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<ul class="summary-list"><li>Bodysuits let actors go through physical transformations that they couldn't easily make on their own, from gaining weight to gaining muscle to being pregnant.</li><li>Special makeup <a href="https://www.insider.com/category/special-effects">effects</a> artist <keyword id="10229091" type="UNKNOWN" weightage="60" keywordseo="kevin-yagher">Kevin Yagher</keyword> of Kevin Yagher Productions Inc. was tasked with creating plausible muscle and fat suits for actors <a href="https://www.insider.com/category/keanu-reeves">Keanu Reeves</a> and <keyword id="506486" type="PERSON" weightage="60" keywordseo="Alex-Winter">Alex Winter</keyword>.</li><li>Besides making sure bodysuits fit actors perfectly, Yagher needs to make sure that they look like real human skin with the right colors and texture and that they move the way an actual human body would.</li></ul>Following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>. Narrator: This is <keyword id="648530" type="ENTERTAINMENT" weightage="60" keywordseo="Special-effects">special effects</keyword> legend Kevin Yagher.And here, he's adding some color to the nipple of this fake bodysuit.But as he moves the airbrush up, he's adding a much more subtle change. You can see the difference between the bottom of the suit and the top part that he hasn't gotten to yet. What this spray paint does is give the suit texture, mimicking the undertones human skin naturally has and giving the appearance of tiny details like pores.From a life cast picking up on an actor's defining features to sculpting subtle veins to mastering a jiggly stomach, a lot of effort goes into making the bodysuits actors wear look realistic.Warning: Some spoilers ahead for "<keyword id="9373984" type="UNKNOWN" weightage="60" keywordseo="bill-ted-face-the-music">Bill &amp; Ted Face the Music</keyword>."Bodysuits let actors go through physical transformations that they couldn't easily make on their own, from gaining weight to gaining muscle to being pregnant.There are times when bodysuits don't need to be as detailed because they're covered in clothing, like this suit Kevin Yagher designed for Dana Carvey in an ultimately cut sequence from "The Master of Disguise."But because <keyword id="36248" type="PERSON" weightage="60" keywordseo="keanu-reeves">Keanu Reeves</keyword> and Alex Winter appear shirtless in "Bill &amp; Ted Face the Music," both the muscle suits and fat bodysuit created for scenes where they meet future versions of themselves had to be incredibly detailed.To make a bodysuit, you first have to get a life cast of an actor's entire torso.Offscreen: This is the strangest profession there is.Narrator: Keanu and Alex were covered in purple and green silicone rubbers. The green silicone has an oil in it that ensures it won't pull any of the actors' hairs out of their bodies. The two silicones adhere to each other and are then wrapped in a temporary plaster jacket to hold them together, which will eventually be replaced by a fiberglass shell.That forms the mold that will shape the bodysuits. The fiberglass torso shell is laid up into the silicone impression, which then gets covered in clay for the sculpting part of the process.This is the first stage where attention to every realistic detail is crucial, as the team sculpts every muscle and vein onto this mold.Kevin Yagher: I just wanted to make sure it looked, at every angle, like if he lifted his arm or something, that everything was finished beautifully down here just as much as it was up here.Narrator: In early design and Photoshop stages, Alex said he actually wanted the muscular Bill to look like a gorilla. Even if the suit's shape is over the top, the basic anatomy can still be convincing. Sculptor Carol Koch kept a model of the human anatomy in front of her as a reference while chipping away at the muscle suits.Kevin says a common misconception is that when muscles bulge, the veins will too, but veins actually don't get that big.Kevin: I would have them just keep making those veins subtle, more subtle. So they would just keep smoothing them out until I could barely see them, where they're there, but they didn't look, you know, like if they were worms.And then when I come back with a painting, that also pops them up, so the combination of a nice sculpture with paint is what makes them look real.Narrator: Once they've sculpted the shape of the bodysuits with all their details in clay, they make a mold of the clay suit using a thicker silicone, combine the life cast torso shell, and then inject foam latex into it. The outer layer of foam is removed and replaced with a skin-colored layer of silicone.What about silicone makes it the right material for human skin?Well, foam wrinkles easily, and silicone can soften those wrinkles. But more importantly, Kevin says, silicone