Make Up Standards

7/31/2019 Make Up Standards

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The Sector Skills Council for the Audio Visual Industries

NATIONAL OCCUPATIONAL STANDARDS

HAIR AND MAKE-UP

DECEMBER 2005


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HAIR AND MAKE-UP

DECEMBER 2005

1SKILLSET DECEMBER 2005

HM1

HM2

HM3

HM4

HM5

HM6

HM7

HM8

HM9

HM10

HM11

HM12

HM13

HM14

HM15

HM16

HM17

HM18

HM19

HM20

HM21

DESIGN/PREPARATION

PREPARE TO CHANGE THE PERFORMERS APPEARANCE

CREATE AND AGREE ORIGINAL DESIGN WITHIN HAIR AND/OR MAKE-UP5

FINALISE THE DESIGN WITHIN HAIR AND/OR MAKE-UP

CONTRIBUTE TO THE DESIGN PROCESS AND ACQUIRE RESOURCES FOR HAIR AND/ORMAKE-UP WORK

RESEARCH

RESEARCH THE CREATIVE ASPECTS OF THE DESIGN CONCEPT

CHANGE THE PERFORMERS APPEARANCE

APPLY MAKE-UP TO CHANGE THE PERFORMERS APPEARANCE

APPLY SPECIAL EFFECTS TO CHANGE THE PERFORMERS APPEARANCE

PREPARE,APPLY, REMOVE AND CLEAN FACIAL HAIR TO CHANGE THE PERFORMERS APPEARANCE

PREPARE AND APPLY WIGS AND HAIR PIECES TO CHANGE THE PERFORMERS APPEARANCE

APPLY TECHNIQUES TO PERFORMERS HAIR TO CREATE DIFFERENT APPEARANCES

OVERSEE FITTINGS FOR WIGS AND FACIAL HAIR

APPLY AND WORK WITH HAIR EXTENSION

PROSTHETICS

PART CAST AND MAKE SMALL PROSTHETIC PIECES AND BALD CAPS

APPLY, MAINTAIN AND REMOVE PROSTHETIC PIECES AND BALD CAPS

PRODUCE ORIGINAL LIFECASTS FOR PROSTHETIC PIECES

CREATE PROSTHETICS

RESOURCES

MAKE PURCHASES FOR HAIR AND/OR MAKE-UP

ACQUIRE RESOURCES TO MEET DESIGN REQUIREMENTS

CONTINUITY

ASSIST WITH THE CONTINUITY OF THE PERFORMERS APPEARANCE

MAINTAIN CONTINUITY OF PERFORMERS HAIR AND/OR MAKE-UP ON THE PRODUCTION

CONTRACTS

AGREE CONTRACTS FOR HAIR AND/OR MAKE-UP WORK

3

5

7

9

11

13

15

17

19

21

23

25

27

29

31

33

35

37

39

41

43


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HAIR AND MAKE-UP

DECEMBER 2005


F2

X2

X3

X4

F1

X1

F3

TRAINING

FACILITATE AND MANAGE TRAINEES

H&S

ENSURE YOUR OWN ACTIONS REDUCE RISKS TO HEALTH AND SAFETY

CONDUCT AN ASSESSMENT OF RISKS IN THE WORKPLACE

DEVELOP PROCEDURES TO CONTROL RISKS TO HEALTH AND SAFETY

FREELANCE

MANAGE AND MARKET YOURSELF AS A FREELANCER

WORKING RELATIONSHIPS/CO-ORDINATION

CONTRIBUTE TO GOOD WORKING RELATIONSHIPS

CO-ORDINATE THE DESIGN TEAM AND PERFORMERS

45

47

49

51

53

56

59


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HM1 PREPARE TO CHANGE THE

PERFORMERS APPEARANCE

PERFORMANCE STATEMENTS

this is what you must be able to do

1. prepare and organise work stations, materials and

equipment to ensure easy access and use throughout

the make up and/or hair process

2. maintain a satisfactory level of personal dress and

hygiene to avoid transmitting infection to performers

3. keep workstation materials, equipment and on-set

kit fully stocked, tidy and hygienic throughout the

production and in all working environments

4. clean make up and/or hair materials using approved

cleaning materials and methods

5. label material containers clearly with complete

information necessary for safe use.

6. handle, store and dispose of the following in a safeand hygienic manner:

make up and/or hair materials

tools

equipment

hazardous substances

7. recognise infectious or contagious skin and/or hair

conditions that could contaminate make up and/or

hair materials and equipment

8. deal with contamination of make up and/or hair

materials and equipment effectively and take the

necessary steps to avoid passing on infection to

other performers

9. advise performers about:

potential adverse reactions or discomfort

that could be caused by make up and/or

hair processes

steps that will be taken to minimise the

possibility of adverse reactions or discomfort

10. be ready to answer questions about the make up and

/or hair processes which performers will undergo


HAIR AND MAKE-UP

DECEMBER 2005



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HM2 CREATE AND AGREE ORIGINAL

DESIGN WITHIN HAIR AND/OR

MAKE-UP

UNIT OVERVIEW

This unit measures your ability to produce and finalise

the design for production within the field of hair and/or

make-up.

It involves identifying the numbers of characters and

their look from the script. It entails recognising when

special requirements and effects are required to produce

the design.

It is about estimating the preparation time and resources

needed and discussing ideas for the design with the

director. It involves changing the design when this is

necessary to accommodate the directors ideas and

agreeing compromises about the design.

This unit is most applicable to the designer role

KNOWLEDGE AND UNDERSTANDING

this is what you must know

a) how to undertake a script breakdown

b) time constraints within the production schedule

c) the budget at your disposal

d) the type and scale of the production

e) the creative preferences and prejudices of

the director

f) how to interpret the look and social background of

each character accurately

g) the effect that story time may have upon the look

of the character

h) whether special make up, hair design or special

effects are required

i) how to produce initial design ideas which are

consistent with the script and sensitive to its

characterisation

j) how to present your design ideas to decision

makers both on a one-to-one basis and at meetings

k) how and when to compromise by changing your

ideas to accommodate the directors concepts and

the constraints of the production

l) how to accurately note the agreed design ideas

m) how to negotiate budgets and timescales for your

work and with whom

n) how to clearly explain the time and budget

implications of the agreed design with management


HAIR AND MAKE-UP

DECEMBER 2005



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HM2 CREATE AND AGREE ORIGINAL

DESIGN WITHIN HAIR AND/OR

MAKE-UP



1. accurately break down the script to identify the

number of characters or performers for whom

hair and/or make-up design is required

2. evaluate the directors suggestions and ideas for

the design and consider the creative preferencesand prejudices of the director

3. analyse scripts to identify the hair and/or make-up

requirements

4. interpret the look and social background of each

character accurately

5. identify whether time affects the look of the

character at the beginning and as the story unfolds

6. accurately establish whether there are

requirements for special hair and/or make-up

design and special effects

7. produce initial design ideas which are consistent

with the script and sensitive to its characterisation

8. determine the scale and type of production you

are working on and its overall visual style

9. realistically estimate the amount of preparation

time, budget and resources required for the type

of production you are working on

10. accurately confirm the amount of preparation time

and the budget available for hair and/or make-up

design

11. present your design ideas to decision makers both

on a one-to-one basis and at meetings

12. change your ideas,when necessary, to accommodate

the directors concepts and the constraints of the

production

13. clearly explain the time and budget implications

of the agreed design with those with overall

responsibility

14. note accurately the design idea which you finally

agree with the director

15. negotiate and agree budgets and timescales and

encourage directors to agree to ideas which are

within budget and are logistically feasible


HAIR AND MAKE-UP

DECEMBER 2005



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HM3 FINALISE THE DESIGN WITHIN

HAIR AND/OR MAKE-UP

UNIT OVERVIEW

This unit measures your ability to agree and complete

the design within the field of hair and/or make-up.

