All language subtitles for Face Off - 5x12 - Flights of Fantasy.HDTV.CRiMSON.en

Previously on Face Off...

Tate's dark elf
brought him his fourth win.

- Really smart decision.
- Thank you so much.

And Laney left the competition,

resulting in a shocking twist.

No one is going home tonight.

Now only four artists remain.

And tonight,
they'll soar to new heights

for a shot at the finale.

No way.

This is the most
pressure I've felt

because I want to win
this competition.

And some artists' hopes
will be shattered.

Oh, no, no, no, no!

I can't believe
this is happening.

I realize I'm biting off
way more than I can chew.

This could definitely
be a train wreck.

This is a bad time
to be phoning it in.

I am astonished.

You absolutely amaze me.

In the end,
one will win a VIP trip

from Kryolan
Professional Makeup

to one of their 85
international locations,

a 2013 Fiat 500,

and $100,000.

Who will be the next
great name in movie magic?

Only one will win Face Off.

Sync and corrections by n17t01
www.addic7ed.com

How are you today?

- Still here.
- Yeah.

- That was brutal last night.
- Oh, my gosh.

The last spotlight challenge,
the judges were very harsh.

We've got one more chance.

I mean, there's three spots
and four people.

The top four is where I made it

in season three
before I got eliminated.

Even though there are three
other talented people here,

that's not happening again.

I'm making it all the way
through this time.

I have no intention of giving up
no matter what I have to do.

We roll up
to the Burbank airport,

and everyone is very aware
that this challenge right here,

this is what determines
who makes it to the finale.

So we're all very much on edge.

Hey, guys.

Hey.

Welcome to your last spotlight
challenge before the finale.

Throughout history, humankind
has been fascinated with flight,

and we've seen it
portrayed in creatures

from all types of film,

from the Wizard Of Oz's
flying monkeys

to the harpies
in Clash Of The Titans.

And before I tell you more
about your challenge,

I want to introduce you
to a special guest.

He's the expert
host of Animal Planet's

Savaged and Into The Pride.

Please give a warm welcome
for Dave Salmoni.

- Hi, Dave.
- How are ya?

- Hi. Good to see you.
- Nice to see you.

So who is this little guy?

This is an umbrella cockatoo
from Indonesia.

- Can I?
- Want to try to hold him?

Oh, yeah.
Nicely done.

Put your elbow in a little bit.
There you go.

Please don't bite me.

Oh, she thinks it's funny.

That's the best thing
about these guys,

is the fact that they
are such good pets.

And it's also the worst
for them as a species

because they've been
getting stolen out of the wild.

Hi.

The reason
they're so liked as pets,

it's one of the only
kind of birds...

- Hi.
- That like to be snuggled.

- Really?
- Yeah.

Okay, let's go back
to Dave now.

- All right.
- Thank you.

As you may have guessed by now,

birds and flight are the basis
for your spotlight challenge.

Awesome.

This is a silvery-cheeked
hornbill.

Aw.

You find them in East Africa.

This is an Egyptian vulture.

His eyes are designed
to see carcasses a mile away.

Wow.

This is
a blue-throated macaw.

Their beak is so dexterous
that they can actually

take a grape
and just peel the skin off.

No way.

I'm excited
because I have an affinity

for animals and birds,

and anything nature-related
I like to sculpt.

So this is interesting to me.

This guy's a Chilean flamingo.

And they get their pink color
from their food.

Plankton, algae,
crustaceans, shrimp.

And that's what
causes the coloring.

There's a pigment in there
that makes 'em this color.

All the birds
are so cool looking.

I love animals, so I'm excited.

For this spotlight challenge,

you will each select
one of these birds

as an inspiration for your
very own human-bird hybrid.

- Wow.
- Okay.

- Oh, cool, okay.
- All right.

Birds are not
a very easy makeup to do

'cause most birds
are covered with feathers,

and you can't sculpt feathers.

You have to sculpt everything
that's under the feather,

and then figure out
how to lay it on top of it.

That's a tall order.

All right,
let's choose your birds.

Laura, you're first.

I'll go with
the umbrella cockatoo.

- Tate?
- Egyptian vulture.

I've always wanted to do
a vulture creature.

