Wardrobe & Makeup
Let's, go look at the water right now. Cool. And, uh, while you're over there, um, question from mom mamma mia which I love her. I like that uh, while you're there, could you please talk ask about the lighting with regard to the makeup artist? So what type of light lighting is she using? And do you provide her with that? And how does that ensure that the colors translate to the lighting over here? Very good questions. Very good questions so very often on a shoot there's there's hair makeup and they have a room very often very talented makeup bars ask for an additional light. The light is at this cases on leah is just a small ambient light just to see it's not about color is just for the makeup part to see and toe light and make all the adjustments with a light on her not using the ambient light in the room and almost every makeup bars will ask for one. There is one very famous makeup bars sam fine in new york who wants to have black all around him and he's making forces different uh so...
me will have want black cards all around so it's just the light coming from one direction and some want all white around them. Each person is different, but all the good ones they want a light now, do I provide it? Yes, we can provide it often sometimes, but a lot of other making parts they bring their own light and the shot of ah, the butterfly story yesterday with sanya paul sample had his own hot light that he brings on set on every job he brings his own light, and I love when they had their own light because they're aware of light and how it affects the face. And is there any, um, then translation between that light, and then not at all that all that life's just for them to see has nothing to do with our light? One set question from ko thehe, one of our regulars here, creative live how do you deal with reflections from a beauty dish at such low angle on subjects who absolutely don't want to shoot without their glasses on? And for more famous subjects that are typically known wearing glasses and wouldn't look right without them? That's a very good question with the sock on it takes the reflection away. I'm always aware that, so if they don't want the glasses off, they're known for having glasses on. I've been in that situation, I'm changing the angle, taking the glasses down just a bit to get it away and that's just you also teach you your angle is well to make sure you get it in so you're guiding them and directing them until it goes away and that's all it takes is all it takes is just you directing them to get the right shot great question about glasses because you do have that so let's look clothing for a second so when every job the stars will bring wardrobe and I'm looking for one piece do you want to just those lives to seymour? Is it bad if I open this up for everybody okay if you want to know the overheads on for this this is fine as well okay? We're almost there so I want to look at the clothing and make a judgment call on what I think will be great for the shot and very often on a job I'm here with the stylist and the client and we're discussing the gown for the dress or the top or the pants for the shot because I don't want anything to fight my shot so this looks like a good candidate possibly with some nice pieces here and there all great but I have a goal as to make sure that the skin is the hero not the clothing hanging up over there don't that's something you pay attention teo usually remove those how do you handle that? Absolutely question is do I pay attention to straps? Do I want an image where the clothing is easy to see here I have the hint of a garment I don't care about this part I won't see that I care about this the straps gave me the idea of a garment and that's what I want again the skin of the face is the hero I don't want to fight against the garment so you won't see any of this the model has this on but all people will see is just the hint the top part of the garment so this is the winner for me if I had an object like that it still nondescript and it doesn't fight it's a symbol color that could work, but I think I like this better because another option as well but stay away from that one are you worried at all about the color tone that the dress might reflect not at all not at all in this one we have our cho check her passport shots so we can adjust a color I'm not worried about this kicking up any color on her face what I use that wouldn't fight I think so so this is a definite no your beauty on white or or a solid color you never use anything else because you just focused like addition background or I don't like them because it fights the image I don't like people love tissue backgrounds and colors and all this other stuff on backgrounds I don't I think it makes the image look old after a while I like it looking grey, white, black, clean palate. I'm painting with her, I want a clean power oh, wow, oh wow, that looks so amazing! You have transformed in an hour wow! Wow! Well, thank you, it's amazing. This is so great! Wow, now I am excited. I have a model with looking amazing over here, she's been transformed and wow, I know what the hero is. I have nothing fighting my hero. We have a sketch that we gave for the whole crew to see. This will be our garment that we use for today. Turn around for one second, not bad, huh? It starts here, it starts here, then communicate the idea to the crew and they create. This was much better than this. This was our are beginning our foundation. Now I'm getting goose bumps, seeing this, and I'm excited and she feels beautiful. She is beautiful, but she feels even more beautiful now and now we can create.