Issue link: https://digital.copcomm.com/i/1545191
LOCAL706.ORG • 15 regular people and not movie stars, so they were doing this themselves to keep the characters looking more grounded. We had several in-depth meetings and camera with our DP, Darran Tiernan, prior to shooting the show because we had to get this exactly right. We used a lot of under painting contour so it didn't look insane in color but helped define the features in black-and-white. Using the flat matte foundations erased everyone's features, so we had to put them back in. On the men and women. Funny story: We used very long lashes on the women to pop their eyes and several times the camera department had to relight because the lashes would cause crazy shadow on their faces. I am sure they wanted to kill us but we needed the lashes especially on Cat since she was oen performing and always very glamorous. THERAESA RIVERS, Department Head Hair: In terms of hair, the goal was to reflect the 1930's accurately yet have structured styles that will read between the shis of monochrome and colo,r storytelling. In black-and-white, color disappears but structure and exaggerated waves become magic on the screen. On a grayscale, dark hair with strong waves or definition will read beautifully. Yet in color it can come across as over the top and distracting. Depending on the character in Spider-Noir, this could be beneficial to the character when adding make-up and costumes. Fortunately, Lana, the Department Head Make-up, and I are friends and have department-headed many projects together. at, in itself, makes it easy to brainstorm and bounce ideas off of each other. Using boards from the costume designer, Lana and I throw out ideas to each other to determine how to make a cohesive look for each character. roughout the years, we have collected many references and created look books for our departments for quick reference. is research includes photos, movie stills, newspaper articles, and historical documents. Nicolas Cage