Issue link: https://digital.copcomm.com/i/1546058
preliminary budget and additional Costumer calendar for each area, including Principal Set, Background Set, Background Fittings, Returns, Buyers, and Aging and Dyeing. I review the budget with our Costume Designer Lyn Paolo and submit it by the deadline. After the production meeting, I finalize both the budget and additional costumer calendar and submit them to the producers. RC: I don't really have a sense of a typical episode—but my weeks are usually spent with the first three days finalizing as much as I can with CASHet, and making sure I have all the proper documentation for both the WB accounting end of things, as well as the CA tax audit end of things. On Thursday, if I don't have too much other stuff pulling me away, I'm eyeballs-deep in the weekly credit card statements, which need to get coded and submitted. Then it all starts again on Friday, with receipts and more receipts, and the cycle starts afresh. LC: My days and weeks and episodes tend to have a pretty consistent rhythm. I usually start my day in a flurry of unpacking and stickering shopping to get it upstairs for either rack review or fittings. Then I make sure everything is set up in the rooms for whatever fittings are happening. I spend most of my day moving racks around and then sorting and organizing and packaging. My time is tied very directly to our fitting 24 FALL 2026 appears in. As day players are cast, we also account for their possible episode count. The Writers provide a cast-tracking chart that lists each character's episode count according to their story arc. Each day begins with a department meeting with our office crew: Buyers, Coordinator, Keys, Returns Costumer, Background Costumer, and any additional Office Costumers working that day. We review fittings, daily and weekly needs, and episode goals. I break down the script and add notes from prep meetings, costume meetings, and medical discussions into SyncOnSet. Accuracy is especially important for medical notes. I also add minute-by-minute timing from the Script Supervisor so we can track each hour-long episode precisely. After the first episode establishes the principal characters for our 15-hour, one-day season, I print a new character list to guide fitting schedules. As actors are cast, I contact them for sizes and schedule their fittings. I prepare the