For most, a reference to ‘Silicone Valley’ would conjure up images of computer chips and circuits. For others, it could conjure up thoughts of wounds, and scalpsÉespecially if you were Caligari Studio. Caligari Studio, fronted by Louise Mackintosh, Russell Cate and Raymond Mackintosh, is a Toronto-based special effects makeup and prosthetic company formed just over a year ago. Previous to Caligari, the group worked independently and were subcontracted to various projects through fxsmith.

Collectively the three have worked on numerous films ranging from jfk and Truman (for which they received a 1996 Emmy nomination for best makeup), to Vincenzo Natali’s psychological thriller Cube.

The special effects makeup and prosthetic experts have watched the industry change around them. The demand for digital, and the influence of technology has affected not only the special effects industry but the entire business.

‘You can see the difference between computer animated characters five years ago and now,’ says Louise Mackintosh. ‘Things have weight, they have muscles, they have ways of moving, and I think that it won’t be long before [they become dominant].’ However, she continues, ‘it is still cheaper most of the time to deal with the real actor and prosthetics at the moment.’

Therefore, as the world of digital effects grows, so too does the world of traditional special effects makeup and prosthetics. During their down time, Caligari conducts research into special effects materials. The shining star in prosthetics is currently silicone (Caligari uses a platinum cure silicone). One advantage is its transparency.

‘With silicone you can incorporate the color,’ says Mackintosh in reference to the use of silicone with actors’ skin as scars or a wound. ‘This provides an advantage over latex prosthetics that are a yellow-white color and require painting, which can be time-consuming and unrealistic. You can also incorporate things like tiny capillaries and everything else right into the moldÉ’

Mackintosh holds a piece of ‘skin’ that acted as a waist wound. ‘This one was particularly fun because we put a foam in [the entry hole] and soaked it with blood so when [the actor] pressed on it, it oozed. It was cool!’

Molding flexibility as well as the ease of application becomes an important factor when dealing with a set budget for time and money. The self-sticking silicone prosthetic has allowed for quicker application as well as increased comfort and safety.

Mackintosh holds up a self-stick prosthetic of a gruesomely gnarled and meticulously crafted neck used in Ken Russell’s Dogboys. ‘The self-stick prosthetics are particularly good because they remove the whole requirement of glue. It’s been an experimentation to find a good safe glue to use.’

Safety is an important concern to Caligari. ‘The glues and the removers are very hard on people’s skin, so you want to use as little as possible.’

In addition, she says, ‘a lot of people are allergic to latex and a lot of people are sensitive to materials that are used in latex prosthetics. With silicone prosthetics, you’re not going to have a reaction.’

The only drawback Caligari has found with silicone is that the movement of the material can at times be unrealistic. However, this is not a problem exclusive to silicone. Mackintosh points out that latex may tend to buckle. ‘You see it sometimes if you’re watching, say, Star Wars, and someone moves a certain way, you’ll see that bunch-up wrinkling.’

Caligari is attempting to solve this problem by experimenting with a silicone and foam combination which will hopefully create a realistic movement of the prosthetic with the actor.

In addition to silicone experimentation, Caligari has dabbled in gelatin-based prosthetics. ‘We used some gelatin on Truman and had problems with it because [the set] would get very hot,’ explains Mackintosh.

Humidity can cause disruptions in the special makeup, and Caligari is attempting to make it more stable.

‘There’s some success in the States. One of the f/x guys down there has had some success stabilizing it, so we’re going to have to try that.’ As always the process of finding the perfect prosthetic material requires continuous trial and error.

Caligari has put a great deal of time and energy into research and design of special effects makeup and prosthetics. Numerous hours are put into an effect that may only be onscreen for a few seconds. However, those few seconds may set the tone of a film, connect the viewer with an actor, or more importantly, make the audience pause and ask, `How did they do that?’

Matthew Harrison is a second-year media writing student in the Radio and Television Arts program at Ryerson Polytechnic University, Toronto.