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| Gender = Male
 
| Gender = Male
 
| Date of birth = {{d|6|May|1956}}
 
| Date of birth = {{d|6|May|1956}}
| Place of birth = Ocean Township, New Jersey
+
| Place of birth = Ocean Township, New Jersey, USA
 
| Date of death =
 
| Date of death =
 
| Place of death =
 
| Place of death =
| Awards for Trek = [[Emmy Award|Emmy Award 2 wins, 3 nominations]]
+
| Awards for Trek = 2 [[Emmy Award]]s, 3 nominations
 
| Roles = [[:Category:Special and Visual effects staff|Visual Effects Coordinator]], [[:Category:Directors|Director]]
 
| Roles = [[:Category:Special and Visual effects staff|Visual Effects Coordinator]], [[:Category:Directors|Director]]
 
| image2 = Robert Legato, 1992.jpg
 
| image2 = Robert Legato, 1992.jpg
| imagecap2 = Legato in an 1992 interview
+
| imagecap2 = ...in an 1992 interview
 
| image3 = Rob Legato and Terry Farrell.jpg
 
| image3 = Rob Legato and Terry Farrell.jpg
| imagecap3 = Legato directing [[Terry Farrell]] on the set of "If Wishes Were Horses"
+
| imagecap3 = ...directing [[Terry Farrell]] on the set of "If Wishes Were Horses"
 
}}
 
}}
'''Robert "Rob" M. Legato''' {{born|6|May|1956}} is a director and visual effects coordinator from Ocean Township, New Jersey, who has worked as such on the first five seasons of ''[[Star Trek: The Next Generation]]'' and the [[DS9 Season 1|first season]] of ''[[Star Trek: Deep Space Nine]]''.
+
'''Robert "Rob" M. Legato''' {{born|6|May|1956}} is a director and [[:Category: Visual effects companies|visual effects]] (VFX) coordinator from Ocean Township, New Jersey, who has worked as such on the first five seasons of ''[[Star Trek: The Next Generation]]'' and the [[DS9 Season 1|first season]] of ''[[Star Trek: Deep Space Nine]]''.
   
Hired in early 1987, Robert Legato started out as visual effects coordinator/supervisor for the franchise and has fulfilled that role for the entirety of his tenure at the franchise. After the production of the pilot episode, {{e|Encounter at Farpoint}}, it was soon realized that the new show was the most visual effects laden television production of its day, much like its illustrious predecessor, ''[[Star Trek: The Original Series]]'' was in its. A fourth senior visual effects staffer was deemed necessary to alleviate work pressure on the senior visual effects staff which included up to then, besides Legato, [[Gary Hutzel]] and [[Ronald B. Moore]]. To that end [[Dan Curry]] was brought in, partly on recommendation by his friend Moore. In order to streamline and increase production efficiency, the four were paired in two teams to work on alternating episodes, Legato being paired with Hutzel. The two-team visual effects format went operational halfway through the [[TNG Season 1|first season]], the 16th episode, {{e|Too Short a Season}}, being the first episode Moore and Curry worked upon as a team. (''[[Star Trek: The Next Generation Companion]]'', 3rd ed., p. 31) The format worked so well, that it has remained in use for almost the entire subsequent run of the ''Star Trek'' television franchise (though the boundaries between the two teams became a lot more fluid during the later seasons of ''[[Star Trek: Voyager]]'' and ''[[Star Trek: Enterprise]]''), and Legato and Hutzel remained a team ever since.
+
Hired in early 1987, Robert Legato started out as VFX coordinator/supervisor for the franchise and has fulfilled that role for the entirety of his tenure at the franchise. After the production of the pilot episode, {{e|Encounter at Farpoint}}, it was soon realized that the new show was the most VFX laden television production of its day, much like its illustrious predecessor, ''[[Star Trek: The Original Series]]'' was in its. A fourth senior VFX staffer was deemed necessary to alleviate work pressure on the senior VFX staff which up to then consisted of, besides Legato, [[Gary Hutzel]] and [[Ronald B. Moore]]. To that end [[Dan Curry]] was brought in, partly on recommendation by his friend Moore. In order to streamline and increase production efficiency, the four were paired in two teams to work on alternating episodes, Legato being paired with Hutzel. The two-team VFX format went operational halfway through the [[TNG Season 1|first season]], the 16th episode, {{e|Too Short a Season}}, being the first episode Moore and Curry worked upon as a team. (''[[Star Trek: The Next Generation Companion]]'', 3rd ed., p. 31) The format worked so well, that it has remained in use for almost the entire subsequent run of the ''Star Trek'' television franchise (though the boundaries between the two teams became a lot more fluid during the later seasons of ''Deep Space Nine'', ''[[Star Trek: Voyager]]'' and ''[[Star Trek: Enterprise]]''), and Legato and Hutzel remained a team ever since.
   