It would be
a really interesting sculpt.

Roy, you're up.

I'm gonna go with the macaw.

- And Miranda.
- The silver-cheeked hornbill.

All right, it's time for
you guys to spend a little time

with your birds and start
working on your designs.

Dave here will be
coming around to tell you

more about your birds

and answer any questions
that you might have.

I'll see you guys later
back at the lab.

- Bye.
- Thank you, guys.

You can see he's not
posturing to be friendly.

- He's posturing to bite.
- Oh, yeah, I see that.

We start doing our sketches,
and Dave tells us a little bit

about each of the birds,
which is very helpful.

I notice that the bottom beak
goes up into the top one.

It fits in underneath the sort
of overbite that they have.

It helps 'em manipulate
what they're eating.

The blue-throat is
the most rare of all the macaws.

My idea is to make this
a military bird

that does surveillance
in the jungles.

If you have a frickin'
bird-human hybrid,

it's got to be
a government experiment.

And since this is gonna be
a human-sized bird,

it's got to have
full, long realistic wings.

So this is gonna be
a very difficult challenge.

Beautiful bird.
He really is.

- I'm really happy to have him.
- All right.

Yeah.

He's making me show you
his big puffy head.

- Hi.
- Yeah.

See the yellow underneath here?

Yeah. I was also gonna ask,
do they molt?

Do they lose feathers?

They do have a molting time,

and, you know,
look a little rugged.

Dave tells me a lot

of very good stuff
about the cockatoo.

For one, males have blue
around their eyes.

Secondly, they get
to a very ripe, old age.

So my concept is an older bird

who's been molting
and even balding.

It's not just a bird makeup,
but it's an old-age makeup too.

It is supposed to be
a bird-human hybrid,

and there's always a fine line,

like should you
go more human with it?

Should you go
more bird with it?

And I feel like my bird
needs that human quality.

The most unique thing is that

big cask on the top
of their head.

You see how the front of it's
kind of all bashed up?

That's really typical.

They smash that thing
on everything.

So they always look
all beat up.

They're all very unique.

This was actually one of
the birds that I was instantly

attracted to at first
when they came out.

When you start thinking about
translating it into a makeup,

it gets a little tougher
because I have to incorporate

this bird's big cask,
and also his features

don't lend
to a human face at all.

And I think it'll be
a challenge to get

a human face to look like
this particular bird.

This is one of my favorites.
I'm a real vulture lover.

I'm a big fan as well.

The thing that's unique
to them is that sharp beak.

Vultures' beaks
aren't typically that hooked,

sharp feature, so that's
very Egyptian vulture.

I really want to focus
on having that hooked bill,

as well as the crest,
which is very noticeable.

So I know early on
I got a lot to do.

Day one in the lab, we only
have 5 1/2 hours to work.

I start sculpting this

giant full head, chest,
back, and arms.

I know the judges are going
to be expecting

something fantastic,
and I want to give them that.

It's a huge piece,
and I have to

build it out bulky
because I want to actually

take real turkey features
and push them into the foam.

This is the most pressure
I've felt because

I'm one challenge away
from being in the finale again.

My creature
is going to need a cowl,

a facial appliance, and a foot.

All of my pieces are going
to be run out of foam,

except the foot
is gonna be out of poly foam.

The goal today
is to have everything

blocked out
and partially detailed,

so by tomorrow, I can run
straight into the molding room.

- Wow.
- Yeah, I know.

It's gonna be a big one.

Tate has this design,
which is just humongous.

I wouldn't be able
to pull that off that quickly.

I'm really hoping
that I can manage my time

a little bit better this week.

I don't want to put forward
another thing

that just looks incomplete.

So this isn't gonna be an
overly-complicated character.

I'm just going to sculpt
one full face and neck appliance

and fabricate
feathers into a wig

to give it the same kind
of silhouette the bird has.

I've got a lot to do today.

I want to get
as much of the fabrication

out of the way that I can.

I want to definitely
get the feathers

knocked out of the way first,
and so I take the L200

and get my feathers cut out,
get 'em sanded down real quick.

The first time I did wings,
it took me 2 1/2 weeks

to just make the feathers.

