Download Report - Academy of Motion Picture Arts and Sciences

Mn. Davro Facron: Ladies and gentlemen:
We have prepared a detailed report as to our experiments
and findings through our work in the incandescent
light tests, but before going into this, I
would like to dwell just a few moments upon the
Make-up Artists' Association. There are few who
really know who the members are or what the organization
is. We found that there was, and had been
for some time, a lack of cooperation between the
various make-up artists. They hid their secrets {rom
each other. It was his property and not to be [iven
to anyone else. Under the Association, we have
brought these men together. We have fifty members
which is 98% of the Make-up Artists of the motion
picture business. They are now friendly with each
other. At the meeting last Monday night, Percy
Westmore showed how they put on side burns and
side pieces in a recent First National Production.
There was a demonstration of straight make-up and
the application of fish-skin for scars. In this manner,
each artist shows the others what he knows about
make-up and how each one is progressing. We
considered the question of make-up from every angle
and we wish to divulge our experiences and findings.
We had a make-up artist at 'Vllarner Bros. at all
times during the Incandescent lighting tests. We
photographed the make-up and {ound its shortcomings
and its de{ects, setting out to overcome them,
one by one, and today we have a new make-up.
PAPER READ BY
DAVID FACTOR
At this occasion we wish to take time to express
our sincere appreciation for the opportunity given us
to work with you during the recent series of tests
at the Warner Bros. studios. We thought it might
be well to give briefly our opinions and findings
regarding the effect of make-up when used under
Incandescent lights with Panchromatic film.
At the beginning we watched the "rushes" of tests
made under various conditions by a number of
cinematographers, and with make-up that was being
used for other types of lighting, for both Panchromatic
and Orthochromatic film. We noticed that
almost every subject photographed was rather spotted
and in some cases the lips were either very light
or exceptionally dark. The lining of the eyebrows
with the usual black pencil photographed harsh and
was exceedingly conspicuous. We also noted that
most lines under and above the eyelids would pick
up rather sharp, thus forming a displeasing outline
around the eye. Various shades of lining was used
to shadow the upper eyelids, and it was very hard
for us to determine just what colors were used.
When we first sent Mr. Kaufman on the set to
take care of all make-up, we advised him to confine
himself to certain shades of a neutral tone. We advised
the use of brown eye-shadow and brown lip
rouge. We also advised the total elimination of all
pink make-up and black lines around the cyes.
When we first viewed the pictures in which the
make-up in the preceding paragraph was used, we
found that the tones of grease paint were correct,
but that we would have to prepare certain shades in
order to have a variance to suit the different complexions
of both men and women. We also noted
that the results from the brown lip rouge and dark
eye-shadow were sometimes lisht and sometimes
dark.
During the latter weeks of the tests we worked
out a series of colors of Grease Paint, Powder. Eve
Shadow, Lip Rouge and Pencils, which we thouelt
would prove satisfactory. Subsequent testing proied
conclusively that the tones and shades were correct.
We particularly invite your attention to the manner
in which the features of the face blended. The
photographic value of the pigments used in the
preparation of these make-ups, were such that the
resulting subject on the screen was soft and the
texture of the skin itself photographed natural,
eliminating all possibility o{ unnaturalness.
Those who remember the tests of Donald Keith
will recall how lifelike he photographed. There
w,as a very slight semblance of sheen on the face
forming the same natural highJights that we see
when talking face to face with any person. The
various shades were tried on all types, both blondes
and brunettes, male and female.
After the tests with Incandescent lighting and
Panchromatic film, we made several tests under
Arc lights and Orthochromatic film, and with Arc
lights and Panchrornatic film, and found that the
make-ups photographed exceptionally well in all
cases,
The new type of make-up was used during the
final weeks of the tests and we carefully noted the
results. Invariably the subjects appeared remarkably
natural on the screen. The usual sharp and
sometimes hard lines, that we so often encountered
around the eyes and the lips, were now blended
together into such harmony that no certain facial
feature was more conspicuous than another. It
seems to lend more to attracting the eye to the natural
face in its entirety, instead of towards the eyes,
mouth or any other strong feature.
As a result we feel that subjects used in motion
pictures can greatly increase their photographic capabilities
through the harmonizing and blending together
of the facial features, and. at the same time
give to the cinematographer a smooth skin surface
of such color value that he will experience little
dificulty in the manipulation of his lights.
To go back to the make-up itself, we would like
to explain a few of the new features that are worthy
of attention.
The pigments used in the preparation of the
make-up are balanced to the same degree in both
the grease paint and the powder. As a result the
color of the powder is the same as the grease paint.
Ordinarily a po#der lighter in shade than the grease
paint was used, and the performer, after repowdering
three or four times a day, had his make-up become
lighter each time. At the end of the day the
cinematographer was photographing performers in
lighter make-ups than that which they had in the
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