It involves explaining the design to members of the

production team and finding solutions to problems

identified during the research for the production. It is

about making sure that the design works with the creative

and technical look of the production. It involves planning

and communicating your hair and/or make-up

requirements, including creating production documents

in conjunction with production management.

Finally it involves finalising your expenditure and

expenses records

This unit is most applicable to the designer role.



a) the creative preferences and prejudices of the

director and performers

b) the scale and type of production you are working

on and its overall visual style

c) problem solving techniques for creative, logistical

and technical problems

d) how to communicate hair and/or make-up

requirements,

e) required deadlines and when extra staff, facilities

and resources are needed

f) how to confirm the location and availability of

facilities required

g) how to produce accurate call times for performers

h) how to work effectively to a plan where the

shooting schedule is inexact or non-existent

i) how to agree changes and consider their

implications with the hair and/or make-up team

and other relevant department

j) those with responsibilities to approve budgets

k) the importance of finalising expenditure and

expenses with appropriate persons


HAIR AND MAKE-UP

DECEMBER 2005



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HM3 FINALISE THE DESIGN WITHIN

HAIR AND/OR MAKE-UP



1. ensure, in conjunction with the creative and technical

production team that the hair and/or make-up

design concept contributes to the production

2. take into account the scale and type of production

you are working on, its overall visual style as well

as the creative preferences and prejudices of thedirector and performers

3. develop your own documentation to create a

realistic plan, when the shooting schedule is inexact

or non-existent

4. agree changes and consider their implications with

the hair and/or make-up team and other relevant

department

5. discuss with others and use research to find

solutions to supply, logistical, creative or technical

problems

6. ensure solutions have been found for supply,

creative, logistical and technical problems that arise

during implementation of the agreed hair and/or

make-up design

7. specify clearly and promptly if your assessment is

that extra staff, facilities and resources are needed

8. produce accurate call times for performers to

allow for finalisation of hair and/or make-up with

assistance from others

9. complete your records and documentation on

expenditure and expenses to hand over to the

appropriate person


HAIR AND MAKE-UP

DECEMBER 2005



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HM4 CONTRIBUTE TO THE DESIGN

PROCESS AND ACQUIRE RESOURCES

FOR HAIR AND/OR MAKE UP WORK

UNIT OVERVIEW

This unit measures your ability to contribute to the design

process and obtain resources for hair and/or make-up.

It involves selecting materials and equipment that suits

the needs of a production and personal kit for this type

of work.

It is about finding suppliers who can provide materialsand equipment and negotiating with suppliers for the

provision of materials and equipment.

It involves making sure that you keep accurate records

of the materials and equipment you obtain.

This unit is most applicable to the Artist role.



a) the requirements of the design brief

b) time constraints of the production schedule

c) the importance of clarifying roles and responsibilities

with hair designer and production colleagues

d) how to source supplier details

e) methods to record and store research information

for future reference

f) the materials and equipment that are required and

criteria to take into account when evaluating

suppliers including the required:

quality

quantity

type

cost

time schedule

health and safety regulations applicable to

hair and/or make-up work

g) the budget at your disposal and who is the relevant

person(s) to sanction expenditure

h) how to negotiate and agree terms and conditions

with suppliers for the supply or hire of materials

and equipment

i) documentation required for the supply of materials

and equipment

j) methods for keeping and filing documentation for

materials and equipment obtained for such work

k) how to deal with problematic time scales and

suppliers promptly and effectively


HAIR AND MAKE-UP

DECEMBER 2005



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HM4 CONTRIBUTE TO THE DESIGN

PROCESS AND ACQUIRE RESOURCES

FOR HAIR AND/OR MAKE UP WORK



1. agree the requirements of the design brief with the

designer and production colleagues

2. agree roles and responsibilities with the designer

and production colleagues

3. make contributions to the design, and use initiative to

promote the smooth running of the design process

4. research different suppliers to enable effective

choice of materials and equipment

5. record and store research information for future

reference

6. ensure that potential suppliers understand the

purpose of materials and equipment and are ableto advise appropriately

7. ensure that selected suppliers are able to supply

the appropriate materials and equipment for the

work to meet your requirements

8. ensure that selection and cost of materials and

equipment is sanctioned by production sources

where appropriate

9. negotiate and agree terms and conditions with

suppliers for the supply or hire of materials and

equipment

10. prepare clear and specific documentation for the

supply of materials and equipment for work

11. keep and file documentation for materials and

equipment obtained for hair and/or make-up work

12. deal with supply delays promptly and effectively


HAIR AND MAKE-UP

DECEMBER 2005



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HM5 RESEARCH CREATIVE ASPECTS

OF THE DESIGN CONCEPT

UNIT OVERVIEW

This unit measures your ability to examine the creative

elements of the design concept.

It involves researching the period of the story and any

special requirements, including the creative aspects of

the design. It is about obtaining ideas about the

characters look from performers.

It entails ascertaining whether hirers, makers or retailerscan supply the design concept within the budget and by

the deadlines. It includes finding out whether the staff

and facilities you require are available.

This Unit could be applicable to several roles, but is

most applicable to the Artist or Designer role



a) the original design concept

b) time constraints within the production schedule


d) the scale and type of the production

e) the time period in which the production is set and

the hair and/or make-up implications of this

f) how to interpret the information collected

sensitively and consistently with the original design

idea agreed with the director

g) how to judge whether you have enough reliable

information to make creative decisions

h) the creative preferences and prejudices of the

director and performers

i) potential suppliers at your disposal

j) how to ensure that there are sufficient staff with

the necessary skills to fulfil the design concept

k) whether special hair and/or make-up requirements

and special effects are needed

l) what action to take in the event of shortfalls in the

quantity and quality of materials, staff or facilities


HAIR AND MAKE-UP

DECEMBER 2005



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HM5 RESEARCH CREATIVE ASPECTS

OF THE DESIGN CONCEPT



1. access all the sources you need to research the

creative aspects of the design based on the original

design concept

2. ensure that sufficient information about the

period of the production and hair and/or make-up

requirements are collated to make creativedesign decisions

3. search for alternatives when initial sources do not

provide enough reliable information

4. encourage performers to explain their ideas about

the character and how it will be played

5. interpret the information collected sensitively and

consistently with the original design idea agreed

with the director

6. judge whether you have enough reliable information

to make creative decisions

7. consider the creative preferences and prejudices of

the director and performers

8. ensure that any changes to the original design

concept are agreed with the director, when these

are justified by the results of the research

9. the scale and type of production you are working

on and its overall visual style

10. assess whether the facilities for hair and/or make-up

are sufficient and of the quality and quantity

required to fulfil the design concept

11. determine the special hair and/or make-up

requirements and special effects are needed

12. find alternative sources of supply when current

suppliers cannot meet your requirements

13. manage shortfalls in the quantity and quality of

materials, staff or facilities in the best way feasible

14. find alternatives, or if this is not possible, modify

facilities when what is provided is inadequate


HAIR AND MAKE-UP

DECEMBER 2005



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HM6 APPLY MAKE UP TO CHANGE

THE PERFORMERS APPEARANCE

UNIT OVERVIEW

This unit measures your ability to alter the performers

appearance using make up.

