Tag Archives: makeup artist

The FX Artists Reply to Unreasonable Demands:

There are many people who want to be Makeup FX Artists. More than there can ever possibly be demand for. Most of them will never ‘make it’. Not because they don’t have the talent, or the drive, but because they get worn down by years of trying and failing, and eventually give up, poor, lost and disheartened. It takes more than just raw talent and enthusiasm to make it in this business.

Many people starting out are often so eager to make a name for themselves and get involved in something- anything! – that they become unwitting doormats, willing to do whatever it takes to follow their dreams. For some reason, perfectly sane people who would never consider behaving like this in any other arena of their lives start belittling themselves or prostituting their skills. They become totally desperate- like drug addicts, taking whatever so-called ‘work’ they can get, to get their next ‘high’… Unfortunately in that state of mind it is easy to be taken advantage of by people who really couldn’t care less about your desire to prove yourself, they are just in it for themselves and don’t care who they tread on on the way.

It is one thing to be enthusiastic and helpful and excited about finally getting to pursue your dreams, and another thing entirely to get the chance to do something that is going to help you actually do that.

The word “No” is often completely eradicated from peoples vocabularies at this stage, because they are so terrified of somehow losing out if they dare to refuse a ‘job’.

Well, here is a reality check for anyone who is at that point:

The FX Artists Reply to Unreasonable Demands:

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So You Want To Be A Makeup FX Artist Pt 3: Breaking Through….

What’s holding you back?

What habits do you have, what beliefs and prejudices do you hold, that you may not even be aware of, that are preventing you from making progress in your career?
I mentioned in Pt 2 that when you are starting out in your career, and for the first couple of years, you will be working on small or non-existent budget productions.  It is not uncommon for people to resent this time and to feel that somehow it is time wasted when they could, should, be working in a “real job”.

The classic sign of arrogance in an early-career person who is indignant about having to start at the bottom, is the belief:

“I didn’t go to school for this!!”

Er, pardon me for being blunt, but YES, YOU DID!!  School or college or training of any kind, be it a twelve week intensive program or a three year Film and Media Degree course, does not thrust you out into the working world fully formed and worthy of the highest professional respect and the associated salary.  It merely gives you a basic grounding in materials and techniques, and the quality of that education will vary enormously from school to school.  In short, a formal education gives you enough information not to make a nuisance of yourself on a set or in a lab, and prepares you only for more learning. The real, on the job, practical kind of learning…..

“In theory, there is no difference between theory and practice, but in practice there is.”  (This quote has been attributed to at least three different people.  Suffice to say it is a truism we should all remember!).

As I said earlier,  no-one is going to hire you right out of training to work on a big job. Or even a medium sized job. Matter of fact, almost nobody will pay you to work on anything right out of training. You simply have neither the necessary level of skills, nor the ability to put them into practice on a real working high-pressured film job.  So you will, you must, start with what you can get, which will be low-budget and no-budget work to begin with.

BUT: never forget you are working with, and for, REAL people making REAL films during this time, many of whom will have invested THEIR OWN MONEY into the project.

These people are just like you. They are early career film makers and crew, doing their best to learn as much as they can and survive in a brutal and unforgiving industry.

  • DON’T look down your nose at them because they are not the kind of people you wish you were working with. Everyone starts at the bottom, and everyone has to EARN the respect they crave. One day these people too will have worked their way up the tree and be more professional, with all the associated benefits that brings.
  • DON’T think that just because its a small budget that it isn’t important to get the quality as high as you possibly can manage. If YOU had put your own hard earned cash into a project, wouldn’t you want to think that you had gotten the best result you possibly could for your efforts?
  • DO REMEMBER that every project you do, (even where you are barely getting enough to cover materials) should be treated with the same dedication and attention to detail the same as every project you do on your own for practice or for fun. Regardless of whether you think it is ‘important’ or whether it is as exotic or adventurous a challenge as you might like, it is giving you REAL WORLD EXPERIENCE.
  • DO KEEP YOUR EYES AND YOUR MIND OPEN. You can learn a tremendous amount from these projects if you are open to the possibility- more than any school can teach you!! You will have to deal with schedule changes, inclement weather, difficult relationships, tiredness and boredom, industry politics, mistakes, miscommunication, accidents and mishaps, and things not working when you really don’t know what has gone wrong or why, and having to figure out a way to fix it on the fly….. It may be a steep learning curve, but the difficult projects will be the ones you look back on with satisfaction afterwards, for having achieved things you didn’t know you could do….

