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Prosthetics and Make-up – from a lecture by Neville Smallwood in 1948, which includes a piece by Ernest Taylor

15 Jun

NEVILLE SMALLWOOD (1922-2004)

It has long been my contention that, when attempting a heavy character make-up, more use should be made of the materials which have been developed in the last few years – materials which are suitable for the manufacturer of false foreheads, cheeks, noses, chins and so on.  Until recently, there were no make-up laboratories in this country but, owing to chiefly to the foresight and planning of Guy Pearce, now retired (films include Clive of India, The Outsider and Hamburger Hill) and the understanding generosity of MGM, a very well stocked and equally well equipped laboratory was built in their Borehamwood Studio (aka Elstree Studios) 

 

Smallwood 1 and 2

Neville Smallwood before and after character make-up.

In order to show the value of this type of work, take the example of a comparatively young woman who, as a story unfolds, has to appear as a very much older woman.  Suppose we contrive to make this woman look old with the use of make-up only.

First of all the make-up artist needs to know the main source of light to be directed on the artiste, otherwise they cannot know whether the highlights should be above or below the shadows. This is a point all too often overlooked and I would here stress the importance of co-operation between make-up artist and cameraman, sometimes sadly lacking.

Assume then, a normal shot with main light coming from above the artiste. The make-up artist does his job accordingly and everything looks fine with the lights helping to give the required effect. Then the Director suddenly decides the next shot – to be done immediately – shall be in a dark room in front of a fire. Into the fireplace goes an enormous lamp shining up into the face of our poor artiste – lighting up the carefully placed shadows and leaving the highlights invisible. The result is that our comparatively young woman looks as she did before she was made-up!

Unaltered profile

Another snag is the ‘profile problem’ which is very difficult to overcome. Our artiste looks at herself in the mirror when she is made-up and sees herself as a much older woman, with a satisfied make-up man peering happily over her shoulder – but what has happened to her profile?  Nothing!  The heavily ridged forehead is not really ridged, the bags under the eyes are not bags, the double-chin is an illusion and, unless an artiste is given absolute preference and every consideration before the camera, sooner or later a fairly close shot of her profile will creep into the picture and the result will be unsatisfactory, even if only to the make-up artist.

I am not suggesting that all and every character make-up should be a seething mass of false features forced onto the poor artiste’s face; rather I am trying to put forward good and sound reasons why every studio should be equipped with a make-up laboratory and have capable technicians who are alive to the possibilities of prosthetics when applying a character make-up, when it is required to show a definite and unmistakeable change in a person’s face, whether for historical accuracy or for ageing – or for any other reason.

 

The Development of Materials

Various types of putty, wax cotton, wool pads and so on, have been used for years with varying degrees of success.  Latex or plastic preparations have been painted on to a face to cause wrinkles through shrinkage when drying – but to my mind, none of these things comes up to the standard required at the present time.

It was found that any non-porous material was useless. Take, for example, a false nose; nothing will stop a hot nose in the heat of intense light from perspiring – and no matter what is used as an adhesive, the perspiration will find its way between the skin and the nose and either form a bubble or blister – or give the artiste the appearance of having a permanently running nose, which is not really desirable! The stand-by man in this case has to wipe the artiste’s nose before each shot and probably has to stick it back on his face, which also damages the fine edges where it blends into the face.

The material had to be made with a skin of its own, also porous, which could be varied to suit the texture of skin to which it had to be applied and it had to be of very light weight, able to give and stretch with the movement of the face and recover its normal shape rapidly. The next problem was to find a material with all these properties which would ‘take’ make-up in the same way as the human skin, without showing differences of tone and colour where skin and false pieces met. In addition, the material had to be such that it could be made in shapes, having really extraordinarily fine thin edges tapering away practically to nothing.

A specially prepared to porous sponge rubber has been used with success, though this needs a special greasepaint, as normal make-up changes colour when applied to rubber. More useful and having similar properties, is a porous sponge plastic, which has advantages over rubber in that it is not affected by any greasepaint and does not perish or deteriorate. The only advantage that rubber has at present is that it cures at a lower temperature than the plastic and consequently, a mould will last longer when used for rubber than it will when used for plastic – a point worth bearing in mind when contemplating a long picture where an artiste may have to be made up many times, as all these things can be used only once each for screen work – although for the stage they may be used many times.

The search for a really good material from which a mould can be made easily and quickly – and which will stand repeated and prolonged periods at high temperatures and pressures – continues and is one of our main problems.

 

Neville Smallwood’s Credits: Hamburger Hill, The Bounty, Yellowbeard, The Sea Wolves, Lion of the Desert, The Dogs of War, The Lady Vanishes, The Wild Geese, Orca, Aces High, The Likely Lads, Jesus Christ Superstar, Siddhartha, Nicholas and Alexandra, Zeppelin, Unman Wittering and Zigo, Cromwell, A Midsummer Night’s Dream, Casino Royale, Modesty Blaise, The Heroes of Telemark, Genghis Khan, The Long Ships, The World of Suzie Wong, The Vikings, Private’s Progress, Charley Moon, It’s a Wonderful World, They Who Dare, A Christmas Carol, The New Avengers, ITV Saturday Night Theatre, Dr Jekyll and Mr Hyde.

 

MAKE-UP IN RELATION TO PHOTOGRAPHIC EMULSION – ERNEST TAYLOR (1913-1987)

Make-up is essential to photography in motion pictures because it corrects the irregularities in pigment and texture that discolour the face and prevent it recording faithfully. In still portraiture, retouching can remedy faults but this procedure is not possible with motion film.

The face is made up of a network of tiny blood vessels and pigments which give colouring to the skin. These natural pigments and blood channels are unevenly arrayed all over the face, causing a change of colour and skin texture around the eyes, nose, cheeks and chin.

Photographed without make-up, the face records a mottled effect on the film emulsion. A balance and graded monotone of colours is produced with the use of make-up which cures over-absorption of light and allows the emulsion to reproduce the subject accurately. Its subtle use can also give character to the face.

 

Smallwood 3a Used

The changing faces of Alec Guinness in the 1949 Ealing Studios film ‘Kind Hearts and Coronets’

Lighting and Emulsion Characteristics

The camera, lighting and emulsions are far more involved in use than is make-up. For the best photographic results between all factors, the lighting key should be studied carefully. Strong and hard light tends to burn the makeup off the skin, causing it to record chalkily, whilst subdued low key light tends to cause the make-up to record much darker in tone that would be expected.