Promoted to supervisor at the start of [[TNG Season 2|second season]] of ''The Next Generation'', Legato and Hutzel transferred upon the conclusion of that series' [[TNG Season 5|fifth season]], to the new television production ''Deep Space Nine'' to fulfill the same role. Their place on ''The Next Generation'' for the next season was filled by a new team that consisted of [[David Stipes]] and [[David Takemura]]. Upon the conclusion of the first season of ''Deep Space Nine'', for which he and Hutzel served as the only senior visual effects staff, supported by Dan Curry and one of the few ''Star Trek'' television series seasons that did not utilize the two-team visual effects staff format, Legato decided it was time to move on and left the franchise late 1993 to join [[Digital Domain]]. [[Glenn Neufeld]] replaced him on ''Deep Space Nine'', while Legato's departure allowed Ronald B. Moore to remain on the franchise as visual effects supervisor for the third spin-off television series ''Voyager''.
+
Promoted to supervisor at the start of [[TNG Season 2|second season]] of ''The Next Generation'', and the second one to hold the title after Curry, Legato with Hutzel transferred upon the conclusion of that series' [[TNG Season 5|fifth season]], to the new television production ''Deep Space Nine'' to fulfill the same role. Their place on ''The Next Generation'' for the next season was filled by a new team that consisted of [[David Stipes]] and [[David Takemura]].
   
  +
On the [[DS9 Season 1|first season]] of ''Deep Space Nine'', he, Hutzel, and reinforced by newcomers [[Michael Backauskas]] and [[Judy Elkins]] as VFX coordinators, served as the only senior VFX staff, though supported by Dan Curry and one of the few ''Star Trek'' television series seasons that did not quite utilize the two-team VFX staff format as theirs was formally the only one. Yet, ''Deep Space Nine''{{'}}s VFX staff was also beefed out with [[Cari Thomas]], transferring from the scenic art department, and newcomer [[Sue Jones]] as visual associates. (''[[Cinefantastique]]'', Vol 23, #5, p. 62) It was Thomas, who unofficially doubled as VFX coordinator on several episodes, thereby ''de facto'' constituting a pseudo second VFX team (more or less already starting with the fourth episode {{e|A Man Alone}}), alternating between Legato and Hutzel. Upon the conclusion of the first season of ''Deep Space Nine'', Legato decided it was time to move on and left the franchise late 1993 to join [[Digital Domain]], taking Thomas with him. [[Glenn Neufeld]] replaced him on ''Deep Space Nine'', while Legato's departure allowed Ronald B. Moore to remain on the franchise as VFX supervisor for the third spin-off television series ''Voyager''.
Aside from his duties as visual effects supervisor, Robert Legato was also given the opportunity to flex his muscles as director, and has directed two episodes of ''The Next Generation'', [[TNG Season 3|third season's]] {{e|Ménage à Troi}} and [[TNG Season 4|fourth season's]] {{e|The Nth Degree}} as well as one ''Deep Space Nine'' episode, [[DS9 Season 1|first season's]] {{e| If Wishes Were Horses}}. In addition, he directed the 1991 ''[[The Star Trek Logs: An MTV Big Picture Special Edition]]'' documentary. His work on the ''Star Trek'' franchise has earned Legato two won [[Emmy Award]]s in the category "Outstanding Achievement in Special Visual Effects", as well as three additional Emmy Award nominations for the same.
 
