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3D scanned replicas by Jane Fonda and Lily Tomlin, wardrobes and remote social cops on set are just some of the new criteria for Hollywood costume designers as TV productions begin to return to California and other states.
With new fitness and protection rules imposed through the union, architects in the entertainment industry, as well as fashion architects, are looking for tactics to adapt their jobs largely to the new general pandemic.
Meanwhile, they face broader artistic challenges, adding fewer background players to minimize the number of other people on set, fewer apparel adjustments, and greater reliance on e-commerce for studio services, as indoor malls remain closed and other retail outlets. stop operations altogether.
“I almost had a general panic attack when I started reading union protocols,” said Allyson Fanger, The Emmy-nominated costume designer “Grace and Frankie,” who is preparing to resume filming the Netflix comedy on October 1. ask for an additional production assistant [production assistant] to help with shipping, and some other trailer, due to protocols to keep everything separate. Everything you touch wants to be disinfected. »
To facilitate the pandemic procedure, he was assisted by DittoForm, a Michigan-based company that manufactures durable foam attire based on 3-d frame scans, and had accurate replicas of the show’s stars: Jane Fonda, Lily Tomlin, June Diane Raphael and Brooklyn Decker.
“It’s not a 100 percent solution, and it probably wouldn’t be the creator of the resolution, however, it will reduce the time to clear the looks that might not work,” Fanger said. “I can adapt the garments to the shapes and they can see things in their non-public space,” he said, explaining that popular clothing bureaucracy has long been frustrating for designers looking to adapt to genuine people.
“Our main visitor was the sewer of the houses, however, there is a growing need for others who have clothes made for them to have a copy of their body,” said Carol Huls, President and CEO of DittoForm. “We’ve noticed more interest in L.A. than we’ve noticed in a long time.” (Prices start at $1500, the procedure takes about an hour with a technician with a Styku or Artec Eva portable scanner on a subject dressed in basic clothes, and the form can be finished in a few weeks).
“I also worked with a designer in Detroit who needs to scan his style in shape,” he added, explaining how the generation can be implemented in the fashion industry with the pandemic.
Lou Eyrich, emmy nominee for “Hollywood” and “The Politics,” has been back on set since July, completing Ryan Murphy’s upcoming Netflix film, “The Prom,” starring Nicole Kidman, Meryl Streep, Kerry Washington, James Corden and Andrew. Rannells.
“It’s going to take five days of filming, but we reduced it to 4 and very little preparation,” Eyrich said, adding that his studio at Paramount Studios had been redesigned to meet CDC guidelines, with six feet between offices and coordinated traffic. in the hallways.
“The actors came from New York, underwent a COVID-19 check and then quarantined. Then, on Monday, we all had a quick check to make sure no one was inflamed over the weekend,” he said, explaining how Netflix The COVID-19 team mapped the set with green, yellow and red areas, requiring other grades of PPE. for the actors and the team.
“The tests were easy, just use an EPI, be aware of the distance, wash your hands and hand sanitizer … We have a coat of clothes that the actors can wear themselves, and if I have to intervene and close It’s a matter of seconds. The mask remained on me and the actor all the time, and our tailor never had to enter the room, but he had a full EPI just in case. When you have to start a screen from scratch or make a collaboration with an actor on a new character for two or four hours, it will be more delicate, but you just want a designated green domain to faint, breathe, and come back.
“What has replaced a lot is the ability to use background actors,” Eyrich added about the exuberant costumed extras that can make a Ryan Murphy production, from an artistic point of view. But he hopes the restrictions will go away once the fitness crisis is over.
At ABC Studios, Emmy-nominated costume designer “Black-ish” Michelle Cole has returned to the box for a week, with an education to resume production, when that’s the case.
One involvement of the pandemic may be that Johnson’s circle of relatives has fewer eyes next season. “Instead of 8 settings for Tracey Ross, it can also be just two, 3 or four, because each replaced dress is a replacement for hair and makeup, and things take longer when you can have fewer people around you,” Cole. said of the new rules.
It takes time to get used to, said Emmy-winning costume designer Janie Bryant, who was returned to paintings this month through the filming of an Allstate commercial.
“We had to wear face protectors, gloves and gowns; there is hand sanitizer everywhere, and there is a disinfection and a socially remote police officer. We ended up doing tests outside, and then we sent the actor to the trailer in the costume, specifying how to put it on.”
She and the other designers are eager to go out to department stores and dress rental houses, which also seek to weather the economic storm, but it’s harder than before. Appointments must be made in advance and are limited to two hours. “You can’t just run, get anything and come back. He wants to be sprayed and quarantined,” Cole said.
At the end of the day, it all takes a little longer, Bryant said, “How many years have spent in Hollywood where other people haven’t been easy, and I can be too? It is a repositioning of priorities and an understanding of a situation. We’ll have to paint in combination and we can’t act like spoiled children. And that’s what I’m talking about, I think it’s bigger for humanity. »
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