It involves making sure that the performer is comfortable

and fully informed about the particular make up process.

It is about checking that make up is compatible with the

performers skin, taking action if there is an adverse skin

reaction and applying the selected make up to achieve

the desired effect on camera.



a) the design requirements as communicated to you

by the relevant person(s)

b) the time constraints of the production schedule

c) heath and safety requirements for make-up

application

d) how to minimise personal discomfort to performers

e) how to explain the make up process to performers

f) the types of make up available for your use and

their suitability

g) how to test for adverse skin reactions

h) what actions to take where make up:

deteriorates

causes adverse skin reactions

i) the correct sequence and techniques for make-up

application

j) how to remove make up as required


HAIR AND MAKE-UP

DECEMBER 2005



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HM6 APPLY MAKE UP TO CHANGE




1. clarify and agree the design requirements with the

relevant person(s)

2. position performers in the most appropriate

position to minimise personal discomfort

3. evaluate the types of make up best suited to

different shooting conditions and make your

selection accordingly

4. check that the selected make up is compatible with

performers skin type and test for potential adverse

skin reactions

5. apply selected make up using the appropriate

sequence and techniques as stipulated by the

design requirements and the relevant person(s)

6. take appropriate action where make up:

causes adverse skin reactions

deteriorates

7. ensure that the finished make up achieves the design

criteria on camera

8. complete make up in accordance with the

production schedule

9. ensure that performers make up is removed as

required


HAIR AND MAKE-UP

DECEMBER 2005



16/61

HM7 APPLY SPECIAL EFFECTS TO

CHANGE THE PERFORMERS

APPEARANCE

UNIT OVERVIEW

This unit measures your ability to apply special effects

make up and bald caps to alter performers appearance.

It involves carrying out the necessary tests to check for

harmful skin and scalp reactions and ensuring that

performers are comfortable during the application

process. It is about assessing whether different skin and

scalp types are well suited to the special effects make up

materials and bald caps intended for use

It involves taking the appropriate action when special

effects make up or bald caps disintegrate under shooting

conditions and considering the appropriate health and

safety regulations.

This unit could be applicable to all roles, but is most

applicable to the role of an Assistant





b) the time constraints of the production schedule

c) how to test for adverse skin and scalp reactions

d) what actions to take where special effects make-up

or bald caps:

deteriorate

cause adverse skin reactions

e) appropriate methods of skin and scalp preparation

f) different shooting conditions and how this can

affect special effects make up and bald caps

g) how to apply bald caps to the correct fit, texture

and tension

h) the techniques of airbrushing and how to apply itto skin and manmade fabrics

i) make up application techniques

j) the on camera requirements of the design

specification

k) how to remove the special effects make up and

bald caps carefully to reduce performers

discomfort

l) health and safety requirements applicable to the

application of special effects make up and bald caps


HAIR AND MAKE-UP

DECEMBER 2005



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HM7 APPLY SPECIAL EFFECTS TO

CHANGE THE PERFORMERS

APPEARANCE



1. position performers appropriately for special effects

application to minimise personal discomfort

2. inform performers fully of the special effects

application stages and invite their questions

3. test special effects to be applied to performers

skin and scalp for adverse reactions

4. prepare the skin and scalp appropriately for the

type of contact material used

5. ensure that the special effects make up and bald caps

are sustained under different shooting conditions

6. take appropriate action in the eventuality that

special effects:

cause adverse skin or scalp reactions

disintegrate under different shooting

conditions

7. prepare hair and scalp for the fitting of bald caps

8. apply bald caps ensuring that the fit, tension and

texture is correct as advised by the relevant person

9. airbrush skin caps to the required colour andskin tone

10. airbrush other skin areas to the required colour

and skin tone

11. apply selected special effects make up in the

appropriate sequence, using appropriate techniques

as advised by the relevant person(s)

12. ensure that finished special effects attain the design

criteria on camera

13. remove the special effects make up and bald caps

carefully to reduce performers discomfort


HAIR AND MAKE-UP

DECEMBER 2005



18/61

HM8 PREPARE,APPLY, REMOVE AND

CLEAN FACIAL HAIR TO CHANGE


UNIT OVERVIEW

This unit measures your ability to use facial hair to change

performers appearances.

It involves applying, fixing and dressing the facial hair to

achieve the required design and the desired effect on

camera.

It involves ensuring that performers are comfortable andfully informed about the application and fixing of the

facial hair. It is about selecting adhesives, which are skin

compatible, preparing skin and taking action if there is an

adverse skin reaction.


applicable to the role of assistant





b) the time constraints within the production schedule

c) the health and safety requirements of facial hair

application and removal

d) the application and fixing process of loose and

facial hair

e) how to complete skin tests

f) what action to take in the event of an adverse skin

reaction

g) the criteria to consider when selecting facial hair,

material and adhesives

h) the on camera requirements of the design

specification

i) how to maintain facial hair

j) the different dressing techniques required for false

and human hair

k) how to block and dress facial hair to meet the

design requirements

l) how to remove facial hair safely

m) where and how to store facial hair

n) how to maintain tools and equipment


HAIR AND MAKE-UP

DECEMBER 2005



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HM8 PREPARE,APPLY, REMOVE AND

CLEAN FACIAL HAIR TO CHANGE




1. clearly and fully inform performers of the process

of applying and fixing facial hair and ensure they are

positioned comfortably

2. test performers skin for potential adverse

reactions to : adhesives

removers

facial hair

3. take immediate, appropriate action if the skin

adhesive causes harmful skin reactions

4. select the facial hair that you will use with regard

to the:

performers skin type

need for durability

potential effects on facial hair caused by

conditions during shooting

dressing techniques required

effects of styling and finishing products upon

facial hair

look required

5. select the types of adhesives to fix facial hair whilst

having regard to:

potential adverse skin effects

the required mobility and security of facial hair

6. block and dress facial hair to meet the design

requirements and the type of facial hair used

7. apply facial and loose hair in accordance with the

requirements of the design brief

8. check with the relevant person(s) that facial and

loose hair produces the desired effect on camera

9. ensure that loose and facial hair is safely removed,

stored and maintained in the appropriate manner

10. keep facial hair, tools and equipment in good

condition by using the appropriate cleaning

methods and materials


HAIR AND MAKE-UP

DECEMBER 2005



20/61

HM9 PREPARE AND APPLY WIGS AND

HAIR PIECES TO CHANGE THE


UNIT OVERVIEW

This unit measures your ability to implement various

methods and techniques to alter performers appearances

using wigs and hairpieces.

It involves explaining the application and fixing of wigs

and hairpieces to performers. It is about positioning wigs

and hairpieces to meet the design requirement and

desired effect on camera.

