NICE SHOES

When it comes to the beauty genre in advertising, directors and clients have constantly sought to raise the standards of quality. Many directors who performed double duty as photographers, such as Bruno Aveillan, preferred the results of print campaigns, and felt there was a gap between still and motion content. As Beauty Artist Aurélien Teurlai collaborated with Aveilian on L’Oreal “Red,” a cinematic fashion film cloaked in shades of red, Teurlai sought to meet the high standards of the famed director by looking to the techniques of the print world. 

Along the way, he found that trying to match the techniques of a still beauty artist wouldn’t be enough, that it was important to develop a technique that recognized the work done by the cinematographer to shape the film with light and color. 

"You have to respect the light of the DP, especially in high beauty production,” said Teurlai. “If you blur you lose everything. The methods I developed allow me to do the finest beauty retouch and respect the DOP’s art. It was very important when working with Bruno to pay attention to every frame. He expects to be able to pause at any moment and be able to print any frame as a deliverable for a magazine.”