How many seasons of Face Off aired on Syfy. What made Face Off unique among reality TV competitions. Why did Face Off gain a devoted fanbase. How did Face Off showcase the artistry of special effects makeup. What challenges did contestants face on the show.
The Rise of Face Off: Syfy’s Groundbreaking Makeup Competition
Face Off, Syfy’s innovative prosthetic makeup reality competition, captivated audiences for 13 seasons between 2011 and 2018. This unique show brought the intricate world of special effects makeup artistry to the forefront, offering viewers a behind-the-scenes look at the creation of fantastical creatures and characters.
A Fresh Take on Reality TV
What set Face Off apart from other reality shows? Unlike many of its contemporaries, Face Off focused on a niche, highly specialized field that most viewers had little exposure to. The show’s emphasis on skill, creativity, and collaboration rather than drama and conflict made it a refreshing addition to the reality TV landscape.
The Art and Science of Special Effects Makeup
Face Off showcased the incredible talent and expertise required in the field of special effects makeup. Contestants demonstrated a wide range of skills, from sculpting and molding to painting and application techniques.
The Creative Process Unveiled
How did contestants bring their imaginative concepts to life? Each episode followed a similar structure:
- Concept development and sketching
- Sculpting designs in clay
- Creating molds and casting prosthetics
- Applying and painting the final makeup
- Presenting the finished look to the judges
This step-by-step process allowed viewers to appreciate the complexity and artistry involved in creating movie-quality makeup effects.
Challenges that Pushed Creative Boundaries
Face Off’s challenges were designed to test contestants’ skills and spark their imagination. From reimagining classic fairy tale characters to creating alien species or post-apocalyptic mutants, each week presented a new opportunity for artists to showcase their talents.
Time Constraints and Technical Hurdles
What obstacles did contestants face during challenges? Some common difficulties included:
- Limited time to complete complex designs
- Working with unfamiliar materials or techniques
- Adapting designs to fit models and ensure comfort
- Troubleshooting last-minute issues during application
These constraints often led to innovative solutions and pushed contestants to grow as artists throughout the competition.
The Collaborative Spirit of Face Off
One of Face Off’s most distinctive features was the camaraderie and support among contestants. Unlike many reality shows that thrive on conflict, Face Off fostered a cooperative atmosphere where artists often helped each other and celebrated each other’s successes.
Teamwork in Individual Challenges
How did contestants balance competition with collaboration? While each artist worked on their own designs, they frequently offered advice, shared materials, and even assisted with applications when time was running short. This spirit of mutual support created a positive environment that viewers found refreshing and inspiring.
The Impact of Face Off on the Special Effects Industry
Face Off not only entertained audiences but also had a significant impact on the special effects makeup industry. The show brought attention to this often-overlooked field and inspired a new generation of artists to pursue careers in special effects.
Career Launches and Industry Recognition
Many Face Off contestants and winners went on to successful careers in film, television, and theater. The show’s exposure helped talented artists gain recognition and opportunities they might not have had otherwise.
Did Face Off influence the broader entertainment industry? The show’s popularity coincided with a resurgence of practical effects in film and television, as audiences gained a new appreciation for the artistry of physical makeup and prosthetics.
The Educational Value of Face Off
Beyond its entertainment value, Face Off served as an educational platform for viewers interested in special effects makeup. The show demystified complex techniques and provided insight into the creative process behind some of cinema’s most memorable characters.
Inspiring Future Artists
How did Face Off impact aspiring makeup artists? The show:
- Demonstrated various techniques and approaches to creature design
- Introduced viewers to industry-standard materials and tools
- Highlighted the importance of time management and problem-solving
- Showcased the diverse career opportunities within the field
Many viewers credit Face Off with sparking their interest in special effects makeup and providing valuable insights as they pursued their own artistic journeys.
The Legacy of Face Off
Although Face Off concluded its run in 2018, its impact on both the reality TV landscape and the special effects industry continues to be felt. The show’s unique blend of creativity, technical skill, and positive competition set a new standard for reality programming.
A Lasting Influence
Why does Face Off remain beloved by fans years after its conclusion? The show’s emphasis on artistry, innovation, and collaboration resonated with viewers who appreciated seeing talented individuals push the boundaries of their craft. Face Off’s legacy lives on through the careers of its contestants and the inspiration it provided to countless aspiring artists.
The Future of Special Effects Makeup in the Digital Age
As the entertainment industry increasingly embraces digital effects, the role of practical makeup effects continues to evolve. Face Off highlighted the unique value of physical prosthetics and makeup, even as CGI technology advanced.
Balancing Practical and Digital Effects
How are special effects artists adapting to changing industry demands? Many are developing hybrid approaches that combine traditional makeup techniques with digital enhancements. This blend of old and new allows for the tactile realism of practical effects while leveraging the flexibility of digital tools.
Will we see a resurgence of practical effects in future productions? As audiences express appreciation for the artistry of physical makeup, many filmmakers are rediscovering the value of incorporating practical effects alongside CGI, creating a more immersive and believable visual experience.
The Continuing Evolution of the Craft
Special effects makeup artists are constantly innovating, developing new materials and techniques to create ever-more realistic and fantastic creations. While the specific challenges faced by Face Off contestants may have been unique to the show, the spirit of innovation and problem-solving they demonstrated continues to drive the industry forward.
What new frontiers are special effects artists exploring? Some emerging areas of focus include:
- Advanced silicone formulations for ultra-realistic skin textures
- 3D-printed prosthetics for precise, repeatable designs
- Integration of animatronics for more dynamic creature effects
- Sustainable and eco-friendly materials for responsible production practices
As technology advances and creative visions expand, the art of special effects makeup continues to push the boundaries of what’s possible in bringing imaginative characters to life on screen.
The Enduring Appeal of Face Off
Despite its conclusion, Face Off maintains a dedicated fanbase who continue to revisit the show and celebrate its unique blend of artistry and competition. The series’ ability to showcase the often-overlooked world of special effects makeup in an engaging and accessible way contributed to its lasting impact.
A Source of Inspiration
For many viewers, Face Off served as more than just entertainment. It provided a window into a fascinating creative process and inspired countless individuals to explore their own artistic potential. The show’s emphasis on problem-solving, innovation, and collaboration resonated with audiences beyond those specifically interested in makeup effects.
How did Face Off influence its viewers’ creative pursuits? Many fans report that the show:
- Encouraged them to experiment with new artistic techniques
- Demonstrated the value of perseverance and adaptability in creative work
- Highlighted the importance of constructive criticism and feedback in artistic growth
- Showcased the rewards of pursuing one’s passion, even in niche fields
This lasting influence speaks to the show’s ability to capture the imagination and inspire creativity in its audience.
The Face Off Community
Even years after the show’s conclusion, Face Off fans continue to connect and share their love for the series. Online communities dedicated to the show remain active, with members discussing favorite challenges, sharing their own makeup creations, and following the careers of former contestants.
What keeps the Face Off community engaged? Several factors contribute to the show’s ongoing appeal:
- The timeless nature of the creative challenges
- The relatability and likability of the contestants
- The educational value of the techniques demonstrated
- The positive and supportive atmosphere fostered by the show
This enduring community serves as a testament to Face Off’s impact and the connections it forged among viewers who shared a passion for creativity and artistry.
Lessons from Face Off for Aspiring Artists
While Face Off specifically focused on special effects makeup, many of the lessons and insights gleaned from the show apply to creative pursuits in general. Aspiring artists across various disciplines can find valuable takeaways from the experiences of Face Off contestants.
Key Principles for Creative Success
What universal lessons can be drawn from Face Off? Some key principles include:
- Embrace challenges as opportunities for growth
- Develop a strong foundation in fundamental techniques
- Be open to feedback and willing to adapt your ideas
- Manage your time effectively and plan your workflow
- Collaborate and learn from your peers
- Push beyond your comfort zone to discover new creative possibilities
These principles, demonstrated time and again throughout Face Off’s run, offer valuable guidance for anyone pursuing a creative career or hobby.
The Importance of Versatility
Face Off challenges often required contestants to work outside their usual style or comfort zone. This emphasis on versatility highlighted an important aspect of building a successful creative career: the ability to adapt and excel in various contexts.
