In this special conversation, makeup artist Donald Mowat and cinematographer Greig Fraser explore the multifaceted world of color in film. Greig reminisces about the rich skin tones of 1970s cinema and the magic of tungsten lights. Donald recalls the notorious 'Magenta Scare' and its impact on makeup artistry. They dive into the challenges of maintaining color accuracy under changing technology, share hilarious anecdotes about terrible films, and reflect on the collaborative essence of filmmaking that bridges art and technical expertise.
Greig Fraser highlights the importance of matching lighting and camera technologies to achieve authentic skin tones reminiscent of 1970s cinema.
Donald Mowat discusses the evolving dynamics of makeup artistry and the increasing collaboration required to meet diverse representation standards.
The transition from film to digital has changed how filmmakers approach lighting and color grading, emphasizing the need for rigorous testing and collaboration.
Deep dives
The Evolution of Color Control in Film Production
Color control in film production has evolved significantly, with concerns about achieving accurate skin tones taking center stage. Historically, the use of Technicolor required strict adherence to lighting standards, with on-set representatives ensuring the correct balance of natural light. Today, both lighting and camera technologies have advanced, yet they often operate independently, leading to challenges in compatibility. The conversation emphasizes the critical nature of matching skin tones to maintain realism, highlighting how past practices with tungsten film create a more predictable environment compared to the complexities of modern digital setups.
Challenges of LED Technology in Lighting
A notable challenge in contemporary lighting is adapting to the influx of LED technology, which has transformed how scenes are lit. Makeup artists express difficulties in achieving the desired skin tones under various LED lights, which differ in color output and quality. The need for extensive testing to determine how different light sources affect skin tones is increasingly important, especially as LED lights can produce unpredictable results based on the actor's skin composition. The conversation illustrates the complexity of ensuring cohesive lighting in diverse cast environments, emphasizing the need for collaboration between lighting and makeup departments.
The Politics of Makeup in Modern Filmmaking
The dynamics of makeup artistry have shifted dramatically over the past decade, reflecting increasing collaboration and scrutiny from various stakeholders. Makeup artists now face pressures from agents and actors regarding their on-screen appearance, which often complicates the creative process. Additionally, the evolving standards for representation mean that makeup choices must accommodate a wider array of skin tones and finishes. This environment not only affects artistic decisions but also introduces a level of negotiation that was less pertinent in past productions, complicating what were once straightforward creative dialogues.
Digital vs. Film: A Changing Landscape
The transition from film to digital cinematography has fundamentally altered how filmmakers approach lighting and color grading. The digital realm allows for rapid feedback, enabling immediate assessment of how colors appear on screen, which proves beneficial in some ways but detrimental in others. Filmmakers reminisce about the precision required in film, which limited color manipulation during the post-production process and fostered greater collaboration to ensure the final product matched intentions. The rapid evolution of digital tools has sometimes led to shortcuts that can undermine the thorough testing and collaborative spirit that characterized earlier filmmaking.
Collaborative Testing and Innovation in Lighting
Collaboration remains a key theme in the challenging landscape of lighting innovation, with filmmakers stressing the need for rigorous testing of new equipment. As new LED lights flood the market, understanding the qualitative differences in how various models behave becomes essential. Filmmakers advocate for collaboration with colorists, gaffers, and makeup artists to achieve the best possible outcomes on set. The success of a scene often relies on this comprehensive approach, reinforcing the notion that innovation in filmmaking is most effective when harnessed through teamwork and shared expertise.
The Importance of Historical Knowledge in Design Choices
A strong understanding of historical filmmaking techniques can greatly inform modern camera and lighting design choices. Filmmakers discuss their reliance on lessons learned from earlier practices, such as how basic fluorescent bulbs shaped aesthetics in films like 'Sicario.' Elements like color temperature and quality of light continue to play crucial roles in creating the desired cinematic outcome. Incorporating these historical context elements into current productions allows filmmakers to push the boundaries of visual storytelling while maintaining an authentic connection to the medium's roots.
SEASON 2 - EPISODE 100 - Colour - with Donald Mowat & Greig Fraser
In this special entry of the Team Deakins Podcast, we’re celebrating the 100th episode of our second season by sharing our conversation about colour in film with former guests (and good friends) cinematographer Greig Fraser and makeup artist Donald Mowat. Greig discusses his endless search for the right lighting and camera combination to achieve a complexity and depth in skin tones he sees in 1970s-era American cinema, and we reminisce about the consistency in results born from the compatibility between tungsten lights and film stock designed for tungsten lighting. Donald also recalls the “Magenta Scare” when the red-adjacent colour became a point of fixation for filmmakers, and we consider the value of relying on the experts with whom we work. Throughout our winding discussion, some of the topics we cover include: actors’ skin tones changing under stress, the evolving politics of the makeup department, the diverse (and distressing) settings and screens in which dailies are viewed, the trouble with painting a set grey, the varying qualities of LED lights, the varying qualities of coloured gels, how Greig tests for skin tones, how Donald sneaks reference photos for his department, and watching really bad films while on a shoot. Also included: Technicolor-era trivia from Roger.
A huge thank you to everyone still listening to the podcast!
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This episode is sponsored by Aputure
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