This time,
I got less than 20 hours

to make the entire thing.

So I'm working
on my giant sculpture,

and it's getting
bigger and bigger.

And then I realize,
it's way too big.

I'm thinking that there's
not enough time

to mold and paint
this massive piece.

I've probably got 200 pounds
of clay on this mannequin,

and I still have hands and feet
and everything else to make.

So I'm biting off
way more than I can chew.

In this competition,
you can go big,

but you
have to finish your work

or the judges
will send you home.

Suddenly, I could
feel my heart beating,

and I'm thinking,
"I've screwed up."

This could definitely
be a train wreck.

Coming up...

Oh, no, no, no, no!

I can't believe
this is happening.

I had such problems with this.

You absolutely amaze me.

This is a huge amount of work
to even attempt.

Day one in the lab,
I'm starting to look

at my creature and be like,
"Holy crap!

I'm biting off
way more than I can chew."

It's a ridiculous amount
of work, and I'm definitely

taking some risks,
but I didn't come here to quit.

Season one, I was a finalist,
and I want to relive that,

and I want to win
this competition.

But I've got to focus
on this challenge first.

Hey, guys,
here for a walkthrough.

- Hey.
- Hey, guys.

Hey, Miranda.

Tell us about
your human-bird hybrid.

I'm doing
the silvery-cheeked hornbill.

I'm gonna take a wig,

and then
lay the feathers into it,

rather than sculpting a cowl.

I really want to make sure I can
finesse my sculpture this week,

'cause last week,
I did something

that I really wasn't proud of.

So I want to redeem myself.

Good.

- Hey, Tate.
- Hey, what's going on, guys?

- How are you?
- So yeah.

Okay, tell us about
your human-bird hybrid.

Well, my bird
is the Egyptian vulture.

I want to have the bottom jaw
where it sits

under the bottom jaw
of the actor

so the mouth can move.

When you finally
get this out in latex,

vacuform a little plastic cup,

and glue that inside here.

- Like a little chin piece.
- So a chin piece.

And so when you open the face,
it literally--

you get pressure
from the entire thing.

And it would cause
all of this to--

- Right.
- That's genius. Thank you.

- Hey, Roy.
- Hello.

Good to see you.

I chose the blue-throat macaw.

My idea is a military bird

that an army
uses for surveillance.

The last time
I was on the show,

I came up with an idea
of making wings.

I never got to make 'em on
the show, so it's like, "Great.

I get to make wings now."

And it's taking the EVA foam,
and you cut 'em out,

and you layer 'em
almost like...

- Oh, wow.
- ...an accordion.

So you actually spread it
with your arm,

- and they look fantastic.
- Oh, cool.

Then how are you
going to attach them?

The actor actually
wears it like a jacket.

- Very good.
- Well, thank you.

Well, I got
the umbrella cockatoo.

These birds can get very old.

Like, they can get to,
like, 60 or 70.

And I thought it might be cool

to have an older bird.

Now, since your bird
is primarily white,

it needs a break of color
to create a little contrast.

Mm-hmm.

How are you
going to incorporate--

Are you gonna add colors in?

You add feathers to it
or white feathers...

- Well, the skin is...
- ...totally or--

...gray, and then
around the eye will be blue.

And then there's yellow
right under the wings.

- Very good.
- All right, I can't wait.

- Good luck, Laura.
- This is a fun one.

Thank you.

I wasn't originally gonna
add a lot of bright color,

but Mr. Westmore encourages me
to punch out those blues,

and punch out those yellows.

And now I feel more
comfortable with that idea.

All right, guys.
Cannot wait to see this.

- Good luck.
- Yes, good luck.

- Thanks.
- Thank you.

- Thank you.
- Bye, guys.

After I get the feathers made,

I got to get a core made
to do my sculpture on.

So what I decide to do
is take a poultry wire

and shape out the form
that I want to make.

Then I'm gonna cover that
with plaster bandages

and then do a layer
of Ultracal on it.

This will definitely
be a lot lighter

than trying to do a big,
you know, heavy core piece.

I'm in good shape
at this point.

At the end of day one,

I'm feeling like
this is a lot of work.

