Bibliography

Websites

Anomynous. (unknown). Snake Documentary. Available: https://www.youtube.com/watch?v=Kz0Xrc1xygM. Last accessed 30th oct 2015.

Anomynous. (unknown). Snake Venom. Available: http://reptilis.net/serpentes/venom.html. Last accessed 30th oct 2015.

IAKHOVAS. (2011). Top 10 Most Venomous Snakes. Available: http://listverse.com/2011/03/30/top-10-most-venomous-snakes/. Last accessed 30th oct 2015.

Anomynous. (unknown). Snake bites - Symptoms . Available: http://www.nhs.uk/conditions/bites-snake/pages/symptoms.aspx. Last accessed 30th oct 2015.

Anomynous. (unknown). hybrid. Available: http://dictionary.reference.com/browse/hybrid. Last accessed 01 nov 2015.

Graham Edwards. (2015). “Horns” – Makeup and Visual Effects.Available: http://cinefex.com/blog/horns/. Last accessed 03 nov 2015. Anomynous. (2014). Best documentary: Deadly crocodiles of the nile river.Available: https://www.youtube.com/results?search_query=best+documentary%3A+Deadly+crocodiles+of+the+nile+river. Last accessed 13th nov 2015. Anomynous. (2015). National Geographic/wild animal documentary/crocodile king 2015.Available: https://www.youtube.com/results?search_query=national+geographic%2Fwild+animal+documentary%2Fcrocodile+king+2015. Last accessed 13th nov 2015. Anomynous. (2011). different types of crocodile. Available: http://animalstime.com/. Last accessed 30th nov 2015. Images Anomynous. (2012). Snakes. Available: http://www.theguardian.com/education/2012/sep/10/improbable-research-snakebite-electric-shock. Last accessed 30th oct 2015. Anomynous. (2012). Snakes. Available: http://www.divetrip.com/phot0410c.htm. Last accessed 30th oct 2015. Anomynous. (2011). Death adder. Available: http://www.snakecatchers.com.au/Common_Death_Adder.php. Last accessed 30th oct 2015. Anomynous. (2011). Cobra. Available: http://dailynewsdig.com/venomous-snakes-adopt-pet/. Last accessed 30th oct 2015. Anomynous. (2013). Poisonous snake. Available: http://news-fly.com/top-ten-poisonous-snakes-in-the-world/. Last accessed 30th oct 2015. Anomynous. (2012). tiger snake. Available: http://australianmuseum.net.au/tiger-snake. Last accessed 30th oct 2015. Anomynous. (2011). russells viper. Available: http://rahulalvares.com/2015/06/the-russells-viper/. Last accessed 03 nov 2015. Anomynous. (2012). wildlife. Available: http://www.travelnt.com/things-to-do/nature-and-wildlife/the-outback. Last accessed 03 nov 2015. Anomynous. (2012). snake bite. Available: http://jeevankuruvilla.blogspot.co.uk/2012/08/photos-post-snake-bites.html. Last accessed 03 nov 2015. Anomynous. (2011). snake bite. Available: http://www.lancet.com/journals/lancet/article/PIIS0140-6736(09)61754-2/fulltext. Last accessed 03 nov 2015. Anomynous. (2010). unknown. Available: https://www.youtube.com/watch?v=6i8qDkSoMcY. Last accessed 13th nov 2015. Anomynous. (2014). horns. Available: https://uk.movies.yahoo.com/post/122263901761/new-horns-trailer-daniel-radcliffe-is-devilishly. Last accessed 13th nov 2015.

History of Hybrid

 

The human species began as the hybrid offspring of a male pig and a female chimpanzee, an American geneticist has suggested.

The startling claim has been made by Eugene McCarthy, who is also one of the world's leading authorities on hybridisation in animals.

He points out that while humans have many features in common with chimps, we also have a large number of distinguishing characteristics not found in any other primates.

Dr McCarthy says these divergent characteristics are most likely the result of a hybrid origin at some point far back in human evolutionary history.

