The Surprises of the Superhuman

Transcription

>>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.