astronomy

Mark Rappaport (creature effects artist)

Mark Rappaport (creature effects artist) is a astronomy topic covered in the lgStudy science library. This page brings together a partial reference excerpt, illustrations, worked examples, real-world applications and a short study plan, so you can understand Mark Rappaport (creature effects artist) rather than just read about it. In short: Mark Rappaport (born 1954) is an American special make-up effects artist. Working in film and theater, Rappaport and his company Creature Effects, Inc specialize in creating hyper-realistic make-up effects and animatronic animals, including the horse rode by Tom Cruise in The Last Samurai, and prosthetic makeup effects for 300 and I Am Legend.

Key takeaways

Mark Rappaport (creature effects artist) belongs to astronomy; place it in that map before memorising details.
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Reference excerpt

Mark Rappaport (born 1954) is an American special make-up effects artist. Working in film and theater, Rappaport and his company Creature Effects, Inc specialize in creating hyper-realistic make-up effects and animatronic animals, including the horse rode by Tom Cruise in The Last Samurai, and prosthetic makeup effects for 300 and I Am Legend.

Biography

Rappaport was born in Yokohama, Japan. At the age of three, his family moved to the Napa Valley in northern California. He graduated from Justin-Siena High School in Napa and attended San Diego State University where he earned a Bachelor of Science Degree. Upon graduation, he returned to Northern California and worked in law enforcement before meeting and working with Bob Hartman, a San Francisco puppeteer and street performer. His work with Hartman sparked an interest in creating effects for the entertainment industry and he pursued employment at Industrial Light & Magic. At ILM he worked on feature film projects, including Innerspace and Star Trek IV: The Voyage Home. From ILM, Rappaport went to work with Chris Walas and created effects for films including The Fly II and Child's Play.

Career

The Last Samurai The production of The Last Samurai required an animatronic horse capable of performing stunt sequences that would put a real horse and rider at risk of great injury. Rappaport was commissioned to build a horse that could seamlessly replace Tom Cruise' real horse for those scenes. Rappaport said "It's probably the most sophisticated horse or animatronic creature ever made for film. It cost $1.5 million to make. It gallops in place. It reared up. It fell over. And it looks completely real."

300 Rappaport (creature effects supervisor) and Shaun Smith (makeup effects supervisor) teamed up to create the world of effects for 300. This extensive body of work included prosthetic makeups, animatronic animals, props, weaponry and costume elements. In addition to the amazingly lifelike horse effects for this film, Rappaport created an animatronic wolf puppet for scenes where young Leonidas faces off with the predatory animal. "The filmmakers shot interactions of the practical puppet attacking young Leonidas in a narrow rock crevice. Veteran creature effects supervisor Mark Rappaport and his team mechanized the puppet with: eye-blinks; head, neck, brow, jaw and tongue movement; saliva tubes and glowing eyes."

I Am Legend For I Am Legend, starring Will Smith Mark Rappaport developed full body silicone makeups for the primal, aggressive beings known as "Darkseekers". The translucent makeup creates the look of zombie infection and a spiked metabolism desired by director Francis Lawrence. The makeups were to be applied to very thin performers to create the look of zero body-fat and protruding veins. The makeups included rotten teeth dentures and fully dilated pupil contact lenses. In addition to the creature makeups, Mark's studio created animatronic puppets of the likeness of "Sam" the German Shepherd, a digitally scan model for the infected dogs, scar and knife wound moulage for Will Smith and numerous other effects for the production.

Other projects After designing and producing a rideable animatronic horse for The Chronicles of Narnia: Prince Caspian, Mark's Studio created a second ride-able horse for Bedtime Stories. The motion and animatronic features of the two horses were enhanced and refined for True Grit and further developed for Cowboys & Aliens. The animatronic horses are used where the action (if performed by real horses) might put the riders or horses at risk of harm or injury.

