In general, the safest bet for video clothing is: clean, comfortable, and tested in your production setting. Wear a solid or low-detail top that stands out from the background. Allow space for the lavalier microphone if one will be used. And bring a backup option. The best way to decide what to wear is to do a brief camera- and audio-test, because lighting, backdrop, framing and microphones all impact how a garment looks and sounds.

Start with the audience and the frame

Consider what you are trying to accomplish. An executive being interviewed about industry trends will dress differently than ordering pizza while delivering the same message. A product demonstration will likely require different attire than a customer story. Does your clothing match the audience, setting, and message you want to convey?

And now, let’s talk about your frame. If you’re shooting upper body and most direct-to-camera pieces are, then your shirt, jacket, neckline, and accessories carry more visual weight than your shoes. If you’ll need portrait and widescreen versions of the piece, double check that your outfit reads in both crops. For more on how these broader planning steps can help ensure every deliverable is protected, read Kinter Media’s guide to the corporate video process.

Choose color by testing it against the set

Bright colors and blacks are fine, but make sure they work with your setup. There’s not one perfect color that will look great on every camera, complexion or background. Choose a color that provides visible contrast from the immediate background, then review it on-camera in your intended lighting. What looks great in your hotel room closet may wash into a wall, reflect a colored light or overwhelm the frame when your set is dressed and lit.

• Bring two. Have a backup shirt (or another upper garment) in a different color family and value. If possible, bring one light and one dark option.
• Check the background. Ask about the wall color or logo behind the presenter and avoid clothing choices that may directly match.
• Bright or dark? Either can work for your look, but sample them on-camera first. Bright whites and very dark colors can work well in many situations, but test how they appear on camera before deciding.
• Green screening? Don’t wear green. Or blue. Or whatever color will be keyed out of your background. When you hear someone “keying the color” out of a video, Adobe notes they are “creating transparency based on a specified key color.” So if green is going to be transparent, don’t wear green.

Avoid fine repeating patterns and test sheen

Fine stripes, small checks, houndstooth, tight repeat prints and some fancy weaves will require a camera test. "Moiré is artificially introduced color banding that can occur when imaging high frequency repetitive detail such as…fabrics." From Imatest. Yes, whether or not it shows depends on the fabric, camera, lens, distance and processing. Just because you see a pattern won't mean you can't use it, but approve it based on what the camera records, not what you see in a mirror.

Check reflective highlights as well. Jewelry, shiny fabric, sequins and glossy buttons may be part of the styling but they need to be checked under the actual key light being used. If they stand out when viewing the test clip, tone down the accessory or adjust the angle prior to the shot.

A quick fabric check

1. Record yourself speaking for a few seconds from the camera distance you'll be using.
2. Have the presenter turn their head, sit down, stand up and gesture naturally with their hands.
3. View the clip at normal viewing sizes and examine it for shimmer, distracting reflections, wrinkles or excessive fabric motion.
4. If anything distracts from the speaker redo the test with your backup choice.

Plan wardrobe around the microphone

If wearing a lavalier is needed for the shoot, communicate that with the presenter ahead of time, before wardrobe decisions are set in stone. DPA Microphones points out that lavaliers are typically clipped onto clothing you’d find on television or public-speaking applications like “a tie, jacket, or collar.” Read its placement overview for helpful insights into why necklines, plackets, lapels, and collars matter.

A jacket, shirt placket or stable collar can provide sound teams good options for hiding their gear, but defer to them for the final decision. Don’t attempt to conceal a microphone without testing it first. Record the talent reading a few lines while moving around normally, checking for handling noise or noise caused by fabric rubbing together. Do this beforehand, instead of during the actual interview.

Keep accessories, branding, and grooming intentional

Avoid logos, graphic prints, or blatantly branded apparel unless they’re relevant to the story being told and have been cleared for use during the production. If not, simple garments typically allow the speaker to remain the focus of attention. But remember to test glasses and accessories on camera too, especially since you’ll have the lighting setup available.

Plan for continuity if the shoot will span multiple interviews, takes, or scenes. Keep accessories together, take a photo of the agreed upon look (in case the day requires starting from scratch), and bring along a lint roller, blotting papers, pins, and anything else the presenter uses to freshen up. They may not seem like much, but taking these small steps will help you match the shots together later.

Coordinate a group without making everyone match

Gather photos of everyone’s outfits before filming day if you’re producing a panel, customer interview series, or team video. Check for two things: individuals wearing the same or very similar colors and clothing that will clash with the set or compete with a brand color you’ll be using. Share each person a simple style brief that names the background, level of dress/formality required, and whether there are any chroma-key clothing restrictions or if they should plan to wear a lavalier.

Group wardrobe coordination does not equal matching uniforms. You’re trying to create a group that will look planned when they are all placed in the same frame, while still allowing each individual to express themselves.

On-camera wardrobe checklist

• Verify who your audience will be, where you will be and how formal you want to be.
• Pick an outfit and pack an obviously different backup top.
• Avoid thin, high contrast repeating patterns until you have done a camera test.
• Preview your outfit on set against the actual background and lighting.
• Skip wearing your main color on days you'll be standing in front of a green-screen or blue-screen.
• Inform crew if you have layers, necklines or jewelry that will impact microphone placement.
• Shoot a short picture-and-sound test while moving naturally.
• Bring basic touch-up and continuity items.

FAQs

What colors should I wear on camera?

Select a color that contrasts with the actual background and appears pleasing under the planned lighting. Have an alternative in a distinctly different color/value and make a decision following a camera test.

Can I wear stripes or a small check on video?

Maybe. Fine repeating fabric patterns can produce color moiré in a recorded image. A short test clip shot with the production camera is more trustworthy than a blanket statement concerning all stripes/checks.

What should I wear if I need a lavalier microphone?

Coordinate clothing that allows the sound crew realistic microphone placement possibilities. Include a stable collar, lapel or shirt placket. The sound technician should place and test the microphone, including a movement and sound check.

Why should I bring a backup outfit?

This allows the crew to have an easy second choice if the first is lost in the background, causes a distracting reflection, clashes with the key color or doesn't work well with the microphone.

Plan wardrobe as part of the shoot brief

Wardrobe selections are best utilized when the presenter, producer, camera crew, and sound crew have access to them in advance of filming. If you're planning a corporate or brand video, allow Kinter Media to include wardrobe in the pre-production discussion that includes set, lighting, audio and deliverable planning.

Sources

• Imatest, “Color Moiré”
• DPA Microphones, “Lavalier Microphones”
• Adobe, “Keying effects”