Makeup in the filmmaking medium does far more than just make an actor or actress look good. In fact, it can often do the opposite. It becomes an essential part of character-building, allowing actors and actresses to disappear into the world of a film, and it is awarded every year by the AMPAS in the form of the Best Makeup Oscar.

The award is actually designated for both makeup and hairstyling. But in my humble opinion, the category has tended to ignore the latter more often than not.

This category will become much clearer after the announcement of the seven bakeoff finalists later in the season. As in the Best Visual Effects category, seven finalists are announced prior to the date when the nominations are announced, and three of those seven finalists become the nominees.

This is a strange category; seemingly easy gets often miss out while otherwise poorly-regarded films occasionally score nominations (last year’s “Click” immediately jumps to mind). Considering anything a “lock” in the makeup category is a foolhardy action indeed.

Regardless of typical shockers that pop up in the bakeoff, particular types of work do score in this category regularly. Aging is near the very top of that list. Character-building work – turning famous actors into infamous people or disguising them as fictitious personas – frequents this category all the time. Battle wounds and blood are also a good way to get work noticed. Prosthetics and very showy work show up every single year.

Tim Burton’s “Sweeney Todd: The Demon Barber of Fleet Street” would seem to have everything this category loves. Wild hair, period makeup – and there will be blood! The makeup crew also includes a giant in the field, Ve Neill, who has won two Oscars for past work with Burton (“Beetlejuice” and “Ed Wood”) in addition to her third win for “Mrs. Doubtfire.” This strikes me on paper as a solid bet. We’ll see what happens.

“Hairspray,” meanwhile, was another big, brassy musical. Not only where the hairstyles hilariously – though appropriately – over-the-top (terribly surprising, I know, given the film’s title) but “Grease” legend John Travolta was turned into the hefty Edna Turnblad! This sort of stunt transformation can easily get people talking. The crew has no previous nominations between them, but even so, recent years suggest to me insularity is not all that important in this category. So I’d say both musicals are good possibilities.

“La Vie en Rose” also turned its star into a musical icon (albeit a very different one) as Marion Cotillard was transformed into Edith Piaf. The makeup crew also did so in such a way where her aging and illness where very noticeable. Again, no previous nominees are on the crew. Last year’s winner, however, was also a foreign film (“Pan’s Labyrinth”) without prior Academy-recognized talent behind the prosthetics.

Yet another famous lady was manifested in “Elizabeth: The Golden Age.” Jenny Shircore won an Oscar for this film’s predecessor nine years ago. The hairstyling and facial makeup suggest that a follow-up nomination could occur. Then again, the predecessor was held in higher regard – and it was a Best Picture nominee. Not likely with this critical bomb.

“The Golden Compass” is aiming to be the launch of a new fantasy series, creating the characters Philip Pullman’s celebrated literary world. Peter King won an Oscar for his makeup designs on “Lord of the Rings: The Return of the King.” I don’t know if this effort is going to give him the sort of opportunity that arose there (or even on an endeavor such as “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe”), but I’d venture to say that the average makeup artist would still love to have this sort of prospect. I really think we’ll only be able to evaluate this when we see it, however.

“Mr. Magorium’s Wonder Emporium” is another fantasy effort that could pop up. The film will transform Dustin Hoffman into a seemingly lovable eccentric with a very unique look. Disguising famous actors is something this category loves.

Speaking of which, “Fred Claus” turns Paul Giamatti into Santa Claus as well as making all the other members of the North Pole community. “The Santa Clause 3: The Escape Clause” managed to make the bakeoff last year after all! This probably shouldn’t be ruled out.

“Pirates of the Caribbean: At World’s End” is in a strange situation. The first film in the series probably would have won the Oscar in 2003 had it not been for the “Lord of the Rings: The Return of the King” juggernaut that year. The first sequel continued the work of battle wounds, unique pirate looks and crazy hairstyles – not to mention grotesque creations here and there – but it missed out on a nomination to “Click” of all things last year. Ve Neill and Martin Samuel continued to improve and deepen their work on the third installment this year, but is it likely that the film will score when a predecessor in its series failed? You never know. There are occasions, though rare, where this kind of thing happens.

The “Harry Potter” series has never managed to score in this category, which frankly surprises me. Makeup and hairstyling has been pivotal to this hugely successful series since day one. The Academy has never really embraced the franchise with any discernable passion, so I doubt that “Harry Potter and the Order of the Phoenix” will be able to break that trend. Then again, the nominations which the last two installments managed surprised many. And the only makeup nomination that “Star Wars” series ever received, for instance, was for the final installment. Never say never.

In the world of period and illness, “Love in the Time of Cholera,” though seemingly underwhelming, could be the sort of film ignored everywhere else EXCEPT here. Matthew Mungle won an Oscar for “Dracula,” after all. Something to keep in mind.

And lastly we come to my lame pun while discussing “Sweeney Todd” – “There Will Be Blood.” This will be period, seems a certain critical favorite, and the sheer amount of dirt and oil will likely result in makeup being noticeable. I wouldn’t rule it out.

But I began with saying just how unpredictable this category is; I certainly stand by that notion. I’m sure we’ll at least see a film or two making the bakeoff that I haven’t even mentioned (or considered).