How can aspiring artists develop versatility in their own work? Some strategies include:
- Experimenting with different styles and techniques
- Seeking out diverse influences and inspirations
- Collaborating with artists from different backgrounds
- Taking on projects that push you to learn new skills
By cultivating versatility, artists can increase their professional opportunities and continue to grow creatively throughout their careers.
The Future of Reality TV Competitions
Face Off’s unique approach to reality competition set it apart from many of its contemporaries. As the reality TV landscape continues to evolve, shows that focus on skill, creativity, and positive competition may find increasing popularity among viewers seeking more substantive content.
A Shift Towards Craft and Expertise
Will we see more shows like Face Off in the future? There’s evidence to suggest a growing interest in reality competitions that showcase specialized skills and craftsmanship. Recent years have seen the success of shows focusing on areas such as glassblowing, blacksmithing, and even LEGO building.
What makes these craft-focused shows appealing to viewers? Several factors contribute to their popularity:
- The opportunity to learn about unique skills and professions
- The satisfaction of watching creative projects come to life
- The emphasis on talent and expertise rather than interpersonal drama
- The inspiring nature of watching skilled individuals pursue their passion
As audiences continue to seek out content that combines entertainment with education and inspiration, shows in the vein of Face Off may well represent the future of reality TV competitions.
The Potential for New Formats
While Face Off found success in its traditional reality competition format, there’s potential for new approaches to showcasing specialized skills and creative processes. Future shows might explore:
- Long-form documentaries following artists through complex projects
- Interactive formats that allow viewers to participate in the creative process
- Cross-disciplinary competitions that combine multiple artistic fields
- Virtual or augmented reality presentations of artistic techniques
As technology and viewer preferences evolve, innovative new formats may emerge to capture the spirit of shows like Face Off while offering fresh experiences for audiences.
The Lasting Impact of Face Off
Face Off’s 13-season run left an indelible mark on both the reality TV landscape and the special effects makeup industry. By shining a spotlight on this specialized field, the show not only entertained but also educated and inspired viewers around the world.
A Cultural Touchstone
How did Face Off influence popular culture? The show’s impact can be seen in various ways:
- Increased public interest in the art of special effects makeup
- Greater appreciation for practical effects in film and television
- Inspiration for cosplay and Halloween costume enthusiasts
- A new generation of artists pursuing careers in special effects
Face Off’s legacy extends beyond its time on air, continuing to influence and inspire creative individuals across various fields.
The Power of Positive Competition
Perhaps one of Face Off’s most significant contributions was its demonstration that reality competitions can be both engaging and uplifting. By focusing on creativity, skill, and collaboration rather than conflict, the show offered a refreshing alternative to more dramatic reality formats.
What lessons can future reality shows take from Face Off’s approach? Key takeaways include:
- Celebrating the creative process as much as the final product
- Fostering a supportive environment that encourages growth
- Highlighting the unique talents and perspectives of each contestant
- Balancing individual achievement with the value of teamwork
As the entertainment industry continues to evolve, the positive model established by Face Off may well influence the development of future reality competitions across various fields.
NHL Face-Off Concert to celebrate start of season
NEW YORK — The National Hockey League (NHL), in association with the Tampa Bay Sports Commission, will open the 2021-22 season with the 2021 NHL Face-Off Concert featuring multi-platinum band All Time Low and a special appearance by the Stanley Cup on Tuesday, Oct. 12, in downtown Tampa before the Tampa Bay Lightning raise their third Stanley Cup championship banner inside AMALIE Arena.
The free concert will originate from a stage in the waters where the Hillsborough River meets the Garrison Channel. The band’s performance will be free and open to fans to enjoy on land from the Tampa Convention Center’s Sail Plaza or via boat in Garrison Channel starting at 5:30 p.m. ET.
All Time Low’s performance, which will include their chart-topping hit single, “Monsters,” will be featured in ESPN’s pregame coverage of the Lightning-Pittsburgh Penguins game, which begins at 7 p.m. ET. ESPN’s 2021 NHL Face-Off coverage will originate from Thunder Alley outside AMALIE Arena and continues with the Seattle Kraken’s regular-season debut against the Vegas Golden Knights at 10:15 p.m. ET. Both matchups will be simulcast on ESPN+.
After All Time Low’s concert, fans in attendance can watch the Stanley Cup travel by police boat from the performance stage to ESPN’s outdoor set in Thunder Alley before its procession into AMALIE Arena for the banner-raising ceremony.
Throughout a catalog streamed nearly half-a-billion times and highlighted by multiple platinum- and gold-certified releases, All Time Low has continually raised the bar for both pop and punk. Since 2003, the group has notched five straight Top 10 entries on the Billboard Top 200, spanning the gold-certified Nothing Personal [2009], Dirty Work [2011], Future Hearts [2015] and Last Young Renegade [2017].
After nearly two decades together, All Time Low rekindled the spark the group first ignited in a Baltimore basement with its 2020 full-length studio album, Wake Up, Sunshine. A captivating body of work, Wake Up, Sunshine features the hit single “Monsters” (featuring blackbear), which spent 18 weeks atop Billboard’s Alternative Airplay chart – marking the group’s first No. 1 at radio. A brand-new version of “Monsters” was released at the end of 2020 featuring both blackbear and Demi Lovato. In 2021, the band returned with new singles “Once In A Lifetime” and “PMA” (featuring Pale Waves).
In Praise of Face Off, Syfys Prosthetic Makeup Reality Competition
Photo: Syfy/2013 Syfy Media, LLC
My heart is heavy because there will be no new episodes of Face Off for a good, long while. Oh, there’s a one-off special tonight, in which the judges count down their twenty favorite looks in the show’s history, but there won’t be a new episode of the reality series until season six premieres January 14. That’s too long. I need more Face Off in my life right now.
For the uninitiated, Face Off is Syfy’s answer to Project Runway, only instead of fashion designers, the contestants are special-effects makeup artists. Each week, they’re tasked with creating monsters, aliens, goblins, and witches, and then it’s off to the workroom where they design and fabricate sometimes gross, often spooky elaborate masks, prosthetics, and makeup. Face Off hits two fronts that I wish more reality shows (or just shows in general) would pursue: First, it’s about a relatively obscure field of profession with a high barrier to entry and a tremendous amount of required expertise; and second, it’s the least petty show I’ve ever seen.
I’ve gushed about my love of skill-based reality TV shows before, but Face Off occupies a slightly different space than, say, Top Chef: The skills it requires are pretty much unknown to the layperson. I might not be as good or as knowledgeable a chef as any of those contestants, but I’ve been to a restaurant and I know how to cook. But I’d have absolutely no idea how to sculpt a clay design, make a cast of it, pour latex, silicon, or polyfoam into that cast, glue it to a human being, and then paint it to look like what I want. (The only reason I know those steps is that I’ve seen every episode of five seasons of Face Off.) There’s something joyous about the demystification, and something deeply impressive about contestants who are good at sculpting and good at polymer science.
Along with talent and creativity often comes self-aggrandizing bitchiness, at least on reality television, and shows seemingly reward dickish behavior that masquerades as competitive spirit. (See: Any episode of Top Chef, but most recently, the great lemongrass shitstorm, in which everyone was a jerk about having or not having lemongrass.) Not so on Face Off. Contestants regularly help one another carry heavy things, make aesthetic judgments, open tough-to-crack molds, and even apply last-minute touch-ups. I’ve seen this happen a handful of times over the many, many seasons of Project Runway, but it happens constantly on Face Off.
And it’s not that the contestants themselves are more saintly than anyone else; this is a production and editing decision. The show rarely acknowledges interpersonal beefs between the artists, and the talking-head confessionals are almost never the snippy criticisms endemic on shows like Top Model. There was a vaguely alluded to two-episode showmance in the third season, and that’s the extent of anything smoochy. It’s a refreshingly mature spin on the idea of a talent contest, focusing on talent and not intrigue or even personality.
Which is not to say that I love every contestant. Laney’s sexy-baby voice drove me crazy this season, and Eddie’s glassy-eyed stare made me wonder how he stayed in the competition as long as he did. And the show itself has some serious flaws, namely host McKenzie Westmore, whose intros and challenge descriptions are terribly re-dubbed. I wish there were more challenges about ethereal beauty and fewer about goblins and ghouls, and I wish the show did a better job at explaining where the costumes come from. (There’s pretty clearly someone sewing the costumes for the contestants’ characters, but that person or team of people are never mentioned.) Mostly though, I just wish for more Face Off.
