#47 – Kate Benton

In this episode, Todd and Stu talk about our week making moulds with epoxy, dropping sculpts and moulage effects for first responder training.

Earlier in 2019, Stu got to sit and chat with some fine folks at IMATS London and a chat with makeup designer Kate Benton kicks off the first of these finally edited up after a crazy industry year.

This is the sculpt I was detailing and then dropped. Doh!

As you may know, this podcast is a side hustle for us which has been on the backburner for a while as the industry rocked the makeup case hard. Now as things ease up, the Prosthetics Event is almost upon us and a season of podcast editing is happening and winding down for the end of the year. Deep joy!

Find out more about Kate on her website: http://www.katebenton.com/

Stream or download below, we are also on Spotify, iTunes, Soundcloud…wherever you get podcasts! Subscribe in your podcatcher to make sure you don’t miss the latest episodes!

The Heidi Klum Halloween makeups we mentioned can be seen here: https://www.youtube.com/watch?v=sp390WQaXY

Check out the amazing artistry of Mike Marino and Prosthetic Rennaisance (Proren) here:
https://www.prorenfx.com/  and on Insta @prorenfx

This is the BBC Makeup Department Leaflet I mentioned in this episode.

We sure appreciate your ears and attention. If you would like to help support us, then please share this episode with someone who you think would get something out of it.

Get in touch at stuartandtodd@gmail.com to ask fx related questions and to suggest your ideas for a future episode.

OK, back to the workshop for us. Speak soon.
-Stuart & Todd

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#46 – Makeup Education

Starting Education In Makeup Effects & Prosthetics

This episode is prompted by seeing a few questions on forums about how best to learn about makeup FX and prosthetics. Where to go and what to learn?

Depending on what you want to be able to do, let’s also draw a distinction between a makeup artist who sometimes will apply a prosthetic v someone who specialises in creating and applying more complex pieces.

Some people want to exist in the workshop only and have no interest in being on set all day. It takes all types but understands there is a profession which specialises in making and one in makeup, they don’t always cross over, and you don’t need to be able to do everything.

Stream or download below, we are also on Spotify, iTunes, Soundcloud…wherever you get podcasts! Subscribe in your podcatcher to make sure you don’t miss the latest episodes!

There are some great colleges out there with tutors doing sterling work. There are also some not so great. We think that is worth mentioning and discussing.

In this episode, I mention some institutions off the top of my head which I reckon do a great job, and I have had the privilege of visiting many more and speaking with the students there.

In the podcast recording, I didn’t supply an exhaustive list, and to those which I neglected to mention I apologise. The result of memory oversight. I have been overwhelmed recently by the kindness and generosity of the tutors who make huge efforts to deliver good education.

Thank you for what you do.

There are a few different paths to go down if looking to get schooling. Nowadays it essentially boils down to three main categories of training. Education systems vary across the world, but the essence of these categories remain the same.

1. Academic or ‘certified’ qualification level
(usually longer term)

2. Private courses & tuition
(usually short term)

3. Self-taught through books, DVD’s and online sources
(usually long term & ongoing)

That free digital sculpting programme is called Sculptris and is available here: https://pixologic.com/sculptris/

The link to the blog post about training and apprentices we mentioned is here.

Rick Bakers book, Metamorphosis is out now in good bookstores! It is an epic tome documenting his lifes work, packed with pictures and info.

Check out the Joe Rogan podcast video with Rick:

Get in touch with us direct stuartandtodd@gmail.com

Till next time!

-Stuart & Todd

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#45 – Jordu Schell

Jordu Schell has been pushing clay around for a while and knows a thing or two about sculpting.

Creating concepts for characters and creatures, masks, makeups and beautifully crafted designs, he also teaches his craft all over the world and has recently released the first of a series of downloadable books, The Professional Creature Design Handbook.

In this podcast we chat about:

  • The headspace of sculpting
  • The frustration of failing and why it matters
  • Using nature as inspiration and reference
  • The pitfalls of copying styles (Aping the style without understanding the deeper truth behind it)
  • Teaching and learning styles around the world

The other sculptors mentioned are:

The book Todd mentioned was by Uldis Zarins and Sandis Kondrats  Anatomy For Sculptors: https://anatomy4sculptors.com/

Stream or download below, we are also on Spotify, iTunes, Soundcloud…wherever you get podcasts! Subscribe in your podcatcher to make sure you don’t miss the latest episodes!

