Revealing the design of "Three Bay Adaptation": How many steps are there in the secret of changing face?
Special feature of 1905 film network The Awakeing Age’s, yes, in recent years, the popular revolutionary historical film and television works, these actors all performed the same great man: Mao Zedong.They are all different in appearance, but why can they become so similar?
In addition to Chairman Mao, there are many heroic revolutionary heroes and great men’s images, which impressed everyone. How do different actors restore these revolutionary figures in their external images? Modeling and makeup design are indispensable.
"Film and television makeup is very different from our usual makeup. Film and television makeup is to complete the modeling task of the specified characters in the specified story and the specified plot. "
This issue of Behind the Scenes takes you into the movie "The Adaptation of Three Bays" to see Bai Lijun, a famous domestic film and television modeling expert and senior stylist of Bayi Film Studio, and reveals the film’s modeling and makeup design and the technical secrets of great people’s special makeup.
Revealing the Design of Three Bay Adaptations
Restore the clothing of the rebel army and the makeup of the soldiers of the workers and peasants revolutionary army
"Every little detail is exquisite and can’t be sloppy. After this comes out, the movie is real. "
In the program, Bai Lijun showed the audience the clothes of the rebel army designed in the film "Adaptation of Three Bays". The whole set of clothes included tops, breeches, belts, hats and red cloth armbands. "Zhou Enlai, He Long, Lu Deming and He Changgong all wore this kind of clothes." From the fabric, color and style to the detailed design of bags and buttons, they tried their best to restore the style of the clothes of that year.
In order to conform to the atmosphere of war, it is necessary to further make the clothes of the insurgents old when filming, such as adding some dust and blood.
Bai Lijun said, "There can be no falsehood, but it must be particularly true. When we make a historical film, we must understand that history and consult a lot of materials before we can shape the characters at that time. "
In addition to making old clothes, actors who play soldiers should also put on "war atmosphere makeup", which plays a vital role in all war movies. Without the rendering of these war atmosphere makeup, it is impossible to show the tragic war. "
The first step to create a war atmosphere makeup is to change the actor’s skin color and use a darker color to isolate him, showing the soldiers’ weather-beaten and dusty state on the battlefield.
The second step is to melt the wound, which is shown in detail by plasma made of special materials, which can be thick or thin.
The formula for making plasma includes a little white wine and red wine, a little brown sugar and a little food red. Bai Lijun said, "This kind of plasma has no harm at all, and it drops on the white shirt and is clean as soon as it is washed. This is the top secret recipe of our Bayi factory, and no one else can do it. "
The last step is to increase three-dimensional trauma, such as pasting "scars", deepening the color on the scars, turning bright red into cyan and purple, and making some scabbed scars. New injuries and old injuries exist at the same time, which enriches the overall effect and highlights the true state of soldiers injured in the war.
Bai Lijun said that the difficulty of making this makeup is that you can’t wear it when the movie changes scenes. "War atmosphere makeup is particularly difficult to pick up. This scar can’t be here today, and it will be there tomorrow. The blood left today is like this, and the blood left tomorrow is like that. "
Recalling the styling design of the film "Adapted from Three Bays", Bai Lijun revealed that it was raining all the time because it caught up with the rainy season during the location shooting, and a lot of atmosphere makeup melted as soon as it met water, which required them to constantly do makeup and makeup work in the rear, and encountered great difficulties.
How was Chairman Mao’s "Great Makeup" born?
Bai Lijun’s experience: Young makeup artists should pass the technical test.
In the category of film and television makeup, Bai Lijun thinks that it is the most difficult to make a great man’s special effect makeup. "The great man’s makeup requires a lot of technical content and is difficult, and it must have the makeup artist’s own design concept."
Bai Lijun was in charge of the first film with "Great Makeup" in Bayi Film Studio in 1982, which was also the second film starring the actor after becoming a special actor in Mao Zedong.
"Although Mr. Gu Yue looks like Chairman Mao, he doesn’t think his nose is similar enough." Bai Lijun used special makeup techniques to "shrink" Gu Yue’s nose, and at the same time strengthened the makeup effect of his nose, glued his eyes a little bigger, and affixed Chairman Mao’s signature mole, which made him closer to Chairman Mao’s appearance.
Later, in the series Armageddon and March, Chairman Mao in the film reached middle age, "his forehead became taller, his hairstyle changed, and his warts kept growing." According to the needs of the plot, according to the needs of different age groups, follow and adjust the shape. "
Nowadays, Mao Zedong’s special actors are led by the younger generation. Although the purpose of shaping Chairman Mao’s image as a great man remains unchanged, the performance style is changing, and the special effects technology of "Great Makeup" is constantly being updated and upgraded.
Bai Lijun said that the cosmetic material for making Chairman Mao’s "Great Makeup" headgear has been changed to imported high-definition yarn, and the material for "boils" has also been changed from latex to silicone rubber.
Especially in the production technology of headgear, it used to measure the size with a tape measure and make it on wood quinone. Since Gutian bugle, 3D scanning technology has been used to model it. "In the past, I was always afraid that the sideburns were not suitable, but now I have a head mold as the foundation, which is very accurate."
Bai Lijun began to learn modeling and makeup design from the model drama "The Red Lantern". At that time, she learned to hook a moustache and hooked more than 100 times the first time. After learning to hook a moustache, she learned to make a headgear.
"Just care about. Every one is very important. " Bai Lijun believes that every hair is very important whether making a beard or a headgear. If you don’t know these production methods, you can’t be a good makeup artist.
"You must work hard and learn this technology patiently. You can’t just order one from the outside and ask others to hook one. That’s not your creation. You have to do it yourself. This is a creative process. "
After 50 years in business, Bai Lijun said that she was proud that she had been doing this all her life. She reminded young makeup artists not to be eager for quick success and instant benefit, but to be down-to-earth. Even if the learning process is boring, they must learn the basic skills solidly and pass the exam. "Learning studio makeup may soon be a disciple, but film and television makeup is different, and it will take at least three or five years to understand."
The successful shooting of a film can’t be separated from the staff running around behind the scenes. Like directors, screenwriters, photographers, artists, recording and other positions, plastic makeup designers also hide behind the camera to help the actors shape their roles in the external image. Without them, the actors will lose their makeup and the "coat" of performance.
This group of behind-the-scenes heroes are unknown and worthy of respect. Bai Lijun also appealed to the audience: "I hope that when the film ends with subtitles, we must stick to the end. I hope that you can all see our names."