12. How to Be a Pro
Day checking in the film and television industry is described, including tips on how to read a call sheet, definitions of terminology (e.g., crew call, closed set, D/N, pages, holding and catering, SC(#), H/MU, reh, stat, total pages, atmosphere stand-ins, set call). Next, day checking for commercials is described. Makeup kits and set chairs for day checking in film and commercials are discussed, including lists of treatment bag contents, set bag contents, makeup bag for film day contents. Instructions on time cards and kit fees according to type of day checking job and client are provided, as well as standard job personnel and contact points. Crowd scene terminology and general instructions for several types of background artists or extras (homeless, drug addict, illness, police officers, news reporters and anchors, period makeup) are provided. Guidelines for beginning Makeup Artists to gain experience are given. The chapter concludes with lists of makeup brushes by type of bristle and brush, and industry standards for the following products: anti-shines, adhesives, brush cleaners, effects products, old-age stipple, prosthetic paint, foundation colors, silicon product in bulk, tattoo ink type products, tear products, foundation or correction makeup, water-activated makeup, makeup palettes, powders, removers, sealers, primers, and fixers.
Key Words: day checking in film and television, call sheet, day checking for commercials, day checking makeup kits, kit fee, box rental, union shoots, East Coast trailers, West Coast trailers, crowd scenes, background artists, working out of kit, period makeup, test shooting, shoot preparation, makeup brushes, anti-shines, adhesives, brush cleaners, effects products, old-age stipple, prosthetic paint, foundation colors, silicon product in bulk, tattoo ink type products, tear products, foundation or correction makeup, water-activated makeup, makeup palettes, powders, removers, sealers, primers, fixers
Day Checking: Film and Television Industry
Sometimes Makeup Artists work on a day-to-day basis, known as day checking. Working as a daily hire takes a certain amount of responsibility and know-how. If you are talented plus have the ability to think on your feet and are a good observer, you'll go far. Department heads look for someone they can trust on-set to do the job asked and not use the time at work for career advancement. Once you have worked with someone a number of times, you'll get an idea of how department heads run their makeup departments. No matter how chummy and laid back it might seem, try to remember that you are at work and this is a real job. Don't allow yourself to be careless with what you say and too chatty with the Makeup Artists in the main trailer. One of the biggest mistakes a Makeup Artist can make in any situation is failing to follow directions! Please leave your ego out of the equation when given directions on how and what products to use for the job you are on. There have already been many decisions made by the department heads in charge about the look of the shoot. Do as you're told! On top of being called to work without much information, walking into a job that might already be in progress with people who have already established a relationship with each other can be tough. There are ways to make sure that you are on the right track. The following will help you to understand the do's and don'ts of a day checker for daily hire, and how to watch the set.
Day Checking: Daily Hire for Film
When called in to work, ask the production department to fax or email you a call sheet for the day you are working (Figures 12.1 and 12.2). If you have been contacted by a department head or another Makeup Artist, be sure to get the information you need, such as a production phone number. Sometimes the makeup team already has a full plate, so you can help by contacting the production office yourself for call sheets and maps. Inform production that you will be working as an additional Makeup Artist and give them your contact information. Wait about an hour after production wraps the night before you are to work. If you have not heard from someone by then, call to remind production that you need a call time. Note that it is the assistant director's (AD) department with the help of the production department to give call times, but in some cases a member of the makeup department will make the calls.
Many times department heads will contact you to ask if you have your call times. It is a plus to say yes because that makes one less thing for the Makeup Artist to worry about. They know you will be reliable and able to find your way to the makeup trailer, and on time. Sometimes you can sense a crazy, hectic situation, so be proactive and get the information you need yourself to get to work the next day. Expect a call from an AD. When you do get your call sheet, read it carefully. Take mental notes on what is being shot, how many background players there are, what the time period is, whether it is day or night, and inside or outside.
Why is it important to know these things? If the weather is bad, bring the right things to wear. Are you outside all day? Be prepared to work under any weather situations and for long periods of time. Layered clothing is a must when working outdoors; bring items such as scarves, rain boots, coats, and sweaters. Maybe your set bag needs to be plastic or covered to protect it from the rain. Should you bring an umbrella? What if you are outside all day and it is hot? Sunscreen will be a must to apply on yourself and on the actors you are working on. Hats also protect you from the sun. Sunglasses help with the glare. Working indoors can mean cramped spaces, humid air, and possible excess sweat. Indoors, you might want to stay compact and bring a small portable fan for a little airflow. How many background players are coming in? Reading this information will tell you how busy it is going to get. The call sheet will also tell you what time period the movie is in for that day. Adjust your makeup kit to what you'll need. Don't bring in natural makeup colors if you are creating 1980s characters. Use common sense. These are just a few examples of why it is important to read the call sheet and to figure out how to prepare for the day.
On the Job
How to Read a Call Sheet
Reading the call sheet gives you valuable information. If you are day checking, reading what scenes are being shot, how many background artists will be working, and what parts they will be playing is important information for preparing what you will need to bring to work. The call sheet will also tell you where to go and what time to be there, who to call in cases of an emergency, and the people who will be working with you. The following numbers correspond to the numbers on the call sheet and explain what they mean. A film call sheet is two-sided; a commercial call sheet typically is one-sided. This is a film call sheet.
• Name of the production company, their location, and phone numbers. In case there is an emergency, you can contact the production office to find out what your call times are or where you are supposed to be.
• Names of all the producers, ADs, writers, and the director. It is good to know who the ADs are. Besides the makeup department, you will be dealing with the AD department. They control the set, the schedule, and the environment on the set.
• The first time listed is the crew call. Also called the general crew call, this is the time that most of the crew reports for work. The makeup department is not included; we have a separate call time, usually much earlier. Do not confuse the crew call with the makeup call; they are usually not the same. The second time listed is the shoot call. This is the time that production has scheduled to start filming. Makeup call times are on the back of the sheet for film, and on the front of the sheet for commercials.
• Date for the day of work. Number of days the production has already been shooting. This is good to know because you can judge how fresh or tired the makeup department might be when you first start working. The more days they have been filming, the more tired they will be!
Crew Call: The time that the crew is called in to work.