I'm doing a face,
and a cowl, and a foot,

and I've got to fabricate
two 4-foot wings for this,

and on top of that,
make incredible makeup.

That is nearly
impossible to do.

Time, everybody.
Let's go.

There is no room
for error tomorrow,

and that terrifies me.

Day two, and we're in the lab
for 9 1/2 hours today,

and I got a lot to do
and little time to do it in.

I got to get
all this sculpture done.

I had the idea of getting
a tongue depressor

and notching out
a little feather shape

so I'm not sculpting out
each individual feather.

So that's a little added bonus.

And so, yeah,
it's going really quick.

I gave myself
the first hour of the day

to finish
the Egyptian vulture sculpt,

and then I have to go
to the molding room.

This is a gigantic mold
that will take up a lot of time.

So I just hope
that I can keep up

with the bar
that I set for myself.

I'm sculpting
the silvery-cheeked hornbill,

and I feel like
I have a lot to do.

And I know I'm taking
a lot longer than I should be.

I finally have to
pry myself away

to get started on these hands.

And I get these blocked out
and sculpted really quickly,

and they look really good.

I go back to the detail
on the face,

and I'm really
into this sculpture,

and I just can't seem to stop.

The clock is ticking,
and I don't want

to end up in a place
like I was last challenge,

but I still have things
that I feel need to be fixed.

And it's just very hard
to put it down

when you know that
it could be so awesome.

Everybody
is in that mold room but me,

and so now I'm worried.

This could be bad.

This mold is the heart
of the makeup,

you know, of my piece,
and I have to get this mold out.

I'm almost to the end of it,

and I see out
of the corner of my eye...

Oh, no, no, no, no!

Ah!

Fuck!

What the fuck happened, man?

It just slid.

My heart just sank because

there goes my chances
right out the window.

Do you have enough hard stone,
do you think, that--

- Nope.
- No?

It hasn't even set yet.

I can't believe
this is happening.

I feel like my chances
of being in the finale

are shattered along
with the bottom of this mold.

I don't know
what I'm gonna do now.

I might as well go home
and pack my bags right now.

Oh, no, no, no, no!

Ah!

It's day two,
and I feel like my chances

of being in the finale
are shattered

along with the bottom
of this mold.

As crushing as this is,
I can't give up on it.

I got to figure out some way
to solve this issue.

I can at least pour
the front half of it.

And if I have to, I can do
the back of it with fun fur.

And if it isn't that bad,

I can flip it over
to do the other half.

The time is just slipping away.

And so I go ahead
and make the front half of it,

and I do it really quick.

- Just gonna roll it over.
- Roll it over?

That's what we're gonna do.
Yep.

I get Tate to give me a hand
to turn my mold over,

and see what the damage is
on the back half that fell.

This back half
is just totally fucked.

Ah!

Well, maybe not.

There's some cracks,
and there's, you know,

some pieces
that have pulled up,

but the detail's still there.

If I can take it and do
a quick slap coat and then

put some more burlap on it,
I may be able to save it.

So I'm gonna grab my stuff,
and I'm gonna go mold it.

Even though I'd like
to keep detailing

on it for probably
a few more hours,

as always, but it's time
to get in the mold room.

My molds for this
bird-human hybrid are done,

and I have to start
working on the cockatoo's wings.

I have to cut out
every wing individually,

and there's at least
eight feathers per wing.

Then I have to sand
each feather.

And it just taking way more time
than I thought it would take.

It's only halfway done,

so it doesn't look good at all,
and that worries me.

Ugh!

It's nerve-wracking.
Extremely nerve-wracking.

My mold is setting,
and now I really want

to make the beak move,
because I've gotten some crap

in the past from Glenn
for making static stuff.

So I vacuform the beaks

to make them light enough
to move.

Mr. Westmore gave me
some really good advice

about getting the beak to move.

So I'm making
a vacuform chin piece

just to give it infrastructure,

something for the foam
to push against.

Just hold together
a little bit longer.

If I don't get the mold open,
I might as well give up.

Come on, don't break on me.

And so I start taking
and start putting the pry bars

in the pry points,
I start trying to get it up,

and it's starting to crack.

Come on.