Thanks for listening. Please get in touch direct stuartandtodd@gmail.com

Stuart & Todd

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Colorado 2019

It’s been a while since Todd & I have podcasted, so apologies for the slow return to form.

It’s been a brutal few months, mainly as I have been on the new Netflix/BBC version of Dracula which has kept my hands red and my days long and busy.

Claes Bang as Dracula.

Naturally, NDA’s prevent me from divulging what’s what but rest assured, fans of the Hammer style will enjoy the perfect casting of Danish actor Claes Bang in the lead role.

Dave and Lou Elsey ran the Prosthetics department, and the small crew we had was kept busy. Makeup dept head Marcus Whitney and his crew did some amazing work and as it has been penned by the Sherlock team of Steven Moffat and Mark Gatiss, you can be sure of some exciting storylines.

Totally stoked to have been involved!


In this podcast, we chatted outside in Todd’s back yard about our endeavours over the previous couple of days, making ears. We had used epoxy and as I have used so much polyester resin with fibreglass over the years, talk fell mainly to comparing the two materials and the pros and cons of each.

Stream or download below, we are also on Spotify, iTunes, Soundcloud…wherever you get podcasts! Subscribe in your podcatcher to make sure you don’t miss the latest episodes!

We covered:

  • Polyester resin v Epoxy.
  • Block moulds v Shell moulds.
  • Mould closure – Bolted v strap/weight. Discussing the position of a clamp (centre for small mould) or multiple if larger moulds. Designing moulds to have flat, parallel clamping faces or indentations to retain straps so they don’t slide off. Blocks also to keep strap pulling taught.
  • Size of moulds, what determines the best mould material and type?
  • Moulds built to withstand the forces of repeated opening, closing, clamping etc.
  • Why ‘Derry Girls’ may be the best thing on TV.
  • Laying fibreglass over harsh angles and air bubbles.
  • Heat issues on mould halves getting hot, can damage plastiline sculpt as well as warp.
  • Keeping a logbook/record of size of item moulded, amounts of resin/cat used, temp and humidity, how much was left over/waste.
  • Polyester resin used in construction so old school plasterers would use the fibreglass and so would know the material and make moulds with it, but not necessarily from prosthetic sympathy.
  • Collapsible cores v flared out cores and why you’d go there.
  • Plaster Gypsum in US v UK resin/marine industry.

Below is a picture demonstrating one of the main issues I have with fibreglassing over keys. The raised bumps create a sharp angle which can cause air bubbles in certain moulding materials, such as epoxy an the glass matting that is often used.

One lazy way I have started using nowadays is to fill the deepest recesses with a paste made up of a little of the laminating resin with either industrial talc or, Polyfibres/Urefil, a lightweight particulate which is used for just such a purpose.

Rest assured the next podcast is coming up soon. We have a few in the can and I am editing again this week! As soon as I can, I’ll upload the finished item.

Keep at it!



Stream or download below, we are also on Spotify, iTunes, Soundcloud…wherever you get podcasts! Subscribe in your podcatcher to make sure you don’t miss the latest episodes!

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#43 – Paul Savage

“Paul walked into a Lifeboat station on his 17th birthday and never left, initially volunteering at Poole and now at Tower Lifeboat in London. So far he has been a Search and Rescue Volunteer with the RNLI (Royal National Lifeboat Institution) and HM Coastguard for 31 years.”

So reads the write-up for the honours listing of Pauls OBE from 2013, a high honour of recognition for sterling work which he continues to do within maritime medicine and emergency response. 

Training those who deal with emergency and pre-hospital medicine is no mean feat, and making sure casualty makeup used in training medical personnel is both accurate and hardwearing is a key part of that. It was because of this shared interest that Paul and Stuart crossed paths, and led to this episode of the podcast.

Casualty simulation is often an avenue makeup artists will get involved in as they can obviously add a great deal of realism to training scenarios with good makeup. Anyone who has done a first-aid at work course will no doubt be familiar with a biro mark or lip pencil line as a substitute wound.

Pauls experience teaching casualty simulation revealed to him how a lack of correct reference, appropriate anatomical awareness and poor technique meant sometimes makeup being done was  not helping the simulation!

