for the movie "Das Boot".
Here at last is a necessary, but nonetheless highly interesting and
book providing an introduction to the right makeup technique
with digital HD cameras.
Up to now, the results of the
make-up could be easily judged by a
However, the introduction of digital HD technology has created a new
situation as these cameras “see” very differently to the eye. The pixelling
the image when it is being recorded and reproduced on the flat
rise to unexpected side effects which can be even
more difficult to
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
the technical principles of color theory
and material science
suddenly and unexpectedly come to the fore.
This book by Isabelle
Voinier is important, not only because it makes the
of its own basis, but also provides a practical guide.
Appearance, effect and also usually the “youth” of the performers
not only on the photography and the lighting, but also to a
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
Prof. Dietrich Sauter
|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. The book is self-published by the author Isabelle Voinier and available from www.ready-for-fullhd.com for the price of 59,00 Euro.
German Film Academy Lola Award
Winner 2010 for "Best Make-Up" for
the Movie "The White Ribbon"
The Baader Meinhof Complex
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.
German Film Academy Lola
Award Winner 2011 for
"Best Cinematography" for the
Movie "The Poll Diarries"
Photo (c) Max Biro
“I’ll be your mirror” is the implied promise we make as image designers to our actors.
them that they can feel in good hands with us, and that we look
candidly and fondly.
Ever since the emergence of digital cinematography, where the
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
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
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
and question them. “Ready for Full HD” is a big plea for doing this together because the
for all crafts are changed by the choice of recording medium!
To be allowed to create a motion picture is a major task; consequently,
one can afford only “good enough quality” – and most of us do
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
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!
Make-Up Artist mentored
Anatomy I + II, Pandorum (SFX)
The Three Musketeers
(2011 SFX Make Up Supervisor)
|This is the only book on market explaining both : the technique of HD
cameras / monitors and HD proof makeup and how they should work
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
Isabelle Voinier describes the requirements of HD-proof makeup
how they´re used und shows solutions to problems evolving
recording techniques. This book will help you to find your
way into the
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