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Legacy Effects

From Wikipedia, the free encyclopedia

Legacy Effects, LLC is an American special effects studio specializing in creature design, prosthetic makeup, animatronics, and specialty suits.[1]

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  • ✪ Stan Lee meets the Real Tony Starks at Legacy Effects
  • ✪ JURASSIC PARK - Evolution of a Raptor Suit
  • ✪ Stan Lee meets real Tony Stark at Legacy Effects - TEASER


>>STAN LEE: Here we go now. I want to show you. >>TREVOR HENSLEY: Start here and shoot right across. >>STAN LEE: You talk about aim, just wait till you see this. >>TREVOR HENSLEY: Look at that. >> DAVID MERRITT: This is for the Mark II that we got into. We wanted to establish a look for that as well and the direction was to give it an aircraft rivet look. >>STAN LEE: You're telling me so much that I may become a competitor. So I'll see you later, I want to start recruiting. Oh man. This isn't a work room, this is a museum. >>REGINA CARPINELLI: I told you. >>STAN LEE: Oh, wow. >>SHANE MAHAN: Translating the actual suit from your comic creation was our passion. We worked very strongly with Jon Favreau, the Marvel artists, all of that team, the development team. Then we were lucky enough to get hired to actually produce the suit. The red and gold was really important to try to figure out how to make that. >>STAN LEE: You sure figured it out. >>SHANE MAHAN: It wasn't just us. It was Jon Favreau figuring out how to tie it into the story and make it iconic. If you look behind you, this is an homage to the very first escape suit. >>STAN LEE: Oh yeah, the first gray one. Son of a gun. But even this is more complex than the simplistic one we had. >>SHANE MAHAN: Jon Favreau again felt it was really important to have that classic gray steel suit. >>STAN LEE: Somebody actually wore that? >>SHANE MAHAN: Yeah, his name is Mike Justice and if you look there, there's a little Stark Industries label. >>STAN LEE: Jesus. Of course the little bullet holes. When you look at the cover of the first Iron Man, and again, it's that simplistic drawing. And then you look at this, wow, this is genius. >>SHANE MAHAN: It's a collaboration of everybody's inspiration. >>STAN LEE: How long does it take to create something like that? >>SHANE MAHAN: That only took 10 minutes. >>STAN LEE: No, I mean that figure? >>SHANE MAHAN: No, I'm kidding! It was about four months, four or five months. >>JEFF DIEST: We've cast that piece up for you earlier. Usually what we did, we've already taken the bolts out just for a time constraint kind of issue. Usually ... >>JAVIER CONTRERAS: We inject the material through this hole. >>JEFF DIEST: We bolt everything together. We'll cast it up and we'll do a casting here in just a second. That's basically how it comes out of the mold. >>JAVIER: We can just de-mold it. You got your Iron Man face plate.  Then it goes to the painters you met earlier and they do their magic. This is urethane. We use a lot of materials. Fiber glass, depending on what the purpose, what role it's going to play in the movie. >>JEFF DIEST: The part you see here, part of a model kit. Also too, a lot of times like in Tony's laboratory or when he does something we won't make, we'll do a urethane part that we'll do here in just a second. Just because it's fairly quick, it's not very expensive to make. It's more proppish and so on and so forth. >>STAN LEE: It's not a one man operation? >>JEFF DIEST: No sir. It takes a village. So. Javi's got it all set up and ... >>JOHN ROSENGRANT: That's that same Matrix mold with the vulcanize the rubbers and silicone inside. >>JEFF DIEST: Yeah, this is just closed all closed together. >>JOHN ROSENGRANT: With the negative space in there that they're going to now fill that void with the urethane piece. They premix this stuff because it's a science to these chemicals. They have to be at certain ratio. >>JEFF DIEST: We had to weigh it out earlier and just once again managers of time. It's like a cooking show right now. >>STAN LEE: I think you need a little more salt. You got a steady hand. Now where is it going? >>JEFF DIEST: It's going into the negative spot of that mold and see. >>JOHN ROSENGRANT: Remember how we had those two? There's a space in there. >>JEFF DIEST: These are bleeders all the bubbles come out and we don't get no bubbles on the surface ... >>JOHN ROSENGRANT: You have to let the air escape because if the air stays trapped inside there, then it's going to hit those voids and you're going to get a piece that's not filled. >>JEFF DIEST: Usually what this is called is a reservoir. We just try to  keep the reservoir  full just so we can keep this stuff, keep it moving in. >>JOHN ROSENGRANT: It's completely solidifying right now. >>JEFF DIEST: A lot of the other materials that we use, if we wanted to do like the epoxy resin, we just get a surface coat in and we have to back it up with fiberglass and that's usually a couple hour process. >>JAVIER: THis is where you want to walk away because it's too gassy. >>DAVID MERRITT: Right here, this is an example of the rapid prototyping parts that we get. A little grow lines in the face right here? We have to get rid of those grow lines. You're going to take this here, this piece and he is going to give you a little bit of the sandpaper. If you want