You might wonder what this A.D. might mean.  Is this A.D. suggesting that this scene is actually being shot tomorrow or another day?  Will something happen in the scene not now but later in the week?

“On the day” is simply an expression for “when we eventually shoot the scene.”  It does not truly imply a different day.  Instead, the expression is metaphorical, implying that shooting the scene is “the day” and setting up the scene is “prior to the day.”

Have you been puzzled by other expressions you’ve heard on set?  If so, post them below!

Imagine Standing for 30 Minutes Straight …

Try standing in the same place, focused on a small mark for 30 minutes or more and you’ll start to get a sense of what kind of endurance is needed for the job.  After that amount of time, you may find your feet sore, your knees in pain, your back tight, or even your mind agitated.  You might feel the need to move around or stretch–and given the demands of the moment when the crew is setting up the shot around you, you might not have the opportunity to do so.

Now, let’s layer on some added strain.  Let’s take this 30 minutes of standing still, but let’s say your body is faced forward and your head is turned to the right and upward.  After 30 minutes of this position, you will probably feel tightness in your neck and shoulders that probably won’t feel comfortable.  You’ll probably need to keep in this position, though.

Or, instead, let’s say that you have to have a hand up in the air holding a small box.  You probably won’t be able to accomplish 30 minutes straight of holding up a small box in your hand.  After time your arm will get tired or you will get agitated.  You’ll probably let the arm fall, but you’ll probably have to bring it up again and hold it out for an uncomfortably long amount of time.

Or, let’s say that instead you’re standing but you’re leaning over a gurney because your character is doing an operation in the scene.  This off-balance position will become highly uncomfortable if held for 30 minutes.  30 minutes of leaning with your hands assisting is one thing, but 30 minutes of leaning hands-free is a whole other ballgame.

Now let’s put you on your knees.  Do you think you can tolerate being on your knees for 30 minutes straight?  I quickly request a kneepad when it looks as if I’ll have to kneel in a scene given the discomfort being on my knees gives me.  Have me crouch for 30 minutes and you’ll have me uncomfortable within a minute or two if I’m not able to adjust of get up.  At these times I try to request an applebox to sit on so I can emulate crouching rather than actually doing it.

Now Imagine Standing In as a Sport …

You can think of standing in like a sport.  In this sport, the object is to do your best at performing the task at hand for a long period of time.  Thinking of standing in like an endurance sport makes standing in fun or challenging during those times when you’re looking for inspiration at a time or boredom.  It may also help to condition you as a stand-in to tolerate long periods of staying in one place or one position.  Your body may become more adept at handling strain, or simply your brain may become more tolerant of the long stretches of inanimation.

Standing in can be compared to other kinds of things.  Have any other ways of thinking about standing in?  If so, share below!

Preliminaries

More than likely, if you’re to be standing in in a pool, you will be cleared to do this kind of work via the background casting office.  Casting will likely make sure that you’re comfortable working in water.  For my recent gig, casting cleared me at the very beginning before the camera test, then they confirmed with me closer to the date.

Should you be asked if you’re comfortable working in water, my first bit of advice is to be 100% honest about your comfort level working in water.  Standing in in water is a completely different experience than standing in on dry land, and it puts dramatically different demands on your body.  What likely is implied when you are comfortable working in water is that you can swim, float, and perform basic actions when in the water.  What may also be implied is that you are in good enough shape to handle a day’s worth of work in water, and that you’re comfortable working in a bathing suit or wet suit.

If you could not handle working theoretically 8-12 hours in water, cannot swim or tread water, or cannot handle cool water temperatures for extended periods of time, I would strongly recommend not saying that you are comfortable working in water.  The potential risk of misrepresenting your comfort in water is that you find yourself in a situation much more demanding than you can realistically handle.  You probably don’t need to perform a butterfly stroke or tread water for 30 minutes without rest, but you will probably need to be able to swim without fear and handle cool water temperatures maturely.  When you’re standing in in water, often you will need to be in one place in the water, which means your body is not as active as when you’re moving or swimming, meaning that you will likely start to get cold even if the water is a comfortable temperature when you get in.

Preparations in Advance

If possible, seek the date(s) you’ll be standing in in water from casting or from production.  Knowing this will help you prepare in advance for the physical and mental demands such work may have on you.

If you have a relationship with the wardrobe department, in advance of the pool work, ask what color cover would be appropriate for that day.  Confirm that the swimwear that you own will be appropriate color cover for standing in, or if the wardrobe department will be providing you with swimwear.  For my recent job, color cover was my own buttondown shirt and my own swimtrunks.

Ben’s Tip!
If you provide your own color cover that is not truly swimwear (like a shirt or pants), make sure you are comfortable working with it in water that may have chemicals in it.  In my recent gig, the chemicals in the pool dyed the principal actor’s wardrobe on contact, while my own clothing used as color cover was fine.

The wardrobe department may offer you a wetsuit to wear for standing in.  If they do, I would strongly recommend wearing a wetsuit.  Given that you will likely get cold in the water, the wetsuit will likely give you additional warmth which will extend your ability to work comfortably.