I normally wouldn't do
anything close to this stupid

as far as making a mold, but,
you know, desperate times

calls for desperate measures,
and I'm desperate.

I finally get it popped open,
and, you know,

there's cracks in it,
but I'll make that work.

There we go.
That's what I'm talking about.

- Whoo! Thank you, guys.
- No problem.

I've been trying the best
I can to salvage this makeup.

There's literally
just duct tape

and pins holding
this thing together.

I still got a lot
to do tomorrow.

It's gonna be
a long five hours.

Because I spent
so much time sculpting,

I'm really behind on everything
else that I need to get done.

And of course, I'm having
trouble with my face mold.

Can you help me
open this, Laura?

Oh, never mind.
I got it. Thank you.

I finally get it popped.

I run out to go clean it,

and there's
like three minutes left.

Oh, my God.

That's time.
Let's get out of here.

I'm able to get my face
baking in foam latex,

but I couldn't
get the hands ready.

So I'm going to have
to use standard latex,

which sucks because
they're not gonna move as well,

and they're not gonna
be the same shape

like I sculpted them.

I just hope that everything
comes together tomorrow.

- Holy crap!
- Oh, good.

Yeah, Roy!

Yay!

It's application day.
We've got four hours in the lab.

At least I have
something to work with.

It's rough looking.

There's all these seams
everywhere,

but I'm gonna make this work.

I'm making
some slush latex blenders

to take and cover up bad parts.

I'm not giving up on this one.

My bird will be onstage,
and it will be complete.

- What's up?
- How you doing, man? I'm Tate.

And by the end of the day,

you're gonna be
a blue-throat macaw.

All right, let's see here.

The first thing I need to do
is open the mold

that I didn't finish
on day two.

If it doesn't work,
then I'll have to go to plan B,

which is using the performer's
actual feet,

but I don't want to do that.

Amazingly, it's okay.

I have two feet.
Yay!

There's a lot more to do
than I think I realized.

I still have to lay all
these feathers onto the wig,

then move onto the hands.

I have to finish painting
the entire piece.

But, you know, I put myself
in this position,

and I'm paying for it.

Everybody has these
giant things going on,

and I only have
a face and hands.

I just hope it's gonna be enough
to make it to this finale.

Yep. That one's good.

My foam piece, it's perfect.

I'm able to get it on him,

but the one problem
is the model's head

is much smaller than
the mannequin's head was.

Okay.

There's a lot of room
and wobble in there,

which makes me worry
about getting the jaws moving.

Okay, we're gonna do it
the old-fashioned way.

Stuff it full of shit.

So I grab a fistful
of pantyhose,

and I start stuffing pantyhose
around his head and neck.

It does misshape the head a bit
from the sculpt,

which definitely
makes me worry.

I'm looking around,
and Laura's applying

this full bird head,
and Tate's just looks fantastic,

and Miranda's got this beautiful
piece that she sculpted.

And me, I've got nothing out.

I've still got to put the suit
on her, get her cowl on,

get the rest
of her face painted,

get the bottom beak on.

- Time?
- 8 1/2 minutes.

For last looks,
I've got everything to do.

That's time, everybody!

I have an hour to make
the finale or go home.

I'm going into last looks
on a wing and a prayer.

Coming up...

I am so frantic.
I can't even focus.

Shit.

I've got to make it
to top three.

I need that second chance.

I absolutely
adore the ambition.

I think that you're
playing it kinda safe.

Okay.

Last looks, it's gonna
be a really short hour.

I got to fix that too.
Damn it.

I'm gonna have to pull out
every trick that I know.

I get the head put on her,
and get her beak on,

and then start finishing up
my paint work.

I might need
to spray your nose.

For me, a good
3/4 of last looks

needs to be focused
on the details.

First, I airbrush
all the blue around the eyes.

And my cockatoo
has fun-looking feet.

I airbrush
the cracks all white.

And I'm going
back in with black

to pop out
all the individual scales.

Come on.
Damn airbrush keeps clogging.

This hour is crucial to me.

I have to get
the wardrobe situated.

I got to get the hands on,
and I have lots

of detail painting to do,
with stencils.

I want to put little patterns
all over it,

as well as on the feathers,
'cause right now

they're just stark white
turkey feathers.

