The Zombie Man mask...

[MinionZombie]

I was thinking of perhaps getting a new, better mask for "I Am Zombie Man 3" ... nothing too expensive, but perhaps something that had a snugger fit and covered the neck.

I haven't decided one way or the other yet - whether I'll keep the existing one or not - but I figured it'd be best to ask you folks for help, it's easier to find something if you've got some recommendations first, you know?

I was wondering if anyone could recommend a mask that might be suitable, or a website I might want to look at.

As it'd be for Zombie Man (should I ultimately choose to get a new mask), it has to mostly be a skull - but some flesh, or other variations are welcome options too.

Thanks. :)

[bassman]

If you do change it, I say you go all out and use prosthetics ....

[MinionZombie]

If you do change it, I say you go all out and use prosthetics ....
B'ave, I'm not made of money! :p

Nor time ... and as a one-man-band show (aside from Gareth inside the mask of course), another job on top of everything else...ugh, no thanks. :D

But just you wait until I get myself a band of merry filmmakers together sometime in the future, oh yes.

Back to IAZM3 though...it has to be a mask to be honest, it'll have to be shot quickly and that, so I guess I'll be saving prosthetics till sometime later, but hopefully not too long away (I'm starting to mull over a short horror script actually which would call for special effects of such magnitude...but that would require the merry band of filmmakers I mentioned earlier, hehe ... I've only got the opening scene thought of, but I think it's pretty cool).

Anyway...masks anyone? :)

[DjfunkmasterG]

Keep the original mask... no one likes change! :annoyed:

[MinionZombie]

Keep the original mask... no one likes change! :annoyed:
I guess I anticipated your feelings correctly, Sir. :)

Another idea is to try and 'firm up' the jawline with garden wire and be selective in my angles...*wanders off tapping chin in a "hmmmm" like manner...*

[lifelikecarcass]

But just you wait until I get myself a band of merry filmmakers together sometime in the future, oh yes.
Too many chefs ruin the soup.
Or something along those lines anyway.

[MinionZombie]

Too many chefs ruin the soup.
Or something along those lines anyway.
That literally makes no sense at all.

Not being grumpy, but if it might come across that way I just watched 30 Days of Night and it was complete garbage, so I'm pissed off at that useless waste of film, so excuse me if I appear snappy. :dead:

Anyway...

Too many producers and people with their fingers in which way a film is going to go - that ruins a cinema pie - but having people to do a bunch of jobs for you, so that you can concentrate on the main things is ideal.

As in, I concentrate on writing and directing and shooting, while someone concentrates on the special effects, and someone concentrates on the ticking, dealing and organising - all the boring paperwork - and someone else does whatever and so on.

That is what I meant. :cool:

[lifelikecarcass]

Too many producers and people with their fingers in which way a film is going to go - that ruins a cinema pie - but having people to do a bunch of jobs for you, so that you can concentrate on the main things is ideal.
Yeah that's what I'm talking about.
If you have a crew, and everyone knows their place that's one thing.
The trouble is that when you have a group of people that aren't actually "hired" to perform specific tasks, it's easy to have people get confused about why they're there.
The other problem with it is that if it's your project, and people start to feel as if they're being treated like employees and not partners, problems arise which hamper production.
I assumed you weren't talking about hiring a crew.
I didn't mean you should do it all yourself.
I meant, beware of the potential problems that can arise because they sneak up on you easily in those situations.

When I went to VFS, there were group projects that some people got involved in.
And it was problem after problem, where people aren't pulling their weight and others are picking up the slack.
Then the people who aren't pulling their weight wonder why they aren't being treated the same, and others get offended, words get exchanged.
Then people are in predicaments where someone quits and then their role isn't being filled, so replacements are needed.
It's pretty much best to have someone on board who's role is to deal with all that.
But that's hard when you can't really pay people very much if at all.

People get offended when you have to tell them their ideas suck or won't work.
There's just alot of problems that can arise by not having people signed on with specific job descriptions, or when some are personal friends that think they have more say in things than they really do.
Or when people have grand visions of themselves that aren't exactly in touch with reality.
Combined with the fact that creating a film is a difficult task in itself, these things can be debilitating to production.
The exceptions are when everyone believes in the actual vision for the project, as opposed to simply being enthused about being inolved in the making of a film.
Which is very rarely the case in horror films.
You encounter belief in the project more in dramatic films and documentaries.
Which is one of the reasons why so many student films are documentaries.

I used to want to be a director and cinematographer.
I quickly realized though that director isn't what I thought it was.
Directors basically deal with problems throughout the entire production.
All of these little realizations I had while going to school lead me to re-evaluate my ideas.
Where I realized that my real interest was in concept design and creative visualization.
My start was in character concepts, sketching and compositing with Photoshop when I was in High School, I did alot of writing.
In my mind, being a director/cinematographer was the obvious way to go.
It seems that people always start out with a strict idea of what they want to do.
Along the road to that, ideas get revised and realizations are made that force people to see things differently.
And of course you're saying "Hell no, I'm different, I'm focused".
I said the same thing when I was 19-20-21, now I'm 31 and I'm almost totally back in what got me interested to start with.
And I know that it fits better.
I was never looking to solve production woes and be an on-set counseler.
I wanted to create my own ideas.
This is why so many people that started out wanting to direct, switch to editing.
It's why you're doing editing right now, because you're creating your own ideas.
Until you really get into it, your ideas about what certain jobs consist of is many times much more romantic and optimistic than what the reality of it is.