First-class straight make-up photographs perfectly. With character and corrective make-up patience, practice and experience are required – both on the part of the make-up artist and the photographer. To master the technique a creative imagination, thorough understanding of light and shade and facial contours, all in relationship to photographic reproduction is necessary.

In this way make-up artists, in co-operation with the lighting men, have learned to create beauty and character with almost any subject. Foundation creams, false eyelashes, rouges, eye shading, lip colours and liners, combine to permit the stars to be photographed at their impeccable best!

After experiments with leading technicians on lighting and emulsions, Max Factor evolved panchromatic make-up for use with panchromatic emulsions. It must be applied with painstaking care and thick, crude lines have to be avoided in use with the soft high-lights and low-lights.

 

Smallwood 4a

‘Scott of the Antarctic’ showing extensive lighting used in Ealing Studios in 1949 – highlighting the need for cooperation between lighting crew and make-up artists.

Straight Make-up

Apart from providing the necessary protective colouration suitable for the various emulsions, make-up is used to give character to the face. Corrections can be made in the shape of the face and various features by careful shading and correctly placed lighting. Results have to be of a flattering nature and any subject that photographs well normally can photograph beautifully with make-up. Lifelike and natural transparency is further achieved by washing the whole of the make-up with a damp wad to eliminate a matt finish which would photograph flat.

 

Characterisation

The mere addition of beauty aids does not ensure glamour! For example, artificial eyelashes, unless tailored for the individual eye, seldom record naturally. In handling highlights and shadows, both for make-up and lighting, the intricacies of illusory relief have to be understood. The best results can only be achieved by co-operation between the lighting man and the make-up artist.

 

Colour Photography

All the spectrum of colours cannot be faithfully reproduced on colour film, which is either under or over sensitive to certain colours. The human complexion has a greater proportion of red than any other pigment tints and not only has make-up to be considered but also the surrounding colour scheme, as blues and reds are particularly absorbed and reflected. Colour make-up is at present very much a matter of blending shades to compensate for the peculiarities of the natural skin pigmentation. The aim is naturalness plus the texture to resist fading under the intense arc lighting. Make-up varies with the several colour processes which have different sensitivities to certain colours and co-operation between lighting and make-up departments is again essential. Screen make-up, as an art, is still a matter of trial and error.

 

Ernest Taylor’s Credits: Moon Zero Two, His Excellency, I Believe in You, Crash of Silence, Secret People, The Man in the White Suit, Pool of London, The Lavender Hill Mob, Cage of Gold, The Magnet, The Blue Lamp, Kind Hearts and Coronets, A Run for Your Money, Whisky Galore, Passport to Pimico, Against the Wind, Saraband, Scott of the Antarctic, It Always Rains on Sunday, The Life and Adventures of Nicholas Nickleby.

 

 
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Posted by on June 15, 2017 in Art Department, Cinematography, Costume Department, Feature Film Production, Hair & Makeup, Prosthetics, Wigmaking,, History of Hair & Makeup, How It All Began, How It All Began, Special Effects, Uncategorized

 

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The Art of Illusion … by Wendy Laybourn

24 Apr

THE BOOK!

I’ve been really busy for the past couple of years helping my Art Director friend Terry Ackland-Snow to write a book about working in the film Art Department. We decided to call it The Art of Illusion: Production Design for Film & Television because illusion is what making a film or a television programme is all about – what the audience sees on the screen isn’t altogether real!

Like all good things, this project was started over a glass of wine. Maybe I should think twice next time – but I’ve really enjoyed working with Terry and helping him to pull this whole thing together.

Essentially, the book is aimed at anyone wanting to make a career in film production and it will take you through the processes involved in creating a film set step by step. Film sets have been constantly developing from the simple canvas backcloths used on theatre stages, right through to the present day where computer generated effects augment the highly sophisticated art of designing, building and dressing sets.

The Art of Illusion is available from all good bookshops, Amazon and other on-line providers with ISBN number 978 1 78500 343 1. If you want to  take advantage of any discount offered by the publisher, Crowood Press go to Crowood Press

 
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Posted by on April 24, 2017 in Animation, Art Department, Cinematography, Construction Department, Feature Film Production, Production Office, Set Construction, Special Effects, Visual Effects

 

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DAVID ATTENBOROUGH – ‘ZOO QUEST IN COLOUR’

12 May

As part of the David Attenborough’s 90th birthday celebrations, the BBC will be showing the *‘Zoo Quest for a Dragon’ episode – a search for the Komodo Dragon in Indonesia, which marked David Attenborough’s television debut. This episode will be shown on Tuesday 17th May 2016 on BBC4 at 9pm.

Cinematographer Charles Lagus BSC, photographed this 1950s nature series and points out that the publicity has got a couple of things not quite right!

The press have broadcast that David Attenborough stepped in for the regular host, Jack Lester, after he was involved in a car crash as a stand in and that the episode which has been dug out of the archive for viewing on May 11th has had colour added. Unfortunately, according to Charles Lagus, most of this information is incorrect, see below!

… ‘Before departing on these expeditions the Beeb film department naturally expected me to shoot on 16mm B&W stock but from my experience I knew that B&W copy of colour was definitely superior. It was only after much argument (and cost analysis) that I was allowed to use colour. I used Kodachrome 100 foot rolls. The stock was inevitably kept under appalling conditions of temperature and the exposed film not processed until our return to the UK up to 5 months later!

Ninety percent of the Zoo Quest episodes were shot in colour, the few rolls of B&W we had were kept entirely for when there was not enough light for the slower colour stock.

The 11th May is the correct original transmission date and I appear in it almost as much as David, who certainly never expected to be the star or commentator and was most worried about it but had little option under the circumstances.

This upcoming broadcast is in fact completely re-edited from all material found quite by accident by a researcher in the BBC vaults.  It had all originally gone out 60-odd years ago in B&W – never in colour – as only B&W television was available, it took some 10 years before colour viewing became the norm.  Nobody had ever seen the original or remembered its existence, including David.

Those who worked on this version and others who have viewed the copy have all commented on the colour quality … “so much better than what is transmitted now”

Jack Lester, who was the Curator of the Reptile House at London Zoo, contracted an unknown tropical disease after a trip to Africa, which is why he couldn’t host the series, not because of an accident – unfortunately he eventually died after several recurring episodes of the disease.