Face Off (2017) – MyDramaList
Story 5.0
Acting/Cast 5.0
Music 5.0
Rewatch Value 2.0
This review may contain spoilers
I cannot even comprehend right now, like my emotions are everywhere I can’t even, like I just can’t. I decided to watch this drama after seeing the scene of WY pretending to be ZC boyfriend and honestly it was sooooooo friggen cute that fireworks was exploding (maybe not to that extent) but it was cute.
Story:
The drama started of so well, all the characters had their own goals and you can kind of see in which direction the drama was heading into. As it got half way it just went downhill like everything that happened just seemed to annoy me. The little and most stupidest things that you can avoids happen and you’re just like are you serious like everything that happened in the second half just made me mad and angry and I was like so close to dropping it but I had faith lmao. The fact that YY ended up marrying the “warm kindhearted” WX and he ends up being the same dictator as their dad and abuses YY just annoyed me so much. Like if yalls going to make scenes of YY trying to argue with WX can you guys at least make it realistic and use some language that will satisfy us viewers so we can empathise with the victim. Like I empathised with YY but the fact that when she fights with WX and she stills ends up being the victim annoyed me so much that there was really no point of putting the scenes in if she wasn’t going to win the fight. All I can say is that I only lived for the WY and ZC scenes, but sometimes there fights are pointless too. Also, the last episode was soooooooooooooo rushed that it doesn’t even make sense, like how did WY and ZC know where WX was going to meet the guy? Like I did not remember seeing any communication or whatsoever between the brothers unless I skipped too much lmao. Plus WY and ZC didn’t even make up from their breakup like how can yous just make them understand each other from a misunderstanding from the previous episode but oh well.
Acting/Cast:
Their acting is decent. Like there are some that could be done better but ohwell. & the cast; at first I honestly thought the real casts that plays WY & WX were real brothers, like they had similar features that I had to check it so many times. lmao
Music:
lmao, I wasn’t into the music this time.
Rewatch Value:
yeh nah. I can’t.
Overall:
It was okay, could be better but what can you do.
Where to Watch:
Make sure to always thank these subber’s hard work to provide for us 🙂
Dramanice
https://www4.ondramanice.co/drama/faceoff-detail
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What if there was a movie monster that could sweep them all in a single backhand slap just because it can? What would it look like? What special power would it have? Exactly what weapon would give it such an advantage over the undead? | |||||||||
Did you know that GEORGE A. ROMERO invented the contemporary zombie (formerly known as the “Living Dead”) that made AMC rich through their featured series THE WALKING DEAD and that he does not get royalties for his creature design? As it turns out, ROMERO didn’t secure his copyright. Sadly, it takes money to make money. In this world, you haven’t invented anything until you’ve paid for it. Are you a hardcore horror fan, film student or filmmaker? If you dream of coming up with your own movie franchise with your own masked serial killer, what follows might both pique your interest and worry you… | |||||||||
Filmmaker and effects artist JOE CASTRO |
| I would like to bring your attention to a peculiar documentary directed by JOE CASTRO, a filmmaker who specializes in character writing, design and effects with multiple films to his resume. He was a contestant on season 3 of SYFY’s reality show FACE OFF in 2012. On this show, contestants face each other in a series of challenges where they are asked to come up with make-up and prosthetics reminiscent of horror movies, science-fiction, and tween glitter porn like THE HUNGER GAMES and TWILIGHT. Most of the participants are beginners, no names and students, but then some of them stand out; too much perhaps… | |||||||
| This shocking documentary reveals stunning clips and images that introduce convincing arguments that lead to conclude FACE OFF producer DWIGHT D. SMITH would have failed to provide JOE CASTRO with his medication despite multiple requests, consequently throwing him in a state of withdrawal and knowingly so. DWIGHT D. SMITH and his assistants are accused of holding Mr. CASTRO captive against his will despite a formal request to leave the set. At some point, Mr. CASTRO would’ve managed to escape by running away, but he was followed by at least TWO VEHICLES and filmed without his consent over four miles, as he was trying to hide and find help. The producers’ MINIONS would have, at some point, been discouraged by LAPD officers who would’ve scared them away. This scene was caught by a security camera and included in the documentary, along many other hidden camera shots. | |||||||||
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| Following this awkward revelation and despite explicit legal threats demanding he remain silent on the details of the production (including not being allowed to reveal the identity of a sheltered PEDOPHILE, he says), Mr. CASTRO would’ve alerted the court and the population about the fact that he knew the outcome of the contest when he was facing his assailers for at least three alleged crimes. According to the many contracts JOE CASTRO had to sign to enter the competition, he was not allowed to speak about what happens behind the curtains of FACE OFF but went ahead and told his story to the judge. The scripted ending Season 3’s finale should’ve gone by was altered at the last minute and an old CONTESTANT was inserted, providing an easy way for the PRODUCERS to make another woman win: NICOLE CHILELLI. Still to this day, actress NICOLE CHILELLI has a make-up resume better described as nonexistent. As of October 2014, she has one credit and a half on IMDb.com. JOE CASTRO has 91. The expected winner didn’t get money or make-up, but she still got her first big gig in Hollywood. This will surely contrast with an empty resume. It suggests that skills are not always earned and that people are born knowing how to make movies. This kind of glitter might patch a few plot holes in TWILIGHT, but people who watch horror movies aren’t all preteens. | |||||||||
It goes without saying that the hatching scandal, now fully exposed and spreading, will make a splash in a community known for its cohesion. But the controversy doesn’t stop here. In FRANKENFAKE, JOE CASTRO infiltrates one of the most insidious reality shows ever made, where contracts are falsified and signatures forged, as he explains with the support of official documents. Armed with simple cameras, he investigates the defamation he was victim of, the illegal and criminal actions of the PRODUCERS confirmed by the court, retrain order falsification. He exposes the suspicious, immoral and dangerous practices of the CASTING AGENTS and PRODUCERS of the show. The documentary shows how contracts increasingly piled up as JOE CASTRO was progressing in the game and its selection process, up to a point where he had no choice but to leave the show to avoid having to sign a contract that would make DWIGHT D. SMITH the owner of his “Name and likeness”, meaning that JOE CASTRO would’ve lost all copyrights to his past and future films, stories, character and effects. Mr. CASTRO claims the game is rigged. He demonstrates this by means of stills, reconstitutions, legal documents, footage from security cameras and his own in FRANKENFAKE. As of 2014, Mr. CASTRO and his team are working on the second sequel to one of his most successful pieces of intellectual property: TERROR TOONS 3. He writes and directs with legendary scream queen BRINKE STEVENS. The film stars other famous and prolific scream queens like LINNEA QUIGLEY and DEBBIE ROCHON. Masters of horror and pillars of the industry WILLIAM BUTLER and HERSCHELL GORDON LEWIS are also part of the cast. TERROR TOONS 4 & 5 are planned for release in 2015. Indeed, Mr. CASTRO has received tremendous support since he started distributing his documentary. What was likely to divided the horror community may have actually strengthened it. Many producers, directors, screenwriters, actors, special effects artists, character creators and film franchise owners in horror, science-fiction and fantasy cinema have provided advice, help and career opportunities. Some of them see in Mr. CASTRO a carbon copy of themselves and their past or present struggles in maintaining copyright and getting fully credited for their work and legacy. On SYFY’s PUPPET MASTER vs DEMONIC TOYS’s IMDb page, for instance, none of the legal owners of over 10 classic monsters are rightfully credited; not even Mr. KENNETH J. HALL , JOE CASTRO’s friend. He is in no way connected to the alleged crimes of the producers and those confirmed by the court but he regrets suggesting Mr. CASTRO to join the show. According to Mr. CASTRO, Mr. HALL had no clue his 2nd DEGREE CONTACT was corrupted and ready to crush a competitor even if it meant crimes needed to be committed. | |||||||||
