The making of Robocain

[CAIN MKII]

I tried to collect as much articles about Cain as possible to learn everything about it's creation.
Today I want to share this with other fans in some kind of compilation of everything I learn and read about my favourite robot design,
thanks to my good friends on Robocop archive and a lot of extract from various magazines: Fangoria, Cinefex, Starlog, Cinefantastic.
Enjoy.

Chapter 1: creating the monster



CAIN MKII aka Robocop 2 or robocain was designed by Craig Davies (or Craig Hayes).
He began developing the cyborg with the idea that it was something Robocop would stand little chance of beating,
a giant that could varry its height by way of gears and hydraulic rams.
« Our idea of the monster, involved Craig Davies coming up with the initial design, and thinking of something that looked lethal,
but wasn't necessarily immediately readable, so it would have enough detail and complication.
We're trying to make something that has the qualities of a monster, something that has a very intangible quality to it.
If you look at it immediately, you don't quite understand exactly what you're seeing, it doesn't have immediate readability.
Unlike ED-209, which had a immediate, sculptural presence, this thing is a little more difficult, visually, to get a hold of. » said Tippett.
«  I just mixed up a lot of elements of modern society and, in particular, the modern American male and put them in a stylized form
so you've got this big, giant monster that's like a lot of different, contemporary icons. » commented Craig Davies.
The monster with its many arms and thin, wasp like waist, almost suggests a powerful, insectoid creature.
The crew has taken to calling Murphy's genesis 'the monster' and one look at the nine-feet, Craig Davies-designed cyborg explains why.
Robocop II is a paragon of armament design gone awry.
There's no face to speak of. Instead, a pair of steel shutters angle forward between the shoulders to form a rudimentary, triangular head.
Topped off by a circular cap.
The helmet design was just a conglomeration of a lot of things. From the front it looks like an atomic bomb mushroom cloud,
but it has the profile of a sort of stylized American eagle.
It's ludicrously wide chest narrows down to a near-waspish waist supported by a tangle of hydraulic struts.
So the overall impression is of a stylized bodybuilder.
Off its shoulders hang two vertical, geared turrets, each of which carries a complement of four arms
that include such handy tools as pincers, plasma cutters and high-speed Gatling gun.
« I wanted to show that this thing was capable of self-repair, something like a guerilla Swiss army knife. » said Davies.
« This cyborg is like a big, thick-headed American male asshole, the worst, most offensive thing you could ever have angry at you.
From some angles, though, it looks like a medieval knight, which was a conscious satirical comment,
it's medieval showing that America is not in the forefront of this kind of stuff anymore. »

[Joined]

I tried to collect as much articles about Cain as possible to learn everything about it's creation.
Today I want to share this with other fans in some kind of compilation of everything I learn and read about my favourite robot design,
thanks to my good friends on Robocop archive and a lot of extract from various magazines: Fangoria, Cinefex, Starlog, Cinefantastic.
Enjoy.

Chapter 1: creating the monster



CAIN MKII aka Robocop 2 or robocain was designed by Craig Davies (or Craig Hayes).
He began developing the cyborg with the idea that it was something Robocop would stand little chance of beating,
a giant that could varry its height by way of gears and hydraulic rams.
« Our idea of the monster, involved Craig Davies coming up with the initial design, and thinking of something that looked lethal,
but wasn't necessarily immediately readable, so it would have enough detail and complication.
We're trying to make something that has the qualities of a monster, something that has a very intangible quality to it.
If you look at it immediately, you don't quite understand exactly what you're seeing, it doesn't have immediate readability.
Unlike ED-209, which had a immediate, sculptural presence, this thing is a little more difficult, visually, to get a hold of. » said Tippett.
«  I just mixed up a lot of elements of modern society and, in particular, the modern American male and put them in a stylized form
so you've got this big, giant monster that's like a lot of different, contemporary icons. » commented Craig Davies.
The monster with its many arms and thin, wasp like waist, almost suggests a powerful, insectoid creature.
The crew has taken to calling Murphy's genesis 'the monster' and one look at the nine-feet, Craig Davies-designed cyborg explains why.
Robocop II is a paragon of armament design gone awry.
There's no face to speak of. Instead, a pair of steel shutters angle forward between the shoulders to form a rudimentary, triangular head.
Topped off by a circular cap.
The helmet design was just a conglomeration of a lot of things. From the front it looks like an atomic bomb mushroom cloud,
but it has the profile of a sort of stylized American eagle.
It's ludicrously wide chest narrows down to a near-waspish waist supported by a tangle of hydraulic struts.
So the overall impression is of a stylized bodybuilder.
Off its shoulders hang two vertical, geared turrets, each of which carries a complement of four arms
that include such handy tools as pincers, plasma cutters and high-speed Gatling gun.
« I wanted to show that this thing was capable of self-repair, something like a guerilla Swiss army knife. » said Davies.
« This cyborg is like a big, thick-headed American male asshole, the worst, most offensive thing you could ever have angry at you.
From some angles, though, it looks like a medieval knight, which was a conscious satirical comment,
it's medieval showing that America is not in the forefront of this kind of stuff anymore. »

[Post Count]

I tried to collect as much articles about Cain as possible to learn everything about it's creation.
Today I want to share this with other fans in some kind of compilation of everything I learn and read about my favourite robot design,
thanks to my good friends on Robocop archive and a lot of extract from various magazines: Fangoria, Cinefex, Starlog, Cinefantastic.
Enjoy.

Chapter 1: creating the monster



CAIN MKII aka Robocop 2 or robocain was designed by Craig Davies (or Craig Hayes).
He began developing the cyborg with the idea that it was something Robocop would stand little chance of beating,
a giant that could varry its height by way of gears and hydraulic rams.
« Our idea of the monster, involved Craig Davies coming up with the initial design, and thinking of something that looked lethal,
but wasn't necessarily immediately readable, so it would have enough detail and complication.
We're trying to make something that has the qualities of a monster, something that has a very intangible quality to it.
If you look at it immediately, you don't quite understand exactly what you're seeing, it doesn't have immediate readability.
Unlike ED-209, which had a immediate, sculptural presence, this thing is a little more difficult, visually, to get a hold of. » said Tippett.
«  I just mixed up a lot of elements of modern society and, in particular, the modern American male and put them in a stylized form
so you've got this big, giant monster that's like a lot of different, contemporary icons. » commented Craig Davies.
The monster with its many arms and thin, wasp like waist, almost suggests a powerful, insectoid creature.
The crew has taken to calling Murphy's genesis 'the monster' and one look at the nine-feet, Craig Davies-designed cyborg explains why.
Robocop II is a paragon of armament design gone awry.
There's no face to speak of. Instead, a pair of steel shutters angle forward between the shoulders to form a rudimentary, triangular head.
Topped off by a circular cap.
The helmet design was just a conglomeration of a lot of things. From the front it looks like an atomic bomb mushroom cloud,
but it has the profile of a sort of stylized American eagle.
It's ludicrously wide chest narrows down to a near-waspish waist supported by a tangle of hydraulic struts.
So the overall impression is of a stylized bodybuilder.
Off its shoulders hang two vertical, geared turrets, each of which carries a complement of four arms
that include such handy tools as pincers, plasma cutters and high-speed Gatling gun.
« I wanted to show that this thing was capable of self-repair, something like a guerilla Swiss army knife. » said Davies.
« This cyborg is like a big, thick-headed American male asshole, the worst, most offensive thing you could ever have angry at you.
From some angles, though, it looks like a medieval knight, which was a conscious satirical comment,
it's medieval showing that America is not in the forefront of this kind of stuff anymore. »

[Comment]

I tried to collect as much articles about Cain as possible to learn everything about it's creation.
Today I want to share this with other fans in some kind of compilation of everything I learn and read about my favourite robot design,
thanks to my good friends on Robocop archive and a lot of extract from various magazines: Fangoria, Cinefex, Starlog, Cinefantastic.
Enjoy.

