Styling Changes When Filming

There was only one thing that I changed from the original hair and make-up looks that I planned prior to the shoot. This was the hair in the last shot which featured all of the make-up combined together.

I figured that I just wanted the shot to be really quite wild and untamed to suit the make-up, and so we shot the model flipping her hair around quite a lot and having a lot more movement.

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Other than this, everything else was exactly as planned and all worked very effectively, and I am definitely happy with the footage that I have shot.

 

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1st Rough Cut Of My Fashion Film

I am actually quite happy with how the first 20 seconds has turned out, and I find it so interesting to be able to translate the ideas from my head, into something that someone else can actually see for themselves. However, the editing does take a lot of time, and you feel like you haven’t done that much! For example, these 20 seconds probably took me about 4-5 hours, so I have definitely decided that I do not want to be a film maker! Having said that, I am excited to create the rest of my film…

I cropped some of the music from the start because I did not need all of that slow pace music for that much of my film – I only wanted it to run through the beginning part of the film where it was showing the ‘standard’ make-up. Also, the track was 19 seconds too long anyway, so I am going to have to crop some more of the music and play around with it.

The main focus on this section of the film was to give a quick look at the make-up looks one by one. I wanted them to be quite close up and very brief, to make the audience quite intrigued and wonder what an earth is going on… I feel that the timing works well within my film, and the way that the looks change on the click is quite effective. I like how the viewers will only be able to see a glimpse of each look within the first quarter or so of the film, and then they will be able to see the look as a whole, and in more depth as the film goes on. I think the next part of my film will get slightly more difficult to create, and more techniques/effects will be introduced as the song begins to change and have more layers to it.

Filming In The Studio

At first, I was slightly nervous as to whether or not I would be able to create a good fashion film, because I knew that quite a lot of things would determine how well my film would turn out; for example, setting up the lighting, backdrop, adjusting to the correct and necessary camera settings, etc. But beforehand, I ensured that I looked over my Photography Tech File from last year, where we did a lot of work in the studio, and made sure that I had a quick refresh in the studio.

To film I used a 550D camera, tripod, and a single light (just off centre to produce some shadow) with a beauty umbrella.

I took my model, and my other flatmate, to assist me with anything else that I may have needed! When we got to the studio, we managed to set up everything effectively, and began shooting straight away. The thing with my film was that it was a lot of stop – starting, because of all of the different make-up looks I had to keep applying, however, I feel that we got into the flow of it really well.

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My make shift Make-up/hair station

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This is us assembling the lights for the shoot

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The lights and camera set up for the shoot

I managed to gather all of the footage within only a few trips to the studio, to ensure that things like lighting were kept fairly consistent. We actually all really enjoyed this part of creating my film, and thus hopefully the final outcome shows this, and pays off!

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My favourite part of the shoot:

Seeing this make-up look come to life, and watching my model use it extremely well on camera was definitely my favourite part of the process! It is just so crazy and ridiculous that I love it. It shows up really well on camera, and I will definitely be sure that it features throughout a lot of my film. I think it definitely demonstrates the message that I am trying to portray, and does it in an extremely unique and fun way!

X Factor Continuity Error

On this years X Factor, there was actually a continuity error that I picked up on. It showed one of the contestants singing in trainers, and then in the next shot, she had heels on…

Some have argued that she had to change into trainers so that her feet didn’t sink into the grass, but others claim it is proof that Louisa was given multiple takes to get her audition right and that the show is ‘fixed’.

1445945134-x-factor-continuityThis is an example of one of the ways in which continuity can be important within TV. By X Factor making this mistake, it may have caused a lot of viewers to lose ‘faith’ in the programme and think that it is fake and fixed.

The X Factor’s explanation is that all contestants actually film multiple options, with a source telling The Sun: “All contestants filmed two different songs, one acoustic and one to a backing track, at Judges Houses. It was a mistake, but Louisa didn’t get any preferential treatment.”

A spokesperson for the show added: “Louisa’s performance of Respect was filmed in one take and she is clearly wearing the same shoes throughout that performance. We do occasionally film out of sequence and the shot of Louisa walking to the judges in trainers was taken from her other performance.

Web reference: http://www.cosmopolitan.co.uk/entertainment/news/a39330/x-factor-louisa-johnson-fix-rumour/

The Importance Of Continuity

Continuity refers to the unbroken and consistent existence or operation of something over time.

