Issue link: https://digital.copcomm.com/i/1546058
42 FALL 2026 with uniforms for the show before transitioning into civilian costumes. There are productions that will create uniforms for non-existent military or private militant groups, based in science fiction, contemporary, or otherwise. Butler has worked on a few films where he was able to work with the Costume Designers to help source and develop the uniforms. In The Tomorrow War, designed by Betsy Heimann, Butler says, "That show was kind of tricky going from current day to 25 years in the future. The current uniforms were US Army so when we jumped 25 years ahead, the uniforms needed to be somewhat based off that which allowed the ability to be creative but also having to keep a structure. We made all the gear, vests, and helmet covers. We had the opportunity to create a lot of really fun groups like flamethrowers, pilots, workers, lab techs, lots of different stuff. With Betsy's trust, I was able to compile a lot of samples and options to help the design team narrow down military looks." In another film, Godzilla vs. Kong, Butler worked with Costume Designer Ann Foley to help create the uniforms for Monarch and Apex Cybernetics, two opposing organizations that work to protect humanity from the Titans and the threat they pose. Butler explains that Foley went through all different types of camos and colors. Aer nailing down the paern prints and fabrics, Butler tells us that he keeps samples of uniform tactical pants and tops to show designers what already exists to inspire what they can build with their paerns. "I'd always have a rack with sample stuff that I would show the design team, and some she'd say, 'Let's take this pocket design from these pants, let's do this, let's alter it in a certain way,' and we would build a sample. We would basically just have our in-house seamstress for the show make a pant in an average size like, 34. It's the same thing with the shirts. Aer that you just go full steam ahead." Those films are projects with massive budgets that allow a Costume Department to build in-house or out of workrooms but on other projects, especially television, sometimes there are budget constraints that Butler has had to find ways to work within. "I did an episode of a show where we had to create a military school that didn't exist, so I would go into the costume house, spend a day in there, and come up with three or four different color ways that could be used as options. In school, we had kids in dress uniforms, PT uniforms, and casual uniforms. We can make three of those different looks out of a green and tan, or a blue, gray and burgundy, or a black, gray and some sort of an accent color. It was stuff that could be found in stock, in the quantities needed and available. It ended up turning out great and was a lot of fun in the process ... and affordable." There are other departments that oen work hand-in-hand with costumes when it comes to uniforms and that usually falls in line with the property and art departments. Butler says, "We always meet with the property department really early on. We try to set up a meeting, so you don't have two people going off in two different directions. Everyone has to get together and come up with a plan right away." As mentioned previously, The Tomorrow Above: NCIS Origins uniforms. Below: Butler adding uniform blousing straps to actor's costume. PHOTO TOP: CBS NCIS: ORIGINS