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Composites Artist find hardly any work in the Filmindustry
"For a make-up maker it is self-evident to make him look better, but it is a real challange to hide facial features," says make-up maker Ma Saint. For eight years he has been working as a part-time performer in the movie business, mostly improving the actor's physical qualities, but sometimes he also has the chance to make them look old or cicatrised.
When working in the movie, I'm asked to imitate artists with horrible wounds like burn ed bodies or to aging them artificially," heds. There' s also relatively little popularity in the sector for such makeup abilities, since most movies deal with romanticism or drama rather than fear and drama.
"There' s hardly any gruesome or fighting films made every year that need a specialist effect artists. Every movie is a maximum of a month's work, so it's difficult to make a livelihood from work," says Ma Saint. As the years went by, the effect making industries became more and more demanding, using silicon, various attachments and adhesives.
The education often came from abroad, e.g. the stage designer Maung Myo Min and some other artist were trained in 2001 and 2003 by a southern-Koreaan instructor in specialized effect music. Later, the film maker applied his skills in gruesome 2006 movies like Kyaut Tat Thu Myar Ma Kyi Ya (Don't Look If You Are Fearful) and Nga Pan Si Pyan Pay (Return My Bouquet).
He had to turn common characters into spirits and wounded humpback whales in these movies. However, the small size of the country's movie industries and the rareness of scary movies have hampered the area. "In the face of a scarcity of silicon, man-made mustaches and whiskers, industries have neglected to get used to it.
There are also very few who work in this industry," says Ma Saint. Custom can be costly and can take a long period of inconvenience to the penalty plan that most movies in Myanmar are under. In order to save edges and edges, some movies exclusively trust cosmeticians.
"The cosmetician herself turns a young lady into an old lady in some movies. You should use a visual effect designer to get a real look from top to toe," he added. In order to reduce costs, filmmakers often try to prevent complicated sequences that require the use of visuals.
But there are a few filmmakers who are willing to keep their heads out if necessary to make these films," he says. Drawings, sculptures and the artwork of visual effect are connected, says the musician. As a result, he quickly got used to it. Since the 70's U Aye Than has worked as a movie producer's specialist effect artists and has been part of many Oscar-winning movies like Thingyan Moe (Thingyan Rain) and A Twae A Tar (A Strong Tender Bond).
He was also a talented visual artists who created scarring, burning and the occurrence of old-age in the actors. The idea and the ability to apply make-up are also a must," says the musician.