to just sand on that a little bit and see if you can get rid of some of that detail. You can't hurt it. You just got to really cut right into it. The idea to make that grey go away. That way we can ... We go through a variety of rich of sandy. >>STAN LEE: I'm not a union member. I hope I don't get in trouble. >>DAVID MERRITT: No, you're doing great. Can you see the dust that's creating? These are processes that we use before that goes over to the mold department that you've seen. >>STAN LEE: How's that? >>DAVID MERRITT: A lot of handwork and it's perfect. >>STAN LEE: I like that word. >>DAVID MERRITT: We smooth it out and then once we get these parts, committed to a nice finish ... >>STAN LEE: Now it's nice and smooth. >>DAVID MERRITT: Now it's nice and smooth. This is nice and shiny and it's the same materials that honey comb stuff, very light. This part is broken into several pieces and I help engineer how this gets broken apart up in digital. They all fit together nicely. These parts will then go to molds. These are the master patterns. Once they get molded then they come back to us. We start getting into all the finish work before paint. >>STAN LEE: You use an airbrush? >>DEREK ROSENGRANT: Airbrush. >>STAN LEE: Of course. >>DEREK ROSENGRANT: Multiple. This is black through like paint. >>STAN LEE: You even blend? There is no limit to your ability. Here we go now. >>TREVOR HENSLEY: You just start here and shoot right across. >>STAN LEE: You take about aim and we see this. >>TREVOR HENSLEY: Look at that. There you go. >>STAN LEE: I'm good. I left a little on the top. Wow. >>TREVOR HENSLEY: Check it out. How about that? Won't you have anything more difficult for me, anything more deep handled? >>JAMIE GROVE: This starts AC. >>STAN LEE: You people are such perfectionalist because to me, this would look perfect as it is.  >>JAMIE GROVE: Once that dries and we'll do a clear coat on top of it and that's basically what we get. Now this is the trigger and this is how you adjust it. The trigger's right here. >>STAN LEE: You hold it like that? >>JAMIE GROVE: Yes. Male Speaker: In order to get this finished, we would take our heads and brush the gold to get this finished like this. You just rub it down. >>STAN LEE: Until it get to look like this? Male Speaker: Until it got to look like that. Then we put like a mat finish over the surface. This is helpful in establishing the very first color schemes for the first movie. >>STAN LEE: You certainly wouldn't want it like that? Male Speaker: No. >>STAN LEE: This is surreal looking? Male Speaker: Exactly. This is for the mark too that we got into. We wanted to establish a wot for that as well. The direction was to give it some sort of like a aircraft rivet look. Without it breaking the surface. We just use a little varnishing tool like this. We drop in the little rivets after we hit on this brushing the specular areas in various there as you can see so you know it's running this way and this way. It gave you the nice look for the marking tool. >>STAN LEE: It's amazing the work that goes into this. Male Speaker: It's just figuring out processes. >>STAN LEE: The effort to make them perfect? Male Speaker: Mm-hmm (affirmative). Exactly. As you see them, we'll pull that off. If you see in my shiny, but then you get this nice dull brush look. >>STAN LEE: This is so much better, the equivalent to this? Male Speaker: Exactly. >>SHANE MAHAN: This is a stunt mask we made of Robert when he starts. Sometimes, they needed a double. We made a mask that we can ... >>STAN LEE: That's a great mask. >>SHANE MAHAN: We're just in shots and so on. You can get away with certain things. You know what I mean? >>STAN LEE: Yeah. >>SHANE MAHAN: It helps out. >>STAN LEE: That is a great mask. >>SHANE MAHAN: This is the fabrication. A lot of things are, once you make it and sculpt it, then you have to put it together so it actually functions. These are the hard hands and then we have soft ones for stunts then multiple helmets. This is a flexible one. You can take hits. There's nice hard ones from various films. >>STAN LEE: What makes you determine whether it'll be this one or this one to this one? >>SHANE MAHAN: It's just shot by shot. This is real metal, this is paint. It'll look better on ... >>STAN LEE: Whatever will look better in the particular shot? >>SHANE MAHAN: That's right. >>JOHN ROSENGRANT: This one here is a working progress because this one had the repulse in this so that you could wear the whole piece with the light. Then inside of the forearm, all the gizmo's that helps make him run, there's this thing. >>STAN LEE: Here we are. Female Speaker: Zip you into. >>STAN LEE: Even this is so carefully done. Where is that damn Mandarin? Male Speaker: One last thing right here. Male Speaker: I'm going to give you a couple of momentos from your trip here at Legacy. That's the mask that you painted. >>STAN LEE: Yes. Male Speaker: That's for you. You can keep that. >>STAN LEE: Thank you. That's great. Sign it. Male Speaker: Then we also have this Iron Man statue for you. That's for you to take for us. >>STAN LEE: Thank you. I had a great time. I think you people are just wonderful. You're all geniuses and I'm glad I came and saw it. Male Speaker: It was fantastic having you. >>STAN LEE: Thank you for having me. Hey, true believers. See you at Kamikazee.