This can be both from an aesthetic point of view (it doesn’t actually look very good or realistic) and from a medical diagnostic point of view if a ‘bruise’ looks more like a burn and then is treated as such.

He set about to change that with the training he does with his company Saviour Medical.

We are used to seeing wounds portrayed on TV and they are often overdone for theatrical effect and not realistic, with big blood sprays etc. There is a difference between the drama of a compelling story requiring larger than life effects and correct representation of real trauma.

Realistic Medical Moulage for simulation purposes

This podcast episode hopes to deal directly with that, focussing on what is important with some real insight into how best to approach. Paul made a brief list of key elements which we cover in depth in the podcast, such as:

Correct Wound:
– Looks accurate – often less is more
– Bleeds the right amount
– Skin tones accurate
– Right location, need for some surface anatomy knowledge
– Right materials used – must survive contact with the responder – no wax or tissue paper

Actor Compliance:
Pre-brief the simulation – care of any sensitive issues
Pre-brief wound location and ascertain actor is ok with that – we all have bits of us
we don’t like!
Pre-brief if trauma ‘cut downs’ to nearly nude / underwear
– Need to gain consent for the treatment interventions
– Explain symptoms that should be displayed and progression of symptoms based
upon correct or incorrect interventions
– Supply safe word to actor and treatment team
– Freshly shaved where appropriate
– Bring old clothes and a spare set to go home!

– Supply appropriate props (inhalers etc)
– Dress scene to make the mechanism of injury realistic
– Ascertain real impact on actor (hot / cold / wet etc)

The Black Knight Always Triumphs. Even though his wounds may bleed a little too much.

We mention a few books, and the ones I really like are The Sick Rose: Disease and the Art of Medical Illustration by Richard Barnnett and Special Effects Guide Of Real Human Wounds and Injuries by Benito Garcia.

We also mention a previous episode of our podcast where real carcasses of pigs (supplied by a butcher) were shot with different guns, allowing Todd to make casts of the resulting damage – many of which he then used to make appliances with accurate trauma effect!

Listen here to find out more on the episode ‘Shooting Guns At Meat‘.

As ever, we are so grateful to you for listening and giving us your time. If you enjoy this podcast then please mention and link it in your favourite social media platform. It really helps us grow the podcast, secure guests and bring you bigger and better shows.


Looks like there will be some podcast action at London IMATS 2019, so come and say hi! I’ll bring some audio gear and record some bits there, and those fine folks at Makeup Artist Magazine have given us a PROMO CODE to get a DISCOUNT on show tickets.  When prompted at paytime, simply use the coupon code Bray to get £20 off a ticket!

Till next time!

-Stuart & Todd

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#42 – Sculpting with Pauline Fowler

In this podcast we talk about art, what it means to be an artist, why we do it, and the challenges we face in trying to make a living doing this.

This was mostly brought about because of the fantastic conversation I had with my first ever boss when I started working in effects in 1994.

Pauline and business partner, Nik Williams run Animated Extras, an effects company specialising in prosthetics, animatronics, puppets, creature suits, fake bodies and many animals from elephants, bats, sharks…you name it.

Stream or download below, we are also on Spotify, iTunes, Soundcloud…wherever you get podcasts! Subscribe in your podcatcher to make sure you don’t miss the latest episodes!

In their own words…

“From singing sloths to the putrefying corpses of Hollywood A-listers, Animated Extras have been creating all kinds of weird and wonderful things for the Film, TV, and advertising industry since 1986.”

Pauline was the first person I ever saw take a lump of clay and make it look like a real person when she made a fake head of Michael Gambon for the film ‘Mary Reilly‘. It was to me complete and total magic, and it was an absolute delight and honour to sit with her and talk frankly about the task of sculpting. We recorded this interview at Animated Extras workshop in Shepperton Studios.

Things we cover in the chat include:
Finite existence
Having a brief set by industry v personal jobs
Working in bronze
Scans v sculpt and the life looks fake but feels real etc.
Types of sculpting and sculptors
Get the feel early rather than struggle on with wrong and try and make it right.
Watching different sculptors work when you run a company.