Weather forecast for the day of shooting: Helps you decide what to wear to be comfortable and protected. This would also include any protection you might need for your makeup kits, or for your actors.
Closed Set: A closed set means no visitors. Please remember this rule. You are there to work. It is not a time to show your friends the set. There will be names listed for you to contact to get permission to bring someone on-set.
SC(#): Scene numbers in the script being shot that day.
Set Description: What is being shot and what the shot looks like; whether the shot is indoors or outdoors.
D/N: Indicates if the scene being shot is a day scene or night scene.
Pages: The number of script pages for the scene being shot.
Cast: The cast members appearing in the scene being shot.
Locations: Where the scene(s) is/are being shot.
Holding and Catering: Where the extras are being held, and where the food is located.
Total Pages: Total number of pages being shot that day.
Cast: Actors working that day.
Character(s): Name(s) of the character(s) the actor(s) will be playing. Each character is assigned a number; this number is used to show the character on the call sheet and shooting schedule.
Stat: Work status of the actor. Shows if they work that day or are on hold, traveling, or off.
Reh: Time of rehearsals for the actor(s).
H/MU: The time the actor(s) will go to hair and makeup.
Set Call: Time the actors are expected on set.
Remarks: What time the actors will be picked up from their hotel, or home, or if they drive themselves.
Atmosphere Stand-ins: How many stand-ins and background actors are working that day, and the characters they play.
Report: What time stand-ins and background actors report to hair, makeup, and wardrobe.
Set Call: The time that stand-ins and background actors report to set.
Remarks: Directions on where to report and at what time for stand-ins and background actors.
Department Requirements: Notes on what each department needs to have for scenes being worked that day. Example: Makeup Dept. blood for scene 11.
Advance Schedule: What scenes will shoot and where for the next few days.
Producers, production supervisor, and first AD sign off on (approve) the call sheet. The set phone number and who to contact in case of an emergency.
Flip side of the call sheet: All departments, the names of the crew members listed, and their call times.
Day Checking: Daily Hire for Commercials
Being called in as a daily hire for commercials is similar to film. There are a few changes that you would need to be aware of. Call sheets are not as extensive, and tend to have all information on the front, sometimes with a storyboard attached so you know how the commercial is being shot. You do not have to worry about bringing in copies of your IDs. Copies might be made for you by production, but even that might not happen. A day rate is also decided by you and the producers. What you charge is up to you, but never go below the asking rate. Remember that the less you charge, the more people perceive you as someone who is not in demand. When assisting another Makeup Artist, he or she will tell you what they have in the budget for you. Working with another pro is a good experience. Working by yourself means more responsibility, so remember to keep your rates where they should be. You'll be asking for a flat day rate, with overtime after 10 hours and a kit fee. If you are with a makeup agency, your representative will work out everything for you. After a rate is agreed upon, the agency or producers might ask for a résumé, reel, or CD of your work. This happens mainly if you have never worked with the agency or producers before, and they want to get an idea of what your makeup looks like in print, as well as who you have worked for in the past.
Makeup Kits for Day Checking
Day checking, or daily hire, means you are called in one day at a time. Even though you might get a heads-up on more days, don't count on it. Anything can happen. Although there are people who consider day checking to be the least important part of the crew, that way of thinking is a big mistake. Department heads recognize the importance of their daily-hire crew. In general a department head who values the crew runs a more efficient operation and gets better results in the final outcome of the makeup look desired for the film. As a matter of fact, on a large feature film or project that Makeup Artists want to be involved with, they often work as day checkers. Skill is very important at this level, for often you are left alone to make your own judgment calls.
The right makeup kit for the right job is also important. If a department head has phoned ahead to recommend bringing very little or just what is needed, take notice and heed that request. The department head knows what is going on with the shoot. There is always time to bring in a larger makeup kit if you are hired for more days, or if you are assigned a specialized makeup procedure such as laying down sideburns for a period piece. You most likely have had conversations with the department head on any special makeup to bring with you. Every now and then, a production comes to town and the makeup department has not expressed to you what it is you will be doing or what to bring. Doing a little research on the production gives you a feel for the time period of the movie, and you can bring what you feel is needed.
The following makeup kit will cover you in all your needs as a day checker or union Makeup Artist (Figure 12.3). If you are working a non-union production, this same makeup kit would apply, but with the addition of hair products. Every Makeup Artist has favorite products, and no one is wrong. The products below are listed because they are popular with other working Makeup Artists—we are constantly trying out or using products that have been suggested by other professionals. I would also suggest that you buy small sizes that can be refilled, or products in tubes, or use small labeled containers to fill with your favorite products. Remember to stay portable!
Note: Most artists have a makeup kit or case, a makeup bag with additional supplies (including a treatment bag), a set bag or case, and a set chair. The average number of pieces is three. Some artists are great packers and have it down to two!
