www.charlesfox.co.uk
44 0 20 7240 3111
Creature Effects
Unit 2, 549 Eskdale Rd.
Uxbridge Middlesex UB8 2RT
United Kingdom
[email protected]
44 0 1895 251107
Impet2us, Ltd.
Abbotswood, Evesham
Worcestershire WR11 4NS
United Kingdom
01386 765365
Makeup Artist Provisions
6 Goldhawk Mews
Shepherd's Bush
London W12 8PA
United Kingdom
44 0 20 8740 0808
The Makeup Artist Boutique
33 Conway Court
Clarendon Road
Hove BN3 3WR
United Kingdom
00 30 21 0505 5829
Mouldlife
Tollgate Workshop
Bury Road, Kentford
Suffolk CB8, 7PY
United Kingdom
[email protected]
www.mouldlife.co.uk
44 0 1638 750679
Screen Face
20 Powis Terrace
Westbourne Park Rd.
Notting Hill, London W11 1JH
United Kingdom
[email protected]
www.screenface.com
+44 (0)20 7221 8289
The Makeup Shop
4 Devonshire Rd.
Hounslow W4 2HD
United Kingdom
www.themakeupshop.co.uk
The Crew
Who's Who
Makeup Artists: Makeup Artists perform the art of makeup, which includes:
• Application of all moustaches, chin pieces, side burns, beards, false eyebrows, and lashes.
• Application of any facial or body appliances, masks, etc., used in the art of makeup, whether made of rubber, plastic, or any other material.
• All body makeup (except on network broadcasting productions, i.e., NBC, CBS, etc.).
• May apply wigs or toupees, or cut the hair on male performers.
• May also do hairstyling on legitimate theater and opera productions.
Assistant Director (AD): An AD is a person who helps the director in the making of a movie. The duties of an AD include setting the shooting schedule, tracking daily progress against the filming production schedule, logistics, preparing daily call sheets, checking the arrival of cast and crew, maintaining order on the set, rehearsing cast, and directing extras.
First Assistant Director (First AD): The first AD is directly responsible to the producer and “runs” the floor or set.
Second Assistant Director (Second AD): The second AD creates the daily call sheets from the production schedule, in cooperation with the production coordinator. The second AD also serves as the “backstage manager,” liaising with actors and putting cast through makeup and wardrobe, which relieves the first AD of these duties. They supervise the second second assistant director, third assistant director (third AD), and assistant director trainees, The setting of background (extras) is part of the second AD's duties.
Second Second Assistant Director (Second Second AD): The second second AD deals with the increased workload of a large or complicated production. For example, a production with a large number of cast members may require dividing aspects of “backstage manager” and the call sheet production work to two separate people.
Third Assistant Director (Third AD): The third AD works on-set with the first AD, and may liaise with the second AD to move actors from “base camp” (the area containing the production, cast, and hair and makeup trailers), organize crowd scenes, and supervise one or more production assistants (PAs).
Key Production Assistant (Key PA): The key PA may have a number of duties assigned to them by the AD staff. A key PA is the lowest on the crew's hierarchy in terms of salary and authority. They perform various duties required by the ADs. The subroles of assistant directors differ by nation. For example, the distinction between second second and third AD is more common in North America. British and Australian productions, rather than having a second second AD, will hire an additional second AD to fulfill the same duties. In Britain and Australia, third ADs have different duties from a second second AD, and the terms are not synonymous.
Note: Definition of Makeup Artists derives from the IASTE, Local 706.
Terms
Calling the Roll: One of the first AD's responsibilities is to “call the roll” when all of the relevant heads of department (HODs) and above-the-line people seem ready to perform, the first AD initiates the take. Over the years, special procedures have been developed for this task in order to achieve maximum efficiency during shooting, which is usually some variant on the following:
1. “Waiting on …” First ADs are constantly calling out which department is responsible for delays. If the lights need to be adjusted, the first AD calls out, “Waiting on gaffers.” If the actors are still in their trailer, the first AD calls out, “Waiting on talent.” If a mascara smear needs attention, the first AD calls out, “Waiting on makeup.”
2. “Last looks, please.” Once everyone is in place, and rehearsals and blocking have finished, the first AD calls out, “Last looks.” This allows for last-minute finishing touches, whether to the set, to hair and makeup, to lights, or anything else.
