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It went absolutely white, so that it was necessary to
prepare a color that would stand up under all conditions.
We tried dark brown, but it wasn't satisfactory
at first. We {ound that in some cases it
went light and other times dark. We tried many
colors and we now have a lip rouge and eye shadow
of a warm shade of brown upon which there have
been no complaints up to this time. I might add
that Technicolor has found the Panchromatic grease
paint is very good for them. There are a number
of tests being made at the Tifiany-Stahl studios
with the Panchromatic make-up when using Technicolor
film. We eliminated the use of black pencil
because we found that a black line along the
eyebrows and under the eyes went very black. We,
therefore, brought out pencils of the dark shades of
brown, the same shade as the lip rouge and lining.
We have one color for the lips, but it is darker for
the eyes and eyebrows. It looks just the same as the
skin color. We found that the same dark brown
in difierent shades worked out perfectly well.
Cuanr-Bs Duomv (Fox Studio): In the tests
that we are making at the studio we are now using
Max Factor make-up, and we find it very natisfactory,
but Mr. Factor, how can we introduce it to the
studio as a whole ? Some of the cameramen are not
aware of the new make-up and think we are only
experimenting.
Mn, Facron: We have arrived at a method
whereby every cameraman will get some of the
make-up to try through the A. S. C.
Mn. Dusnav: I wish to say that our work in
this matter, so to speak, is still in an experimental
stage, We are instructing our c;nematographers as
{ast as we can. This meeting, for instance, is one
of the mediums through which these things are to
be known.
Pnncv WBsrnrronn: At the First National I
have been using this grease paint {or the past three
weeks. We have practically changed the entire studio
to the Panchromatic colors. We have found
that it has proven entirely successful, and we have
made no changes whatsoever. We have had questions
regarding liquid make-up. We used to have
an awf ul lot of re-takes; the people weren't looking
right. The cameramen now won't use the
liquid make-up.
Mn. Vorcr: We are all acquainted with Mr.
Lon Chaney, that master of make-up. He was to
have been with us tonight but unfortunately for us
was unable to attend. Mr. Frank Woods, Secretary
of the Academy, will read Mr. Chaney's paper.
PAPER ON MAKE-UP
BY MR. LON CHANEY
So radical an innovation as the new Incandescent
light in studio practice must o{ necessity, for some
time, remain more or less in the state o{ experiment,
and, naturally, draw into this same experimental
field all details of photography connected with its
use. Wherefore any discussion of make-up in connection
with the lishts and Panchromatic film rnust
at this early day be devoted more to broad essentials
and primary principles. There is much to improve
on the lights to date, and, naturally, much to learn
in the practice of make-up under them.
As comparqd to the Arc lights, the Incandescents
have several striking differences. The most irnportant
is probably the matter of heat. They generate
a |ar greater heat; in fact, in close-ups this heat
becomes terrific, so that grease paint, nose-putty,
glue, or other foreign substance on the face soon
runs and melts. This, to a character make-up especially,
is very dangerous.,
The solution must, of course, be in lights that
will be cooler, and this, I understand, engineers are
working on with every promise of success, hence it
may be classed as a temporary difficulty only.
They are much more penerating, which involves
the matter of using make-up more sparingly, as a
more natural appearance is necessary. For instance,
in former practice one used powder a shade lighter
than the base grease paint. Under the new lights
this cannot be done, as the penerating quality of the
light would disclose the subterfuge.
Because of this penetrating effect, shadows are
more pronollnced, and therefore objects tend to photograph
with more contrast under Incandescent
lights. The result is that shadings, linings and such
details must be applied much more delicately, lest
they "jump out."
In general then, considering straight make-ups,
we have these basic rules: Make-up must be applied
very naturally, and usually in a slightly darker
shade than {ormerly. Lip rouges must be in the
dark brown tones rather than the reds, as reds seem
to photograph less accurately. Lining on the eyes,
too, must be applied on the same principle; that is,
reddish browns instead of the blacks, greens, yellows
and blues of former practice under the Arc
lights. Brown gives a soft efiect, and when used
it is difficult to realize, seeing it on the screen, that
any grease paint has been used. Powders must harmonize
with the grease paint, as, for instance, a
number 22 powder with number 22 grease paint, to
preserve this natural iffect.
As before remarked, because of the excessive heat
of the lamps, grease paint runs faster, hence it is
fortunate that less paint is required.
At the same time this brings up many new problems;
how this thinner make-up will photograph as
regard certain disguises or efiects where artificial
material must be used on the face. Later I propose
to touch on these problems more in detail. The
thinness of the coat of make-up may in a measure
compensate {or the danger to the grease paint from
heat. This I cannot accurately say, but eventually
a balance must be found. It is one of the important
problems at present.
It is possible that new and cooler lights will soon
be developed, and possibly elaborate character makeups
will have to be filmed under the old lights
until this is done, or improvements in make-up materials
devised that will permit the use of the new
illumination. Here, I think, are the two most im-
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