Gretchen's Treatment Bag Contents
• Kiehl's Ultra Facial Moisturizer for all skin types
• Kiehl's Sodium PCA Oil-Free Moisturizer (for those who do not want any oil added to the surface of their skin)
• Kiehl's Cucumber Herbal Alcohol-Free Toner (transfer to a smaller bottle, or use the travel size and refill from the large 16.9-ounce container when needed)
• Kiehl's Blue Astringent Herbal Lotion (transfer to a smaller bottle, or use the travel size and refill from the large 16.9-ounce container when needed)
• Kiehl's Close Shavers Shaving Formula #31-0
• Kiehl's Ultimate Brushless Shaving Cream
• Terax Body Moisturizing Shaving Cream
• Kiehl's Men's Alcohol-Free Herbal Toner
• Clinique Skin Supplies for Men, M-Shave Aloe Gel
• Remington FaceSaver Pre-Shave Powder
• Kiehl's Washable Cleansing Milk for Dry, or Normal to Dry, or Sensitive Skin
• L'annine Hand and Body Crème
• Kiehl's Lip Balm #1 with Sunscreen
• Fresh Soy Face Cleanser Makeup Remover
• Lancôme Bi-Facial Double-Action Eye Makeup Remover
• Evian Eau Minerale Naturelle Spray
• DHC Coenzyme Q10 Water Mist
• Travel-size container of witch hazel
• Sephora Makeup Brush Cleansing Wipes
• DHC Makeup Off Sheets
• Wet Ones Moisture Wipes Travel Pack
• Murad Day Reform Treatment (applied to skin before airbrushing)
• Sunscreen SPF 45 or higher
• Rubbing alcohol in a small bottle
• Natura Bisse Sponges
• Small, clean towels
• Eye Tees Precision Makeup Applicators
• Small scissors for cutting cuticles
• Larger scissors for all-around use
• Diamancel Nail File
• Disposable shavers
• No-shred cotton pads
• Sugar-free gum or mints in a variety of flavors and brands
• Norelco trimmer
• Tissues
Set Bag
The contents of a set bag or case are determined by individual preference. You can be on-set for long periods of time, and might not be able to get back to base camp if you have forgotten an item. Also, it depends on if you are watching large background scenes or one or two individuals. Try to keep your set bag lightweight and portable for easy maneuverability while on-set. If you are shooting outdoors, be sure to check the weather conditions. You might need to use a case that is waterproof or covered if rain is expected. A hard, portable gym locker bag works well because it is compact and has a long strap for shoulder use, as well as handles for carrying. It is also waterproof, so it works well outdoors in varied conditions that may include rain, snow, or high temperatures. Indoors or on smaller shoots, use a clear, larger set bag with long straps and that rests close to the body. With a clear bag, the contents are readily visible, which makes it easy to find a specific product. You'd be surprised at how hard it can be finding items when you need them fast!
Along with the products mentioned below, a small, clear cosmetic bag containing the products you will need to use on the actor for touch-ups on-set is useful. Large freezer bags also work. If you have several actors to watch, use individual bags marked with each actor's name, so there is no sharing of products among the actors. Most important of all, individual bags will keep brushes and powder puffs separate.
Gretchen's Set Bag: Contents for Film Set Day Checker
• Kleenex tissues
• Skin Illustrator Grunge
• Sponges
• Powder puffs
• Wet Ones Travel Pack
• Temptu Trauma Pallette
• Evian Eau Mineral Spray
• Pointy Q-tips
• Package of disposable mascara wands
• Remington FaceSaver Pre-Shave Powder
• Small bottle of glycerin
• Small pair of scissors
• Band-Aids
• Small eye pencil sharpener
• Tweezers, Laura Mercier by Tweezerman
• Eyedropper
• Three Cutex Nail Polish Remover Pads
• Refresh Eye Drops Single-Use Containers
• Visine
• Gum and mints of choice (regular and sugar-free)
• Small Jao Antibacterial Hand Refresher
• Small Bliss Body Butter
• Small Lise Watier Equilibre Solution Double Eye Makeup Remover
• Kiehl's Lip Balm SPF 15
• Lancôme Pure Focus
• Carmex
• Small package of flesh-colored ear plugs
• Andrea Eyelash Adhesive
• Two containers of individual eyelashes in dark brown and black
• Two eye shadow palettes with the following colors: black, dark brown, light brown, off-white, rust, gray blue, taupe; eye shadow palettes by Make Up For Ever and Viseart
• Yves Saint Laurent Touche Éclat Radiant Touch
• Natural oil-absorbing rice paper tissues with rice powder and Bobbi Brown Blotting Papers
• No-color powder pressed compact
• Red eye pencil
• Black eye pencil
• Menthol vapor for the eyes
• Small squeeze bottle of Ken Diaz KD151 Flowing Blood Syrup, Drying Blood in Dark and Light
• Skin Illustrator Flesh Tone Palette
• Skin Illustrator FX Palette
• Reel Color Palette Cover-Up/Effects Kit
• Braun electric shaver
The last five items of the above list I store in my set chair (if not needed), and then they are readily available on set. (See Figure 12.3 for photo of film day checker bag.)
Gretchen's Makeup Bag for Film Day Checker
The makeup you bring as a day checker on a film set can be contained in a bag or case of some sort. If you are directed to bring makeup for a certain character or time period, you should adjust the contents of your makeup bag to fit the need. If the job is going to entail helping out the department head most of the time, and is not so much about applying a lot of makeup, you won't need to bring a bulky case. A clear bag with a large strap and handle that can accommodate only what is necessary should work. What you do and how you transport your makeup becomes a personal challenge. Changing out your makeup to fit the job at hand happens no matter how well you think you're organized. Having at home a few different makeup bags or cases already set up and ready to go helps cut down the “What to bring?” question.
• Obsessive Compulsive Cosmetics water-based foundation (can be mixed with another brand)
• Kett water-based foundations (can be mixed with other brands)
• Le Clerc pressed powders: Banana and Apricot
• RCMA KO/MB Palette by Vincent Kehoe
• Sephora makeup brush cleaning wipes
• Visiora MV in all colors
• DermaColor Camouflage System
• A few setup towels
• Metal palette to blend makeup
• Book of artist paper to blend makeup
• Palette knife
• RCMA No-Color Powder
• Laura Mercier Secret Brightening Powder
• Iman Pressed Powders
• Guerlain Bronzing Powders
• Tarte Stick Color Stains in all colors
• Eye shadow palettes in various colors (I like to have a compact shadow palette that I can use on anybody for large crowds, containing colors in black, dark brown, taupe, creams, white, blue, violet, green, and gray. I have every NARS compact that has come out! My favorite for on-set is Skin Deep.)
• Eye shadow palettes in frosty gold tones
• Eye shadow palettes in frosty silver tones
• Blushers (Blushers should be simple. Light pink, coral, burgundy, red if needed, and a warm neutral color. Again, I can usually find this combination of colors in a palette; therefore, I don't need to bring a lot of loose colors. Make Up For Ever has a good combination of colors you can put together. I have one or two creams that I can use if someone has a dry skin tone.)
