... because I can be.

And because I never like it to be too pretty.

Once it's on...

once it's on I'll take that... and sort of wipe it off that top surface.

We'll add a little bit more. Some of the mistakes I see

with blood a lot is... way too much blood is used.

Everybody wants to show off their blood skills

and they tend to add too much.

And it's a fine balance, there's no right or wrong to it.

Life can be pretty messy when it's bloody

so you want to capture that but at the same time...uhm

you don't want to lose the design and the effect.

That doesn't mean it's all about the sculpture and it's

all about the what you've created and everybody look

at the little, you know, scratch I did.

However, you sort of lose the effect of what you're trying to achieve

if you bury it too much.

So... this blood I'm using right now is the darker tone

so this is going to create some depth in the piece and it'll

sort of allow us to see the wound. And I usually start

with something like this. I can take a little bit of water

and I can clear up some of the outside stains here.

And the great thing about the transfers is that they're

really durable so you can go in there and keep adding

and subtracting and moving things around and as long as your paint...

holds up, you don't have to go back in and

refresh anything, or you don't have to worry about

edges peeling up on you because you keep adding

and subtracting. You can be pretty tenacious

about how you apply this.

Once that's sort of a place where I like it

I'm going to go in with another blood.

This is more of a fresh blood, so it's a brighter red--

sorry about that...

and this is gonna allow us to have

a little bit more of that current bleeding.

So, I'm kinda gonna lay this in here.

This blood actually will dry. I'm using another

drying blood but this ones a brighter red.

And I'm doing this just for purposes of...

what might be used for continuity.

And I can create some... strands of blood coming down.

Continuity is always a problem when it comes to blood.

For one... trying to get every smear, every drop

the same. Especially when you're doing a sequence that takes place...

in the same... within the same few minutes.

It's one thing where you have to match and a few hours have passed

and it's a little bit dirtier or whatever but...

if you're shooting the same scene over a course

of a day or two, it can be almost impossible to match.

So, couple of things to think about is your design

of blood as you're applying it.

Be specific about where you're placing

it and how you're doing it so you can

feel like you can repeat it the next day.

Secondly, you kinda got to throw continuity

out the window a little bit. You have to become

comfortable with the idea that it's not gonna be perfect.

But however, blood does move therefore it not being

the same, or perfect, also can be helpful.

See if there are elements you can tie in...

Are they bloody? Were they in a fight?

Are they sweating at this moment? Could that have

helped move it? Is there dirt that can be added...

to it or around it? So there's a lot of things that

you can use to your advantage.

But you can kind of have to know that going into it

so you can plan on it,

and use that to your service

as opposed to... I'm just gonna do this 'cause it's cool

now I gotta do four more days of it

and I don't know how to copy it. We don't want that.

So I think this-- sort of is a nice stopping point.

We could always go bloodier with it and have it

draining down the face, but I think this sort of shows off

the prosthetic, I think it shows the wound nicely.

And that's it.

Simple. Thank you Matt. -Matt: Thank you for wounding me.

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