Wardrobe Stylist For Film and TV | Skill Collective | Skillshare

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Wardrobe Stylist For Film and TV

teacher avatar Skill Collective, a Collective offering skills

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (13m)
    • 1. Lesson 01 - Introduction

    • 2. Lesson 02 - Where Do We Start?

    • 3. Lesson 03 - What Do We Need To Know?

    • 4. Lesson 04 - Where Do We Get It And How?

    • 5. Lesson 05 - What Do We Do Once We Have The Costumes?

    • 6. Lesson 06 - What Happens During Fittings?

    • 7. Lesson 07 - How Do You Get Things Ready For Shooting?

    • 8. Lesson 08 - What Do You Do With The Costumes Once They’re On The Actors?

    • 9. Lesson 09 - Once Shooting Is Complete What Happens Then?

    • 10. Lesson 10 - Conclusion

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About This Class

On Set Wardrobe Stylist For Film and TV - Crash Course



So you have this itch to work in the Film and TV industry, but you don't know where to start and how to take on the whole process of styling. By the end of this course, you will know how the process of being a Wardrobe stylist works.

This course can also be very useful to actors and other crew members to understand the work your
wardrobe department does for you.

This course consists of the following lessons:

1.Where do we start?
2. What do we need to know?
3. Where do we get it & how?
4. What do we do once we have the costumes?
5. What happens during fittings?
6. How do you get things ready for shooting?
7. What do you do with the costumes once they’re on the actors?
8. Once shooting is complete what happens then?

We truly hope that you will enjoy this course and that it gives you an understanding of what goes into styling a character and how to properly execute all the stages thereof.

Meet Your Teacher

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Skill Collective

a Collective offering skills


Hello, we are Skill Collective!