Chapter 1: creating the monster



CAIN MKII aka Robocop 2 or robocain was designed by Craig Davies (or Craig Hayes).
He began developing the cyborg with the idea that it was something Robocop would stand little chance of beating,
a giant that could varry its height by way of gears and hydraulic rams.
« Our idea of the monster, involved Craig Davies coming up with the initial design, and thinking of something that looked lethal,
but wasn't necessarily immediately readable, so it would have enough detail and complication.
We're trying to make something that has the qualities of a monster, something that has a very intangible quality to it.
If you look at it immediately, you don't quite understand exactly what you're seeing, it doesn't have immediate readability.
Unlike ED-209, which had a immediate, sculptural presence, this thing is a little more difficult, visually, to get a hold of. » said Tippett.
«  I just mixed up a lot of elements of modern society and, in particular, the modern American male and put them in a stylized form
so you've got this big, giant monster that's like a lot of different, contemporary icons. » commented Craig Davies.
The monster with its many arms and thin, wasp like waist, almost suggests a powerful, insectoid creature.
The crew has taken to calling Murphy's genesis 'the monster' and one look at the nine-feet, Craig Davies-designed cyborg explains why.
Robocop II is a paragon of armament design gone awry.
There's no face to speak of. Instead, a pair of steel shutters angle forward between the shoulders to form a rudimentary, triangular head.
Topped off by a circular cap.
The helmet design was just a conglomeration of a lot of things. From the front it looks like an atomic bomb mushroom cloud,
but it has the profile of a sort of stylized American eagle.
It's ludicrously wide chest narrows down to a near-waspish waist supported by a tangle of hydraulic struts.
So the overall impression is of a stylized bodybuilder.
Off its shoulders hang two vertical, geared turrets, each of which carries a complement of four arms
that include such handy tools as pincers, plasma cutters and high-speed Gatling gun.
« I wanted to show that this thing was capable of self-repair, something like a guerilla Swiss army knife. » said Davies.
« This cyborg is like a big, thick-headed American male asshole, the worst, most offensive thing you could ever have angry at you.
From some angles, though, it looks like a medieval knight, which was a conscious satirical comment,
it's medieval showing that America is not in the forefront of this kind of stuff anymore. »

[CAIN MKII]

Chapter 2: building the monster
It was up to Davies and crew to build no less than eight fully articulated identical miniatures of Robocop II
in order to accomodate the eight separate teams totalling 56 animators.
Members of the Davies shop, located in Phil Tippett's Berkeley studios included Paula Lucchesi, Merrick Cheney, Spencer Owyang and Mark Ribaud.


L to R: Blair Clark, Mark Ribaud, armature maker Tom St.Amand, Chris Rand, Paula Lucchesi, Craig Davies, Adam Valdez, Merrick Cheney and John Reed.

Working from his own drawings, Craig Davies constructed a foot-tall wooden mock-up of the Cain monster.


Tom St. Amand then took the wooden mock-up and made it armature-worthy.
The intricate stop-motion armatures, consisting of over 700 parts, were designed and finely machined
by Tom St.Amand and Blair Clark, out of aircraft aluminium and stainless steel.
Standing about 14 inches (1/6th) when at rest , the aluminium-and-plastic monster is a miracle of design.
It showed the many joints that Davies had incorporated into the design.
« I've heard from everybody that it's pretty much the most complicated puppet ever built. » said Davies.
« A good portion of these models have their actual armature parts showing through.
There's a tremendous amount of detail in the armature itself.
Tom St.Amand put a great deal of effort into figuring out the best materials to use for this thing and because he did such a fine job with it,
we ultimately left much of the armature exposed on the puppet.
Paula Lucchesi, Spencer Owyang, Marc Ribaud and Merrick Cheney were involved in sculpting the outer form which was then cast in urethane.
Small plastic pieces were fabricated by the model shop for detailing.
It's got four arms and each one has the full range of joints and movements.
Those arms are mounted onto revolving turrets, which spin around 360 degrees.
The smaller arms, which are normally folded up, can extend and then rotate so they are in an up position, above the head,
while the bigger arms are hanging down below the waist. The mid-section is floating on a network of hydraulic rams.
Tom St. Amand put a lot of effort into engineering these little, composite rams that slide smoothly but would also give
a very positive feel to the puppet, so the animator could move it where they want and it would stay.
The legs have an extra joint between what would be considered our hip and pelvis.
There are also three axes of movement at every joint. That means that it can not only swivel and pivot an arm, but it can hinge out to both sides.
It's just complicated! »

Tom St. Amand said: "Craig built the wooden mock-up I used to make the armature.
I draw 60 or 70 very detailed blue-prints of each part of the puppet to be machined by Blair Clark, Chris Rand and I.
It took us 8 month to build the 8 armatures.
Personaly I animated a dozen of Cain sequences."

The complexities of the Robocop II models required Davies and crew to re-think the standard procedure used for constructing miniatures.
« Because of the number of miniatures that were required, and the amount of maintenance that would be required of them,
we've made everything as integral as possible, » he said.
« Sometimes you make a model where you cast something or slosh around some epoxy or glue parts onto it.
This was approched differently. It's almost like an automobile. Everything can be taken apart and put back together relatively simply.
We didn't want to use glue on anything, since glued part tend to pop off at inopportune times during animation.
So we bolted every part on with tiny brass and stainless steel screws. »

Merrick Cheney is building one of the 8 stop-mo puppet.

The puppet was also equipped with small halogen lamps.
« Because Kershner wanted the Cain monster to be seen as little as possible in the beginning, » said Tippett,
« he was shot without a lot of lights on location. So we gave the monster his own searchlights,
and those lights were able to interact with the atmosphere to create beam effects. »
« I built sixteen miniature focal spot lamps and mounted them on the puppets, » Davies elaborated.
« It was a good effect for the look of the monster, but the animators had a lot of trouble dealing with the electric wires
trailing off their puppets and keeping track of voltage levels all the time. »

In addition, four stunt versions were constructed.
« The stunt puppets were cast off the original ones in a semi-flexible urethane, a basically undestructible material.
They were used for all the high-speed abusive shot so that we wouldn't have to take the chance of destroying a darn-hard-to-make model. » said Davies.


A foot-tall model (1/4th) of the upper portion of Robocop II was built for the close up shot of the television monitor whipping out of the helmet.
Inside the model, a two-inch diameter Sony LCD television was mounted on a mechanism that would allow movement on three axes.
« Michael Steffe built the mechanism that moved the television out and around, » said Davies,
« and Mark Ribaud, Merrick Cheney and Paula Lucchesi built the puppet.
That one had only the television mechanism and some functioning lights, it didn't have to do anything else. »
A mid-sized puppet, two feet tall, was also built for the sequence.
« John Reed and I devised a way to physically enlarge a smaller model into the intermediate size so that we could build a new model quickly and easily.
We soaked one of the smaller models in materials that made it expand, then took a mold off of that, cast it up, and it was a perfect scale replica. »

And finaly, it took approximately four months to build the full-size torso of Robocop II,
a construction with a steel skeleton and a skin of metallic-looking, vacu-formed plastic.

[Joined]

Chapter 2: building the monster
It was up to Davies and crew to build no less than eight fully articulated identical miniatures of Robocop II
in order to accomodate the eight separate teams totalling 56 animators.
Members of the Davies shop, located in Phil Tippett's Berkeley studios included Paula Lucchesi, Merrick Cheney, Spencer Owyang and Mark Ribaud.


L to R: Blair Clark, Mark Ribaud, armature maker Tom St.Amand, Chris Rand, Paula Lucchesi, Craig Davies, Adam Valdez, Merrick Cheney and John Reed.

Working from his own drawings, Craig Davies constructed a foot-tall wooden mock-up of the Cain monster.


