Best Of
Re: Prosthetics in Hair Questions
You're welcome, @Mike McCoy! Once you've learned the technique and tried it, let us know how it goes!
Re: Reference Images
I don't think much makeup would be required for this. Maybe some perspiration.
/Chris
/Chris
Re: Prosthetics in Hair Questions
@Matt Winston oh awesome!! I will definitely check this out! Thank you so much! 
Re: Prosthetics in Hair Questions
Hey @Mike McCoy our "Terminator Makeup FX Part 2: Prep, Apply & Paint" course by
Steve LaPorte covers this well. Check out chapters 5, 7 & 8
Course here: https://www.stanwinstonschool.com/tutorials/terminator-prosthetic-makeup-fx-part-2-prep-apply-paint
Steve LaPorte covers this well. Check out chapters 5, 7 & 8
Course here: https://www.stanwinstonschool.com/tutorials/terminator-prosthetic-makeup-fx-part-2-prep-apply-paint
Re: Question
This may be the course you are looking for:
https://www.stanwinstonschool.com/tutorials/tattoo-makeup-a-z-cover-create-apply
/Chris
https://www.stanwinstonschool.com/tutorials/tattoo-makeup-a-z-cover-create-apply
/Chris
Re: 3d modeling question for "modern minature effects 1: project planning & aquiring 3d models"
I use Solidworks, and the way to do it there is to make a shell of the model.
Foam latex taking soooo long to gel.
Hello there !
I am recently learning foam latex and attempting a grinch face.
I have a well built ultra cal 30 mold that I made, and an ultra cal 30 core with a pvc pipe insert for pulling the mold.
I have a small batch mixer, in which I run my piece with
150 base
30 foaming
15 cure
17 gel ( it’s cold here in Utah right now)
I run my times at
1 min mixing
6 min whipping
5 min medium refine
and 5-8 min ultra refine
1 min 30 sec for final mix once gel is in.
150 base
30 foaming
15 cure
17 gel ( it’s cold here in Utah right now)
I run my times at
1 min mixing
6 min whipping
5 min medium refine
and 5-8 min ultra refine
1 min 30 sec for final mix once gel is in.
I have added more and more gel agent / time to my DEAMONIA step yet it still takes over an hour for it to gel enough to bake. I am feeling lost,
yours truly,
Aspen Raine of R of R fx
yours truly,
Aspen Raine of R of R fx
Tackling a local ghost story
I've been meaning to be more active on here so that I can meet and interact with my fellow effects folks, so I figured I'd show you guys my most recent project-
Here in Pittsburgh we have a semi famous spooky tale about the "Green Man's Tunnel", said to be haunted by a faceless ghost who glows a sickly green color. As it turns out, he was just a normal guy. A childhood accident left his face majorly deformed, and his nighttime walks down the forest road ended up scaring the occasional passerby.
A local director had written a script about the story, and I was set with the (paid!) task of creating the look for The Green Man, known in real life as Raymond Robinson. I decided a gelatin prosthetic would give me the flexibility of price while also being straightforward enough to achieve that I, a novice, could continue to feign professionalism.
Here is the final sculpt of my interpretation of Mr. Robinson. Though I referenced images of him in real life, I was quite limited by the fact that in reality, Robinson had no nose or eyes. The actor did not want to be blinded (naturally) or wear contacts, so we compromised on one eye covered. I also wanted to achieve a more skeletal appearance than Raymond actually was.
Casting was relatively straightforward, I followed Rob Burman's recipe here on the site to GREAT success. His method for gelatin yields something that feels damn near foam latex, especially if you don't wait for the baking soda to bubble a little bit. I didn't wait long enough and ended up with several internal air bubbles which fortunately didn't affect anything other than the weight of the piece.
Here I am applying the piece, with a laughably ineffective desk lamp. We ended up using a car's headlights to get the job done.
And here's the final result. Definitely not my best work, I am sorry to say. I couldn't get the edges to blend well, which was quite frustrating considering that was one of the main reasons I chose a gelatin piece. In hindsight I also should have prepainted the piece. Trying to get the character done in the dark and cold alone was hard enough, let alone the fact that production was at a standstill until I finished. But hey, you live and you learn.
Everything ended up going well though. The film is a found footage style, so the most gorgeous makeup on planet earth wouldn't have been able to be seen fully, and I'm overall still pleased with how it turned out.
If you're so inclined, you can check out my instagram @centurion_effects to see more photos. I'm open to any advice or critique on the piece, especially if anyone has any tips with controlling gelatin. Thanks!
Here in Pittsburgh we have a semi famous spooky tale about the "Green Man's Tunnel", said to be haunted by a faceless ghost who glows a sickly green color. As it turns out, he was just a normal guy. A childhood accident left his face majorly deformed, and his nighttime walks down the forest road ended up scaring the occasional passerby.
A local director had written a script about the story, and I was set with the (paid!) task of creating the look for The Green Man, known in real life as Raymond Robinson. I decided a gelatin prosthetic would give me the flexibility of price while also being straightforward enough to achieve that I, a novice, could continue to feign professionalism.
Here is the final sculpt of my interpretation of Mr. Robinson. Though I referenced images of him in real life, I was quite limited by the fact that in reality, Robinson had no nose or eyes. The actor did not want to be blinded (naturally) or wear contacts, so we compromised on one eye covered. I also wanted to achieve a more skeletal appearance than Raymond actually was.Casting was relatively straightforward, I followed Rob Burman's recipe here on the site to GREAT success. His method for gelatin yields something that feels damn near foam latex, especially if you don't wait for the baking soda to bubble a little bit. I didn't wait long enough and ended up with several internal air bubbles which fortunately didn't affect anything other than the weight of the piece.
Here I am applying the piece, with a laughably ineffective desk lamp. We ended up using a car's headlights to get the job done.
And here's the final result. Definitely not my best work, I am sorry to say. I couldn't get the edges to blend well, which was quite frustrating considering that was one of the main reasons I chose a gelatin piece. In hindsight I also should have prepainted the piece. Trying to get the character done in the dark and cold alone was hard enough, let alone the fact that production was at a standstill until I finished. But hey, you live and you learn.Everything ended up going well though. The film is a found footage style, so the most gorgeous makeup on planet earth wouldn't have been able to be seen fully, and I'm overall still pleased with how it turned out.
If you're so inclined, you can check out my instagram @centurion_effects to see more photos. I'm open to any advice or critique on the piece, especially if anyone has any tips with controlling gelatin. Thanks!