What's more, he suggests, there is one animal that has all of the traits which distinguish humans from our primate cousins in the animal kingdom.

'What is this other animal that has all these traits?' he asks rhetorically. 'The answer is Sus scrofa, the ordinary pig.'

Dr McCarthy elaborates his astonishing hypothesis in an article on macroevolution.net, a website he curates. He is at pains to point out that that it is merely a hypothesis, but he presents compelling evidence to support it.

Scientists currently suppose that chimpanzees are humans' closest living evolutionary relatives, a theory amply backed by genetic evidence.

However, as Dr McCarthy points out, despite this genetic similarity, there are a massive number of divergent anatomical characteristics distinguishing the two species.

These distinguishing characteristics, including hairless skin, a thick layer of subcutaneous fat, light-coloured eyes, protruding noses and heavy eyelashes, to name but a few, are unmistakeably porcine, he suggests.

There are also a number of less obvious but equally inexplicable similarities between humans and pigs in the structure of the skin and organs.

Indeed, pig skin tissues and heart valves can be used in medicine because of their similarity and compatibility with the human body.

Dr McCarthy says that the original pig-chimp hook up was probably followed by several generations of 'backcrossing', where the offspring of that pairing lived among chimps and mated with them - becoming more like chimps and less like pigs with every new generation.

This also helps to explain the problem of relative infertility in hybrids. Dr McCarthy points out that the belief that all hybrids are sterile is in fact false, and in many cases hybrid animals are able to breed with mates of the same species of either parent.

After several generations the hybrid strain would have become fertile enough to breed amongst themselves, Dr McCarthy says.

Source Info: http://www.dailymail.co.uk/sciencetech/article-2515969/Humans-evolved-female-chimpanzee-mated-pig-Extraordinary-claim-American-geneticist.html

Tech File for Special Effects

Sculpting the wound

Equipment:

• Tray
• Clay
• Sculpting tools
• Couch roll
• Flash wipes
• Hair-dryer

Step by Step:

• Place couch roll on the work station
• Using the wire tool scrap some clay off the block 
• Using a hair-dryer heat the clay to make it easier to mould
• Flatten the clay and sculpt a design using the spatulas and tools 
• Make sure the edges of the clay are seamless and no access clay is on the tray other wise they will show up on the prosthetic.
• Once the design is complete and when packing away clean the work station using antiseptic flash wipes

Creating moulds

Equipment:

• Clay sculpture 
• Couch roll
• Silicone A
• Silicone B
• Wooden sicks
• Latex free gloves
• Wipes
• Flash wipes
• Measuring cups 
• Glue gun 
• Weighing scales 
• Fixing spray
• Petrolease

Step by Step:

• Place couch roll on the station and spray the sculpture  with fixing spray not so its too shiny or wet 
• Spray the sculpture  with petrolease and leave for 5 minutes
• Cut of the top of a measuring cup and using a hot glue gun stick it to the tray with the clay sculpture on so the silicone wont leak out
• Once the hot glue has cooled down 
• Using the weighing scales put cling film over the top a measuring cup and wearing gloves and using a wooden stick which is labelled A measure out  50 grams of the silicon, the amount would vary depending on size and height. 
• Once the silicone A is measured out the wipe the lid round so the product doesn't leak and change your gloves
• Measure out the same amount of silicone B wearing a new pair of gloves using a new labelled wooden stick to avoid contamination 
• Mix both the silicones in the measuring cup together getting rid of any bubbles.
• Pour over the clay sculpture and wait for it to set 
• After about an hour and the silicon has set remove the mould from the sculpture and the measuring cup.
• Clean work station using flash wipes once you've finished 

Casting and applying the prosthetic

Equipment: 

• Couch roll
• Cling film 
• Scales 
• Silicon A and B
• Deadener
• Boldease 
• Wooden sticks 
• Latex free gloves 
• Talc powder 
• Alcohol
• Fixing spray 
• Petrolease
• Pigments 
• Prosaide 
• Proclean 
• Cotton buds 
• Measuring cups 
• Foundation pallet
• Wound filler
• Blood
• Puss
• Neil Gorton's alcohol activated pallet 
• Supracolour 
• Vaseline 