Founding partners Lindsay Macgowan, Shane Mahan, John Rosengrant, and Alan Scott supervised projects at Stan Winston Studio for over 20 years before Winston’s death in 2008.[2] After his death they formed their own company, Legacy Effects, with their first film being 2012 (2009).

Their first film outside of the United States was the Indian film Enthiran (2010), which was used for prosthetic makeup and animatronics.

Special effects work

The feature films Legacy Effects has contributed practical effects to include Avatar, Iron Man 2, Iron Man 3, The Avengers, Avengers: Age of Ultron, Alice in Wonderland, Snow White and the Huntsman, Life of Pi, Thor, RoboCop, Pacific Rim, Enthiran , 2.0 and X-Men: Days of Future Past.[3] Legacy Effects also provided effects for the newest iterations of the Terminator and Jurassic Park franchises, Terminator Genisys and Jurassic World.[4][5]

Legacy contributed character design for films including Godzilla, John Carter, The Avengers, The Amazing Spider-Man, Cowboys & Aliens, The Hunger Games and Avatar.

Their work has garnered Best Visual Effects Academy Award nominations for Real Steel and Iron Man.[6][7]

Legacy Effects has created effects for television shows such as Agents of S.H.I.E.L.D., Colony, Agent Carter, Grey's Anatomy and The Big Bang Theory, and contributed work to over 900 commercials. Notable examples of their commercial work include Destiny, Halo, The Aflac Duck, Maxwell the Geico Pig, The KIA Hamsters, and the Jack Links Sasquatch campaigns.

iMut8r app

Legacy created the iMut8r app, first released in October 2009.[8] A popular Halloween-themed photo manipulation app, iMut8r was named the iPhone App of the Week by Apple October 20, 2010. It is still regularly updated with new features.

Comic-Con events

Legacy Effects gained attention for a 9'9" (2.97m) cosplay robot that was unveiled at the 2013 San Diego Comic-Con. Created through a partnership between Wired magazine, YouTube and Stan Winston School, the robot was built by Legacy over a period of 24 days and interacted with Comic-Con attendees throughout the four-day event, operated by a combination of suit performer and radio controlled animatronics.[9]

For Comic-Con 2014, Legacy designed and built a 13'6" (4.11m) tall animatronic creature called Bodock the Giant Creature.[10] Created through a partnership with Stan Winston School, Stratasys, and Wired magazine, the Giant Creature involved two separate animatronic characters and nine puppeteers.[11] A majority of the hard surfaces were 3D printed by Stratasys.[12] The goal of both events was to celebrate and promote practical special effects.


