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This is our guide to set etiquette for makeup trainees. Being on a film or television shoot for first few times can be overwhelming. There’s jargon, tonnes of kit and loads of people. You have to know when to be quiet and when to get out the way. There’s an unwritten code of conduct for being on a set, be it in a studio or on location. Here are some of the things to know and do, plus what to avoid when you first go on set. Giving the right impression is key to getting more work.
The Day Before a Call
Be prepared – look at the call sheet and turn up on time!
- Know where you are going. It is easy with mobile phones, sat navs and Google maps to check the route you need to take. Also check how long it will take you and add extra time for travelling. The call sheet will give the address of the unit car park where everyone needs to go, unless you’ve been given permission to park/go somewhere else (for example, to unload kit). Do this preparation the day before, not on the morning you need to leave.
- Time you need to arrive. Know what time you are required in the makeup trailer/tent – then take into account parking up, moving kit and finding the right place to be. Give yourself plenty of time with a new location. Being consistently late will annoy your department. You will not be thanked for this, or employed by anyone on the team ever again.
- Weather and clothing. Look at the call sheet. Wear appropriate clothing for the duration of the filming day, weather forecast and environment you’re working in. It’s not a fashion show and if you turn up inappropriately dressed, you will look like an idiot. You must wear enclosed shoes for health and safety reasons. Tie long hair back and don’t wear big rings (get caught in hair or costumes) and clanky jewellery (which is annoying when clanking in an actor’s ear). Always have waterproofs and warm clothing to hand – a sunny day can soon get cold – and vice versa.
- Prep your kit. Make sure you have the right items for the work expected (a good designer or supervisor will have told you what you are doing) and that your kit is clean and organised. Always assume that instructions will change as well, so be prepared. Make sure your set bag is ready to go. You should have an overview of what the film/TV is about; for example the period, genre and all that stuff.
- Prep and research. Know what genre and period the production is set in. Are there any special effects? Always have a file of reference material to hand, and take pictures with you. Two guides below give more information about building a reference library:
- What to Think About When Creating Period Hair and Makeup
- Creating Realistic Casualty Effects
Call Day & Arrival
Park as directed and get to where you need to be.
- Park where directed. There will usually be people from locations there to tell you where to park. Follow their instructions, as they often have to park a lot of people in a small area. Keep access routes free. If you have a lot of kit to unload, ask to be as close to the unit base makeup trailer/room as possible. You may even be able to unload first, then go park.
- Find the makeup department. If it’s your first day, find where you need to go and who you need to check in with. ADs and runners are on hand at the unit base to direct people to the right place – find them and introduce yourself and ask for the makeup dept or the MUA you need to speak to.
In the Makeup Trailer
Be useful, but don’t be a nuisance!
Makeup tents, trailers or rooms are often full of kit, people, people coming in and out, and people trying to do hair/makeup. Therefore, understanding the etiquette is important.
- Set up efficiently. If you have been allocated a section/place, set up promptly and be organised. Put your personal belongings out of the way. Don’t block access, fire routes/doors or things like cupboards.
- Turn off your phone and put it away. You are at work! It is not professional to be checking your email, messages or Facebook, except during lunch. Even if others have their phones out, you should still put yours away. Do not take it to set, unless the designer has told you to have it with you. Be aware that mobiles can interfere with sound equipment and it’s annoying to the sound recordist to keep asking for people to switch off their phones!
- Tread lightly! Makeup trailers can be very bouncy, so walk lightly, go up/down the stairs carefully and don’t slam doors. If a MUA has a brush by someone’s eye, they will not appreciate you doing a baby elephant in the trailer!
- Familiarise yourself with where things are. Know where things are kept so you can restock ot get an item for someone in a flash. Know where the tea/coffee is, spare towels and so on.
- Find a place to be so you are not in the way, but can pay attention to what is going on. When a MUA asks for something, get to it with enthusiastic and fetch! When the designer is talking to a MUA, an AD, actor, or the director about a filming-related matter, they do not want you to stick your nose in. General trailer chit chat is different, and it’s OK to join in and be social.
- Do your duties. Whatever they may be. Some designers let you know what they want, others are far less helpful and you need to be psychic. Either way, the common things for a trainee are making drinks, cleaning/tidying up, continuity printing, prepping for another makeup or de-rig. What a designer doesn’t want is you thinking you know more – you do not.
On Set & Going for a Take
Pay attention – watch, listen and learn.
A brief overview of filming a scene and what the hair/makeup department does during each aspect of filming:
- Blocking. The director, actors (or stand-ins) and 1st assistant director (the 1st AD) will discuss the scene, maybe block it and decide on artistic and technical aspects. Heads of departments will watch, when called for, to see the final block to understand what is needed. Unless your supervisor has asked you to be there, you stay well out of the way and be quiet.
- Technical set up. The technical people (sparks, riggers, camera and lighting) will set up. Everyone else moves out of the way. Actors go back to trailers, or have a drink. Now is a good time to have a clean up and a cup of tea – and offer to get your team mates one.
- Actors called to set. Once everything technical is set up ready to start filming, the actors are called back to set. You go with any actors you are responsible for.
- Positions. The 1st AD will call “Positions”, meaning everyone get to where you need to be. You will be on “standby” – that is, waiting for just before the scene gets shot to go in and do checks. There may be a rehearsal, or final discussions. Be quiet when the director is discussing the shot with the actors.
