![]() Greg: You don't want to put a tube in that creates a bulge or anything like that. These can be hidden in actors' hair or even a pair of glasses, like they did in this scene from "Sicario: Day of the Soldado." To hide the larger tubes, however, they had to sculpt a special channel in the prosthetic. Because this scene required a lot of blood, the prosthetic also had to be thick enough to hide a medium-sized vinyl tube.įor smaller wounds, Brett and Greg might use one of these tiny tubes. Narrator: Just to create the effect of this small bullet wound in "Sicario: Day of the Soldado," Brett and Greg had to sculpt a prosthetic that covered most of the actor's shoulder.įor this laceration prosthetic from "New Amsterdam," they were able to build up a thickness that subtly ramps up toward the laceration. The prosthetic needs to be thick enough to create that effect.īrett: But it also has to work into the rest of the person's body.Īnd that's why a lot of times for effects that have lacerations or even bullet holes, you'll actually have a prosthetic that is an entire torso. Narrator: But when you look at a wound, you're supposed to be looking into the body. The hardest part of creating wounds is building the look of depth.īrett Schmidt: Prosthetic makeup is an additive process. It all starts with the actual prosthetics. They've created graphic injuries for mob dramas like "The Irishman," medical shows like "New Amsterdam," and action movies like "Sicario: Day of the Soldado." To find out how they do it, we went to Brett Schmidt and Greg Pikulski, the special effects makeup artists at SPFX Studio. These bloody scenes require careful research and artistic flair. ![]() ![]() ![]() Making actors project, gush, and burst out blood on camera isn't just about gore. Narrator: Creating this hit took an air pressurizer, a gnarly prosthetic, and a special blood formula. Account icon An icon in the shape of a person's head and shoulders. ![]()
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