In the majority of film and TV productions, the scenes are shot out of sequence. This can be for a variety of reasons:

  • Access to locations
  • Availability of certain actors
  • Weather conditions

This means that you could be working on the last shot of the film with actors continuing a scene that was shot a year before; in fact, it is quite normal for a film to be completed and then scenes to be re-shot unexpectedly when the producer decides this is required.

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Typical Continuity Issues

Crew members – including the make-up department – may be working on other productions by then, so new people are often hired to film these pick-up shots. When the film is played back, it is essential to take notes on the continuity. Actors must be dressed the same, have the same skin tones, wear their hair at the same length, and have the same make-up. If this is not the case, the result will be sadly noticeable when the film is edited.

Should a producer of a TV soap series decide to do some pick-up shots of close-ups of actors shot four months before, for instance, the make-up artist has a number of continuity problems to solve:

 

  • Matching the clothes when many costumes may have been hired and returned to the hire company
  • Matching hair. Various hair pieces may have to be tracked down from hire companies or wig makers – or recreated
  • Matching make-up. Foundation, lipstick, eyeshadow, and blusher may have been used up or simply lost
  • Whilst such scenarios may be stressful, they are an accepted part of the job. In feature films, there is a script supervisor who deals with the general continuity issues of filming. This includes film stock, camera lenses, and dialogue changes.
It is still up to the individual departments to work out their own continuity, either by taking photos of all the main actors – front, back, and profile views – as well as extensive notes. All changes to hairstyles, costume, and make-up should be logged with a scene number and day number of the film sequence.
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To make life easier, a make-up artist will keep a hairstyle the same shape. When the action of the filming calls for the hair to be wet or untidy, photos must be taken. The action may take place in a rain storm exterior which might gave to match up to the actor walking into an interior with wet hair. The interior scene might actually be shot in the studio months later and must match up to the exterior shot.
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Make-up and hair artists often have to apply beards and moustaches to match an actor’s natural facial hair which he subsequently shaved away, or supply a wig because the actress has had her hair cut short.
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After carrying out my continuity assessment, I definitely value the role of a make-up/hair artist a lot more. I think it taught me to acknowledge that the job is definitely a lot harder and more complicated than people think – ensuring that every single strand of hair is in the correct place is a difficult thing to do.
Website Reference:

http://www.delamaracademy.co.uk/the-make-up-artist/film-tv-make-up/makeup-continuity

Practicing Make-up Looks For My Film

I wanted to practice all of my make-up looks before applying them to a model, because I wanted to be sure of what worked and what did not. As well as gaining an understanding of how heavy and how over the top I need to go with the looks to make the message stand out, also taking into account that they need to be picked up on camera.

Make-up products & Tools required to create ALL looks:

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This is the ‘standard‘ make-up look that I will be distorting and exaggerating; it features a fairly neutral smokey eye with an eyeliner flick, and light contouring/highlighting.

This is one of the graphic eyeliner looks – it is made by cutting some card and attaching it to the lower lash line with eyelash glue (it will be on both eyes).

This is the other eyeliner look. I created this by using Maybelline Precise Liquid Liner. I think it works quite well because it is definitely graphic and bold, and clearly shows quite over the top eyeliner.

This is the extremely over the top brows! As you can see they are ridiculously big, and thus definitely portray my concept/message. I created these monsters by using eyeshadow and Illamasqua sealing gel.

These are the massive, overdrawn lips. As you can see I have gone waaaay over my natural lip line to make them this size. I used the supracolor palette and small angled brush to do this.

This is the over the top blusher and bronzer – I simply piled on lots of the Illamasqua bronzing duo, and blusher duo. I applied it all over the face, but mainly focused on the cheeks and forehead. My only worry with this look is that it may not show up as much as I want to on camera, so I may go even heavier with the blusher and bronzer and see how it turns out.

This is the glitter highlight look. To create this I used Kryolan Shimmering Event Foundation in the areas where I wanted the glitter, and as it is quite a sticky/wet consistency, I then just applied the glitter straight on top using my fingers. I applied this to the tops of the cheeks and lightly down the nose. I actually quite like how this turned out because it actually looks more than a highlighter than I thought it would, rather than just glitter being stuck on. Again, I think I may have to apply it slightly heavier to get the full effect on camera, but I think when it catches the light it could be very effective.

This is the mascara look. To create this look I actually had to apply 4 pairs of false eyelashes – 3 on top and 1 on bottom. I ordered numerous pairs of eyelashes (within my price range), but none were as long as I wanted, so with the funds I had, I just decided to apply them all on top of each other to build up volume as well as length. In the real thing I will also add mascara on top of the lashes, but I did not want to ruin them in this practice. I think shooting from the side may look quite effective and show the sheer volume, length and ridiculousness of these lashes.