It involves ensuring that the wigs and hairpieces are

clean and dry, as well as using tools and equipment to

cut, set and dress wigs and hairpieces to achieve the

required effect.


applicable to the role of an assistant.



a) the fixing process of wigs and hairpieces

b) how to complete skin tests and what action to

take in the event of an adverse skin reaction

c) the criteria to consider when selecting wigs and

hairpieces

d) the criteria to consider when selecting hair

materials and adhesives

e) the required mobility and security of wigs and

hairpieces

f) how to clean, dry and set wigs and hairpieces

g) the different cutting techniques required for false

and human hair

h) how to block or position wigs to meet the design

requirements

i) where and how to store wigs and hairpieces

j) how to maintain tools and equipment


HAIR AND MAKE-UP

DECEMBER 2005



21/61

HM9 PREPARE AND APPLY WIGS AND

HAIR PIECES TO CHANGE THE




1. clearly and fully inform performers of the process

to fix wigs and hairpieces.

2. place performers in a comfortable position for wig

and hair piece application that minimises disruption

to others

3. test performers skin for potential adverse reactions

to the following:

adhesives

removers

wig hair

4. take appropriate action if the skin compatible

adhesive causes harmful skin reactions

5. select the wigs and hairpieces that you will use

having regard to the following:

performers skin

production schedule

potential effects on wigs and hairpieces

caused by shooting conditions

cutting techniques required

the effects of styling and finishing productsupon wigs and hairpieces

6. select the appropriate types of hair materials and

adhesives to fix wigs and hairpieces having regard

to the following:

potential adverse skin effects

the required mobility and security of wigs

and hairpieces

7. use correct methods, tools and materials to clean,

dry, cut and set wigs and hairpieces prior to dressing

8. block or position wigs and hairpieces appropriately

to meet the design requirements and the type of

wig and hair piece used

9. ensure that wigs and hair pieces are correctly and

safely removed

10. store wigs and hairpieces in the appropriate manner

11. maintain tools and equipment used to achieve the

design


HAIR AND MAKE-UP

DECEMBER 2005



22/61

HM10 APPLY TECHNIQUES TO

PERFORMERS HAIR TO CREATE

DIFFERENT APPEARANCES

UNIT OVERVIEW

This unit measures your ability to undertake various

cutting, temporary colouring, setting and dressing methods

to produce different appearances to performers hair.

It involves making sure that performers are comfortable

and fully informed about the process. It is about using

the right tools, products and methods to cut, temporarily

colour, set and dress hair and ensuring that the hairstyle

is sustained under shooting conditions.

It involves taking in to account the health and safety

aspects when cutting, temporarily colouring, setting and

dressing hair.

This unit could be applicable to all roles, but most

applicable to the role of assistant





b) the time constraints within the production schedule

c) how to complete skin tests

d) what action to take in the event of an adverse

skin reaction

e) health and safety requirements applicable to thecutting, setting, temporary colouring and dressing

techniques

f) methods for cutting, setting, temporary colouring

and dressing of hair

g) how to handle and use different tools and products

h) different styling, finishing products and techniques

available to achieve the required design

i) the importance of following instructions on how to

sustain the finished style throughout all shooting

conditions

j) methods to maintain and keep tools and products

clean and safe for use


HAIR AND MAKE-UP

DECEMBER 2005



23/61

HM10 APPLY TECHNIQUES TO

PERFORMERS HAIR TO CREATE

DIFFERENT APPEARANCES



1. agree and select the cutting, setting, temporary

colouring and dressing techniques to meet the

design requirements with the relevant person(s)

2. agree and select with the relevant person the tools

and products that will be needed to achieve theagreed look and effect

3. position performers appropriately for re-styling

hair to minimise personal discomfort

4. test performers skin for potential adverse reactions

to the products intended for use.

5. take immediate and appropriate action if adverse

reactions are caused.

6. use appropriate methods to prepare hair for the

techniques you have selected

7. implement techniques as agreed with the relevant

person(s) using safe and approved methods

8. use styling and finishing techniques to achieve the

look and design you were instructed to achieve

9. ensure the required hair style is sustained

throughout shooting conditions

10. maintain tools and products for safety and

hygiene purposes


HAIR AND MAKE-UP

DECEMBER 2005



24/61

HM11 OVERSEE FITTINGS FOR WIGS

AND FACIAL HAIR

UNIT OVERVIEW

This unit is about overseeing the fittings for wigs and

facial hair as used in the production.

It involves agreeing which performers will be wearing

wigs and facial hair and ensuring that the style of wigs

and facial hair is in accordance with the design

requirements of the production.

Having selected the style of wigs and facial hair, it involvesobtaining the appropriate measurements of individual

performers to calculate the dimensions required for the

wig and facial hair. It also require that you abide within

time and budgetary constraints whilst having regard to

health and safety considerations.


applicable to the Artist.




b) time and budgetary constraints to be applied to

hair and/or make-up fittings and preparation

c) the health and safety requirements of fitting and

measuring wigs and facial hair

d) the importance of checking with the performer

about past allergies and other sensitivities

e) factors to be considered when deciding on which

wigs and facial hair to use including:

the design requirements of the production

the face and head shape of the performers

who will be wearing wigs and facial hair

f) how to access information to confirm the

complexion and hair colouring of performers

g) how to take measurements of the appropriate

head and facial area and prepare a wig template

h) how to record measurements and ensure that they

are easily accessible to the relevant person(s)

i) how to communicate clearly the design

measurements and requirements to suppliers

j) the appropriate fitting and cutting techniques

k) how to obtain a pattern of the performers beard

growth if required


HAIR AND MAKE-UP

DECEMBER 2005



25/61

HM11 OVERSEE FITTINGS FOR WIGS

AND FACIAL HAIR



1. agree the key aspects of the design brief with the

relevant person that impacts on your work

2. select the wigs and facial hair that you intend to

use based on key criteria

3. fully inform the performers of the fitting and

measurement process for wigs and facial hair and

provide opportunities for questions

4. place performers in a comfortable position and

which minimises disruption to others

5. obtain and record key measurements of the head

and facial area to obtain a template

6. pass on accurately all the measurements and style

requirements to those supplying the items required

7. ensure arrangements are made convenient to the

performer for the trial fitting of the wig and

facial hair

8. determine if the items fit in accordance with your

measurements of the performer and whether

some additional trimming will be required

9. undertake cutting or trimming as appropriate to

achieve the desired effect

10. where appropriate, obtain a beard pattern from

performers and record the details accurately


HAIR AND MAKE-UP

DECEMBER 2005



26/61

HM12 APPLY AND WORK WITH HAIR

EXTENSIONS

UNIT OVERVIEW

This unit measures your ability to implement various

techniques to attach, maintain, colour and style hair

extensions.

It involves assessing the design requirements and

considering which performers will require hair extensions.

It is about evaluating performers hair and employing

methods to attach hair extensions that will be safe and

comfortable.

It is also about maintaining the extensions for the period

that they are required throughout the production and

advising performers how to maintain them as appropriate.

It also involves removing extensions safely and with the

minimum of discomfort when they are no longer required.