The Three Sisters Pauline sculpted in Monster Clay before being cast in bronze.
(Pauline hated plastilines before, so this was a significant development)

Todd and I get stuck into some deep dives about art, and how it’s a joy to have a craft but also a largely unappreciated career path. It doesn’t save lives or risk that of the artist by putting them in harm’s way.

It often serves the artist more than the community around it, and may be seen as a selfish, luxury position and an unnecessary way to spend a life. See what you think and maybe drop us a line at stuartandtodd@gmail.com with your thoughts and experiences about that.

I mention a great podcast I listened to by Seth Godin, (the podcast is called ‘Akimbo and this was from series 2, episode 9 called ‘Distribution and cultural destiny’) and in it he talks about how the distribution of media changed the media it distributed. From cinemas, to TV, to Home Vidoe, DVD and now streaming, each new development has reduced costs and democratised the medium. Such access means more making and consumption, but often this can also mean a watering down of quality. Is that a fair trade off or an inevitable side effect?

See what you think, I’d reccommend it. Seth is a very influential thinker and I listen to almost everything he puts out. Listen here

Lastly, here is the letter to Agnes De Mille Todd mentioned.

There is a vitality, a life force, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique.

If you block it, it will never exist through any other medium and be lost. The world will not have it. It is not your business to determine how good it is, nor how valuable it is, nor how it compares with other expressions.

It is your business to keep it yours clearly and directly to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you.

Keep the channel open. No artist is ever pleased. There is no satisfaction whatever at any time. There is only a queer, divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.

-Martha Graham

We’d appreciate it if you’d share this podcast with friends or colleagues who you think would get a kick out of it.  Thank you for sticking with us!

-Stuart & Todd

Stream or download below, we are also on Spotify, iTunes, Soundcloud…wherever you get podcasts! Subscribe in your podcatcher to make sure you don’t miss the latest episodes!

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#41 – Richard Redlefsen

Richard Redlefsen is someone I saw for the first time a few years back at the UMAE where he was applying his demo makeup on the PPI stand.

What was of note for me was how particular and precise everything was. Care was taken at every turn, and it struck me that the amount of effort that takes must come from a deep well.

So it was a great pleasure to sit and chat with the man himself, and I could ask if he thought of this about himself and if we could pick apart where that comes from. As you’ll hear, Richard had a career as a dancer before he embarked on makeup, and his training was thorough. I think that experience and also working for a makeup brand such as Lancôme meant his work doesn’t start and stop with bits of rubber!

Check it out for yourself below. Follow Richard on his Instagram to see just how versatile this chap really is.

Stream or download below, we are also on Spotify, iTunes, Soundcloud…wherever you get podcasts! Subscribe in your podcatcher to make sure you don’t miss the latest episodes!


Check out a brief selection of the range Richard covers.

A Devil mask sculpt completed recently for Immortal Masks.

Claudia Alta (Lady ‘Bird’ Johnson) wrap-around prosthetic sculpt ready to mould.

Zombie makeup on Eva Minaeva for TUSH magazine.

Phantom makeup from Monsterpalooza 2016.

A 1920s beauty makeup on Sarah Sokolovic from the NBC show Timeless. Sarah plays Grace Humiston (the first female Special Assistant United States Attorney). Makeup was usually done by Peter DeOliveira and Richard filled in on this day. It’s quite a responsibility to fill in seamlessly on a show with established looks.

Another beauty makeup on Bianca Lopez from NBC show Timeless. Makeup by Richard Redlefsen. Debbie Zoller makeup dept head.

We are on the lookout for your stories of people wanted way too much of something for a whole lot of nothing. 

We chat about a Facebook post which got a lot of people’s back up, as a freelancer or anyone with a creative spark, you may have been approached to do something which gradually expands into a lot of somethings, and payment is strangely far from the table.

Email us with your stories, screenshots or anything regarding that. We’d love to do a post focussing on that and read some of the best ones out, and formulate an appropriate response to arm you if you find yourself in that position of feeling bad for wanting fair compensation.

Email us direct at stuartandtodd@gmail.com
Facebook page at Battles With Bits Of Rubber

If you enjoy this, PLEASE help us grow by telling someone about us and posting on social media! We had a lovely message from Charlotte Annice Spruch who mentioned the formula for finding your worth from a few episodes back on a Facebook group. Cheers Charlotte!

That kind of sharing is what helps us grow, and we get heard by the people who would be glad to find us!