Tom St. Amand then took the wooden mock-up and made it armature-worthy.
The intricate stop-motion armatures, consisting of over 700 parts, were designed and finely machined
by Tom St.Amand and Blair Clark, out of aircraft aluminium and stainless steel.
Standing about 14 inches (1/6th) when at rest , the aluminium-and-plastic monster is a miracle of design.
It showed the many joints that Davies had incorporated into the design.
« I've heard from everybody that it's pretty much the most complicated puppet ever built. » said Davies.
« A good portion of these models have their actual armature parts showing through.
There's a tremendous amount of detail in the armature itself.
Tom St.Amand put a great deal of effort into figuring out the best materials to use for this thing and because he did such a fine job with it,
we ultimately left much of the armature exposed on the puppet.
Paula Lucchesi, Spencer Owyang, Marc Ribaud and Merrick Cheney were involved in sculpting the outer form which was then cast in urethane.
Small plastic pieces were fabricated by the model shop for detailing.
It's got four arms and each one has the full range of joints and movements.
Those arms are mounted onto revolving turrets, which spin around 360 degrees.
The smaller arms, which are normally folded up, can extend and then rotate so they are in an up position, above the head,
while the bigger arms are hanging down below the waist. The mid-section is floating on a network of hydraulic rams.
Tom St. Amand put a lot of effort into engineering these little, composite rams that slide smoothly but would also give
a very positive feel to the puppet, so the animator could move it where they want and it would stay.
The legs have an extra joint between what would be considered our hip and pelvis.
There are also three axes of movement at every joint. That means that it can not only swivel and pivot an arm, but it can hinge out to both sides.
It's just complicated! »

Tom St. Amand said: "Craig built the wooden mock-up I used to make the armature.
I draw 60 or 70 very detailed blue-prints of each part of the puppet to be machined by Blair Clark, Chris Rand and I.
It took us 8 month to build the 8 armatures.
Personaly I animated a dozen of Cain sequences."

The complexities of the Robocop II models required Davies and crew to re-think the standard procedure used for constructing miniatures.
« Because of the number of miniatures that were required, and the amount of maintenance that would be required of them,
we've made everything as integral as possible, » he said.
« Sometimes you make a model where you cast something or slosh around some epoxy or glue parts onto it.
This was approched differently. It's almost like an automobile. Everything can be taken apart and put back together relatively simply.
We didn't want to use glue on anything, since glued part tend to pop off at inopportune times during animation.
So we bolted every part on with tiny brass and stainless steel screws. »

Merrick Cheney is building one of the 8 stop-mo puppet.

The puppet was also equipped with small halogen lamps.
« Because Kershner wanted the Cain monster to be seen as little as possible in the beginning, » said Tippett,
« he was shot without a lot of lights on location. So we gave the monster his own searchlights,
and those lights were able to interact with the atmosphere to create beam effects. »
« I built sixteen miniature focal spot lamps and mounted them on the puppets, » Davies elaborated.
« It was a good effect for the look of the monster, but the animators had a lot of trouble dealing with the electric wires
trailing off their puppets and keeping track of voltage levels all the time. »

In addition, four stunt versions were constructed.
« The stunt puppets were cast off the original ones in a semi-flexible urethane, a basically undestructible material.
They were used for all the high-speed abusive shot so that we wouldn't have to take the chance of destroying a darn-hard-to-make model. » said Davies.


A foot-tall model (1/4th) of the upper portion of Robocop II was built for the close up shot of the television monitor whipping out of the helmet.
Inside the model, a two-inch diameter Sony LCD television was mounted on a mechanism that would allow movement on three axes.
« Michael Steffe built the mechanism that moved the television out and around, » said Davies,
« and Mark Ribaud, Merrick Cheney and Paula Lucchesi built the puppet.
That one had only the television mechanism and some functioning lights, it didn't have to do anything else. »
A mid-sized puppet, two feet tall, was also built for the sequence.
« John Reed and I devised a way to physically enlarge a smaller model into the intermediate size so that we could build a new model quickly and easily.
We soaked one of the smaller models in materials that made it expand, then took a mold off of that, cast it up, and it was a perfect scale replica. »

And finaly, it took approximately four months to build the full-size torso of Robocop II,
a construction with a steel skeleton and a skin of metallic-looking, vacu-formed plastic.

[Post Count]

Chapter 2: building the monster
It was up to Davies and crew to build no less than eight fully articulated identical miniatures of Robocop II
in order to accomodate the eight separate teams totalling 56 animators.
Members of the Davies shop, located in Phil Tippett's Berkeley studios included Paula Lucchesi, Merrick Cheney, Spencer Owyang and Mark Ribaud.


L to R: Blair Clark, Mark Ribaud, armature maker Tom St.Amand, Chris Rand, Paula Lucchesi, Craig Davies, Adam Valdez, Merrick Cheney and John Reed.

Working from his own drawings, Craig Davies constructed a foot-tall wooden mock-up of the Cain monster.


Tom St. Amand then took the wooden mock-up and made it armature-worthy.
The intricate stop-motion armatures, consisting of over 700 parts, were designed and finely machined
by Tom St.Amand and Blair Clark, out of aircraft aluminium and stainless steel.
Standing about 14 inches (1/6th) when at rest , the aluminium-and-plastic monster is a miracle of design.
It showed the many joints that Davies had incorporated into the design.
« I've heard from everybody that it's pretty much the most complicated puppet ever built. » said Davies.
« A good portion of these models have their actual armature parts showing through.
There's a tremendous amount of detail in the armature itself.
Tom St.Amand put a great deal of effort into figuring out the best materials to use for this thing and because he did such a fine job with it,
we ultimately left much of the armature exposed on the puppet.
Paula Lucchesi, Spencer Owyang, Marc Ribaud and Merrick Cheney were involved in sculpting the outer form which was then cast in urethane.
Small plastic pieces were fabricated by the model shop for detailing.
It's got four arms and each one has the full range of joints and movements.
Those arms are mounted onto revolving turrets, which spin around 360 degrees.
The smaller arms, which are normally folded up, can extend and then rotate so they are in an up position, above the head,
while the bigger arms are hanging down below the waist. The mid-section is floating on a network of hydraulic rams.
Tom St. Amand put a lot of effort into engineering these little, composite rams that slide smoothly but would also give
a very positive feel to the puppet, so the animator could move it where they want and it would stay.
The legs have an extra joint between what would be considered our hip and pelvis.
There are also three axes of movement at every joint. That means that it can not only swivel and pivot an arm, but it can hinge out to both sides.
It's just complicated! »

Tom St. Amand said: "Craig built the wooden mock-up I used to make the armature.
I draw 60 or 70 very detailed blue-prints of each part of the puppet to be machined by Blair Clark, Chris Rand and I.
It took us 8 month to build the 8 armatures.
Personaly I animated a dozen of Cain sequences."

The complexities of the Robocop II models required Davies and crew to re-think the standard procedure used for constructing miniatures.
« Because of the number of miniatures that were required, and the amount of maintenance that would be required of them,
we've made everything as integral as possible, » he said.
« Sometimes you make a model where you cast something or slosh around some epoxy or glue parts onto it.
This was approched differently. It's almost like an automobile. Everything can be taken apart and put back together relatively simply.
We didn't want to use glue on anything, since glued part tend to pop off at inopportune times during animation.
So we bolted every part on with tiny brass and stainless steel screws. »

Merrick Cheney is building one of the 8 stop-mo puppet.

The puppet was also equipped with small halogen lamps.
« Because Kershner wanted the Cain monster to be seen as little as possible in the beginning, » said Tippett,
« he was shot without a lot of lights on location. So we gave the monster his own searchlights,
and those lights were able to interact with the atmosphere to create beam effects. »
« I built sixteen miniature focal spot lamps and mounted them on the puppets, » Davies elaborated.
« It was a good effect for the look of the monster, but the animators had a lot of trouble dealing with the electric wires
trailing off their puppets and keeping track of voltage levels all the time. »

In addition, four stunt versions were constructed.
« The stunt puppets were cast off the original ones in a semi-flexible urethane, a basically undestructible material.
They were used for all the high-speed abusive shot so that we wouldn't have to take the chance of destroying a darn-hard-to-make model. » said Davies.