A typical incident on one of the trips which might amuse: 

David and I were camping by a river when the Indian who was helping us said that he could hear a boat coming with an engine – a rare event and it was a long time before we could hear it faintly. When it came into view it was a primitive dugout canoe with a tiny outboard driven by a Indian. In the bows (true) was a cloven stick with a BBC envelope addressed to me. It was from Head of Films and it said … ” Charles Lagus please be informed that recent Kodak research advises use of reflectors.” … signed Jack Mewitt HD Television.  It was the only communication we ever received from the film department!’ … 

Charles Lagus BSC

Charles Lagus BSC

Charles Lagus was the first cameraman engaged by the BBC to shoot natural history footage. His filmmaking career began when he switched from studying medicine to photography in 1946. In 1986 he was awarded the “Lifetime Achievement Panda” for his services to wildlife film-making by the Wildscreen International Film Festival in Bristol, UK.

*Zoo Quest was a series of 30 minute nature documentaries broadcast on BBC Television between 1954 and 1963 and was the first major programme to feature David Attenborough. The series began as a joint venture with London Zoo and ended with millions of viewers seeing for themselves animals and locations which might otherwise have remained the stuff of myths and legends.

In each series, Attenborough travelled with staff from London Zoo to a tropical country to capture an animal for the zoo’s collection – which was the accepted practice at the time. Although the programme was structured around the quest for the animal, it also featured film of other wildlife in the area and of the local people and their customs. Attenborough introduced each programme from the studio and then narrated the film his team had shot on location. The series was the most popular wildlife programme of its time in Britain and established Attenborough’s career as a nature documentary presenter.

 

 
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Posted by on May 12, 2016 in Cinematography

 

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The Army Film & Photographic Unit (1942-46) and its Association with Pinewood Studios … by Wendy Laybourn

01 Dec

Poppy Every 11th November Pinewood Studios hosts a Remembrance Service, not only in memory of the fallen in every conflict – but specifically to honour of the members of the Army Film & Photographic Unit (AFPU) which also embraces the RAF Film Production Unit (RAFFPU). This year the service was conducted by the Reverend Nick Todd CF, Chaplain to the Irish Guards and the two minutes silence at 11 o’clock was marked by Colour Sergeant Shaun Held, Senior Bugle Major, The Rifles – with the Colours presented by the Royal British Legion, Iver Heath.

Formed during WWII, the AFPU and RAFFPU had their headquarters in Pinewood Studios where a permanent reminder in the form of a Memorial Plaque, which records losses proportionately as high as any Unit in the war, is displayed in the corridor leading to the cutting rooms where so much of the film footage, which is still frequently seen on television, was edited.

The AFPU & FAFFPU Roll of Honour

The AFPU & FAFFPU Roll of Honour

Paul Clark is the person who is currently looking after the AFPU Veterans Association, and organises the attendance of the remaining members and the friends and families of those who are no longer with us – as well as the reunions over the years (which were inspired originally by Captain Alan del Strother, a one-time Adjutant at Pinewood). He took over the reins from Harry Thompson, who in turn had taken over from George Reeves. Because PR and war correspondents were attendees at the reunions they are also listed on the roll of honour – and let us not forget the darkroom technicians, camera mechanics, clerical and transport staff who all  played a vital part in running the Unit and are deserving of equal listing. As Paul mentioned in his introduction at the service, the membership is reducing each year but I think that he can rest assured that this wonderful piece of history will continue to be honoured by Pinewood Studios and the friends and families of the AFPU and RAFFPU members.

History

Before the start of the Second World War the Central Office of Information controlled publicity related to all military and civil actions with the Director of Public Relations in the War Office being responsible for the affairs of the British Armed Forces. When the War broke out in September 1939, just one Army photographer, Geoffrey Keating and one film cameraman, Harry Rignold, accompanied the British Expeditionary Force to France.

It was quickly realised that the front line would be a dangerous place for untrained photographers as well as the possibility of them endangering not only themselves but the people in the battles they would have to photograph. On 24th October 1941, the Army agreed to form a corps of trained photographers and cameramen. The unit was called the Army Film and Photographic Unit (AFPU) and, under the leadership of Lt. Colonel Hugh St. Claire Stewart, Pinewood Studios was selected as their headquarters – as well as the RAF Film Unit and the Crown Film Unit, who produced propaganda films for the Ministry of Information.

There were many professional film and press photographers who had already been called up for service so they were quickly located and brought together in Pinewood Studios, which served both as a headquarters and training centre for the Units. Number 1 Unit was based in Cairo, which was to come into its own when retreat changed to offensive at Alamein, opening with the launching of the barrage skilfully and uniquely filmed by Sgt Billy Jordan, MM – who continued as a cinematographer, working in news, features and shorts for Associated-British Pathé, Alfred Hitchcock and The Children’s Film Foundation.

D-Day Landings

D-Day Landings

On D-Day, 6th June 1944, ten men from the newly-formed AFPU went with the first wave of troops ashore, whilst others landed with the airborne troops – continuing to accompany the Armed Forces as they fought through Europe.

Two experienced pressmen, Ted Malindine and Len Puttnam were among the photographers called up to record the British Expeditionary force in 1939 & 1940.

They both recorded the Dunkirk evacuation and were themselves evacuated twice from the French beaches.

The AFPU was deployed in all theatres of Allied action, often alongside special forces such as the Commandos, the Chindits, the Airborne, the SAS, the Special Boat Squadron and the Long Range Desert Group. All the major  campaigns were filmed and photographed – and the footage from the Desert and North Africa Campaigns was used to produce ‘Desert Victory’ which won an Oscar for the best war documentary. In later years footage from D-Day provided background information for the opening scenes of ‘Saving Private Ryan’.

The Italian campaign and Western Europe embraced the action at Monte Casino, Arnhem, the Rhine Crossing and the relief of the Belsen Concentration Camp. The Far East campaign was covered by Number 9 Unit under the umbrella of Admiral Louis Mountbatten and footage was used to produce ‘Burma Victory’.

