Klip Video Tribute Bruno Mars- The Lazy Song

http://www.youtube.com/watch?v=qi7b3oIR6hs

- Klip video ini adalah hasil daripada saya, Ain, Fifi dan Syuk..

- Kami menggunakan penggunaan mekap yang berbentuk seperti kucing.

- Klip ini memakan masa satu hari sahaja...

PRODUK POSTER SPOOF FILEM - BAKAL PECAH PUNGGUNG

    

Tempat: Pancha Delima

Masa: 3.00 petang - 4.00 petang

Tarikh: 28 Mac 2011

- Projek ini merupakan demonstari bagi merealisasikan kemahiran dan ilmu yang saya telah pelajari melalui subjek Special Effect Make Up.

- Saya bersama Ain teman sekelas saya sukarela membantu menjayakan projek ini di dalam dewan Pancha Delima di bawah subjek Directed Studies. salah seorang pelajar dari subjek itu meminta pertolongan kami berdua supaya memekapkan kesan khas terhadap 3 orang model pada waktu program itu dijalankan.

- Kami berdua telah membuat persediaan awal terlebih dahulu sehingga hari demonstasi berlansung.

- ketiga model yang kami mekapkan, dimekapkan secara berlainan.

- Dengan ilmu yang dibekalkan oleh En Fifi, saya telah mengaplikasikan apa yang saya tahu pada ketiga-tiga model itu.

- Hasilnya, kesemua yang hadir pada ketika itu memberi tepukan gemuruh dengan hasil mekap sentuhan kami. Mereka ramai mengatakan bahawa mekap2 ini kelihatan seperti real.

     

SHORT FILM "ESON ABERGNA PANGERAN

~ Ini merupakan poster filem pendek yang diarahkan oleh Wanfi iaitu berjudul

 'Eson Abergna Pangeran'.

~ Mereka meminta kerjasama saya untuk membantu dari segi mekap pelakon

~ Ini kerana mekap yang digunakan dalam filem pendek ini adalah Special Makeup Effect.

~ Secara sukarela saya membantu mereka menghasilkan darah hasil daripada didikan dan ajaran dari En Afifi. 

~ Saya telah mengkaji skrip terlebih dahulu, dan Schedule Make up supaya saya boleh melakukan yang terbaik untuk filem pendek ini.

~ Ini merupakan bahan-bahan yang saya bancuhkan untuk menghasilkan fake blood.

~ Banyak babak di mana saya perlu mengaplikasikan mekap darah dan kesan khas lain.

~ Saya bertanggungjawab membantu Art Director dalam membancuh dan menggunakan darah ini untuk watak-watak pelakon dalam filem pendek ini.

CRISS CROSS REPORT

NAMA: EDLYNN ADURA BT ARSAD

NO.MATRIK: 2009428802

KOS: CT 225 SEMESTER 4 (FAK.TEKNOLOGI KREATIF & ARTISTIK)

KOD PROGRAM: CTT 582

PENSYARAH: EN NUR AFIFI BIN MOHAMED TAIB

KUMP. CRISS CROSS GROUP 8 ( SHORT FILM "AD" )

 DIRECTED BY: AINA MASTURA

TARIKH PENGGAMBARAN: 19 & 20 MAC 2011

Laporan Criss Cross Short Film "Ad"

     Di bawah subjek Special Effect Make Up, saya bersama rakan sekelas telah ditugaskan melibatkan diri dalam sesi penggambaran filem pendek yang dianjurkan oleh Criss Cross Department. Kami diberi tanggungjawab sebagai make up artist di dalam filem-filem pendek yang dilakukan oleh fakulti kami.

     Saya melibatkan diri dalam filem pendek 'AD' yang diarahkan oleh pelajar dibawah subjek pengarahan iaitu Aina Mastura sebagai jurumekap di dalam filem pendek tersebut. 

     Tarikh penggambaran bagi kumpulan kami adalah 19 & 20 Mac. Setelah saya bertemu dengan pengarah, kami membincangkan tentang apa yang terkandung di dalam skrip supaya saya boleh menyediakan keperluan mekap untuk sesi penggambaran. 