JOE CASTRO (91 credits on IMDb.com) invites you to watch his whistleblowing documentary where he exposes the potential lies and subterfuges of DWIGHT D. SMITH (29 credits IMDB.com). If DWIGHT D. SMITH manages to steal JOE CASTRO’s name and likeness through forged signatures and tempered recordings, along with that of all participants ever featured in FACE OFF, he will make anybody that’s ever seen a JOE CASTRO movie either amnesic, or a liar. But the people who rented JOE CASTRO’s movies didn’t sign a contract. The vast majority will only watch SYFY’s FACE OFF when they can’t find the remote controller. The CG is as bad as TWILIGHT’s werewolves’ and the designs are as pretentious and insubstantial as 2012’s HUNGER GAME’s, which was an obvious rip-off of the much better BATTLE ROYALE, a revolutionary Japanese horror film released in 2000, twelve years prior, that was so fresh and shocking it made its way to America with little to no marketing because the gimmick was so strong the story basically wrote itself. MRS. VE NEILL, one of the judges on FACE OFF, is head of make-up department on THE HUNGER GAMES and THE HUNGER GAMES: CATCHING FIRE. She is definitely the person to know in HOLLYWOOD for any practical effects artist who wants their work fully compensated. LAURA TYLER (and sometimes LAURA DANDRIDGE), who was set up to win season 3 from the start because she is a woman, as a reconstitution illustrates in FRANKENFAKE, was given the title of “special make up effects artist” on THE HUNGER GAMES: MOCKINGJAY – PART 1, releasing in 2014. Make no mistake: THE HUNGER GAMES is nothing more than publicity for FACE OFF and FACE OFF is publicity for HUNGER GAMES that is intercut by commercials of THE HUNGER GAMES. DWIGHT D. SMITH can force all the contracts he wants on JOE CASTRO; his partner STEVEN J. ESCOBAR did not sign. Mr. ESCOBAR is in fact who owns JOE CASTRO’s name and likeness. He just so happens to have experience editing reality shows like BIG BROTHER and THE AMAZING RACE, and saw right through the cheap “FRANKENBITING”. He confides in an interview on the Madworld Radio Podcast that the editing techniques used here surpass anything he’s seen before. Not only is sound tampered with; scenes and shots taken few hours apart are often merged together to create a story where there is none. In JOE CASTRO’s case, this was apparently used by the PRODUCERS to falsify their alibis. The producers went as far as faking an injury on a model using make-up in order to get a restrain order against JOE CASTRO, depicting him as violent; something he and his partner confide in an exclusive interview, as he mentions footage that had to be cut from the documentary to fit a shorter format. Mr. CASTRO does not specify whether or not he intends to append FRANKENFAKE with the unused material. The PRODUCERS do not have a copy of STEVEN J. ESCOBAR’s signature in their hands to forge either, as the documentary highlights. If a contract can’t force someone to do something, shouldn’t the empty threats, then, be considered as harassment? Fortunately, hundreds of critics have covered JOE CASTRO and STEVEN J. ESCOBAR’s films and intellectual properties, and have attributed them their earned credits in their texts. You can pretend to own any copyright you want; even if you have no creative skills, but you can’t tell the many thousands of horror movie fans reading reviews that they are delusional and that they must have read the credits wrong. By calling the whole internet and the horror community liars, DWIGHT D. SMITH, as the documentary suggests, may very well end up being perceived as a liar himself by the internet users, horror aficionado and the rest of the world. After all, who wants to see FREDDY KRUEGER fight SHARKNADO while JASON VOORHEES gets his face powdered with glitter? As much as SYFY, the makers of sexually oppressed novel adaptation TWILIGHT and metrosexual rip-off HUNGER GAMES pretend their productions are scary movies, the true fans will fall back to the oldies; movies made to scare; not movies for the squeamish. | |||||||||
Mr. JOE CASTRO and STEVEN J. ESCOBAR present FRANKENFAKE. http://vimeo.com/ondemand/21192 Do not hesitate to leave your personal review and encouragements on twitter: http://twitter.com/jescopost #Frankenfake | |||||||||
Face Off – YP | South China Morning Post
Face Off – YP | South China Morning Post
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Face off: Will vaccines curb the Covid-19 pandemic in Hong Kong?
Face Off: Should WhatsApp cancel its user policy update?
Face off: Is it a good idea for the Chinese New Year Fair to proceed during the Covid-19 pandemic?
Face off: Should consumer vouchers be given to all Hong Kong permanent residents, regardless of age?
Face off: Should Hong Kong reopen the border with mainland China?
Face off: Should the Hong Kong government raise the minimum wage for domestic workers?
Face off: Should incentives be provided to boost vaccination rates?
Face Off: Should there be a limit on how long teens can play video games?
Face Off: Should celebrities be exempted from quarantine?
Face Off: Should we be charged for our household waste?
Face Off: Should schools resume full-day classes under the pandemic?
How helpful will the HK$5,000 vouchers be?
Should students be required to get vaccinated to return to school as normal?
Face Off: Is a flat lottery a good idea to encourage people to get vaccinated?
Face Off: Should school uniforms be replaced with dress codes?
If there’s one Covid case in the building, should vaccinated people have to quarantine?
Face Off: Do Instagram stories bring people closer together?
Face off: Is space travel necessary in today’s world?
Face Off: Are textbooks outdated in Hong Kong?
Face off: Will vaccines curb the Covid-19 pandemic in Hong Kong?
Face Off: Should WhatsApp cancel its user policy update?
Face off: Is it a good idea for the Chinese New Year Fair to proceed during the Covid-19 pandemic?
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Hot Topics: everything you need to know about Hong Kong’s waste-charging scheme
Face/Off 2 writer discusses what to expect
Face/Off 2‘s Simon Barrett has detailed what fans can expect from the upcoming sequel.
Co-written by Barrett and director Adam Wingard (Godzilla vs Kong), this follow-up to the 1997 action blockbuster starring Nicolas Cage and John Travolta is currently in the scripting stage, with a scheduled release date yet to be set.
Paramount
Related: Face/Off 2 will fix a big plot hole from the first movie
Catching up with The Hollywood Reporter, Barrett began by referencing Castor Troy’s famous ‘peach’ line from the original movie.
“It’s funny because the peach line is really symbolic of something, isn’t it? You don’t want to pander to fans of the first movie. You don’t want to put anything in the sequel that doesn’t feel organic, but at the same time, there are certain things that people want to see Castor Troy do and say, if Castor Troy is coming back. So we’re doing our best,” he explained.
“You try to not overthink things like that as an artist. As soon as you start worrying too much about expectations and so on, you start making the wrong decisions — decisions that people don’t even want you to make, but you think maybe they do.”
Alberto E. RodriguezGetty Images
Related: Godzilla vs Kong director promises ThunderCats won’t “look like Cats“
The scribe continued: “We’re trying to let ourselves be guided by our pure love of Face/Off. One of the purest loves that Adam and I both understand is our love of the film Face/Off, and I think we have the right sensibility.”
Barrett and Wingard previously collaborated on the 2014 thriller The Guest, featuring Dan Stevens, and the former believes that fans of that very movie may unearth similarities to their Face/Off sequel.
“I’m hoping that anyone who wants a sequel to The Guest will find that our Face/Off 2 completely scratches that itch for them,” he shared. “In my mind, the sense of humour is very similar.”
Currently, there isn’t much confirmed about the project: we don’t know who is going to be in the cast or when it’s planned to come out.
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Gage Hubbard Reveals 11 Things You Need to Know About ‘Face Off’ Season 11
The cinematic makeup effects series Face Off returns for Season 11 on Jan. 24, and for this newest installation, Syfy has enlisted old faces while up to new tricks. McKenzie Westmore is back as host, and her father, legendary makeup artist Michael Westmore, returns as series mentor. Glenn Hetrick, Ve Neill and Neville Page will serve as this season’s judges, and they will be joined by a number of celebrity and industry experts as guest judges.
RELATED: Syfy Plots the Returns of The Magicians and The Expanse
This season, 16 former contestants return to the cosmetic competition for a second chance at bragging rights, and we spoke with Season 1 contestant Gage Hubbard for all the dish you need to know.
1. Face Off Season 11 is much different from Season 1
Gage Hubbard: “I feel like in Season 1, we were kind of roughing it, compared to what it is now. It is a much bigger show now, so it’s a little bit intimidating, but, at the same time, it’s really great to see. At least, from my standpoint, because when we did the first season there was a general consensus that it may succeed—or it may not.”
2. Gage wanted a second shot
“The first season, I worked really hard and made it to the top three. For Season 5, they did ‘Vets versus Rookies,’ and I was a little bummed that I wasn’t asked back for it. So when the show called and said, ‘Hey, we’re pulling the trigger on an official all-stars season and we’d really like to have you,’ I told them, ‘I’ve been waiting six years for this call!’”
Gage now, and in Season 1.
