and his Gremlins project @thepeltzerpet

Listen or download the episode below,
or find us on your favourite podcast app.
We are on Spotify, Apple Podcasts, Youtube…
basically, wherever you get podcasts.

Brian recounts his experiences in various film projects, explaining the detailed processes involved in creating high-quality moulds and the importance of meticulous note-taking. He emphasises the significance of understanding traditional and digital tools to produce outstanding results (honestly, old-school experience is so important). The conversation also touches upon the value of maintaining consistent quality and the often-underappreciated role of mouldmakers in the industry.

This episode’s key theme is transitioning from traditional sculpting to digital tools like ZBrush. Brian explains his initial challenges and eventual sufficient mastery of ZBrush to use daily, highlighting the importance of a specific project or goal to drive learning and skill acquisition. His passion for continuously improving his craft and adapting to new technologies is evident throughout the discussion. 

Hopefully, you will dig his insights into the mouldmaking process, the practical advice on using digital tools, and the candid reflections on the art and the industry. Whether a beginner or a seasoned professional, this episode offers valuable takeaways to enhance your creative journey.

Me and Brian when Brian was a Mummy in ‘The Mummy Returns’ (this photo would have been in 2000 and taken at Shepperton Studios). Brian created his own makeup for this and I applied it.

Key Moments:

  • Brian’s journey from a self-taught teenager experimenting with moulds to a professional in the industry.
  • The importance of meticulous note-taking and learning from each project to improve mould-making techniques.
  • Transitioning from traditional sculpting to mastering ZBrush and the significance of having a clear project goal.
  • The role of mould makers in the film industry and their often-overlooked challenges.
  • Practical advice on using digital tools and maintaining high-quality standards in traditional and digital moulding.
  • The role of mould makers in the film industry and their often-overlooked challenges.

We mentioned the notebooks Brian made of various projects, and Brian kindly allowed us to put some images from them here. 

Moulding in multiple pieces without shim can mean increased time on the bench. This method speeds up the process for a multi-piece jacket. Shim and fibreglass was not an especially popular method in the UK, but has since been adopted far wider.

Brian’s notes regarding the use of polyurethane foam for filling body moulds.

From The Mummy Returns (2001), the severed head in the opening sequence was a big shot, and Brian kept detailed notes of how it was cored out, locating the core and how to set eye blanks into position. This seems far more common now, but the internet was in it’s infancy, and nobody was sharing this kind of information on any scale in 2000 when we were working on it.

Batman Begins (2005) required a huge step up from the usual simple appearance of the black suit with the resulting complications of moulding falling at Brians feet as he supervised the Batshop mould room. This sketch shows the kind of process Brian would dvelop and explain to the team. Multiple piece matrix moulds with pinned keys to ensure consistent location.

Blade 2 with it’s terrifying ‘Reaper’ vampires by Steve Johnsosn ‘XFX’ crew was a fun project, filmed in Prague in 2001. Here, Brian kept a detailed log of the application sequence with colours and layers of PAX paint for his own continuity. The ‘making of’ remains one of the most comprehensive behind the scenes extras on the DVD and at the time of writing is on YouTube https://www.youtube.com/watch?v=x_U76roiK84
Making moulds digitally allows a very complex range of interlocking pieces to be arranged and checked before anything is printed. Yoi can see how understanding the process from the ground up, doing it old-school for years first, has allowed Brian the correct mind to envisage how these things can come together.
A project Brian did as a test was to make a complete Stormtrooper helmet, which assembled and interlocked when printed.
Gizmo from Gremlins was a huge inspiration for Brian, and wanting to make his own Mogwai led him to push through those scary first days of ZBrush. Break that seal!
Not too shabby, Brian.

A Star Wars: Solo creature (designed by the excellent Martin Rezard) is here prepped for moulding with silver spray to keep moisture in and prevent the resin being damaged. Making moulds (and indeed sculpting) can be a physically demanding job sometimes.

If you enjoyed this episode, please leave your comments and feedback. We’d love to hear your thoughts and questions. Email us stuartandtodd@gmail.com.

Until next time!

—-

Stuart & Todd

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