This is the concealer look. I tried to use a concealer that was far too light under the eye, I found this quite difficult to make appear on camera, so I will have to ensure that I literally make the colour white. I used the dermacolour concealer palette, Bobbi Brown tinted eye brightener, and the Illamasqua skin base.

This is the contoured look. To create this look I used the Illamasqua gel sculpt, the Illamasqua sculpting duo and the Anastasia Beverly Hills Contour Kit. I kept just building and building the contour on the cheeks, forehead and nose. Again, this did not show up as significantly as it did in person, so I will ensure to keep building this up until I am happy with how it looks on camera.

This is the eyeshadow look – as you can tell it is extremely bright and colourful. I used a wet brush with the eyeshadow to intensify the colour as much as possible, and I brought the colour all the way up to the eye brow. I think I could perhaps extend it below the lash line slightly further, just to add the the emphasis of the eyeshadow. But I am definitely happy with the eyeshadow design and colour intensity.

The Combined Look:

This is the final look that combines of the above, and as you can see it looks absolutely RIDICULOUS – which is exactly what I wanted! I am extremely happy with how the look turned out because it portrays the message/concept that I am trying to get across, and the look is definitely an attention grabber!

Tech File – Continuity Assessment Evaluation

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2nd time Vs. 1st time

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2nd time Vs. 1st time

Looking at the pictures next to each other I actually feel I did quite a good job! Taking into account the slight lighting and camera angle differences, I feel that the pictures look very similar. I am happy with the contouring, which is the main aspect of this look – I feel that I have managed to recreate the same colour and depth of contouring on the cheeks, forehead and nose.

I feel that the eyebrows are the same colour and pretty much the same shape; in the side images, the 2nd time looks slightly more rounded, but in the front-on images, they look almost identical.

I am happy with the eyeshadow – I think the colours, blending and shape of the eyeshadow is almost exactly the same. However, I think the eyeliner on the right eye was a tiny bit steeper when I did it the 2nd time. The mascara also looks pretty much exactly the same – both the top and bottom lashes are evenly coated and separated.

I think the hair looked extremely similar in person, but obviously as the model was walking around, inevitably it moves slightly, and thus looks a tiny bit different, but this would be easily fixable in film/TV, and you want it to be able to have movement so as to be realistic. Having said that, in the pictures, I feel that the left side is slightly flatter the 2nd time.

After doing this assessment the first time round, I made a few notes of things that might be handy to remember:

  • Follow natural brows and contours, do not focus on evening out/being symmetrical – I think I managed to do this the 2nd time round, thus giving me the same contours.
  • Flick of eyeliner on left eye is slightly more lifted, than on right eye – I did raise the flick on the left eye ever so slightly the 2nd time, but it was not quite significant enough, and is not as different as the 1st time.
  • Quite a few baby hairs are present on left side of the foreheadI made sure this was still the case the 2nd time
  • For some reason there is a small lighter patch on the left eye’s eyeshadow – I was able to recreate this and thus the eyeshadow looks almost identical

Overall, I was actually very pleased with this continuity assessment. I feel that if these looks were on TV/Film at different times, it would be very believable to the audience and viewers that it was all in one scene. I acknowledge that there are a few slight differences that would need to be rectified, but as a whole I think it was quite successful. Carrying out this assessment definitely makes me value the importance of continuity and appreciate make-up artists that work in the Film and TV industry.

Tech File – Continuity: Part 2

To create this look I followed the instructions and used the images from the previous post to try to replicate the look as best I could.

Final Images:

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Overall, I think I managed to recreate the look quite successfully and most things looked the same at a first glance. I will now put the pictures side by side which will allow me to make a direct comparison and evaluate my work.

Sound-Beat-Rhythm – Music And Film

What does film music do?

