Issue link: https://digital.copcomm.com/i/1545089
of materials that they had found and ask, 'do you think we can make this work?' So, a lot of coordination was needed. I had to coordinate with Dayna and Terry about the things that they needed. I talked to Dayna a lot about color palee, and creating what she wanted, and Terry would come up with some really wild ideas and she would sort of set you loose on it a lile bit to see what you could come up with. Those were really fun ways to coordinate together. In the cuing room, Sharon and Heather [Vandergriff] would oen need something to be a specific color to either face something with or you know, to finish a garment off so I would do a lot of coordination with them as well. Sharon McGunigle: I came in as the Paern Maker. I came in, tried to get my feet under me a lile bit, and hit the ground running. The first thing that I focused on and kind of carried all the way through were the Ranger costumes, the New Californian Republic Rangers. I think there were six and there would be about three of us on those [NCR Rangers] at any time. We did a lot because the shop had a main cuer [Paern Maker & Fier] and then a couple, First Hands and then a Stitcher and Alterations Specialist, someone's focusing on alterations for background. It wasn't like certain teams were assigned different costumes. We sort of focused the team on the project, depending on who had a history with it, and who had the strengths that could do that. Because the thing about this show, which was great, was that it was such an amazing variety of things that you would be working on in this shop at the same time, from these heavy, heavy coats to the most delicate beautiful dress that was draped and embroidered and those be going through at the same time. We did a lot of juggling of projects in that way, where people would focus on certain things, but that could change, sort of depending on the workload. Can you talk a little bit about working at Melody Ranch and how your dye room was set up? Youland: One of the things that's so great about the show was geing to work at Melody Ranch. It's got an amazing history, you can talk to the family members that run it and they'll tell you stories that were going on there from the beginning, and it's just a really amazing place in Hollywood history. It also sets a tone the minute you drive through the gates. You're already in a fantasy world, so it's very immersive; I had a fantastic shop there so I was just on the other side of the door to Deborah Ambrosino [Specialty Costumer]. The space had high ceilings, which is great when you're doing dye work because you want all your steam and your fumes to go up. Usually productions are trying to stick us in a parking lot most places. Here, we were surrounded by trees. We had natural light. It was really beautiful. Production gave me the space and gave me the time to set it up with my gear. They set up a spot for my propane burner inside so that I could have my full rig in there with ventilation, so everything was all in a singular space. It was laid out well, too. They sent in construction to make sure there was a firewall for the burner. They bought the lights that I needed to be able to see really well. You need to have light and enough power and water. It makes all the difference. What costumes in particular did you like working on? Youland: Lucy has a look where we've always only seen her in her Fallout [vault] jumpsuit. So, she finally gets out of it for a second and it was fun to create that look for her. It was between two different color choices for that dress, so we were doing multiple shades in this color and multiple shades in that color, on multiple different fabrics where we were trying to figure out what the right fabric was for the look. It's all part of the whiling-down process to find just the right thing and, I think they seled on a fabric that they found in the right color, but then we had to dye other things to go with that color and the other elements of the dress. Because you're dealing with a video game, you've got all these creatures coming out, and all these creatures are based in this sort of historical context, loosely. So, I didn't know what was going to come into the shop next. It was great, though. It was really fun because, oh, now we're going to do this, okay, we're going to do these guys, but they're made out of this weird other thing, okay, that's really creative. Then you cobble it together because it's a fantasy. Even though you had stuff that was sort of historically or culturally inspired; they weren't necessarily historically accurate. They would be this great, amazing, weird version of it, which was really fun. McGunigle: The designer really liked to use actual vintage pieces. So, there MOTIONPICTUREC O S T U M E R S .O R G 29