A foot-tall model (1/4th) of the upper portion of Robocop II was built for the close up shot of the television monitor whipping out of the helmet.
Inside the model, a two-inch diameter Sony LCD television was mounted on a mechanism that would allow movement on three axes.
« Michael Steffe built the mechanism that moved the television out and around, » said Davies,
« and Mark Ribaud, Merrick Cheney and Paula Lucchesi built the puppet.
That one had only the television mechanism and some functioning lights, it didn't have to do anything else. »
A mid-sized puppet, two feet tall, was also built for the sequence.
« John Reed and I devised a way to physically enlarge a smaller model into the intermediate size so that we could build a new model quickly and easily.
We soaked one of the smaller models in materials that made it expand, then took a mold off of that, cast it up, and it was a perfect scale replica. »

And finaly, it took approximately four months to build the full-size torso of Robocop II,
a construction with a steel skeleton and a skin of metallic-looking, vacu-formed plastic.

[Comment]

Chapter 2: building the monster
It was up to Davies and crew to build no less than eight fully articulated identical miniatures of Robocop II
in order to accomodate the eight separate teams totalling 56 animators.
Members of the Davies shop, located in Phil Tippett's Berkeley studios included Paula Lucchesi, Merrick Cheney, Spencer Owyang and Mark Ribaud.


L to R: Blair Clark, Mark Ribaud, armature maker Tom St.Amand, Chris Rand, Paula Lucchesi, Craig Davies, Adam Valdez, Merrick Cheney and John Reed.

Working from his own drawings, Craig Davies constructed a foot-tall wooden mock-up of the Cain monster.


Tom St. Amand then took the wooden mock-up and made it armature-worthy.
The intricate stop-motion armatures, consisting of over 700 parts, were designed and finely machined
by Tom St.Amand and Blair Clark, out of aircraft aluminium and stainless steel.
Standing about 14 inches (1/6th) when at rest , the aluminium-and-plastic monster is a miracle of design.
It showed the many joints that Davies had incorporated into the design.
« I've heard from everybody that it's pretty much the most complicated puppet ever built. » said Davies.
« A good portion of these models have their actual armature parts showing through.
There's a tremendous amount of detail in the armature itself.
Tom St.Amand put a great deal of effort into figuring out the best materials to use for this thing and because he did such a fine job with it,
we ultimately left much of the armature exposed on the puppet.
Paula Lucchesi, Spencer Owyang, Marc Ribaud and Merrick Cheney were involved in sculpting the outer form which was then cast in urethane.
Small plastic pieces were fabricated by the model shop for detailing.
It's got four arms and each one has the full range of joints and movements.
Those arms are mounted onto revolving turrets, which spin around 360 degrees.
The smaller arms, which are normally folded up, can extend and then rotate so they are in an up position, above the head,
while the bigger arms are hanging down below the waist. The mid-section is floating on a network of hydraulic rams.
Tom St. Amand put a lot of effort into engineering these little, composite rams that slide smoothly but would also give
a very positive feel to the puppet, so the animator could move it where they want and it would stay.
The legs have an extra joint between what would be considered our hip and pelvis.
There are also three axes of movement at every joint. That means that it can not only swivel and pivot an arm, but it can hinge out to both sides.
It's just complicated! »

Tom St. Amand said: "Craig built the wooden mock-up I used to make the armature.
I draw 60 or 70 very detailed blue-prints of each part of the puppet to be machined by Blair Clark, Chris Rand and I.
It took us 8 month to build the 8 armatures.
Personaly I animated a dozen of Cain sequences."

The complexities of the Robocop II models required Davies and crew to re-think the standard procedure used for constructing miniatures.
« Because of the number of miniatures that were required, and the amount of maintenance that would be required of them,
we've made everything as integral as possible, » he said.
« Sometimes you make a model where you cast something or slosh around some epoxy or glue parts onto it.
This was approched differently. It's almost like an automobile. Everything can be taken apart and put back together relatively simply.
We didn't want to use glue on anything, since glued part tend to pop off at inopportune times during animation.
So we bolted every part on with tiny brass and stainless steel screws. »

Merrick Cheney is building one of the 8 stop-mo puppet.

The puppet was also equipped with small halogen lamps.
« Because Kershner wanted the Cain monster to be seen as little as possible in the beginning, » said Tippett,
« he was shot without a lot of lights on location. So we gave the monster his own searchlights,
and those lights were able to interact with the atmosphere to create beam effects. »
« I built sixteen miniature focal spot lamps and mounted them on the puppets, » Davies elaborated.
« It was a good effect for the look of the monster, but the animators had a lot of trouble dealing with the electric wires
trailing off their puppets and keeping track of voltage levels all the time. »

In addition, four stunt versions were constructed.
« The stunt puppets were cast off the original ones in a semi-flexible urethane, a basically undestructible material.
They were used for all the high-speed abusive shot so that we wouldn't have to take the chance of destroying a darn-hard-to-make model. » said Davies.


A foot-tall model (1/4th) of the upper portion of Robocop II was built for the close up shot of the television monitor whipping out of the helmet.
Inside the model, a two-inch diameter Sony LCD television was mounted on a mechanism that would allow movement on three axes.
« Michael Steffe built the mechanism that moved the television out and around, » said Davies,
« and Mark Ribaud, Merrick Cheney and Paula Lucchesi built the puppet.
That one had only the television mechanism and some functioning lights, it didn't have to do anything else. »
A mid-sized puppet, two feet tall, was also built for the sequence.
« John Reed and I devised a way to physically enlarge a smaller model into the intermediate size so that we could build a new model quickly and easily.
We soaked one of the smaller models in materials that made it expand, then took a mold off of that, cast it up, and it was a perfect scale replica. »

And finaly, it took approximately four months to build the full-size torso of Robocop II,
a construction with a steel skeleton and a skin of metallic-looking, vacu-formed plastic.

[CAIN MKII]

Chapter 3: animating the monster
ANIMATORS: Randy Dutra, Justin Kohn, Peter Kleinow, Harry Walton, Tom St. Amand, Mark Sullivan, Don Waller, Eric Leighton.


Eric Leighton positions the model of Robocop II dubbed the 'Cain monster'

There was 160 shots involved in animating Cain to be done in ten month.
By Tippett's estimate, that's roughly four times the number of stop-motion shots used in the original ROBOCOP.
The studio hired 70 peoples to achieve this huge amount of work and almost every animators available.
Tippett sought to create a personality for the inanimate model.
« We tried to imbue Cain with a lethal quality that comes from having him be able to generate very quick moves, like computer-controlled lathes or mills,
or robotic car-manufacturing elements that can move very quickly. » he explains.
« We tried to give it a sense of weight and power, without making it look too slow and ponderous.
I wanted the thing to pop into action and move very quickly, but still appear to be under the physical realities of gravity on earth.
We wanted the Cain monster to have a lethal quality, to move quickly but also appear as if it weighs a ton and a half.
ED has this slow, lumbering effect, where he is basically this big pedestral with very short little arms.
Compared to Cain, he is a much easier model to animate. Cain is a very difficult, very problematic thing, which was part of the design.
While ED209 was clumsy and crab like, there's a terrifying quick and powerful quality to Robocop 2.
That's incredibly difficult to capture in stop-motion...and sets him apart from anything we've ever done before.
The models were so big and unwieldy, with so many joints, that just balancing it and making it move was very difficult.
The design for the Cain monster was so outlandish and difficult, we couldn't possibly foresee all the complications that would come up in animation. »