     Pengarah telah emailkan full script, master breakdown dan shooting schedule. Apabila saya membaca skrip ini, saya dikira bernasib baik kerana mekap yang akan digunakan adalah ringkas sahaja. Tidak perlu menggunakan mekap kesan khas. Walau begitu, saya sedikit kecewa kerana tidak berpeluang mengaplikasikan mekap kesan khas di dalam produksi ini. 

      Cerita ini hanya mempunyai 3 watak utama sahaja. Setelah saya kaji, watak Katty, Ad dan Nita hanyalah ringkas sahaja.. Mekapnya hanya mekap seharian dan tidak terlalu over. Manakala ada seorang watak perempuan gedik, saya diminta oleh pengarah supaya menampakkan mekap yang agak gedik dan garang untuk watak tersebut. 

     Dengan bantuan En Afifi, saya diberi peluang meminjam sedikit barangan mekap darinya, dan selebihnya saya menggunakan barang sendiri dan produksi. 

     Kami hanya menggunakan 2 hari sahaja bagi proses sesi penggambaran. Pada 19 Mac, sebelah paginya, saya bersama ahli-ahli produksi menuju ke seksyen 2 Shah Alam bertempat di Muzium Shah Alam. Setibanya di sana, terlebih dahulu kami makan beramai-ramai sementara menunggu talent. Kemudian saya meneruskan kerja saya make up kan 2 orang pelakon terlebih dahulu. Watak Ad dan Katty hanyalah ringkas sahaja. Memandangkan kulit muka talent saya tidak bermasalah, maka mudah bagi saya untuk membuat sentuhan make up kepada kulit wajah mereka supaya kelihatan natural. 

~ Ini merupakan watak Ad iaitu watak utama dalam cerita ini.

~ Mekap pada mukanya hanyalah kelihatan natural sahaja.

~ Watak Ad hanya dilakonkan sebagai kisah Flash back...

~ Ini pula watak sebagai Katty. 

~ wataknya hanya di sekitar kelas dan rumah sahaja

~ Jadi mekap yang dikenakan adalah natural sahaja.

~ Di tengah-tengah ini merupakan watak Nita iaitu merupakan teman rapat Katty dan merupakan adik kepada watak Ad.

~ Wataknya juga hanya natural sahaja.. dan ini merupakan permintaan pengarah sendiri.

~ Mekap yang dikenakan pada watak Maya (berbaju merah) adalah garang dan gedik.

~ Saya menggunakan mekap yang sedikit tebal berbanding dengan watak lain. 

~ Matanya saya memberikan sentuhan smokey eyes dan diletakkan eye lashes supaya kelihatan lebih garang

~ watak-watak ini, sememangnya kelihatan natural.

~ Saya cuma perlu memantau menjaga konti mekap pelakon supaya tidak lari kontinya.

~ Hanya touch up apa yang perlu sahaja.

     Sesi penggambaran hanya dilakukan di Seksyen 2 ( muzium Shah Alam) , Seksyen 8 ( rumah pengarah ) pada hari pertama penggambaran dijalankan..

     Pada keesokannya iaitu bertarikh 20 Mac 2011, paginya, kami semua bergerak ke UITM kampus Puncak Alam, kerana sesi penggambaran dilakukan di sana. Ianya mengambil masa yang lama, kerana kami menghabiskan masa penggambaran kami sehingga 10 malam. 

     Sepanjang sesi penggambaran bersama ahli-ahli produksi ini,saya tidak mempunya sebarang masalah. Malah saya gembira kerana diberi peluang bertanggungjawab dalam bahagian make up untuk produksi ini.

     Ini merupakan pengalaman yang gembira bagi saya bersama mereka walaupun kami sama-sama penat pada waktu sesi penggambaran dijalankan.

     Saya berharap agar dapat bekerjasama dalam produksi sebegini, dan yang lagi mencabar minda saya di lain waktu..

Pembikinan Darah / Fake Blood

~ Fake Blood dilakukan adalah bertujuan bagi memberikan impak kepada mekap kesan khas.

