The Costume Department

The costume department is comprised of the following: g


You probably met the costume designer while you were being outfitted for the character. This person, like the key makeup artist, is responsible for all of the clothing that the actors wear in the film. Most of his work is done off set, designing.


The people the actors come in contact with are the wardrobe supervisor and his assistants. These are the people who are in charge of organizing and maintaining the wardrobe, as well as dressing the actors on the set. A member of the wardrobe supervisor's crew will be available on the set at all times to make sure that the costumes maintain continuity for picture.

For some reason, wardrobe always seems to be a much more somber affair in comparison to the makeup trailer. Perhaps it's because it's where people get naked and dressed, and it requires a setting of decorum.

From your call sheet, you know that scene 48 is the first scene up, and you will be styled and made up for that scene. The following scenes, 62,

63, and 64, take place at a later time. You will have a makeup and costume change for those scenes. In fact, many of the lead actors will have changes. When scene 48 has completed filming, you will be sent back to the makeup and wardrobe trailers to get camera-ready for scenes 62, 63, and

64. The call sheet tells you that a Steadicam is going to be used for scene 62. A Steadicam is a camera that is strapped onto the operator and can move freely, and in focus, with its operator. There are thirty background actors for this scene as well. More than likely, the background actors will be placed on the set, told what to do, and much of their business will be shot while you and the other lead actors are going through your change.

When you are done changing, you will report back to the set and rehearse the next scene, in this case, scene 62. The background actors will be incorporated into the shots, and they will rehearse with you. The background actors will stay on the set, while you might have a chance to take a break (usually about twenty minutes to half an hour). Your light double will be standing in for you as you prepare to act before the camera. Somewhere along the way, you've been given a half-hour to eat breakfast, and lunch " should be at least six hours into shooting. You can see why it's a good idea tt to have a character log that you can refer to, to help you remember what it ™ was you wanted to do for each scene in the first place. < Movies are a portable world of trailers. Even on the lots of the studios, „ many of the offices and departments are in trailers. This way, whether the production is in a studio or on location, the various departments are already set up in their trailers, ready to go to wherever the shoot is. If you are a gypsy at heart, this is a very appealing factor.

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Film Making

Film Making

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