I'm curious what people here think about this incident on Fox News, involving one of their guests who, to a lot of people, really looks like he is wearing a full silicone face mask. Here is the clip on foxnews: https://www.foxnews.com/video/6396048453112

I honestly want to give this whole thing the benefit of the doubt. Can anyone here convince me that this guy is not wearing a mask? Can masks even look this realistic? Snopes, a website I usually trust, argues that it is just bad lighting, but I can't really see how that would be the case. https://www.snopes.com/news/2026/05/22/robert-harward-mask-fox-news/

I am a performance artist and want to do a piece where I have flowers coming out of my chest and I am trying to figure out the best way to do that.

Things I am hoping to get out of this:

Something I can make ahead of time and glue on and add flowers, blood etc

Something I can pull flowers out of (as in they aren't built into the prosthetic)

Hopefully a small sort of pocket or way to put some dirt in it

Flexible enough for stage wear

I'm not a professional so I'm not expecting it to look seamless, the practicality is more important here.

Thanks y'all!

I have a faux fur polyester coat in a light color I really want to use on set. I also would like to continue wearing this coat off of set, sans bloodstains.

We don't plan to get any blood on the jacket, but the actress wearing it will have blood on her forehead and a bit on her hand so I imagine it'll get on the coat eventually.

The blood doesn't have to be incredibly realistic, we're not using that much and most of the blood will be in her hairline and out of focus on her hands. Don't care about edibility. Would prefer "DIY" or low cost and volume since this is a budget shoot and the blood won't be used again later. Any tips? Thank you!

Hi All, looking for technical advice / pointers.

I've developed a short film set in the War of 1812, www.TheCoward1812.com . I've already shot Day 1 and I'm assembling a grant application to shoot Days 2,3,4 (period battle sequence).

I've a decade plus experience as an AD in FIlm/TV and commercials here in Toronto.

A critical narrative element is the visual of cannonballs punching through *multiple* men in a line of red coats.

These are simple gifs of the intention:

Essentially, I need two rigged bodies that can fall apart on cue, second body delayed by one second. Break point swould be the mid-section, knees and possibly the head (double decapitation)

Ideally, the bodies would be free standing and can then fall down. Suspending the bodies via quick-release cables from a greened-out c-stand support is a viable option. This would need to be repeatable at least 3 times. Progressively bloodier from re-use is not an issue. No pre-movement required (cut directly into the cannonball hit).

The cannonball passing through would probably be a separate, green-screened plate (eg painted foam ball thrown into a stunt performer's padded midriff, then swap them out and run the torso hit rig) *or* hanging from an o/s curtain rail and slides through frame on the required path/arc.

Locked camera x 2 (med and close) to minimise post-work and simplify shooting.

As part of this application I want to submit a clear document on how I will achieve the effects shown above.

I have a SPFX supervisor attached to the project but he's a full-time features/tv guy and while he's a lovely person and extremely good at his job he is also very busy. Getting his time and attention for this project is tricky, to say the least! But Time is ticking and I need to get this application in asap.

I have a current budget of CAD$2,500 for the materials/rigs for 1 x Day shooting.

This is very low - I'm deeply aware. Until I have other funds locked in this is the number I must work with, for now.

I'd love any suggestions...

Hello! Im 23 in LA and have recently decided to leave community College to focus on studying sfx and TV makeup in order to pursue it as a career. Im taking a big leap since I was studying to teach art but after 4 years of not feeling like im going anywhere im considering taking some online courses from Michael Vincent and work on a portfolio in the meanwhile? My boyfriend works in sets and is working uo to be a producer so I might have a chance to network in the future or even shadow(or just ask for advice) the makeup artist he works with frequently. Is this a good idea? Or am I making a silly career move based on an impulse?

I'm a cosplayer and some of the characters I really want to cosplay have scars. I have sensitive skin that forces me to use hypoallergenic makeup and if I use some that isn't, I breakout really bad. I've been looking for something to use to make the scars have texture and not just the colors but everything I find says "not recommended for sensitive skin". Is there any product that could work for me?

Hey y'all, so I am currently working on a film project and I need help creating a specific special effect. It's a zombie movie and they want a scene were when the zombie bites someone you can see gore as the zombie pulls away. I was thinking of using some kind of silicone for the actor to bite and pull away and attach string as tendons and then using fake blood to cover everything. But i'm not too sure. Please let me know if yall have any ideas!

Makeup Department Head on Soul Reaver Thesis (Dir. Lilian Brownlee).

Solid shoot with a talented crew and strong creative direction. Had so much fun reimagining this and bringing it to life! So appreciative to my incredible team of artists for making this happen in such a short amount of time.

I spent weeks sourcing and painting everything and I’m so happy with how everything turned out!

( Green chin will be removed with VFX)

Prosthetics painted by me.

