Ready for FullHD - English
ready for FullHD
This book is meant for makeup artists working mainly in film and TV. But also for camera men who would like to learn more about the make- up artist’s work. I often noticed a certain sense of insecurity about the camera technology in the makeup department. I was repeatedly asked to produce some written information where all the details would be explained. The contemporary HDTV age constitutes a revolution. It is becoming increasingly clear that our profession not only serves the purpose of beauty, but that over the course of time the makeup artist has become not only a craftsman and artist, but also an "image technician" required to fulfil ever higher demands. If you don't want to be faced with difficulties, you now have to acquire the technical know-how. No longer can you rely solely on your intuition, the sense of color and your experience. Not even the own eye – otherwise you will be lost in this highly technical process. More than ever we have to seek dialogue with our colleagues behind the camera and the lighting department. It is essential that we learn the language of modern technology, as this is the base for any communication on set or in the studio. In order to better understand the enormous importance of this aspect, it is necessary to explain the correlation between the technical developments in the motion picture and TV industrie and the necessity of change in our profession since it has existed in this form. Given that the work of the makeup artists will be increasingly in focus, the more important it is, that we consider the precise image that present-day technology produces without you having any chance of correcting live images with a Photoshop- like tool, during the broadcast. Enclosed within the book is a DVD to illustrate the aspects of makeup for HD explained in the text. This book represents a challenge not only to makeup departments, but also to decision-makers, to ensure that further training is promoted in order to be able to master this highly complex technology better and better.
The book focuses on the technical aspects of makeup, describing the makeup artist in a new role, namely the role of an important image technician. The required adaptation of the makeup techniques and the necessity of using new textures and colors for the makeup materials are presented in the context of HD technology, not merely as a statement of fact, but underpinned with practical technical explanations. Concerning the camera technology these explanations cover the difference of high definition and standard definition television, “normal” video cameras and “raw” cameras, 4k and HD resolution and even the challenges of stereoscopic “3D” movies. Along elaborate descriptions of how-to overcome the unforgiving view of high definition digital cameras, new makeup materials are presented and their application explained. An enclosed DVD including high resolution movie files illustrates clearly that HD is all about mastering the basics, i.e. color theory and volume theory. HD requires a concentrated, minimalistic mode of procedure.
Book Content
- General introduction
- New materials
- New makeup techniques
I. Airbrush versus classical makeup
II. Makeup the classical way.
Four basic rules for makeup with HD
1. Neutralize rather than cover
2. Makeup warmer
3. Soften volume and contrasts
4. "counter-pixelling"
- A dialogue between makeup department and director of photography about the production
of the 4k movie “Luvbot”
- A brief excursus on the theory of colors
Questions you’ll find answered in this book:
Do I have to use airbrush for HD ?
Do I really need new materials for HD or is just about money-making ?
Do I need new brushes for “HD makeup” ?
Why get faces so easily grey in a TV studio ?
Why is the color temperature of my makeup mirror lights so important ?
Why should there be a new color theory/model for makeup ?
What is the actual difference between SD and HD ?
What does “HDready” mean ?
What is the difference between HD and 4k ?
Why was analogue film more forgiving than HD, even when it’s about
the same resolution ?
What’s the impact of the aspect ratio ?
Do I really see HD from where I’m watching TV ?
Why do 3D movies look so dark ?
Short Information:
- Pages 67
- Contributor Dirk Meier: Colorist/Digital Artist ("Antichrist" from Lars von Trier)
- Publisher Self-Publishing
Other It would be great to see this book entering the training and educational establishments for the next generation makeup artists.
The book with the DVD costs 55,00 € including Vat. plus 6,80 € shipping.
Additional costs for international shipping on request.
The DVD:
Following the chapters of the book about the classical makeup for HD the important rules are shown and clearly demonstrated on the video. Examples for typical makeup issues are presented and solved by highly experienced makeup artists without the help of any further postproduction.
Besides the normal DVD video, the disc contains a higher resolution video file for viewing on your computer.
Contributor Dirk Meier
Current occupation / field of work
Freelance colorist and consultant for digital film postproduction
Lecturing and training about digital film production, color grading and color management
Member of the German Society of Cinematographers BVK as colorist
Member of the Colorist Society International CSI
Associate Member of the IMAGO Technical Committee
examples of colorgrading work
- 2020 - Nardjes A. (Berlinale Panorama)
- 2019 - About Endlessness (Venice, Silver Lion for best director)
- 2019 - The Invisible Life of Euridice Gusmao (Cannes, main prize 'Un Certain Regard')
- 2018 - Happy as Lazzaro (Cannes, Winner Best Screenplay)
- 2017 - Una Mujer Fantastica (Academy Award for best foreign language film)
- 2015 - Life (Berlinale Special)
- 2014 - Court (Venice, best film in Horizons section)
- 2013 - The Police Officer's Wife (Venice, Special Jury Award)
- 2012 - Hannah Arendt (Silver Lola, German filmprize)
- 2011 - Dredd 3D
- 2009 - AntiChrist
Lecturing for national and international film academies and institutions, e.g.
