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  • - So now the piece is glued to the paper.

  • Voila.

  • Now the reason I love these types of appliances is,

  • if this were any other type of material,

  • foam rubber or silicone, it's paper thin,

  • you can see, in certain areas almost see-through.

  • If I had to glue this piece,

  • and obviously I'd be really careful,

  • I'd have to glue every little square inch of it,

  • it would probably take me 20 minutes

  • to glue this one little piece.

  • And if you get an air bubble trapped under it,

  • I gotta go back in and get that air bubble,

  • it's really, really time consuming,

  • and it takes quite a while.

  • Whereas this, on the other hand,

  • is much, much quicker.

  • So I'm just gonna place it...

  • About there.

  • Lay it down like that.

  • Now, again, one of the reasons why I like

  • it on the paper,

  • and Christian has started, on Gray Gardens especially,

  • we did certain pieces that were actually

  • applied to fabric so they would wrap around

  • and give you a little bit more flexibility.

  • I personally like the paper,

  • 'cause it gives me a little bit more flexibility

  • when I'm gluing something down.

  • So it's not laying on the skin.

  • It actually stays straight,

  • so I can then kind of push it where I want it.

  • But now that it's kind of pressed on her,

  • I'm gonna take some water,

  • a little setup towel,

  • I'll wet this.

  • Close your eyes for a sec.

  • I have had actors say that this,

  • especially the fact that the time constraint

  • is much less, that they prefer this method

  • over the minuteness of gluing down every inch

  • of an appliance, a really thin appliance

  • or detailed appliance especially.

  • I'll just double check.

  • You can only go so thick with the transfer pieces.

  • As you'll see, some of these pieces are a little thick

  • that I'm using, but...

  • So now what I'm doing is as I've lifted it off,

  • couple little air bubbles that I will press down.

  • This went over her eyebrow a little bit,

  • so I'll see if I can turn that out.

  • I'm gonna use a little brush and some alcohol

  • and I'm just gonna...

  • I have a little bit of working time

  • before it totally settles.

  • So now that I've got this forehead piece on,

  • I'm just taking off a little bit of the flashing

  • with a little bit of alcohol and a brush.

  • And again, the only reason that there is flashing

  • is 'cause it's not quite made for her,

  • so it's ending in places where

  • there's a little overlap on her eyebrows

  • and everything, which probably wouldn't have happened

  • had we sculpted it on her life cast.

  • That's better.

  • Now, with a Q-tip and a little alcohol,

  • I can kinda blend out the edge a little bit,

  • because again it is just Pros-Aide and glue

  • so it will break down,

  • it will break down with alcohol.

  • Now where I've gone over the eyebrow,

  • I'm gonna see if I can dissolve that a little bit.

  • This is where it's a good idea to have

  • a big supply of little Q-tips, pointed Q-tips,

  • sometimes having those little baby Q-tips is good.

  • Rub some of the glue off my fingers.

  • All right, now.

  • A very important part of when you're putting

  • on the transfers is making sure that

  • you powder 'em, 'cause they're very, very sticky.

  • The next thing we'll do is, these are the eye bags.

  • Nice, 'cause no matter how hard we try,

  • we don't get as much sleep as we want in the later years.

  • Okay, going back to, can you look up for a second?

  • A little cleanup.

  • This is Pros-Aide, same process.

  • So what we're doing is we're taking our

  • little thinned-down Pros-Aide

  • and we're just going underneath where the eye bags

  • are gonna go.

  • Something that no human being should ever have to deal with.

  • But be it, shockingly, we all somehow get them.

  • Okay.

  • Now I'm gonna try and cheat this...

  • Right up to...

  • Okay, peel off the plastic.

  • Okay, look up a little bit, there ya go.

  • Take our water, take our wet towel.

  • You wanna make sure that the paper

  • is suitably wet enough to release the appliance underneath.

  • The paper has an emulsion on it

  • that when it's hit with water

  • it just starts to separate from the glue.

  • Nice.

  • Look up a little bit, there we go.

  • This is really nice, 'cause it's so, so in it's...

  • I was very specific.

  • I tried to be very aware that

  • we didn't want big eye bags.

  • All we wanted to create was just the tiniest bit of a,

  • a little, you know, a shape there.

  • Close.

  • Does it feel okay? - Mmmm hmmm.

  • - There's one.

  • You want your little damp towel here

  • to literally have enough water on it

  • that when you press you can actually see

  • a little water coming out.

  • Great.

  • You can always take a little water on your fingertip

  • and tap down little areas.

  • If an edge kind of lifts up when it's dry,

  • again, we can take the alcohol and kinda...