  • Music in film is functional, it provides very specific qualities to the medium, qualities that film has come to rely on
  • Music provides a fullness of experience to the audience when watching a movie
  • 50% of the experience is based on the music that goes with the film
  • We often perceive it subconsciously and often we are not aware of how influential it is

Soundtrack and score

Soundtrack:

  • Release of songs associated with the movie
  • This might include complementary popular music, not original to the movieScore:
  • Music composed to play under the scene, background music

Score: Music composed to play under the scene, background music

One theory about film music

  • Psychoanalysis states music as a central part of humanity
  • This goes back to when we are in the womb, permanently listening to the heart beat of the mother and experiencing the surrounding sounds
  • Music stimulates us to regress back to that complete sense of satisfaction, the ‘union with the mother’
  • Factors such as the comfortable seats, the darkened auditorium, the hypnotic effect of the bright images on the screen and the sound come together
  • When we watch films and hear film music something similar happens
  • Bypassing the usual sensors of preconscious, facilitating the hypnotic power of film and encouraging us to regress to a place of complete psychic satisfaction

History: 1895-1927

  • Music was initially played live with the first screen films
  • Soon the phonograph was a provider for sound before full orchestras accompanied silent movies
  • 1905-1907 Nickelodeon (named after the price you paid to get in, one Nickel) had a pianist playing live to 15 minutes movies that looped
  • Music proved central to the experience of film around the world
  • In Japan the subject maOer of the earliest Japanese-produced films centred around music
  • Sometimes films were even shown in silent.
  • Worldwide there was no single unifying practice.
  • The organ was also a popular instrument to accompany films
  • As film develops (1910-1920) to an art form based on memory, films started to be 60 or 120 minutes long
  • More elaborate movie theatre and presentations use the music to promote their films
  • Orchestras played from a score sheet that were composed for certain type of films and particular sounds were reflecting particular moods and actions on screen such as a tremolo for suspense or a pizzicato for sneakiness

1895-1927

  • Listening to score archives with its various categories points to similar conventions within film music (http://www.audionetwork.com)
  • Depending on the audience that accompanying music was often different
  • Chicago’s African American community of moviegoers might come across Louis Armstrong as one of the musicians providing music for silent movies
  • Soon popular music became a part of silent movies, which was then competing with further flowering of the movie score
  • One of the more unusual compositions was by Eric Satie in 1924 for a film called ‘Entr’Acte’
  • It defies conventions: no musical leitmotif, the music is not following the content of the frame, resistance to a unified tonality and no clear rhythm

1927 – 1960

  • Further refinements in the presentation, improvements of the sound and the amplification as well as the syncronisation
  • The film music becomes a more and more marketed and separate product
  • Often the films were musicals at the time, because that proofed to be very successful financially
  • Dialogue is introduced to the sound
  • In the Chinese Film ‘Street Angel’ (1937) the audience is invited to sing along
  • Silent movies such a Charlie Chaplin’s ‘City Lights’ (1931) and ‘Modern Times’ (1936) had a continues score
  • During the rise of Hollywood cinema 1930-1960, the studios established a background music that supported the scenes and narrative on the screen and helped to cover for gaps in the montage of film scenes while supporting the flow and continuity

1927 – 1960

  • ‘Underscoring’ is introduced, a technique to have background music while prominent dialogue is happening over it
  • Around 1930 a number of European composers arrive in Hollywood, fleeing their war and fashist troubled countries such as Erich Wolfgang Korngold (‘The Adventures of Robin Hoood’) who becomes a leading figure for scores inspired by romanticism
  • Other than Barock or Modernism, romantic music was easily accessible by the audience and its melodic sound suited better to support the narrative in films
  • Mid century Folk, Jazz, Modernism and Minimalism started to appear in film scoring while romantic sound managed continuously to play an influential role
  • Jazz was widely use in the popular Film Noire around the 50’s because of its association with urban decadence, that suited the similar characteristics of the films
  • Minimalist scoring f is used in films such as ‘Koyaanisqatsi’ (1982) by director Godfrey Reggio to deliberately not load the sound with emotional elements, but to have the audience develop their very own emotional responses
  • By mid-20th century, sound productions take clearly over from silent film productions

