Sliders (1995)

Sliders was fairly sparse on episodes needing elaborate special makeup effects, with each episode that did having no makeup effects credits. The Kromaggs in the episode 'Invasion' are such an example, though as this was filmed in Vancouver, and several Grey masks sculpted by Toby Lindala for The X Files appear in the same episode, could these have been Lindala's work? These Kromagg makeups also bear a similarity to the makeups Lindala devised for the Outer Limits episode 'The Grell' as well, strengthening the case.

The rest of the episodes are harder to place; there are no special makeup effects credits for 'The Last of Eden', so it's unknown who realized the makeups for the episode's vampire-like Morlok pastiches. This was a third series episode, and all the series after the second were filmed in Los Angeles, so there's many contenders.

The makeup effects in the third season's 'This Slide of Paradise', a pastiche of The Island of Dr Moreau, also went uncredited, so again - who realized them? Thomas Surprenant, who did do work on the later LA-filmed episodes confirmed he was not responsible for the makeups in either 'Last of Eden' or 'This Slide of Paradise'. A mystery as of now.

The last two seasons had their special makeup effects supervised by Bernd J. Rantscheff, his team including Thomas Surprenant and James Rohland. Rantscheff's team redesigned the Kromaggs to be more human-like, now with heavy brows, noses and bald heads. I also would like to thank Thomas Surprenant for kindly sending me the behind the scenes photos he took during his time on the series!

Rantscheff's team also realized the cyborg Eddies in the episode 'California Reich', with a silvery facial prosthetic obscuring the performer's mouth, as well as a half-face makeup applied to Carol Huston as an incomplete Eddie.

Game of Werewolves (2011)

The special makeup effects for Game of Werewolves (originally titled Lobos de Arga in its native Spain, and retitled Attack of the Werewolves in the UK) were made by Dharma Estudio, with heavy involvement from Arturo Balseiro. Balseiro had previously worked on 2010's The Wolfman which could have influenced the 'wolfman' style designs. Several furred bodysuits facial prosthetics fabricated for the film's many werewolves.

Howl (2015)

Originally, Paul Hyett was enlisted to realize the special makeup effects for Howl, having previously designed the special makeup for Neil Marshall's The Descent. Initially, Jon Wright was slated to direct, but when Wright left the project, Howl's producers watched Hyett's The Seasoning House and decided he would be a good fit for the project.

Hyett's first move as director was to change the design of the werewolves. Hyett stated in an interview for Clout Communications, 'I changed the creature straight away, Jon wanted more rat-like feral skinny creatures, I’d always wanted to do big, muscly, massive, fuck-ugly werewolves.'

In another interview with Film4 FrightFest, Hyett stated, 'I didn't want big furry, snout ones (...) I thought, feral people that have been bitten by something and start to evolve and mutate over the years. I didn't want to go through the silver bullet, howling at the moon, full moon transformation (...) Once they're bitten, they start to transform, and they never go back'.

Satinder Chumber was credited for key prosthetics, with Mike Burne, Steve Byrne and Rachel Coenan as makeup artists. Francesco Fabiani, Andy Hunt and Cesar Alonso were credited as sculptors. The early stages of Ed Speelers' transformation were realized as prosthetic appliances placed on his face and chest; these photos are from the Facebook page of Rachel Coenen

The werewolves were realized sculpted prosthetic suits and facial appliances, with CGI added in post-production. As Hyett stated in Starburst Magazine, 'A lot of people are saying, ‘look Paul has gone old school with these practical effects’ but they’re kind of not. The actors did have prosthetic creature suits but they have lots of 3D elements. What I did was take everything I knew from those two disciplines. You never want to do a fully CGI creature as it never looks as good so I felt lets have the suit, but I couldn’t have had the triple jointed legs without the visual effects. It’s the same with the opening of the jaw. Anything I couldn’t do with prosthetic I then employed CG.'

Four werewolf suits were created; three female werewolves, credited as 'Blonde' 'Bald' and 'Hunchback', and a male werewolf credited as 'Scar', whose bodysuit was sculpted to be more muscular in comparison, though the face was altered with CG VFX in post.