Step by Step:

• Firstly set up the work station with all equipment and couch roll
• Clean the mould using alcohol
• Spray fixing spray then petrolease on the mould again 
• Created a protective layer using boldease and alcohol proportion 2:1 Alcohol:boldease 
• Mix the boldease and alcohol together and then spread two layers onto the mould using a brush 
• Wait for it to dry matte 
• Measure out 8 grams of silicon a using the weighing scales with a wooden stick, make sure you are wearing loves. Make sure you use a wipe to clean the products to avoid contamination for each of the products 
• Change your gloves and stick and measure out 8grams of silicon b the amount changes according to the size of the prosthetic 
• Add 1/2 to 3/ of deadner to the mixture using new gloves and a different wooden stick then mix the products together getting rid of the bubbles.
• Quickly add pigment to  the mixture before it sets.
• Pour the mixture into the mould until its level with th mould using the scraper tool make sure the prosthetic is level and get rid of any access mixture .
• Wait for it to set 
• Using talc and a brush powder the prosthetic and brush the talc under the boldease layer slowly pulling away at the prosthetic releasing it from the mould , making sure it doesnt fold..
• Next apply prosaide to the area of skin and the prosthetic wait for it to dry transparent and apply to the area
• Using a cotton bud and alcohol melt any of the edges away to make the prosthetic seamless.
• Apply any colours from the foundation pallet Neil Gorton's alcohol activated pallet and the supracolour pallet to make it look realistic and like a burn 
• Add the finishing touches such as Vaseline to create a shine, blood, puss and wound filler.
• Make sure the work station is cleared using lash wipes ad any silicone and products is thrown in the bin and not the sink
• When removing the prosthetic use proclean cleansing oil and cotton pads

Applying Bald Caps

Equipment:

• Water spray
• Hair gel
• Spirit gum 
• Non shiny spirit gum (optional) good for applying hair to bald caps and also disgusting edges 
• Supracolour pallet
• Sponges
• Acetone/alcohol/latex 
• Brush
• Pin tail comb 

Step by Step Guide:

• Brush water spray through the hair ( if the hair is long ) saturating the hair.
• Rub gel into the hair brushing the hair back oft face
• If the model has stray hairs around the face use the soap scraping technique to scrap hairs off the face
• Brush the gel also through the hair to get even distribution
• Parting the hair down the middle if the model ha long hair and wrap the hair around the hair pulling the hair flat and tightly against the scalp.
• Make sure no make-up is on the face before applying the cap other wise the cap nonstick . also do not use and moisturisers on the area just use a toning product.
• Use the wig technique of applying a stocking cap, get the mode to hold the front of toecap (bunny ears technique) and pull the cap over the head and down at the back.
• Cut away any access edges make sure you don't cut too near the hair line and be cautious of the eye brows.
• Straight lines are known to pick up on camera so slightly uneven edges are best.
• Cut away near the bottom of the ear and thencut a straight line up to the ear you will then be able to place the bald cap round the ear. 
• When cut the bald cap near the back of the neck place the models head forward and pull the bald cap down.
• Stick the front of the bald cap down first, posed can be used to secure the cap.
• Roll the cap back and glue to the edges wait for the glue to go tacky then roll the cap back down over the face 
• Press the cap into the face in order for the glue to bond and carry out the came technique of glueing the cap, working round the head.
• Using a baby bud and the suitable product to make edges dissolve, melt away the edges.
• Using a sponge and creating a pink colour from your supra colour pallet dab the colour into the cap to get rid of the dark areas where the hair is noticeable underneath the cap.
• Apply textures and colours to the cap using an alcohol activated pallet.
• Fullers earth can also be used to create text, mix the product with water and apply to the cap using intense colour spray apply colour.