• Kiehl's Lip Balm SPF 15 in hues 30G and 58B
• Kiehl's Lip Balm SPF 15
• Laura Mercier Brow Powder Duos in all colors
• Bobbi Brown Long Wear Gel Eyeliners in all colors
• Brow pencils in all the brow colors
• Eye pencils in black, dark brown, dark blue, dark green, and white
• Lip Pencils: M•A•C Rosewood, Trish McEvoy Deep Nude, T. LeClerc Tendre, M•A•C Mahogany, Guerlain Rouge #2, By Terry #11 and #12, Lancôme Lip Coloring Stick Inspire, Mauvelle, Lancôme LipColor Cherub, plus a few colors that will work in any situation, such as pink tones, coral tones, reds, burgundy, and a rust color; Yves Saint Laurent Touche Éclat, all colors
• Various lip glosses in tubes
• Bobbi Brown Eye Brighten
• Laura Mercier Secret Brightener
• Laura Mercier Eye Basics Liner
• Lancôme Definicils Waterproof Mascara
• Lancôme Definicils High Definition Mascara
• Trish McEvoy High Volume Mascara
• Brush roll with a variety of brushes
• W.M. Creations, Inc. Stacolor full palette
• Hand-held fan (for those hot days or sets) (See Fig. 12.3 for photo of film day checker bag.)
Set Chair
Having a set chair available is welcome when you will be sitting for long periods of time. In film, it is important because of the amount of time you spend shooting. Everyone has their favorites. Every day, new chairs surface that we all like to check out. I still like my larger chair that has a pocket below that I can stock with extra items. You will find yourself storing extra pieces of clothing for different weather conditions. The chair is compact and easy to move in a hurry. Observe what your department heads are doing. In some cases, the production or makeup teams do not believe in sitting down on the job. Although this is rare, don't assume that everyone brings a chair to the set.
Commercial Versus Film
Makeup kits for the commercial world are similar to those in film. There are a few differences between the two. For one thing, you probably will need to bring a hair kit as well as the makeup kit. In many cases one person does makeup and hair for a commercial. Do not do hair if you are not qualified or comfortable with it. If you are working on a non-union shoot, you most definitely will be doing both. On a union shoot with a budget for two or more artists, they will hire a Makeup Artist and a hairstylist. The union requires that all hairstylists be licensed in cosmetology and keep their license current.
Just as with film shoots, someone should be contacting you with your call times the day before you are to work. Call sheets are usually faxed or e-mailed. Follow the directions and get to work on time!
When you reach crew parking, you'll be escorted by a van to the makeup setups. In commercials, RVs are usually used instead of makeup star trailers. There can be multiple locations in the course of a day, so traveling is easier for production in RVs. Plus, the number of actors you'll be working on at a time can be smaller. Of course, this isn't always the case.
Once you have set up, an AD should start bringing in your actors. Once done, you're off to the set! On commercials, clients who are representing the company that is being filmed are on-set. Clients are there to make sure the company is getting what they need out of the shoot. Be professional at all times. You never know who is listening or who it is that you might be talking to.
At the end of the shooting day, make sure that you've filled out your time card. Turn in your time card to production. Be sure to stay and wait for the actors to help remove any makeup if needed. If there is room, I like to have hot towels available.
Now you can find your way back to crew parking. Drive carefully and slowly going home. You've worked long hours.
Daniela's Makeup Kit
Many Makeup Artists, including me, have separate kits for commercials and photography. Commercials are not only very tiring, but you work with actors, which is different from working with models. Actors need many more products and attention throughout the day. Therefore, I always have a security kit with me that includes eye drops, different bases, a nail kit, body cream, and a first-aid kit, to name just a few items. For photography, the makeup kit contains a lot of products to create effects, such as glitter, different textures of glosses, and all sorts of eyelashes, powders, stones, jewelry, and stencils. I make some of the stencils myself.
Time Cards and Kit Fees: Instructions
Get your start paper documentation in order to bring with you. On union shoots, you will need a copy of your makeup kit rental inventory, which includes a total value and product list, an invoice for your makeup kit rental fee (or box rental), and a copy of your IDs. Whatever you do, don't forget to bring these in. Everyone is busy; production people have no interest or time to hear your reasons for forgetting. They need the information to process your start papers, so you can get paid. Try to make life easier for everyone. I usually have several copies ready to go ahead of time. Fill out the correct information for that job. I put the papers in my makeup kit so as not to forget. The makeup department should have your start paperwork on the first day to fill out and turn in. The combination of the papers you brought in, and the start papers you'll fill out, are turned in together. If the makeup department does not have start papers for you, find the production trailer and get the papers yourself. Again, it looks good for you to know where to go and what to fill out correctly. If you have any questions about your rate or pay, if no one has told you or if they don't know, ask your local union. If the makeup department is from a different local they might not know your rate. Rate of pay fluctuates with regions and union locals. If you think about it, not knowing what your salary will be isn't very professional.
A “kit fee” is also called a “box rental,” and is based on a daily fee paid to you to cover the cost of working out of your kit. It covers your makeup brushes and makeup products—your kit. Almost always, expendables are provided by the makeup department (in film), but always pack plenty of supplies in case they are not there when you start work. Always be ready to work!
Expendables include tissue, cotton balls, sponges, puffs, alcohol, brush cleaner, Q-tips, and so on. In commercials you provide everything. If something is needed for the commercial that you have to purchase, you can turn in the receipt for reimbursement. Kit fees are negotiated for each job; most artists have a standard fee they charge along with their rate. In day checking on a film, the kit fee is determined by production and the makeup budget; it is not negotiable with day checkers (Figures 12.4 and 12.5).
When arriving on-set for the first time, if you do not know where to report, check in with the department head so that he or she knows you are on site. Knock softly and peek in. There isn't really any need to go into the trailer unless invited. Remember, the makeup team may have already been working for hours before you arrive. Keep your energy calm and soothing. Makeup trailers bounce, so watch how much you need to go in and out. Do not slam the door. Lift the handle gently to open and close. If invited in, keep most of your things outside the trailer until you get an idea of where you will set up and what you'll need. I usually leave my set chair outside. If you have already been told where to report, do not go to the makeup trailer. You do not need to check in with the department head. They have assigned a member of the makeup department to “run” the additional hires or day checkers, and this is the person you will be checking in with (Figures 12.6 and 12.7).