This Unit could be applicable to all roles, but is most

applicable to the Artist.




b) time and budgetary constraints for the hair and/or

make-up department

c) the health and safety requirements of applying,

maintaining, colouring and styling hair extensions

d) the factors to bear in mind when selecting hair

extensions including:

if any of the performers original hair will

remain visible

the weight of the hair extensions

the methods of attachment to employ

the condition of the performers original hair

and how this will affect the materials and

methods that you can select

e) identify potential adverse scalp reactions and action

to take in the event of such a reaction

f) the importance of checking with the performer

about past allergies and other sensitivities

g) the required mobility and security of the extensions

h) the type of materials that you will be using for the

extensions and how this will affect your colouring

and styling products and techniques

i) the appropriate methods for applying hair extensions

j) how to colour and style hair extensions

k) methods of maintaining hair extensions

l) how to remove extensions safely and carefully


HAIR AND MAKE-UP

DECEMBER 2005



27/61

HM12 APPLY AND WORK WITH HAIR

EXTENSIONS



1. discuss the contents of the design brief with the

relevant person to establish the requirements for

your work

2. select the hair extension materials and techniques

that you will use based on key criteria

3. clearly and fully inform performers of the hair

extension application process and invite

their questions

4. place performers in a comfortable position that

minimises disruption to others

5. prepare the performers hair and apply hair

extensions securely with the minimum of

discomfort to the performer

6. colour and style hair extensions to match

requirements and with the minimum of discomfort

to the performer

7. check that the hair extensions will be maintained

for the time period for which they are required

8. advise the performer of any maintenance

techniques that they will need to adhere to

9. ensure that the required look of the hair

extensions is achieved throughout on camera

10. remove hair extensions safely and thoroughly with

the minimum of discomfort to the performer


HAIR AND MAKE-UP

DECEMBER 2005



28/61

HM13 CAST AND MAKE SMALL

PROSTHETIC PIECES AND BALD CAPS

UNIT OVERVIEW

This unit involves creating bald caps and small prosthetic

pieces such as facial parts, scars etc.

As the process sometimes involves producing part casts

to make such small prosthetics you will be required to

show you can part cast. It is recognised that some pieces

can be created without requiring a cast to be taken and

you will also need to show you can make those, too. It

also involves creating a pattern to fit the individual

performers head shape to produce a bald cap.

Finally, it also involves treating the performer with care

and ensuring they are made as comfortable as possible

during the process.

This unit could be applicable to several roles, but is most

applicable to the Artist




b) the timescale and budget at your disposal

c) health and safety requirements applicable to part

casting and making small prosthetic pieces and

bald caps

d) the importance of checking if the performer has a

history of allergies and other sensitivities

e) the following processes for creating smallprosthetic pieces:

preparation techniques

casting and removal procedures

emergency procedures

positioning of joining sections

trimming and marking of the positive

impression

f) how to obtain replication of the performers

features without defects or distortion of the cast

g) the appropriate techniques, materials and methods

to create sculptures and moulds

h) the appropriate techniques, materials and methods

to create small prosthetic pieces that do not

i) require the use of casting, sculpting or moulding

procedures before their application

j) how to ensure that the sculpture and mould meets

all technical requirements to enable the satisfactory

production of the finished prosthetic appliance

k) how to remove the cast safely and restore the

performers skin and hair to its original condition

l) how to make a pattern to fit the individual head

shape of the performer

m) how to transfer the pattern to a head block

n) the appropriate techniques, materials and methodsto create bald caps


HAIR AND MAKE-UP

DECEMBER 2005



29/61

HM13 CAST AND MAKE SMALL




1. confirm whether the performer has any medical

condition that could preclude them from having a

cast taken,

2. obtain medical advice and other supervision

permission where necessary

3. ensure that the performers skin, hair, facial hair

and clothing are suitably prepared

4. position the performer to minimise personal

discomfort

5. explain the preparation, casting and removal

techniques to the performer and provide

opportunities for questions

6. ensure the performer is clear on what to do if anemergency arises during the process

7. obtain replication of the performers features

without defects or distortion of the cast

8. remove the cast safely and restore the performers

skin and hair to its original condition

9. employ the appropriate techniques, materials and

methods to create sculptures and moulds

10. use the appropriate technique, materials and

methods to create small prosthetic pieces that can

be applied directly to the performer

11. ensure that the sculpture and mould meets all

technical requirements to enable the satisfactory

production of the finished prosthetic piece

12. make a pattern that fits the individual head shape

of the performer

13. transfer the pattern to a head block

14. use the appropriate techniques, materials and

methods to create bald caps


HAIR AND MAKE-UP

DECEMBER 2005



30/61

HM14 APPLY, MAINTAIN AND REMOVE


UNIT OVERVIEW

This unit measures your ability to use the appropriate

techniques to work with small prosthetics pieces and

which will include applying, maintaining and removing the

prosthetic pieces.These pieces will include items such as

facial parts and bald caps.

It involves ensuring that performers are comfortable and

fully informed of the procedures you are undertaking

with them. It is about preparing skin and positioning

prosthetics to meet the design requirement on camera.

It also involves maintaining the pieces throughout the

production and removing them in a manner that is safe

and causes the least discomfort to the performer.


applicable to the Artist or Prosthetic Technician




b) budgetary and time constraints

c) health and safety requirements relating to the

application, maintenance and removal of small

prosthetic pieces

d) how to perform tests for skin compatibility,

adverse skin reactions and the importance of

checking performers history of allergies or other

sensitivities

e) what action to take in the event of an adverse skin

reaction

f) how to prepare the skin appropriately for the type

of contact material used

g) the required mobility and security of the

prosthetics the templates, measurements and blocksize that are appropriate for the performer and the

design brief

h) how to remove the prosthetic carefully to minimise

the performers discomfort

i) storage methods for smaller prosthetic pieces

j) how to clean tools and equipment


HAIR AND MAKE-UP

DECEMBER 2005



31/61

HM14 APPLY, MAINTAIN AND REMOVE




1. agree the requirements of the design brief with the

relevant person and the smaller prosthetic pieces

that will be required

2. prepare the skin appropriately for the type of

contact material used

3. perform skin tests and take appropriate action in

the event of an adverse skin reaction

4. check the compatibility of the following with the

performers skin:

finishing make up

adhesives

5. position performers correctly to achieve the

desired effect and minimise discomfort

6. keep performers informed fully of the application

stages and provide opportunities for questions

7. apply skin compatible adhesives in positions that

permit the required mobility and security of the

prosthetics during shooting

8. ensure templates, measurements and block size are

appropriate for the performer and the design brief

9. ensure the appropriate block release agents and

sealers are used

10. position prosthetics to meet the design requirement

11. use the correct type of make up on the prosthetic

and ensure the finished look meets the design

criteria on camera

12. ensure that the prosthetic is sustained under

shooting conditions

13. complete the application and fixing of prosthetics

to the production schedule taking into account the

possible discomfort for the performer

14. remove the prosthetic carefully to minimise the

performers discomfort

15. store the prosthetics correctly and keep accurate

records of methods, formula and process to enable

future replication

16. use appropriate materials to clean tools and

equipment


HAIR AND MAKE-UP

DECEMBER 2005



32/61

HM15 PRODUCE ORIGINAL

LIFECASTS OR PROSTHETIC PIECES

UNIT OVERVIEW

This unit measures your ability to create original lifecasts

for prosthetic pieces.The work can be carried out to

demonstrate your competence in producing EITHER

original large lifecasts for face, full head, sectional and

body casts, OR original small lifecasts for prosthetic

pieces such as for facial features.

It is about informing and preparing performers for

lifecasting, monitoring them through the lifecasting process,

minimising their discomfort and working within health

and safety laws and safer working practices.