Evaluation

Evaluation - Overall I have thoroughly enjoyed my chosen option special effects make-up. I have definitely learnt a lot from the process of creating prosthetic and I created two designs, one of which was a snake bite wound and the other was a human hybrid crocodile.
I really struggled to begin with as I found special effects very difficult to pick up as the procedure was very intense and time consuming. What I felt most time consuming was blending the edges to make sure they were really smooth before applying the silicon; however Kat did show me another technique to use using one of the special effects tools which I felt helped me a lot. I feel with the more practice I get the more I will improve on this weakness. I would definitely say special effects was a lot more harder to grasp than I imagined, but that’s not to say I didn’t enjoy it as I did and I managed to get there in the end. I was very happy with the end results of my prosthetics, I feel I just need to make sure I don’t get so hit up about it and to just take my time as I am still learning.
My positives from the snake bite wound were that I was very happy with the make-up in which I created over it and the swelling which I created around the outside of it. The only thing I would say which disappointed me about the wound would have been that I felt I created the snake bite wound itself perhaps just slightly too big in height and I had to use more product. However I did this because I wanted to show swelling as from my research this is something that is very common in snake bites.
Creating the hybrid I found very fun and I was happy that we had our own choice of what to create, it gave me a lot of excitement as to what I could create, I had so many cool and artistic ideas. However I decided on the crocodile and I was most happy with the way I textured my mould to give it the scales of a crocodile, I did this using my special effects tools. I did want to create more prosthetic on the body however I didn’t have enough product left to do this, so I worked with what I could to get the best outcome possible and I can say I am very happy with what I have achieved.
For some reason I lost the photo’s in which I saved on my SD Card, however I have backed it up with photo’s which I have taken from my phone which I hope will be OK.
Unfortunately I feel I didn’t include as much as I wished in my blog, this was due to personal matters, however I didn’t let it affect something that I love and I am passionate about so much. So I did the best I could possibly do. I feel I have gained so much from special effects and it’s a shame for me that it is over with now but I will continue my practice within this in my spare time to boost my skills and confidence as this is definitely the area of work I would like to work in when I graduate from University.

Technical File Evaluation – I found creating the silicon moulds a little bit daunting at first as there is a lot involved in order for you to get your perfect piece. I learnt how to sculpt a wound by using all the necessary tools from my special effects kit and using a hair-dryer to heat the clay to make it easier to mould. I learnt to make sure all edges of the clay were smooth so they didn’t show up on the prosthetic, this is something I struggled with greatly but Kat kindly showed me a better way of smoothing the edges with one of the special effects tools. I also learnt how to create the mould itself by using fixing spray, petrolease, a measuring cup, hot glue and weighing scales; this part I didn’t have a problem with, it was just making sure I added the correct ingredients to get the perfect outcome.
Then I learnt how to cast and apply prosthetic by using a protective layer of baldease and alcohol proportion 2:1 alcohol:baldease and mixing them together and spreading approximately three layers onto the mould. Then I had to mix the ingredients together again to create the pigment and once the pigment was dry, I could then slowly peel away the prosthetic using talc and a brush. Again I didn’t struggle with this part either, for me it was just trying to remember the order of everything.
I also learnt that it was extremely important to follow health and hygiene regulations at all times. Below is my list of health and hygiene which I followed.

 Have hair tied back at all times
 Remove all jewellery
 Wear appropriate clothing so they don't get ruined from the products being used
 Open windows as the products being used are very strong
 Make sure the client isn't wearing Aloe Vera based products as this can react with the products
 Always be sure that the client is not allergic to any of the products, if they are unaware then the signs will be itchiness or swelling which is then a key sign to remove the products immediately with cold water
 Wear latex free gloves at all times
  Do not contaminate any of the products, use a new, clean pair of gloves when dealing with different products
 Use different spatulas to scoop out the product or to mix the products by labelling them, e.g. A, B + C
 Wear a mask when creating the moulds
 Always spray the setting spray next to an open window to prevent the increase of fumes in the room
 Clean your mould with alcohol or acetone because if there is any product left on the mould then it will cause cross contamination
 Do not put any products down the sink as this can cause poison in the water system. So therefore it is vital to use couch roll to clean up the products and then place it in the bin straight after
 If any spillages occur, then it is very important to clean them up immediately using couch roll to prevent any accidents
 Always keep a clean and tidy kit
 Always store products in the correct place, e.g. in a cool area

I have learnt a lot from special effects and I will continue my practice in order to build my skills and confidence even higher.