As an example of the breadth of work of the members of the AFPU, the following passage is part of the memories of photographer Frank Covey:

… ‘Having returned from North Africa and completed my parachute training in January 1944, we were waiting for assignment to units. There I saw a notice which read … “Volunteers needed for a course on Photography” … when we got to Pinewood we were met by a gentleman in civvies, who introduced himself as Major David MacDonald, our new CO. We were told that all regular army bullshit was out and that there would be no time for parades or suchlike – but that we should keep ourselves correctly dressed, behave and put all our efforts into the task ahead.

The commanding staff were all well known people from the film industry. The Boulting brothers with Richard Glendinning and David MacDonald formed the nucleus. There was also the Crown Film Unit at Pinewood making war films such as ‘Target Tonight’, ‘Western Approaches’ and ‘Journey Together’ with Edward G Robinson. A young actor starred in some of these films, who we got to know as Dickie Attenborough! All in all we were a mixed bunch of film, newspaper and magazine photographers from across the country … 

… ‘We broke out of Normandy and followed the German retreat, at times entering villages in forests and finding that we were the first British troops they had seen. We joined the Guards Armoured Division for their dash to Brussels. With the infantry (Welsh Guards) led by armoured cars of the Household Cavalry and Cromwell tanks – we dashed 100 miles and got to the city in the late afternoon of 3rd September 1944. It was crazy, we were covered with flowers, given bottles of Brandy etc …

… ‘We went to the concentration camps of Bergen-Belsen and Neugamme near Hamburg, where we saw the terrible carnage. At Neugamme the ovens were still there and all over the camp white discs were scattered on the ground, which we discovered later were the compressed ashes of those burned’ …

After the War

Many of the former members of the AFPU became established in the film and photographic industries after the war and several became exceptional figures in their chosen professions – here are three examples:

John Aldred

John Aldred

John Aldred joined the film industry in 1937, served with the AFPU working on ‘Desert Victory’, ‘Tunisian Victory’ and ‘Burma Victory’ with Roy Boulting.

After the war he went on to, work at Shepperton Studios as music and dubbing mixer on notable films including ‘Bridge on the River Kwai’ and ‘Laurence of Arabia’. From 1972 he was Head of Sound at Rank Film Laboratories until his retirement.

During his illustrious career he had many film credits as sound recordist and mixer, including ‘Mary Queen of Scots’ (Oscar nominated), ‘Anne of a Thousand Days’ (Oscar nominated), ‘The Italian Job’, ‘Girl on a Motorcycle’, ‘Far From the Madding Crowd’, ‘Half a Sixpence’, ‘The Quiller Memorandum’, ‘Doctor Strangelove’, ‘Lawrence of Arabia’, ‘The Guns of Navarone’ and ‘In Which We Serve’. 

Gillie Potter

Gillie Potter

   Gillie Potter joined the AFPU, already having started his career with the National Screen Service as a Title Artist, and was posted to Mountbatten’s South East Asia Command, where he stayed after the war ended to assist in setting up the Malaysian Government Film Unit. After a few years working in Malaysia he returned to the UK just in time for the start-up of ITV.

He was one of the world’s leading special effects animators and became known as the man who could ‘do the impossible’. His revolutionary work in British commercials advanced the use of specialist ‘in-camera’ effects. He elevated the boring ‘pack-shot’ to an art form and invented the device of having live action sequences taking place on a moving product pack. His work earned him more than 40 international awards including a Golden Lion at the Cannes Advertising Film Festival – and he was involved in the production of more than 2,000 advertisements. His special effects work can also be seen in feature films including ‘The Last Emperor’, ‘Superman: The Movie’ and ‘Jurassic Park’.

Harry Waxman

Harry Waxman

    Harry Waxman started with International Pictures as a camera assistant and worked in a number of studios during the 1930s, including Ealing, Welwyn and Worton Hall.

During the war he served with the RAF Film Unit making his first feature, ‘Journey Together’, directed by John Boulting in 1945. His work on that film led to a contract with Two Cities Films after the war leading to him working at Denham Studios and becoming involved with the Boulting brothers as cameraman on ‘Fame Is the Spur’ and then as cinematographer on ‘Brighton Rock’ both in 1947.

Harry Waxman was a founder-member of the BSC (British Society of Cinematographers) and served as President from 1966-69 – and in 1959 he won an award from the British Society of Cinematographers for ‘Sapphire’. He is credited with more than 60 other films included ‘Swiss Family Robinson’, ‘The Day the Earth Caught Fire’, ‘Crooks in Cloisters’, ‘The Nanny’, ‘The Anniversary’, ‘The Wicker Man’.

The dedicated and outstanding work of the members of the AFPU and the RAFFPU is carried on by the photographers and cameramen of the Royal Logistics Corps, 77th Brigade who are the current British Armed Forces members working wherever the Army, Navy and RAF are deployed. Perhaps one day we’ll see one or two of  their names credited in award-winning dramas or documentaries, like their predecessors!

 

AFPUbadge2

Pinewood copy

 
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Posted by on December 1, 2015 in Cinematography, Feature Film Production, How It All Began, How It All Began, Special Effects

 

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Experimental Film Making … Break the Machine by Kathryn Ramey, a review by the Editor

05 Nov

When I first saw this book I thought that it wouldn’t be my cup of tea, I’m not really into ‘experimental’ – that was until I started reading it! What an excellent way this is to teach young people the creative qualities of film. So many training facilities deal only in ‘digital’ and treat actual ‘film’ as an almost extinct poor relation.

I’m a bit old-fashioned in that I love film, real film – and, although I very much appreciate the boundless options which ‘digital’ offers, both in production and post-production, I worry that young people entering the business today haven’t been tutored in the fine art of using actual film stock. Not only does film require a creative mind, it needs the user to have an understanding of light, how it affects colour and how it can be used to best advantage, how chemicals react and inter-react and, even more important, how versatile the whole process is once you get the hang of how to use it. Film is a tactile, physical element – and the techniques you can learn from using film will carry through and make you a much better and more creative film and programme maker whatever medium you choose to work in. The author takes the reader through all the stages – from using footage which has already been shot and discarded to show how to create your own ‘collage’ film by deconstructing methods like cutting, scratching, colouring and then gluing back together. The clever thing is that each chapter is almost a stand-alone tutorial. If you know nothing about film processing or optical printing, you will by the time you read the appropriate sections. I love the diversity of this book. Have you ever thought about making your own microphone, speaker or headphones? You will once you’ve read Chapter 4! All in all, every educator of young people in the media business and every creative person, young or old, should have this book – hugely informative and, for any student hoping to make a career in production, great fun to read and put into practice – enjoy!

