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@makeupeffectsarchive
A selection of my favorite prosthetic contact lens designs in film and television from before 1980. During this time period, contact lenses were made of glass - if that sounds hellish to wear, yes, it was.
While makeup artists designed the lenses, actual opticians had to help out or make the lenses. Schalcon made the lenses for 'Enter The Devil', and Dr. Morton Greenspoon did the 'Salems Lot' lenses.
Hey, peeps - I need your help to identify some old werewolf media! Many years ago I saved a bunch of screencaps from werewolf movies and television shows that I, foolishly, did not properly name (I never thought this would ever be a problem then). While I found the original site I got these caps from, the site itself has turned into some kind of dead content farm and reverse image search is giving me nothing but duds. If anyone here could help me find the source media for these caps, I would be very grateful!
Thank you in advance!
1st image = unfamiliar sadly
2nd & 3rd images = Eyes of the Werewolf (1999) (I think?)
4th and 5th images = Mexican Werewolf in Texas (2005)
6th image = again, unfamilar sadly
7th image = the Angel episode 'Unleashed'
8th image = the Buffy episode 'Phases'
9th image = the Doctor Who episode 'Tooth & Claw'
10th image = the Werewolf (1987) tv series
The creature effects for Tobe Hooper's 1986 remake of Invaders from Mars were designed by Stan Winston, who left the supervision to Alec Gillis (future founder of Amalgamated Dynamics) as he had to supervise the creature effects on Aliens the same year.
The Martian drones were designed to be unlike a humanoid; Winston came up with an armature inside the suit, where two people could fit inside. The taller person would be walking backwards, while the little person sitting on the upper side of the armature would operate the mouth and forearms.
The suit had a miniature hidden camera and screen for the taller person to be able to see while walking backwards.
The creature effects and visual effects of Fire in the Sky (1993) were handled by Industrial Light & Magic. The film's relatively lower budget, as well as ILM's commitment to Jurassic Park, meant that the effects were primarily achieved 'on camera'. No computers or matte painting trickery!
The shot of the aliens dragging Travis Walton across the spaceship's corridors was achieved via a pair of rod puppets, operated from underneath the set. The puppeteer and puppets both were attached to a trolley-like mechanism that moved across the corridor, simulating movement.
The infamous medical experimentation scene used a slightly more articulated puppet for the alien doctor, that could be moved like a hand puppet.
The most complex effect of Species II (1998) was the monstrous alien form of the infected astronaut Patrick. Producer Frank Mancuso wanted to avoid obvious digital effects for the monsters, thanks to negative reaction to the digital Sil in the first film.
XFX realized the Patrick alien as a performer in a very elaborate creature suit fitted with leg extensions, puppeteered false front legs, and held on a wire harness like a marionette.
Not all shots in Species (1995) could utilize the assorted puppets that XFX made for the film. XFX made three foam rubber suits, finished with a paintjob by Moto Hata. The suits were worn by kickboxer Dana Hee.
Preliminary maquettes and sculpts by Steve Johnson's XFX of the Patrick monster for Species II (1998)
Steve Johnson's XFX and HR Giger returned to handle the effects for Species II (1998). This time, HR Giger had to design to XFX's requirements, not the other way round.
The new female alien, Eve, was realized mostly as actress Monica Staggs in an elaborate suit made out of silicon; the silicon meant the suit had a slightly translucent quality.
The suit was fitted with leg extensions, giving her a taller and slightly more inhuman look; the extensions were built in a way that she could easily walk in them without a harness.
Giger was unhappy with how Species (1995) turned out. He despised Boss Film Studio's CGI Sil, which he referred to as the 'teeth-gnashing, unaesthetic computer-Sil' and as 'a frog-like ugliness'.
However, Giger was very pleased with Steve Johnson's work on the film, saying it was one of the best translations of his work to date. Johnson was so proud he printed out Giger's fax in his office.
Giger however, was so pleased he commissioned XFX to make a replica Sil sculpture, in a sensual pose. At least one of these sculptures still resides in the Giger Museum today.
For the dream sequence in Species (1995), where Sil fantasizes about mating with a male of her kind, XFX fabricated a male alien suit. The male suit was designed so that it wouldnt give away that ultimately, it was a man in s suit, especially given it would be shot underwater.
Steve Johnson's XFX made a set of full-body puppets to realize the alien Sil in Species (1995). The puppt's limbs and body parts could come apart to be reassembled, and its movements were controlled via rod puppeteering and marionette puppeteering. The animatronic head was cable-controlled for its facial movements.
The puppet's parts were translucent, as per HR Giger's wishes - it helped that Johnson had realized similarly translucent aliens for James Cameron's The Abyss.
The Sil puppets limbs were made out of clear plastic, and foam rubber for the joints. However, its translucent 'organic' regions were made out of nylon hose!
The practical effects for Species fell to Steve Johnson's XFX. Their practical Sil puppets and suits would complement the digital Sil realized by Richard Edlund's Boss Film Studios.
The Sil puppets and suits were based on sculptures by Mike Hosch and Norman Cabrera, and had heavy input from H. R. Giger himself. Johnson made sure to listen to Giger's requests as he wished to make him happy!
In early stages of production for Species (1995), the Burman Studio were assigned to do the film's practical effects. (The Burman's had realized Giger-esque makeups for the Captain EO music video in the 80s)
Thomas R. Burman sculpted a set of maquettes of the Sil monster, but Giger himself was very unimpressed, saying Burman's Sil had a head that looked like a fish.
The production of Species (1995) was a notoriously messy one, with HR Giger especially feeling burnt from the experience.
The design of the Sil alien was originally by Giger, who insisted the alien could be realized as a 'translucent' creature. To this end, Giger and assorted Swiss sculptors like Andy Schedler and Cony De Fries made several preliminary Sil sculptures at the Zurich-based Atelier Formart sculpting studio.
Some of the Sil sculptures were made of clear materials, and could light up from the inside, to prove it was possible to make a 'transparent' model per Giger's wishes.
