Film Shoot Logistics & Designs | professionalproject

Film Shoot Logistics & Designs.

Final Designs Ariel.

Call Sheet.

Complexion very smooth and pale to reflect early 19th century makeup. Very matt, well powdered.

Thicker brows but not extrenly sharpe defined brows to bring a comtempoary look to the makeup without it looking too high fashion.

A light blue crease smokey eye effect mirroring the blue of the sea as described in the text.Following under the lower lash line.

Contouring and highlighting is very light and just under her cheekbone, jaw and wither side of the nose just to ehance her bone structure to the idellic 'perfect' shape. higlight using a matt prodcut this time then the smallest amount of shimmer highlighter just on the highest points to add depth of field in the photos.

Very small liner line just to define the eyes. False lashes will be used to lengthen and bring the focus to the eyes.

A mix of a blue and oranged tone lip stick to both enhance her blue eyes but not to over power the whole look.

A Touch of peachy blusher to warm her cheeks so the makeup doesn't look flat however this should be barely noticeable.

The flat smooth hair at the front is inspried by the 1830's hairstyles with a centre parting.

The position of the bun (a wefted piece made into a chingon) is copied from 1830's. Insetad of doing a plait around the whole thing I have done a small one around the base makeing it very sublte but inkeeping with the historical and contempoary styles.

All the 1830's style included ringlets around the sides/back so I have used the same style of curl however in a longer form, which makes it fit into modern time, pulling the old and new together well balanced.

Final Designs Sebastian.

The bald cap is on of the key elements as this along withit colouring will complete the look.

Prosthetic eye pieces coloured with a cream products so it stands out from the whole look but not it a strong overpowering way. Then with a matt light powder highlighting the top arch and along the bottom of the prosthetic.

Shading is key to pulling off this design, around the nostrils along hte top lip line along the cheek bone. This needs to be very light so that it doen't look harsh on camera. Highlights need to be very subtle and with a matt cream/white powder shimmer is only used in key strong highlight areas.

The dark brown/grey tone on the eye lids needs to be quiet strong as this is acting as the pupil against the long prosthetic eye.

Laying on tiny chopped up fine brown real hair and apply with mastix to create very thin browns following the shape of the prosthetic piece.

This is the edges where the prosthetics will overlap and bleed away.

Here is where the bald cap ends/ the edges are blead away, as you can see it is covering the ears this is to immitate the smooth and sleekness of a crabs shell.

These are where I am going to postion the prosthetic shells, they are going to be airbrushed to be blended into the skin.

Dermacolor Camouflage - Mix of D3 and D4 for a more balanced yellow/pink tones.

Mac Prep and prime, Light boost using this as a liquid highlighter so there is a contrast from the pinky base before the highlighting powder.

Skin Illustrator, colours blue, green rice paper and natural 1. This is to build up over the airbrushed skin tone layer so it looks more natural and not as flat.

Pros-aide is the adiesive I am using on the bald cap and prosthetic pieces.

Kryolan Translucent powder, this is to powder the grease paint layer before airbrushing to set it.

The grease paint colours are mixed to create a orangey colour (red and yellow) to conceal the hair so that it can be coloured skin tones over the top.