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1. Lesson 01 - Introduction: Hi, I'm, and I'm a costumer from Cape Town, South Africa. I have always, always been in clothing in some way or another. I came to a conform quite late in my mid-twenties, actually, starting out in retail with a bit of manufacturing experiences stood me in good stead on those jobs. A fair amount of what we do requires sourcing, buying, and some design and Fabrication to I'd always wanted to be a designer, but back when I was wanting to get into phone, There were no formal schools. Of course, it's in this country. So I learned everything I could from the people I worked with dinosaur year Wolfgang in defining Moreland. Lng Cox are only a few of the most creative with how did the designers of Ed pleasure of working with and also reading from. Okay. I've also worked with many international costume designers and the capacity of supervisor or extra supervisor. And on those jobs, you learn a lot about scale and logistics. So I've tried to implement what I've learned from designers, from actors, producers, extras, DOPS, and anyone really who had useful information to invite to try and make one giant, streamlined, efficient and beautiful as possible. Now, here I am talking to you about it. Today. I'm gonna be talking about costume design and the basic principles of sitting up a local show. In this course, I will answer the following questions to give you a clear understanding of what exactly it is I do unsafe, what my duties are, and how I fit into the magical chain of filmmaking. Where do we start? What do we need to know? Where do we get things? And tau, What do we do once we have the costumes? What happens during fittings? How do you get things ready for sheeting? What do you do with the costumes? Once they're on the active ones shooting is complete. What happens is same. So here we go. 2. Lesson 02 - Where Do We Start?: We start with the script. What's on the page in forms, most of what we do. So we need to get everything we can from it. It tells us about the new people and world we're about to bring to life. The story is everything. And in costume will help to realize the vision of the writers, directors, producers, DOPS, production design as an active, it's a collaborative process. There are many people involved and we all need to be on the same page if we're going to make a cohesive picture. So it's important to talk to people. We learned who are characters are where they are, what they do, the timeframes involved seasons, the time of day, how many story days? This forms the basis of your costume break down? Each project is different, of course, and we all have different requirements. So I'm going to talk to you about what I've been doing most recently, which is contemporary 13 part series. 3. Lesson 03 - What Do We Need To Know?: So in terms of the story, we need to know what we need and how many people we need costumes. For. Example, if we are working on the premise that when episode is one day long, then each character in that episode would need one costume for the 13 episodes. Usually though, it's more like five days per episode. We're principle cost. So that would make 65 costumes or looks for 265 days. Now, that's quite a few darks. And on most shows you don't really get the kind of budget that allows you to use one new outfit every time. So the way we get around this is referred to as much as we can during prep. And then we try different combinations when we shoot. Because most often there is no time for further fittings. There's that word budget. Yes. This is a beggar that informs how what we will be able to source for in terms of actual garments, the setup, the crew, and the transport of the aforementioned. We need to know where we would work from, what kind of workspace we need. And we have to communicate those requirements to our production team, who then try and find a space to house the costumes, a workspace for the team, and also fitting and change spaces for the actors. We also need to talk to them about where this will happen during shooting. Because often we move around to different locations. So we need to figure out what changes will happen at those places. So there's always somebody clean, safe, who's maybe even private for them to change them. The other thing we need to know is are two sizes. This can sometimes be tricky because actors are human people. And the sizes spectrum, just like anyone else's. So always try and get the most up-to-date and accurate sizes as soon as possible. That way you'll fit in. This should be pretty happy. 4. Lesson 04 - Where Do We Get It And How?: For the most part on these jobs is source from costume houses and it's shopping, lots of shopping to get to know your retailers, designers, manufacturers, and build relationships with them all, especially the cost of mothers. They are often the ones who really save you if you have budgetary constraints. The internet is also a great resource for research, which constitutes a substantial part of the job. Yep. You never stop learning. 5. Lesson 05 - What Do We Do Once We Have The Costumes?: Once we've started sourcing, we need to set up the costumes in a manner that's easy to access and understand. So any team member or even any other crew member, god forbid, can look at it and see exactly where any one character stock is. I've learned that the easiest way to do this is a numerical order because everyone can count, right? So it'll be caused member number 1 and 2, etc, like a filing system. Then there's also the question of way and how to house unallocated stock. And here you just make sure everything is marked. Rail dividers are your friend as a label. A label, label. That way any box or crate or storage green can tell you exactly what it contains. 6. Lesson 06 - What Happens During Fittings?: You would have consulted with production and your course coordinator or second idea to set up a fitting scheduled by now. So then once that's set up, it's time to play. This is one of my favorite parts of the process. But for many artists and extrinsic can be quite a workout. Imagine putting on and taking off your clothes for two hours at a time. And trying to convince people on my part to weigh things they may not necessarily choose for themselves. It can be a root or a dragon. I love it there. Because you really start to board the look of your characters. Some actors are super enthusiastic and of course me, those are the base to work because they bring their own input and can sometimes really help with putting a lump together or changing the direction. And you may have been going in, especially when they know the character's progression. It's amazing because it can really help with your choices. It's also way you look to see if they are any alterations or size swaps or color changes that need to be made. And it's very important to note all of this. Write it down. So it can be done by the time the actor has to be in that outfit on seat. 7. Lesson 07 - How Do You Get Things Ready For Shooting?: To get things ready for shoot, you need a schedule and the call sheet. These guys tell you pretty much everything you need to know logistically. Which seems you're shooting artist, you're shooting with location, parking and so much. So then once you have this, you can start putting outfits for the seniors. Shoot that day. Everyone has different ways of lining this up. And mine is to just mark everything. If they are outfits that on you or unestablished. I like to put in an extra option in the event that if it wasn't an article that I fitted them in previously. Because and some of you may not know this, but just putting out its together does not mean they will always work on buddy. You kind of have to see it on to know it works. Well, I do anyway. Bodies are also different. 8. Lesson 08 - What Do You Do With The Costumes Once They’re On The Actors?: This is where you're stand-by and continuity come into the picture. I like to establish a look in person, but often you can't be there yourself, so I'll have an image centimeters, I can approve it. If I'm upset. Once approved, the standby will take pictures of the artist in costumes. So if they have to shoot in it on another day, we have a record of that. We use continuity Pro. It's an iPad app for that, but they are certainly other ways of doing this. 9. Lesson 09 - Once Shooting Is Complete What Happens Then?: Wrapping is the last step. You have to get your stock cleaned if you're storing it and back to the costume houses. If you have hires, then you have to go over all. Because throughout this process is also a nebula thing called recon. This is where you record your spending and inventories the stock you've purchased. So you'll produces, channel or network. Now with the budget went during the rapid basis, you use this inventory to check that you have all the stock purchased and make a note of any crew or cost purchases, gifts, damages, or losses. This report is then handed in along with the stock. And then you say goodbye and go off to the next one. 10. Lesson 10 - Conclusion: Please be so kind as to rate, review, and share this course with filmmakers is it helps us to create more content for you in the future. I hope this video has been helpful and I wish you best in your film-making career.