AN EVENING WITH... MONTSE SANFELIU

"God's Crooked Lines" by Oriol Paulo / Bárbara Lennie ©Nostromo Pictures

Montse, you have worked on prestigious sets with very high continuity demands. What was most surprising or frustrating when transitioning from school or the studio to your first major shoot with HD effects and makeup?

- Montse: What surprised me most when I entered the world of cinema was the enormous number of people working in different departments to make a film. From directing, production, makeup, hair, wardrobe, and art, etc... there are so many professionals behind every film. It's a job where each department contributes its part to make the story work.

Perhaps the biggest difference compared to school or the studio is time. On set, we are always in a hurry: actors need to be processed quickly because time is money. It's a very intense pace.

With the arrival of high-definition cameras, makeup products and working methods also changed a lot. We went from thicker textures to much finer products, often in the form of gels or more transparent materials. It became very important to work well with transparencies and for the product to be virtually imperceptible. In the case of prosthetics or effects pieces, the edges have to be extremely thin to integrate completely with the skin and for the camera not to detect them.

How do you balance application speed with the extreme realism required by HD and cinematic lighting?

- Montse: On set, time is critical, so working quickly is essential. You have to be clear about the makeup you're going to do and work in a very organized way from the beginning. Know step by step what you are going to do and have all your materials prepared and organized. This prior preparation is what allows you to work efficiently.

What technical change or advancement in the world of SFX in the last 5 years do you consider the most revolutionary or the one that has most facilitated your work and why?

- Montse: One of the biggest advances in recent years in makeup and SFX has undoubtedly been the use of bondo prosthetics.

This material has greatly changed the way we work because it allows for something fundamental on set: speed without sacrificing realism. Bondo prosthetics can be prepared and applied very quickly, adapting perfectly to the skin and creating very believable finishes on camera.

Thanks to this type of prosthetic, we can work faster, be more efficient, and maintain continuity, which is essential in any production.

Preparation is Key: For a novice makeup artist, what is the biggest challenge when integrating a prosthetic into the skin, and why is it crucial to have a fine, almost imperceptible edge on a small prosthetic?

- Montse: The most common problem is that the edges are visible, lifted, or have a different texture, which immediately breaks the illusion on camera (especially in HD). This usually happens due to excess material, adhesive application, or a lack of work on sealing and color. That's why it's crucial for the prosthetic to have a very thin, almost imperceptible edge:

It allows it to blend with the skin without creating a "step" and integrates naturally.

In short, the edge is what sells or ruins the prosthetic. You can have an incredible sculpture, but if the edge is visible, the effect is no longer credible. Therefore, mastering the blending of edges with the skin is one of the key skills in FX.

 How does the texture and fineness of a good mold influence the final result and the ease of working in delicate areas like the lip or fingers?

- Montse: The quality of the mold is absolutely crucial, especially when we talk about delicate areas. A good mold, with fine texture and extremely thin edges, directly influences two key aspects: the realism of the result and the ease of application.

On the one hand, the texture means that the prosthetic does not look artificial, so time must be dedicated to creating pores, wrinkles, and irregularities. 

In areas like the lips or fingers, this is even more critical: These are areas with a lot of movement, so any extra thickness is noticeable and can peel off. You need prosthetics that fit like a "second skin," almost imperceptible.

In short, a thin and well-textured mold not only improves the finish, but also greatly facilitates your work.

If a lesion or wound suddenly appears in the script, what is your preferred method for obtaining a quality prosthetic quickly, avoiding having to sculpt from scratch?

- Montse: The most practical and effective solution in these situations is to always have pre-filled bondo prosthetics ready to use. This way, in case of any on-set emergency, you can apply and make them up in a matter of minutes, without the need to sculpt or create from scratch.

"The God's Crooked Lines" by Oriol Paulo / Bárbara Lennie ©Nostromo Films

How do you adjust the color and texture of an SFX wound knowing that the set lighting can "kill" the realism if not compensated? Do you work with the director of photography?

- Montse: Yes, I always work hand-in-hand with the director of photography. It's essential. Knowing how they are going to light the scene, whether warm or cold light will predominate.

The continuity photo is not just a photo; it's a document. What visual elements (besides the wound) should students include in their photographic archive to ensure continuity the next day?

- Montse: A continuity photo is not just an image; it's a complete continuity document. It's not enough to take a photo; it's essential to accompany it with detailed notes on exactly how the makeup ended that day.

If you could only bring 5 items to a set for prosthetic SFX touch-ups (besides your color case), what would they be and why?

- Montse: My alcohol-activated makeup palettes, Prosaide®, cream and HD powder mattifier, artificial blood of various types (fresh, coagulated, and dry), and my brushes.

Considering students and novices who dream of working in film and television, what essential message or advice would you give them to build a solid career in the world of FX?

- Montse: I believe that for anyone who dreams of working in film, there are three things that are truly essential: knowing how to work in a team, being consistent, and never stopping learning.

This is a very beautiful profession, but we don't work alone; we are surrounded by other departments. Learning to listen, adapt, and contribute within a team is fundamental. Many times, that's what makes the difference.

Consistency is also very important. It's not about doing something incredible one day, but about being there constantly, continuing to practice, making mistakes, and improving little by little.

There is always something new to discover or improve. One of the best ways to grow and learn is to follow the work of the many national and international technicians as role models and see how far you can go with skill and passion.