By the way, I’m not on commission from the Author!! 

Experimental Film Making … Break the Machine by Kathryn Ramey

 
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Posted by on November 5, 2015 in Cinematography, Feature Film Production, Uncategorized

 

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GIVE THEM A BREAK! … an Editor’s Thought

24 Feb
Wendy Laybourn - Editor

Wendy Laybourn – Editor

From time to time I’m asked to speak to young people about the realities of working in production. Although many won’t make it into the business, there are always the few passionate and talented individuals whose determination to succeed deserves a helping hand. So, if you’re involved in a production, why not make an effort to include at least one or two of these young people, even if it’s just for a few days. You may very well be disappointed – but it’s more likely that you’ll be pleasantly surprised.

Everyone in the industry is very aware that there isn’t enough well-trained ‘new blood’ coming into production – and we all know that the colleges, universities and specialist schools can only go so far in the training process and that ‘on-the-job’ training is the most important aspect – but if the students, trainees and apprentices can’t get a ‘job’ how are they going to learn their skills and keep the reputation of British craftsmen and women at the forefront of the global film industry.

So, Producers, Directors and Heads of Department – take a chance and give these eager young people a break!

 
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Posted by on February 24, 2015 in Editor's Thoughts, Uncategorized

 

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Open Source for Film and TV Production … by Daniel Mulligan, M.D, Rogue Element Digital

19 Feb

Editor’s Note for those who are not familiar with Open-source software.

It is computer software with its source code made available, under licence, in which the copyright holder provides the rights to study, change and distribute the software to anyone and for any purpose. Open-source software is developed in a collaborative public manner. Open-source software is the most prominent example of open-source development and often compared to (technically defined) user-generated content or (legally defined) open-content movements.

The open-source model – or collaborative competition development from multiple independent sources – generates an increasingly diverse scope of design perspective than one company’s development alone can sustain long term.

Dan Mulligan

Dan Mulligan

There’s nothing like a new project to make you feel excited about life – and excited is definitely how I’ve been feeling since I embraced the Open Source concept by adopting an Open Source policy to my companies’ camera and workflow divisions.

My background is in cameras. I started out assisting and focus pulling before moving up the ranks to Camera Operating for F1, BBC Dramas and eventually Second Unit Cinematography for Feature Theatrical Productions. During this time I set up Rogue Element Digital and Pure Digital Services, companies that specialise in all aspects of digital cinematography including camera rental, workflow services and location post. Both ran very successfully until 2011 when I was offered a job by Technicolor to set up and run its Digital/Data Operations. As locations and digital dailies supervisor I was involved in a variety of projects including ‘Jupiter Ascending’, ‘Mortdecai’ and ‘The Man from UNCLE’.

Fast forward now to the summer of 2014 when my time at Technicolor came to an end. After a few weeks break to watch the FIFA World Cup, I decided to resurrect my existing business and start trading again – only this time with a difference. Just prior to leaving Technicolor I developed an interest in the Open Source concept and started researching it in more depth. It seemed to me that if Open Source could be applied to film and television production, there was the possibility to really revolutionise the industry and encourage creativity in an entirely new way.

During the many years I’ve spent in this industry I’ve seen a few changes and re-iterations of the current digital workflows and it has struck me how much we rely on proprietary systems for most delivery. There’s nothing wrong with this because, for VFX to DI to onset LUTs and more, they do a good job. However, my research into Open Source led me to believe we could do more and I started asking myself some fundamental questions:

What if we could ensure that 4K cinema (and beyond) was fully open to everyone? What if digital filming equipment could be made available to all via a transparent open policy? If this was possible, could we expand 4K out of the domain of paid professional feature projects and make it accessible to filmmakers who couldn’t normally afford to work with 4K cameras? If we took a truly Open Source approach to film and television production, couldn’t we liberate the creative spirit and inspire freedom of expression?

Of course, having a dream is all well and good but if you want to make dreams come true you need to get practical. And that’s exactly what the Open Source movement is doing.

What Areas Can Open Source Be Applied To?

When you start discussing Open Source in relation to film and television production, you soon recognise that this topic has many strands. Basically, it covers everything from cameras and location post through the entire production pipeline and workflows including sensor processing, transcoding, VFX, DI and colour, LUTs and more. In reality though, the first areas that need to be tackled are digital camera technology, network/server support and delivery and distribution.

Ideally we need to see products and solutions maturing and establishing credibility through proven use. People who have open sourced their work and their projects by allowing access and inviting collaboration need to be recognised. We also need to give people the freedom to study, understand, modify and sell their products or derivatives so that the ideas and principles of Open Source can be consolidated within a forum.

To this end, Open Source Cinema UK has been set up to help develop and create solutions for Open Source Film production. The aim of this web site and community forum is to introduce new ways of working so that we can enhance creativity, cut costs and explore different approaches to technological development and financing.

Open Source Digital Cameras – The First Link In The Chain

If we want an Open Source film and television industry, then the first obvious step has to be the development of an Open Source digital camera. As a former cameraman, it was hearing about an organisation called apertus° and the work they were doing that first got me interested in the whole Open Source concept.

Based in Vienna, apertus° is an Open Source cinema organisation founded by film makers and financed through crowd funding. The people behind the company were galvanised into action when they became concerned with the expensive and limited tools they were forced to work with every day. Instead, they wanted access to affordable devices and technology that delivered the highest possible image quality and could be customised to exactly suit their needs.

I heard about the initiative and when I learned that they were developing an Open Source 4K camera, I decided to pay them a visit. I was immediately struck by how little Open Source, for both software and hardware, is utilised by the Film Production community. Certain single elements are there, Blender for 3D, DCP creation, but nothing has been created and developed as an entire production workflow for shooting films digitally.

Since its formation in 2007, the apertus° project has applied an Open Source philosophy to everything it has developed. As no patents have been filed, anyone can access the technology behind its cameras and people are actively encouraged to adapt, modify, repair and even replicate them. To date, reaction has been very positive. Not only has the company achieved – and exceeded – its initial crowd funding target but it also has the backing of some very important film makers and cinematographers, including ASC and AIC Cinematographer Roberto Schaefer and Emmy and Academy Award-winning DOP and Visual Effects Supervisor, David Stump.

