red due to the strong contrast it provided with the background. The resulting naval-inspired designs would be used in Star Trek films until First Contact (1996). The first versions of the uniforms had stiff black collars, but Sallin suggested changing it to a turtleneck, using a form of vertical quilting called trapunto. The method creates a bas-relief effect to the material by stuffing the outlined areas with soft thread shot via air pressure through a hollow needle. By the time of The Wrath of Khans production, the machines and needles needed to produce trapunto were rare, and Fletcher was only able to find one needle for the wardrobe department. The crew was so worried about losing or breaking the needle that one of the department's workers took it home with him as a security measure, leading Fletcher to think it had been stolen. For Khan and his followers, Fletcher created a strong contrast with the highly organized Starfleet uniforms; his idea was that the exiles' costumes were made out of whatever they could find. Fletcher said, "My intention with Khan was to express the fact that they had been marooned on that planet with no technical infrastructure, so they had to cannibalize from the spaceship whatever they used or wore. Therefore, I tried to make it look as if they had dressed themselves out of pieces of upholstery and electrical equipment that composed the ship." Khan's costume was designed with an open chest to show Ricardo Montalbán's physique. Fletcher also designed smocks for the Regula I scientists, and civilian clothes for Kirk and McCoy that were designed to look practical and comfortable. Filming Principal photography began on November 9, 1981, and ended on January 29, 1982. The Wrath of Khan was more action-oriented than its predecessor, but less costly to make. The project was supervised by Paramount's television unit rather than its theatrical division. Bennett, a respected television veteran, made The Wrath of Khan on a budget of $12 million. The budget was initially lower at $8.5 million, but it rose when the producers were impressed by the first two weeks of footage. Meyer used camera and set tricks to spare the construction of large and expensive sets. For a scene taking place at Starfleet Academy, a forced perspective was created by placing scenery close to the camera to give the sense the set was larger than it really was.