Kanaya is wildly Ashen for half the cast.brief graphic contemplation of violence.Gamzee actually being a decent moirail for a bit.its not violent but it is gamzee getting a little murder happy.One-sided Kanaya Maryam & Karkat Vantas.Kanaya Maryam♧(Terezi Pyrope/Dave Strider).Creator Chose Not To Use Archive Warnings.No Archive Warnings Apply, Major Character Death, Graphic Depictions Of Violence, Choose Not To Use Archive Warnings. Teen And Up Audiences, General Audiences, Mature.I’ve been working in film costume for coming on 12 years (ugh), and it has gotten noticeably worse on all of these fronts in just the decade plus I’ve been around. And I haven’t even gone into the twenty levels of executive meddling and the endless rounds of approvals (plus marketing and merchandising approvals etc etc etc it’s unending.) As with everything it’s all part of corporate greed. It’s a nightmare, and we’re all very very tired. But we just can’t because everything is about immediate, constantly shifting deadlines, high demands and logistics. Everyone know what we could be achieving, should be achieving and want to be achieving. Everyone mourns what could be made if we only had the time, money and resources. So the entire process is streamlined into what can be made in quantity and quickly. But there just isn’t the time because you need 60m of specific fabric yesterday. You know if you could have even a week to source something from, say, Italy, you can get something divine. This paired with scheduling limitations above means more often than not we must use what we can get immediately. That means fabrics are needed in huge quantities, and workrooms must effectively have factory productions. This with the commonality of stunts means that sometimes as much as 20+ repeats of element of a costume are needed, depending on necessity. That means, simply, more costume as they all must have their own. On another job we had three (3) days between a principle actor needing a visually iconic costume being cast and being ON CAMERA.Īdditionally it is becoming increasingly common for actors to expect higher use of doubles - both stunt and picture doubles m. I did a job last year where - aside from our two leads - we had zero cast until the week we started shooting which meant we could only do extremely linited advance work plus we had a minuscule team despite being for a huge streaming platform with major stars. This limits contact time for development and conception (actors must also be involved int he design process), fittings, etc. Because productions never consider the wider logistics of outlying departments like costume, props etc.Ĭast is increasingly last minute, w negotiations dragging out. That feeds back into the materials available (and a dependency on what IS available?, but also staffing levels - smaller workrooms, limited outsourcing etc etc. Additionally budgets - despite the ridiculous sums of money being sunk - are becoming more shrunk, focused and scrutinised. Prep time is constantly being shrunk to the absolute bare minimum which limits design time, fitting time, r&d, sourcing (materials, hardware habdash, etc), making time (drafting, construction, embellishment, etc). What is happening is a degradation of production schedules. The only thing more astounding is how little they are being properly utilised. The number of phenomenally talented and knowledgable Costumiers and maker working is astounding. Ok, but what is happening here is not a degradation of skill. This trend should upset you not just because it looks cheap, but because it suggests a strong anti-art and anti-labor movement in film and tv making.
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