~ Caranya hanya mudah sahaja.. saya hanya menggunakan bahan-bahan asas sahaja..Antaranya ialah:

• Madu ( Golden Syrup )

• Pewarna Merah ( Red )

• Pewarna Biru / Hijau ( Blue/ Green)

~ Ketiga-tiga bahan di atas merupakan bahan asas bagi melakukan Fake Blood. Hanya menggunakan bahan makanan iaitu bahan membuat kek..adalah jauh lebih selamat dan menjimatkan daripada menggunakan bahan lain yang mungkin membahayakan diri sendiri.

~ Lihat gambar di bawah:

~ Ini merupakan Madu / Golden Syrup..

~ Ianya merupakan bahan asas yang paling penting bagi saya dalam menghasilkan Fake Blood.

~ Tidak mengirap madu jenis apa.. semuanya boleh digunakan.

~ Pastikan anda mendapatkan madu dengan menggunakan kos yang murah sahaja.

~ Ini pula merupakan pewarna kek..atau bahan makanan... 

~ Sedang didapati di mana-mana kedai kek / bakery shop..

~ Hanya menggunakan pewarna yang berwarna merah dan biru/hijau.

~ Banyakkan warna tidak mengapa dan tiada salahnya.

~ Tetapi warna biru / hijau pilih antaraya sahaja 

~kerana hanya menggunakan kuantiti yang amat sedikit dalam menghasilkan Fake Blood ini.

~ Ini pula merupakan Glycerine 

~ Mudah didapati di mana-mana kedai kek juga.. 

~ ianya menjadi bahan saya yang terpilih...

~ Tujuannya adalah bagi menampakkan peluh di wajah atau di mana-mana bahagian badan yang memerlukan peluh.

~ Bahan ini biasanya digunakan ketika sesi penggambaran atau lakonan bagi menampakkan aktor benar-benar berpeluh.

~ Ini merupakan Nescafe.. 

~ Ianya hanya sampingan atau tambahan jika anda mau menampakkan darah menjadi lebih pekat

~ Ini merupakan tepung Gandum..

~ Ia juga merupakan sampingan jika anda malu melihatkan darah kelihatan berketul-ketul

~ Bole didapati di kedai runcit sahaja.. 

HASIL:

~ Kesemua bahan-bahan di atas adalah merujuk kepada pembelajaran saya di dalam Kelas di bawah subjek Special Make Up Effect oleh Encik Fifi..

~ Dengan bahan-bahan ini, kami pelajar CT 225 cuma mengaplikasi bahan-bahan ini di dalam kelas dengan tunjuk ajar daripada pensyarah kami sendiri. 

~ Kami diberi peluang membuat eksperimen sendiri dengan bahan-bahan yang sedia ada mengikut kreativiti kami sendiri.

~ Saya cuba melakukan beberapa kesan mekap khas di dalam kelas dan praktikkan juga di rumah supaya dapat membiasakan diri menggunakan bahan-bahan ini.

~ Ini kerana kami perlu menyesuaikan diri terlebih dahulu kerana kami juga terlibat dalam Criss Cross Production dalam bahagian mekap. 

~ Di bawah merupakan hasil atau contoh-contoh gambar yang telah saya lakukan dalam eksperimen saya.

~ Di dalam kelas, saya cuba mengaplikasikan apa yang saya belajar pada jari saya.

~ Ia kelihatan seperti jari telah terpotong dengan darah yang meleleh.

~ Warna darah ini terhasil dengan hanya menggunakan bahan asas yang dinyatakan seperti di atas.

~ Untuk pertama kali.. saya mencuba melakukannya di tangan saya sendiri.. dengan bantuan Latex, saya mencapurkan dengan darah.. dan ia kelihatan real... 

~ Ini luka di bahagian nadi tangan... hasil daripada rakan sekelas saya...

~ Gambar ini telah saya edit setelah saya mengeksperimankan teman serumah...

~ Ini lah hasilkan luka di bahagia muka..kelihatan seperti cedera dihentak

~ Saya mengaplikasikan fake blood ini di muka saya sendiri..

~ menggunakan pisau sebagai prop..supaya menghidupkan karakter.

