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It's All In the Details: Giving a 14-Foot Creature a Giant Makeover

From the final moldings to the last paint job, find out how the design team added character and life to the giant creature in under two weeks.

Released on 08/20/2014

Transcript

Alright, so I wish this was a picture situation

where we could all take a picture

with the finished creature, but it's not done.

(laughing)

This is on Jimmy Kimmel tomorrow night.

We go down there at 8:00 in the morning.

This is our last chance.

There's a lot to do.

(calm electronic music)

We decided on the giant creature to go with an epoxy mold.

It gives the the best results in foam rubber.

You have a nicer surface, the skin looks cleaner,

you get far more detail from the sculpture itself

with epoxy,

your mold will last longer.

And then we'll glass over that,

we'll cut it off, pop it off,

and then give that that fiberglass to the mechanics

so they can start making the facial mechanics

for the creature,

and then we'll make sure the grunning core is clean,

and then once that's clean, once the mold is clean,

it goes into the foam room,

and then they can run the foam skin.

We're gonna inject this thing completely

the exact opposite of what you see here.

We're gonna have it upside down.

We're gonna shoot it from the core.

What I'm gonna do I

is I'm gonna create a little 'T' inside here.

So we're gonna shoot the foam this way

and it's gonna hit the 'T', split this way,

and then come out two injection holes at the same time.

The foam will rise equal.

(relaxing electronic music)

This head is huge!

[Man] Is this the largest head you've ever painted?

Yes!

It's gonna be great, yep.

Tomorrow's gonna be pushing everybody,

but everything is almost so close to being there,

so seeing everything be arm on today.

It's massive, you see the chest, everything painted.

I'm like wow, no problem.

Tomorrow's just gonna be another deadline

which we'll meet.

Everybody will feel good about Tuesday night.

It's been a great crew.

Everybody's been collaborating and helping each other out

and coming up with great solutions

to problems that we're facing.

So all in all, I think it's been going really well

and I think the final product's gonna show that.

[Man] I'm kinda making little comma shapes

and little 'X's in there.

I'm just trying not to make them all the same.

Little more organic.

We just gotta be really sure

that we get all the details we can get in there.

[Man] Dudes!

(laughing)

It's funny, you end up telling the story in your head

about what this things been doing

and where it's been,

and it sounds stupid, but I look at stuff.

Driving into work today, there was a trash truck.

Believe it or not,

I was looking at the side of the trash truck,

thinking Look where all the dirt goes.

and it's kinda second nature now,

but that's kinda what you do.

You have to observe stuff in the real world

and try and use those observations in your paint job.

Otherwise it doesn't have the same character.

The feeling's weird, but I'm so happy.

Close to the end.

I don't know what I expect.

You see a little design and you look at it

and you go Oh, okay.,

but once you see it in the big almost completed stages

and it is 15 feet tall

and it has an arm the size of a car,

it's just wow, look at that.

It's insane!

We built that!

I think people are gonna be wondering who's in it,

how are they doing it, how much does it weigh?

Right next to ya it's really big.

I think it's gonna be a pretty impressive viewing

for this one.

This is live, in your face.

There's no tricks here.

It's just a full on animatronic costume/puppet.

I think it's gonna blow people's minds.

After two weeks of design, six weeks of building,

we were ready to go to Comic-Con.

When I saw this thing come to life today,

I couldn't believe it.

I knew it.

That was the point when I think

everybody looked around and went,

Oh, he's alive.

HOW TO MAKE A GIANT CREATURE - The Webseries

Produced by Stan Winston School for WIRED in association with: Legacy Effects, Condé Nast Entertainment & Stratasys

Executive Producers: Matt Winston, Erich Grey Litoff

Producers: John Ales, David Sanger

Director of Photography: John Ales

Production Coordinators: Maggie Sayer, Teresa Loera

Camera Department: John Ales, Jake Borowski, Ben Saltzman, Peter Gould, Chris Trueman

Production Intern: Nick Norton

Post-Production:
Lead Editor: Damien Acker
Editor and Live Editorial Lead: Yukako Shimada
Editors: Peter Gould, Jacob Goodman
Assistant Editors: Jake Borowski, Ben Saltzman