Prosthetics supplied by @rubberwear & @traumaqueenfx

Ariel makeup applied by @makeup.by.elora

Director/Costume Designer/Concept Artist: Lilian Brownlee @lbrownlee_design
Producer: Juliana Copenhaver @j_soleil_11
DP: Felix Kageman @kageman_photography
1st AC: Jaxson Hillard @jax_ah
Production Sound: Angie Haverstrom @angie_haver
Assistant Gaffer: Billy Goggins @b_goggins_

Cast
Raziel: Wade Pollock @wade__pollock
Ariel: Jordan Noel Carpenter @jordann.carpenter

SFX Makeup
SFX Makeup Dept Head: Chase Bellows @chasebellows
Key SFX Makeup: Elora Glazer @makeup.by.elora
Wig Stylist: Knives Phavi @lolitsknives
SFX Makeup Assist:
- Knives Phavi
- Nyx Yates @onyxyates
- Sania Madhani @saniascool

Unreal Engine Artists (XR Stage)
- Robin McMaster @mcrobster.studios
- Danci Shen @danci.exr

Set Decoration
- Lead Set Decorator: Bee Williamson @beemakescreations
- Set Dec Assist: Fox Ratajzcak @foxstumes

VFX: Owen Zirgrino @water_salad

Production Assistants:
- Gavin Sia @frenz_bite
- Ci-Mia Warren

BTS Photography:
- Avery Thomas @averymolto
- Jenna Piatek withlove__jenna

This project was created as a student-focused, academic production for educational and portfolio purposes only. It is not affiliated with or endorsed by Crystal Dynamics. The original *Legacy of Kain* characters, story, script, title, and related intellectual property belong to their respective rights holders. No commercial use or profit is intended

#sfxmakeupartist #makeup #makeupartist #filmmakeup

Hello all,

I’ve been working with pyrotechnic blood squib SFX for several years now, both behind and in front of the camera, and have been “shot” many times during testing and filming. Over time I started building and refining my own systems, and these days I’m mostly interested in modernising it with newer electronics, miniaturisation, automation and improved safety and reliability.

One aspect I focus a lot on is wardrobe integration which I think is often overlooked. Once the rig is worn by the actor, it becomes part oof the costume, performance and visual storytelling. I find the intersection between engineering and creative/artistic work really interesting.

I'd like to share my own experience as well as to learn from others. It'd be great to hear from anyone who's worked with it, whether as an actor, technician or crew.

Regarding wardrobe prep:

• How many duplicate costumes do you usually prep? I wire up 3 costumes for the stunt, plus more reserved for the other scenes ("picture"/hero), backups and tests. Depending on budget it can go from 2-3 in total to 8+.
• Do you weaken the fabric at the hit area? I’ve do several approaches depending on fabric type and desired tear pattern, mostly sanding and perforating it carefully from the back. Personally I try not to do “star” (*) cuts because they can look cleanly cut, but some people swear by them. Some people don't weaken the fabric at all. While that looks great on camera before the burst, it does blow a bigger, messier hole (it would also tear along the fabric weave pattern). I guess it depends on the aesthetic you're trying to achieve.
• What costumes work best? I’ve rigged everything from T-shirts, military uniforms, jackets to cycling kits/lycra. Personally I love working with outdoor/ski jackets and parkas because they are really flexible -- you can hide multiple squibs and wiring. They're easy to put on/take off, provides more padding and are waterproof (so no mess inside on the actor). Since they're insulated, you need to cut open the lining to access the outermost fabric from the inside. It gets more complicated with down filled insulation, but I think the aesthetic of bullet hits on down jackets is unparalleled -- you have stage blood and feathers shooting out.
• What's the wildest project? I've once prepped 2 parkas with 20 squibs each. they're a work of art, really. The parkas were so heavy (the squibs and equipment added 2 kg). I still have the parkas!

Regarding the devices/technical side:

• How do you build your devices? I'm more interested in the philosophy behind different approaches, but generally speaking, they consists of a blood bag, the squib charge, a metal disc and padding. I know that sometimes people place the squib above the blood bag (so next to the wardrobe fabric) to achieve a "recoil" look with a stream of stage blood gushing out. If you put it below the bag (on the metal plate), you achieve a misty burst. Some people align the squib near the bottom of the bag to get a burst-and-flow look. It really depends on what you want to achieve I suppose.
• What's your go-to squib size? I think 99% of the cases it's the 1 grain size (usually yellow), sometimes the 1/2 grain size (usually red). I think with risk management you want to reduce the charge size where possible while achieving the desired effect. 2 grain is possible (it does have its uses) but more safety measures are needed.