East Coast trailers are more stable, and built for cold weather, so they are heavier with less “bounce.” West Coast trailers are not built for cold weather so they are lighter and can “bounce” when someone steps inside. “Stepping up” is called out before entering a makeup trailer for this reason. They tend to be wider with more floor space. In Europe, work is done out of customized buses. European buses and trucks are narrower to accommodate the environment—narrow streets and tight parking.
It is great to get notes or directions on where you are supposed to report and what makeup you will be doing that day. Many times you will be asked to go and set up, and the key Makeup Artist will find you to explain what they want. This could also be the third or fourth Makeup Artist. Whoever is in charge of supervising the additional Makeup Artists and the look of the background artists will be the person to go to with questions.
A typical makeup department has the following personnel:
Makeup Department Head (Chief Makeup Artist in Europe) in charge of designing and running the department
Assistant Makeup Department Head
Key Makeup Artist
Makeup Artist
Additional Makeup Artists
There can also be a makeup designer. If there is a makeup designer, the department head will work with them in running the department and implementing their designs.
Crowd Scenes
“Background” refers to background artists (actors) or extras working in a scene. You will hear many terms for background: BG, extras, background players, background artists, and background actors. There can be from 1 to 500 or more background in any given scene. Imagine a park scene with two principal actors sitting on a bench. Everyone around them has been placed by the ADs, with directions from the ADs for their actions and motivations. These background actors have already gone through the costume, hair, and makeup departments before being brought to set.
Instructions you will hear follow:
Working with Background: That means you are hired to do makeup for the actors in the background.
Report to Background Holding or Extras Holding: Where to show up for work, or where to go. Usually a large room or tent away from the set, designated for the background.
Check the Background: You are being asked to look at the background that the AD has assembled for you, and to decide who needs makeup and who is ready to go to set. The department head will decide who has this responsibility.
Working in background, you will often work on many actors in one day. The department head will give you directions on what he or she wants regarding the look for the actors. Descriptions of special background can be found at the front of the call sheet. In some cases, the supervising Makeup Artist will give you a list of the different looks for the background that day. Swiftness is important when working in large crowd situations. Having an idea of what makeup colors and products work or do not work speeds up the process. Always follow specific directions from the department head or supervising Makeup Artist.
On-set note: Never touch up a principal actor on set unless you have been asked to cover that person! You do not know the actor's continuity, so never assume that they need to be powdered or touched up. You are there to take care of the background artists that are around them. So know who the actors are and who you are responsible for, and don't try to impress your department head by being an overachiever and powdering everyone in sight. If you are unsure, ask!
There are certain makeup looks that are used regularly in film and television. A few of those would be police officers, homeless people, drug addicts, pedestrians, diners in a restaurant, waitresses, bartenders, news reporters, news anchors, and children. The other common makeup situations are for period makeup.
Working out of Your Kit
You will need a variety of products and palettes in your makeup kit so that you can create any of these looks. “Working out of your kit” is a term used by Makeup Artists to tell you that you will be creating looks with what is in your kit, and not specially purchased products that are given to you by the makeup department. You rely on industry standards that are in your kit. As we've mentioned before, the palettes from Skin Illustrator, Stacolors, and Reel Creations are industry standards that encourage mixing to create a more realistic makeup that is long lasting and abrasion resistant. They are essential in working out of your kit, and for those unplanned makeup situations where you have to work quickly on-set. There will also be many times that instructions are given to you in “makeup slang” for products. For example, you are asked to “use MV005” or “use Visiora005,” or just “use 005.” These three terms are referring to the same product; if you do not know what it is, you will not know that you are being asked to apply foundation using a specific color (industry standard). Makeup and film slang abbreviate just about everything, including products, and sometimes instructions. It is confusing at first, but you will get the hang of it. Remember, if you don't know, ask!
Having trouble remembering what colors to use or which looks to create for a certain period makeup? Tape a color chart and notes on each period inside your makeup kit for a quick reference guide.
Remember color mixing from Chapter 3?
Red: You can mix yellow and magenta to get red.
Blue: Mix magenta and cyan.
Green: Mix cyan and yellow.
Purple: Mix violet and magenta.
Black, White, and Gray: Mix white into black until you get the desired shade.
Knowing combinations gives you so many choices to work with!
Now separate the three background actor looks of homeless (Figure 12.8), drug addict (Figure 12.9), and illness (Figure 12.10) to see their differences.
Homeless
• Red or sun-damaged skin with various sizes and colors of sun spots.
• Skin tone has rough, leather-like surface due to exposure to the elements.
• Broken capillaries around the nose and cheeks to reflect substance abuse and weather damage.
• Lesions of various sizes due to illness and injury.
• Ground-in dirt on the body, under fingernails, and even built-up grime from lack of grooming.
• Facial hair would be untrimmed, unshaven, oily, and dirty.
• Darkness, puffiness, and redness under and above the eye.
• Small cuts or scabs on the face, with weathered lips.
• In some situations, the feet must be done as well. The soles of the feet should be blackened with heavy grime, cuts, and bruises.
Drug Addict
• The skin tone tends to be pale and clammy from drug abuse.
• Darkness forms under the eye area from lack of sleep.
• Skin lesions form from drug abuse and illness.
• Track marks on the body from shooting up.
• Bruising on various parts of the body, old and new.
Illness
There are many possibilities for illness: cold, flu, high fever, and disease. You will be directed as to what the illness is, and what the desired effect should be, from the department head or supervising Makeup Artist. For this example, your instructions are for a cold/flu.
Cold/Flu: Red tones around the nose with dry, flaky skin. Eyes can appear red and droopy, even watery. Pale skin tone, which could be clammy. Dryness to the mouth.
Would you apply foundation or do any corrective makeup on these characters? No. The worse they look, the better, in all three scenarios; and you do not want an even skin tone.
Red pencil can be used for rimming the eye area or applying right on the lower lash line for irritated eyes. Several shades of red makeup colors are used for broken capillaries, red noses, and lesions. Have on hand various colors of brown or colors to mix browns for dirt and grime. One black is used to deepen or darken an existing color, plus one white to lighten any existing color or to make grays. Yellow is used for nails, skin tones, and festering lesions or old bruises. Care needs to be taken when working around the eyes. Use a cream-based makeup or a freshly sharpened pencil.