So lots of pressure.

- 30 minutes.
- Holy shit.

Do you think you could
try to paint your hands?

Thank you.

I am at that point
where I am so frantic,

I can't even focus anymore.

Shit.

I have to finish painting
the entire piece.

Okay, let's get
this wig on you.

I have to lay
all these feathers

to blend the hair
and the wings.

Stand up, and just keep
pushing these down

if they start peeling up.

There's just too much to do
and so little time.

15 minutes, everybody.

Your hair is just killing me.

Time!

Oh, God.
It looks so ridiculous.

No, it looks good, man.

I'm not really happy
with the paint job

just because
the colors don't match.

After looking
at the other pieces,

I'm not feeling confident
at all now.

Welcome to the Face Off
reveal stage.

Tonight, one of you
will be eliminated...

and three of you will be
moving on to our finale.

First, let's say hello
to our judges.

Owner of Optic Nerve Makeup
Effect Studio, Glenn Hetrick.

- Good evening.
- Hi.

Three-time Oscar-winning
makeup artist Ve Neill.

Hi, everybody.

- Hey.
- Hey, Ve.

Creature and concept designer
Neville Page.

Hello.

- Hey, Neville.
- Hey, Neville.

This week,
your spotlight challenge

was to choose one of the birds
Dave Salmoni presented to you

and use it as an inspiration
for a human-bird hybrid.

So let's take a look at them
while the audience at home

tweets about their favorites
using #FaceOff.

First up is Miranda's creation.

My character's
really striking onstage,

but it really is just up
to the judges at this point.

There will only be three
in the finale,

and I hope
that I'm one of them.

I'm extremely happy with it.

I've done all I can do
at this point,

so I hope the judges
see how bad

I want to be
in the final three.

I want to make it
to the finale,

and I think my creature
looks amazing,

and hopefully,
the judges like it.

I've got to make it
to the top three.

There's no option.
I need that second chance.

Judges, why don't you
take a closer look.

_

_

Oh, man, she's looking
at the hands.

You won't be doing
much flying with those wings.

No.

She's got an eye for symmetry.

It really is just
one color, I mean,

other than a little bit
of delineation there on the top.

Such an opportunity.

You've got all these planes
to color on.

The judges
don't look very impressed.

I'm getting pretty scared
at this point

that I'm not gonna
get a spot in the finale.

Thanks.

It's confusing.

He could have minimalized
this white area.

If you're gonna do
these squiggly black lines,

why not do it
right over that eye seam?

- Yeah, I know.
- Yeah.

I'm looking at the judges,

and I'm not liking
what I'm seeing.

The lines on the face
look like crap.

It's just the black,
squiggly lines, really.

Just that one thing.

I'm almost, you know,
sure that I'm going home.

We want to know what you think
of tonight's transformations.

Tell us on Twitter
using #FaceOff.

If you're gonna do
these squiggly black lines,

why not do it
right over that eye seam?

- Yeah, I know.
- Yeah.

I'm looking at the judges

and I'm not feeling confident.

I just don't see myself
being in the final three.

Look at the amount
of detailed paint on this thing.

It's unreal.

He's got those feathers
in everywhere.

This is exactly
how the feathers

- should have been handled.
- Yeah.

Thanks.

I do like the paint job.
This is kinda cool.

This real subtle stuff
here with his eye.

I want you to emote more.
Show me angry, show me scared.

- There's a lot of character.
- Yeah.

Still has all these
bird aspects,

but we definitely
get a human character

through the makeup.

- Mm-hmm.
- Thank you.

Okay, the judges
would like to speak

with each of you to learn
more about your work.

Laura, please step up.

Tell us about
your bird creation this week.

The bird that I chose
was the umbrella cockatoo.

They can get to a very old age,

so I decided to do
the elderly but lovable pet.

And he's obviously molting

and losing quite a bit
of feathers.

You have captured the essence
of the human-bird hybrid idea.

I think the face
is really quite wonderful.

It has so much character.

Thank you.

I especially like some
of the coloring around the eyes,

which is what the bird
looks like.

That's really a nice touch.