The Axiom Open Digital Cinema Camera

The first product developed is the AXIOM camera, which is due for beta release in April at NAB 2015. Initially it will only be available at cost to the community that backed the crowd funding campaign. Rogue Element was one of those backers and we are delighted to be supporting this venture by investing in a number of 4K Axiom camera systems and making them available to the UK rental market.

With an Open module approach, we anticipate that users will soon suggest the modules they want to see adopted. This perfectly fits the goal of creating a free and open technology for today’s professional cinema and film production landscape and making all the generated knowledge freely available. By creating and building an open modular camera system consisting of several hardware and software parts, the company has already evolved into a platform for film-makers, creative industry professionals, artists and enthusiasts. They are more than just a software/hardware collection; they are a knowledge library – an ecosystem of people supporting each other and advocating freedom.

Software For Collaboration, Innovation And Delivery

The introduction of the Axiom camera inevitably makes other areas of the production process ripe for Open source treatment. First among these is workflow, which is why Rogue Element, in conjunction with the Open Source community, is creating OpenFlow, a complete suite of workflow solutions to ensure that Open Source is at the forefront of film and television production for years to come.

The 4K CMV12000 CMOSIS sensor adopted for the Axiom will need processing and transcoding. Cinema DNG is being adopted for the initial RAW workflow and from these Masters other copies can be created.

OpenFlow will also develop software that embraces open collaboration and allows a more efficient and faster software suite to be developed by anyone who wishes to contribute. Think of an open and freely available code that can be adopted and worked on by anyone, creating an extremely fast and efficient software workflow designed purely for the task at hand, whether this is to create copies for Editorial or other viewing versions to take onwards to VFX and other departments. We will also apply Open Source to DI and colour, thus allowing full access to the Masters and their colour science. It is very exciting – by making formats such as Open EXR and Cinema DNG open to all, we can achieve real transparency as well as better, faster results.

Ethical Film Production

As part of its plans for 2015, Open Source Cinema UK will be embracing other new approaches to film and television production, including the adoption of more ethical solutions.

An example of this is Fairphone (www.fairphone.com), which incorporates social values and ethics into its supply chain to create a product with longevity and repairability. This type of thinking can easily drip down into film production. For example, why not use electric vehicles and location generators that incorporate battery power and newly developed Hydrogen Power options? This isn’t wishful thinking or science fiction as this efficient technology is already being used on some BBC wildlife Productions to power cameras left in place for days at a time.

Aligning an ethical approach to programme and film making with new and developing Open Source Hardware and Software is novel, but there is a growing requirement for these kind of services and in a few years it could well be a lot more common than it is today.

So Where Does All This Lead?

While the Open Source concept may still seem unfamiliar to some people, there is no doubt that it will eventually become perfectly normal for both hardware and software development and in terms of services and equipment procurement.

IP restrictions are already being lifted and when this happens you soon get a global community of many thousands who are collaborating and engaging in product development. The evidence for this lies in software such as OpenOffice and other free/libre OSS solutions, as well as hardware support for Cloud and other media services.

Align this approach with an ethical supply procedure and there is no reason why Open Source solutions shouldn’t become an established part of film production during 2015. Digital productions, in particular, are increasingly relying on software to drive evolving hardware such as sensors and storage. Given that productions, especially those destined for TV, have seen an increase in shooting hours, it is perhaps inevitable that cheaper Open Source technology will come into its own as a way of cutting costs.

Personally I can see immediate benefits for Arts-based productions on ever tighter budgets but still needing 4K to support broadcasting requirements. Surely with the BBC, ITV, Channel 4 and 5 all actively looking for new ways to save costs while retaining quality, the future must include embracing an Open Source and ethical production environment.

by Daniel Mulligan, Managing Director, Rogue Element Digital

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Posted by on February 19, 2015 in Cinematography

 

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‘Do You Have What it Takes to Survive in Feature Film Production?’

10 Jun

You might think that this title for my series of e-booklets sounds a bit harsh – but if you’re already trying to find a job in production you’ll know that it’s very competitive and you have to have nerves of steel, combined with an … ‘I’m going win at all costs’ … attitude, as well as exceptional skills.

If you’re still at school and considering any sector of the production business as a career, it’s essential that you are fully aware of the type of training and qualifications you’re going to need before you enrol on any course or apprenticeship scheme.

A major feature film can employ hundreds of people in several different departments, all with specific skills. There are many more creative, technical and business skills involved than you may realise – Producer, Director and Cinematographer are only three people out of a possible crew of 200-300 very talented people. A comprehensive film or media course might give you basic understanding and information – and you might pass your course with flying colours – but there is so much more to learn about the range of jobs, skills and crafts which go into the finished movie.

The only way to fully understand the way film production works is to listen and learn from the professionals on the job, there is no other way if you really want to make your mark in this business. This is where my booklets might come in useful. They are a bird’s-eye view of each department with job profiles, suggested qualifications and links to important web sites, magazines and helpful books. The information is supported by articles written by film professionals, with helpful tips and a realistic view of working this amazing business.

Find my books on www.amazon.com and search for Wendy Laybourn

Production CoverTHE PRODUCTION OFFICE

This is the engine room of the production process and controls the entire film from script to screen. This department takes care of the ‘business’ side of film production.

 

 

Art Booklet Cover WhiteTHE ART DEPARTMENT

This creative and talented department is the design centre of film production. They transform the Production Designers sketches into technically correct drawing for the Construction Crew.

 

 

Construction Booklet Cover White 2.qxdTHE CONSTRUCTION CREW

The skilled members Construction Crew converts the blueprints from the Art Department into three-dimensional sets.

 

 

 

Camera Booklet Cover White.qxdCAMERA, GRIPS AND LIGHTING DEPARTMENT

Camera, Grips & Lighting crews work together to make sure that the Director’s concept for the film turns into images which the audience sees on the cinema screen.

 

 

 

Book 5: Production & Post Production Sound

PRODUCTION & POST-PRODUCTION SOUND

If you are fascinated by the sound effects, music and dialogue which brings the visual images of a movie to life, then this will be an interesting and informative read, especially for anyone who is already dedicated to finding a job in ‘sound’.