The stop-motion crew also animated the weaponry attached to the monster's various tooling arms, most notably its Gatling gun,
a six-barrel rotary cannon that afforded Robocop II the firepower of a one-man SWAT team. Approximately half of the Gatling gun shots were animated by hand.
« Steve Raschke and Pete Kozachik developed a method of backwinding the camera for everyframe, » explained Tippett.
« We blacked out the set and put in special flashbulbs with various diffusion filters over them.
We'd shoot a frame, then expose another pass on top of the previous frame to produce the effect of a flickering gun.
Also, Craig had designed a little gear that allowed the gun to spin in real time. So we would very carefully move this tiny gear and the gatling gun would spin, giving us a blur. »

In an effort to control the monster, Dr. Faxx offers a supply of Nuke,
which the cyborg eagerly take by way of a feeding mechanism designed by Davies and built by Michael Steffe.
«  It is basically a claw that opens up and takes the nuke inside, » said Davies.
«  At one point there had been a flamethrower in that area, which was the cyborg's crotch, but Irvin Kershner thought that was toilet humor and got rid of it.
So when it was decide that this thing had to have an entry point to take the nuke in, that was the natural choice.
The little claws themselves were very much like the smaller claws that arachnids use for feeding.
There was a push-pull mechanism to pull the door down, and then a pulley wheel and a lever to slide the claw forward.
Then there was another handgrip-type assembly that would apply tension so that the claw could actually hold the container of Nuke.
It was retracted by the same mechanism, only reverse.
Nike Blake operated the feeding mechanism; another person operated the door; and then one more operated the claw.

[Joined]

Chapter 3: animating the monster
ANIMATORS: Randy Dutra, Justin Kohn, Peter Kleinow, Harry Walton, Tom St. Amand, Mark Sullivan, Don Waller, Eric Leighton.


Eric Leighton positions the model of Robocop II dubbed the 'Cain monster'

There was 160 shots involved in animating Cain to be done in ten month.
By Tippett's estimate, that's roughly four times the number of stop-motion shots used in the original ROBOCOP.
The studio hired 70 peoples to achieve this huge amount of work and almost every animators available.
Tippett sought to create a personality for the inanimate model.
« We tried to imbue Cain with a lethal quality that comes from having him be able to generate very quick moves, like computer-controlled lathes or mills,
or robotic car-manufacturing elements that can move very quickly. » he explains.
« We tried to give it a sense of weight and power, without making it look too slow and ponderous.
I wanted the thing to pop into action and move very quickly, but still appear to be under the physical realities of gravity on earth.
We wanted the Cain monster to have a lethal quality, to move quickly but also appear as if it weighs a ton and a half.
ED has this slow, lumbering effect, where he is basically this big pedestral with very short little arms.
Compared to Cain, he is a much easier model to animate. Cain is a very difficult, very problematic thing, which was part of the design.
While ED209 was clumsy and crab like, there's a terrifying quick and powerful quality to Robocop 2.
That's incredibly difficult to capture in stop-motion...and sets him apart from anything we've ever done before.
The models were so big and unwieldy, with so many joints, that just balancing it and making it move was very difficult.
The design for the Cain monster was so outlandish and difficult, we couldn't possibly foresee all the complications that would come up in animation. »

The stop-motion crew also animated the weaponry attached to the monster's various tooling arms, most notably its Gatling gun,
a six-barrel rotary cannon that afforded Robocop II the firepower of a one-man SWAT team. Approximately half of the Gatling gun shots were animated by hand.
« Steve Raschke and Pete Kozachik developed a method of backwinding the camera for everyframe, » explained Tippett.
« We blacked out the set and put in special flashbulbs with various diffusion filters over them.
We'd shoot a frame, then expose another pass on top of the previous frame to produce the effect of a flickering gun.
Also, Craig had designed a little gear that allowed the gun to spin in real time. So we would very carefully move this tiny gear and the gatling gun would spin, giving us a blur. »

In an effort to control the monster, Dr. Faxx offers a supply of Nuke,
which the cyborg eagerly take by way of a feeding mechanism designed by Davies and built by Michael Steffe.
«  It is basically a claw that opens up and takes the nuke inside, » said Davies.
«  At one point there had been a flamethrower in that area, which was the cyborg's crotch, but Irvin Kershner thought that was toilet humor and got rid of it.
So when it was decide that this thing had to have an entry point to take the nuke in, that was the natural choice.
The little claws themselves were very much like the smaller claws that arachnids use for feeding.
There was a push-pull mechanism to pull the door down, and then a pulley wheel and a lever to slide the claw forward.
Then there was another handgrip-type assembly that would apply tension so that the claw could actually hold the container of Nuke.
It was retracted by the same mechanism, only reverse.
Nike Blake operated the feeding mechanism; another person operated the door; and then one more operated the claw.

[Post Count]

Chapter 3: animating the monster
ANIMATORS: Randy Dutra, Justin Kohn, Peter Kleinow, Harry Walton, Tom St. Amand, Mark Sullivan, Don Waller, Eric Leighton.


Eric Leighton positions the model of Robocop II dubbed the 'Cain monster'

There was 160 shots involved in animating Cain to be done in ten month.
By Tippett's estimate, that's roughly four times the number of stop-motion shots used in the original ROBOCOP.
The studio hired 70 peoples to achieve this huge amount of work and almost every animators available.
Tippett sought to create a personality for the inanimate model.
« We tried to imbue Cain with a lethal quality that comes from having him be able to generate very quick moves, like computer-controlled lathes or mills,
or robotic car-manufacturing elements that can move very quickly. » he explains.
« We tried to give it a sense of weight and power, without making it look too slow and ponderous.
I wanted the thing to pop into action and move very quickly, but still appear to be under the physical realities of gravity on earth.
We wanted the Cain monster to have a lethal quality, to move quickly but also appear as if it weighs a ton and a half.
ED has this slow, lumbering effect, where he is basically this big pedestral with very short little arms.
Compared to Cain, he is a much easier model to animate. Cain is a very difficult, very problematic thing, which was part of the design.
While ED209 was clumsy and crab like, there's a terrifying quick and powerful quality to Robocop 2.
That's incredibly difficult to capture in stop-motion...and sets him apart from anything we've ever done before.
The models were so big and unwieldy, with so many joints, that just balancing it and making it move was very difficult.
The design for the Cain monster was so outlandish and difficult, we couldn't possibly foresee all the complications that would come up in animation. »

The stop-motion crew also animated the weaponry attached to the monster's various tooling arms, most notably its Gatling gun,
a six-barrel rotary cannon that afforded Robocop II the firepower of a one-man SWAT team. Approximately half of the Gatling gun shots were animated by hand.
« Steve Raschke and Pete Kozachik developed a method of backwinding the camera for everyframe, » explained Tippett.
« We blacked out the set and put in special flashbulbs with various diffusion filters over them.
We'd shoot a frame, then expose another pass on top of the previous frame to produce the effect of a flickering gun.
Also, Craig had designed a little gear that allowed the gun to spin in real time. So we would very carefully move this tiny gear and the gatling gun would spin, giving us a blur. »

In an effort to control the monster, Dr. Faxx offers a supply of Nuke,
which the cyborg eagerly take by way of a feeding mechanism designed by Davies and built by Michael Steffe.
«  It is basically a claw that opens up and takes the nuke inside, » said Davies.
«  At one point there had been a flamethrower in that area, which was the cyborg's crotch, but Irvin Kershner thought that was toilet humor and got rid of it.
So when it was decide that this thing had to have an entry point to take the nuke in, that was the natural choice.
The little claws themselves were very much like the smaller claws that arachnids use for feeding.
There was a push-pull mechanism to pull the door down, and then a pulley wheel and a lever to slide the claw forward.
Then there was another handgrip-type assembly that would apply tension so that the claw could actually hold the container of Nuke.
It was retracted by the same mechanism, only reverse.
Nike Blake operated the feeding mechanism; another person operated the door; and then one more operated the claw.