I would, however, like to have
seen more feathers on his head,

'cause he almost
looks like a bald eagle

that has no hair on his head
and feathers everywhere else.

I had such problems with this,

but having mentioned
the molting thing,

I totally get it.

It actually
ties it all together.

I like it now.

Thank you.

Laura, please step back.

Good job, girl.

Miranda, please step forward.

Can you tell us
what bird you got,

and how you went about creating
your little creature here?

I got the silvery-cheeked
hornbill,

which was a bird
I had never seen before.

It had a lot of really
interesting characteristics.

I really wanted
to try to make it look

as much like the bird
as I could.

It's a beautiful sculpt, honey.

You did a beautiful job
sculpting the head.

It's beautiful and symmetrical,
like all your sculpts are,

but you didn't sculpt
any indentations to show

that maybe that's where
those feathers are coming out,

so it just looks like
somebody just--

whoosh--
stuck 'em on there.

Other than that, well done.

The sculpture
is beautifully handled.

You got in there with some
really, really nice detail.

I do appreciate that.

However, that's
a really monotone paint job.

Very, very basic.

This is a bad time
to be phoning it in

and ending up in the safe zone.

I mean, the challenge
was so much bigger than that.

I do love a lot
of what's happening in the face,

but it does feel like
something's been stuck

on the outside of his guy arms.

But I think you're a brilliant
sculptor and designer,

and that really helps you
in this particular challenge.

Miranda, please step back.

Tate, let's talk to you.

So tell us about your bird.

I chose the Egyptian vulture.

It's just a bird
that I resonated with.

Also really like
the scavenger aspect,

and wanted to play with it
and see where it took me.

I think it took you
to a pretty cool place.

Cool.

Head to toe, this
is an incredible amount of work.

It was hard.

Yeah.
I am astonished.

Nice stuff.
Good going.

I appreciate it.
Thank you, Neville.

The best thing that you've done

is you made a very clear
decision to utilize

a theatrical approach to the way
the feathers are placed,

that whole treatment of the way
this thing is going to work.

That's extremely intelligent.

Thank you very much.

The only thing
that really bothered me

about this
is it's a little muddy.

You have so many really great

sculptural things going on,
like those bony shoulders.

It would have really been neat
to see some of these things

from afar, you know,
not having to get up close.

But dang, you really did a lot.
It's freaky.

Nice.
Thank you very much.

- Tate, please step back.
- Appreciate it, bud.

Roy, you're next.

Tell us about how you decided
to tackle this challenge.

Well, I got
the blue-throat macaw.

I just wanted to make it
as realistic as possible.

And I think if you have birds
that are human size

that fly around, they would
definitely be military.

I absolutely adore and applaud
the level of ambition.

It's a huge amount of work
to even attempt.

I think you've got a really
nice profile on the head.

I'm really digging the shapes
that you have going on there.

You have this white area
in here

with some pretty bad paint
going on in there,

but dang,
you did a lot of work.

You absolutely amaze me
with your fabricating skills.

I love the choice
of the contact lenses.

Somehow, those eyes
do work for me.

Not just the contact lenses,

but that whole region
is pretty cool.

The amount of work you've
put into this is impressive.

Thank you.

Roy, please step back.

- Good job, brother.
- Thank you.

All right, guys, the judges
have heard what you have to say.

If you'd please head back
to the makeup room

while they decide
who will move on to the finale.

- Thank you.
- Thank you, guys.

All right, judges, why don't
we talk about tonight's looks.

Let's start with Laura.

I really liked
the character makeup

that she came up with.

I love the approach
to the face.

What does not work
is that big, furry suit.

I thought she did a really
nice job with the paint job.

I appreciated the fact that she

was trying to integrate
human qualities into a bird.

She was actually
the only person

that bothered to even
use any flesh tones at all.

I love that she's
an intelligent designer.

She's really smart
about her choices.

She's come back
and outdone herself.

I think she was even stronger
throughout this season.

All right,
let's move on to Miranda.

We all agree that
the sculpture this week

is beautiful,
as it often is with her.

She is really
a phenomenal sculptor,

and I think a great designer.

The face is beautiful,
but it's just a face.

There's so little done anywhere
else on the rest of the body.

