American cinematographer (Jan-Dec 1955)

Make-up Magic For Today's Color Films Recognizing the varied problems posed by the new color emulsions, American Cinematographer calls upon Hollywood’s topmost make-up authority for answers. By WALTER RAMSEY lt\ A /hen FACES turn red. green or blue in this age of col* VY or photography, we must suspect more than high emo¬ tions or extreme low temperatures," said Max Factor. Holly¬ wood make-up authority. “Actually, these results come from a combination of make-up, lighting and film used without true color-knowledge and coordination." How to keep up with make-up and color compensation for the new, ever-changing color films, both 16mm and 35mm, is a problem faced by all those who are interested in the film industry in every way. Here, in an exclusive interview for American Cinematographer , Max Factor, Jr., recognized ex¬ pert in the field of motion picture make-up, gives the answers to these problems in simple, easy-to-understand terms and reveals the correct make-up methods and colors which should be used for the various new color negatives. Nor is the in¬ formation gleaned by mere chance, but results from Mr. Fac¬ tor's years of careful research and close cooperation with all leading film companies. “With the constant development of new color emulsions," continued Factor, “improved make-up colors must be devised which will produce the most natural results. The make-up problems encountered in color motion picture photography are more numerous than in black-and-white photography. Color temperature of light, light intensity and. of course, the developing process itself, directly affect the colors of the make-up." hen selecting colors of make-up, one must be familiar with the particular negative stock being used, as each type of film calls for a different solution to compensate for its unique properties. But it is not necessary to guess or experi¬ ment; accompaning this article, you will find several charts furnished by the Max Factor Make-up Studios, indicating the suggested make-up for all types of color film in cur¬ rent use. “In Ansco color. Technicolor and Eastman Color No. 5248,’ Factor continued, “the reds become highly intensified in the developing of the film. Therefore, a true-red lip rouge will reproduce unnaturally and the result will be undesir¬ able. Pastel pinks and pink-orange tones are used, in these cases, for both cheek and lip rouge. These colors will reproduce natural blush tones on the cheeks and natural red on the lips. W ith Kodachrome film, however, the cheek and lip rouge colors applied will be faithfully reproduced in the final print; so for this film, darker reds are used than for Technicolor, Ansco or Eastman 5248. “Another important aspect of make-up for color photog¬ raphy today is the reproduction of natural complexion tones on both men and women. Selecting the proper shade for each individual is the secret to obtaining the most natural results, for example, the standard shade of our Pan-Stik for women is 626B for Technicolor film. But should a particular actress have an extremely ruddy complexion, the next shade darker would be more effective; the darker color would conceal the very ruddy tone of the skin and at the same time prevent the skin tone from becoming too light. At this point. Factor went on, “special make-up effects must be considered. A color which is correct for a normal complexion tone would not give the desired effect if, for example, a Caucasian were to portray an oriental. A special color should be selected to obtain the desired result; a colo; that would not incorporate reds, and one that would reflect a minimum of blue. The color blue is mentioned in particu¬ lar because it is the hue which Eastman Color negative favors. Of course a great deal of color correction is possible in processing, but only to a certain point," Factor warned. "Too much blue in the foundation color results in a muddy complexion tone, and the presence of too much blue will cause the lips to appear a purple color.” The question most asked Max Factor is: What is the dif¬ ference in the make-up colors now used and the colors used several years ago? His answer is that the major difference is to be found in the new color pigments which have been discovered after months of research in their laboratories. These new' color pigments made new methods of refining CORRECT METHOD of applying lipstick for motion picture make-up is demonstrated here by Hal King, director of make-up for Max Factor, Hollywood. Model is Lita Baron.