~ Saya menggunakan darah dan memenuhkan di bahagian muka.. supaya kelihatan cedera di muka.. 

~ Darah juga di kenakan juga pada pisau...

~ Saya juga cuba menggunakan kismis agar kelihatan seperti darah beku di bahagian dahi.

COntoh-contoh Kepingan gaMbar hasil daripada Special Effect Make up dengan penggunaan Latex Liquid

~ kesan khas mekap di bahagian muka... 

~ kelihatan seperti muka yang dijangkiti virus dan merbahaya.

~ kesan khas mekap di bahagia mata

~ matanya seperti benar-benar tercabut.

~ kesan mekap khas di bahagia betis.. 

~ kelihatan seperti luka yang amat teruk di bahagian betis 

~ kelihatan seperti luka yang sudah berulat

Slit Throat Using Liquid Latex

~ Kaedah kelar leher yang sangat ringkas tetapi kelihatan berkesan.

~ Ia tidak memakan masa yang lama.. hanya beberapa minit, dapat menyiapkan kelaran di leher..

~ ia kelihatan seolah-olah, lehernya benar-benar dikelar.. tetapi sebenarnya tidak..

Chelsea Grin With Liquid Latex Tutorial

Products Used:

- Liquid Latex
- Cinema Secrets Flesh & Injury Stacks
- Cinema Secrets Gel Blood

~ The tissues help give the latex its shape and it makes it easier to tear when the latex isn't completely dry (otherwise the latex just stretches). You can probably do it without them, but I think it's faster to use the tissues instead of layering the latex a bunch of times.

~ Ini merupakan cara yang mudah untuk membuat kesan khas di bahagian mulut.. Ianya kelihatan seperti betul-betul luka dengan hanya menggunakan beberapa bahan sahaja...

~ kesan khas mekap seperti ini sememangnya boleh diaplikasi untuk watak-watak yang mengalami luka begini...

~ Kaedah yang ringkas tetapi it looks real..

Corrective Make-Up Tips

   


  The primary goal of corrective make-up is to accent a person's best features while minimizing a person's unflattering features or flaws. This can be a very touchy matter, because the make-up artist has to scrutinize a person's features and tell the client what parts of her body and face need touching up. This consultation can result in hurt feelings if not done with tact and compassion.

   There are a few basic rules to remember when applying make-up. The first rule is to remember that highlighting an area emphasizes a feature. Shadowing an are minimizes it. Highlighting uses colors that are a shade or more lighter than a person's natural skin tone, while shadowing uses darker shades. Another rule is that the ideal face should be oval shaped, approximately three-fourths wide as it is long. The distance between the eyes should equal the width of one eye. These rules, like any rules, can be altered or even broken, depending on what result is desired in the end.

  Face shape is always the first consideration. There are seven face shapes: oval, round, squared, pear-shaped (wide-jawed), heart-shaped (wide forehead, narrow jaw), diamond-shaped (wide cheekbones), and oblong (a long and narrow face). The goal is to make the face as oval and as proportionate as possible. Corrective make-up takes the face shapes into consideration and uses highlighting and shadowing to add width where it is needed, or to conceal excess width.

For instance, let's look at the round shaped face. The objective is to slenderize the face, which can be done by applying darker foundation on the sides of the face, thus shadowing excess width and creating the illusion of extra length. For a square shaped face, color selection is important because you want to soften the hard lines. If you've ever heard someone say, "She's a hard looking woman", they usually are referring to someone with a squared face.

Pear-shaped faces are characterized by a wide jaw and narrow forehead. The goal is to create width at the forehead, using highlighting, and to slenderize the jaw by shadowing. Oblong faces need width the most, so lighter colors are used. The same highlighting and shadowing principles apply to every other face shape. Lights and darks are used to make the face appear oval.

  There are special corrective techniques to deal with specific problems, like wrinkles, double-chins, and off-set eyes. To fix these problems, make sure you have the essential products, such as concealer, foundation, powder, eye color, lip color, etc. Color selection should be based on the person's skin tone, eye color, and hair color. Remember that you are an artist and the make-up is your palette. Have different shades of foundation and shadow on hand because these will be the tools you need to perform corrective make-up.

