Sugisawa and the members of the team began to work intensively to make special effects masks, and the production of special effects makeup masks is mainly model, which will take more time.

There is nothing particularly difficult about pressing the model, the final difficulty is that in the coloring link after all the abrasives are only done, coloring can be said to be a difficult thing, after all, an actor needs to replace a special effects mask on stage for a day, at this time we need to ensure that the color difference of each mask after coloring is not too large, otherwise it is easy to appear in the post-processing of goofs, and some special effects makeup scenes may need to shoot many scenes over and over again.

After the mold is formed, there is no need to consider the image problem, so the unification of these colors has become the most important problem for character stylists to consider.

Sugisawa doesn't have any particularly good ways to do it, but he can only continue to color carefully, which is a patient job for everyone, and a slight deviation may not be satisfactory as a whole.

But the scrapped special effects skin is not useless, many of the discarded special effects skin can be directly changed and colored to become a special effects mask for extras, or there is a slightly flawed fake skin can actually be used as a mask for the actor's night shots.

But of course, everyone is still willing to do it for the better, and no one wants the mask in their hands to make a big mistake.

The cost of special effects makeup is very high, and there will be various problems during production, so the vast majority of domestic films don't like to use special effects makeup but directly model and use special effects, but the drama that is performed like that is easy to make the actors' emotions play.

This is a thing that is difficult to neutralize, Sugisawa carefully guides his younger brothers and sisters to do special effects, and he will strictly grasp the quality of each special effects skin.

There is another very troublesome thing after the coloring, that is, the hair, all the hairs are tied up one by one, so it is also necessary to carefully consider the direction of the hair, and the fidelity of the hair is in line with his growth law, otherwise it will look very inconsistent.

Zeng Fanbin is also the junior brother of Sugizawahai, who is making strange beasts, according to the description of the Classic of Mountains and Seas:

"The mountain of winged looks, there are beasts, its shape is like a raccoon, one eye and three tails, the name is said, its sound is like a hundred sounds, it can resist the evil, and it has been served."

The Beast is a typical hairy creature.

This work is very eye-consuming, and the slightest carelessness may lead to the scrapping of the entire special effects mask.

When Zeng Fanbin made this special effect mask, the direction of his hair was completely pierced according to his own feelings, which also caused the overall shape to look very uncomfortable, and finally caused the mask to need to be redone, which was a very patient job.

Sugisawa Hai's hands are dealing with a creature called Gu Eagle in the Shanhai Sutra, which records: "The mountain of Luwu has no grass and trees on it, and there are many gold stones." The water of Zegen comes out, and the south flows into the pouring water. There is a beast in the water, the name is called the Gu eagle, its shape is like a carving and has horns, its sound is like the sound of a baby, it is a cannibal. ”

It means that five hundred miles further east is Luwu Mountain, which has no flowers and trees, but is rich in metal minerals and jade. The water originates from this mountain and then flows south into the water. There is a beast in the water, its name is Gu Eagle, it is shaped like an ordinary eagle eagle but has horns on its head, and the sound it makes is like a baby's cry, and it can eat people.

When Sugisawa Hai handled the Gu Eagle, the outline of the Gu Eagle's mouth was very wide, mainly highlighting his sharp and powerful beak.

Sugisawa has a steady hand with an airbrush, which is the most basic quality of an art student and a makeup artist.

Spraying the bottom layer of yellow as the base along the beak of the bird from top to bottom, this color spraying can ensure that the color difference of the color is not too large to the greatest extent, and the overall sense is relatively uniform, which is also a very labor-saving way, many novices will be a little bit on the color when they are on it, and the final details do come out, but the overall effect is not too good.

The nozzle of the spray gun is loosened, and the color sprayed out is a large area of fog-like color blocks, which can easily cover the entire beak of the bird, and the pigment is finely sprayed from the muzzle of the gun, and Sugisawa is also very serious about the color of each piece, and the spray gun makes a slight rhythmic "poof" sound, which is Sugisawa Hai regularly presses the button on his hand to ensure that the color of each place is uniform.

When Sugisawa was carefully spraying the base color, he didn't notice that the ink in the watering can was almost bottoming out, and as a result, the final ink was quickly poured into the airbrush pen, resulting in a mottled color.

As if accustomed to it, Sugisawa picked up the cotton ball in his hand, gently dipped a small amount of alcohol to wipe off the color, refilled the ink, and continued to complete the spray painting.

The pigment used in the airbrush is alcohol oil paint, so it can be easily dissolved by alcohol, and then there is a gradient of some colors on the beak, here Sugisawa Sea also uses this spraying method, but at the end of the day, it is not completely loosened the button, but regularly reduces its own strength to make a beautiful gradient effect, which is also the method and experience summarized by Sugisawa Hai's special effects mask production one by one.

Then Sugisawa slightly pressed the head of the spray gun, and began to do some details of processing, the processing of details is often the most energy-consuming, when dealing with details, Sugisawa basically does not even dare to come out of the atmosphere, you need to ensure that every line is in the correct position, otherwise it is basically difficult to modify, and rubbing it with alcohol will affect the color of the bottom layer, so you can only do it little by little, which is also a very time-consuming thing, basically Sugisawa Hai needs to see the overall effect every ten minutes of production.

As the details of the beak were treated with great care, Sugisawa took out the plastic wrap prepared in advance and covered it on the beak that had just been made, so as to prevent it from being contaminated by the color of the face, otherwise the work would be wasted.

Then loosen the spray gun head in his hand and spray it with brown paint regularly, brown is the main color designed by Sugisawa Sea for Gu Carving, which is also in line with the public's understanding of him, and the skin below is white.

Then there are its sharp corners, the sharp corners get the same material as the beak selection, the resin is used on the inside, and the silicone is used in a very small area on the outside, which ensures that he will not have difficulty in coloring, and it is also more overall and easy to wear.