“There is no such thing as a problem without a gift for you in its hands.” Richard Bach

Every project you do takes you one step closer to your end goal, and the Makeup FX Artist you will one day be, is formed in the crucible of your trials and temptations.

Every problem that you solve, every trauma that you triumph over, brings you one step closer to being the kind of person who is a valued and respected crew member, in demand and well rewarded.

So whatever you might think of them now, the people with whom you work in your early days are your most important asset in your search for future work. One day in six months time, one of them, (who meantime, has gone from assistant director on a no-budget short to being a production assistant on a medium sized TV drama), will happen to talk to someone else and mention you when they are desperate for a Daily to come in and help at short notice.  Then six months down the track, that person might call you and ask about a three week job they have coming up in a few months time, which will lead you to your next step up the ladder, and then that will lead to the next, and so on.

Personal referrals and recommendations from people you have worked with will get you more work than anything in your portfolio!

But it takes TIME…..

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What Do I Need In My Makeup FX Kit?

What do you need in your kit when you are a Makeup FX Artist?

To a large extent it depends on the kind of work you usually do. Is it factual recreation or fantasy creations? Do you have time to build FX in your workspace beforehand, or are you regularly called upon to put together an Out-of-kit Effect at the last minute?  Of course, you won’t necessarily need your entire kit on every job, but you will want a comprehensive set of tools and products to get you through any situation you are likely to face in your working life.

If you trained at a formal school you will have purchased a very basic kit to use during your education. If you are self taught you may have acquired everything piecemeal as you needed it, but that can leave gaping holes in your kitlist when it comes to things you just haven’t done yet…

Either way, shopping for Product and Equipment can be a minefield of torturous decision making and insecurity… And making the wrong purchase can be worse than not buying anything!
When faced with a multitude of alternative brands and glossy marketing material making grandiose promises, it is always difficult to know where to start.

Most of us get swept up in the excitement of new and exciting products from time to time, only to find them languishing at the bottom of our kit months later while we rely on our familiar and predictable old favorites…

A case in point is Makeup Brushes: how many do you own?    Twenty?  Forty? 
Now, being honest with yourself: how many do you actually USE???   I’d wager that you rely on the same half dozen for everything you do!!  

With this in mind, I advise you to read the following list carefully and pick out only items that seem to you to be immediately necessary, or perhaps things that you have seen in other peoples kits and think would be useful to you in your current line of work.
Accumulating a comprehensive and versatile kit is a major investment in your career, so try to only buy things you know you will use or are willing to learn to use!! And always buy the best quality you can afford, that is justified by the work you do.

So your checklist before purchasing an item goes something like this:

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REVIEW, WEB: “Neill Gorton’s Makeup FX 911” on Facebook

So, you’re a working Makeup FX Artist, or just a keen beginner.  You have some questions you want answered- you might be trying out a new technique for the first time, or maybe you had an unexpected problem crop up with something you’ve done dozens of times before, and you aren’t sure what happened or why?  Where do you look for help?

Call 911!

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SFX Makeup Artists and Duty of Care:

  • 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.”

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CHEMICAL SAFETY -IN THE WORKPLACE

Sensitization to Chemicals in the Workplace:

A collection of useful info:

Every day we are all exposed to some level of chemical fumes. Spray paints and household cleaners give off fumes. Different plastics and wood products in your home give off odors from adhesives and finishes, especially when new. But normally these fumes are at such a low level that they cause no problems. However, a number of people become sensitized or allergic to the fumes given off. Their bodies get overexposed to the vapors and become sensitized. From that point on, any exposure to even a minute amount of the chemical causes a reaction. The process of sensitization can make a home unlivable, or a job no longer viable, for people who become sensitized. If you work with chemicals, your risk is much greater.