   
 
Aside from his duties as VFX supervisor, Robert Legato was also given the opportunity to flex his muscles as director, and has directed two episodes of ''The Next Generation'', [[TNG Season 3|third season]]'s {{e|Ménage à Troi}} and [[TNG Season 4|fourth season]]'s {{e|The Nth Degree}} as well as one ''Deep Space Nine'' episode, [[DS9 Season 1|first season]]'s {{e| If Wishes Were Horses}}. In addition, he directed the 1991 ''[[The Star Trek Logs: An MTV Big Picture Special Edition]]'' documentary. His work on the ''Star Trek'' franchise has earned Legato two won [[Emmy Award]]s in the category "Outstanding Achievement in Special Visual Effects", as well as three additional Emmy Award nominations for the same.
Arguably, Robert Legato's most memorable achievements, at least where ''Star Trek''{{'}}s [[Trekkie|fan]]-base was concerned, consistently ranking these among their top favorite ''Star Trek'' scenes, was the visualization of the [[Battle of Wolf 359]], both the depictions of the aftermath in ''The Next Generation''{{'}}s, {{e|The Best of Both Worlds, Part II}}, and the battle proper in ''Deep Space Nine''{{'}}s pilot episode, {{e|Emissary}}. On both occasions, it was Legato who was, by chance, the main responsible supervisor for conceiving and devising the visuals.
 
  +
 
Arguably, Robert Legato's most memorable achievements, at the very least where ''Star Trek''{{'}}s [[Trekkie|fan]]-base was concerned, consistently ranking these among their top favorite ''Star Trek'' scenes, was the visualization of the [[Battle of Wolf 359]], both the depiction of the aftermath in ''The Next Generation''{{'}}s, {{e|The Best of Both Worlds, Part II}}, as well of that of the battle proper in ''Deep Space Nine''{{'}}s pilot episode, {{e|Emissary}}. On both occasions, it was Legato who was, by chance, the main responsible supervisor for conceiving and devising the visuals.
   
 
Legato's name can be seen on a panel in the episode {{e|The Child}} and was referenced in several other episodes as [[Robert Legato (Vice Admiral)]]
 
Legato's name can be seen on a panel in the episode {{e|The Child}} and was referenced in several other episodes as [[Robert Legato (Vice Admiral)]]
   
  +
Though their duties and work were on par with that of colleagues Rob Legato and Dan Curry, neither Gary Hutzel nor Ron B. Moore received official credits for their efforts on the first two seasons of ''The Next Generation''. This was partly due to Hollywood union regulations, partly due to studio policies, and partly due to the lack of space and time on the credit roll at the end of a show. However, it was Legato who arranged for his colleagues getting the credits they were due, as a grateful Moore pointed out later, "''But in TV you only have so much time at the end of the show. Getting your name there is not easy. At the beginning of TNG only Rob Legato had a visual effects credit. Rob went to bat for Gary and I. He eventually got us credits in the shows. It was nice of him to do it. There are so many people who worked on the show that didn't get credit. People whose contributions were essential to the shows received no on-screen credit. It is not always fair. I believe Rob even offered up to give credit on an episode and give it to someone else but the idea was rejected.''" (''[[Flying Starships]]'', p. 124)
Before he was hired on ''Star Trek: The Next Generation'', Legato had worked at [[Robert Abel & Associates]] and subsequently at [[Image G]], and it was Legato who was instrumental in bringing in the latter company as regular {{w|motion control photography}} supplier for the ''Star Trek'' franchise, after the pilot episode. ({{STTM|3|1}}, pp. 60-61)
 
   
 