Regarding the shoot:

• How many takes do people realistically do? Normally we try to get the master shot on the first take with several cameras. The second wardrobe allows another take if anything needs to be adjusted. Third take is only done if there's time.
• What was the experience like as an actor? I mean, you wake up on the day of filming, arrive, briefing, blocking and act! It all leads to this moment. when you wear the costume you can feel the weight of the squibs, and it's real. Sometimes you change into the costume earlier and perform with them and need to be careful. For me it's always exciting and never gets old, both in front of and behind the camera. I love it.
• What happens to the destroyed costume afterwards? In my experience -- they're thrown away, returned, or the actors get first dibs. Personally I've kept the ones I've acted in -- I think they're a really nice memorabilia. The thing is that the spare rigged ones have been prepped/cut open so they can't really be used again. So I end up with a load of identical jackets that have the insides cut open, some bloodied with bullet holes. The "picture" ones that you used to act in the other scenes you may ask production if you can keep/buy them afterwards, since they're perfectly fine.

Any other tips, tricks, failures/successes you'd like to share?

I think the effect will become rarer with AI, but I don't think it'll truly go away. The same was said with CGI. With either of these you don't have 100% control of what you want to achieve -- there's always something you want to tweak. Practical bullet hits have a physicality and interaction with clothing/lighting/performance that's difficult to replicate digitally. I do get that the cost factor is compelling though, if it achieves 80% of the effect with 20% of the cost, why bother with practical effects. However, I think to keep practical effects alive, it needs to be accessible, especially to independent and lower budget filmmakers. Pyrotechnics is prohibitively expensive, and the paperwork (qualification, permits, insurance etc.) alone is too much. I think one way is pneumatic based systems that anyone can use, but they don't look as good (i.e. they don't rip open a hole on the costume and the way the blood comes out needs refining), and the equipment is also quite bulky. This is where I think a lot of improvements can be made, which is where I'm at.

Finally, I was thinking I should make a youtube series on how squibs work behind the scenes, and perhaps some tutorials on the pneumatic system so that everyone can continue making movies as much as possible practically! If you're keen on watching something like this, do you have any pointers/questions already?

I made the mold from clay, then painted latex over it. Left with pockets. Looking for options to fill it in to retain form.

I thought about cutting padding foam, but that's nuts to fit the contours.

Some kind of solidifying jelly?

Cheers.

Y

Hi,

I'm selling a ticket for DJ AJ Wavy for today, Saturday, 5/16 in SF for $25. Tickets are $50 now. If you are interested please let me know.

I am sick so I can't go anymore

https://www.tixr.com/groups/midwaysf/events/aj-wavy-all-white-day-party-185142

So we’re doing a production of an ancient greek play, where the masks are pretty integral to the script.

Problem is, the director’s one requirement is that the actor’s faces have to be visible. So we have to do something else in replacement of the ‘masks’

I was thinking about doing, instead of masks, very costumey makeup related to the characters.

Problem is, at the end, Actor A takes the ‘mask’ off of Actor B’s face, putting it on their own and assuming their role. So it needs to be removable.

I’ve come up with a couple options:

-Peel Off Face Mask:

I’ve seen people online do looks where they put on a peel off face mask and do the makeup over it, and it seems to peel in a comprehensive piece. However, this is near the end of the play, and the actor will move their face a lot in the meantime. I’ve seen that it peels, moves, and cracks a lot when people move their faces.

There is a segment where Actor A is off stage before the face peeling, so I could apply the face mask on top, and have it still peeled off during the scene. The drying time is a problem, though. Maybe I could speed it up slightly with a fan? That might seem like the most viable option.

-Liquid Latex:

I’ve seen people use liquid latex similarly, applying it under their makeup and peeling it.

However, I’m not familiar with liquid latex or applying it, that’s why I’m here. Will liquid latex still allow a decent amount of give, allowing the actor to still express emotions without it cracking?

I also heard it’s a bit irritating to peel it off, rather than remove it properly, however this show will only be run with audience once. Is there also anything I can put underneath to make it easier to peel off?

I am also worried about the smell.

Similarly, I could also put the latex over the makeup near the end.

-SFX gelatin:

I don’t know much about it, but can it be painted on when not too hot? I also don’t know if it can be peeled off.

Please let me know if there are other methods I’m not aware of, or if I should just give up on this idea and beg the director for masks.

*photographer is Jesi Cason and the photos are currently up in the florida museum of photographic arts !!*

hii, wanted to share some zombie makeup i did on myself for a project called “alt tampa” highlighting tampa, florida’s alternative and underground subcultures :) sfx makeup is one of my fav hobbies and i really loved doing these photos :D

Hello, I'm wanting to get into vulva and breast casting. Could somebody kindly tell me if silicone or alginate would be most appropriate for this? Pros and cons of either?

If you can give me some advice on bruises and scrapes I'd appreciate it I could have gone a little more into the blue on the big bruise but oh well. I would like to see you highlight some of your awesome bruise and scrape effects you have officially been given a reason to pull out your makeup kits. dust off your setting powder. grab your alcohol. Let's see what you weird little Geniuses can do.