 
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Posted by on June 10, 2014 in Editor's Thoughts

 

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International Cinematographers Guild – President’s Letter, May 2013

03 Jun

 

Steven Poster ASC - ICG President
Steven Poster ASC – ICG President

 

Into the Abbey

Last month I had the good fortune to attend the annual exposition sponsored by the British Society of Cinematographers (BSC), which took place on a stage at the venerable Pinewood Studios, located roughly 20 miles outside the heart of London’s Soho District. Pinewood is, of course, famous for scores of incredible movies, including the James Bond franchise and the classic cinema of Stanley Kubrick. It is always a thrill for me to walk into a workplace like Pinewood and feel such awesome movie history.

The BSC event showcases new technology and equipment, not unlike our shows here in the U.S. It provides an intimate and collaborative setting for moviemakers to exchange ideas. I had been invited there to participate on three panels, including one about mixing professional and prosumer systems on set, i.e., everything from Canon 7Ds and GoPros to ALEXA, and another about how the advance of 4K impacts cinematographers.

Not far from the stage where the BSC held its event is a Technicolor film lab, the last of its kind in the U.K. Although no firm date has yet been set, it was made clear to me throughout my time in London that the lab will soon close down, creating yet another obstacle for those British moviemakers wanting to shoot film.

There is no conspiracy or malice about the Technicolor plant at Pinewood being shuttered; there is only the economic reality that the profit center for this type of work is rapidly disappearing. The BSC and other U.K. filmmakers are speaking out with a loud and united voice about protecting film as an artistic option, despite the odds stacked against them. Hints that the BSC’s fight to preserve film in some meaningful way will continue came from the last of the three panels I was on, which centered on new lens technology versus old, and how so many cinematographers (and directors) are seeking this warm and familiar glass to dampen the hyper-clarity of 4K capture. British filmmakers, like many here in the U.S., want to put back in the creative and expressive nuances that high-resolution systems and super-sharp new lens technology have taken away.

While it would be wonderful to keep film as a creative tool, as we are doing with these legacy lenses, I have often said that I’m not particularly nostalgic about the diminishment of celluloid, nor am I antagonistic to the rise of digital. I am a little shocked by how rapidly the change has come, even if it is inevitable.

But if experiences like the BSC event are any guide, I have hope that there are still many dedicated people in our industry intent on keeping film alive as a creative choice. After all, who wouldn’t want the chance to be able to still shoot film at Pinewood?

Steven Poster, ASCICG logo
National President
International Cinematographers Guild
IATSE Local 600

About Local 600

The International Cinematographers Guild represents the most talented camera professionals in the world. The technicians and artisans in our union are the creators of the visual images on the big screen, the television screen and our computer screen.

International Cinematographers Guild members – Directors of Photography, Camera Operators and Assistants, Computer Graphics Specialists, Visual Effects Supervisors, Still Photographers, Publicists and more – are part of the International Alliance of Theatrical Stage Employees. The IATSE is comprised of highly skilled technicians working in film, television, live entertainment, animation, special effects and new media.

http://www.cameraguild.com/ 

http://www.icgmagazine.com

 
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Posted by on June 3, 2013 in Cinematography

 

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CARPENTER TO CONSTRUCTION MANAGER by Dominic Ackland-Snow

30 May
Dominic Ackland-Snow

Dominic Ackland-Snow

How do I see the role of Construction Manager?

The Production Designer has to conceptualise the viewpoint of the script and the Director – and the CM’s job is turning that concept into reality, dealing with the technical, the financial and the scheduling sides.

I’m fortunate to have been brought up in a family with a strong design connection. I was lucky to have been able to crawl around as a youngster behind film sets while my Dad, an Art Director, was working. My first time working on a film set was when I did work experience on ‘Aliens’ with my Father and Peter Lamont in the Art Department. Although I enjoyed this, the element I was most interested in was Set Construction

I left school in 1986 and started an apprenticeship in carpentry & joinery. The company I worked for did mainly television scenery but also some exhibition and theme park work. I left the company after 5 years as a qualified carpenter/joiner and decided to ‘try my luck’ in the film industry as a freelancer, starting with ‘First Knight’ working for Construction Manager Tony Graysmark as a shop carpenter. This suited me very well because I preferred ‘setting out’ and the actual fabrication of the scenery. I worked for Tony again on ‘Goldeneye’ in 1995, then worked on a number of films after this including ‘Fifth Element’ with Ray Barret ‘The Borrowers’, ‘The Avengers’ and ‘Notting Hill’ with Michael Redding and ‘Love & War’ with Terry Apsey.

Construction on ‘Band of Brothers’ showing the back of the aircraft hangar

Construction on ‘Band of Brothers’ showing the back of the aircraft hangar

The front of the hangar with bombers, as seen by the camera

The cast of 'Band of Brothers' as seen by the television audience. It’s all an illusion!

The cast of ‘Band of Brothers’ in front of the hangar as seen by the television audience.
It’s all an illusion!

I was fortunate enough to be supervised by two great Construction Managers – Terry Apsey on ‘Sleepy Hollow’ and ‘Band of Brothers’ and Michael Reading on ‘Quills’ and ‘Tomb Raider II’. I was very lucky with both Terry and Michael, as they were very lenient on my slightly rebellious approach to what I did and how I worked.

The fabulous set of the Paris Opera House for ‘Phantom of the Opera’ - 2004. This was built as a fully-operational theatre capable of holding a substantial audience in the auditorium, an orchestra and a full cast of artistes on stage. The construction used two adjoining stages at Pinewood Studios so that the action from the theatre stage could follow right through the authentic backstage area built on two floors, complete with dressing rooms, costume department, props store etc, to the stage door exit complete with stables.

The fabulous set of the Paris Opera House for ‘Phantom of the Opera’ – 2004. This was built as a fully-operational theatre capable of holding a substantial audience in the auditorium, an orchestra and a full cast of artistes on stage. The construction used two adjoining stages at Pinewood Studios so that the action from the theatre stage could follow right through the authentic backstage area built on two floors, complete with dressing rooms, costume department, to the stage-door exit complete with stables.

I started on ‘Phantom of the Opera’ as a Supervisor but was cajoled by Terry Apsey to try my hand at running Carpentry as Head of Department – this is when I started to be exposed to the financial and scheduling side of construction – an area I found that I really enjoyed.