[Comment]

Chapter 3: animating the monster
ANIMATORS: Randy Dutra, Justin Kohn, Peter Kleinow, Harry Walton, Tom St. Amand, Mark Sullivan, Don Waller, Eric Leighton.


Eric Leighton positions the model of Robocop II dubbed the 'Cain monster'

There was 160 shots involved in animating Cain to be done in ten month.
By Tippett's estimate, that's roughly four times the number of stop-motion shots used in the original ROBOCOP.
The studio hired 70 peoples to achieve this huge amount of work and almost every animators available.
Tippett sought to create a personality for the inanimate model.
« We tried to imbue Cain with a lethal quality that comes from having him be able to generate very quick moves, like computer-controlled lathes or mills,
or robotic car-manufacturing elements that can move very quickly. » he explains.
« We tried to give it a sense of weight and power, without making it look too slow and ponderous.
I wanted the thing to pop into action and move very quickly, but still appear to be under the physical realities of gravity on earth.
We wanted the Cain monster to have a lethal quality, to move quickly but also appear as if it weighs a ton and a half.
ED has this slow, lumbering effect, where he is basically this big pedestral with very short little arms.
Compared to Cain, he is a much easier model to animate. Cain is a very difficult, very problematic thing, which was part of the design.
While ED209 was clumsy and crab like, there's a terrifying quick and powerful quality to Robocop 2.
That's incredibly difficult to capture in stop-motion...and sets him apart from anything we've ever done before.
The models were so big and unwieldy, with so many joints, that just balancing it and making it move was very difficult.
The design for the Cain monster was so outlandish and difficult, we couldn't possibly foresee all the complications that would come up in animation. »

The stop-motion crew also animated the weaponry attached to the monster's various tooling arms, most notably its Gatling gun,
a six-barrel rotary cannon that afforded Robocop II the firepower of a one-man SWAT team. Approximately half of the Gatling gun shots were animated by hand.
« Steve Raschke and Pete Kozachik developed a method of backwinding the camera for everyframe, » explained Tippett.
« We blacked out the set and put in special flashbulbs with various diffusion filters over them.
We'd shoot a frame, then expose another pass on top of the previous frame to produce the effect of a flickering gun.
Also, Craig had designed a little gear that allowed the gun to spin in real time. So we would very carefully move this tiny gear and the gatling gun would spin, giving us a blur. »

In an effort to control the monster, Dr. Faxx offers a supply of Nuke,
which the cyborg eagerly take by way of a feeding mechanism designed by Davies and built by Michael Steffe.
«  It is basically a claw that opens up and takes the nuke inside, » said Davies.
«  At one point there had been a flamethrower in that area, which was the cyborg's crotch, but Irvin Kershner thought that was toilet humor and got rid of it.
So when it was decide that this thing had to have an entry point to take the nuke in, that was the natural choice.
The little claws themselves were very much like the smaller claws that arachnids use for feeding.
There was a push-pull mechanism to pull the door down, and then a pulley wheel and a lever to slide the claw forward.
Then there was another handgrip-type assembly that would apply tension so that the claw could actually hold the container of Nuke.
It was retracted by the same mechanism, only reverse.
Nike Blake operated the feeding mechanism; another person operated the door; and then one more operated the claw.

[CAIN MKII]

Final chapter: the forgotten monster
Because of it's cheer complexity, Cain never attracted much attention from manufacturers.
Even today, it's stay an expensive model to replicate given it lacks of popularity.
The only kit available is the one Argonaut made. It's not a very accurate one, pretty bad to say the truth.



Monster in motion is selling a very bad recast you should avoid at all cost, trust me.

In 2006 japanese models maker Kotobukiya released a collection of Robocop inspired figures.
It was distributed in the US by Dark horse.
Among this figure serie entitled 'Robocop trilogy' was a wonderfull little Cain.

It's the one on the left, on the right is my custom Cain.
Despite its scale, it's packed with tons of screen accurate details, making it the only model worthy of your attention.

For the time be, a large scale replica seems very far away.
Hot toys is holding on a 1/6th Cain figure project but right now more popular/juicy licences attracted their attention.

Hollywood auction 43: 18 December 2010
For the first time, Phil Tippett offered for sale some of the most incredible pieces
of his collection, among which we could find those awesome Robocop treasures:
_Robocop with jet pack, $25,000 - $35,000: sold for $47,200
_Robocop 2 failed prototype A, $50,000 - $70,000: unsold
_Robocop 2 failed prototype B, $25,000 - $35,000: sold for $35,400
_Stop motion Armored Transport Carrier from R2, $15,000 - $20,000: unsold
_OCP stop-motion lab door from R2 for prototype introductions, $7,000 - $9,000: unsold
_Full size Cain brain puppet in cylinder, $4,000 - $6,000: unsold
_Cain full scale torso, $60,000 - $80,000: unsold


_Cain stop-motion puppet, $30,000 - $50,000: sold for $44,250


_Cain stop-motion crash dummy, $6,000 - $8,000: sold for $7,120


The eleven stop-motion puppets:
_Three are exposed at the studio.
_M.John Davison ( Producer of the first two Robocop films and the uncredited
voice of ED-209 ) was given one, Phil Tippett and Craig Hayes have one at
home.
_One was sold during the Hollywood auction n°43
_One is exposed at the Berlin movie museum.


_One mysteriously vanished from the studio, as reported Don Waller:
« I happened to spot one of the models in the Max Factor window in
Hollywood one day.
I told some friends about it and that thing was gone faster than you can say
Robocop 2!
Everyone seemed to be wondering how one of the models ended up there!! »
_The last two whereabout is curently unknow, they might have been kept by
some modelers.

Stunt dummy back flies???
There is something funny about it.


As you can see on the back, there is two flies in place of the twin cannon.
From a reliable source:
"They needed additional details in there, because it was empty, so they had the flies hanging around.
They did it as a laugh."


Even after 20 years, Cain remains one of Tippet studio most iconic achievement.
If your lucky enough, you can see it exposed during special events like:
Siggraph 2005


Animatronics exhibit at the Academy of Motion Picture Arts and Sciences. September 9, 2006, LA.


Cain full scale torso:
http://www.flickr.com/photos/tags/tippettstudios/

Gumby's prototype:
http://www.robocoparchive.com/board/viewtopic.php?t=57&start=0

Candyman incredible Cain replica:
http://robocoparchive.com/board/viewtopic.php?t=1967&start=0

My CAIN and Robocop 2 photo collection:
http://www.robocoparchive.com/board/viewtopic.php?t=30&postdays=0&postorder=asc&start=0

Size chart:
Robocop: six feet two inches.
ED-209: eight feet in rest mode.
Cain: nine feet.
_________________

Bwaaaaaaaah!!! PEA SHOOTER!!!

[Joined]

Final chapter: the forgotten monster
Because of it's cheer complexity, Cain never attracted much attention from manufacturers.
Even today, it's stay an expensive model to replicate given it lacks of popularity.
The only kit available is the one Argonaut made. It's not a very accurate one, pretty bad to say the truth.



Monster in motion is selling a very bad recast you should avoid at all cost, trust me.

In 2006 japanese models maker Kotobukiya released a collection of Robocop inspired figures.
It was distributed in the US by Dark horse.
Among this figure serie entitled 'Robocop trilogy' was a wonderfull little Cain.

It's the one on the left, on the right is my custom Cain.
Despite its scale, it's packed with tons of screen accurate details, making it the only model worthy of your attention.

For the time be, a large scale replica seems very far away.
Hot toys is holding on a 1/6th Cain figure project but right now more popular/juicy licences attracted their attention.