This Unit is most applicable to the role of Prosthetic

Technician.





c) medical conditions that could prevent or hinder a

lifecast being taken

d) the relevant person(s) to provide advice, supervise

or permit casts to be taken

e) health and safety requirements and safer workingpractices applicable to the production of the

original lifecasts

f) the importance of checking the performers history

of allergies or other sensitivities

g) how to obtain accurate replication of the performer

without defects or distortion of the life cast

h) how to remove the cast safely and restore the


i) how to carry out the following processes:

preparation techniques

casting and removal procedures

emergency procedures

positioning of joining sections, seams, stop

lines and keys

casting techniques and materials to create

the positive lifecast impression

trimming, finishing and marking of thepositive impression

j) the materials and release agents that you will need

to use and how to prepare them


HAIR AND MAKE-UP

DECEMBER 2005



33/61

HM15 PRODUCE ORIGINAL

LIFECASTS OR PROSTHETIC PIECES



1. confirm the requirements of the design brief

2. confirm whether the performer has any medical

condition that could preclude or hinder them form

having a life cast taken

3. ensure that performers skin, hair, facial hair and

clothing are suitably prepared and protected

before casting

4. position performers to minimise personal

discomfort and optimise working ability

5. explain the preparation, casting and removal

techniques to the performer and provide

opportunities for questions

6. ensure the performer is clear on what to do if anemergency arises during the lifecasting process

7. following health and safety requirements and safe

working practices, ensure that the following items

are appropriate for their purpose and are utilised

in an appropriate manner:

the working area

materials

tools and equipment

8. determine the position of separate or joining

sections, seams, stop lines and keys

9. ensure that materials and release agents are of the

appropriate type and quantity for casting, and are

prepared, compounded and applied safely using

approved methods

10. obtain accurate replication of the performer

without defects or distortion of the life cast

11. maintain the safety and well being of the performer

during the casting process

12. remove the lifecast safely and restore the


13. ensure that the lifecast produced in joining sections

meets the appropriate technical requirements

14. produce a positive impression of the lifecast to the

design brief ensuring surface detail.

15. trim and mark the completed positive impression

accurately and store it preventing any

deterioration, distortion or damage


HAIR AND MAKE-UP

DECEMBER 2005



34/61

HM16 CREATE PROSTHETICS

UNIT OVERVIEWThis unit measures your ability to create prosthetics.The

work can be carried out to demonstrate your competence

in creating EITHER large/extensive prosthetics such as

larger facial pieces, multiple or overlapping appliances

and larger body pieces OR small prosthetic pieces such

as small facial parts.

It is about ensuring that the design requirements are

complied with and that the production methods and

materials used create realistic prosthetics that achieve

the make up design. It entails ensuring that the relevant

health and safety legislation and safer working practices

are maintained throughout the process.

It involves ensuring that sculptures,moulds and prosthetics

are technically precise and artistically appropriate to the

design requirements of the production.

It involves preventing deterioration or distortion to the

sculptures, moulds and resultant prosthetic appliances

This unit is most applicable to the role of Prosthetic

Technician.





c) health and safety criteria relevant to sculpting,

moulding and casting prosthetics

d) the different techniques, materials, and methods

employed to create appropriate sculptures,

accurate moulds and precise prosthetics

e) how to make sure the sculpture/mould meets all

technical and artistic requirements to enable the

satisfactory production of the finished prosthetic

appliance

f) the manufacturers instructions, safety data sheets

and approved methods for sculpting, moulding and

casting prosthetics

g) how to make certain any replication or transfer ofwhole or sectional sculpture meets the design brief

and is undertaken avoiding any distortion or damage

h) the appropriate sealers and release agents on

prosthetic sculptures and mould surfaces for

prosthetics

i) how to prevent deformation and impairment when

separating the mould and rejoining sectional moulds

j) how to use appropriate methods to finish, store

and remove sculptures, moulds and prosthetics to

avoid deterioration, distortion and damage

k) how to safely handle, store and dispose of materials

and equipment used in the creation of prosthetics

l) how to keep accurate records of methods,

formulations, timing and processes for the production

of the prosthetic appliance


HAIR AND MAKE-UP

DECEMBER 2005



35/61

HM16 CREATE PROSTHETICS

PERFORMANCE STATEMENTSthis is what you must be able to do

1. ensure that the working area, materials, tools and

equipment are ready and available for use

2. communicate the design requirements to the

relevant person(s), advising where necessary of the

different techniques, materials, and methods that

should be used

3. ensure that sculptures and/or moulds meet all

technical and creative requirements to enable the

satisfactory production of the finished prosthetic

appliance

4. decide upon the appropriate placement of appliance

overlaps or blending edges in relation to the

performer and the design brief

5. ensure all materials are compounded, handled,

stored and disposed of in accordance with the

manufacturers instructions, safety data sheets,

approved working practices and health and safety

legislation

6. ensure that you prevent deformation and impairment

when separating the mould and rejoining sectional

moulds

7. ensure that you employ appropriate colouring and

finishing techniques for the prosthetics

8. finish, store and remove sculptures and resultant

moulds to avoid deterioration,distortion and damage

9. keep accurate records of methods, formulations,

timing and processes for the production of the

prosthetic appliance


HAIR AND MAKE-UP

DECEMBER 2005



36/61

HM17 MAKE PURCHASES FOR HAIR

AND/OR MAKE UP

UNIT OVERVIEW

This unit is about monitoring stocks of hair and/or

make-up products and recognising when it is necessary

to replenish supplies. It also covers the need to handle

cash and make purchases. It involves ensuring the correct

products are purchased and informing a suitable colleague

if certain items are unavailable.

This unit is most applicable to the role of an Assistant.



a) it is necessary to replenish stock and who to inform

b) where to obtain specific hair and/or make-up items

c) how to keep purchases within budget

d) the correct quantity of products required

e) the importance of checking products to ensure

they are not damaged and are correct

f) how to monitor supplies and keep appropriate

stock records

g) how to handle products to avoid damage or spillages

h) the need to keep receipts and/or record of purchases

i) how to fill out a purchase/order form and get the

appropriate signature.

j) where and how resources should be, labelled,stored and arranged


HAIR AND MAKE-UP

DECEMBER 2005



37/61

HM17 MAKE PURCHASES FOR HAIR

AND/OR MAKE UP



1. monitor supplies of hair products and resources

2. monitor supplies of make-up and associated

resources/equipment

3. identify when stock needs to be replenished

4. promptly inform appropriate colleague of need toreplenish stock

5. identify any other miscellaneous resources that

may be required by colleagues

6. ensure you are given sufficient funds to

make purchases

7. make accurate records of resources to be purchased

8. handle cash responsibly

9. purchase only those items as needed/instructed

10. inform appropriate colleague promptly of

unavailable items and/or available alternatives

11. note price changes of products and inform

appropriate colleague if necessary

12. select products carefully to ensure they are correct

and are not damaged

13. select the appropriate quantity of products

14. handle purchases carefully to avoid damage/spillages

15. ensure you are given the correct change and obtain

a valid receipt

16. fill out a petty cash form and attached receipts and

get the appropriate signature

17. store, label, products and arrange as instructed

18. update stock records as appropriate


HAIR AND MAKE-UP

DECEMBER 2005



38/61

HM18 ACQUIRE RESOURCES TO MEET

DESIGN REQUIREMENTS

UNIT OVERVIEW

This unit measures your ability to obtain resources to

meet design requirements using your allocated budget

within the field of hair and/or make-up.

It involves deciding what services to use and arranging

fittings or appointments with service providers. Examples

of suppliers could be providers of wigs, prosthetics, special

effects, a hairdresser specially requested by the performer.

