Dead-character costume

Bullet holes with a diameter of ~50 mm are first determined in terms of the number, sequence and location. The fabric must be weakened (by law) first by cutting,[5] sanding,[3] scoring,[6] grating[7] or plunging a scoring tool,[8] after which the fabric is glued or taped back together loosely so that it appears intact from a distance. If the fabric is not fully cut, the blast from the squib will create a frayed rip aesthetic through the weakened area, however, this should be tested on a trial costume or at least an area not visible to the camera.[9]

Since the bullet hit squib assembly is relatively large and heavy (around 50 mm in diameter, 15 mm thick, and weighing around 30 g), it is sewn[3] or taped directly onto the inside of the outfit,[10] depending on the weight and thickness of the fabric, to allow the fake blood to be propelled out of the bullet hole instead of running down the inside of the costume. Any inner lining and filling present are removed to access the site and to reduce the overall thickness and bulge.[11] A well-made, low-profile bullet hit squib device should not be too conspicuous beneath the costume, nor should the pre-scoring of the fabric, as shown in the gallery figures. Any bullet holes visible on the fabric in the gunshot scene immediately before the squibs explode can also be erased during post-production.[12][13]

For jackets with multiple frontal squibs, the costumer may install an additional zip at the back to allow the actor to slip on the jacket without disturbing the squibs.[14] The costumer should also ensure that all zips and buttons are fastened for visual and safety purposes to prevent recoil and prevent the bullet hit squibs from being revealed or aimed in unintended directions.

• Preparation of a dead character costume for bullet hit squibs
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  6x identical jackets (albeit different colours) are budgeted for a movie scene with bullet hit squibs.
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  Bullet hit locations marked out with white stickers. The trigger sequence and the camera angles should also be determined. A completed squib is placed temporarily on the costume for reference.
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  The inner taffeta lining cut open, exposing the outermost fabric from the inside which is then scored with a blade. The squib device is then aligned to the hole and attached with duct tape.
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  An actor points to and checks the embedded bullet hit squib in his jacket.

To achieve a convincing bullet hit squib special effect in movies or theatrical performances, a significant wardrobe budget is required as most types of clothing can only be used once per take. However, there are some types of clothing that can be reused, such as waterproof jackets, parkas and down jackets which provides several advantages:

• Versatility: Jackets are a versatile and easily adaptable garment that can be modified to fit a wide range of characters and settings. They can be worn over other clothing to create different styles, providing a more sophisticated aesthetic and a higher production value.
• Concealment: Jackets provide sufficient padding to conceal the squibs, wiring and controller, as well as supporting multiple squibs, helping to maintain the illusion of a real gunshot wound.
• Comfort: Jackets are typically lightweight and comfortable to wear, making them a suitable choice for extended periods of filming or performing as well as being easier to put on, thus minimising the risk of prematurely rupturing the blood packets.
• Cost-effectiveness: Jackets are widely available, and especially beneficial for actors in stage productions who wear the same piece for each show, and extras who fill multiple roles, making them a cost-effective choice for a dead character costume, reducing or eliminating the need for duplicates.
• Reusability: The fabric is usually waterproof, and thus the fake blood can be wiped off for multiple takes and productions, as long as the bullet holes are cleanly cut beforehand, making them a smart investment for a special effects wardrobe asset.

If using down jackets, the down filling should be repacked in a taffeta pocket to preserve the feathers and the quilted puffer appearance. The gallery figure shows a two-layered jacket with an inner down jacket and an outer shell, making it easy to prepare while maintaining the down jacket aesthetic. Moreover, using dry simulants like dust, or down feathers (for the desired gunshot aesthetic on a down jacket), or non-staining simulants like water[15] instead of fake blood for dress rehearsals eliminates the potential for staining. Overall, using a jacket as a dead character costume provides a flexible and practical solution for creating a convincing bullet hit squib special effect, enhancing the production value of movies or theatrical performances.

• Bullet hit squibs on a waterproof down jacket
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  The hero jacket without any modifications to be used for all scenes except when the actor is "shot".
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  The first stunt jacket with 6x bullet hit squibs (labelled) embedded. Each squib contains 25 g of fake blood with a modest bulge on a dark fabric.
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  The second stunt piece with 2x squibs set off for a demonstration.

In cases where costumes cannot be altered or damaged, creating realistic blood stains can be achieved by using painted nylon tulle mesh with an acrylic top coat.[16] Ripped fabric can then be added on top of the mesh to portray a bullet hole. The benefit of this method is that the stains can be repositioned before being sewn onto the fabric for the production, and removed afterwards, allowing the costume to be reused without any damage or staining. However, a drawback of this method is that it cannot replicate the blood spray effect that comes with a bullet hit squib, so CGI may be required to achieve this effect.

The squibs used in special effects are connected to a trigger that can be operated by the actor or a crew member,[3] a power source, and sometimes a programmable controller to synchronise multiple squibs. The prepared stunt costume is heavier and bulkier than the hero version, so it is important to be careful when putting it on to avoid loosening or rupturing the attached squibs. Actors can change into the prepared outfit immediately prior to the shot if both hero and stunt pieces are available, wear it throughout a scene (e.g., in stage productions), or even the entire day. However, a two-step ignition procedure should be used to avoid accidental triggering, i.e., a switch with the actor and another with the crew,[5] where both switches needed to be turned on before ignition is possible. In the main figure, the actor prepares for the shootout scene by ensuring the squibs are secure on his costume, turning the controller on in the right pocket, and performing a test-fire sequence.

Spent and unspent modified costumes are kept until post-production is complete, just in case extra footage is required.[17] Afterwards, spent costumes can be kept as souvenirs, auctioned as memorabilia, repaired, or even donated, especially high-quality winter coats.[1]

In the examples here, the down jacket in the Sara (1997 film) used one hero piece (frame 1) and two stunt pieces (frames 2-4 and 5-6). It can be observed that the location of the gunshot wound on the chest are slightly misaligned. Several takes were likely filmed with the first stunt jacket, as the bullet hole was visible in frame 2. Down feathers were further refilled for the take in frame 4. A second stunt jacket was used for frames 5-6, and a precut bullet hole in a + shape can also be seen in frame 5 before bursting in frame 6. This is also one of the few depictions of bullet hits using down feathers to achieve the aesthetic of gunshot wounds through a down jacket.

Bullet hit squibs on a down jacket in Sara (1997). One hero piece and two stunt pieces were used and down feathers was used to depict the aesthetic of a gunshot wound through a down jacket.

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  Fired squibs on a shirt worn during the death of a character in an episode of the US police drama NCIS