FILM AND TV MAKEUP
Calling All Department Heads: Let’s Talk about your Trailer Needs (A Good Crash Course for All Film and TV Artists)
Before we get into the kit(s) you should own, let’s take care of some responsibilities.
Are you department heading this job? Then you already know—securing a great trailer is step one. You and the Head Hair stylist should discuss how many trailers and stations you need… And, most importantly, what’s the lighting situation?
You know that great lighting isn't a luxury; it's the difference between a seamless application and fighting shadows all day. That's why at least five trailer companies install TML lighting in their makeup trailers. Find them here and ask for them by name. Download PDF here.
If that’s not an option, no problem, you can rent TML lights—work with your UPM or Production Supervisor to rent exactly what you need. Two key lights per station, mounted with suction cups or a magic mount, will keep your setup dialed in. TML Rentals are handled by CVA (Cases for Visual Arts), the sister company to TML.
If you already own TML lights, they go in your box rental—unless you negotiate an additional fee.
Make sure your team has what they need from day one. Because fighting bad lighting? Not an option.
Now Let’s Talk Background
Leadership on a film or TV set means thinking beyond your immediate team. One of the biggest factors? Where will Background (BG) be handled? Every production has different needs, some shows require minimal BG work, while period films, heavy blood/dirt scenes, or prosthetic effects make BG a key priority.
Your UPM and Transportation Coordinator should have an outline of what works for them, but here’s the thing—many productions don’t realize all the options available.That’s where you come in.
TML provides the lighting for its sister company, CVA (Cases for Visual Arts), which offers portable makeup stations designed specifically for the demands of set life. These stations come with:
- Two color temperatures for accurate application in any environment
- Multiple brightness levels to adapt to changing conditions
- Adjustable-height tables and chairs to accommodate your team’s needs
These stations are built for mobility—easy to move, quick to set up, and perfect for touch-ups even in the tightest locations. Pass this info along to your production team, and create continuity.
What You Should Have in Your Kit
Even if your trailer is fully outfitted with TML lighting, there will be times when supplemental lighting is non-negotiable. Prosthetics? You need full 360-degree lighting. Painting prosthetic pieces, working with nails, lashes, or fine details? You need a well-lit counter.
A good Department Head owns no less than a TML Master Kit without Stands—most experienced heads own multiple. It’s only been in the last year that trailers have started integrating TML lights, and a smart Department Head ensures that every cast member is done under proper lighting. And let’s be honest—cast members always find the best-lit station.
- Have production pay for multiple Magic Mount Stickies
- Know your box rental strategy. A box rental is for tools, not makeup. Your rental cannot exceed your tool manifest, so lighting is your best friend—it keeps your manifest total high.
THE TEAM
If you work in film and television, you already know—you are the backbone of the makeup department. You create the looks, maintain continuity, and make sure that every actor, every extra, every character is camera-ready from call time to wrap. And you do it all while balancing fast turnarounds, long hours, and unpredictable conditions.
Set lighting is controlled down to the last detail—it’s built for the mood, the story, the frame. But the makeup trailer? That’s where you need to see everything. The lighting in the trailer isn’t about atmosphere—it’s about accuracy. It’s clinical. It’s full spectrum. It has to be. Because the cameras see everything—better than we do, even in the dark. A side light on set can expose the edge of a prosthetic, a mismatch in foundation, or texture we didn’t catch. And once it’s on film, it’s forever.
That’s why we don’t guess—we control our lighting. If you don’t know the difference between color temperature and full spectrum, now’s the time to learn the Science of Light.
When you step into the trailer, you need to work under the same full-spectrum, high CRI lighting that’s illuminating your actors on set. Because if your prep light is off, your makeup will be off—and that’s a mistake you don’t have time to fix later. Remember a camera is white balanced making white look white in any temperature light.
Every artist working in film and television should have a Master Kit. Just because your title isn’t Department Head doesn’t mean you aren’t doing the work. You’re managing multiple actors, ensuring consistency across shooting schedules, and making sure that what you see in the trailer is exactly what will be captured on camera.
If you can only start with one light? Get the Eyelight Starter Kit with a suction mount. It’s compact, powerful, and can go anywhere you need it—on a mirror, a workstation, or even on location.
This industry will push you to your limits—long hours, fast turnarounds, and no room for error. Control what you can—starting with your lighting.