A DUTY of CARE is a legal obligation imposed on an individual requiring that they adhere to a standard of reasonable care while performing any acts that could foreseeably harm others.
What does this mean to you?
It means that if, in the course of your work, you perform any action that harms, or provide any service or product that causes harm, to another person, you are in breach of your Duty of Care and the injured party can sue you. *Important note: Although I say, ‘in your work’, the law appies to you WHATEVER YOU DO, ALL THE TIME, WHETHER AS PAID WORK OR AS A HOBBY….
But I have insurance for that, right? Well, maybe, maybe not….
Since 1950, the International Labour Organization (ILO) and the World Health Organization (WHO) have shared a common definition of occupational health. It was adopted by the Joint ILO/WHO Committee on Occupational Health at its first session in 1950 and revised at its twelfth session in 1995. (For further reference see Occupational_safety_and_health)
The definition reads:
“Occupational health should aim at: the promotion and maintenance of the highest degree of physical, mental and social well-being of workers in all occupations; the prevention amongst workers of departures from health caused by their working conditions; the protection of workers in their employment from risks resulting from factors adverse to health; the placing and maintenance of the worker in an occupational environment adapted to his physiological and psychological capabilities; and, to summarize, the adaptation of work to man and of each man to his job.”
Tag Archives: effects
I was teaching a class in May, as Guest Tutor for PAC Screenworkshop 2, having been asked back as Makeup Instructor once again by Annie Murtagh-Monks, (Casting Director, Managing Director of the Association of Screen Professionals and Co-ordinator and driving force behind the Perth Actors Collective). Annie introduced me as an ex-alumni of the PAC workshops, also of the memorable Creative Intensive residential weekend workshops held at the old New Norcia monastery every year, and she asked me when it was I had done mine. Off the top of my head I estimated at least one of them was around 2005….
Well, out of curiosity, I was leafing through some paperwork in my office, and came across the original certificates of completion- turns out my first Creative Intensive was the 5th to be run, in July 2002, and the second was the 8th C.I. ever, in September 2003…. ( since those heady days they have a single weekend every year, they are up to C.I. 15 this October.) Looking back at the 9 years that has passed since my first C.I. has afforded me a unique perspective… and I just thought it might be interesting to share it with anyone who is currently in the midst of their own creative journey…
For anyone who doesnt already know, I used to be an actor. Admittedly, not a fabulous actor, as in those days I was restricted and restrained by the insecurities of youth and upbringing, my inner shyness and lack of self-confidence… Go ahead, I hear you laughing from here… but (believe it or not) I am actually a very private person and, especially in those days, rather controlled and emotionally self-contained, which is not the best thing for an aspiring actor to be…. I had not yet discovered the secrets of letting go and being myself, but was still in the grip of control issues and inner demons. Yeah- we all got ’em….
I had always held a yearning to act, but working in hospitality in my younger years kind of precluded that ambition, and it wasnt until I had my first child in 1995 that motivation met opportunity, and I joined my local community theatre group, at the local Irish Club. (Coincidentally I also acquired my love of a properly poured Guinness during this period…). Like anyone, I contributed to almost every role at some point during my internship in theatre, from Stage Manager, Costume and Sets, through Acting, often at the same time.. then studied Theatre Lighting at UWA and temporarily took over from our Lady of Light, Ms Fiona Reid, who was studying her craft at WAAPA. I even directed a couple of plays, and had one delightful actor tell me that one day, I would write my own highly successful production and give him, in his own words, “Three Lines And A Gun”. I still think that would make a great play or even film title, and you have my permission to use it, as long as I get a Thankyou in the credits!! Continue reading
The original version of this post was written for the Film and Television Institute in Perth, Western Australia a few years ago. It has since been updated and added to several times. In its current form it summarises the best and most accurate recipes and useful information currently available to Makeup Artists, to allow you to make your own Theatrical Bloods for Film, Tv or Stage.
THE HOLY GRAIL OF MAKEUP FX
As a Makeup Artist, I am often asked about the best way to make a CHEAP, REALISTIC artificial BLOOD, that won’t stain, and can be made in bulk for film and theatre.
The answer isn’t always what they want to hear, sadly, there is no such beast! As always, the classic designers triangle applies here: Good, Fast and Cheap. Pick two…..
