(cheering)

We're going back to Comic Con.

The idea, obviously, is to kick last year's butt.

We gotta make sure that this will actually work,

or we're back to the drawing board.

(foreboding drum beat)

So many of the other designs

are leaning toward dragonesque.

We want to go different face that's maybe a little more

dragon-like.

I don't mind having the horns.

Don't go too angry.

And then play with some color.

Yeah, I'll do some quick tweaks and see

if you're feeling it.

Okay.

Bodin, he sculpted the majority of it.

I mean, it was pretty much set.

When they decided they wanted to go for a full animatronic

lip sync mouth, some things had to change

because Bodin's original design had t-rex teeth

where the top row is extended.

It's showing at all times out and hanging and showing.

So in order to do speaking, we need lips

that can touch.

So we made the palate entirely inside,

made some new teeth and gums that are gonna go inside,

and just adjusted the lips to make it so that

they would meet up for talking.

We have a design, but in reality,

that design is the sculpture as a 3D model.

So we can output it.

There's a number of different options as to how to

realize one of these sculptures.

So you can sculpt it in clay.

You can have it milled out of foam.

You can have it grown into the full-size piece.

It's all a balance of time, budget, manpower,

materials costs, all of those mixed together

to see what the final cost will be at the end.

If I send it to over to Alchymia, they can mill it out.

It'll come back rough.

Not 100%, which is fine, because then we can sculpt that.

So that made the most sense in this case.

So basically what we're doing is we've taken

the digital file from Legacy,

and then set it on this machine.

This is a five access CNC router.

And this is a subtractive process,

basically machining the foam away

to get to that final object that we're looking to do.

You can say how big something is,

but until you actually see it on your equipment

and see what you're up against.

You get these machines that are basically sculpting

the rough form overnight, over the weekends, over holidays,

when he's not even there half the time.

It's just sculpting by itself.

So Monday through Thursday, so tomorrow,

at some time tomorrow, the shop should have that

in your hands. Right.

I have the head.

The head is right here.

You can have two or three guys completely refine

that sculpture, add detail, add realism,

take out the eyes.

A lot of stuff that we don't have to do here

on the computer, it goes off to Alfred.

We keep working on other things.

And when the sculpture comes in,

I just throw the team on.

And so it's not a team of sculptors for a week

to get that done, it's two or three guys

for a couple of days.

These are the horns.

It basically goes right here.

There's a socket right there?

Yeah, it's fur basically from here back,

so we don't need to see what's-

What's fur?

Oh, I see.

Oh, that's great.

It transitions to fur.

Okay, cool.

The choice that we had in foam

and what was available to us wouldn't have

all of the detail in there.

So when it comes back here, we hand over

the maquette that has all of that detail

to the traditional sculptors, who are gonna

sculpt it right back into the foam.

Have reference between photos and this maquette,

and bring that detail back into the foam

way faster than letting the machine do it.

We always try to refer back to real stuff,

just to see.

Because he talks.

This nice fleshy bit would be kind of cool

if you could see it in there.

This all turns kind of like skin.

It's kind of tricky to figure out where

the scales stop and where the big mushy lips start.

All three of these gentlemen have played

very important roles in the creation of

the dinosaurs from the Jurassic Park movies.

Chris Swift over here is known as the raptor guy

in Jurassic Park One.

Mark Maitre, stegosaurus from Jurassic Two,

The Lost World.

And Paul Mejias, he on the gallomimus,

the running dinosaurs from Jurassic Park One.

It's reminiscent because actually,

Mark's stegosaurus was the first large character

that we did in yellow foam.

So this is the same technique we used on the stegosaurus.

For Jurassic, everything was still clay.

So it's the same technique we used on Jurassic too.

So it brings back some memories.

Back then, we did maquettes in clay.

Now it's all grown.

When we're done with the basic sculpture,

it gets painted all over.

Once you paint it, then you go back in with

a little bead of clean clay along that line,

and then you sculpt that clean clay,

and then you paint it one more time.

And now we're off to molding.

(exciting brass music)

(cymbal crash)

[Male] Go to Wired.com for the entire

Giant Creature series.

(adventurous drum music)