These are just situations that I run into a lot as an F/X artist, particularly when working with people who are relatively new to film-making (or at least new to working with practical F/X), and thought I'd jot down some thoughts here based on my own experience.
First of all, I've found that a lot of people really don't understand the difference between a practical F/X artist and an F/X Makeup Artist. Recently I was talking to a MUA that I've been working with, and she was laughing about how many times she's gone on a project and was asked to not only do the prosthetic makeups but also build F/X gags. I myself have stepped onto plenty of sets armed with my blood spray devices and weapons gags only to be told that I was also expected to handle all of the makeup. It can be quite frustrating, especially when given zero prep time.
To be fair, most F/X artists will have some experience in doing F/X makeup (making and applying prosthetics, building up fake scars and wounds, etc...) However, many MUAs don't have the equipment or skills to build practical F/X gags (props or rigs for creating illusions, explosions, gunshots, etc...). It's really important to communicate exactly what you are looking for when you are interviewing MUAs and F/X people to make sure that you either have one individual who can handle all your needs or a team of people who each specialize in something. Don't just take someone else's word that an individual can “do everything”.
Seriously, I've caught quite a few of my friends telling directors that I can do everything they need by way of F/X just because they've seen my work in practical effects. So when I actually have to meet with the director they spoke to, I end up having to explain that while I'm your gal when it comes to creating weapons gags and casualties, I'm not the horse to bet on for turning a 30-year old actor into an 80-year old character with makeup. (I actually have a couple good MUAs on speed dial for such occasions.)
Another problem that I run into frequently is that people tend to think that F/X don't need a great deal of prep time and planning. I blame shows like "Face Off" for giving people this idea nowadays! Many F/X artists don't have the dream workshop with all the time-saving tools and ready-to-go prep stuff handed to them as they do on "reality" shows like that, and we have to do all the body-casting on actors ourselves.
I recently did a very realistic severed head gag and people couldn't believe it took me several days to build it. It wasn't until I explained that while the actual hands-on part only took a few hours, the time it took to get the actress in my studio for making a cast of her head, creating a mold, waiting for materials to cure, and shopping for the wig really added up.
Of course, the other time-related issue that I often encounter is not being given enough time to execute the F/X. It never fails to amaze me how many people think that you can toss an actor into prosthetic makeup and then film a gory death scene in just an hour or two. I tell directors to seriously consider scheduling a full day when it comes to filming complicated F/X scenes because things are always bound to happen to eat up time. If blood sprays in the wrong direction, you could be spending hours cleaning up the set (not to mention wardrobe changes) in order to do another take. Often an actor's expression isn't right the first time he/she feels the blast of a squib for a gunshot effect or gets doused by gore. And there is always a chance that a mechanical gag will go down... just ask the shark operators on the film Jaws.
Also, I've dealt with many people who thought they knew how practical effects are accomplished just because they'd seen a YouTube video or visited a ready-stock magic supply store. I get a lot of calls for stabbing gags and many times these calls come in the day before the shoot is scheduled because the director/producer just assumed that I have an array of rubber and retractable knives on hand that I can just grab and go. Asides from the idea that even if I did have such a stash the chances of one exactly matching the weapon they want to use is very low, I have to explain that I need two or three duplicates of the weapon in order to alter them for the effect they want. (A full rubber knife won't look like it is penetrating anything, and I try to avoid using retractable weapons because they are prone to jam and injure someone.) A “simple” stabbing gag for me often requires a lot of workshop time for grinding down real knives and dismantling them to rig for a blood delivery system in order to achieve a very realistic effect on camera. Any professional magician will tell you that the best illusions are custom built and not just grabbed off the shelf of a magic shop.
People are also often amazed to learn that I use several different formulas for blood (depending on how it is going to be used) and only one of them involves corn syrup. Blood effects are a lot more complicated than you'd think, and having someone who is experienced in various types of blood work can save a ton of time, money, and frustration on a shoot. (Seriously, I was called out to a set last year to find half the cast and crew literally stained red with fake blood from a bloke who used a “professional recipe” that he looked up and didn't realize was intended for permanently staining props and set dressing. They were thrilled to learn that I would be using a soap-based blood formula on them once I figured out how to get all those stains out!)
Overall, and especially if your film is going to require a lot of practical F/X and has a limited budget to work with, start talking to MUAs and F/X people early in pre-production (or even in development if possible) and make sure to have a solid plan that allows plenty of time for preparation as well as on-set mishaps.