==Career outside ''Star Trek''==
 
==Career outside ''Star Trek''==
 
Before he was hired on ''The Next Generation'', Legato had worked at [[Robert Abel & Associates]] and subsequently at [[Image G]], and it was Legato who was instrumental in bringing in the latter company as regular {{w|motion control photography}} supplier for the ''Star Trek'' franchise, after the pilot episode. ({{STTM|3|1}}, pp. 60-61)
While employed at Digital Domain, ''Interview with the Vampire'' (1994) being his first post-''Star Trek'' credit, Robert Legato received in 1996 an [[Academy Award]] nomination for Best Visual Effects for his work on the drama ''Apollo 13'' which he shared with {{film|1}} visual effects artist [[Leslie Ekker]]. Two years later in 1998 he received an Academy Award for Best Visual Effects for his work on {{w|James Cameron}}'s drama ''Titanic'' (1997), while the blockbuster science fiction movie ''Armageddon'' (1998) was the last work he did for Digital Domain.
 
  +
 
While employed at Digital Domain, ''Interview with the Vampire'' (1994) being his first post-''Star Trek'' credit, Robert Legato received in 1996 an [[Academy Award]] nomination for Best Visual Effects for his work on the drama ''Apollo 13'' which he shared with {{film|1}} VFX artist [[Leslie Ekker]]. Two years later in 1998 he received an Academy Award for Best Visual Effects for his work on {{w|James Cameron}}'s drama ''Titanic'' (1997), while the blockbuster science fiction movie ''Armageddon'' (1998) was the last work he did for Digital Domain.
   
After leaving Digital Domain Robert Legato has since then worked as free-lance visual effects supervisor, ''What Lies Beneath'' (2000) being his first credit as such. He worked with director {{w|Martin Scorsese}} on the films ''The Aviator'' (2004) and ''The Departed'' (2006), both as visual effects coordinator and second unit director. More recent projects include Scorsese's horror thriller ''Shutter Island'' (2010) on which he worked as visual effects supervisor and {{w|James Cameron}}'s science fiction films ''Avatar'' (2009) and ''Battle Angel'' (2011) on both as virtual cinematography system creator and visual effects pipeline engineer.
+
After leaving Digital Domain Robert Legato has since then worked as free-lance VFX supervisor, ''What Lies Beneath'' (2000) being his first credit as such. He worked with director {{w|Martin Scorsese}} on the films ''The Aviator'' (2004) and ''The Departed'' (2006), both as VFX coordinator and second unit director. More recent projects include Scorsese's horror thriller ''Shutter Island'' (2010) on which he worked as VFX supervisor and {{w|James Cameron}}'s science fiction films ''Avatar'' (2009) and ''Battle Angel'' (2011) on both as virtual cinematography system creator and VFX pipeline engineer.
   
In 2012, Legato won his second Academy Award for Best Achievement in Visual Effects for his work on Martin Scorcese's adventure ''Hugo'' (2011).
+
In 2012, Legato won his second Academy Award for Best Achievement in Visual Effects for his work on Martin Scorcese's adventure ''Hugo'' (2011). This was followed in 2013 by his induction into the American Society of Cinematographers (ASC).
   
 
== ''Star Trek'' credits ==
 
== ''Star Trek'' credits ==
Line 122: Line 126:
 
* {{y|1991}} Emmy Award nomination for {{e|The Best of Both Worlds, Part II}}, shared with Gary Hutzel, David Takemura, [[Patrick Clancy]], Steve Price, Michael Okuda, Erik Nash, Syd Dutton, Don Lee, and Bill Taylor
 
* {{y|1991}} Emmy Award nomination for {{e|The Best of Both Worlds, Part II}}, shared with Gary Hutzel, David Takemura, [[Patrick Clancy]], Steve Price, Michael Okuda, Erik Nash, Syd Dutton, Don Lee, and Bill Taylor
 
* {{y|1992}} Emmy Award win for {{e|Conundrum}}, shared with Gary Hutzel, David Takemura, [[Patrick Clancey]], [[Adrian Hurley]], [[Adam Howard]], Don Lee, and [[Dennis Hoerter]]
 
* {{y|1992}} Emmy Award win for {{e|Conundrum}}, shared with Gary Hutzel, David Takemura, [[Patrick Clancey]], [[Adrian Hurley]], [[Adam Howard]], Don Lee, and [[Dennis Hoerter]]
* {{y|1993}} Emmy Award win for {{e|Emissary}}, shared with with Gary Hutzel, [[Michael Dallas Gibson]], and [[Dennis Blakey]].
+
* {{y|1993}} Emmy Award win for {{e|Emissary}}, shared with Gary Hutzel, [[Michael Dallas Gibson]], and [[Dennis Blakey]].
   
