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  • embalming students have to understand the importance that every face is different.

  • Morgan Freeman Square Face.

  • Abraham Lincoln ob.

  • Long Face.

  • Kanye West Oval Face.

  • My name is James Edward Smith Jr I'm instructor and clinical director at Dallas Institute of Funeral Service and currently instruct restorative art.

  • Restorative art class provides a skill set to be able to take a deceased person who has experienced trauma to the head and or face and restore those features in that face so that the family may have an option for an open casket viewing or visitation in the fifth quarter, students are tasked with reproducing a sculpture of a person that they choose in.

  • The anatomy has to be accurate.

  • Students generally picked celebrities, they're popular faces, and students tend to want to trying to recreate those from a restorative art project.

  • Jennifer Aniston, Jack White, Viola Davis, Frieda Callow Are you decided to do David Lunch?

  • Taking on the assignment requires each of the students to understand the proportions for the features of the face here in school.

  • Because it translates to what may happen in the actual preparation room, it is an acquired skill.

  • The more you practice the more proficient, the better you're gonna become Theo.

  • Expectation of the family is that this is something we can sometimes do right away.

  • But we have to take into account the amount of trauma that the face has sustained.

  • We need to have as much care when handling the deceased as if they were in the hospital under the care of a doctor.

  • The question e am very passionate about restorative art, because I believe it's important for people to have the best memory picture possible.

  • When it's time to say goodbye.

  • We're task as embalmers to help families have the option, no matter the cause of death.

  • To say goodbye to Mom or Dad or brother or sister, Faces are the most important subject matter in art.

  • It's a never ending source of material.

  • When you put on one of my masks, you become somebody different.

  • You start to embody that character on, have a lot of fun with it.

  • My name's Landon Meyer, and I make disturbingly realistic masks.

  • E never thought I was gonna make a living doing masks.

  • E was a picture framer, loan officer, pizza delivery driver, and then I got laid off.

  • I've always been interested in doing something that's like, really surreal and nightmarish.

  • So it was more or less an experiment that took off E.

  • I'm the only person out there that's doing hyper realistic lightness masks.

  • I'm kind of this weird mad scientists down in the basement E start off getting lots of reference material.

  • E.

  • The hardest part is doing the sculpture that can take anywhere from four days to a year.

  • But once the sculpture is done and I have a mold, it's about a one week process to make a mask.

  • They are ungodly, expensive.

  • They range $500 and up and sometimes even highest $7500.

  • Over the years, I've made approximately 25 different designs, and I've produced with my own hands over 1000 masks e What I make.

  • I like to consider wearable art.

  • These are super realistic sculptures you can put over your head and where people just seem to have this astonished reaction to the masks.

  • That's what I love about him.

  • Mm.

  • It was a dark time for Star Wars when CG characters started popping into every corner of the Siri's.

  • But before George are stumbled into our collective consciousness stores was all about puppets.

  • Which brings us to this guy.

  • I'm Dave Barclay.

  • I'm a puppeteer and puppet builder and animatronic effects supervisor.

  • You might recognize Dave Better under £200 of fiberglass and latex because he was one of the puppeteers inside Job of the Hut.

  • But to play the most notorious gangster in tattooing, you gotta start somewhere.

  • And Dave, Well, he got his big break with a little green man back.

  • Here's why you fail.

  • Yoda was famously puppeteer by Frank Oz The legend behind Cookie Monster and Grover show you near and far.

  • But Yoda was a complicated puppet, and it took 4 to 5 people working different body parts to bring them to life.

  • Dave's job was controlling your eyes and ears.

  • There was a sequence when Yoda is brooding Mark with a stick, saying where he waas what he was doing.

  • I'm doing a little squint and subtle control on the eyes.

  • Yep, right there.

  • That's me doing the eyes there.

  • Towards the end of the filming on Empire Strikes back Frank Oz was performing Yoda, and it became clear if he had to move on to another film on he wasn't gonna be available.