Police Officers
One of the first things you'll do is clean shave all law-enforcement characters. There should be no facial hair, with exceptions given only by your department head. Moustaches are allowed for most police departments. Sometimes sideburns need to be trimmed. The back of the neck needs to be clean shaven. The officers should have a clean-cut appearance. On all shoots, be prepared with a good electric razor, shave powder stick, astringent of choice, and a small groomer for eyebrows, ears, and nose.
News Reporter and News Anchors
News anchors and reporters usually have a clean-cut appearance as well. If there is a time period issue, you will be told to address that. If it is present time, the anchor look is what to aim toward. Work quickly, and spot cover up only the problem areas. Apply a slightly heavy beauty makeup to achieve a matte, perfect look. Most of the time, lipstick, blusher, eye shadow, and brows are all you will have to do to achieve a news anchor look. The hair department will pull the look together. Reporters and anchor types sometimes are pulled ahead of everyone else to go through the makeup department because they are usually featured in the scene.
Period Makeup
This refers to a specific time period for the look or trend of that time. Assume that you are asked to do a period makeup, taking five minutes for each actress because the actresses are in a large crowd scene. If you could do only three things on the actress, what would you do to execute the makeup properly for the following time periods? And what sets each time period apart from the others? We will give you some very general looks for each decade. You must do your own research for each decade to recognize and know a more detailed history of the trends.
1950s (Figure 12.11): Red lips, pale eye shadows applied to the upper eyelids, nice liquid eyeliner across the upper eyelid next to the lash line, no eyeliner on the lower eye lash line, beautifully shaped and filled in eyebrows. Apply lipstick, eyeliner, and brows. This is a very clean, sometimes innocent, classic look. Note the shape of the lips.
1960s (Figure 12.12): Pale, flat or frosty (but never glossy) lipsticks, strong upper and lower eyeliners, contrasting eye shadows on the eyelids. For example: light shadow on the lid; a deep, dark eye shadow in the crease; followed by a light eye shadow applied on the brow bone. The look is about eyes, so note the style in eye shadow, eyeliner, eyelashes, and brows, as well as the lips. Apply lipstick, eyeliners, and eye shadows.
1970s (Figure 12.13): Women and men in the early 1970s were riding the wave ushered in by the counterculture from the 1960s. Freedom of expression through fashion and makeup was seeping into mainstream society. Men had cast off the “above-the-collar” hair restrictions of previous decades, and began wearing their hair much longer. In addition, facial hair had become popular, which included long sideburns that often widened as they extended down the face, as well as full moustaches. Hence, facial hair is a large part of re-creating the 1970s look for men. By the mid 1970s, women kept their hair natural whether long or short. Natural, meaning that it was devoid of hairspray, hairpieces, and setting gels of any kind. Eye shadow was colorful and warm (greens, blues, brown) with or without eyeliner; blush and lips in corals, pinks, and frosts. Sun-tanned skin.
Example of a Decade in Makeup
Makeup varies from the early 1970s to the late 1970s, so questions should be addressed to the makeup department head on what look they are trying to create. In general blues, greens, and brown colors were worn as eye shadows. Makeup was applied, but not heavy or over-the-top. Dark brown tones or black would be used around the eye area as liner, but much softer than in earlier years. Lipstick colors were found in corals, pinks, oranges, and soft reds. If you had only three things to do to create a 1970s makeup, what would they be?
1980s (Figure 12.14): In the 1980s, no matter what colors you were using, makeup was applied heavily. Makeup and hair were used as an art form. Depending on who you hung out with, everyone today has a different take on what colors were used in the 1980s. The colors ranged from the punk look (with black liners and dark eye shadows) to the preppy look (girls with rust or fuchsia-colored lipsticks with purple eye shadow). Of course, Madonna always comes to mind when one thinks of a 1980s look. Three things to use for a 1980s makeup: colorful lipstick, full eye shadow, and blusher. Use lipsticks in pinks, purples, fuchsia, rusts, and reds. Apply eye shadows all over the lid and crease, with a dramatic but lighter shade to the brow bone. Complete the look with a dramatic contouring blusher across and just under the cheekbone in a matching color to the lipstick.
There is a transition for each decade in the looks and trends. It does not happen at the beginning of each decade, but a few years later. So there is an overlap of trends between the beginning of one decade, and the end of the previous decade. Lifestyle, environment, economics, and character play into it as well. Know the year to achieve the look. If the project is not being year specific but wants a general feel of a period, choose to go for the obvious trends associated with the decade. Research, research, research! Know the trends by heart—it puts you at a great advantage.
On the Job with Daniela Eschbacher
When I started out in the fashion industry, I contacted as many photographers and stylists as possible to do “test shooting” first to build up my portfolio and contacts. In the beginning, it's hard contacting everybody and running after magazines. But all that hard work pays off. After working for magazines and commercials, people will get to know you and pass your name and number along. That's what happened to me. Still, in a city like Paris, it is hard to break in. In fashion, sending out your newest editorials to Photographers and magazines will keep them updated on your work.
Preparing for the Shoot
For commercial shoots, it's important to have all the information necessary from the client or photographer. The client normally knows exactly what they want, and they expect the Makeup Artist to realize it. When I get a call for a commercial shoot, I will ask the theme of the shoot, the makeup look wanted, if it's an inside or outside shoot, and how many models. For beauty, it is important to ask the photographer for the model's reference. The photographer can either send her portfolio to you by email, or you can look on the agency's website for the model's portfolio book. Once you have all the information, it is time to start thinking about the makeup and products, and to double-check to make sure you have everything you'll need for the shoot. Many times, the photographer, or even the client, does not know how to express themselves in the form of makeup and colors, so it's up to me to find the right look. Working in fashion is different from cinema. It can be spontaneous.
Even if you agree on a certain look before shooting, it might all change on the actual workday. On larger, more complicated shoots, there are meetings before the job. The stylist knows the clothes, so he or she gives direction and theme for the shoot. It can be really helpful to work with an art director or stylist because they see the overall image. Sometimes a simple makeup works much better than one too sophisticated or creative. Meetings are important for meeting the team—it makes the whole process interesting, fun, and human to take the time to sit down and discuss the project. Of course, for commercial jobs, meetings do not always happen.
