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I'm Mr. Vup.

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What's a Beta Annari?

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Sentient reptiloid.
Nasty pieces of work.

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On occasion, you get this
wonderful opportunity

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to introduce a
brand-new species

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to a very established world.

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And you don't really think
about it, nor should you,

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that, wow, what I'm doing
right now is pretty cool

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because it's gonna
become canon,

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and it's gonna be cosplayed,
maybe, at some point.

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It always starts with the writers.

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It's sometimes described,

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what color or what
size, what shapes.

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But oftentimes, it's
just, "Here's a character."

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And this character,
Mr. Vup,

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was a really
dimensional personality.

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And I really loved the fact
that it gave me the opportunity

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to not do something completely
cliché with his look,

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his aesthetic.

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It never really is me
designing it alone.

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I'm fed the information,

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and then myself and Christine
Clark, the costume designer,

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she and I in particular

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have to work very
closely together

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as to what the concept is.

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That is coupled with Vincent
as to what is executable.

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And his team did
an incredible job,

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particularly with the
time that they had,

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of doing a very difficult, sort
of crocodile-like texture,

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both hands and face.

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But this was kind of
our initial test.

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By just taking all
the foam pieces

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that you guys saw
in the other room

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and applying them to
the talent's head cast—

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the foam version of it.

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So, everything's glued down,

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lined up, and then colored

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so we can kinda get a
whole look of how well

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we're matching up
to that artwork.

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When you're painting a
character that's a bit more scaly,

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you're gonna be loading
up a lot of paint.

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You're really gonna be
kind of creating depth,

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highlights, shadows, things
that really feel like

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they've got the crocodile
skin-like texture.

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Beautifully executed on set by
James MacKinnon and his team.

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They put all that together

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and made him the
character that he is,

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and they did a
gorgeous job with it.

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But none of that matters
unless the actor

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can perform through it,

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'cause it was a lot of stuff.

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One thing that I absolutely
make an effort to do

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is, before I even start
designing, is talk to the actor

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who's gonna be wearing it.

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For me, you need to
have the full picture,

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knowing that the
actor's comfortable

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with contact lenses
or dentures.

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So, our actor was very
comfortable with it.

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And every step of the way,

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where there was kind of a
milestone in the design,

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I would share it
with him first

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and say, "Are you cool
with where this is going?

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Because if you're not,

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there's no point in me
showing it to everyone else."

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There's another layer to this,

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which is not just
about the comfort

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and the ability to act in it;

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it is about the legacy that
you're establishing for them.

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They should feel inspired
about their character,

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excited about who
they're becoming.

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Surprising.