3. He’s changed in 6 years
“It’s been a while since people have seen me on the show,” Hubbard laughs, saying that it takes people a moment to place where they’ve seen him before. “I was on Face Off six years ago, and I looked drastically different. Now, I have a beard and a lot more tattoos, and I started to go to the gym a lot after the first season.”
4. Gage is jealous of a previous Face Off challenge
“The water tank challenge from Season 2 is my all-time favorite Face Off challenge. It still upsets me that I never got to do it. I would have killed it. Creating a waterproof makeup would be the funnest thing in the world. So, I would have loved to have done the water tank challenge, and I really liked the Tim Burton challenge, also from Season 2.”
5. This season is “team trouble”
For Season 11 of Face Off, the returning All-stars will compete as teams of 2, and Gage is paired with Season 7 contestant Rachael Wagner. Also returning from previous seasons are: Adam Milicevic (Season 8), Ben Ploughman (Season 9), Cat Paschen (Season 6), Cig Neutron (Season 7), Emily Serpico (Season 8), Evan Hedges (Season 9), George Troester (Season 7), Jasmine Ringo (Season 9), Keaghlan Ashley (Season 7), Logan Long (Season 8), Melissa Ebbe (Season 10), Niko Gonzalez (Season 6), Stella Sensel (Season 7) and Tyler Green (Season 6).
Gage Hubbard and his partner, Rachael Wagner.
6. “Team Rage” is more than a portmanteau
“My whole idea behind ‘Team Rage’ was a line from the Dylan Thomas poem: “Do not go gentle into that good night. Rage, rage, against the dying of the light.” It was more about our stance in the competition—and being good but fierce competition, and sticking with that by raging against the dying of the light.”
7. To get ready for Face Off, Gage and Rachael worked together
When Hubbard learned that Wagner was his partner a few weeks before taping began, he found a project for them to work on together. “I was familiar with Rachel’s work from the show, as was she with mine. I said, ‘Look, I have some jobs coming up. Why don’t you come up, I have a commercial I’m doing in Brazil. I have this other thing I’m doing here in Los Angeles. Why don’t you come on and help me? Let’s get a feel for one another.’ A lot of the other teams had worked with each other, prior to the show, and we hadn’t had that luxury.
“She agreed, and we went to Brazil together, and we did another job together. We really got to feel each other out, in terms of what were our strengths and weaknesses. I think that’s the biggest strength of ours—we are very honest with each other.”
8. There are twists aplenty this season.
When we asked, “Is your partnership with Rachael something that will last all season long?” Gage demurred and deflected, saying, “I don’t know. I think people will just have to tune in and find out. I love working with Rachel, and she’s an amazing partner to have, but time will tell if we last through the whole season…or not.” So read into that what you will…
9. The season starts with a splash
Hubbard mentioned his favorite challenge is this season’s first, where contestants create makeups based on underwater creatures and get to use green-screen technology for the first time in Face Off history. He shares, “It was such rich source material; any time that you’re doing a sea creature, hybrid, that’s always really, really, fun.” He also notes, “We didn’t get to see each other’s pieces on the green screen! We still have no idea what each other’s pieces look like until we watch the actual episode on the 24th.”
10. Gage reveals his biggest competition
“I tried to look at everybody as competition,” Gage reveals. “But in the initial challenge, I remember thinking that Emily was going to be very stiff competition. I loved her on the show; I loved all of her work. From a design standpoint and application standpoint, she’s incredibly strong. And her painting skills are still some of the most phenomenal that I’ve ever seen.”
11. Gage is this season’s jokester
“I feel like I was the one that was the biggest jokester. I was the one that was certainly the loudest jokester because my thing is that it’s really important for me to make sure people around me are having a good time, and laughing, but also that they’re putting forward their best work. I feel like laughter and having fun is very conducive to a working environment and creating artistic works.
“I was always the one putting on a wig or acting really silly. Even when we were back at the house, I tried to make people laugh, and make sure everyone’s having a good time. I also have a really odd sense of humor and the one that really picked up on that was Ben Ploughman. Ben is the more silent jokester, and I’m like the really loud jokester, and I would say Logan is the more serious one of the bunch. I was always trying to make Logan laugh, and he was always like, ‘Oh. Okay, calm down.’”
Face Off: All Stars, Tuesdays beginning Jan. 24, 9/8c, Syfy
Drama Watch face to face online with Russian voice acting
Soundtracks, action scenes with drifting and explosions, change of location “Korea-Russia”, undercover agents and even a secret hideout – it feels like a mix of Heeler, Descendants of the Sun and Penthouse. James Bond in Korean, epta!
I liked the beginning very much, it was tested on a lie detector:
– Name?
– Kim Seol Wu.
– Age?
– Born in 1609, me – 409.
– Is there a girlfriend?
– I love … YOU.
And also their subsequent dialogue, where Kay, already as an agent, receives the first and most important instruction (as for me, these three words are the key to survival and the key moment of the plot):
– I give you advice for the first and last time: do not trust anyone.
– I don’t even believe myself.
– Excellent.
As for the garlic, there were moments – the first couple of episodes – when I almost lost interest and was already looking “purely on principle”. Most of this was because of the main character. Damn, how unrealistic she was simply stupid! And her devoted fan love and admiration for Un Kwan … But even so, the drama is very nothing at all, and the fact that her two favorite teams, SoftBox and STEPonee, took over the voice acting.
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Memorable characters:
Kei (Kim Seol Woo, played by Park Hae Jin) is a national intelligence agent, also known as a “ghost agent” or “shadow”.Cold, calculating, sharp mind and determination, coupled with excellent combat training, before his meeting with Cha Do Ha, Kei had not a single failed mission – the machine is simple, phew! I liked how he compared himself to a fox, he really suits.
– People don’t change. Even with sharp teeth, a hare is a hare, and a fox is a fox.
– Are you a fox?
– It doesn’t matter, rather the one who bites, and not who is bitten.
– How do I know then that you will not bite me? How can I believe you?
– Transactions are based on money, not trust.
Cha Do Ha (Kim Min Jung) – at first, as I wrote above, her character acted more as an annoying element, but towards the end … I liked their interaction with Kei.
I remembered the moment where they watched the drama together:
– You said you wanted to watch a movie.
– I don’t watch movies.
– Why?
– I like dramas. The dramas are much longer.
– Is it because you want to spend more time with me? Shh, let’s finish this one and start watching the 50-episode series.
Yeo Woon Kwang (Park Sung Woon) – “VIP” protected by Kim Seol Woo.An actor who, without resorting to the help of a stuntman, performs complex stunts himself, but each time asks for a stunt double on the scenes with a kiss. Un Kwan is one of my favorite Persians here.
Song Mi Eun (Chae Jung Ahn) is a former actress and Miss Korea whose character immediately reminded me of Shim Soo Ryung from Penthouse.
Lee Dong Hyun (Jung Man Sik) is Kei’s attorney and coordinator. His love of dress up and conspiracy is just a separate art form. I was very worried about this dude at the end.
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Everything was waiting for Song Joong Ki to appear in the plot, but he only appeared by the 9th episode, playing a bank employee.By the way, about Joon Ki … I don’t know, maybe it just seems to me, but sometimes he and Park Hae Jin are just one face.
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Spur by tags to immediately recall the highlights:
# National Intelligence # Special Assignments # Undercover Agent # Bodyguard / Manager # Excellent Combat Skills # Genius of Deduction # Search for Hidden Inheritance (cache)
Almond face peeling is an excellent treatment for the summer
Dry, “tired” skin, fine wrinkles, oily sheen and constantly appearing acne – a familiar picture? In late spring and summer due to a lack of vitamins, increased solar activity, heat and dust, our skin is stressed.Problems such as acne, hyperpigmentation are exacerbated, the skin becomes dry, thin, lethargic and lifeless. Therefore, correct, professionally structured care is the only way to restore attractiveness to the skin of the face, revive it, and stop the aging process.
And, of course, peeling is the basis of any treatment. Facial peeling is designed to solve problems:
- moisture deficiency in the skin;
90,054 early wrinkles;
90,054 age spots;
90,054 acne, comedones.
One of the most delicate, gentle surface peels – almond . Its distinctive feature is the ability to apply on dry, sensitive, thin skin .
Why can you do almond peels in the summer?