First of all, I've found that a lot of people really don't understand the difference between a practical F/X artist and an F/X Makeup Artist. Recently I was talking to a MUA that I've been working with, and she was laughing about how many times she's gone on a project and was asked to not only do the prosthetic makeups but also build F/X gags. I myself have stepped onto plenty of sets armed with my blood spray devices and weapons gags only to be told that I was also expected to handle all of the makeup. It can be quite frustrating, especially when given zero prep time.
To be fair, most F/X artists will have some experience in doing F/X makeup (making and applying prosthetics, building up fake scars and wounds, etc...) However, many MUAs don't have the equipment or skills to build practical F/X gags (props or rigs for creating illusions, explosions, gunshots, etc...). It's really important to communicate exactly what you are looking for when you are interviewing MUAs and F/X people to make sure that you either have one individual who can handle all your needs or a team of people who each specialize in something. Don't just take someone else's word that an individual can “do everything”.
Seriously, I've caught quite a few of my friends telling directors that I can do everything they need by way of F/X just because they've seen my work in practical effects. So when I actually have to meet with the director they spoke to, I end up having to explain that while I'm your gal when it comes to creating weapons gags and casualties, I'm not the horse to bet on for turning a 30-year old actor into an 80-year old character with makeup. (I actually have a couple good MUAs on speed dial for such occasions.)
Another problem that I run into frequently is that people tend to think that F/X don't need a great deal of prep time and planning. I blame shows like "Face Off" for giving people this idea nowadays! Many F/X artists don't have the dream workshop with all the time-saving tools and ready-to-go prep stuff handed to them as they do on "reality" shows like that, and we have to do all the body-casting on actors ourselves.
I recently did a very realistic severed head gag and people couldn't believe it took me several days to build it. It wasn't until I explained that while the actual hands-on part only took a few hours, the time it took to get the actress in my studio for making a cast of her head, creating a mold, waiting for materials to cure, and shopping for the wig really added up.
Of course, the other time-related issue that I often encounter is not being given enough time to execute the F/X. It never fails to amaze me how many people think that you can toss an actor into prosthetic makeup and then film a gory death scene in just an hour or two. I tell directors to seriously consider scheduling a full day when it comes to filming complicated F/X scenes because things are always bound to happen to eat up time. If blood sprays in the wrong direction, you could be spending hours cleaning up the set (not to mention wardrobe changes) in order to do another take. Often an actor's expression isn't right the first time he/she feels the blast of a squib for a gunshot effect or gets doused by gore. And there is always a chance that a mechanical gag will go down... just ask the shark operators on the film Jaws.
Also, I've dealt with many people who thought they knew how practical effects are accomplished just because they'd seen a YouTube video or visited a ready-stock magic supply store. I get a lot of calls for stabbing gags and many times these calls come in the day before the shoot is scheduled because the director/producer just assumed that I have an array of rubber and retractable knives on hand that I can just grab and go. Asides from the idea that even if I did have such a stash the chances of one exactly matching the weapon they want to use is very low, I have to explain that I need two or three duplicates of the weapon in order to alter them for the effect they want. (A full rubber knife won't look like it is penetrating anything, and I try to avoid using retractable weapons because they are prone to jam and injure someone.) A “simple” stabbing gag for me often requires a lot of workshop time for grinding down real knives and dismantling them to rig for a blood delivery system in order to achieve a very realistic effect on camera. Any professional magician will tell you that the best illusions are custom built and not just grabbed off the shelf of a magic shop.
People are also often amazed to learn that I use several different formulas for blood (depending on how it is going to be used) and only one of them involves corn syrup. Blood effects are a lot more complicated than you'd think, and having someone who is experienced in various types of blood work can save a ton of time, money, and frustration on a shoot. (Seriously, I was called out to a set last year to find half the cast and crew literally stained red with fake blood from a bloke who used a “professional recipe” that he looked up and didn't realize was intended for permanently staining props and set dressing. They were thrilled to learn that I would be using a soap-based blood formula on them once I figured out how to get all those stains out!)
Overall, and especially if your film is going to require a lot of practical F/X and has a limited budget to work with, start talking to MUAs and F/X people early in pre-production (or even in development if possible) and make sure to have a solid plan that allows plenty of time for preparation as well as on-set mishaps.