My final hybrid design

Below is my fiinal human hybrid design which is a crocodile. Firstly I began by applying glue to the back of my silicon moulds and I had to wait approximately 5 minutes for this to dry until it turned clear. I then stuck my moulds onto my models body, the biggest one I placed on her back and the other onto her left hand. I then blended the edges in using alcohol and a cotton bud which took me quite a while to do. After this I started to apply the make-up over and around the mould. I mixed a variety of colours together using my Supracolor pallet, I used a mix of green, black and red to get a variety of different shades of green to make it look more realistic and I did this on the back and hand. I then applied latex to the back and also on some parts of the right side of the face to create a different kind of texture for a crocodile and picked at it using special effects tools and this made it look very effective. I finished by colouring the face, neck and ears in with my mixed colours from my Supracolor pallet so it all blended in well. I created my Hybrid so my models left hand was coming over her right shoulder and her head slightly turned. I feel the outcome was very successful, I did struggle in some parts, for example, when mixing the colours I found it a bit hard to get the desired colour at first but once I managed to overcome this I was fine. I also struggled slightly when applying the latex I didn't feel the texture was looking as I had planned, however I kept going until I was happy with what I had created. I placed my silicon moulds on different parts of the body and placed latex across the face and back so you could see different parts of the crocodile coming through on the human to make it look more effective. I also wanted to use a contact lense on my model which I thought would have looked cool, however she was unable to place this into her eye so I wasn't able to use it. By the time I had completed the Hybrid I can say I was very pleased with the end result.

 This was the contact lense in which I was going to use in my models eye, unfortunately she was unable to place the lense into her eye.

Creating my Silicone mould for human hybrid

The first silicone mould I created for my hybrid was the the main design of the crocodile which I will be positioning on my models back. I created texture on the mould by using different tools from my kit. I then smoothed out the edges so you wasn't able to feel any bumps, this took me quite a while to do but I got there in the end. When I had finished creating my sculpture I then built a barrier around the outside of it for when I pour the silicone onto the mould so it doesn't spill out. Then I sprayed fixing onto the sculpture and let it dry for 5 minutes and once that dried I then did the same with petrolease and let it dry for 5 minutes. I prepared my station by placing cling film over the top of the scales and weighed out 100 grams of silicone A and B with separate wooden sticks and gloves to avoid contamination. After mixing both ingredients together and pouring it onto my mould I realised this amount of silicone didn't quite cover it all so I then added another 100 grams of each to make sure I got the coverage I needed.

As I was running over time this lesson, Sue kindly said she would put the mould into her cupboard overnight so it had plenty of time for the silicone to dry. The next day when I came in the silicone had dried perfectly so it was now ready to pull away. Below is a photo after I had taken the silicone out. 

Researching the use of Special Effects in Films

The make-up used on Maleficent in the film I feel is very bold. Prosthetics was used to create Maleficents prominent cheek bones and she wears a subtle nose piece, pointy ears and sharp molars.
In the film Maleficents face looks very pale and this was created by using MAC Select Cover Concealer with a wet sponge in a colour paler than Angelina’s natural skin tone without any blush.
To get the red lips MAC’s Pro Longwear Lipgloss in Anthurium was used.
Labradorite stone was used to get the colours for the creepy eye look for Maleficent and the contact lenses in which she wears are hand painted which matched Angelina’s natural eye colour but they just made them look more magical.
Maleficent’s nails were painted a bone colour red on the inside of the nail and on the outside of the nail was just clear, however they looked slightly different in certain scenes of the film.