Madonna Theme Shoot
The challenge was to create color combinations that would express and strengthen the atmosphere and theme of the shoot. I found my inspiration from religious paintings and books. The colors dark red, golden, gray, white, and silver were used. Because wardrobe and hair had such a strong look, I didn't want to complicate the makeup. When this happens, use a matte, lightly applied foundation, no blush, and no contouring. White eyeliner applied on the inside of the eye will accentuate any color just under the eye. In this case, a red and yellow matte eye shadow from Make Up For Ever was applied on the eyelid and below the lower lashes. No shaping or contouring was used. Shadow was just posed on the lid. When such strong colors are used, a tissue laid under the eye you are working on protects the rest of the face from falling shadow. Loose powder can also be used. Natural lip colors help keep the makeup from being overwhelming. Shape the lips with a nude lip liner. Mix beige, purples, and pink lip glosses to achieve a natural look. Don't forget to finish off with a strong brow (Figure 12.15).
Remember, you want to work in layers. Work the shapes and slowly go darker. It's like working on a painting. To create something luminous and strong, it's always the combination of colors that accentuate the intensity of another color (Figure 12.16).
Things to Know
Makeup Brushes
Types of Bristles
Badger: One of the most popular and easiest to find. Badger hair quality depends on an array of factors. The highest quality is the neck hair, which is the softest and most expensive of all badger hair.
Blue Squirrel: Soft in texture can be mixed with another hair like goat.
Boar: Stronger and thicker than badger hair.
Canadian Squirrel: Very expensive but a favorite among Makeup Artists.
Goat: Strong and soft. It's used alone or mixed with other hairs in makeup brushes. Goat hair can be found in white, brown, or red.
Kazakhstan Squirrel: Softer than blue squirrel. Kazakhstan squirrel is rare and expensive.
Pony: Also known as camel hair. This is a term for brushes made from a variety of hair such as squirrel, goat, ox, or pony. Usually brushes made with these bristles are inexpensive and are made in large quantities.
Raccoon: North American animal with a multicolored tail in grays and browns. Raccoon brushes have a really soft texture.
Sable: An animal from Siberia and Japan. Sable is strong, flexible, and takes to products well. Sable can be found in brown, white, or yellow. Kolinsky sable is a mink found in Siberia and China, and is considered the best. Red sable is from the weasel family, and is often used in place of Kolinsky sable.
Squirrel: Hair that is soft and holds water effectively. It works best with liquids.
Synthetic or Taklon: Brushes that are made of nylon or polyester. Synthetic brushes are considered reliable and strong.
Tree Squirrel: Most like weasel brushes that have stiff bristles. Used most often for liquids and creams.
Weasel: Weasel hair will hold up over time. Weasel hair can be used with liquids and powders.
Types of Brushes
Angled Brush: These are cut to use at defined angles. Blush brushes, shadow brushes, brow brushes, powder brushes, bronzers, and contour brushes are examples of brushes that can be found cut at an angle. In some cases, the bristles are stiffer.
Blush Brush: Soft, wider, rounded brush used to apply blusher color. Blush brushes are made from a variety of bristles.
Brow Brush: Angled or slant brushes with a stiff bristle for application of brow powders. It's also possible to find lash combs and brow brushes as duos.
Concealer Brush or Flat Brushes: Concealer brushes are usually flat brushes in a variety of sizes used for cream-based products. These brushes are good for spot touch-ups, heavy coverage with multiple products, under-eye concealer, and blending products. Many flat brushes can be used wet or dry.
Contour Brush: Is used to get under edges and contours of the face to create definition. The bristles are usually cut blunt or at angles.
Crease Brush: Smaller, with a blunter cut in the bristles. Crease brushes are used to apply eye shadows in the crease area and to blend existing work.
Eyelash Combs: Wire or plastic combs that are used to separate the lashes after mascara has been applied.
Eyeliner Brushes: Come in a variety of sizes and bristles. Bristles usually taper to a point, which works well for lining, detail work, powder, liquid, or water-activated makeup such as KRYOLAN or MAC. There are liner brushes that have several different bristles that can be used effectively wet or dry. Also, flat eyeliner brushes can be found.
Eye Shadow or Fluff Brush: There are many different sizes and shapes of a shadow brush. The brushes are used to apply eye shadow colors. The bristles are usually soft, with a rounded shape at the top.
Face or Foundation Brushes: These brushes are usually larger, flatter, with a rounded or oval bristle shape. Bristles can be made in a variety of hair, including synthetic to sable. Foundation brushes can cover wide areas of the face and body, and work well with liquids and creams.
Fan Brush: Shaped like a fan and come in a variety of sizes. Fan brushes disperse powdered makeup and add color with a sheer application. They can be used for applying mascara, as a powder or blush brush, a stipple brush, or as a blending brush.
Kabuki Brushes: Brushes that are often used with mineral-type powder makeup. They come in a variety of sizes and shapes. The most common shape is a fan or dome.
Lash Combs: Lash combs are made to separate the lashes after applying mascara.
Lip Brush: There are many choices of lip brushes, from shapes of the bristles to what the bristles are made of. Lip brushes are used to apply lip treatments and lip colors.
Paddle Brushes: These brushes are shaped like a small paddle with a lamb's wool covering on one side. They are used for blending blush or makeup colors.
Powder Brush: Larger brushes with rounded, softer bristles, often made with goat, sable, or badger hair. They are good for dusting large areas of the face with loose color or with powder makeup to dust off any excess powder.
Puffs: These are found in so many different brands, shapes, and materials, but all types are used in basically the same way for makeup and powder application, setting the makeup, and touch-ups on-set.
Pump Brush: Brushes made with the product inside the stem of the handle. When the brush is pumped, the product disperses into the bristles.
Retractable: Brushes that can retract back into the handle of the brush. Some lip brushes and blush brushes are made retractable.
Smudger: Any brush that is used to blend and smudge the makeup.
Sponges: Are used for just about anything you can think of. They come uncut in squares or pre-cut and as a brush form. Good sponges are gentle on the face, do not soak up your liquid or cream makeup, and aid in blending. Different brands of sponges are made from different materials.