It also involves discussing designs with them and

confirming that their work is satisfactory. It is about

making sure that performers are happy with the work of

the service providers.

It entails selecting the providers of materials and equipment

and choosing the amount and quality of products to meet

creative and budgetary requirements. It includes dealing

with the special requirements that may arise as a result

of a performers appearance needs and maintaining that

the money spent is within the budget limits.


applicable to the Designer role.



a) how to identify the creative and technical

requirements of the design work to be done



d) how to select and communicate effectively with

service providers

e) how to arrange fittings and appointments withinproduction deadlines, which are convenient to

performers, yourself and service providers

f) how to monitor the nature and quality of

providers work

g) how to ensure that performers and director are

satisfied with providers working methods and results

h) how to obtain special materials or equipment

required because of performers physical needs or

artistic preferences

i) the correct quantity and types of materials required

j) how to agree the terms and conditions for

supplying materials and equipment with suppliers

k) how to keep accurate records of what you have

ordered and what has been supplied

l) how to resolve any problems with the availability,

quantity or quality of materials and equipment,

when these arise during the design process

m) how to keep accurate records of your expenditure

and associated documents

n) how to monitor expenditure and anticipate budget

over-spending and agree suitable solutions


HAIR AND MAKE-UP

DECEMBER 2005



39/61

HM18 ACQUIRE RESOURCES TO MEET

DESIGN REQUIREMENTS



1. identify the creative and technical requirements of

the design work to be done

2. establish what your budget is and what it covers

3. select service providers who are able to meet the

creative, budgetary and logistical requirements of

the production

4. explain the design requirement to service providers

including any special requirements

5. acknowledge providers suggestions and indicate

whether you accept them

6. arrange fittings and appointments within production

deadlines, and are convenient to performers,

yourself and service providers

7. monitor the nature and quality of providers work

8. ensure that performers and director are satisfied

with providers working methods and results and

conduct relationships with providers in a way that

promotes the best design results

9. choose suppliers of materials and equipment who

can meet the requirements of the design schedule

within your budget

10. obtain special materials or equipment required

because of performers physical needs or artistic

preferences

11. select the correct quantity and types of materials

required, taking into account the design and

production schedules and deadlines

12. agree the terms and conditions for supplying

materials and equipment with suppliers and keep

accurate records of what you have ordered and

what has been supplied

13. resolve any problems with the availability, quantity

or quality of materials and equipment, when these

arise during the design process

14. keep accurate records to monitor your expenditure

and budget usage

15. provide the accounts department with accurate

information about expenditure

16. recognise budget overspends, identify the reasons

for it and agree action to deal with it


HAIR AND MAKE-UP

DECEMBER 2005



40/61

HM19 ASSIST WITH THE CONTINUITY

OF THE PERFORMERS APPEARANCE

UNIT OVERVIEW

This unit measures your ability to assist in the maintenance

of continuity of the performers appearance.

It involves ensuring that performers hair and/or make up

match the design specification at the start of shooting

and where appropriate, at the end of the previous

sequential take. It is about deciphering the developing

effects presented in the script.

It also involves keeping complete and accurate continuity

records and making sure that your presence on the set

is not intrusive or disruptive.

This unit is most applicable to the role of an assistant.





b) materials and equipment for recording information

that will be required for the production

c) how to maintain continuity of performers

appearance throughout the production

d) who is the relevant person to agree that performers

make up and/or hair meets the design specification

for the production

e) how to check the implications of developing effects

suggested within the script with the relevant person

f) how to minimise disruption of the production

when making continuity make up and/or hair changes

g) what to avoid when choosing ones own location

or position on set

h) the sources of continuity detail that are available

i) how to maintain accurate records of hair and skin

continuity detail

j) how to check the camera is functioning properly

and the importance of checking straightaway that

the resulting photographs recorded the effects

created accurately


HAIR AND MAKE-UP

DECEMBER 2005



41/61

HM19 ASSIST WITH THE CONTINUITY

OF THE PERFORMERS APPEARANCE



1. confirm the design specification requirements with

the relevant person(s)

2. make sure that sufficient materials and equipment

for recording information are available and in good

working order, prior to the start of the shoot

3. maintain continuity of the performers appearance

throughout the production as requested by the

relevant person(s)

4. check and agree with the relevant person that

performers make up and/or hair meets the design

specification for the production

5. check the hair and/or make-up implications of

developing effects suggested within the script with

the relevant person

6. minimise disruption of the production when making

continuity make up and/or hair changes

7. agree changes with the relevant person(s)

8. compile the sources of continuity detail that

are available

9. take appropriate continuity photographs and notes,

to be placed in the hair and/or make up continuity

file and ensure that such records are:

accurate

easily accessible to the relevant person(s)

who require them


HAIR AND MAKE-UP

DECEMBER 2005



42/61

HM20 MAINTAIN CONTINUITY OF

PERFORMERS HAIR AND/OR

MAKE-UP ON THE PRODUCTION

UNIT OVERVIEW

This unit measures your ability to maintain all continuity

in the field of hair and/or make-up.

It involves confirming that all performers hair and/or

make up at the start of shooting meets the specification

and where appropriate, reproduces the appearance at

the end of the previous sequential take.

It also involves taking remedial action when scripted or

unscripted events occur and agreeing this action with

the decision makers.

It is about making sure the materials and equipment for

keeping complete and accurate continuity records are

adequate and available to all artistes or performers.

This unit is most applicable to the Artist.





c) the specifications of the hair and/or make up

continuity breakdown

d) the specification for the design requirements, special

effects and performers action

e) how to confirm, where appropriate, that performershair and/or make up at the commencement of a

take accurately reproduces the appearance at the

end of the previous sequential take

f) the decision makers who will confirm when

alterations to hair and/or make up are required

g) how to recognise possible scripted and unscripted

occurrences which might impact on performers

hair and/or make up and take appropriate action

h) how to establish what recording materials and

equipment to use for best effect

i) how to position yourself on set for continuity

monitoring and recording

j) how to gather information for continuity record

purposes promptly and without intrusion

k) how to obtain continuity details from reliable

sources, where it is not possible to be present at

the take

l) how to keep complete, accessible and accurate

records of hair and/or make-up continuity details

for all artistes or performers


HAIR AND MAKE-UP

DECEMBER 2005



43/61

HM20 MAINTAIN CONTINUITY OF

PERFORMERS HAIR AND/OR

MAKE-UP ON THE PRODUCTION



1. check performers hair and/or make up against

specifications of the hair and/or make-up continuity

breakdown

2. verify that performers hair and/or make up at

commencement of shooting meets the specificationfor the design requirements, special effects and

performers action

3. confirm, where appropriate, that performers hair

and/or make up at the commencement of a take

accurately reproduces the appearance at the end

of the previous sequential take

4. obtain the agreement of the decision makers to

confirm when alterations to hair and/or make up

are required as a result of unscripted events during

shooting and that the changes are in accordance

with the script

5. recognise possible scripted and unscripted

occurrences which might impact on performers hair

and/or make up and take appropriate action

6. establish what recording materials and equipment

to use

7. position yourself on set for continuity monitoring

and recording to make minimum disruption to others

8. gather information for continuity record purposes

promptly and without intrusion

9. obtain continuity details from reliable sources,

where it is not possible to be present at the take

10. keep complete and accurate records of hair

and/or make-up continuity details for all artistes

or performers

11. determine who is likely to require access to the

continuity records

12. ensure that continuity records are available and

accessible to those who require them


HAIR AND MAKE-UP

DECEMBER 2005



44/61

HM21 AGREE CONTRACTS FOR HAIR

AND/OR MAKE-UP WORK

UNIT OVERVIEW

This unit measures your ability to agree contracts for

make up and/or hair work.