absorbs light the same way human skin does, which goes a long way towards making the suits look real. But it isn't until after the suit is sealed and injected with yet more silicone that Kevin can start to paint details on the skin, as plain foam doesn't look very convincing as an outer skin layer.The next thing to nail was skin tone. When trying to nail the color palette of the actors' skin, Kevin started with lighter shades to match Keanu and Alex's complexions.But the prison scene in "Face the Music" was shot in New Orleans during July, when temperatures reached nearly 100 degrees Fahrenheit. And the scene with the muscle suits was shot in a prison yard, so Kevin knew the actors would be spending a lot of time in the sun.So to compensate, he made the suits a shade darker than their normal skin tone. Or, as Kevin says, he "gave the suits a suntan."Which gets to an important point. Color makes a big difference in making the skin look real. Take a look at the muscle suits during a nearly completed stage. The abs pop out not just because of how they're sculpted, but because of how they're colored.The team used an unexpected color combination of red and green paint underneath and around each ab. It's those kinds of surprising details in human skin that only an artist can detect.Let's go back into that blank area of the muscle suit he colored in with an airbrush. Kevin says there's always some red in a person's skin. So he starts with that red base and then adds shades of green and blue, other colors he's observed in the skin.Kevin: I use a very tiny, tiny little spray. So, it only maybe puts out, oh, a 16th of an inch a band of color. I do this thing, for some reason I call it wobbly hand, and I just kind of create a kind of wobble, and I also go in and out. So I'm constantly moving my hand like this, and then I'm going in and out, you know, to the thing. It causes little dots; it causes little veins; a little breakup.Narrator: While that is happening, the left nipple doesn't fully pass until a pinkish-brown coat gets sprayed on it.The muscle suits were smooth and hairless to mimic bodybuilders, but Keanu's fat suit had hair.Adding hair to a suit makes it easier to hide skin details, but each hair has to look real, from how it curls to the growth pattern. Kevin punched at least 300 individual hairs into the stomach and chest of Keanu's fake paunch.He made sure to make the hair thicker and heavier as it went down the chest towards the groin.Kevin's work isn't only about painting splotches and punching hairs. You can't have a bodysuit that just looks realistic. It also has to move like a real body.The foam latex beneath the layer of skin-like silicone helps the actors move comfortably. A fat suit, like the one Kevin made for Keanu, needs to bounce and jiggle naturally. You can see that as Keanu's stomach pops out of his shirt during this shot in the film.So, how do you make it move while also giving it some weight?The classic technique? Stuffing the suit with dry lentils. Kevin used them when building the suit for Weird Al Yankovic's 1988 music video "Fat."He later created two body pieces to add 40 pounds to Nicolas Cage in 2002's "Adaptation."This time around, Kevin tried to achieve movement in one of them by mixing lentils and beads into one of his suits, but the actor's sweat actually caused the lentils to sprout. So now, to get the movement and weight without the mess, Kevin simply fills the chest and stomach of a suit with bags of beads.Kevin: It kinda jiggles up and down.Narrator: With all the skill involved in making these suits look and move like real human flesh, some of the realism is achieved by cleverly hiding the dead giveaways.Makeup artists typically cover up the zippers on the back of bodysuits, but because of that brutal New Orleans heat, they kept the zippers on the muscle suits exposed so the actors could hop in and out of them quickly to cool off. So for a shot like this, the zippers were just CGI'd out.Kevin also needed to hide the seams where the suit connects to real skin around the neck and the arms. So when wearing the muscle suits, the two actors wore weight-lifting gloves, while Keanu's long fake beard hid the neck seam.You will also notice Keanu wearing two necklaces in the shots where he has a bigger belly. The lower one was glued down to hide the straps that held the suit up above the chest.For one final touch of realism, Kevin applied a water and glycerin mix to Keanu and Alex's prison bodysuits to give off a persuasively sweaty look.All that effort, from punching hundreds of hairs to wearing a 20- to 25-pound suit in punishing heat, created something realistic not just for the viewer, but also the actor.Kevin: Alex Winter liked to have all that weight, because it helped him in his acting to have enough girth on him to kind of perform better. He was happy with that.