Filmography The Revenant (2015) (animatronic horses) Cowboys & Aliens (2011) (animatronic horses) True Grit (2010) (animatronic horses) Shutter Island (2009) (blood effects) Dance Flick (2009) (makeup effects and animatronic effects) Don't Look Up (2009) (makeup effects and animatronic effects) The Awakened (2009) (creature effects) Bedtime Stories (2008) (animatronic effects) Soul Men (2008) (makeup effects) Meet the Spartans (2008) (creature effects supervisor) Bratz: The Movie (2007) (creature effects) Shooter (2007) (animatronic effects) The Chronicles of Narnia: Prince Caspian (2008) (creature effects) I Am Legend (2007) (creature effects supervisor) The Comebacks (2007) (animatronic effects) The Departed (2006) (blood effects) Epic Movie (2007) (creature effects supervisor) 300 (2006) (creature effects supervisor) In the Name of the King: A Dungeon Siege Tale (2007) (animatronic effects) Date Movie (2006) (creature effects supervisor) Flicka (2006) (animatronic effects) Four Brothers (2005) (animatronic effects) The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) (animatronic effects) The Alamo (2004) (animal props) The Last Samurai (2003) (hero animatronic horse) Seabiscuit (2003) (animatronic effects) Terminator 3: Rise of the Machines (mechanical props) Scooby-Doo! The Mystery Begins (scan reference and eyeline models) The Core (bird effects) Punch-Drunk Love (gloves for Adam Sandler) Scary Movie 2 (makeup effects and props) No Such Thing (makeup effects) Pterodactyl (creatures and makeup) Dragonfly (animatronic baby) Backlot Murders (makeup and props) T2 3-D: Battle Across Time (animatronic mechanical arms) Predator 2 (weaponry) Army of Darkness (animatronic skeletons)

See also Prosthetic makeup Special effect Animatronics In-camera effect

References

Sources https://web.archive.org/web/20110714155359/http://www.narniafans.com/archives/tag/mark-rappaport http://www.losangelesopera.com/artist/rappaport.mark.aspx Animatronic reindeer replace living variety in Narnia film 300: The Set Visit!

External links Creature Effects, Inc. Web site Mark Rappaport at IMDb

Illustrations

Worked examples

Example 1 — a first encounter with Mark Rappaport (creature effects artist)

Start with the simplest possible case. Write down what Mark Rappaport (creature effects artist) claims or describes in one sentence, then invent the smallest concrete situation in which that sentence is true. In astronomy, the smallest case is usually a single object, a single equation or a single measurement. Check that every symbol or term in your sentence has a meaning in that case.

Example 2 — changing one variable

Take the situation from Example 1 and change exactly one quantity: double it, halve it, or set it to zero. Predict what should happen to Mark Rappaport (creature effects artist) before you calculate. Comparing your prediction with the result is the fastest way to find out whether you understand the idea or only the words.

Example 3 — an exam-style question

Typical questions about Mark Rappaport (creature effects artist) ask you to (a) state it precisely, (b) apply it to given data, and (c) explain a limitation. Practise writing all three answers in under five minutes; the third part is what separates a full-mark answer from an average one.

Applications of Mark Rappaport (creature effects artist)

In research: Mark Rappaport (creature effects artist) appears in astronomy research whenever the underlying quantities have to be modelled precisely. Papers usually cite it as a starting assumption and then explore where it breaks down.
In technology and industry: Engineering practice reuses Mark Rappaport (creature effects artist) in design rules, simulations and safety margins. Knowing the idea lets you read a specification sheet and understand why the numbers look the way they do.
In the classroom: Mark Rappaport (creature effects artist) is common in secondary-school and first-year university syllabi. It links to neighbouring topics 1954 births, American special effects people, Animatronic engineers, so understanding it makes those chapters shorter.
In everyday life: Look for Mark Rappaport (creature effects artist) outside the textbook — in sport, cooking, traffic, electronics or the sky above you. An example you found yourself is remembered far longer than one you were given.

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How to study Mark Rappaport (creature effects artist) in 20 minutes

Read the reference excerpt below once, without taking notes.
Close the page and write down what Mark Rappaport (creature effects artist) means in your own words.
Compare your version with the excerpt and mark what you missed.
Work through the three examples above with pen and paper.
Explain Mark Rappaport (creature effects artist) out loud to somebody else — or to Teacher Smith in the lgStudy chat.

Frequently asked questions

What is Mark Rappaport (creature effects artist) in simple terms?

Why does Mark Rappaport (creature effects artist) matter?

Because it connects several astronomy ideas at once: it gives you a definition you can apply, a quantity you can calculate, and a way to check whether a result is plausible.

How should I study Mark Rappaport (creature effects artist)?

Read the excerpt, restate it from memory, then work through the examples and applications listed on this page. The five-step study plan above takes about twenty minutes.

What does this page cover?

It gives you a compact reference excerpt plus original lgStudy explanations, examples, applications and study material on Mark Rappaport (creature effects artist).