Molecules of mandelic acid, which is part of the peeling, are larger, therefore they penetrate into the epidermis more slowly. The skin is less traumatized, which means that it regenerates faster, eliminating the possibility of undesirable consequences (for example, hyperpigmentation).
Cosmetologists recommend to use almond peeling in cases where any other procedures are prohibited or undesirable.
In what cases is almond peeling most effective
If you observe age-related changes on the skin (it may be flabbiness, the presence of a fine mesh of wrinkles, enlarged pores or age spots), acne, oily sheen – be sure to sign up for an almond peeling procedure at the Velvet Season SPA-Wellness center …
Mandelic acid is an excellent antiseptic, so our doctors often prescribe it for the prevention, treatment of acne, especially in the spring and summer.
Almond Peel :
- thoroughly and delicately frees the skin from dead cells;
- tightens pores;
- reduces sebum secretion;
- restores water balance;
- makes freckles, age spots less noticeable;
- evens out the tone, refreshes the face;
- is effective in the treatment of inflammatory processes on the skin (has bactericidal properties).
As a result of the skin is tightened and looks noticeably refreshed, softer and more elastic. Acne and acne go away, the skin is cleared of comedones. Oily sheen disappears.
How is the procedure
At the first stage, the beautician prepares the skin (cleans it from cosmetics and other impurities). Almond acid is applied to the problem area (on average for 15-20 minutes). After that, the active substance is neutralized and washed off. The skin is soothed and moisturized with a special mask and cream.
Features of almond face peeling
Peeling appears one day after the completion of the procedure. The skin feels tight and may itch a little. The more intense the peeling is, the more noticeable the effect will be. The next day, all the unpleasant sensations disappear, and the skin is noticeably transformed.
During the regeneration period, our doctors do not recommend visiting the solarium, sauna, swimming pool, sunbathing in the open sun. Our cosmetologist will tell you more about the procedure and home care.
Sign up for a consultation with an experienced cosmetologist at the Velvet Season SPA-Wellness center. We will help you quickly and efficiently prepare for the beach season, take care of the beauty of your skin!
90,000 Memo on human behavior when meeting a bear
Due to the fact that it is impossible to foresee each specific case of meeting a person with a bear, taking into account the current circumstances, it is impossible to give a single summary of recommendations on this issue, which gives absolute guarantees against an accident when attacked by an animal …At the same time, these tips can reduce the likelihood of a conflict situation to a minimum.
A bear rarely attacks a person: only if it is disturbed in a winter den, wounded or taken by surprise with its prey. Dangerous bears carrying cubs, “connecting rods”.
To avoid encounters with a bear in the forest:
1. In the forest, make noise, sing, talk loudly or tie a bell to your backpack. If possible, travel with a group.Avoid dense bushes, thickets, windbreaks. Always let the bear know that you are here.
2. It is prohibited to create around settlements, bases and camps, field detachments, tourist groups, on halts and routes of garbage dumps, dumps, food waste storage facilities, contributing to the concentration of animals next to humans. Even the burial of organic remains at a considerable depth cannot solve this problem, since bears, possessing a well-developed sense of smell, can easily detect and dig them up. It is recommended to remove food waste (if it is impossible to dispose of it) at a considerable distance from the dwelling, the landfill site should be clearly marked with signs, and local residents should be warned about it.If it is impossible to organize transportation by own forces or by forces of nearby villages and organizations, food waste should be destroyed by incineration.
3. The presence of dogs with you that are not afraid of the presence of the beast, with a malicious reaction, will greatly help to protect you from the appearance of a bear. In no case should it be used to guard indoor and decorative dogs. Best used for the protection of huskies and German shepherds. Remember that pets and their food can also attract bears.
4. Under no circumstances should one approach the remains of dead animals, places of finding dead fish and other natural habitats, which are a significant source of decayed animal food. First of all, this concerns the production of the brown bear itself. Remember: the bear disturbed by the prey, in most cases, goes into an attack.
5. In order to avoid encounters with a bear, it is advisable not to use bear paths while moving through the taiga and tundra. The paths cut by the bear differ from all other paths in that they are two parallel chains of holes at a distance of 20 cm from each other.You should also avoid driving along river banks and along spawning grounds at dusk and dawn, as well as at night.
Occurring behavioral characteristics of bears:
1. The defensive behavior of a bear is usually a consequence of the fact that you have violated the boundaries of his personal domain, frightened, or constrained him. A typical example of defensive behavior is the reaction of a she-bear with cubs when she suddenly meets a person. A defensive bear perceives you as a threat to himself and his cubs, or maybe he is just protecting his food from you.Outward signs can range from mild stress to extreme aggressiveness such as being attacked.
2. A bear can come close not only for defensive purposes, but also for reasons of a different nature. Just out of curiosity, or because he’s used to people. He may be interested in your food. Sometimes bears walk in circles on the leeward side, trying to smell. Being at a short distance, they begin to approach slowly and carefully, ears alert and head raised higher.
3. Bears living near people let them come closer to them without expressing much concern, especially in places where they are used to meeting people. A bear, accustomed to humans, does not keep the distance so strictly, but it invariably remains. It is dangerous to invade his personal space.
4. The predatory bear will be extremely interested and will focus on you as a potential food. A bear that is curious or testing you at first may turn out to be a predator if you can’t fight back.He will persistently approach you or appear suddenly, holding his head high and alert ears. Under any circumstances, bears rarely attack humans.
To avoid dangerous situations when encountering a bear:
1. Whenever you see a bear, stop, remain calm and assess the situation. If the bear does not know about your presence, you can leave unnoticed, do it quietly, at a time when the bear is not looking in your direction.Watch him closely. Go around the bear, making a wide detour, or go back the way you came here. The most common situation is when a bear avoids meeting you, and you are unaware that he is nearby. The closer you are to the bear when it detects you, the more likely it will develop a defensive defensive reaction.
2. If the bear moves towards you, watch carefully to see if its behavior changes. Try not to look threatening, stop.Talk to your bear in a confident tone. This can calm him down and help calm you down. Make it clear to the bear that you are human. If the bear cannot recognize who you are, it may come closer or stand on its hind legs for a better view or sniff. A standing bear with lowered paws usually shows curiosity, it is not dangerous.
You can try to slowly walk backwards diagonally without taking your eyes off the bear, but if the bear begins to follow you, stop and stay in place.
3. Do not shout or throw anything at the bear to defend yourself against it. This can provoke him to attack.
4. Don’t run! You cannot run away from the bear.
Human behavior when directly attacked by a brown bear.
Finding yourself face to face with a defensive bear can be a daunting ordeal. Despite the fact that in most such cases bears do not dare to attack, it also happens the other way around.
1. If the bear comes too close – not a step back! Continue speaking in a calm voice.If the beast stops approaching you, try again to increase the distance between you. At this stage in the development of events, any bear will most likely refuse to continue the encounter and leave, unless it is aggressive.
2. Attacks are of two main types – defensive or predatory. Your first reaction in both cases should be the same: not one step back! If you fail to scare off the bear in advance, and he still rushes at you, your reaction to the attack should be twofold: if the bear is defending – pretend to be dead, if the bear attacks you – try to resist him!
3.If it is a predatory attack, it is your turn to act aggressively. Let the bear know that you will fight if he attacks. The more persistent the bear is, the more aggressively you must react. Raise your voice, knock on the trees. Use loud instruments. Never imitate the growling of a bear or shriek.
4. Look the bear directly in the eyes. Challenge him. Try to look bigger than you really are. Stamp your foot while taking a step or two towards the bear.Climb higher slowly. Stand on a log or rock. Threaten the bear with any object that comes to hand. Remember, most attacks stop abruptly.
5. If this is a defensive attack, fall to the ground at the very last moment. Lie on your stomach with your legs spread slightly, or curl up in a ball. Cover your head with your fingers interlocking at the back of your head. In this position, you protect your face and neck. Bears often try to get in the face if it is not protected. If the bear flips you onto your back, continue rolling on the ground until you are face down again to protect your stomach and vital organs.Wearing a backpack will help protect your back and neck. Don’t fight or shout. Stay still for as long as possible. If you move and the bear sees or hears you, it can return and resume its attack.
VIII. The procedure for calculating the insurance experience / ConsultantPlus
VIII. The procedure for calculating the insurance experience
47. The calculation of the duration of the periods of work, including on the basis of testimony, and (or) other activities and other periods is carried out in a calendar order based on a full year (12 months).At the same time, every 30 days of periods of work and (or) other activities and other periods are transferred to months, and every 12 months of these periods are transferred to full years.
