ABSTRACT
INTRODUCTION “ Plus ça change, plus c’est la même chose .” The more things change, the more they remain the same. These words, attributed to French journalist and novelist Alphonse Karr from Les Gruêpes in 1849, could hardly be more accurate in describing the business of special makeup effects today. Despite enormous advances in computer-generated imagery (CGI) technology (take a look at the makeup effects in The Exorcism of Emily Rose , for example, extensive digital makeup effects, very little of it is practical), the majority of makeup effects work in motion pictures is still very physical. Makeup effects for theater are practical by necessity; there can be no digital enhancement before a live audience. In fact, once a practical effect becomes digital, it is referred to as a visual effect , not a special effect. However, a great deal of design is being done digitally, which we discuss in Chapter 2. In motion pictures and television, a significant amount of work is beginning to be done through the use of digitally compositing elements of CGI with live-action footage. It can be a very effective combination, especially when you realize you
can only add, not take away, with makeup appliances. An outstanding example of practical makeup effects with digital accompaniment can be seen in The Mummy (1999) as the High Priest Imhotep, played by Arnold Vosloo, begins to regenerate.
