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(Suspenseful Music) (Suspenseful Music) My name's Gabe Bartalos, I'm a special makeup effects artist and creature constructor. And me and my studio Atlantic West Effects got pulled into Army of the Dead to create a zombie horse for this film. Zack and I talked about it and we all liked the idea that it was a police horse. Something that was maybe a foot patrol in Vegas, you know keeping the riff raff under control. We knew that wouldn't be slimy and dripping. We looked at pictures of when animals specifically deer and horse decay. The skin begins to deteriorate and what's left is all the veins and arteries. It becomes this like mesh of moss. So we used a lot of organic materials suspended in latex infused into the skin. There's the sculpting of the muscles of the bones of the skin. The way I paint it, the way I weather it. The challenges of a horse, the sheer velocity of the animal is a real thing to consider The aging on his.
And maybe just cause this has on this side, it has these little pieces of dry meat. Mm hmm. This looks amazing That's all working there. Okay. Action! (Footsteps Running) There's a real horse under there. His name is Ace. Me and my team are animal lovers. So we have to take care with this horse We need to build some sort of cooling tent or indoor, like super cold place that'll get the horse pretty cool. When you're working with animals they can't talk, they can't communicate They have their own way of gesturing, but it's not the nuances we need to know when we're working with actors. So a lot of care was taken and many many tests to make sure the suit is comfortable on him. And really at the end of the day the more comfortable Ace is, it's better for us because we get more shootings time. We start at the beginning where the raw canvas. It's called super spandex, it's four way stretch. It's very tough, but we reinforce it. We did test fittings with Ace. Once we had a pattern, we liked we actually put it on Ace and ran it around him. We looked at our stress points.
We looked where it was baggy and we literally marked it. Like we were tailoring a suit. Maybe if we did that, just like an inch deep and then we dust it you know, so the ears, the mane, and part of the tail. So it just kind of pulls it all together. Nice. We brought it back to my studio and literally snipped, tucked, put patches wedges, and once we felt good about that, I began the actual hands-on artwork of sculpting the bones, the muscles the foam, all of them are made out of foam rubber. And they're backed with more of the super spandex. The under suit is a mosaic of zippers, patches, sewing. It's really the engineering. And I think the cleverness of the suit of how it goes together. I like to think that if I ground myself in reality, as much as I can, that that's going to subliminally come through. So when you're seeing the horse, you're like, well, yeah that's where the bones would be moving. The ribs would crunch like that the muscles would shift and its great, because it's still has the flexibility we want but it has that science to it that if a vet is looking at it is going to go, that's it.
That's exactly what that would look like. Except it's reanimated. Really beautiful though. In a gross way. (Suspenseful Music) (Scream) (Screams)
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