MAKE-UP LIGHTS MUST MATCH YOUR STAGE LIGHTS – or you´re in trouble…

IF THE LIGHT IN THE DRESSING ROOM DOESN´T MATCH THE LIGHT ON STAGE, THE PERFORMERS´ MAKE-UP MIGHT LOOK REALLY WEIRD…

 

Once upon a time there was this big round Gaswork in Copenhagen.

When the city turned away from using gas, the building was supposed to be demolished.

But then Theatre Director Morten Grundwald said, hey, why not use that building as a theatre?

And so Østre Gasværk Theatre was born in 1979.

 

Picture of the Theatre Østre Gasværk in Copenhagen

 

For decades musicals, theatre concerts and plays have been performed here, as the circular stage room with its 25 meters to the ceiling and industrial look is a perfect setting for big shows.

Big shows with huge casts wearing

– enormous costumes,

– impressive wigs and

– challenging make-up.

 

Camilla Kreutzmann knows all about that.

She´s been working as a wig and make-up designer since she was 16.

Born and educated in Sweden by the best, but now settled in Denmark where she´s mainly been working for the past 25 years.

 

Wig and Make-Up designer Camilla Kreutzmann

 

“It is a really big problem in so many theatres that they don´t have proper lighting in their dressing rooms. The light has to match the light on stage.

It´s like when you put on make-up at home in your bathroom and think you´ve done a really good job, but then you go outside and check your pocket mirror, and you realize, it looks terrible. That happens because of the different color temperatures of the light.”

 

Camilla is a very busy person.

Earlier she´s been in charge of the make-up and costume department in beautifully looking TV-productions like Danish Television DR´s Pagten and Lykke.

Right now she´s juggling 4 theatre productions at the same time counting the musicals Spamalot that just opened in Tivoli, and We Will Rock You which is on in April in Royal Arena:

 

“Doing make-up for TV and for theatre are two completely different things.

– When I´m doing a stage show, I have to match the make-up and hair to the stage lights, which are always more warm and yellowish. For that I need 3200 K in the dressing room.

– When I´m doing make-up for a TV show, the lighting is often a more bluish daylight. Then I need 5600 K.

If the light in the dressing room doesn´t match the light that the audience will see the performers in, my make-up won´t look good.”

 

Camilla has also worked on Østre Gasværk many times, most recently on their musical The Pillars of the Earth. She says:

 

“Before the Gaswork changed its lighting, they used these incandescent light bulbs. There was no where enough light and these dark shadows were cast on the performers´ faces that prevented me from seing what I was doing”.

 

This is how the lighting in the dressing rooms looked before they changed it to Pipelines

 

Now Frank Beck (the production manager at Østre Gasværk) changed it to Pipelines which is just perfect. There is plenty of light around the mirrors, but there´s also Pipelines behind me…

 

Camilla explains that people tend to forget how important it is that the light coming from behind you is the same as the light around the mirrors. If it is not, it will interfere with the color temperature:

 

“The Pipelines have made my job a lot easier, because now the make-up and wigs I put on the performers look the same on stage as in the dressing room”.

 

There´s a Pipeline Raw 3 foot 3200 K hanging on each side of each mirror.

The hidden light up under the ceiling in the background is 4 Pipeline Raw 4 foot 3200 K.

In this picture the Pipelines are on 30%

 

Frank Beck has been working as a production manager at Østre Gasværk for about 5 years,

but apart from this he has 40 years of experience as a lighting designer in

theatre, TV, movies, music and even the fashion business,

so he has quite impressive knowledge in the lighting field. He sighs when recalling:

 

“I´d been getting so many complaints about the lighting in the dressing rooms from my make-up department…”

 

When asked why he chose Pipelines for the dressing rooms he says:

 

Well, I really had no choice…

I can´t get incandescent bulbs any more, and I would never use fluorescent lamps.

I needed LED make up Lighting that would match the Tungsten lighting used on stage.

I actually only know of one fixture that has the right color fidelity and high quality to do that,

and that´s the Remote Phosphor Pipeline.

And then of course that´s a lot more energy efficient as well.”

 

The Pipeline Raw comes in 1, 2, 3 or 4 foot, all in 3200 K, 4300 K and 5600 K

 

Frank continues:

 

The Pipeline gives us a reliable starting point, and in a dressing room you need that.

If red isn´t really red, and green isn´t green, the ordinary make-up will not look like you thought on stage. And then the make-up people have to redo their make-up again and again before it turns out right. That´s just not gonna work.”

 

Camilla agrees:

 

All theatres and TV studios should invest in reliable lighting sources in their dressing rooms.

But don´t buy any copies, go for the real thing. I work in one place where they just bought some cheap LED lights, some copy of a Pipeline, but the light in them simply isn´t strong enough, so they´re of absolutely no use, they just wasted their money.”

 

Watch this short video and see the Pipelines at 100%

 

Frank is happy with the way the dressing rooms have turned out:

 

“I´m counting on these Pipelines to last forever.

I´ve also bought a Pipeline Reporter kit to have behind the stage.

It can easily be moved around, so the performers and make-up people can check that everything looks perfect during a show”.

 

The portable Pipeline Reporter Kit 

 

Camilla likes the Pipeline Reporter Kit as well:

 

“They are very easy to take with you… I actually need to get my very own Pipeline kit that I can bring with me on set.”

 

Camilla recalls a recent episode with annoyance in her voice:

 

“You know what happened the other day? And this happens quite often actually.

I went to a location shoot where I had to do make-up on about 25 people.

But the production team had forgotten to bring proper lighting, or they had underestimated the importance of it.

It was such a mess.

It makes it almost impossible to do a satisfactory job.”

 

Determined she finishes up:

 

“Even though it should be the productions that brought the right equipment,

I would love to have my own private Pipeline Reporter Kit with 3200 K for theatre and a 5600 K for TV to bring with me. 

Then I would never have to be frustrated about bad lighting conditions again.”

 

 

Read more about the Pipeline here

Wanna read more articles from BB&S?