Till next time!

– Stuart & Todd

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#40 – Rick Baker

Rick Baker knows a thing or two about making stuff in rubber.

It’s also fair to say he knows a thing or two about the digital world too, as he has been mixing the two for a while.

In 2015, when it was announced that Rick was to close his shop, the FX world was stunned and the bell tolled once again for the end of all practical effects as people speculated the end of live-action anything.

There was a Vice article at the time which claimed (again) the ‘CGI was killing the industry’ which, if you were knee deep in rubber and working crazy hours trying to get stuff done for a show like I and many others were was hard to take seriously.

Now the dust has settled, I was so stoked to get a chance to sit and talk to the man himself and see what he was doing with himself now he was out of the industry. He was after possibly the most well known and most respected inspirations working at the time, so what were we to do now he had hung up his makeup brushes?

The answer? Keep on making things.

Simply put, what has happened since Rick retired is that he is still working and still developing. He has worked on things he wanted to work on make them the way he wanted to make them. He has pushed into mixing up practical and digital techniques in both digital sculpting and 3D printing, post production elements as well as being able to indulge in some of the most fun Halloween makeups we have seen so far.

Following Rick on Instagram (@therickbaker), you will see a man working harder than ever but this time, he only has to please himself rather than juggle a board of producers. No budget fights or sudden changes of direction to steal away the efforts so far. It is, frankly, amazing. If you have been inspired by the Rick Baker of Thriller, American Werewolf and Nutty Professor, then I am pleased to say your inspiration is still there better than ever.

Rick has been working on a scale model scene from the 1932 Frankenstein movie.
It really is very cool.

I particularly wanted to talk to Rick about this move into the newer technologies. We all love to talk about American Werewolf of course, but that ground has been covered before, and I wanted to talk to him about what is going on now. As you’ll hear, Rick was an early adopter so it really isn’t that ‘new’ after all.

As therapy for me, it totally settled my own fears on digital work and I am happy to say I am flying along with ZBrush, CAD and 3D printing now myself. I finally lost the fear and found the love for it. Only took me ten years.

Thanks, Rick!

Stream or download below, we are also on Spotify, iTunes, Soundcloud…wherever you get podcasts! Subscribe in your podcatcher to make sure you don’t miss the latest episodes!

Thanks again for listening, and if you would like to support us, as ever there is one thing you can do that helps more than anything – tell someone else about the podcast! Share this on social media and tell us how we are doing!

You can email us here direct at stuartandtodd@gmail.com

We appreciate your attention!

– Stuart & Todd

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#39 – Halloween, Harm & Rubber Chickens

Something that Don talked about passionately in our interview was how (mostly) young, creative people can be in a position to get taken advantage of. When working starting out, you are not likely to be handed a position of massive responsibility with large sums of money and heavy hitting clients.

So it stands to reason when the phone first rings, it’s likely to be a smaller production with little or no budget looking for some help and played right it can be a wonderful place to start.

In this episode, we chat about this with a word of warning and a method of understanding your worth so that if you find yourself in this position, you can check yourself and your fluctuating emotions against the empirical gauge of common sense.

Stream or download below, we are also on Spotify, iTunes, Soundcloud…wherever you get podcasts! Subscribe in your podcatcher to make sure you don’t miss the latest episodes!

Halloween Horrors

We also wax lyrical about plain dangerous Halloween makeups which we have seen. Every year, a plethora of inappropriate objects are attached to eyes and noses in an attempt to get likes and attention.

There isn’t anything wrong with that, unless of course actual harm can come about from doing so. Using sharp things on the skin is a no-no. In the latest Prosthetics Event and Prosthetics Magazine, Todd and I covered a safe way of doing one such gag.

Claire Golby kindly lent me face so I could slam a screwdriver into her eye. Kind of. No Claires were harmed in the making of this demo.

Yes, it is time-consuming and takes effort.

I realise it may not have looked that hard the on the gameshow ‘Face Off‘.  Also, not many people are looking to hire someone who is always seeking to do the bare minimum either, so if that upsets you, best keep walking, buttercup.

The prosthetics Event 2018

I had a great time, with four different stage spots throughout the day. One such highlight was chatting to Christopher Nelson who headed up the small team for the new Halloween movie. We chatted a lot about the act of making, how it feels to fail and how to address those sensations in order to keep going. We also talked about smashing in faces and bleeding gags, just your usual prosthetic get together chit-chat!

