In short: Fine repeating patterns such as narrow stripes, small checks and herringbone can shimmer on camera in a fault called moire. Colours that match the backdrop make the wearer disappear, and bright white can clip and glow. Choose mid-tones, bigger patterns and softer fabrics, and test a shot on the actual camera.
Most shimmer, glow and disappearing-act problems on video come from the clothes, and they are cheap to fix before the day. Here is what to check, and what to put on the rail instead.
Patterns that shimmer
The usual offender is moire: a rippling, rainbow-like effect that appears when a fine repeating pattern meets the camera's sensor or the compression applied to the video.
Watch for:
- Narrow stripes and pinstripes.
- Small checks, houndstooth and herringbone.
- Fine knits and tweed with a tight weave.
- Mesh and thin gauzy fabrics.
- Lace and printed patterns with dense detail.
The effect changes with distance and angle, so a jacket can look fine in the fitting and shimmer on a wide shot. It is also worse on some cameras and on a compressed stream, such as a video call.
The Present Yourself guide to video calls gives the same advice for presenters: avoid small checks and narrow stripes. It applies to any actor or presenter you put on a screen.
Colours that disappear
On a plain backdrop, a costume close in colour to the wall will melt into it. A blue suit on a blue cyc is the classic example. The same goes for a presenter at an event who stands in front of a coloured screen, so check the organiser's backdrop colour before choosing what to wear.
On a green screen, green in any shade is the thing to avoid, since it will key out. Our notes on green screen wardrobe rules and on getting a clean key cover the fine detail.
Why white is awkward
White is the brightest thing in frame, so it hits the top of the exposure first. Under strong light it can lose all detail, glow at the edges and pull the camera's exposure down, which makes the face darker. If the costume is meant to be white, offer a cream or soft grey as a test, and bring a second shirt.
Black can have the opposite problem: lost detail in the shadows.
What to choose
- Mid-tones. Navy, teal, burgundy, charcoal, soft mid-blue and plum are forgiving.
- Solid colours, or large bold patterns. Big shapes do not trigger moire.
- Matt fabric. Shiny satin and sequins throw highlights.
- Colours that contrast with the set. Check the background first.
- A spare. Always bring one alternative in a different colour and pattern.
How to test
Do a ten-minute test shot with the actual camera, at the distance and with the lighting of the real shoot. Look at it on a monitor larger than a phone. If the costume is for a studio day, the what to wear on camera page is a good one to send to the cast.
For continuity across a multi-day shoot, keep a costume continuity sheet. If you need lighting or crew to help check costumes against the set, you can hire the rooms and add crew.
Related guides
The picture at the top of this page is an illustration, not a photograph of a client or a real job.
Questions we get asked
Why do some patterns shimmer on camera?
Fine repeating lines can fall close to the pixel grid of the camera sensor, which creates a rippling effect called moire. The finer the pattern and the further the camera is from it, the more likely it is. Bigger, looser patterns usually behave.
Can you wear white on camera?
You can, but pure white can overexpose and lose detail, especially under strong light. Off-white, cream or soft grey reads as white on screen and sits more comfortably in the exposure. A test shot will tell you quickly.
What colours should I avoid on a green screen?
Avoid green in any shade, and anything close to the screen colour, because it will key out and leave holes in the person. Check the green screen rules before choosing costume.
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