After ‘Phantom’ I ran a television show as Construction Manager, which was great for cutting my teeth. I had a few leads as CM after this but unfortunately all of them

– which, at that time, was a pretty regular occurrence. I had the horrible experience of working on a film that folded owing me wages – something that most film workers have experienced during their career. Around this time I decided to emigrate to Australia with my wife and children – but before leaving I enjoyed working on my last film with Michael Redding as his Head of Department.

When I arrived in Australia I had made my mind up not to be involved in films any more because the work was so fragmented, so I was really fortunate to land a job with a joinery company as their Operations Manager.

Then, out of the blue, I had a phone call from the production office of ‘The Pacific’ – asking if I would be interested in the role of Construction Manager. Luckily, the production had asked Terry Apsey of my whereabouts and he managed to track down my number. Although I had promised myself not to drop back into the industry, the complexity of ‘The Pacific’ appealed to me.

We filmed in the far North of Queensland, the You Yangs Regional Park near Melbourne, around the city of Melbourne itself and in Melbourne Central City Studios. In total there were 105 different sets and we were turning over 2 sets a day to the 2 main units. Some of the sets were worth $50k and a couple were worth $6m each! The overall construction budget was $24m out of an Art Department budget of $50m.

Because the job was so large it had 2 Supervising Art Directors – Dominic Hyman & Richard Hobbs. There’s quite a difference in work practice between Australia and the UK – in Australia the Construction Manager usually doesn’t have financial control but luckily ‘Pacific’ used the UK system where the CM had full financial control of the construction budget.

Construction in progress on one of the 105 sets for the television series ‘Pacific’ in Australia

Construction in progress on one of the 105 sets for the television
series ‘Pacific’ in Australia

For me, one of the best things that came out of the ‘Pacific’ project was the fact that, because I needed a crew of 450 and the local crew base wasn’t large enough to facilitate this, we undertook a training scheme – specifically in fibrous work. A lot of the sets were very different to normal film construction and involved some fairly innovative approaches, mainly utilizing civil engineering and geo textiles. Also in Australia, the sculpting department is normally as big as the carpentry department because they don’t usually use fibrous plastering – they mainly sculpt in concrete, which is a very, very cost-effective method.

After ‘Pacific’ I returned to the company I started with when first arriving from the UK, where I moved up to the position of General Manager. Although scenery was not in my company’s portfolio, I very quickly added a ‘special projects’ division to the business and have been lucky to have involved the company in theme park, exhibition and film. 

The CM’s first responsibility is to the Designer – and I often see this as a protective responsibility as far as the budget goes, in dealing with the Producers – and also a responsibility to the Designer in allowing enough time for a design to be constructed properly. Because, as I mentioned, I have grown up in a ‘design’ environment, when I see the blueprints I can visualize the construction methods required and see it in a 3-dimensional image – which makes it very easy to budget and schedule the job.

When you work with a good Production Designer like Tony Pratt, it’s easy to understand what you need to produce. Peter Lamont was very much the same, an Art Director of the old school like my Dad and Jim Morahan – and I’m very lucky, having worked in television, exhibitions and theme parks, as well as films, so now I can bring all of those methods together.

From my point of view, the ‘old school’ design, the ‘pencil’ design, is the easiest to interpret because, with a pencil you can actually ‘feel’ the type of set you need to do. With CAD drawing there is no emotion involved. If I look at a drawing by Jim Morahan or Tony Pratt, or my Dad, I know exactly what I need to do – but if I look at a CAD drawing I have to start talking to people to find out exactly what the set is supposed to look like – the feel, the texture, the finishes.

There’s a guy in Australia called Mike Molloy – he’s not in films but I’ve worked with him in commercial construction work in night clubs, shops etc. I use him because he draws in pencil first. I think now that you can actually get CAD which doesn’t use a ‘straight line’ format so it begins to look like an actual drawing – but all the designers on ‘Pacific’, with one exception, were pencil Draughtsmen – and the only set we had major problems with was drawn on CAD! It was the only one that the Scenic Artists and the Plasterers couldn’t quite get the feel of what exactly the Art Director was after. 

Tony Pratt is very conceptual – very epic in his designs – and I was asked to produce two sets of 90,000sq m in 20 weeks alongside 80 other sets. I know that he worried a great deal for 3 months whilst we were conceptualizing and, in the end, I had to remind him that I was the Construction Manager, so it was my responsibility and not his so that he could stop worrying so much! It was such a pleasure working with him. 

I have to say, never have I seen crews who want to please the Designer more than the Australians – if the Designer gains their respect, they will do absolutely anything to produce the best sets possible.

The big difference between Australian and English crews is mainly in construction techniques. Just as you would find a difference working in Prague – but the results are the same, although the differences are reducing as more and more British guys are emigrating – and both crews learn a lot from each other.

I have found that the Australian approach can be very interesting, for example, Chris McMahon is one of the best sculptors I’ve ever worked with. Sculpting here is completely different, they can do very fine work – they did all the work for ‘Narnia’ & ‘Pirates of the Caribbean’ but the most amazing thing is that their sculpture is in concrete – and they’ve devised a method which Disney now uses in the theme parks – they’re extremely talented guys and are more construction based than art based. 

The Scenic Department is very different to the UK. The Paint Department is run by the Scenic Artist who is quite often also the Scenic Finisher. Which sometimes doesn’t work very well! To get the best results I think that you need to specialize – Scenic Artists to do backings with the Scenic Paint Department finishing surfaces.

The most important thing is that the Designer gains the respect of the Construction Crew and therefore will get the best work. In a film every person had their own input, whether it’s a Stagehand sweeping or the Producer who raises the money, all have to work as a team to bring the project together – but I wish that, when awards and praise are handed out that the highly trained and creative Construction Crews – Carpenters, Sculptors, Painters – would get more recognition. After all, it is they who bring the Art Department and the Director’s ideas to life! 

Dominic Ackland-Snow’s film credits include: The Invisible Woman – 2013, Sanctum – 2010, The Magic Flute – 2006, Phantom of the Opera – 2004, Tomb Raider II – 2003, Quills – 2000, Sleepy Hollow – 1999, Notting Hill – 1999, Fifth Element – 1997, The Borrowers – 1997, In Love & War – 1996, Goldeneye – 1995.

Television credits: Parade’s End – 2012, Pacific – 2010, Planet Cook – 2004, Band of Brothers – 2001.

 
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Posted by on May 30, 2013 in Construction Department

 

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