How bodysuits are designed to look realistic in movies & TV

<ul class="summary-list"><li>Special <a href="https://www.insider.com/category/makeup">makeup</a> effects artist Kevin Yagher made <a href="https://www.insider.com/category/keanu-reeves">Keanu Reeves</a> and Alex Winter look like they were 95-years-old for "<keyword id="9373984" type="UNKNOWN" weightage="60" keywordseo="bill-ted-face-the-music">Bill &amp; Ted Face the Music</keyword>."</li><li>Yagher created elaborate prosthetic pieces in which he sculpted deep wrinkles and arthritic fingers.</li><li>While he can usually airbrush on small veins and pores, old skin required him to hand-paint details like broken capilaries and liverspots.</li></ul>Following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>: Narrator: This is Hollywood <keyword id="29496" type="PERSON" weightage="60" keywordseo="Makeup">makeup</keyword> wizard Kevin Yagher, and these wrinkles on his face aren't real. They were actually created with a method called stippling, which deepens the crow's feet around his eyes. From sculpting enlarged earlobes to painting broken veins, it's just one of the many ways he can make performers like <keyword id="36248" type="PERSON" weightage="60" keywordseo="keanu-reeves">Keanu Reeves</keyword> look 95 years old.Kevin draws inspiration from many classic old-age makeup looks and <keyword id="406" type="ENTERTAINMENT" weightage="60" keywordseo="Movies">movies</keyword>, but he gets much of his material just by observing people in the real world. When he turned Alex Winter into Granny Preston for "Bill and Ted's Bogus Journey" back in 1991, he was inspired by his mother-in-law.Kevin: She had these great apple cheeks. She had that classic granny look to her face.Narrator: When he had to make Alex and Keanu look like they were 95 years old in "Bill and Ted Face the Music," he started with these Photoshop concepts.Kevin: With Keanu, I wanted to give him an Iggy Pop, skinnier, older, aged rocker look, and with Alex, I wanted to get him a happier, friendly disposition.Narrator: Every prosthetic-related look starts with lifecasts. Since only Alex and Keanu's bare necks, faces, and arms were visible on camera, Kevin didn't need <keyword id="6422265" type="UNKNOWN" weightage="60" keywordseo="Prosthetics">prosthetics</keyword> for their entire bodies. Instead, only the actors' heads and arms were covered in purple and green silicone rubbers. The green silicone has an oil in it that ensures it won't pull any of the actors' hairs out of their bodies. The impressions are then wrapped in temporary plaster to hold them together before being cast in Hydrocal and urethane. The lifecasting process helps a makeup artist replicate the little details of a performer's skin. But when it came to Alex and Keanu's old-age looks, the lifecasts also helped Kevin find and exaggerate wrinkles already forming on their faces and forearms.Kevin: Just kind of studied the lines of their faces and to see where, you know, droopage starts. How his jowls are beginning to form, his nasal labial folds becoming more prominent. You know, his eye sockets are deepening a slight bit.Narrator: To mimic the fine details of old skin, he added clay to the bust of Alex and Keanu's faces and forearms, which allowed him to sculpt directly on the skin. This was where Kevin could add wrinkles and veins that really stick out. And different ages don't look the same. While Kevin made Alex and Keanu look 95 here, in the movie "Blow," he made Johnny Depp look just a bit older than he already was, aging the actor from his late 30s into his 60s. As you can see, there are still aged features on his face, but less pronounced. The pores on the 95-year-old skin look more elongated, something Kevin observed and mimicked while creating texture.Kevin: As you get older, they begin to stretch with your skin.Narrator: Kevin and his team also had to create really pronounced wrinkles for Bill and Ted. They achieved this by crosshatching all over the characters' forearms and faces, but they changed up their technique on different parts of the body. Chin's kind of funny because it gets a lot of weird crosshatching wrinkles in them. And wrinkles around the eyes or crow's feet required a different pattern too, an effect that they could also achieve through stippling. Stippling is done by simply adding a latex-based liquid to the skin