For anyone who has been in this industry for a while, most would know at least one person with severe allergenic reactions from even the slightest contact with fumes. I personally know of people who can’t be in the same BUILDING as fresh resins or epoxies. So that says that the warning labels on the products we use have to be taken seriously.

Two of the most common reactions from exposure to industrial chemicals are occupational asthma and contact dermatitis.

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INSURANCE FOR SFX Makeup Artists and Technicians

When you first start out, dont forget INSURANCE!

When you work for a larger company as an EMPLOYEE, you will be covered by their public liability and indemnity insurance policy as long as you are engaged in work that you have been assigned.

When you are a FREELANCER, or as can sometimes be the case even when working for a larger company, a SUBCONTRACTOR, YOU ARE RESPONSIBLE for your own insurance.

So, if anything goes wrong, say an actor has an allergic reaction (whole different subject- to be covered in another post!!) and ends up requiring expensive medical treatment, or if the actor is injured in some way as a result of YOUR work, then YOU are personally LIABLE, not the production… nor the company that may have engaged you to do the work…. Of course the injured party may choose to sue them as well for having hired you in the first place, but in the end, its going to cost you.

A lot of people ignore insurance when they start out, they think its too expensive… but being sued for injury or loss of income is going to be a WHOLE lot more expensive, and given how hard it is to make any money in this business in the first place when you are in your early career, can you afford to take that risk?????

All countries have different legislation covering insurance and compensation so you will need to ask around for the best kind of cover. In the United States you may be able in many cases you can ad it as a rider to a home insurance policy for little to no cost. Australia is a little different, you can cover tools of trade at home or in the car, and public liability on the premises, but not on a worksite, which requires a separate policy…

Some places have policies specifically geared to the Film and TV production industry. You can also ask your local Government regulatory authority, Media Union or Professional Association for recommended insurers. If you can’t find those, then get some kind of Mobile Business Insurance if you are working on sets and locations, that will cover you for personal liability and tools of trade, (often these cover any assistants as well).

Don’t skimp- it could cost you your livelihood or your lifestyle!


The Power of No……

No matter where you are or what your circumstances, pursuing Special Effects Makeup as a career is going to be an enormous challenge.  It is one of the most highly competitive fields in the world, and yet the rewards are not monetary or even fame, but intrinsic to the creative process, and inherent in the actual work itself.  For people who are lucky to live in a time and a place when the business is good, and work easy to come by, they may not understand or appreciate the sheer numbers of people all over the world, in the most remote corners, who desire so passionately to pursue their dream, regardless of the whether or not there is a viable film and media industry where they live.  And yet, they do… WE do…..  all of us, just a little bit mad, and very, very, determined.

A dear friend and mentor of mine, a highly respected SFX MUA, said it best- “We are all missing the part of our brain that tells us when to stop…”

Many people ask for information and help on how to get this, that, or the other, achieved on a shoot, “with a very tight or non-existent budget” Fair enough. We all of us, apart from a fortunate few, start out that way, doing work for free or very little and without much to work with, its part of our training and necessary, if you can pull a rabbit out of a hat and get something onscreen that will pass muster when you have nothing to work with, then JUST IMAGINE what you will be able to do once you get some REAL equipment and materials….

But what really riles me, is when I hear “there’s no time to do this”.

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BLOOD FOR FILM: Information, Ingredients and Recipes

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?

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Great Makeup Books & DVDs

If you want to start collecting some good reference materials, this list gives you some idea of where to start looking- it covers a small selection of the books and DVDs in my Makeup & FX Library.

I currently have over  300 books in my collection, not including filmmaking books.  I have books on ‘straight’ makeup as well plus other pictorial period and general references, hairstyling books, medical and forensic books, magazines, etc etc. They are in no particular order but I would start with the first two as they both contain information on the latest industry standard materials and techniques.

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Brandon Robshaw and the English Language

A liberal pedant's view of the state of the language

Shitty First Drafts

A US academic goes to Russia

Everyday Asperger's

Life through the eyes of a female with Aspergers

magrathea farm

Bits of it were dullish grey, bits of it dullish brown, the rest of it rather less interesting to look at.

FEIJOA FEIJOA

fabulous recipes for feijoa lovers

Deptford Pudding

life and food

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