The calculation of the duration of each period included (credited) in the insurance experience is made by subtracting from the end date of the corresponding period the start date of this period with the addition of one day.
Periods of work and (or) other activities and other periods are included (counted) in the insurance experience up to the day preceding the day of applying for the establishment of an insurance pension, and in the cases provided for by parts 5 and 6 of Article 22 of the Federal Law “On Insurance Pensions” – on the day preceding the day of the appointment of the insurance pension.
48. In the event of the coincidence in time of the periods of work and (or) other activities provided for in subparagraphs “a” and “b” of paragraph 2 of these Rules, with other periods by the body carrying out pension provision, when establishing a pension, the length of service of the insured person shall include ( is counted) the period, the accounting of which gives the right to an insurance pension and (or) to determine the value of the individual pension coefficient in a higher amount. The person who applied for the establishment of a pension can indicate in the application the period chosen by him for inclusion (offset) in the insurance period.
49. The insurance period does not include the periods taken into account when establishing a pension in accordance with the legislation of a foreign state.
50. When calculating the insurance period, the periods of activity of persons who independently provide themselves with work, heads and members of peasant (farmer) households, members of family (tribal) communities of indigenous peoples of the North, Siberia and the Far East of the Russian Federation, carrying out traditional economic activities, periods of work for individuals (groups of individuals) under contracts are included in the insurance experience, subject to the payment of insurance premiums.
51. Other periods provided for in subparagraph “c” of paragraph 2 of these Rules are counted in the insurance experience provided that they were preceded and (or) followed by periods of work and (or) other activities, regardless of their duration, provided for in subparagraphs “a “and” b “of paragraph 2 of these Rules.
52. When taking care of children by both parents, no more than 6 years of care shall be included in the insurance record of each parent if they do not coincide in time or care is provided for different children.
53. When calculating the length of service required for the acquisition of the right to an old-age insurance pension by citizens receiving a seniority pension or a disability pension in accordance with the Law of the Russian Federation “On Pension Provision of Persons Who Have Served Military Service, Service in Internal Affairs Bodies, The State Fire Service, the bodies for control over the circulation of narcotic drugs and psychotropic substances, institutions and bodies of the penal system, the troops of the National Guard of the Russian Federation, the enforcement agencies of the Russian Federation, and their families “, the insurance period does not include the periods of service preceding the appointment disability pensions, or periods of service, work and (or) other activity taken into account when determining the amount of seniority pension in accordance with the specified Law.In this case, all periods that were included in the length of service are considered taken into account, including periods that do not affect the amount of the length of service pension or disability pension, in accordance with the specified Law.
(as amended by Resolutions of the Government of the Russian Federation of 05/10/2017 N 546, of 07/12/2018 N 813, of 05/21/2020 N 723)
54. When calculating the insurance period required for the acquisition of the right to an insurance pension for old age by citizens from among cosmonauts receiving a seniority pension or a disability pension in accordance with the Federal Law “On State Pension Provision in the Russian Federation”, the insurance period is not includes periods of work (service) and (or) other activities preceding the assignment of a disability pension, or periods of work (service) and other activities taken into account when determining the amount of seniority pension in accordance with the specified Federal Law, unless otherwise provided by an international treaty Russian Federation.
55. The periods of work during the full navigation period on water transport and during the full season in organizations of seasonal industries are accounted for in such a way that the duration of the insurance period in the corresponding calendar year is a full year.
56. The period of receiving benefits for compulsory social insurance during the period of temporary incapacity for work is included in the insurance record, regardless of the payment of compulsory payments for this period.
57. Persons who performed work in the corresponding calendar year under contracts of author’s order, as well as authors of works who received payments and other remuneration in the corresponding calendar year under agreements on the alienation of the exclusive right to works of science, literature and art, publishing license agreements, license agreements on the granting of the right to use a work of science, literature and art, if the total amount of paid insurance premiums from payments and other remunerations received under these agreements during this calendar year amounted to at least a fixed amount of the insurance premium for compulsory pension insurance, determined in accordance with the legislation Of the Russian Federation on taxes and fees, the insurance period includes a period equal to a full calendar year (from January 1 to December 31) in which insurance premiums were paid from payments and other benefits under these contracts.If the total amount of paid insurance premiums during the calendar year for the specified persons is less than the fixed amount of the insurance premium for compulsory pension insurance, the period (in months) of the duration calculated in proportion to the paid insurance premiums, but not less than one calendar month ( 30 days). The period counted in the insurance period in connection with the payment of insurance premiums from payments and other remuneration under these contracts, if there are periods of work and (or) other activities and other periods in the corresponding calendar year, is taken into account in such a way that the insurance period for the corresponding calendar year is not exceeded one year (12 months).
58. When calculating the length of service for the purpose of determining the right to an insurance pension, periods of work and (or) other activities that took place before the entry into force of the Federal Law “On Insurance Pensions” and were included in the length of service when assigning a pension in accordance with the legislation valid during the period of performance of work (activity) may be included in the specified length of service using the rules for calculating the corresponding length of service provided for by the specified legislation (including taking into account the preferential procedure for calculating the length of service), at the option of the insured person.
In the absence of an expression of the will of the insured person, the pension provider shall apply the specified rules for calculating the length of service, if without their application the right to an insurance pension does not arise.
59. Documents issued in order to confirm periods of work, other activities and other periods must contain the number and date of issue, last name, first name, patronymic (if any) of the insured person to whom the document is issued, the date, month and year of his birth, place work, period of work (other activity, other period), profession (position), grounds for their issuance (orders, personal accounts and other documents).Documents issued by employers to the insured person upon dismissal from work may be accepted as confirmation of the insurance experience and if they do not contain grounds for their issuance.
60. Entries in the work book taken into account when calculating the insurance period must be drawn up in accordance with the labor legislation in force on the day they were entered in the work book.
61. A record of work entered in the work book (duplicate of the work book) on the basis of the decision of the commission for establishing the length of service, formed and acting in accordance with the established procedure, is considered on a par with the record confirmed by documents.
62. The summary record of the periods of work, made in the work book on the basis of documents, is a confirmation in relation to the following periods of work:
a) from December 14, 1962, if specific entries are made in the work book about which organization, at what time and in what positions the insured person worked before entering the organization that issued the work book;
b) until December 14, 1962, regardless of whether the specified information is contained in the work book.
63. If, in addition to the work book, separate documents are submitted about work for the period before filling out the work book, to which the summary entry specified in paragraph 62 of these Rules belongs, then the entire insurance experience recorded by the total total must be confirmed by documents or, in established cases, by witnesses indications. If the work book does not contain information about the types of work activities that should have been entered in a separate line, then the periods of such activities, confirmed by an additional document, are accepted along with the summary record.
64. If the name, patronymic or surname of a citizen in the document on insurance experience does not coincide with his name, patronymic or surname indicated in the passport or birth certificate, the fact that this document belongs to the citizen is established on the basis of a marriage certificate, a certificate of name change , certificates of competent authorities (officials) of foreign states or in court.
65. If in the submitted document on the periods of work and (or) other activities and other periods only years are indicated without specifying exact dates, July 1 of the corresponding year is taken as the date, if the day of the month is not indicated, then the 15th day is considered as such the corresponding month.
66. Years during which a citizen was a member of a collective farm, but did not work out the established minimum labor participation (regardless of the reason), are counted in the insurance period as full calendar years. The calendar years indicated in the collective farmer’s work book, in which there was not a single exit to work, are excluded from the calculation.
67. The duration of the periods of payment of insurance premiums included in the insurance period specified in subparagraphs “b (1)” and “b (2)” of paragraph 2 of these Rules may not be more than half of the insurance experience required for the appointment of an old-age insurance pension.