and powdering it. It stretches the skin and causes these wrinkles. Kevin used this technique on Pete Postlethwaite to create wrinkles around his eyes when the actor had to play a character who was hundreds of years old in "Aeon Flux."Kevin: I didn't have to do any age to him as far as like, accentuate all the things I did to these guys. He already had it in his face, but he just was wasn't old enough.Narrator: The body doesn't just wrinkle as you age.Kevin: When you get to be 95, your bones begin to show, meaning your sockets get deeper.Kevin made sure bone was visible when sculpting their hands. Because Bill and Ted were so old, he also wanted them to look arthritic, a trait that shows up especially in the hands.Kevin: You get this curved look. I can't do much about that. But what I could do is exaggerate these knuckles. You can see a fine little bone in between each knuckle, and the knuckles are swollen.Narrator: And going farther up the arm, he even made the wrist bone stand out. Once Kevin and his team sculpted all the details, they created another set of negatives and then poured silicone into those molds and sandwiched it all together. Silicone is necessary for perfectly mimicking the translucency and texture of skin. As you can see here, it also naturally wrinkles like old human skin would.Kevin: The color of the silicone is already intrinsically colored to be a flesh tone. And then you can see light through this, if I could get that at the right angle.Narrator: But it's not until additional colors are added that all the sculpted wrinkles and bones and pores begin to look realistic. Kevin started with a basic skin color palette of green and a heavy emphasis on red. Meanwhile, the thinning hairs punched into Keanu's head weren't a solid gray. They were actually a mix of white and yellow. When looking at the eyes, Kevin knew that the color around the eye sockets darkens with age, and airbrushing and shadow helps the sculpted areas really pop, making the bone structure much more visible.While veins are usually sculpted, Kevin also elevated them through airbrushing. This tool was especially helpful for the aging veins on their faces. Like on Alex and Keanu's muscle suits, Kevin can airbrush on details, like pores. But for their old age, he needed to add even more decay to the skin. These delicate imperfections, like these purple and red capillaries on Keanu's prosthetic nose, needed to be painted by hand. He has to do the same with liver spots, but they are bigger and more noticeable.Kevin: A lot of them are tiny little breakups, little tiny dots, like freckles. And then I most likely hand-paint all the liver spots. When you get to be bigger spots like from some of these pieces, I'll actually go back in and hand-paint all the bigger ones, and I'll place those exactly where I want them to be.Narrator: Tiny aging freckles also make the skin look older. He found that for some of those, he could easily get lots on at once by taking a chip brush and flicking it. For "Face the Music," Kevin added additional layers of makeup to the actors that might seem like overkill, but they really sell the look and bring out the kinds of aging details you might never think of. For example, when people get older, their noses and ears often enlarge. Kevin estimates that he had to make Alex and Keanu's ears and noses about 20% bigger than their normal size. It wasn't just the skin that had to look old. On "Face the Music," Kevin realized he could make Alex look old by giving him cataracts. So Kevin used these glassy-looking contact lenses that gave Alex foggy eyes. Now, if they were too opaque, Alex would have looked blind, while cataracts have more of a milky look.Kevin: Old man, young man. Well, almost young. Old, sort of young, old, kind of old.Narrator: And by using a simple combo of glue and thickener, he could apply fake eye bags to Keanu on set.Kevin: They're like stickers almost, and you just put them down. Then you kind of blend the edges quicker.Narrator: The attention to both the big details and especially all those little ones that only an artist could think of surprised even the actors themselves. Throughout several decades of doing old-age makeup, Kevin has found the key to getting it right, knowing that it's imperfect.Kevin: The great thing about old-age makeups is that mistakes are welcome. They're messy, and they're flawed.