Quite honestly, if you are only using a small amount then you are better off buying a good brand of theatrical blood as it will work out the same price to make your own and wont always be as good, and less fuss!
However, if you need a large quantity or are unable to source a good quality product in your geographic area, there are plenty of recipes around and one of those listed here is bound to suit your purposes.
In my personal Makeup FX kit I routinely carry between 12 and 16 different types of bloods at any one time. Yes, thats right- at least a dozen! The reason for is that there are many variables on a shoot, and rarely is one product suitable for every occasion. You need to mix and match. I carry runny bloods that dont dry, runny bloods that do dry, runny bloods that are mouth-safe or edible, bloods that stay where you put them, bloods in different colours in the above categories, opaque bloods, translucent bloods, blood pastes, blood that can be reactivated by a spritz of water, blood that will stay on underwater, blood that sets scabby, blood that looks fresh, blood for eyes, blood powder, blood capsules…. you get the idea?
HOW TO CHOOSE YOUR SILICONE
Ok, so you have your project ready, you are off to go buy some silicone and dive right in…. Whoa! Slow down, tiger….. There is a whole bunch of stuff you need to know first.
What are you doing? Is it a big piece, a small piece? Are you making a mould or a cast? Do you need to make a box mould, a brush-up mould, a matrix mould, a pour mould? How much are you going to need to fill it? Do you want a solid coloured, or translucent silicone? Are you in a hurry or is time not an issue? Will you need a long or short Potlife? What sort of Viscosity is required? What Shore Hardness do you require in your finished piece? Do you need to worry about Elongation/Tear Strength/Tensile Strength?
Yeah, working with silicones is a bit like doing high school chemistry all over again, but trust me, if you understand the basics, it will save you a lot of time, money and frustration.
Lets start with the Product Description.
When you are searching a website for silicon moulding rubbers, you will usually find somewhere a link to a.pdf saying “Technical Data Sheet”, “Product Overview”, or the like. In a catalogue there may be aTable giving comparisons between the products on offer.
Note that the information I am discussing here is NOT on the MSDS… (the what? I hear you say? It stands for the ‘Material Safety Data Sheet’- a topic for another time…).
A Technical Data sheet will give you all of the relevant information you need about a product. Lets go through one step by step, just to give an example.
At the top there will normally be a Product Description. This will describe the general characteristics of the particular silicone, its category and type, and an idea of its texture, hardness, mix ratio and suggested applications.
Here are a couple of examples I randomly pulled out of my file (you should always keep this info for future reference): Continue reading
Understanding Silicones: The uses of silicon in FX; Tin vs Platinum; Behaviours and Applications.
First point, for anyone who isnt sure, Silicone, the synthetic polymer, is correctly spelt with an ‘e’ on the end, to distinguish it from the metalloid element, Silicon. Technically, it is a misnomer anyway, that dates from their discovery in 1942, it was thought the structure of the compounds was similar to ketones, when they are in fact Siloxanes. However the name Silicone has become accepted and persists to this day.
Right, that’s out of the way, now to business…..
What is Silicone?
Here is the Wikipedia definition: http://en.wikipedia.org/wiki/Silicone
The Encyclopaedia Brittanica explanation: http://www.britannica.com/EBchecked/topic/544410/silicone
and for the real chemistry nuts, Dow Cornings spiel: http://www.dowcorning.com/content/discover/discoverchem/properties.aspx
Does any of that help? Well, maybe, but it wont necessarily help you make that mould/art piece/prosthetic or the like….
Basically, silicone, for our purposes, is a synthetic polymer, which sets, or vulcanizes, at room temperature, into a rubbery material. This is known as RTV Silcone. It comes in hard and soft formulations, is inert once cured, heat resistant, flexible (even in hard kinds) and very very useful! RTV silicone rubber is used in the movie, entertainment and special effects industry, and in theme parks. Soft “skin” silicone rubbers, used by make-up and Fx artists, were developed specifically for sfx makeup artists, and certain kinds are also used in the medical prosthetics industry. It is also used, in an uncured form, as a lubricant, which will be apparent to anyone who has ever spilt uncured silicone on their floor…. it is an immediate shortcut to the kind of slide action Tom Cruise was famous for in ‘Risky Business’…..
So how do you know what kind of silicone to use? That depends on what you are using it for…. First I will go through some basic information that everyone should know before they start. Continue reading