Harry Potter - Special Effects - Interview
Cassandra Bell
July 26, 2005
I recently interviewed Waldo Mason, who has contributed his knowledge of special effects to numerous films, including several "Harry Potter” films, such as "Harry Potter and the Chamber of Secrets," "Harry Potter and the Prisoner of Azkaban," and the soon to be released film "Harry Potter and the Goblet of Fire."
Bell: For what company have you worked and how long?
Mason: I freelance between companies from film to film, and for Harry Potters 2, 3 & 4, I worked for Nick Dudman, the head of the Creature Effects/ Prosthetics department.
Bell: For what movies have you contributed your knowledge of special effects, and what was your special effects contribution for the movies?
Mason: Other films I have been involved with include "Event Horizon," "Saving Private Ryan," "The Last Samurai," "King Arthur," "Alexander," "Alien Vs Predator," the upcoming "Doom" video game adaptation, and Guy Ritchie's "Revolver." TV work includes "Band of Brothers," "Walking with Beasts," "Dinotopia," "Animal Farm," and more recently, the new "Doctor Who" series.
I work in several aspects of special effects, such as sculpting, mould making, art finishing, hair work, etc. The wider your skills base, the more options you have with regards to work, and I also think it's much more rewarding to have worked on a character from beginning to end, having a hand in every process along the way. Due to the direction special effects have taken in recent years, I have found my sculpting jobs are increasingly geared toward the production of scanning maquettes, (scale models of creatures/ characters) which are digitally scanned and animated by the CG department. For the most part, though, I have come to specialize more in paint and hair for silicone likenesses and creatures.
My involvement in the Harry Potter series includes the giant spiders from HP2, the petrified Hermione, Justin Fitch Fletchley and Nearly Headless Nick also from HP2, inflating Aunt Marge limbs and Dementor CG paint reference for HP3, and various bits for the upcoming installment which, unfortunately, I am contractually obligated to not discuss. Sorry!
Bell: What was the process involved?
Mason: Every job, even though the basic creative process is the same, has its own set of problems and variables. These range from the materials we need to use, to the look and finish of the character, so it's almost always a different experience. Also, on bigger films like Harry Potter, there is such a large effects crew that the whole process is split between the various departments, leaving you to concentrate on what you do best. But for example, a typical silicone body would begin with an alginate lifecast of the actor which is then cast out in clay and cleaned up. The clay body would then have a fibreglass mould made of it, from which we take a silicone positive. After any moulding seams have been cleaned up It would be painted with silicone mixed with oil paints whilst referring to our own reference photos of the actor. After painting we add eyes, teeth, fingernails, and hair. The body and facial hairs are punched into the silicone one at a time, while a hairpiece (created especially to match the actors own hairstyle and colouring) is fitted to the head, completing the process. It's a very meticulous process, but the results are well worth it.
Bell: How long have you been involved in special effects?
Mason: I have been working in the UK effects industry for twelve years, although with some of the deadlines in this job, it's probably more like fifteen years squeezed into twelve!
Bell: In what other departments in the movie industry have you assisted?
Mason: Because of the new advances in silicone prosthetics and their increased use, I have been working more in this area than I had previously; running, painting and hair punching silicone appliances.
Bell: What type of equipment/supplies do you utilize for special effects?
Mason: I think the material most used in this side of the effects industry is probably silicone, because it's the best material for reproducing the properties of human skin, the movement is great for animatronics and make-ups, it's fireproof, resulting in its use in making fire masks for stuntmen, and if that's not enough, you can even use it to make moulds!
I would like to thank Waldo Mason for allowing me to interview him.
Bell: For what company have you worked and how long?
Mason: I freelance between companies from film to film, and for Harry Potters 2, 3 & 4, I worked for Nick Dudman, the head of the Creature Effects/ Prosthetics department.
Bell: For what movies have you contributed your knowledge of special effects, and what was your special effects contribution for the movies?
Mason: Other films I have been involved with include "Event Horizon," "Saving Private Ryan," "The Last Samurai," "King Arthur," "Alexander," "Alien Vs Predator," the upcoming "Doom" video game adaptation, and Guy Ritchie's "Revolver." TV work includes "Band of Brothers," "Walking with Beasts," "Dinotopia," "Animal Farm," and more recently, the new "Doctor Who" series.
I work in several aspects of special effects, such as sculpting, mould making, art finishing, hair work, etc. The wider your skills base, the more options you have with regards to work, and I also think it's much more rewarding to have worked on a character from beginning to end, having a hand in every process along the way. Due to the direction special effects have taken in recent years, I have found my sculpting jobs are increasingly geared toward the production of scanning maquettes, (scale models of creatures/ characters) which are digitally scanned and animated by the CG department. For the most part, though, I have come to specialize more in paint and hair for silicone likenesses and creatures.
My involvement in the Harry Potter series includes the giant spiders from HP2, the petrified Hermione, Justin Fitch Fletchley and Nearly Headless Nick also from HP2, inflating Aunt Marge limbs and Dementor CG paint reference for HP3, and various bits for the upcoming installment which, unfortunately, I am contractually obligated to not discuss. Sorry!
Bell: What was the process involved?
Mason: Every job, even though the basic creative process is the same, has its own set of problems and variables. These range from the materials we need to use, to the look and finish of the character, so it's almost always a different experience. Also, on bigger films like Harry Potter, there is such a large effects crew that the whole process is split between the various departments, leaving you to concentrate on what you do best. But for example, a typical silicone body would begin with an alginate lifecast of the actor which is then cast out in clay and cleaned up. The clay body would then have a fibreglass mould made of it, from which we take a silicone positive. After any moulding seams have been cleaned up It would be painted with silicone mixed with oil paints whilst referring to our own reference photos of the actor. After painting we add eyes, teeth, fingernails, and hair. The body and facial hairs are punched into the silicone one at a time, while a hairpiece (created especially to match the actors own hairstyle and colouring) is fitted to the head, completing the process. It's a very meticulous process, but the results are well worth it.
Bell: How long have you been involved in special effects?
Mason: I have been working in the UK effects industry for twelve years, although with some of the deadlines in this job, it's probably more like fifteen years squeezed into twelve!
Bell: In what other departments in the movie industry have you assisted?
Mason: Because of the new advances in silicone prosthetics and their increased use, I have been working more in this area than I had previously; running, painting and hair punching silicone appliances.
Bell: What type of equipment/supplies do you utilize for special effects?
Mason: I think the material most used in this side of the effects industry is probably silicone, because it's the best material for reproducing the properties of human skin, the movement is great for animatronics and make-ups, it's fireproof, resulting in its use in making fire masks for stuntmen, and if that's not enough, you can even use it to make moulds!
I would like to thank Waldo Mason for allowing me to interview him.
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