It involves assessing the skills, ability and experience needed

for make up and/or hair work and your aptitude to work

effectively with the make up and/or hair design team.

It is about ensuring that you understand the nature of

the contract to enable you to make a qualified decisionwhether to accept or refuse it. It involves the process

you have to go through to agree the terms of the contract

including the level of your responsibilities, the amount of

time you will spend on the production and the payment

you receive.

This unit could be applicable to several roles such as the

Artist, Prosthetic Technician or Designer.



a) how to outline clearly the skills required for make

up and/or hair work on a production clearly

b) how to assess whether you have the experience

and skills needed to meet the overall make-up

and/or hair work for a production

c) how to determine whether you can work successfully

with the designer and members of the team

d) the different types of production and their

implications for make up and/or hair work

e) the importance of considering the extent and

limits of your own skills and experience

f) how to assess whether to accept the work or not

g) how to negotiate contracts for your services

h) how to explain your unavailability or unwillingness

to work on a production clearly, and in a way that

retains the goodwill of decision makers towards you

i) how to analyse, assess and confirm the terms and

conditions offered to you

j) how to confirm the type and duration of the

productions covered by the contract

k) how to establish your legal rights and

responsibilities and those of your employer under

contracts for services

l) how to establish the level and method of payment

for your services

m) how to confirm your acceptance of the contract

in writing

n) the importance of storing contracts and

agreements securely


HAIR AND MAKE-UP

DECEMBER 2005



45/61

HM21 AGREE CONTRACTS FOR HAIR

AND/OR MAKE-UP WORK



1. outline clearly the skills required for make-up

and/or hair work on a production

2. assess whether you have the experience and skills

needed to meet the overall make up and hair work

for a production

3. determine whether you can work successfully with

the make up and/or hair designer and members of

the make up and hair team

4. consider the different types of production and

their implications for make up and/or hair work

5. take into account the extent and limits of your

own skills and experience

6. decide whether to accept the work or not,recording your reasons for accepting or turning

the work down for future reference

7. explain your unavailability or unwillingness to work

on a production clearly, and in a way that retains

the goodwill of decision makers towards you

8. negotiate contracts for your services in a polite

and calm manner

9. analyse, assess and confirm the terms and

conditions offered to you

10. confirm the type and duration of the productions

covered by the contract

11. establish your legal rights and responsibilities and

those of your employer under contracts for services

12. establish the level and method of payment for

your services

13. confirm your acceptance of the contract in

writing and ensure you store contracts and

agreements securely


HAIR AND MAKE-UP

DECEMBER 2005



46/61

F2 FACILITATE AND MANAGE

TRAINEES

UNIT OVERVIEW

This unit involves facilitating and managing the work of

trainees within your own field of work and within the

context of the design brief and the schedule that is being

followed.

It is about advising trainees on the appropriate use of

multi-media industry standard procedures, equipment

and materials.

It involves monitoring the work of trainees to ensure

that they are following your instructions and the

production schedule.


applicable to the Artist or Designer.



a) how to manage trainees in accordance with the

requirements of the production

b) legislation, regulations and codes of practice that

are applicable to managing other people and to the

work being undertaken

c) the relevant person(s) with whom to agree:

your work plan for the trainees that accords

with but does not adversely affect theproduction schedule

to whom you should report any problems

concerning the management of trainees

who will provide feedback on your own

performance

d) methods to monitor trainees that are effective,

unobtrusive and objective

e) how to find workable solutions in accordance with

legislation and the requirements of the production

f) how to provide constructive feedback to trainees

g) how to objectively evaluate feedback regarding

your own performance


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F2 FACILITATE AND MANAGE

TRAINEES



1. develop a work plan for the trainees that takes in

to account :

the requirements and scope of your own

job role

the extent of your authority

the relevant person(s) to whom youshould report

resources at your disposal

time limits applicable to work that you or

your trainees are undertaking

2. inform trainees of their job roles and responsibilities

in a way which promotes good working relationships

3. communicate the following information to trainees:

your work plan for them

the requirements of the design brief and the

production schedule

procedures, equipment and materials that

can be employed to achieve the design effect

4. encourage trainees to ask questions regarding

aspects of the design brief and procedures,

equipment and materials that to be used

5. provide trainees with the opportunity to contribute

and try out the work for themselves

6. monitor the work of trainees and demonstrate

how they could address potential problems

involving the work

7. find workable solutions promptly for any problems

which could adversely impact upon the production

schedule

8. ensure that trainees adhere to applicable health

and safety requirements at all times

9. provide individual feedback to trainees on their

work and encourage their feedback to improve

future performance

10. evaluate your own performance in the management

of trainees and consult the relevant person(s)

for feedback


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X2 ENSURE YOUR OWN

ACTIONS REDUCE RISKS TO

HEALTH AND SAFETY

UNIT OVERVIEW

Fundamental to this unit is an understanding of the terms

hazards and risks.A person competent in this unit is

not required to undertake a full risk assessment, but

needs to have an appreciation of significant risks in the

workplace and knowing how to deal with them.

Unit imported from Employment NTO



a) your legal duties for health and safety in the

workplace as defined by the Health and Safety at

Work Act 1974

b) your duties for health and safety as defined by any

specific legislation covering your job role

c) agreed workplace health and safety procedures

relating to controlling risks to health and safety

d) responsibilities for health and safety in your jobdescription

e) the responsible persons to whom to report health

and safety matters

f) the specific organisational health and safety policies

covering your job role

g) suppliers' and manufacturers' instructions for the

safe use of equipment, materials and products

h) safe working practices for your own job role

i) the importance of personal presentation in

maintaining health and safety in the workplace

j) the importance of personal conduct in maintaining

the health and safety of yourself and others

k) your scope and responsibility for rectifying risks

l) workplace arrangements for handling risks which

you are unable to deal with

m) what hazards exist in your workplace and the

importance of remaining alert to and dealing with

or promptly reporting risks

n) the particular health and safety risks which may be

present in your own job role and the precautions

you must take

o) the particular health and safety risks which may be

present in your own job role and the precautions

you must take


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X2 ENSURE YOUR OWN

ACTIONS REDUCE RISKS TO

HEALTH AND SAFETY



you must be able to identify the hazards and

evaluate the risks in your workplace, so

1. you correctly name and locate the persons

responsible for health and safety in the workplace

2. you identify which workplace health and safety

procedures are relevant to your working practices

3. you identify those working practices in any part

of your job role which could harm yourself or

other persons

4. you identify those aspects of the workplace which

could harm yourself or other persons

5. you evaluate which of the potentially harmfulworking practices and the potentially harmful

aspects of the workplace present the highest risk

to you or to others

6. you report those hazards with a high risk to the

persons responsible for health and safety in

the workplace

7. you deal with hazards with low risks in accordance

with workplace health and safety procedures andlegal requirements

you must be able to reduce the risks to health

and safety in your workplace, so

8. you carry out your working practices in accordance

Documents

Make Up Standards