 
== ''Star Trek'' interviews ==
 
== ''Star Trek'' interviews ==
  +
<div class="appear">
* '' [[Reading Rainbow]]'', Season 6, Episode 1: "The Bionic Bunny Show" ({{y|1988}})
 
  +
*''Star Trek'' [[DVD]] and [[Blu-ray]] special features:
* "Rob Legato - Director to {{e|The Nth Degree}}, ''[[The Official Star Trek: The Next Generation Magazine]]'' Vol. 19, pp. 43-47, interviewed by Lee Goldberg
 
* [[DS9 Season 1 DVD]] special feature "Deep Space Nine Scrapbook Year One"/ "Building the Station", interviewed on {{d|30|September|1992}})
+
** [[TNG Season 5 DVD]]-special features, interviewed on {{d|4|April|2002}}:
  +
*** "Departmental Briefing Year Five: Visual Effects"
* ''[[Star Trek: Deep Space Nine - Behind the Scenes]]'' ({{y|1993}})
 
  +
*** "Departmental Briefing Year Five: [[Image G]]"
* ''[[Movie Magic (TV series)|Movie Magic]]'', Season 1, Episode 11: "Models and Miniatures: A Model of Perfection" ({{y|1994}})
 
* [[TNG Season 5 DVD]] special feature "Departmental Briefing Year Five" ("Visual Effects", "[[Image G]]", "Shooting Elements"), interviewed on {{d|4|April|2002}}
+
*** "Departmental Briefing Year Five: Shooting Elements"
* TNG Season 5 DVD special feature "A Tribute to [[Gene Roddenberry]]" ("Gene Roddenberry Building Dedicated to ''Star Trek's'' Creator"), interviewed on 4 April 2002
+
*** "A Tribute to [[Gene Roddenberry]]: Gene Roddenberry Building Dedicated to ''Star Trek's'' Creator"
  +
** [[TNG Complete Series Boxset]]-special feature, "Star Trek Visual Effects Magic: A Roundtable Discussion" (2007)
 
  +
** [[DS9 Season 1 DVD]]-special feature, "Deep Space Nine Scrapbook Year One: Building the Station", interviewed on {{d|30|September|1992}}
==Further reading==
 
  +
** [[DS9 Season 2 DVD]]-special feature, "New Station, New Ships", interviewed on 30 September 1992
*"Special Effects: The Next Generation", David Hutchison, ''[[Starlog (magazine)|Starlog]]'', issue 132, July 1988, pp. 54-57, 77
 
  +
*Print publications:
*"The Special Effects Of Star Trek", Mitchell Rubinstein, ''[[Cinefantastique]]'', Vol 22 #2, 1991, pp. 32-34
 
*"Rob Legato: Director of 'The Nth Degree'", Lee Goldberg, ''[[The Official Star Trek: The Next Generation Magazine]]'', issue 19, June 1992, pp. 43-47
+
**"Special Effects: The Next Generation", David Hutchison, ''{{dis|Starlog|magazine}}'', issue 132, July 1988, pp. 54-57, 77
 
**"The Special Effects Of Star Trek", Mitchell Rubinstein, ''[[Cinefantastique]]'', Vol 22 #2, 1991, pp. 32-34
 
**"Rob Legato: Director of 'The Nth Degree'", Lee Goldberg, ''[[The Official Star Trek: The Next Generation Magazine]]'', issue 19, June 1992, pp. 43-47
  +
*[[Star Trek documentaries|''Star Trek'' documentaries]]:
 