Hollywood auction 43: 18 December 2010
For the first time, Phil Tippett offered for sale some of the most incredible pieces
of his collection, among which we could find those awesome Robocop treasures:
_Robocop with jet pack, $25,000 - $35,000: sold for $47,200
_Robocop 2 failed prototype A, $50,000 - $70,000: unsold
_Robocop 2 failed prototype B, $25,000 - $35,000: sold for $35,400
_Stop motion Armored Transport Carrier from R2, $15,000 - $20,000: unsold
_OCP stop-motion lab door from R2 for prototype introductions, $7,000 - $9,000: unsold
_Full size Cain brain puppet in cylinder, $4,000 - $6,000: unsold
_Cain full scale torso, $60,000 - $80,000: unsold


_Cain stop-motion puppet, $30,000 - $50,000: sold for $44,250


_Cain stop-motion crash dummy, $6,000 - $8,000: sold for $7,120


The eleven stop-motion puppets:
_Three are exposed at the studio.
_M.John Davison ( Producer of the first two Robocop films and the uncredited
voice of ED-209 ) was given one, Phil Tippett and Craig Hayes have one at
home.
_One was sold during the Hollywood auction n°43
_One is exposed at the Berlin movie museum.


_One mysteriously vanished from the studio, as reported Don Waller:
« I happened to spot one of the models in the Max Factor window in
Hollywood one day.
I told some friends about it and that thing was gone faster than you can say
Robocop 2!
Everyone seemed to be wondering how one of the models ended up there!! »
_The last two whereabout is curently unknow, they might have been kept by
some modelers.

Stunt dummy back flies???
There is something funny about it.


As you can see on the back, there is two flies in place of the twin cannon.
From a reliable source:
"They needed additional details in there, because it was empty, so they had the flies hanging around.
They did it as a laugh."


Even after 20 years, Cain remains one of Tippet studio most iconic achievement.
If your lucky enough, you can see it exposed during special events like:
Siggraph 2005


Animatronics exhibit at the Academy of Motion Picture Arts and Sciences. September 9, 2006, LA.


Cain full scale torso:
http://www.flickr.com/photos/tags/tippettstudios/

Gumby's prototype:
http://www.robocoparchive.com/board/viewtopic.php?t=57&start=0

Candyman incredible Cain replica:
http://robocoparchive.com/board/viewtopic.php?t=1967&start=0

My CAIN and Robocop 2 photo collection:
http://www.robocoparchive.com/board/viewtopic.php?t=30&postdays=0&postorder=asc&start=0

Size chart:
Robocop: six feet two inches.
ED-209: eight feet in rest mode.
Cain: nine feet.
_________________

Bwaaaaaaaah!!! PEA SHOOTER!!!

[Post Count]

Final chapter: the forgotten monster
Because of it's cheer complexity, Cain never attracted much attention from manufacturers.
Even today, it's stay an expensive model to replicate given it lacks of popularity.
The only kit available is the one Argonaut made. It's not a very accurate one, pretty bad to say the truth.



Monster in motion is selling a very bad recast you should avoid at all cost, trust me.

In 2006 japanese models maker Kotobukiya released a collection of Robocop inspired figures.
It was distributed in the US by Dark horse.
Among this figure serie entitled 'Robocop trilogy' was a wonderfull little Cain.

It's the one on the left, on the right is my custom Cain.
Despite its scale, it's packed with tons of screen accurate details, making it the only model worthy of your attention.

For the time be, a large scale replica seems very far away.
Hot toys is holding on a 1/6th Cain figure project but right now more popular/juicy licences attracted their attention.

Hollywood auction 43: 18 December 2010
For the first time, Phil Tippett offered for sale some of the most incredible pieces
of his collection, among which we could find those awesome Robocop treasures:
_Robocop with jet pack, $25,000 - $35,000: sold for $47,200
_Robocop 2 failed prototype A, $50,000 - $70,000: unsold
_Robocop 2 failed prototype B, $25,000 - $35,000: sold for $35,400
_Stop motion Armored Transport Carrier from R2, $15,000 - $20,000: unsold
_OCP stop-motion lab door from R2 for prototype introductions, $7,000 - $9,000: unsold
_Full size Cain brain puppet in cylinder, $4,000 - $6,000: unsold
_Cain full scale torso, $60,000 - $80,000: unsold


_Cain stop-motion puppet, $30,000 - $50,000: sold for $44,250


_Cain stop-motion crash dummy, $6,000 - $8,000: sold for $7,120


The eleven stop-motion puppets:
_Three are exposed at the studio.
_M.John Davison ( Producer of the first two Robocop films and the uncredited
voice of ED-209 ) was given one, Phil Tippett and Craig Hayes have one at
home.
_One was sold during the Hollywood auction n°43
_One is exposed at the Berlin movie museum.


_One mysteriously vanished from the studio, as reported Don Waller:
« I happened to spot one of the models in the Max Factor window in
Hollywood one day.
I told some friends about it and that thing was gone faster than you can say
Robocop 2!
Everyone seemed to be wondering how one of the models ended up there!! »
_The last two whereabout is curently unknow, they might have been kept by
some modelers.

Stunt dummy back flies???
There is something funny about it.


As you can see on the back, there is two flies in place of the twin cannon.
From a reliable source:
"They needed additional details in there, because it was empty, so they had the flies hanging around.
They did it as a laugh."


Even after 20 years, Cain remains one of Tippet studio most iconic achievement.
If your lucky enough, you can see it exposed during special events like:
Siggraph 2005


Animatronics exhibit at the Academy of Motion Picture Arts and Sciences. September 9, 2006, LA.


Cain full scale torso:
http://www.flickr.com/photos/tags/tippettstudios/

Gumby's prototype:
http://www.robocoparchive.com/board/viewtopic.php?t=57&start=0

Candyman incredible Cain replica:
http://robocoparchive.com/board/viewtopic.php?t=1967&start=0

My CAIN and Robocop 2 photo collection:
http://www.robocoparchive.com/board/viewtopic.php?t=30&postdays=0&postorder=asc&start=0

Size chart:
Robocop: six feet two inches.
ED-209: eight feet in rest mode.
Cain: nine feet.
_________________

Bwaaaaaaaah!!! PEA SHOOTER!!!

[Comment]

Final chapter: the forgotten monster
Because of it's cheer complexity, Cain never attracted much attention from manufacturers.
Even today, it's stay an expensive model to replicate given it lacks of popularity.
The only kit available is the one Argonaut made. It's not a very accurate one, pretty bad to say the truth.



Monster in motion is selling a very bad recast you should avoid at all cost, trust me.

In 2006 japanese models maker Kotobukiya released a collection of Robocop inspired figures.
It was distributed in the US by Dark horse.
Among this figure serie entitled 'Robocop trilogy' was a wonderfull little Cain.

It's the one on the left, on the right is my custom Cain.
Despite its scale, it's packed with tons of screen accurate details, making it the only model worthy of your attention.

For the time be, a large scale replica seems very far away.
Hot toys is holding on a 1/6th Cain figure project but right now more popular/juicy licences attracted their attention.

Hollywood auction 43: 18 December 2010
For the first time, Phil Tippett offered for sale some of the most incredible pieces
of his collection, among which we could find those awesome Robocop treasures:
_Robocop with jet pack, $25,000 - $35,000: sold for $47,200
_Robocop 2 failed prototype A, $50,000 - $70,000: unsold
_Robocop 2 failed prototype B, $25,000 - $35,000: sold for $35,400
_Stop motion Armored Transport Carrier from R2, $15,000 - $20,000: unsold
_OCP stop-motion lab door from R2 for prototype introductions, $7,000 - $9,000: unsold
_Full size Cain brain puppet in cylinder, $4,000 - $6,000: unsold
_Cain full scale torso, $60,000 - $80,000: unsold


_Cain stop-motion puppet, $30,000 - $50,000: sold for $44,250


_Cain stop-motion crash dummy, $6,000 - $8,000: sold for $7,120


The eleven stop-motion puppets:
_Three are exposed at the studio.
_M.John Davison ( Producer of the first two Robocop films and the uncredited
voice of ED-209 ) was given one, Phil Tippett and Craig Hayes have one at
home.
_One was sold during the Hollywood auction n°43
_One is exposed at the Berlin movie museum.