Film Year Effects
Indian 2 2019 Special Makeup
2.0 2018

Animatronics and Visual Effects

Diary of a Wimpy Kid: The Long Haul 2017 Animatronics
Guardians of the Galaxy Vol. 2 2017

Special Effects

Suicide Squad 2016 Special Effects
Captain America: Civil War 2016 Special Effects
X-Men: Apocalypse 2016 Special Effects
The Jungle Book 2016 Special Effects
The Revenant 2015 Special Effects and Animatronics
Terminator Genisys 2015 Special Effects and Animatronics
Jurassic World 2015 Special Effects and Animatronics
Avengers: Age Of Ultron 2015 Special Effects
The Signal 2014 Special Effects
Godzilla 2014 Special Effects
Wish I Was Here 2014 Suit Design and Fabrication
Project Almanac 2014 Specialty Props
Captain America: The Winter Soldier 2014 Suit Design and Fabrication
Muppets Most Wanted 2014 80s Robot Design
X-Men: Days of Future Past 2014 Suit Design and Fabrication, Makeup Effects
Teenage Mutant Ninja Turtles 2014 Design and Models
Grudge Match 2014 Specialty Puppets
RoboCop 2014 Robocop Suit and Robotic Effects
Pacific Rim 2013 Pilot Suits and Effects
World War Z 2013 Character Design and Makeup Effects
Iron Man 3 2013 Prosthetics and Suit Effects
Oblivion 2013 Specialty Costume Accessories
The Twilight Saga: Breaking Dawn – Part 2 2012 Animatronic and Special Make-up Effects
Life of Pi 2012 Replica and Animatronic Animals
Total Recall 2012 Sinth Suits, Animatronics and Prosthetics
The Bourne Legacy 2012 Animatronic Effects
Halo 4: Forward Unto Dawn (web series) 2012 Suits and Weapons Design and Fabrication
The Watch 2012 Animatronic Effects
The Amazing Spider-Man 2012 Lizard/Lizard Drone Character Designs and Prosthetic Make-Up
Snow White and the Huntsman 2012 Specialty Constumes
The Avengers 2012 Iron Man Suit and Practical Effects
The Hunger Games 2012 Mutation Character Design
John Carter 2012 Character and Creature Design
7aum Arivu 2011 Special Effects
The Muppets 2011 80s Robot and Muppet Man Design
The Twilight Saga: Breaking Dawn – Part 1 2011 Animatronic and Special Make-Up Effects
Real Steel 2011 Animatronic Effects
Cowboys & Aliens 2011 Alien Creature Effects
Thor 2011 Frost Giant Prosthetics and Suit Effects
I Am Number Four 2011 Creature Design
Enthiran 2010 Animatronic Effects and Prosthetic Make-up
Passion Play 2010 Animatronic Effects
Dinner for Schmucks 2010 Mechanical Vulture, Animatronic Effects
Iron Man 2 2010 Suit Construction and Animatronics: Iron Man/Whiplash
Alice In Wonderland 2010 Special Make-Up Effects: Red Queen courtier characters creation and design
Shutter Island 2010 Visual and Make-Up Effects
Avatar 2009 Character Design and Specialty Props Manufacturing (as Stan Winston Studio and Legacy Effects)
2012 2009 Animatronic Effects


  1. ^ "Legacy FX Makes Armored Heroes Shine". Variety. May 29, 2013.
  2. ^ Boucher, Geoff (Oct 6, 2008). "Stan Winston and the tricky business of Legacy". Los Angeles Times.
  3. ^
  4. ^ "Archived copy". Archived from the original on 2014-03-18. Retrieved 2014-03-18.
  5. ^
  6. ^
  7. ^
  8. ^
  9. ^
  10. ^
  11. ^
  12. ^
This page was last edited on 15 January 2019, at 12:53
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