  • So they needed someone to take over from Yoda and Frank nominated me.

  • I was 19 years old.

  • So suddenly There I am with Yoda.

  • Even at 19 years old, Dave's Yoda scenes blended perfectly with Frank Oz.

  • That was Dave.

  • Did you guys see that?

  • Let's take one more look.

  • Dave did such a good job.

  • They called him back and asked him to run a new puppet called Job of the Hut.

  • Jabba the Hutt was probably the most complicated and sophisticated animatronic puppet that anyone had ever tried to build on.

  • It took 6 to 7 people to operate inside Jabba.

  • Very claustrophobic, very close.

  • One person doing the left hand, the head movement in the tongue.

  • Now the puppeteer doing the mechanical tail, another puppeteer doing the breathing on the air bladders.

  • I did Jabba's right hand on.

  • I did his jaw on.

  • Then I provided the voice on stage.

  • My voice doesn't make it to screen, but if you turned up on stage, we'll hear this sort of voice.

  • Where's my talk?

  • Dry?

  • Uh huh.

  • There's a child.

  • There weren't really any movies that had puppeteers in them.

  • There was a little bit here and there.

  • But there were no solid characters like Yoda on being part of the Yoda team, which really was the first performance.

  • Animatronic in movies was the start of this huge growth that lasted about 20 years.

  • Onda za puppeteer Onda puppet maker on someone who loves the movies.

  • It was always in the exactly the right place at the right time.

  • And I've had wonderful career, doing what I adore.

  • So I feel very lucky and privileged.

  • Mm was our first feature point break.

  • Did we do that before tremors?

  • Not officially.

  • Yeah, right.

  • So as a company, tremors would be the first technically future, I guess.

  • I don't know.

  • Someone should Google that.

  • Yeah.

  • Are you gonna ask us questions or do you want us to start talking?

  • Could you introduce each other?

  • I would love to.

  • I would like to introduce you to Tom Woodruff Jr.

  • Who is the co founder of Amalgamated Dynamics.

  • I'd like to introduce you to Alec Gillis.

  • He's the co founder of A.

  • D.

  • I, home of the Oscar winning Creature effects Team.

  • When people think of practical effects creatures, you think of non computer generated characters We've been lucky to be involved with some of the biggest and best of those types of monsters.

  • We did the worms and tremors.

  • We did the fat makeups on Tim Allen in the Santa Claus.

  • All the practical animals in Jumanji.

  • We've done the alien.

  • We've done the predators.

  • Starship Troopers.

  • I wasn't done.

  • You can keep going, buddy.

  • And of course, there's always the gorilla cut right now.

  • That's perfect.

  • Right now we cut putting the gorilla costume.

  • We started perform my own creatures because we both have this sort of observation of stuntmen despite their talents and their skills, them going into a creature suit and not really knowing how to make a creature suit work.

  • It would be very weird for us to just say we're gonna build something and then bring it to set and say, Now what?

  • Are you hungry?

  • Some food?

  • Are you hungry?

  • If your digital animator, you build the character and you follow through and you make it move and you bring it to life.

  • So that's our philosophy is the final step is performance because that's where it lives.

  • You want to try a little tiny piece here, Go ahead go ahead.

  • What do you think?

  • You want some more?

  • Hey, he's Listen.

  • Listen, I could get you fresh bread.

  • E, get your fresh bread.

  • Tremors is an example of a film that was from the pre digital era.

  • And if you look at it, the practical effects they've stood the test of time and we're proud of that.

  • Digital effects could do things that we can't possibly dio.

  • Practical effects have a presence to them that even the best CG work gets close to but doesn't completely achieve.

  • In other words, there's more emotion, I believe, to a practical creature than to a digital creature.

  • Wave to the camera and say goodbye.

  • Bye Bye Bye.

  • Yeah, he's so temperamental.

embalming students have to understand the importance that every face is different.

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The Art of Making Fake Faces

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    林宜悉 posted on 2020/10/23
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