I think she might have
a problem with time management,

'cause she doesn't have
that much experience.

Yeah, for sure.

But in my opinion,
she's very talented.

Okay, let's move on to Tate.

The profile on that thing
was amazing.

It is.

So brilliant to approach
the feathers that way.

Even the muscle forms
are a hybrid...

- Yeah.
- ...of human and bird anatomy.

I think this
is one of the best paint jobs

I've seen of his.

All right,
let's move on to Roy.

I don't love the choice
to have done it

all as a sculpt with latex.

I think it would be better
with feathers,

but week after week,

Roy comes up
with these gigantic ideas,

and somehow manages to finish
weeks of work in two days.

There were some moments
in his head sculpt

that I thought
were really good.

- The overall form.
- Yes.

The silhouette was very good.

I don't think Roy is
necessarily the best sculptor,

but I've seen it
getting better and better.

We have four
really strong artists

that have performed
wonderfully,

so we have to figure out

which three
we want to see more from.

Mm-hmm.

All right, judges,
have you made your decisions?

Yes.

Let's bring 'em back out.

All right, Glenn, who is
the winner of this challenge

and the first person
to make it to the finale?

The winner of tonight's
challenge and the first person

moving on to our finale
this season is--

- All right, Glenn, who is
the winner of this challenge

and the first person
to make it to the finale?

The winner of tonight's
challenge and the first person

moving on to our finale
this season is...

Tate.

Wow.
Thank you very much, guys.

Thank you.

Your ability to conceptualize

combined with your
high-caliber execution

could not have come
at a better time

in this competition.

Congratulations.

Thank you, guys, very much.

Tate, congratulations.

Thank you.

I made it to the finale again.
I'm so excited.

I just got to make sure
to be on my game.

All right, Glenn,
who is the next person

to make it to the finale?

The second person
that will be joining us

in the finale this season is...

Laura.

Congratulations.

This is a great opportunity
to have twice.

The decision to include age
was indeed a good one,

and you delivered
another beautiful makeup

in an already
strong season for you.

- Thank you.
- Laura, congratulations.

I'm so grateful that
I get another opportunity,

but I'm gonna
have to challenge myself

in ways that
I've never done before,

and that frightens
and terrifies me.

Well, we have two artists
and only one spot left.

The top four is where
I made it in season three,

and I can't go home yet.

I'm really hoping
that they call my name.

I really want this,

and I think I deserve a spot
in the finale.

So, Glenn, who gets
the last spot in our finale?

The third and final person
that will be joining us

in this season's finale is...

Roy.

Thank you.

Oh, thank you, guys.

We liked the overall form
of your piece,

and the profile of the head
was very cool.

Once again, we marveled
at the amount of work

that you managed to get done.

- Thank you so much.
- Roy, congratulations.

You have our last finale spot.

Thank you.

He called my name.

Sorry.

It's one of the things
that I wanted

since I first got here,
to make it to that point.

So-- so I made it.

Unfortunately,
that means, Miranda,

you'll be leaving us tonight.

Miranda, your sculpture
was beautifully done,

but we felt that you
just played it way too safe

when we were really
looking to see

just how badly everyone wanted
to move onto the finale.

I just want to say
thank you guys so much.

This second chance has meant
more than I can even express.

Miranda, I'm sorry,
but you have been eliminated.

It has been so great
having you here with us.

Will you please
head back to the makeup room

and pack up your kit?

Thank you, guys.
Thank you.

- Bye, Miranda.
- Bye.

The three of you have done
incredibly well to get this far.

I will see you all soon for
your final spotlight challenge.

You can all head back
to the makeup room.

- Thank you all.
- Thank you, guys.

- Good night, guys.
- Thank you very much.

Thank you.

Whoo!

Although I am upset,

I'm just really proud
of what I've done here.

Congratulations.

I've just learned so much,

and I'm just so grateful
to have made it this far.

You beat out 12 people.

It means a lot.
It really does.

And I feel like I won just
getting to learn from you guys.

This experience has been
so valuable to me

because I've created
some of the best makeups

I've ever done in my life here.

I know that I have
nowhere to go but up.

I believe that I can
continue to grow as an artist,

and I can't wait to see
where I am five years from now.

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