Make-up of Cantonese Opera

The 'old-style' heavy makeup was used in the Cantonese Opera. The cosmetics used were simple. Nowadays the Cantonese Opera's make-up has become 'lighter' and more natural looking. Techniques used in plays and films are adopted.

The backstage area is divided into several small partitions by using curtains and chests. These 'rooms' provide dressing tables and changing areas for the performances.

Theatrical makeup

Background

In Greek and Roman theatre, makeup was unnecessary. Actors wore various masks, allowing them to portray another gender, age, or entirely different likeness.Thespis, considered to be the first actor, used white lead and wine to paint his face. In medieval Europe, actors altered their appearances by painting their faces a different color. Performers who portrayed God painted their faces white or gold; actors playing angels painted their faces red. During the Renaissance, actors were creative and resourceful when making-over their faces. They used lamb's wool for false beards and flour as face paint.

Advancements in stage lighting technology required stage makeup to evolve beyond one over-all face color to a multidimensional craft. Originally, theatres used candles and oil lamps; these two sources of light were dim and allowed for crude, unrealistic makeup applications. Once gas lighting, limelight and electric light were introduced to theatres, a need emerged for new makeup materials and more skillful application techniques. In 1873, Ludwig Leichner, a Wagnerian opera singer, began commercially producing a non-toxic greasepaint stick, easing the application of makeup.

Highlight and shadow

Through the use of makeup, specifically highlighting and shading, the apparent shape of an actor’s face can be changed. By highlighting the face's protruding bones, the features become pronounced; shadowing cavities can add depth. Sagging jowls, forehead wrinkles, eye pouches, and prominent veins can be created by manipulating highlights and shadows. A highlight is a base makeup that is at least two shades lighter than the base. It is applied on the bridge of the nose, cheekbones, and areas under the eyes and below the brows. Using a color two shades deeper than the base provides depth and definition. This depth is commonly used on the eye sockets, to thin the sides of the nose, to shallow the cheeks, and to minimize heaviness under the chin.

Makeup and lighting

Lighting controls makeup to a high degree. Makeup can lose its effectiveness due to incorrect stage lighting. Conversely, skillful lighting can greatly aid the art of makeup. Close communication between the lighting director and the makeup artist is crucial for the best possible effect.^[5]

Understanding light's effect on makeup and various shades and pigments is important when designing a performer’s makeup. The following are among the basic rules of light: nothing has color until light is reflected from it; an object appears black when all of the light is absorbed; an object appears white when all of the light is reflected. If certain rays are absorbed and others are reflected, the reflected rays determine the color.

Light's effect on makeup

• Pink tends to gray the cool colors and intensify the warm ones. Yellow becomes more orange.
• Flesh pink flatters most makeup.
• Fire red ruins makeup. All but the darker flesh tones virtually disappear. Light and medium rouge fade into the foundation, whereas the dark red rouges turn a reddish brown. Yellow becomes orange, and the cool shading colors become shades of gray and black.
• Bastard amber is flattering because it picks up the warm pinks and flesh tones in the makeup.
• Amber and orange intensify and yellow most flesh colors. They turn rouges more orange. Cool colors are grayed.
• Green grays all flesh tones and rouges in proportion to its intensity. Green will be intensified. Yellow and blue will become greener.
• Light blue-green lowers the intensity of the base colors. One should generally use very little rouge under this type of light.
• Green-blue washes out pale flesh tones, and will gray medium and deep flesh tones, as well as all reds.
• Blues gray most flesh tones and cause them to appear more red or purple.
• Violet causes orange, flame, and scarlet to become redder. Rouge appears more intense.
• Purple affects makeup like violet lighting, except reds and oranges will be even more intense, and most blues will look violet.

Straight makeup 

- Straight makeup is a style of makeup that provides a natural, clean and healthy glow.

Skin

If a performer’s skin is perfectly toned, makeup spreads smoothly and adheres easily. Dry skin or oily skin is dealt with prior to makeup application; otherwise, the makeup appears blotchy or smeared due to variations in absorption. Performers with dry skin use a moisturizer daily and after their faces have been cleansed following a performance. Performers with oily complexions use a facial toner wipe or astringentto remove the oil and allow a smooth application.