3. “Quiet on the set.” The first AD calls out, “Quiet on the set” to alert everyone that the take is ready to be filmed.
4. “Roll sound.” The first AD waits for complete quiet, then signals the production sound mixer to “Roll sound,” after which the mixer rolls his sound gear, verifies its status, and replies, “Rolling” or “Speed.”
5a. “Roll camera.” The first AD then signals the camera department to “Roll camera.” The camera assistant starts the camera, verifies its status by watching the time code for three seconds, and replies, “Rolling” or “Speed.”
5b. “Lock it down.” Sometimes the first AD will also call out, “Lock it down” to ensure that all objects on the set are “locked down” and will not drop during the take. At this point, everyone must be totally quiet and move out of frame. This can also be called when the camera is locked down. In some filming situations the camera body needs to be “locked down” (no touching and no movement around the camera) because the focus is critical or the stunt is dangerous so the camera is unmanned.
6. “Marker.” The first AD signals the clapper loader, or assistant camera (second AC), by saying, “Marker” or “Slate it.” The second AC marks the shot by clapping the clapper board, or slate, and announces the scene for editing purposes (“Scene 67, Take 4”).
7. “Action.” The director says, “Action,” although a first AD might perform this function if the director prefers it. Only the director is allowed to say, “Cut.”
The Low-Budget First AD's Eternal Dilemma: On low-budget productions, the means are often not enough to realize the director's vision. It is the first AD's task to work between the director and heads of department (HODs) to call the necessary compromises when they need to be made, without jeopardizing the integrity of the director's vision. This process can begin as early as the scriptwriting phase, with the AD suggesting such practical compromises as combining sets or reducing the number of story days. The process may progress through to the actual shooting of a scene, at which time the AD may call for the director and the head of photography to refine the blocking of a scene in such a way that it can be adequately shot within the time available. This can be the most indirectly creative an AD gets, and requires great understanding of the conflict between resources and vision. This can prove a useful skill to ADs who move on to produce.
Script Supervisor, or Continuity: A script supervisor, or continuity, is a member of a film crew responsible for maintaining the film's internal continuity and for marking the production unit's daily progress in shooting the film's screenplay. In preproduction, the script supervisor creates a number of reports based on the script
, including a one-line continuity synopsis providing basic continuity information on each scene. These reports are used by all departments in order to determine the most advantageous shot order and quantities of supplies, materials, or crew support needed. Example: A character who wears a particular shirt that (in different scenes) progresses from clean to dirty to dirty and torn may require at least three sets of that shirt in order to ensure that continuity can be properly managed.
During production, the script supervisor acts as a central point for all production information on a film shoot, and has several responsibilities.
Script: The working text of the project. The script supervisor is responsible for ensuring that everyone involved has the most current copy of the script. Once the script is finalized, changes are made on a different color of paper. The script supervisor is given any changes, and ensures that they are printed on the correct colored paper and distributed to all necessary parties. This will on many productions lead to a multicolor working script. The actual progression of colors can vary. One such progression is (starting with the original script) white, blue, pink, yellow, green, goldenrod, buff, salmon, cherry, tan, gray, and ivory.
Continuity: The script supervisor takes notes on all the details required to re-create the continuity of a particular scene, location, or action. The supervisor is responsible for making sure that continuity errors do not happen. For every take, the script supervisor will note the duration of the take (usually with a stopwatch), and meticulously log off information about the action of the take, including position of the main actor(s), screen direction of their movement, important actions performed during the shot, type of lens used, and additional information that may vary from case to case. When multiple cameras are in use, the script supervisor keeps separate notes on each. The script supervisor will also keep track of dialogue as it is spoken, and ensure that if it varies from the screenplay, any variation made is known to the director and noted.
Slating: The script supervisor interacts with the second assistant camera (second AC, or clapper loader) and the production sound mixer to make sure that each take of exposed film has a consistent and meaningful slate, and that the sound and picture slates match. The script supervisor also notes the sound roll of each sync take, and the state of all MOS takes (a film take without sound recording: mit out sound).
