In short: Carry blotting papers, a translucent powder, a concealer, a matte or satin lip colour and a clear brow gel. Blot first, conceal the shadows, then press powder only on the shiny areas. Check the result on a monitor, not a mirror, and touch up between setups. Test any new product a week before the day.
Most on-camera make-up is about control rather than coverage. The aim is to stop shine, soften shadows under the eyes and keep the lips and brows looking like yours. A small kit does that in five minutes, and it fits in the bag you already carry.
What goes in the kit
- Blotting papers, which take oil off the face without disturbing make-up.
- A translucent powder, with a puff or a soft brush.
- A concealer one shade lighter than your skin, for under the eyes and over any redness.
- A lip colour that is matte or satin, and a lip balm for dry lips.
- A clear brow gel or a small spooly brush.
- A small mirror, a comb and a few tissues.
Keep everything in one bag, labelled with your name. Use your own applicators and do not share them with anyone else on set.
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The five-minute routine
- Blot. Press a blotting paper gently on the forehead, nose and chin. Do not rub.
- Conceal. Dab concealer under the eyes and over any redness, then blend with a fingertip until it disappears.
- Powder the shine. Press translucent powder onto the shiny areas only. Powdering the whole face can look flat.
- Brows and lips. Brush the brows into shape with a little gel, then add lip colour and blot it once.
- Check on a monitor. If one is available, look at the camera's view, because that is the picture that matters.
Worked example
A presenter is due on camera after lunch. At about one o'clock the shine shows on the monitor, so the next take waits while the forehead is blotted and a light press of powder goes on the nose and chin. Half an hour later the lip colour has faded. A touch goes on, and the blot is repeated before the take.
Common mistakes
- Trying a new product on the day. Test it at home a week before, on camera if you can.
- Heavy foundation. On camera, thick layers look like a mask and crease in the lines of the face.
- Forgetting hands and neck. If they are in shot, they need the same blot and powder.
- Powdering the whole face. It flattens the features and can look grey under strong light.
- No touch-up plan. Ask the crew how long each setup takes, and plan the blot into the gap.
If you want to know how the picture treats skin and make-up, make-up for HD and 4K explains what the camera sees. The make-up continuity sheet helps the look hold across a long day, and what to wear on camera covers the clothes side. If the production needs a make-up artist rather than a kit in a bag, do we need a make-up artist helps you decide.
Related guides
- Make-up for HD and 4K: what the camera sees
- Make-up for green screen and coves: what to change
- Make-up continuity sheet: a template for every look
- Do we need a make-up artist? A decision guide
- All guides and tools
The picture at the top of this page is an illustration, not a photograph of a client or a real job.
Questions we get asked
What should a presenter carry for make-up on camera?
Blotting papers, a translucent powder, a concealer one shade lighter than the skin, a lip colour that is matte or satin, a clear brow gel and a small mirror. Keep it in one labelled bag.
Should I use foundation for a video shoot?
Only if you already wear it. A light layer that matches your skin is usually enough. Heavy layers look like a mask on camera, and new products on the day are a risk.
How often should make-up be touched up during a shoot?
Between setups, or whenever shine returns on the monitor. Lamps are hot, so shine often comes back faster under them than it does at home.
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