For many shooters, the world of horror and character comes around once a year.Here are some SFX and horror photography ideas you might not have considered while sticking those plastic vampire teeth in for the season's SFX makeup session.
Make use of light that is appropriate.
It's simple to place a light below your figure and say, "TADA! It's terrifying."We can, however, do better.Consider the setting in which you'd locate this character.Consider what kind of storey you want to tell.What is the location of this encounter?You can construct lighting schemes that define not only the spooky mood you want, but also what would actually exist in that room, once you've answered these questions.
Is this some bizarre boiler room scuffle in a dingy basement?If that's the case, use a contrasty style and an off-color tone to imitate that old bare light bulb swinging from the ceiling.Is this a chance meeting in the woods late at night?If that's the case, consider the cool tone light you'd get from the moon, or how it may reflect off the lake at Camp Crystal Lake's docks.You can do a lot more with some gels and a light.
Keep an eye on your surroundings.
This is something that many folks who have never filmed with fake makeup ignore. "Edges" refer to the point where a prosthetic's literal edge meets the model's genuine skin. Not all prosthetics are created equal, and you get what you pay for. Prosthetics aren't something that all makeup artists are familiar with. Even the most seasoned artists will come into problems with a piece that won't lay down perfectly. If it wasn't a custom component, it could potentially fit the model incorrectly. Not only will your lighting affect mood and atmosphere, but it will also capture the texture of those faults. As a result, you must strike a balance between smoothing out and allowing it to creepy.
Indeed, the normal light beaming from underneath, sometimes known as "monster lighting," quickly highlights any edges.It's at this point when a fill light comes in handy.It shouldn't overtake, but rather clean up what you're after.The success of an image may also be determined by the cosmetics used.
This leads me to my next point...
Sync up with your cast and crew.
On both sides of the camera, the shot occurs.
There's a lot you can do with your crew to improve the outcome, including decision-making and overall attitude.Makeup artists are artists, but they may not understand how things work in the realm of photographers and lighting technicians.In fact, understanding how the cosmetic makeup will translate to a 2D representation may be difficult.
The colour of your makeup is one of the most important factors in battling edges.White, metallics, pastels, and iridescent colours, in particular, show even the tiniest edge immediately.As a result, it's a good idea to let your artist know that the hue could work against them when deciding on a lighting strategy.Also, keep in mind that underneath all that cosmetics is a human.They sat for hours simply to get their makeup done.Because they have only had this face for a short time, they may be unclear how it looks when they are feeling particular emotions.
Because prosthetics are built on top of an individual's original bone structure, they frequently result in sunken eyes.Keep a look out for them loosing their eyes to light or scrunching their face to appear emote.The main distinction between masks and cosmetics is that the latter is attached.Instead of a static face, they may portray emotion.Communicate with your model if you're continuously shooting dead shadows or closed eyes.They may need to be more aware of their facial expressions, even if it feels odd.
Pay close attention to the details.
Remember, you're not just photographing a character.On some level, you're also filming a scene.
Consider that storey and provide some specifics to your audience.It's easy to get caught up in the big picture and miss subtleties that could help push that image over the finish line.
Assume you're filming a spooky doll lookConsider the same expression with a bleeding bandage on their wrist – that says a lot more, right?Now you're implying to the spectator that the doll could be a live being rather than a substance that has come to life.This is all part of the story-telling process, which gives your character more depth and provides your audience something to look at.However, if you're going to pay attention to the details, you should also pay attention to the flaws.
Keep an eye out for flaws.
The odds are stacked against you when you enter these images.Your audience is unlikely to think that a zombie exists, but don't let that stop you.Allow them to become engrossed in the vision by failing to notice items that might jolt them out of it.A zombie, for example, should not have a decrepit face and a perfectly healthy neck.
This is especially true when it comes to realistic topics like injuries.You must seriously consider a storey.If your character is supposed to look like they just got into a battle, for example, all they need is a black eye.They'd be hot and bothered.Their hair wouldn't be flawless, and they wouldn't be clean or tranquil.It may sound obvious, yet you'll find yourself forgetting the storey all too often.Don't only concentrate on the lighting or the overall composition.
The images in this article were captured using a variety of cameras and lenses.
However, these are some of the most frequent SFX and horror photography things I use:
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