Lined Script: The script supervisor is responsible for keeping the most current version of the shooting script, and for keeping a copy of it, as the lined script for the shoot. A lined script is a copy of the script with vertical lines drawn down the pages, indicating which takes cover which parts of the script.
Production Reports: The script supervisor is responsible for preparing daily reports for the production team. These reports vary in form depending on the studio or production company; however, they generally include a continuity log; a log of the actual times that shooting and breaks started and stopped; and a breakdown of the pages, scenes, and minutes that were shot that day, as well as the same information for the previous day, the total script, and the amounts remaining to be done. Also included are the number of scenes covered (completely shot), the number of retakes (when a scene has to be reshot), and the number of wild tracks (tracks with sound recorded separately). The AD staff also is responsible for preparing daily production reports regarding scheduling and the crew, noting delays in filming, scenes shot, and payroll (call times and out times), as well as accident reports and actors' times.
Glossary
Anatomy
Anatomy is a complex field, but we'll concentrate on the areas that Makeup Artists most likely will use as references. The following terms outline only a few of the examples found in the skeletal, muscular, and circulatory systems.
The Skeletal System
The skeleton is divided into the axial and appendicular skeletons. The axial comprises the skull, vertebral column, sternum, and ribs. The appendicular is made up of the upper and lower extremities. The skull consists of cranial bones, which form the cranial cavity. The cranial cavity houses the brain and facial bones, which in turn form the face.
The Skull
Frontal Bone
Bone located at the forehead that helps define the orbits of the eye.
Mandible
Bone that forms the lower jawbone.
Maxilla
The upper jawbone.
Nasal Bones
There are two nasal bones. The vomer bone separates the nasal cavities.
Occipital Bone
Large bone that makes up the base of the cranium.
Zygomatic Arch
Bone that defines the cheekbone.
The Spinal Column
The spinal column is made up of 26 bones. The bones protect the spinal cord. The spinal cord is strong and flexible, allowing movement, supporting the head, and serving as the attachment for the ribs and muscles.
Upper Body
Carpal Bones
Wrist bones.
Clavicle
Collar bone.
Humerus
Upper arm bone.
Metacarpals
Hand bones.
Phalanges
Finger bones.
Radius
One of two lower arm bones. The radius is narrow at the end that connects with the humerus, and wider at the joints that it forms with the wrist bones.
Ribs
Curved bones connected to the thoracic vertebrae.
Scapula
Helps to form the shoulder joint with the humerus.
Sternum
Breast bone.
Ulna
One of two lower arm bones opposite in shape to the radius.
Lower Body
Femur
Thigh bone, the strongest bone in the body.
Fibula
One of two bones that form the lower leg bone. The fibula is the smaller of the two.
Joints
When two or more bones come together to either aid movement and/or to keep the skeleton together.
Metatarsals
Foot bones.
Patella
Knee cap.
Pelvic Bone
Attaches the lower body to the axial skeleton.
Phalanges
Toes.
Tarsals
Ankle bones.
Tibia
One of two bones that form the lower leg bone. The tibia is the larger of the two.
The Muscular System
Muscles are described by size, shape, origin, and function. There are over 700 known muscles in the body.
Facial Muscles
Jaw Muscles
Masseter Muscle
Raises the jaw and clenches the teeth.
Temporalis Muscle
Helps the masseter muscle to raise the jaw and clench the teeth.
Mouth Muscles
Buccinator
Draws the corners of the mouth backward, flattens and tightens lips.
Caninus
Raises the corner of the mouth.
Mentalis
Raises and tightens the chin, thrusts lower lip up and outward.
Orbicularis Oris
Circles the mouth and purses the lips.
Risorius
Pulls the corner of the mouth sideward and outward.
Triangularis
Pulls the corner of the mouth downward.
Zygomaticus Major and Minor
Raises the mouth upward and outward.
Eye Muscles
Corrugator
Assists the orbicularis in compressing skin between the eyebrows. Vertical wrinkles form.
Orbicularis Oculi
Closes the eyelids and compresses the opening of the eye from above and below the eyes.
Procerus
Tightens the inner eye by wrinkling the skin on the nose.
Face Muscles
Frontalis Frontal Part
Draws the scalp to the front, wrinkles the forehead, and pulls the eyebrows upward.
/>
The Makeup Artist Handbook Page 34