How old-age makeup is designed for movies and TV

<ul class="summary-list"><li>Even with the COVID-19 pandemic slowing down production, <keyword id="2370" type="COMPANY" weightage="60" keywordseo="hollywood">Hollywood</keyword> managed to put out a slew of exciting new projects full of ambitious stunts and special effects.</li><li>From the massive battle scenes in <a href="https://www.insider.com/disney-live-action-mulan-movie-review">"Mulan"</a> to the gripping <a href="https://www.businessinsider.com/inside-wild-stunts-and-fights-of-birds-of-prey-2020-2">fight sequences</a> in <a href="https://www.insider.com/birds-of-prey-movie-review-2020-2">"Birds of Prey,"</a><a href="https://www.insider.com/netflix-extraction-chris-hemsworth-one-take-fight-scene-2020-5">"Extraction,"</a> and <a href="https://www.insider.com/the-old-guard-fight-coordinator-charlize-theron-injuries-2020-7">"The Old Guard,"</a> this year's action films pushed actors and stunt performers to undergo extensive weapons and <a href="https://www.insider.com/how-the-airplane-fight-in-the-old-guard-was-done-2020-7">combat training</a>.</li><li>With Pixar's <a href="https://www.insider.com/how-pixar-revolutionized-way-clothes-are-animated-digital-cloth-technology-2020-3">"Onward"</a> and Netflix's "<a href="https://www.insider.com/netflix-over-the-moon-review">Over the Moon,"</a> 3D-animated films found innovative ways to animate and <a href="https://www.insider.com/netflix-over-the-moon-animators-light-scenes-in-animated-movies-2020-11">light</a> their characters and worlds, the likes of which we've never seen before.</li><li>Boundary-pushing digital effects made <keyword id="406" type="ENTERTAINMENT" weightage="60" keywordseo="Movies">movies</keyword> like <a href="https://www.insider.com/dolittle-movie-review-robert-downey-jr-2020-1">"Dolittle,"</a> <a href="https://www.insider.com/every-version-sonic-the-hedgehog-1991-today-evolution-2020-2">"Sonic the Hedgehog,"</a> and <a href="https://www.insider.com/call-of-the-wild-real-life-dog-2020-4">"The Call of the Wild"</a> possible by combining CG animals with live-action humans and environments. </li></ul>Following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>.Narrator: 2020 was in many ways a rough year for Hollywood, with the COVID-19 pandemic pushing back some of the year's most anticipated movies. But the industry rallied by releasing no shortage of ambitious and exciting new projects, which brought their own set of breakthroughs in the world of special effects.From massive battle and fight sequences to some of the most realistic practical effects we've ever seen, here's a behind-the-scenes glimpse at the biggest films of the year. Three, two, one!To play the legendary warrior <keyword id="3026859" type="PERSON" weightage="60" keywordseo="Mulan">Mulan</keyword> in Disney's live-action film, Liu Yifei spent three months training for up to seven hours a day. This demanding regimen paid off. The film's cinematographer, Mandy Walker, told insider that Yifei was able to execute about 90% of her own stunt work.In preparation for the film's acrobatic fight sequences, Yifei and her castmates were schooled in everything from weapons handling and archery to military marching and horseback riding. The performers did their most dramatic midair stunts while attached to wires or beams so that it looked like their characters were flying or spinning through the air.All in all, the film's action sequences required 90 horses, 80 trick riders, 4,000 prop weapons, 281 sets of armor for the Chinese army, and 730 pieces of armor for the Rouran army.How do you create a terrifying monster out of nothing? It turns out, with a lot of clever camera and stunt work. This scene from "<keyword id="920693" type="ENTERTAINMENT" weightage="60" keywordseo="the-Invisible-Man">The Invisible Man</keyword>," where the titular villain throws Elisabeth Moss' character across the table, is actually a bunch of shots stitched together.First, the crew filmed Elisabeth as she was about to be thrown. Next, they swapped in the actor's stunt double and filmed her being thrown by another stunt performer in a green suit. Then they swapped in Elisabeth again. In postproduction, VFX artists combined the plates, then digitally erased the green-suit performer and the ropes used for the stunt.For it all to match up perfectly, the crew had to shoot the whole thing with a motion-controlled camera, which could be programmed to perform precise, repeatable camera movements.That wasn't the only bit of camera trickery in the film. On the last day of shooting, when filming this scene, the camera team had to get what they called "an impossible shot" -- one that involved passing a camera out of a moving car into another moving car, all in one smooth handoff."Extraction" marked the directorial debut of Sam Hargrave, the veteran stunt coordinator behind "Atomic Blonde" and a number of Marvel movies. Naturally, then, the Netflix thriller was full of daredevil stunt work -- just as much from the camera crew as from the actors and stunt performers.The centerpiece of the film was what the crew referred to as "the oner" -- an