_One mysteriously vanished from the studio, as reported Don Waller:
« I happened to spot one of the models in the Max Factor window in
Hollywood one day.
I told some friends about it and that thing was gone faster than you can say
Robocop 2!
Everyone seemed to be wondering how one of the models ended up there!! »
_The last two whereabout is curently unknow, they might have been kept by
some modelers.

Stunt dummy back flies???
There is something funny about it.


As you can see on the back, there is two flies in place of the twin cannon.
From a reliable source:
"They needed additional details in there, because it was empty, so they had the flies hanging around.
They did it as a laugh."


Even after 20 years, Cain remains one of Tippet studio most iconic achievement.
If your lucky enough, you can see it exposed during special events like:
Siggraph 2005


Animatronics exhibit at the Academy of Motion Picture Arts and Sciences. September 9, 2006, LA.


Cain full scale torso:
http://www.flickr.com/photos/tags/tippettstudios/

Gumby's prototype:
http://www.robocoparchive.com/board/viewtopic.php?t=57&start=0

Candyman incredible Cain replica:
http://robocoparchive.com/board/viewtopic.php?t=1967&start=0

My CAIN and Robocop 2 photo collection:
http://www.robocoparchive.com/board/viewtopic.php?t=30&postdays=0&postorder=asc&start=0

Size chart:
Robocop: six feet two inches.
ED-209: eight feet in rest mode.
Cain: nine feet.
_________________

Bwaaaaaaaah!!! PEA SHOOTER!!!

[animachina]

Nice post! You should add some links to other Cain specific threads here to make it a good jumping off thread.

Lord knows I feel your pain about not having a decent Cain model or figure. I do need to get my hands on the Kotobukiya one for now though.

[Joined]

Nice post! You should add some links to other Cain specific threads here to make it a good jumping off thread.

Lord knows I feel your pain about not having a decent Cain model or figure. I do need to get my hands on the Kotobukiya one for now though.

[Post Count]

Nice post! You should add some links to other Cain specific threads here to make it a good jumping off thread.

Lord knows I feel your pain about not having a decent Cain model or figure. I do need to get my hands on the Kotobukiya one for now though.

[murphy38]

wooow!!! Awesome!!
very interesting and very nice post my friend,
Thank you very for the very rare picture of the making of Cain,
my Public trust is for you and your work about Cain

Murphy38.

[Joined]

wooow!!! Awesome!!
very interesting and very nice post my friend,
Thank you very for the very rare picture of the making of Cain,
my Public trust is for you and your work about Cain

Murphy38.

[Post Count]

wooow!!! Awesome!!
very interesting and very nice post my friend,
Thank you very for the very rare picture of the making of Cain,
my Public trust is for you and your work about Cain

Murphy38.

[Stan The Man]

Great topic/article, MKII. Excellent details. I also like the pictures.

Great stuff, man.
_________________
I don't wanna pay that, PhotoBucket. Now maybe you haven't heard, but I'm the guy in old Archive. So hows about you just shit snow for a year and I'll figure out something else. Sayonara!

[Joined]

Great topic/article, MKII. Excellent details. I also like the pictures.

Great stuff, man.
_________________
I don't wanna pay that, PhotoBucket. Now maybe you haven't heard, but I'm the guy in old Archive. So hows about you just shit snow for a year and I'll figure out something else. Sayonara!

[Post Count]

Great topic/article, MKII. Excellent details. I also like the pictures.

Great stuff, man.
_________________
I don't wanna pay that, PhotoBucket. Now maybe you haven't heard, but I'm the guy in old Archive. So hows about you just shit snow for a year and I'll figure out something else. Sayonara!

[Comment]

Great topic/article, MKII. Excellent details. I also like the pictures.

Great stuff, man.
_________________
I don't wanna pay that, PhotoBucket. Now maybe you haven't heard, but I'm the guy in old Archive. So hows about you just shit snow for a year and I'll figure out something else. Sayonara!

[Edd 209]

Same. Interesting topic dude. GREAT pictures.
Wish I had more time to read article at mo, as ou have put tons of effort into it - will come back and read at another time..
_________________
Roobocop // The future of Australian justice...

[Joined]

Same. Interesting topic dude. GREAT pictures.
Wish I had more time to read article at mo, as ou have put tons of effort into it - will come back and read at another time..
_________________
Roobocop // The future of Australian justice...

[Post Count]

Same. Interesting topic dude. GREAT pictures.
Wish I had more time to read article at mo, as ou have put tons of effort into it - will come back and read at another time..
_________________
Roobocop // The future of Australian justice...

[Comment]

Same. Interesting topic dude. GREAT pictures.
Wish I had more time to read article at mo, as ou have put tons of effort into it - will come back and read at another time..
_________________
Roobocop // The future of Australian justice...

[murphy38]

Here the rare pictures from my personnal collection my friends.





Murphy38.

[Joined]

Here the rare pictures from my personnal collection my friends.





Murphy38.

[Post Count]

Here the rare pictures from my personnal collection my friends.





Murphy38.

[CAIN MKII]

Thank you guys for your comments, I really appreciate them.
I'm french and to copy so much text in english is not an easy task.
I'm glad you enjoy it.
Thank you tinycop
_________________

Bwaaaaaaaah!!! PEA SHOOTER!!!

[Joined]

Thank you guys for your comments, I really appreciate them.
I'm french and to copy so much text in english is not an easy task.
I'm glad you enjoy it.
Thank you tinycop
_________________

Bwaaaaaaaah!!! PEA SHOOTER!!!

[Post Count]

Thank you guys for your comments, I really appreciate them.
I'm french and to copy so much text in english is not an easy task.
I'm glad you enjoy it.
Thank you tinycop
_________________

Bwaaaaaaaah!!! PEA SHOOTER!!!

[Comment]

Thank you guys for your comments, I really appreciate them.
I'm french and to copy so much text in english is not an easy task.
I'm glad you enjoy it.
Thank you tinycop
_________________

Bwaaaaaaaah!!! PEA SHOOTER!!!

[Archive]

Great work on collection this info.

[Joined]

Great work on collection this info.

[Post Count]

Great work on collection this info.

[FluxCapacitor]

Awesome stuff people! Great post.

[Joined]

Awesome stuff people! Great post.

[Post Count]

Awesome stuff people! Great post.

[CAIN MKII]

I just added a small interview of Tom St. Amand in chapter 2.
_________________

Bwaaaaaaaah!!! PEA SHOOTER!!!

[Joined]

I just added a small interview of Tom St. Amand in chapter 2.
_________________

Bwaaaaaaaah!!! PEA SHOOTER!!!

[Post Count]

I just added a small interview of Tom St. Amand in chapter 2.
_________________

Bwaaaaaaaah!!! PEA SHOOTER!!!

[Comment]

I just added a small interview of Tom St. Amand in chapter 2.
_________________

Bwaaaaaaaah!!! PEA SHOOTER!!!

[Surreal]

Really interesting post

One thing i never could work out is
stand robo and kane next to each other
kane really does look like a monster it would scare the people of Detoit , in saying that robo really looks the part..

Could they have made kane not look as scary?

[Joined]

Really interesting post

One thing i never could work out is
stand robo and kane next to each other
kane really does look like a monster it would scare the people of Detoit , in saying that robo really looks the part..

Could they have made kane not look as scary?

[Post Count]

Really interesting post

One thing i never could work out is
stand robo and kane next to each other
kane really does look like a monster it would scare the people of Detoit , in saying that robo really looks the part..

Could they have made kane not look as scary?