** '' [[Reading Rainbow]]'', Season 6, Episode 1: "The Bionic Bunny Show" ({{y|1988}})
 
** ''[[Star Trek: Deep Space Nine - Behind the Scenes]]'' ({{y|1993}})
 
** ''[[Movie Magic (TV series)|Movie Magic]]'', Season 1, Episode 11: "Models and Miniatures: A Model of Perfection" ({{y|1994}})
  +
</div>
   
 
==External links==
 
==External links==
 
* {{IMDb-link|page=nm0499215}}
 
* {{IMDb-link|page=nm0499215}}
*{{Wikipedia}}
+
* {{Wikipedia}}
 
   
  +
{{DEFAULTSORT:Legato, Robert}}
 
[[es:Robert Legato]]
 
[[es:Robert Legato]]
[[Category:Directors|Legato, Robert]]
+
[[Category:Directors]]
[[Category:Special and Visual effects staff|Legato, Robert]]
+
[[Category:Special and Visual effects staff]]
[[Category:Emmy Award winners|Legato, Robert]]
+
[[Category:Emmy Award winners]]
[[Category:Emmy Award nominees|Legato, Robert]]
+
[[Category:Emmy Award nominees]]

Revision as of 02:27, 23 October 2015

Template:Realworld

Robert "Rob" M. Legato (born 6 May 1956; age 67) is a director and visual effects (VFX) coordinator from Ocean Township, New Jersey, who has worked as such on the first five seasons of Star Trek: The Next Generation and the first season of Star Trek: Deep Space Nine.

Hired in early 1987, Robert Legato started out as VFX coordinator/supervisor for the franchise and has fulfilled that role for the entirety of his tenure at the franchise. After the production of the pilot episode, "Encounter at Farpoint", it was soon realized that the new show was the most VFX laden television production of its day, much like its illustrious predecessor, Star Trek: The Original Series was in its. A fourth senior VFX staffer was deemed necessary to alleviate work pressure on the senior VFX staff which up to then consisted of, besides Legato, Gary Hutzel and Ronald B. Moore. To that end Dan Curry was brought in, partly on recommendation by his friend Moore. In order to streamline and increase production efficiency, the four were paired in two teams to work on alternating episodes, Legato being paired with Hutzel. The two-team VFX format went operational halfway through the first season, the 16th episode, "Too Short a Season", being the first episode Moore and Curry worked upon as a team. (Star Trek: The Next Generation Companion, 3rd ed., p. 31) The format worked so well, that it has remained in use for almost the entire subsequent run of the Star Trek television franchise (though the boundaries between the two teams became a lot more fluid during the later seasons of Deep Space Nine, Star Trek: Voyager and Star Trek: Enterprise), and Legato and Hutzel remained a team ever since.

Promoted to supervisor at the start of second season of The Next Generation, and the second one to hold the title after Curry, Legato with Hutzel transferred upon the conclusion of that series' fifth season, to the new television production Deep Space Nine to fulfill the same role. Their place on The Next Generation for the next season was filled by a new team that consisted of David Stipes and David Takemura.

On the first season of Deep Space Nine, he, Hutzel, and reinforced by newcomers Michael Backauskas and Judy Elkins as VFX coordinators, served as the only senior VFX staff, though supported by Dan Curry and one of the few Star Trek television series seasons that did not quite utilize the two-team VFX staff format as theirs was formally the only one. Yet, Deep Space Nine's VFX staff was also beefed out with Cari Thomas, transferring from the scenic art department, and newcomer Sue Jones as visual associates. (Cinefantastique, Vol 23, #5, p. 62) It was Thomas, who unofficially doubled as VFX coordinator on several episodes, thereby de facto constituting a pseudo second VFX team (more or less already starting with the fourth episode "A Man Alone"), alternating between Legato and Hutzel. Upon the conclusion of the first season of Deep Space Nine, Legato decided it was time to move on and left the franchise late 1993 to join Digital Domain, taking Thomas with him. Glenn Neufeld replaced him on Deep Space Nine, while Legato's departure allowed Ronald B. Moore to remain on the franchise as VFX supervisor for the third spin-off television series Voyager.