I also got to talk lenses with the team from Cantor Nissel who make lenses and eyes for both medical and theatrical uses. It was a real education, and something we will look into more in upcoming episodes.

Next year the show will be even bigger and better!

New Cap Plastic

Thanks to the Motion Picture FX guys for sending me a sample of their new BALDFX “CHIPS”. I tried it and loved it – so soft and flexible, it makes a great encapsulant for appliances as well as for bald caps.

So, the main course of this post and episode is to throw a spotlight on how to be aware of being taken advantage of when you are a creative desperate for a shot!

1 – You’re new here, right?

Ok, so you’re new to this. Maybe you have just left makeup school/a different career path or job/ made a new life for yourself but now the first opportunity comes along and you have nothing to compare yourself against to know what is expected of you. You don’t want to appear too harsh in case you scare them off, nor do you want to be a pushover.

Understand that we all must get by. Life costs money. Standing still and doing nothing costs you money. A great exercise is to sit down with a calculator, tot up all your outgoings for a year.

  • Add up your rent/mortagage payments, car, fuel, food, utilities, phone, computer, insurances and whatever else allows you to function for any given year.
  • Add it all up and divide that number by 365.
  • That number it gives you is how much it costs to stand still for one day.

You need to make at least that each day to break even and to be able to afford to come back tomorrow. You presumably need to make a profit, so that when you are sick, older or want a better set of circumstances, you will have accumulated enough to tide you over.

Using this is the starting point you can see that your time really shouldn’t ever be free. How much you can charge for your time depends on what you can offer the client. Remember, a client will only pay for the problems that you can solve for them.

This little thought experiment applies to most people, including the people who are asking you to do something for them. It maybe but the person who contacts you doesn’t have any creative experience and has no idea how much effort goes into something or how much material may cost and consequently places little value on what you may bring.  Part of your remit is to ensure you get what you need to be able to perform the tasks properly.

There are a couple of great files on the Neill Gorton Makeup FX 911 Facebook page which cover some good ground a freelancer should consider when making themselves available for work. (If you are not a memer, I would consider joining. It’s free and packed with great info)

2 – What do they need, and what do you need in order to do it?

If you’re new to the business and you have limited experience, then it is not reasonable for you to be expected to do incredibly complicated things beyond your ability. Very important therefore to have a clear accurate measure of what you can do and how you sit within the scale of ability. If people are hiring somebody do you do something for a very complicated involved project, then they should find somebody appropriately skilled and capable of doing this job.

If you know this is not you then you really should not take the job on in the first place. There’s no shame in turning down something that you know is beyond your ability because if you take it on any can’t do it it’s going to do everyone more harm than good. It’s important that you push yourself a little but not take on more than you can possibly do.

If you can do the job, you then need to make sure you have enough time and resources.

A lot of people feel bad about asking for money when doing a job.  Remember, we have established it costs money to stand still and do absolutely nothing at all. This being the case you will need to cover those costs and of course cover any materials you need to use or replace and be compensated for any time that you put towards the job.

Budgeting and working out how much a job costs comes with experience and the more you do it the more you know how you work and how quickly you can do things.

You will need to work out what your day rate is; that is the amount you should charge per day to cover your costs, plus whatever materials you need to acquire in order do the job.

It absolutely is not okay for you to pay for materials out of your own money. This is a business expense and needs to be covered by the production.

If the production on not willing to pay for the materials that you require to do the job then I would take that as a red flag right there and walk away. Keep in mind that no matter who does this job, they will have to get those materials. If you are afraid that asking for material costs will mean they will simply go elsewhere, consider the fact that whoever they get in will have to buy those materials also.

Make sure you have a clear understanding of what they need and what they are expecting from you. If what they are asking for and what they are offering you as compensation is unrealistic or untenable then there is good reason to decline the work. You could soften the blow by suggesting colleagues all friends or associates that may be able to help

Very often there is little to no budget for these things and it’s possible they simply can’t pay anything. I myself have done a few of these jobs in the past purely to gain experience, and to be motivated to produce things which I can then use to fill out my portfolio.

