Continuity Photos | What they are and why you need them

Continuity photo's are taken of an actor (or actress) once they are in their final costume, hair, and makeup to maintain continuity throughout a shoot. They are taken to document each individual look to maintain consistency since sometimes shooting a single scene will take place over several days. Depending on the shoot it could be days, weeks, or even months if you have to come back to a scene for pickup shots or re-shoots.

Usually I prefer actors to go through hair and makeup before getting into their full costume (though like everything, it depends on the shoot and what the specific costume needs are). I'm typically the last person working directly with the actor before shooting a scene, so once they are screen ready I'll ask them to step aside and snap a quick photo.

You can use your phone or an actual camera, but you want to be able to access the photo's immediately. If you're working with a team it's easiest to take a few minutes to get the photo's printed at the end of the day and put them in your Wardrobe Bible for the shoot. That way everyone has easy access to them along with the rest of the wardrobe notes.

On most of the shoots I've worked on I'm the only one running wardrobe and since they've been smaller shoots I've keep them in a dedicated album on my phone instead of getting them printed.

One of the continuity shots from "Broken" (2019)

The purpose of these photo's is to create a consistent look throughout the film. Because films are rarely shot in chronological order, it's common to shoot part of one script day in the morning, then a bunch of other scenes, and maybe later that same day or several days later, come back to that first script day where the actors should be in the same outfit.

These photo's provide a reference for how everything was worn, exactly how the hair and makeup looked, as well as show how certain pieces were worn. For example if a collar was flipped up or laid flat, pants were tucked into the shoes or left over top.

Regency Taffeta | A Completed Costume

This was a fun project that came to be through the mighty powers of procrastination. During Summer last year I had the fun task of making several costumes for Endgame (LCC 2018), and while I should have been working on mockups, I was instead starting an entirely new project. A Regency era dress.

I had all the materials on hand, and I needed to work with something prettier than bleached muslin. So creating an entire dress is exactly what you should do when you have pressing deadlines, right? Right.

The dress itself came together in about two days, and that includes hand stitched details on the seams to make it look as if it were sewn by hand when it was, in fact, not. Well, except for the hand stitched details.

The beading, however, took much longer.

I don't have an exact, or even an approximate, number for just how long the beading took since I didn't work on it consistently over the several months of making this dress.

Anyhow, once the dress was finished I pulled together a photoshoot with some very talented friends and this is the result. I'm quite happy with both the dress and the lovely photos.

Photos by Morgan Elise Photography

Model - Lizzy Poling

Dress by Tiana Blanchard

Wardrobe Dept. Breakdown Pt. 1 | Wardrobe Overview & The Costume Designer

One of the most difficult parts about costuming a short film is probably that I'm usually the only person in the wardrobe department. It hasn't been until recently that I've actually started working with more than just myself when pulling together costumes. It's been great working with someone else, but its raised several questions about what the various rolls in the wardrobe department are.

Even with a small team of two there need to be clearly defined jobs, even though you're still splitting the jobs of a dozen people between two.

I've been researching the hierarchy of the Wardrobe Department and creating a master handbook, which I'd like to share through a series of blog posts.

Keep in mind, that my research is specific to film and may vary in theatre and from each production. Every team is going to be slightly different depending on the individuals, the type of project, and how full of a team there is.

Overview

The Costume Department is responsible for the design, fitting, hire, purchase, manufacture, continuity, and care of all costume items for films. The term 'costume' refers to the clothes that the actors wear, which vary from production to production, ranging from contemporary urban fashion to period ball gowns, and everything in between.

The Costume Department is also responsible for jewelry, footwear, corsetry, hosiery, millinery and sometimes wig work.

Wardrobe is integral in defining the overall 'look' of the film. It provides the audience with information about the period, culture and society the actors inhabit and, on a more subtle level, the underlying themes of the film itself.

Work in the Costume Department is divided between two 'wardrobes': the 'making wardrobe', which incorporates the design, acquisition and creation of costume during pre-production; and the 'running wardrobe', which takes care of the organization, maintenance and continuity of costumes during the film shoot.