Aside from his duties as VFX supervisor, Robert Legato was also given the opportunity to flex his muscles as director, and has directed two episodes of The Next Generation, third season's "Ménage à Troi" and fourth season's "The Nth Degree" as well as one Deep Space Nine episode, first season's " If Wishes Were Horses". In addition, he directed the 1991 The Star Trek Logs: An MTV Big Picture Special Edition documentary. His work on the Star Trek franchise has earned Legato two won Emmy Awards in the category "Outstanding Achievement in Special Visual Effects", as well as three additional Emmy Award nominations for the same.

Arguably, Robert Legato's most memorable achievements, at the very least where Star Trek's fan-base was concerned, consistently ranking these among their top favorite Star Trek scenes, was the visualization of the Battle of Wolf 359, both the depiction of the aftermath in The Next Generation's, "The Best of Both Worlds, Part II", as well of that of the battle proper in Deep Space Nine's pilot episode, "Emissary". On both occasions, it was Legato who was, by chance, the main responsible supervisor for conceiving and devising the visuals.

Legato's name can be seen on a panel in the episode "The Child" and was referenced in several other episodes as Robert Legato (Vice Admiral)

Though their duties and work were on par with that of colleagues Rob Legato and Dan Curry, neither Gary Hutzel nor Ron B. Moore received official credits for their efforts on the first two seasons of The Next Generation. This was partly due to Hollywood union regulations, partly due to studio policies, and partly due to the lack of space and time on the credit roll at the end of a show. However, it was Legato who arranged for his colleagues getting the credits they were due, as a grateful Moore pointed out later, "But in TV you only have so much time at the end of the show. Getting your name there is not easy. At the beginning of TNG only Rob Legato had a visual effects credit. Rob went to bat for Gary and I. He eventually got us credits in the shows. It was nice of him to do it. There are so many people who worked on the show that didn't get credit. People whose contributions were essential to the shows received no on-screen credit. It is not always fair. I believe Rob even offered up to give credit on an episode and give it to someone else but the idea was rejected." (Flying Starships, p. 124)

Career outside Star Trek

Before he was hired on The Next Generation, Legato had worked at Robert Abel & Associates and subsequently at Image G, and it was Legato who was instrumental in bringing in the latter company as regular motion control photography supplier for the Star Trek franchise, after the pilot episode. (Star Trek: The Magazine Volume 3, Issue 1, pp. 60-61)

While employed at Digital Domain, Interview with the Vampire (1994) being his first post-Star Trek credit, Robert Legato received in 1996 an Academy Award nomination for Best Visual Effects for his work on the drama Apollo 13 which he shared with Star Trek: The Motion Picture VFX artist Leslie Ekker. Two years later in 1998 he received an Academy Award for Best Visual Effects for his work on James Cameron's drama Titanic (1997), while the blockbuster science fiction movie Armageddon (1998) was the last work he did for Digital Domain.

After leaving Digital Domain Robert Legato has since then worked as free-lance VFX supervisor, What Lies Beneath (2000) being his first credit as such. He worked with director Martin Scorsese on the films The Aviator (2004) and The Departed (2006), both as VFX coordinator and second unit director. More recent projects include Scorsese's horror thriller Shutter Island (2010) on which he worked as VFX supervisor and James Cameron's science fiction films Avatar (2009) and Battle Angel (2011) on both as virtual cinematography system creator and VFX pipeline engineer.

In 2012, Legato won his second Academy Award for Best Achievement in Visual Effects for his work on Martin Scorcese's adventure Hugo (2011). This was followed in 2013 by his induction into the American Society of Cinematographers (ASC).

Star Trek credits

As Director
As Visual Effects Coordinator/ Visual Effects Supervisor

(This list is currently incomplete.)

Emmy Awards

Legato received the following Emmy Award wins and nominations in the category Outstanding Achievement in Special Visual Effects:

Star Trek interviews

External links