If you can get some kind of benefit from it whether it’s great photography, chance to work with an up and coming group of people, the experience or simply because it is fun then there those are good reasons and the benefits which can offset the trouble you go to. Just beware that you can’t continually do this because it simply will use you up.

3 – Feel good about walking away

It’s not uncommon for people to think that if they rock the boat by asking for things that they need, they will somehow sabotage their future and that the client has this amazing connection to the industry that they love.

This is all highly unlikely for one good reason.

If the client is such a big shot then why have they not simply gone to an established company and paid big bucks for the job to be done?

I’m guessing the reason they have asked somebody straight out of college or with little experience is because they cannot afford it or have no influence elsewhere to command such mighty favours.

This being the case it’s always pays to do a little bit of research on who is hiring you so that you can see what they have done before and what kind of calibre of work they have been responsible for. It also means you can figure out whether they are full of shit or not too.

Consider also what else this production is spending money on to have a good idea of where they are spending it. Do they have any celebrity names attached to the project? Are they filming in a major studio? Are they filming this using expensive cameras with expensive lenses and expensive lights? Do they have catering and location costs?

If the answer to any of these questions is yes then, there has been some money apportioned and it’s only reasonable that your minimum costs be met in order to pay for it.  If they’ve got money to do some of these things and are specifically withholding it from your department, there’s a good chance that this is just a predatory manoeuvre on their part to try and get something for nothing.

If you end up paying for materials out of your own pocket for any production, then you are no longer a makeup artist, but a partial financer of the production. A producer if you will. Think about that.

If you go in with your eyes wide open and you are aware that this is the case, and you can afford the time to do this for the joy of it or to get some experience … that’s perfectly acceptable. Just be aware of what your responsibilities are and make sure you are being treated fairly.

This is not to say that all such opportunities are there to screw people over, but if you apply some simple logical thought and can understand what the job is and where you fit into the equation, you can have a lot of fun learning your craft.

Stream or download below, we are also on Spotify, iTunes, Soundcloud…wherever you get podcasts! Subscribe in your podcatcher to make sure you don’t miss the latest episodes!

Thanks again for listening, and if you would like to support us, as ever there is one thing you can do that helps more than anything – tell someone else about the podcast! Share this on social media and tell us how we are doing!

You can email us here direct at stuartandtodd@gmail.com

We appreciate your attention!

– Stuart & Todd


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Ep #38 – Don Lanning part 2

We are back with more Don!

Even though I was there when we recorded, I still get a buzz hearing back what we spoke about. Simply put, Don will make you better and get you thinking about sculpting.

Stream or download below, we are also on Spotify, iTunes, Soundcloud…wherever you get podcasts! Subscribe in your podcatcher to make sure you don’t miss the latest episodes!

In part 2 we spoke to Don about:

– Ego
– Looking for the positives
– Music whilst sculpting
– Using the same tool to get many results
– Sculptures that want to come out
– Deadlines
– Chisel shape tipped rubber clay shapers

Silicone tipped Clay-Shapers

The Kemper D9 that Don refers to as a very versatile tool.

At the time of writing, Don had just finished his workshop in the week leading up to the Prosthetic Event 2018, which was fantastic. His stage spot was rammed, and it was great to see a live audience enraptured, although I shall always cherish this podcast opportunity where just the three of us got to share Don’s space.

Incidentally, Don posts the latest upcoming workshop dates on his Don Lanning’s D3 Studio page. If you can get the chance to go to a class, I’d urge you to do so.

He really is very good at making you better! Those classes fill up fast so check on the latest dates.

The Prosthetics Event 2018 was a magical day!

Thanks again for listening, and if you would like to support us, as ever there is one thing you can do that helps more than anything – tell someone else about the podcast! Share this on social media and tell us how we are doing!

You can email us here direct at stuartandtodd@gmail.com

We appreciate your attention!

– Stuart & Todd

Prosthetics Magazine is THE magazine to check out if you are serious about learning more about making prosthetics.

It only comes out 4 times a year, so each edition is packed with info, tutorials and up to the minute interviews with the folks who are doing this stuff for real!

This latest edition, #13, looks at the creation of the new Mask from Halloween with Christopher Nelson and Vincent Van Dyke.

There is also an article on how a prosthetic appliance was made (and applied with great success) using purely 3D printed moulds. The future is now! https://www.prostheticsmagazine.co.uk/

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