- Going for a take and checks. Once the actors and director are ready to go for a take, the 1st AD will call for “checks” (or “final checks”). This is when the artistic departments go in to do their last-minute tweaking; for example, remove hairnets, put hair into the correct starting position for continuity, top up lip products, powder and so on. If you need to spray something, be very aware of costumes, cameras and people. Always shout “Spraying” before you spray something. Do checks calmly and efficiently – don’t panic and rush. As soon as you have finished, calmly walk off set.
- The scene is shot. During which time, you stand out of the way, keep still and be silent. Keep out of the actors’ eye line and don’t make eye contact. Do not crowd round the monitor – as a trainee/assistant, you do not need to see this and can stand back.
- Cut. When the director or 1st AD shouts, “Cut”, that is the end of that take. Stay where you are. Wait to see what the 1st AD says, or what your makeup supervisor asks you to do. There may be another take, or the scene may be complete. If so, the 1st AD may say “Moving on” and should tell everyone what is happening next. Sometimes one has to be psychic!
- Getting continuity pictures. Once a scene has been shot on, this is the time to get continuity photographs. The actors and ADs know this has to happen. If you are using a flash, say “Flashing” loudly so everyone knows that a bright light is about to happen. If a scene is going again right away, you cannot get in to take pictures just yet.
- And…. it all starts again!
Basically you need to listen, watch and pay attention. Get out of the way when not needed, watch where and when you talk, and keep silent and still during a take. If you sit around looking bored or playing with your phone, what kind of impression are you making?
See something – say something!
- Safety at any workplace is ultimately everyone’s responsibility. On a film set, there are those whose key job responsibilities include safety for those around them e.g. the producer, the 1st AD, stunt co-ordinators, firearms experts when dealing with weapons, SFX teams (for rain, snow, fire, explosions etc.) and all HODs.
- Call sheets should include copies of risk assessments. Read them.
- Work safely in your environment. For example, don’t leave trailer cupboard doors open, sweep up hair, clean up spills, remember that certain things makeup use are flammable, don’t kill everyone in the trailer with a cloud of hairspray.
- If you see something that is not safe, either deal with it (if safe and appropriate to do so) or inform your supervisor/HOD or someone nearby who can help e.g. one of the AD team. Don’t be frightened to speak up and if you are ignored, then go speak to someone else who does give a damn.
Some Filming Terminology
There is a ton of jargon on set, but here are some of the commonly used words or phrases to get you started.
How a Shot is Called
First, let’s look at the way a shot is called. Contrary to popular belief, the director does not shout “Action” – this is called by the 1st Assistant Director (also called the “1st AD”). It is the responsibility of the 1st AD to make sure the set runs on time and to communicate with everyone what is happening. They do this with a series of calls:
- Checks. When the 1st AD shouts this, it lets the cast and crew know that shooting will take place shortly and is the chance for everyone to do their last checks. So, for makeup, this means getting onto the set and checking the actors and background actors hair and makeup.
- Quiet please. Basically it means “Everyone shut up and be still – we are about to roll camera.”
- Turn over. This tells the camera operator and the sound person to hit record on their equipment. Once the camera is recording, the operator says,”Speed”. Likewise, the sound person will also say “Speed”. The 2nd AD will then step in front of the camera and call the scene/take number and clap the clapper board. They then get out of the way.
- Action. The 1st AD will then shout “Action” and the actors performed the scene until the director shouts, “Cut”. The camera and sound then stop recording.
Other Common Film Set Terms
Common phrases and words you will hear on set:
- Call sheet. A document that the 2nd AD and others produce for one day’s filming. It outlines all information relevant to that day’s filming. For instance, it lists the scenes to be shot, which actors are in and when the arrive to set, locations, any extra crew/set visitors, the weather, call time, meal times and unit base address. It is handed out at the end of each day’s filming and is relevant for the next day of filming.
- Closed set. Often when there is nudity or a scene of a highly sensitive nature, the actors/director may request a closed set. This means only the essential crew and some HODs are allowed on set.
- Dailies. For hair and makeup this means the extra staff that are brought in to deal with crowd scenes. So if someone is a daily, they are there for that days shooting, usually to makeup the background artists.
- De-rig. At the end of the filming day, all the actors need to be cleaned up and the makeup trailer cleaned and tidied. This is called de-rig.
- DFI. When instructions to the crew suddenly change. For example, one shot is being set up for but, for whatever reason, minds are changed and another shot setup set up is required. Then, you may hear people saying “DFI”. Quite simply it means: “Different F**king Instruction”.
- HOD. Head of department. The makeup designer is the head of the makeup department.
- Honeywagon. The toilets.
- Sides. An A5-sized printout of the day’s filming schedule. The call sheet is on the top, with the relevant scenes attached underneath. Sides are handed out at the start of each day’s shooting.
- Split day. Means that the filming day is part daytime and part evening/night. So, filming may start at 2PM and end at 2AM the next morning.
- Unit base. Also known as “trailer city”. This is the place where all the trailers are put, including makeup, costume, artists, catering and the honeywagon. It is where you go first thing to find the makeup department, and usually where you have lunch.
- Video village. The nickname for the place where the monitor is put. The director and script supervisor will sit there, along with senior staff from makeup, props and costume. However, it often attracts a large number of other people, hence the name, and most do not need to be there.