The costume designer is the head of the department, and works closely with the Production Designer and Director to ensure that costumes blend into the overall production design. The Costume Designer oversees a team that usually includes a Costume Design Assistant, Costume Supervisor, Costume Assistants and Costume Dailies. On larger productions, the Costume Designer may employ a team of skilled technicians in a costume workshop, which could include cutters, makers, finishers, dyers and milliners. There may also be a Wardrobe Supervisor to oversee the running wardrobe.

Job responsibilities for personnel in the Costume Department vary enormously from production to production, depending on the requirements of the costume designer. As a result, the boundaries between job roles are blurred, particularly in the case of Costume Design Assistants, Costume Supervisors and Wardrobe Supervisors.

During the shoot costume personnel ensure that costumes are available when required, assist performers with dressing, oversee costume continuity, and maintain and service costumes when not in use. After the shoot costume personnel ensure that costumes are safely stored, packed and returned to the relevant sources, or sold.

Costume Designer

Costume Designers start working on films at the beginning of pre-production. They are in charge of designing, creating, acquiring and hiring all costumes for actors and extras. This must be done within strict budgets and tight schedules.

The Costume Designers work is integral to defining the overall look of the film, and their role requires a great deal of expertise. Their creative work ranges from designing original costumes, to overseeing the purchase and adaptation of ready made outfits. As heads of the costume department, Costume Designers are responsible for staffing, and for managing a team of skilled personnel. Costume Designers also supervise practical issues, such as departmental budgets and schedules, the organization of running wardrobes, and costume continuity.

Responsibilities:

During pre-production, Costume Designers break down scripts scene by scene, in order to work out how many characters are involved, and what costumes are required. They then begin the more task of developing costume plots for each character. These plots ensure that colors and styles do not mimic each other in the same scene, and highlight the characters' emotional journeys by varying the intensity and depth of colors.

Costume Designers must carry out research in to the costume styles, designs and construction methods which are appropriate for the productions' time period, using a number of resources. They may also discuss costume and character ideas with performers. They deliver initial ideas to directors about the overall costume vision, character plots and original costume designs, using sketches and fabric samples. They also discuss color palettes with the Director of Photography and the Production Designer to create a cohesive look.

Throughout the production process, Costume Designers ensure that accurate financial records are kept, and that weekly expenditure reports are produced. They prepare overall production schedules, as well as directing the day to day breakdowns of responsibilities. Costume Designers select and hire suppliers and costume makers, negotiating terms with them, and communicating design requirements. They make sure that fittings for actors and extras are arranged. They supervise fabric research and purchase, and ensure that garments are completed to deadlines.

Depending on the numbers of costumes to be created, and the scale of budgets, Costume Designers may decide to create a dedicated costume workshop. They should be on set whenever a new costume is worn for the first time, to make sure that performers are comfortable, to explain special features, and to oversee any alterations. Once filming is completed, Costume Designers are responsible for the return of hired outfits, and the sale or disposal of any remaining costumes.

Costume Designers must be highly organized, with good presentation skills and the confidence to manage and motivate their teams effectively. They should be able to work under pressure, to meet external and departmental deadlines, and must have stamina and be adaptable to changes. They need to be able to listen to the ideas and concerns of others, while at the same time trusting their own opinions and instincts. They work closely with actors in a physical sense, and must therefore be tactful and able to put people at their ease.

Costume Designers need good descriptive abilities, and they must be able to break down scripts in terms of costume plots, and have knowledge of story structure and character arcs. They must understand the research process, and know how to source information. They need creative flair, a strong sense of color and design and the ability to draw. They should be confident in their knowledge of period costume, jewelry, corsetry, hosiery, millinery, footwear, costume accessories, etc. They must be experts on fabric qualities, clothing cuts, fits and techniques, pattern making and sewing. Creatively, they should know how to dress to particular faces or physiques to create characters.

Overall Costume Designers need a wide ranging cultural knowledge base, not only in terms of fashion, but also art and literature, film, and textiles. Costume Designers should be familiar with the requirements of all relevant health and safety legislation and procedures.

Part 2 will cover the Costume Coordinator and Key Set Costumer.