Stipple: Several blends of bristles in the brush, plus the shape of the brush works to create textures or as a blender.
Wet and Dry Brush: Brushes that are made with several different kinds of bristles that can be used effectively wet or dry.
Industry Standards
Anti-Shines
Many products are available. Anti-shine creates a matte look to wherever you apply product. We all have our favorites. One that's been around for a while is Make-Up International's Face-to-Face Super Matte. It works well for large crowd scenes.
Adhesives
Telesis Beta Bond Plus by Premiere Products, Inc.: Acrylic adhesive for prosthetics.
K.D. 151 Ultra Matte Lace Adhesive: Strong adhesive hold for action-packed situations.
KRYOLAN Water-Soluble Spirit Gum: Removes with soap and water.
Pros-Aide: Acrylic based, waterproof, strong hold, used mostly for appliances.
Telesis 5 Adhesive by Premiere Products, Inc.: Silicone-based adhesive.
Very Flat Matt Gum by Naimie's: Used in the industry for lace fronts, facial hair, or wherever you don't want to have shine.
Xtra Hold Spirit Gum and Extra Hold Plastic Spirit Gum by W.M. Creations, Inc.: Two of the most popular spirit gums in the industry. They are used for fine lace fronts, foam, gelatin, and silicone appliances.
Brush Cleaners
Cinema Secrets: Fast drying.
Naimie's: Fast drying.
Effects Products
AM.E.K. Liquid Plastic by W.M. Creations, Inc.: Use in stone or silicone molds for wounds.
Gelatin in Bulk: Burman Industries carries gelatin products.
Latex Products in Bulk: Burman Industries carries a wide range of latex products.
Old-Age Stipple
Old Age Stipple A, B, C, Crusty by W.M. Creations, Inc.
Green Marble SeLr by Premiere Products, Inc.: Developed by RSD Inc. and CMI. Seals the makeup, is very durable, safe for sensitive skins, and also works as an aging product.
RCMA Old Age Stipple
PAX Paint
Thom Surprenant PAX Paints
PAX Paint by GM Foam: Premixed PAX paint colors that match up to RCMA.
Foundation Colors
Plastic Sealers A, B, Soft, Extra Soft, Shiny by W.M. Creations, Inc.
Scab Materials Light, Medium, Dark, and Brown by W.M. Creations, Inc.: Pigmented, silicone-based liquid that is used for building up three-dimensional scabs.
Scar Material by W.M. Creations, Inc.: Acetone-based plastic material used to build things such as keloid scars and blisters.
Silicon Product in Bulk
Smooth-On Inc.: Easton, Pennsylvania–based manufacturer of silicon products. Their website sells direct.
Burman Industries: Carries a good inventory of silicone-related products. Based in Van Nuys, California.
Tattoo Ink Type Products
All of the products mentioned are industry standards. It's difficult to remember what it was like before these products existed.
Reel Creations Palettes by Reel Creations.
Reel Creations Liquids by Reel Creations.
Skin Illustrator Palettes by Premiere Products, Inc.: Created by Kenny Myers/CMI.
Skin Illustrator Liquids by Premiere Products, Inc.: Created by Kenny Myers/CMI.
Stacolor Palettes by W.M. Creations, Inc.
Stacolor Liquids by W.M. Creations, Inc.
Tear Products
Burman Industries Menthol Blower and Crystals: A must for any makeup kit.
KRYOLAN Tear Stick
Makeup Products
Foundation or Correction Makeup
Ben Nye Mellow Orange: Neutralizes blue and green.
Ben Nye Mellow Yellow: Red neutralizer.
KRYOLAN Dermacolor Mini-Palette: This makeup covers well, has a large selection of colors, and is easy for doing quick makeup or touch-ups on-set.
Iman: Excellent makeup line for a range of skin tones from light to dark, including yellow. Great pigment in shadows, blushers, and lipsticks.
RCMA: Without question, a makeup line we could not do without. Foundation colors come in every possible range for any beauty or character makeup. This is one of the few makeup lines that understands skin tones.
Visiora: A sheer makeup that has a good coverage. Colors have been formulated to match our industry lights and different media. Visiora is also a wonderful makeup to use on men.
Water-Activated Makeup
Ben Nye: Good for theatrical use.
Mehron: Good for theatrical use.
Studio Fix by MAC: Good for flesh tones, editorials, and stylized beauty makeup.
Makeup Palettes
Viseart Palette of Neutrals: A simple palette of neutral colors. This palette is perfect for your set bag.
Powders
Kett No Color: Pressed powder.
No Color Powder by RCMA.
Removers
It's always a safe bet to buy the remover made for a particular adhesive.
Adklen Cleanser by RCMA: No travel-safety issues.
Beta Solv Remover: Works to remove PAX Beta Bond by Thom Surprenant.
Ben Nye Bond Off: Removes spirit gum, medical adhesive, and Pros-Aide.
Delasco Detachol: Removes Pros-Aide; mild and hypoallergenic.
PAX Remover by GM Foam: Removes PAX paint.
RJS Adhesive Remover: No travel-safety issues.
Super Solv by Premiere Products, Inc.: Non-oily. It is extra strength, but safe for sensitive skin. Gentle enough for lace fronts.
Sealers, Primers, and Fixers
Sealers protect your work, act as a stronger bond for adhesives, and act like a shield between the skin and product.
Green Marble SeLr Spray: Also can be used as an aging product.
RCMA Matte Plastic Sealer
Soft Sealer by W.M. Creations, Inc.: Also can be used as an aging product. Can be sprayed or stippled over makeup.
Top Guard by Premiere Products, Inc.
Internet Resources
Dick Blick Art Materials, www.dickblick.com.
Eschbacher, D, www.danielamakeup.com.
Hakuhodo Hakuhodo, www.hakuhodousa.com.
Indeutsch Industries, www.indeutsch.com.
Makeup Artist's Choice, www.makeupartistschoice.com.
Makeup Creations, www.makeupcreations.com.
Naimie's Beauty Center, www.naimies.com.
Daima, PS; Sons, www.psdaimaandsons.com.
Sephora Sephora, www.sephora.com.
Solo Makeup, http://www.solomakeup.com.