Skin has four basic tones: brown, fair, pink and olive. Individuals with fair, pink, and olive skin tones use olive, beige, or suntan bases. Makeup artist and performers select shades compatible with the natural skin tone, but the base is one to several shades deeper. Performers with predominately pink or ruddy complexions use base colors with cool undertones. The character, size of the theatre, and light intensity will determine the tone depth of the foundation.

A thin layer of base makeup is applied to the neck, ears, and face using a white rubber sponge or fingers. A heavy application of base appears aged and creepy.

Rouge

Fair complexions are enhanced by soft shades of peach and pink, while brown complexions are best accented with coral shades. Moist rouge is applied before powder; dry rouge is used to accent the already powdered makeup.

Eyes

Eyes and eyebrows are the greatest communicative tool in an actor’s arsenal. They are the most expressive feature on the face.

Eye shadow

- Grease or stick shadow is applied to the eyelids and blended out toward the eyebrow bone before powder is applied; dry eye shadow is used alone or to intensify and touch up the color underneath. Dark eye shadow or grease deepens the eye sockets, creating a skull-like effect. Shades of brown and gray are best for individuals with fair complexions. Individuals with brown complexions use lighter shadows such as toast, mushroom or soft yellows.

Eye liner

- Liquid eyeliner, cake eyeliner, or the eyebrow pencil is used to accent and frame the eyes. There are two ways to line the upper lid of the eye: the owl eye or the almond eye. The owl eye is used to widen the eye and involves using a heavier line in the middle of the lid. The almond-shaped eye is created by extending the line out beyond the outer corner of the eye. The lower line is created by using the same tool used on the upper lid. The line begins a quarter-inch from the inner corner of the eye. This extra space is needed to open the eye.

Eyelashes

- Mascara is used to add extra attention to the eyes. Black lack mascara is the most popular and commonly used by women with fair and brown complexions. Very fair individuals and men use brown mascara. The bottom lashes are coated with mascara and to avoid using false lashes, a process of layering powder and mascara is used to provide greater thickness.

Powder

- A generous amount of powder is needed to reduce unwanted shine. If a performer’s makeup is under-powdered, his skin oils will break through quickly, producing shine and possibly running. After powder is applied to the entire face, starting under and around the eyes, it is gently pressed for thirty seconds. The excess is brushed off with a large soft brush or piece of cotton. A wet natural sponge or cotton is wiped lightly across the face to set the makeup, to remove any visible powder, and to eliminate the masky feeling.

- Translucent powders are used for fair complexions because they do not alter the original color of the base, the under-rouge, or the moist eye shadow. Brown complexions are set with tinted that is compatible with the base color. It is used sparingly over the under-rouge and moist eye shadow. After the powder is applied, dry eye shadow and dry rouge are added.

Lips

- Though the eyes are the most expressive feature of the face, the eyes and ears of the audience follow mouth movements to understand a play’s progression. If a performer’s lips are underdone or overplayed, they will detract from the performer and the performance. A general rule is: the larger the mouth, the deeper the lipstick tone. However, the actor should not appear “all mouth”.

- Fair complexions use shades of lipstick like pink and coral. Brown complexions are enhanced by coral and orange shades. Red lipsticks are reserved for large theatres and character portrayals. An auburn or brown pencil are used to provide definition to the lips. Lipsticks on men can look doll-like. Men use natural-colored lipsticks, lightly applied.

Training 

- Because stage actors are seen from farther away than actors on screen, it is crucial that their makeup is more dramatic and professionally done. Many higher-learning institutions have drama departments where all aspects of theater are taught, including the art of theatrical makeup. Some independent agencies also provide classes in theatrical makeup, and even online courses are available. Through training, makeup artists learn important techniques such as hand-eye coordination, ability to draw straight lines and consistent shapes, creativity, good grooming and personal hygiene habits, etc. Many makeup artists who specialize in theatrical makeup build portfolios to show their clients and employers. Many of them work as freelance makeup artists or work for cosmetics brands in department stores.