extended fight scene made to look like one continuous shot. Sam is familiar with big, long action sequences from working on the famous one-shot fight in "Atomic Blonde." But this one for "Extraction" required Sam to take us right into the middle of the action, even strapping himself to the hood of a chase vehicle. Just to get this one smooth shot taking us from outside to inside a car, he had to unstrap himself from that one car, run over to the other vehicle, and then repeat the same shot twice. This is what you call a stitch point, one of the invisible cuts that joined about 36 different segments into what looks like one long, seamless 12-minute take.For the third installment in the "Bill &amp; Ted" franchise, special effects legend Kevin Yagher created special bodysuits for scenes where Bill and Ted meet future versions of themselves.The process began with lifecasts of Alex Winter and Keanu Reeves' bodies, which were then used to sculpt the shape of the actors' suits, both the muscle suits they wear in the prison scene and Keanu's fat suit worn in a different scene. Kevin and his team sculpted and spray-painted tiny details like pores and veins onto the muscle suits and added bags of beads into Keanu's fat suit to get just the right jiggle in his belly.[beads shaking]The rollout of the "<keyword id="163980" type="COMPANY" weightage="60" keywordseo="Sonic">Sonic</keyword>" movie got off to a rough start when the first trailer was met with backlash from fans who objected to this Sonic's disturbingly realistic appearance. In response, the VFX artists gave the character an overhaul, making his eyes bigger, his mouth more animated, and his nose and limbs more cartoonish, more like the original design in the video games.Just about everyone liked the redesign better, including the man behind the hedgehog, actor and comedian Ben Schwartz. Ben not only lent his voice to Sonic, but also provided facial motion capture to inform the character's animation. On set, they used different stand-ins for Sonic to give costars like James Marsden something tangible to interact with, whether it was a blue stuffy or just a ball on a tripod.We saw CGI turn man into hedgehog. What about turning man into dog?In this year's remake of "The Call of the Wild," veteran motion-capture performer Terry Notary provided an incredible mo-cap performance for the movie's canine protagonist, Buck. Having Terry on set provided a raw-size reference for the other actors and gave costars someone to interact with emotionally.For Buck's design, the filmmakers used the reference of a real-life shelter dog, whose own name happens to be Buckley. To help guide the animation of the many dog and wolf characters in the film, the team brought in five other dogs for a mo-cap playtime session. But don't worry; no pups were involved in the filming of this scene, where Buck and John Thornton navigate a treacherous river.The filmmakers enlisted a stuntperson to shoot the real deal on a river in British Columbia. They then combined the on-location shots with blue-screen footage of Harrison Ford paddling on a canoe gimbal, filmed on a motion-controlled camera that allowed for some particularly cinematic, sweeping shots. Finally, VFX artists digitally added Harrison's canine friend into the mix in postproduction.The character in "Onward" that presented Pixar with the most challenges was this guy, known simply as Dad. He's introduced when Ian, voiced by Tom Holland, carries out a spell to conjure up his late father, but only half of his body appears.Pixar's animators spent a lot of time on Dad's first scene to make sure it would capture the force and unpredictability of magic. They even took turns blasting each other with a leaf blower to get a feel for what the conjuring effect should look like.From there, the challenge was giving life to a pair of pants, a task that forced Pixar to bring its cloth technology to a new level. The studio used a process called simulation to program how a character's clothing should respond to his or her movements and the different forces acting on them. But because Dad's upper half is all clothes and no body, simulation played an even bigger role than usual.To figure out how a person would move if he were missing his top half, Pixar's animators took turns putting on green suits with khakis and moving around in front of a green screen. Later, they digitally removed their top halves and used the footage as reference for what Dad's body language might look like."The Call of the Wild" wasn't the only film where CG animals figured prominently. The majority of scenes in "Dolittle" feature live-action humans and CG animals interacting in some way.The tricky part of that: making sure the humans were looking in the right places during filming. Nailing the eyelines was especially challenging with a character like Betsy the giraffe. To help guide the actors on set, the crew used stuffy props as stand-ins for the CG animals and got creative from there.Like with Betsy, for instance. They ended up sticking a giraffe head on a long pole, which got driven around on a motor cart. In another scene, Robert Downey Jr. needed