Berlinale Talents (mentor postproduction and camera studio from 2010-2020), ifs int. filmschool Cologne, dffb Berlin, HFF Munich, Film University Babelsberg, FH Mainz, Filmacademy Baden-Württemberg, Beyond Hands on HD Hannover, Hands on xK Munich, Macromedia Cologne, European Film Academy,
Den Norske Filmskolen (Norway), Stockholm Academy of Dramatic Arts (Sweden)
Here at last is a necessary, but nonetheless highly interesting and instructive book providing an introduction to the right makeup technique when working with digital HD cameras. Up to now, the results of the make-up could be easily judged by a well trained eye. However, the introduction of digital HD technology has created a new situation as these cameras “see” very differently to the eye. The pixelling of the image when it is being recorded and reproduced on the flat screen gives rise to unexpected side effects which can be even more difficult to control in images meant for the “small” TV screen, than for the “large” 35-mm cinema film. While the film emulsions were up to now relatively merciful to the small imperfections of the human skin, the digital HD cameras show no such mercy. We can see this not only in the critical focus pulling, where it has been the downfall of many an (incredulous) focus puller, but also in the makeup, where the technical principles of color theory and material science have suddenly and unexpectedly come to the fore. This book by Isabelle Voinier is important, not only because it makes the profession aware of its own basis, but also provides a practical guide. Appearance, effect and also usually the “youth” of the performers depend not only on the photography and the lighting, but also to a great and increasing extent on the craft of the makeup artists. This is why this book has given me some new and helpful insights into the importance of cooperation between camera and makeup. I hope that lots of people read this book!”
This introduction to makeup for HDTV is well done and gives a broad and solid overview over a dramatically changed job. It gives hands-on, step by step advice as well as the necessary background knowledge of the current camera technology and color theory. New lighting technology and modified color sensitivities of digital cameras require a collaboration between the departments which is not yet very common. But agreements about lighting and the intended look are urgently necessary to achieve a good and economically viable product. And this book contributes to all of it. Any judgement of the makeup has to happen on set. The demand for a proper class 1 reference monitor also for the makeup department is more than legitimate. The authors describe all new materials in makeup very clearly and also the causes why so much has changed. For a brief moment at the beginning of HDTV airbrush was supposed to be the only appropriate solution. This is clarified in context and the advantages and disadvantages of airbrush and conventional makeup are explained. What remains a topic of dispute is the necessary time for the makeup. For this reason even controllers/producers should read this book, it helps broadening comprehension. The digital age questioned many old traditions and opinions. This is very much true for the makeup. Practical skills in precise application can save a lot of work in postproduction. "Fix it on the set and not in the post" is very much true for these departments. In the concluding dialogue between makeup (Voinier) and camera/postproduction (Meier) it becomes very clear that there are many and good reasons for common misunderstandings and that a lot of problems can only be solved in collaboration. I recommend this book to everyone even if they only faintly touch on the topic of makeup. Understanding and acknowledgement of the departments’ work helps everyone. For those not so interested in makeup, they should at least read the chapter about colors. Even reproduction issues in higher resolution (UHD, 4k) as well as in today’s dark 3D projection in cinemas are discussed. The book includes a DVD that shows examples and practical work with conventional makeup in a clearly comprehensible way. It contains even high resolution videofiles for watching on your computer.
Honestly, this book surprised me. Most books about professional makeup either present finished work in beautiful images or concentrate on illustrating specialized workflows.
But it was the first time I read and learned about the aspect of image and camera technology in conjunction with makeup. I can judge and deal with a lot of situations just from my longtime experience. But the technological development has been so fast recently, that I couldn’t just trust my feeling any longer without risking unforeseen problems. In this book I found answers to many questions I could have hardly expressed myself. Our job is all about creating illusions. And for our illusions to be convincing on TV and cinema screens we must adapt to the progression of technology. I would have loved to find more information about the field of SFX makeup, but I have been promised this will come in the future. And then I really like that it was hardly talked about the possibilities of computer manipulation in postproduction, but the focus is absolutely on our craft. A trained eye and thorough knowledge of the basics is still prime. I believe this book is quite reassuring. After its quick adoption in Germany I’d like to help spreading the word about this book also internationally. And I sincerely recommend it not only for beginners, but even “old guys” like me.
“I’ll be your mirror” is the implied promise we make as image designers to our actors.
It tells them that they can feel in good hands with us, and that we look at them candidly and fondly. Ever since the emergence of digital cinematography, where the camera sees more than our own eyes and we look at monitors rather than through the viewfinder, it has become much more difficult to keep this promise. I came across your book in the darkness of the grading suite during my first digital feature project just when the digital colorist was struggling with a waxy-looking face. As soon as I first leafed through the book, I realized how little I know about the art and craft of make-up, even though I depend so much on it, and how much make-up artists in turn rely on me and my feedback– especially since we all can no longer trust our eyes. For all this enthusiasm about the new media, we must not forget to explore and question them. “Ready for Full HD” is a big plea for doing this together because the basics for all crafts are changed by the choice of recording medium! To be allowed to create a motion picture is a major task; consequently, no one can afford only “good enough quality” – and most of us do not want that at all either. The digital colorist finally managed to restore our actors’ “liveliness”
again, whereas I, by reading your book, really understood for the first time what the problem was – and how I can avoid it in the future.
Dear Ms. Voinier,
thank you very much for this long overdue book!
This is the only book on market explaining both : the technique of HD cameras / monitors and HD proof makeup and how they should work together. It describes vividly the differences between analog recording and digital image capturing. Several graphics emphasize the requirements needed to view a correct digital image, as well as the differences of formats and the results in resolution. Isabelle Voinier describes the requirements of HD-proof makeup materials, how they´re used und shows solutions to problems evolving from digital recording techniques. This book will help you to find your
way into the digital age. You will be able to talk to cameramen and directors at eye level about the needs of makeup in the digital world. I recommend it to every beginner as well as experienced makeup artists who might have even worked in the field for decades.