68. Persons who voluntarily entered into legal relations on compulsory pension insurance, permanently or temporarily residing in the territory of the Russian Federation, applying a special tax regime “Tax on professional income”, persons who voluntarily entered into legal relations on compulsory pension insurance, from among lawyers who are recipients of a seniority pension or a disability pension in accordance with the Law of the Russian Federation “On Pension Provisions for Persons Who Have Served Military Service, Service in Internal Affairs Bodies, State Fire Service, Bodies Controlling the Circulation of Narcotic Drugs and Psychotropic Substances, Institutions and Criminal Bodies – the executive system, the troops of the National Guard of the Russian Federation, the enforcement agencies of the Russian Federation, and their families “, if the total amount of insurance premiums paid during the calendar year is not less than the fixed amount of the insurance premium for about mandatory pension insurance, determined in accordance with the legislation of the Russian Federation on taxes and fees, taking into account the provisions of the seventh paragraph of clause 5 of article 29 of the Federal Law “On compulsory pension insurance in the Russian Federation”, a period equal to the corresponding settlement period determined in in accordance with paragraph four of clause 5 of article 29 of the Federal Law “On compulsory pension insurance in the Russian Federation”.If the total amount of insurance premiums paid during the calendar year by the specified persons is less than the fixed amount of the insurance premium for compulsory pension insurance, determined in accordance with the legislation of the Russian Federation on taxes and fees, the period determined in proportion to the amount of paid insurance is included in the insurance period. contributions, but not more than the duration of the corresponding settlement period, determined in accordance with paragraph four of clause 5 of Article 29 of the Federal Law “On Compulsory Pension Insurance in the Russian Federation”.
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Itoudis: CSKA had two faces in the match against Monaco
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Itoudis: CSKA had two faces in the match against Monaco
Itoudis: CSKA had two faces in the match against Monaco – RIA Novosti Sport, 10/30/2021
Itoudis: CSKA had two faces in the match against Monaco
CSKA basketball players showed two faces in the Euroleague match with Monaco and turned out to be weaker than their rivals physically and mentally at the end of the game, said after the defeat … RIA Novosti Sport, 30.10 .2021
2021-10-30T01: 20
2021-10-30T01: 20
2021-10-30T01: 20
basketball
dimitris itoudis
cska
euroleague (basketball)
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MOSCOW, October 30 – RIA Novosti. CSKA basketball players showed two faces in the Euroleague match with Monaco and turned out to be weaker than their rivals physically and mentally at the end of the game, said the head coach of the army team Dimitris Itoudis after the defeat. : 80 in favor of the hosts. Before the big break, the army team were leading in the match with a score of 52:39.
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Itoudis: CSKA had two faces in the match against Monaco
what is it, benefits and contraindications. Description
Opinion
Anastasia Miretskaya
Author
Recently, advertising and rave reviews about the miracle peel have flooded the Internet.We could not pass by and decided to figure out what the essence of carbon peeling is.
Contents:
Carbon peeling is a cosmetic procedure for rejuvenation and deep cleansing of the skin under the influence of a laser. Also known as “carbon peeling” through the use of a special nano-gel based on carbon (carbon dioxide). This procedure is often called “carbonic facial cleansing” because of the deep cleansing of the pores and the recommendation for use by patients with acne (though not in the acute stage).In addition, under laser action, the production of its own collagen in the epidermis is stimulated, due to which the skin acquires elasticity.
The main advantage of carbon facial peeling is a quick recovery after the procedure. It refers to the gentle effect on the skin. Compared to other peels, carbon peels have very few contraindications and side effects, no pain and the possibility of carrying out the procedure all year round.
To carry out carbon peeling, the cosmetologist applies a nanogel, waits for it to dry completely, and after that begins to apply a laser to the skin.Then a soothing mask is applied. The whole procedure takes 45-60 minutes. Usually, to achieve the best effect, it is recommended to do 4-5 procedures with intervals of 1-2 weeks. The beautician will be able to accurately determine by assessing the condition of the skin and the desired effect after peeling.
What does carbon peeling give? When the laser interacts with the nanogel, the epidermis heats up, the carbons seem to “explode”, exfoliating dead cells. This renews the skin and unclogs the pores.
What is carbon peeling for? It is recommended for the following skin problems:
The laser peeling procedure with carbon nanogel is perfectly tolerated by all types of skin, but is most suitable for oily skin, as it solves a number of key problems: reduces sebum secretion, narrows and cleanses pores, evens out the relief after inflammation.
Still, carbon peeling has a number of contraindications. It is imperative to consult a doctor if the following factors are present:
- oncological diseases;
- pregnancy and breastfeeding;
- gel allergy:
- diabetes mellitus;
- inflammation at the site;
- dermatological diseases;
- chemotherapy and radiation therapy;
- the presence of herpes infection;
- Tendency to form keloid scars.
As with any other peel, the following side effects may occur: slight redness, itching, peeling. But they will go away quickly with proper care during the recovery period. In general, carbon peels cannot be dangerous.
After a course of carbon peeling procedures, beauticians promise the effect of a “porcelain doll” – even, radiant skin. Due to the effect of the laser on the deep layers of the skin, the process of production of its own collagen is activated, the complexion improves, and the number of wrinkles decreases.
Also, after carbon peeling, you can see the following positive results:
Laser carbon peeling – all-season. What it is? Carbon peels do not have the strict seasonal restrictions that chemical peels do. But although cosmetologists claim that the procedure can be done all year round, we still recommend that you follow some rules of care during the recovery period.
During the active sun period, the default sunscreen is every conscious girl’s best friend.And after peeling, it should be protected with at least SPF 50 in order to avoid the appearance of those very age spots, against which, among other things, carbon cleaning was done. There is a lot of controversy about whether carbon peel is harmful or beneficial in summer. We answer: there is no strict ban on its holding.
Can carbon peels be done in the spring? Yes, it is relevant at this time of the year, because the skin is depleted by the long absence of the sun, vitamins and becomes dull. It is better to have time to do the course of procedures before the second half of April, when the sun becomes as active as possible.
Winter is the perfect time for peeling. The skin will have time to fully recover without side effects. The main thing is to moisturize it with special products for recovery after procedures.
It is customary to start doing chemical peels from mid-October, but carbon peels, as we already know, do not have such strict restrictions. Carbon peels in the fall also work great against dull complexions.
At the first consultation, the beautician will test the sensitivity of the skin to the drug, assess how many procedures will be required in general.Directly on the eve of the peeling, it is not recommended to clean and use products with abrasive particles.
Carrying out carbon peeling includes the following steps:
- make-up removal;
- skin disinfection with an antiseptic;
- Nanogel application;
- waiting for the gel to dry;
- laser skin treatment;
- Removal of gel residues;
- Application of a soothing mask.
The procedure is absolutely painless, does not cause discomfort or discomfort.Therefore, carbon peeling is not limited to one area, it can be done on different parts of the body.
The most common treatment area. It is popular because it solves several of the most common problems at once: age-related changes, pigmentation, enlarged pores.
For the back, a carbon peel is also good. Cosmetologists prescribe it in the presence of age spots and acne in this area.
Peeling on the neck is recommended to combat age-related changes, as well as to slightly smooth the rings of Venus.
Breasts are often prone to age spots, loss of skin tone and acne. Also, to solve all these problems in the complex, cosmetologists recommend carbon peeling.
Skin regeneration after carbon peeling occurs quite quickly: the very next day there will be practically no trace of the procedure. But nevertheless, it is worth following some rules:
- it is better to avoid direct sunlight and be sure to use Sanskrin;
- do not visit the bathhouse, sauna, swimming pool;
- the next day it is better to refrain from using decorative cosmetics;
- Exclude cosmetics containing alcohol from care for some time.
Complications after carbon peeling are extremely rare and occur rather from non-compliance with these simple rules. Also, the cosmetologist often advises special products for faster skin recovery.
Having learned about carbon peeling, many people mistakenly believe that the main character of the process is nanogel, which can be easily used at home. But the essence of the procedure is the effect of a laser on a carbon gel. It is he who launches the processes of skin renewal. Therefore, it is simply impossible to do carbon peeling at home.
In general, the concentration of active substances in the formulations that are used in beauty parlors is several times higher than in home care products. Therefore, this type of procedure must be done under the supervision of a specialist. At home, it is better to use peels sold in regular cosmetics stores. They will definitely not harm your skin thanks to a more gentle composition.
It all depends on the desired effect, the reaction of the skin and the season. You can look at many before and after photos of carbon peels to see the difference.Some people believe that chemical peels are more effective, as they can penetrate into the deeper layers of the skin. But, as we already know, it has strict season restrictions – from October to April. But facial cleansing with carbon is available all year round. Is it worth the risk?
Also, after chemical peeling, the skin will have a long recovery process; after carbon peeling, the next day there will be practically no trace of the procedure.