to ride the ostrich Plimpton into Buckingham Palace. So they devised a gimballed riding rig that they could later replace with a CG creature, voiced by Kumail Nanjiani.The action-heavy "<keyword id="3367480" type="PERSON" weightage="60" keywordseo="Birds-Of-Prey">Birds of Prey</keyword>" involved a lot of physical preparation, with each actor's training program tailored to her particular character. Since Harley Quinn is a whimsical and unpredictable fighter, Margot Robbie's stunt work involved a lot of gymnastics.Black Canary's fighting style was supposed to be more grounded with a lot of legwork, so Jurnee Smollett-Bell's preparation combined tae kwon do and kickboxing. And Mary Elizabeth Winstead adopted judo, jujitsu, and karate to play Huntress, the deadly-accurate assassin who's all about precision.Early on in Netflix's "Project Power," there's an unforgettable scene where Machine Gun Kelly's character spontaneously bursts into flames. To figure out how to turn MGK into a human fireball, the effects team first set stuntpeople on fire in a series of camera tests.Then they came up with a breakthrough: an LED suit that would be embedded within layers of burn prosthetics. The LEDs were programmed to illuminate the actor as his character is seen exploding in flames. The gruesome prosthetics helped hide the LED strips, along with all the wires and battery packs.For MGK, this meant spending five hours in the makeup chair every day of shooting to get hundreds of prosthetic pieces glued on over 95% of his body. The process was so intensive that the rapper started just sleeping in his body prosthetics, and did so for five days straight, even wearing them for a night out on the town with costar Jamie Foxx.For Netflix's "Jingle Jangle," the biggest challenge was creating a fantastical world where magic and spontaneous musical numbers would feel right at home.To make Jeronicus fly in this scene, the crew attached Forest Whitaker to wire rigs, later removed in postproduction.Another particularly fun sequence, the kids' factory escape, was shot in front of a blue screen, with the two young actors rigged to the wooden chest. VFX artists later added in the tunnel and the giant fan and fireball.In this comic-book adaptation, Charlize Theron's character is supposed to have 6,000 years of martial arts experience, ranging from Greco-Roman wrestling to Filipino stick work. Charlize had to do intense combat training so she could look effortless handling both modern and ancient weapons.Of course, the star is no stranger to this kind of hardcore training, having done a lot of her own stunts for "Atomic Blonde" and "Mad Max." The "Old Guard" fight coordinator, Danny Hernandez, told Insider that Charlize and Kiki Layne spent four months training for the film's major fight sequence, where their characters engage in epic hand-to-hand combat inside a plane mid-flight.The payoff? The actors were able to pull off 90% of the fight themselves, without stunt doubles.How does this shot become this? Through the process of CG lighting, which was especially important to building the magical worlds of Netflix's animated film "Over the Moon."Creative lighting helped emphasize the dreamy light coming from the moon, which plays a central role in the story. In this shot, the lighting team is perfecting the big, bright moon reflections in Fei Fei's eyes. And in this shot, they're balancing the different light sources coming from the moon, the kitchen, and the colorful lanterns.These decisions about the intensity and placement of lights are laid out early on in color scripts, which are like artistic blueprints, expressing the mood of any given scene.For the scenes set on Lunaria, the artists wanted the light to be overpowering and the colors vibrant and bold to give an otherworldly aura to the moon kingdom and invoke a sense of awe in the audience.The horror movie slash political satire "The Hunt" follows a group of liberals hunting conservatives for sport, so there were lots of opportunities for practical gore <keyword id="37533" type="ENTERTAINMENT" weightage="60" keywordseo="Behind-the-scenes">behind the scenes</keyword>.But the most talked-about sequence was the climactic kitchen fight between Betty Gilpin and Hilary Swank. To make the head-to-head between these two characters feel as messy as possible, the crew designed a special set that was made to be destroyed.The set included foam floors, a chimney rigged with squibs, and a bunch of household-item breakaway props that were built to be broken, just like this glass window, which shatters in this scene. It was like a twisted jungle gym, meant to serve as the ideal backdrop for all the chaotic violence.So, did we miss anything? And what do you think were the most impressive effects of 2020?Let us know in the comments.

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How bodysuits are designed to look realistic in movies & TV

Ian Phillips,Kyle Desiderio

How old-age makeup is designed for movies and TV

Ian Phillips,Ben Nigh

A behind-the-scenes look at 2020's biggest movies

Meredith Geaghan-Breiner,Kyle…

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