Giant Creature LIVE Team:
Live Coordinator: Christopher Vaughan
Live Editorial: Yukako Shimada
Cameras: Jake Borowski, Peter Gould, Ben Saltzman
Sound: Chris Trueman
Giant Creature Live Assistant: Ryan Cultrera
Production Interns: Nick Norton, Marni Roberts

Social Media for SWSCA: Andy Franco

Music by Network Music Lab: www.networkmusiclab.com

GIANT CREATURE CREATED BY LEGACY EFFECTS

Giant Creature Project Supervisor: Alan Scott

DESIGN: Jim Charmatz, Kourtney Coats, Darnell Isom, Scott Patton, Greg Smith Won-Il Song, Bodin Sterba

RAPID-PROTOTYPING: Jason Lopes

ART DEPARTMENT: David Monzingo-Supervisor, Vance Hartwell, Trevor Hensley, Akihito Ikeda, Mark Killingsworth, Mark Maitre, Jason Matthews, Paul Mejias, Rob Ramsdell, Christopher Swift

FABRICATION DEPARTMENT: Dawn Dininger, Ted Haines, Bruce D. Mitchell, Tracey Roberts, Amy Whetsel

PAINTERS: John Cherevka, Erick De La Vega, Jamie S. Grove, Derek Rosengrant

MODEL DEPARTMENT: David Merritt-Supervisor, Brian Claus, Ken Cornett, Alan Garber, Jesse Gee, James Springham

MECHANICAL DEPARTMENT: Peter Weir Clarke, David Covarrubias, Rich Haugen, Seth Hays, Russ Herpich, Hiroshi 'Kan' Ikeuchi, Jeff Jingle, Jim Kundig, Richard Landon, Lon Muckey, Brian Namanny, Hannah Wilk

ELECTRONICS DEPARTMENT: Rodrick Khachatoorian, Greg Keto

MOLD DEPARTMENT: Damian Fisher-Supervisor, Javier Contreras, Tony Contreras, Lou Diaz, Jeff L. Deist, Chris Grossnickle, Clay Martinez, Jacob Roanhaus, Frank Ryberg, Jaime Siska, Gary Yee

FOAM DEPARTMENT: Cory Czekaj-Supervisor, Ken Culver, Jacob Roanhaus

HAIR DEPARTMENT: Connie Grayson Criswell

3D PRINTING BY STRATASYS: Terry Hoppe, Bonnie Meyer Darren Perry, Isaac Damhoff, Michael Block, Jay Beversdorf, Kevin Nerem, Mac Cameron, Paul Merrill, Dan Wahtera, Jamal Muhammad, Bill Morrow, J Consuelo Mendez

RANCHO CA OFFICE UNDER TERRY HOPPE: Steve Gibson, Mark Bashor, Patrick Brault

BILLERICA OFFICE UNDER TERRY HOPPE: Leslie Frost

ADDITIONAL STRATASYS STAFF: Jessica Songetay, James Berlin, Chris Cates, Dustin Kloempken, Cathleen Kadletz, Marc Downie, Ryan Litman, Daryl Baumgartner

FUR BY NATIONAL FIBER TECHNOLOGY: http://www.nftech.com
Maggie Bloomer, Kim Clark, Fred Fehrmann, Emile Gagne, Carol Goans, Juan Gomez, Talia Harvey, Kaitlin Hardy, Allison LeSaffre, Kate Maloney, Chris McMullen, Abby Roy

"AUGMENTED REALITY" BY BLIPPAR: https://blippar.com/en/
Marc Florestant-3D Artist, Leon Tyler, Radu Nicolau, Matt Banyard, Gareth Upton, Mike Harris, Brian Morales, Cheena Jain, Patrick Aluise

FOAM MILLING BY ALCHYMIA: Alfred Kuan

SOUND EFFECTS BY ANARCHY POST: http://www.anarchypost.net
Dan Snow, Tom Boykin

SOUND & LIGHTING CONTROLLERS BY ADAFRUIT: https://www.adafruit.com
SPECIAL THANKS: John Rosengrant, Shane Mahan, Lindsay MacGowan

New Deal Studioses: Shannon Gans, Matthew Gratzner, Ian Hunter

Visit our WEBSITE: https://www.stanwinstonschool.com

SUBSCRIBE to SWSCA on YouTube: http://bit.ly/Zp70T4