1960 – present

  • Film music is transformed ,conventions are regularly broken and many new influences like Rock’n’Roll and Pop find their way into film music
  • Popular music in particular advances the usage of music in film
  • World music becomes increasingly audible and globalisation began to influence the funding, production and distribution of film
  • French New Wave films by Francois Truffaut and in particular by Jean-Luc Goddard are excellent examples of unconventional usage of sound
  • German New Wave films quote everything from Bach to Beatles, sounds are often exaggerated, skewed or clichéd and create startling relationships with the images on the screen
  • Werner Herzog uses the music group Popol Vuh, for a series of electronically generated, arresting sounds in i.e. a remake of Murnau’s ‘Nosferatu’ (1979)
  • Synthesisers have made the sounds from around the world more accessible and allowed without any formal musical training to produce your own soundtrack, like the director John Carpenter who uses his own sythesised music on a number of his films such as ‘Halloween’ (1978) or ‘Escape from New York’ (1981)
  • Political events like Regime changes in the East and the Islamic Revolution have had a strong influences on the scores used in different countries around the world
  • Compilations of music from around the world dominate the score and ‘lending’ themes from Popular Music becomes an increasing success story for Hollywood film music, in particular towards the end of the century
  • The background score ‘Moon River’ for the film ‘Moon River’ with Audrey Hepburn becomes a Grammy awarded Best Song of the Year in 1961Quentin Tarantino, Reservoir Dogs – “Stuck in the Middle With You”
  • The song is a hit from the 1970s, recorded by Stealers Wheel, aimed at the teen and preteen market
  • It’s a chirpy melody, conventional rhythms, banal lyrics and predictable and uncomplicated harmonies
  • Ironically it is used showing ‘Mr. Blonde’ torturing a uniformed cop who is tied to a chair
  • There is a clever involvement of the lyrics as well and it is overall a very cleverly integrate piece of sound that engages the audience
  • Once the song starts, it turns ‘Mr. Blonde’ into a psychotic sadist
  • The volume is adjusted when we don’t see the brutal action outside of the frame
  • The music helps us to empathize into the film and get emotionally involved, turns out it is all not quite what to expect from the cheerful song

    Tarantino says:

    • ‘You hear that guitar strain, you get into it, you’re tapping your toe and you are enjoying Michael Madson (Mr. Blonde) doing his dance and then, voom, it’s too late, you’re a co-conspirator’
    • It’s all guilty fun until the scene turns sour, becomes too violent and not enjoyable anymore. At the same time it engages the audience

    Music videos

    • Music videos are very similar to fashion films – they are stylised visualisations of an artist’s vision – the music being the script for it
    • Fashion films are stylised visualisations for a fashion designer’s vision, the garments being the script for it – the concept is in the garment already
    • Both work with moving images and sound (in most cases)

    Recognisable brands in fashion film and music videos

    • The music artist uses are cognisable sound and applies a recognisable approach to market the music, all based on the sound
    • A brand in apparel has a recognisable product and a fashion film creates a visual collage with sound that represents that brand’s identity
    • Gareth Pugh talks of the opportunity with fashion film too express and present more than just a new collection, it is the identity of his brand represented in all aspects of the film such as the visuals and the sound and how it is presented.

    How to use music for your film?

    • Think of a way how music supports your film
    • Create an atmosphere that extends the visuals with sound to create an overall experience
    • Are you providing background music, also called a score or are you relating your film to popular music and and a soundtrack.
    • Consider the possibilities of an unconventional approach

    The music I am using for my film is The Hanging Tree Rebel Remix – I feel that this supports my film by the lyrics that it says in the song, e.g.:

    Strange things did happen here, no stranger would it be” – could be referring to the already ‘strange’ and whacky world of make-up, so it wouldn’t be strange to see these styles becoming the norm

    Where I told you to run, So we’d both be free.” – could be referring to the pressure that is the media, and wanting to get away and be free from it all

    I think this music is quite unconventional and almost quite ironic  – it is quite serious and slow, but my concept is almost comical, but this is why I have chosen the remix because it adds a twist on things, and I think the timings within the song will work really well with what I am envisioning. For example, switching from scenes on the clicks, and when the beat drops adding in the scene where everything is included on the model.

Finding A NEW Model

Unfortunately my original model that I was planning to use was no longer able to feature in my fashion film – this sent me into total panic because I really wanted to start filming ASAP!

I began posting onto different collaboration pages on Facebook, and signing up to sites such as ModelMayhem and PurplePort. I stated what my idea was and added a few images to allow them to imagine what I wanted to achieve. Finally, someone replied and we were able to contact over Facebook to communicate my ideas and discuss when we were both able to meet. The thought of collaborating with someone totally new, who I had never met or even seen before, made me slightly nervous and apprehensive, but at the same time, it is often what will be the case in the industry so I might as well start getting used to it, and it will all be good practice!

However, as I began to try to arrange times to shoot and film, my model pulled out AGAIN! By this point I was getting extremely worried that I would not be able to find anyone, but I then decided to simply ask one of my flatmates – she was perfect for the role, and this is what I should have just done in the first place! So, this is now my new model:

I feel my model will work really well in my film, especially as she has long blonde hair, which is ideal. I realise that she is obviously at uni as well, so I will have to be mindful of her work and schedule to ensure she is comfortable, but I think it should work out well.

However, by this delaying the process and making me worry slightly, I think that it has pushed and urged me into making sure that all of the background work is up to date and finished, allowing me to be ready to film and shoot literaly ASAP.