  • So before I go on to the cheeks,

  • I'm gonna spray a little Ben Nye Final Seal,

  • which is just a good all-purpose sealer,

  • and this is what Christian recommends

  • sealing the pieces with.

  • So I'm gonna spray it, just wipe a little bit of this

  • over the surface.

  • I always ask the actor to keep their eyes closed,

  • especially if working around the eyes,

  • 'cause this has tiny bit of alcohol in it

  • and it will, the fumes will be a pain.

  • I'm gonna turn your nose just a little bit

  • just to place this.

  • One of the great things about a transfer appliance

  • type makeup, it's readily changeable.

  • Only after you do the test.

  • So that's why we do a test.

  • And that's why we always insist on doing a test.

  • It's gonna overlap a little bit.

  • It'll be a little strange but that's good

  • 'cause we'll know what to change.

  • I have had actors fall asleep on me

  • and sometimes it's a blessing.

  • There's certain actors that I wish would've fallen asleep.

  • Don't smile too much. - Sorry.

  • - The more you stay away from the edges

  • of the corners of the mouth, the better.

  • Again, because we did a generic sculpt,

  • open your mouth little bit,

  • this one kind of hits the corner of her mouth a little bit.

  • But luckily, I pulled her face back far enough

  • where I got it right to the edge,

  • so I can just lightly tap it down.

  • But ultimately, during the course of a day,

  • you don't want to be fighting corners of a mouth

  • creeping in, or lips, or wrapping over onto lips,

  • so good rule of thumb is to stay

  • as far away from the edges of her mouth as possible.

  • You know, when you're doing an old age,

  • sometimes it's tricky because you anatomically

  • have to create certain folds,

  • but for the most part, you could cheat it

  • to give yourself a, that's one of the perks, again,

  • of being the makeup artist, applying it.

  • You know where to end a piece where you're not

  • gonna have to deal with it all day long

  • popping and the actor constantly rubbing their mouth.

  • Okay, so I'm just gonna go ahead

  • and do the same thing to this side,

  • cause I know we, this one I have

  • a little less leeway, sculpturally

  • but I will do my best.

  • By pressing down on it, I'm just making sure

  • that the edges of the piece are locked down

  • in contact with the skin really well.

  • And it opens up her sinuses.

  • There is one little thing that comes in handy sometimes.

  • If you've got thicker appliances

  • or sometimes really paper-think transfer appliances

  • and you start to peel off the plastic

  • and they're sticking to the plastic,

  • you can take a can of compressed air

  • and spray it with a little freon,

  • which will freeze the piece

  • and it allows you to peel up the plastic

  • a lot more easily

  • 'cause your piece is now like solid

  • for sake of a better word.

  • See that little wrinkle in it,

  • we'll see what it looks like - Okay.

  • - If something were to stick,

  • take a little alcohol on a brush.

  • Little flaw in the paper.

  • Close your eyes, please.

  • If you don't like that...

  • This one, I'm not gonna put glue down

  • just 'cause I wanna, the less glue

  • on top of her eyes the better.

  • It'll settle into, on her lid better.

  • By sealing it, I'm effectively getting rid

  • of any tack and I'm giving it a surface

  • that's easier to paint.

  • So now this is kind of like a nice generic,

  • you know, kind of waddle, you know.

  • Not a, I've done where it's more of a big pooch,

  • or there's so many ways you can do a neck-thing,

  • but this'll just give us a little bit

  • of the cords hanging down.

  • (laughter)

  • But you know what?

  • It's one of those telltale signs,

  • or women can look completely lifted in the face,

  • but the neck always kind of betrays us.

  • Lift up a little bit.

  • I'm kind of doing a combination of spraying

  • the paper to soften it a little bit

  • so it'll contour, but I'm allowing most of the water

  • to take place in the towel, and I...

  • I've done this many different ways.

  • Some people soak a towel in water.

  • They use a cloth towel, or,

  • a setup towel's kind of nice 'cause it doesn't

  • hold too much water, it just holds enough.

  • Again, it takes a good bit of water

  • to kind of release it and lay it down,

  • but the more water you have,

  • you're drenching your actor,

  • which then becomes another problem.

  • Okay, we've got all of our pieces on.

  • The next stage is gonna be painting.

  • We'll throw a little color on her.

- So now the piece is glued to the paper.

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エイジメイク-ビル・コルソによる補綴物の塗り方 (Age Makeup - How to Apply Prosthetic Transfers with Bill Corso)

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    邱于嘉 に公開 2021 年 01 月 14 日
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