With the costumes in which Maleficent wears they all have very exaggerated shoulders and collars. Cow leather was used as well as sting ray and ostrich leather.
For Maleficent to have those amazing horns, a bald cap was put over her head to cover her hair and the horns were attached with magnets so it would be easy to take them on and off. The horns gave Maleficent an extra foot of height and the shoes which were created for her gave her an extra five inches in height!

The next film I watched and decided to do some more research on was Horns

https://uk.movies.yahoo.com/post/122263901761/new-horns-trailer-daniel-radcliffe-is-devilishly

The primary task for KNB EFX was to create the various sets of horns worn by Daniel Radcliffe during his gradual transformation from Ig Perrish into a fully-fledged demon.

“We did four different stages of horns that we attached to Daniel, as well as a fantasy drug-dream prosthetic make-up,” recalled KNB EFX on-set make-up effects supervisor Mike McCarty. “We did a burn suit and accompanying makeup, the final demon look with its huge set of horns, a few blood gags, an exploding head and some mechanical snakes. We had Daniel in and out of prosthetics at least 35 times over the course of the shoot.”

The makeup and prosthetics team benefited from the company’s long association with director Alexandre Aja. “KNB EFX has done all of Alex Aja’s projects since The Hills have Eyes (2006),” McCarty remarked. “I’ve personally been on set for most of them: Mirrors,Piranha 3D, Maniac, Horns, and his current project, The 9th Life of Louis Drax. As Alex likes to say, we’re part of the family.”

Despite their fantastic aspect, the look of Ig’s horns was developed using real-world reference material. “We looked at a lot of horns in nature, and went back and forth with what our conceptual designer John Wheaton came up with,” McCarty explained. “We got notes from Alex, and ultimately ended up using various stages of ram horns as reference.”

After the initial sculpting stage, the horns themselves were cast using dental acrylic.

“Dave Grasso and Jaremy Aiello handled most of the sculpting duties in the shop,” commented McCarty. “Then Jason James ran the horns out of acrylic and attached them to a wire rig we made on Daniel’s head cast. The horns were set at the perfect angle so we could just plop them into place, and they would naturally rest there.

“Then we hid the wire rig under Daniel’s hair. We had a few hair clips attached to the rig as well, so when he shook his head, they wouldn’t move. Once we had them secured, we hid the edge with a small prosthetic to blend them and make it look like they were coming out of his skin. Mike Fields and myself shared the application duties, and so did it twice as fast as it would have taken one artist.”

For a scene in which Ig gouges his horns into a plaster wall, a more resilient solution was required. The solution was to produce a robust, wig-covered helmet, on to which the horns were screwed.

To effect Ig’s climactic transformation into demon form, Radcliffe wore a full-body foam latex suit. “The suit created the burned look, and then we had a cowl, some face pieces and some hand pieces, which we blended into the suit,” explained McCarty. “The huge horns were super-lightweight. We just clipped them into place on a helmet under the cowl. We painted bright neon orange paint into the cracks in the suit. VFX were able to key on this and add fiery lava to make it look like he was burning from within.

“The whole final demon makeup took us only two hours; it was applied by Mike Fields, Maiko Gomyo and myself. If you can do something that extensive and still keep makeup chair times down, it’s better for the actor – especially when they have a such a physical day ahead of them. And Daniel Radcliffe was a joy to work with.”

As well as Radcliffe, McCarty and his team also had the opportunity to transform Joe Hill, during a visit by the author to the set. “Joe wanted to try the horns out, so we glued a small set on him,” McCarty recalled. “That was kind of cool. He was really glad KNB EFX was involved, and he loved everything we were doing. That was a nice justification for the hard work we had put in.”

https://www.reddit.com/r/movies/comments/2aob8l/teaser_poster_for_horns/

http://channelufx.blogspot.co.uk/2014/07/daniel-radcliffes-horns-from-october.html

http://pandaschoice.com/2014/10/31/horns-2014/

info: http://cinefex.com/blog/horns/