Character makeup using silicone, latex, or gelatin prosthetics for dramatic physical transformation; application time 45 minutes to 6 hours.
Modern character makeup primarily consists of platinum-catalyzed silicone (Shore hardness A10-A25) or foam latex with a density of 0.3-0.6 g/cm³. Wall thickness varies between ultra-thin edges (0.1mm) and reinforced areas (8mm). Silicone masks achieve tensile strengths of up to 8 MPa and elongations of 400-600%. Gelatin prosthetics (250 Bloom strength) offer the highest realism but require cooling temperatures below 18°C. Application time ranges from 45 minutes (partial prosthetics) to 6 hours (full head transformations).
In 1931, Jack Pierce developed the first multi-part foam latex mask using plaster molds for "Frankenstein." Dick Smith revolutionized surface texture in 1973 with gel-foamed latex for "The Exorcist." Rob Bottin introduced mechanically animated mask parts in 1982 in "The Thing." Since 1995, RTV (Room Temperature Vulcanizing) silicones have dominated due to their durability and UV resistance. Digital scan technology has enabled precise 3D modeling with tolerances under 0.1mm since 2000.
Gary Oldman's Churchill transformation in "Darkest Hour" (2017) required a daily four-part silicone mask with integrated hairpieces. "The Curious Case of Benjamin Button" (2008) combined gelatin prosthetics with motion capture for seamless age transitions. The standard workflow includes life casting, clay sculpting, plaster mold creation, and material application. Disadvantages include limited facial expression with thicker prosthetics, potential skin irritation from adhesives (Pros-Aide, Telesis), and heat buildup under studio lighting.
Distinction from beauty makeup through volume building rather than surface alteration. CGI face replacement (Digital Double) has been supplanting elaborate full-head masks for extreme transformations since 2010. Hybrid approaches combine practical base prosthetics with digital post-processing. Silicone masks dominate for budgets over 50,000 Euros per character, gelatin for the highest realism requirements, and foam latex for limited resources under 10,000 Euros.
Silikonmasken reflektieren Licht anders als Haut - ich muss Diffusion verstärken und Kanten mit seitlichem Streiflicht kaschieren. Bei Nahaufnahmen verwende ich längere Brennweiten (85-135mm), um Prothesenkanten außerhalb der Schärfentiefe zu halten. Gelatine-Masken vertragen nur LED-Beleuchtung unter 3200K, da sie bei höheren Temperaturen schmelzen.
Ich plane Charakter-Masken bereits im Drehbuch mit ein - extreme Transformationen erfordern angepasste Dialogrhythmen, da Artikulation eingeschränkt wird. Bei Brad Pitts Alters-Make-up in "Benjamin Button" haben wir Szenen nach Masken-Komplexität gestaffelt gedreht. Die emotionale Wirkung entsteht durch Kontrast zwischen vertrauter Stimme und fremdem Gesicht.
Charakter-Masken kosten 15.000-80.000 Euro pro Design plus 800-2.500 Euro täglich für Application Artist. Ich kalkuliere 20% Mehrkosten für verlängerte Drehtage durch 3-6 Stunden Make-up-Zeit. Silikonmasken amortisieren sich ab 15 Drehtagen gegenüber täglichen Gelatine-Anfertigungen. Versicherung verlangt Hautverträglichkeitstests 14 Tage vor Drehbeginn.
1. Zu welchem Department gehört „Charakter-Maske"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.