Also, check with wardrobe to see whether they will be providing you with a towel and a robe.  When you are standing in in water, you will probably be getting in and out of the water, which may eventually saturate your towel and/or robe.  You might want to check with wardrobe to see if you should bring additional towels or your own robe, or if they will be providing dry towels or dry clothes for when you’re not standing in in water.

Finally, ask what the most appropriate footwear would be.  Should you wear aqua socks when in the pool, or can you be barefoot?  Keep in mind that even if you may be barefoot in the pool, you will probably want to have shoes to wear when you’re out of the pool considering the injury risks heavy machinery around the pool may pose for you.

Preparations the Day Of

With the above information, you will know in advance if you need to, say, purchase a swimsuit, buy a towel, get appropriate footwear for the pool, etc.  The day of your pool stand-in work, make sure you set aside what you need.  Some of what you need might include:

Your swimsuit

Your wetsuit (if you own one to use)

Your color cover

Your own towel

Your own robe

Footwear (flip-flops, aqua socks, etc.)

Dry clothes for lunch or long breaks

Dry clothes for when you’re wrapped

Sunscreen (for exterior pool work)

Goggles (if you need them)

A bag for your items

Bags for holding your wet clothes (I used plastic grocery bags)

A lock (if you suspect there will be lockers to use for storing your belongings)

Conditioner or moisturizer (if your hair or skin is prone to drying out from the chemicals in pools)

An umbrella (if you suspect there will be little relief from the sun when you’re out of the pool)

Etc.

What to Expect

For my recent gig, the blocking was not too challenging to match and it only involved one actor.  But a scene in a pool may require you to watch for a whole different set of factors when you’re watching your actor and the scene in rehearsal.  Some things to watch for in rehearsals are:

The absolute position of your actor in the pool

The relative position of your actor in the pool (that is, relative to the other actors)

The amount of your actor’s head or body is out of the water at a given time

The swimming strokes your actor uses in the scene

The amount of splash and direction of splash your actor gives in a scene

The kind of entry your actor has to the pool (a dive, a cannonball, a jump, etc.)

The amount of time your actor is underwater (in seconds or beats)

What your actor is doing underwater (if there are underwater shots)

As added insurance, you may find on the day that there is a person listed as “Water Safety” on the callsheet.  This person’s job is to stay in the water and monitor the in-water activities.  The day I worked, a full-time fireman and SAG member was hired for Water Safety.  He had with him a flotation device (a bullet-shaped buoy) and was there to aid in case of an emergency.

Compensation

When you’re standing in in water under a union contract, you will likely be eligible for wet work, so you will experience a bump in your base stand-in rate for the day.

If you are asked to swim and not simply stay in place when you are in the water, you may be eligible for special ability pay, which is an additional bump on your base rate for the day.

If the work is particularly demanding, you might request additional compensation for the work, or you might consult with your union representative to negotiate an additional bump for you.  (I would only advise doing this if the demands on you are serious or are comparable to a stunt.)

My Experience

Standing in in an indoor pool was an exciting and physically taxing day for me.  While the water felt comfortable when I got in, and while I handle cold temperatures fairly well, I quickly got chilly when I had to stand in in the water in one place for a while.  When I got out of the water, I would immediately shiver even though the air temperature wasn’t cold.  I learned that since the temperature of the pool is considerably lower than 98.6 degrees Fahrenheit, eventually you’re going to get cold and for that reason a wetsuit is advisable when standing in in the water.  (I had worn swimtrunks and a buttondown shirt with no wetsuit.)

My day didn’t demand much swimming–mostly standing still in a few different places (which also induced shivering).  However, my day demanded of me a lot of listening.  In the middle of an indoor pool, there is a lot of sound bouncing around and it can be hard to hear if someone is talking to you and where from.  I’d advise keeping your eye on the DP (diretor of photography) or possibly the 1st AD when you are in the water because they are the most likely to communicate with you when you’re in the water.  Also, the camera operator will talk to you, so if you can keep tuned in to the camera operator, you probably will have little problem losing focus when in the water.

Even if the cold is distracting you, you need to keep aware of your position in the pool when you’re standing in.  On my day we had a crane mounted with a camera looking at me much of the time, which at times was sensitive to my movements.  Then we added manual waves that would crash around me, which added bodily stress especially given the cold.  The stress of standing in in the water may weaken your discipline, so realize you may need to buckle down and toughen up when you’re standing in in water.

All in all, though, I’d love to do it again.  I found myself wanting to do more activities than just standing in place in the water.  As the day wore on, I found myself dreading the water a bit given the cold, but I didn’t share that feeling and I got in the water whenever commanded.  Overall, it was a great experience–surprising, physically stressful, but offbeat and interesting–and I’d hope that if you’re a serious and committed stand-in with an interest in this kind of experience, that you get the opportunity to do it sometime.

Have you stood in in water before?  What kind of water work have you done as a stand-in?  Share some of your experiences below!

What is block shooting?

“Block shooting” is the term used when two or more scenes are shot from one direction before turning around and shooting the same scenes from the other direction.

For example, if your sides say “We will block shoot Scenes 8 and 9,” Scene 8 will be shot from direction A and immediately after Scene 9 will be shot from the same side, direction A. The cameras will then turn around and shoot Scene 8 from direction B and then Scene 9 from direction B to complete both scenes.

Why is block shooting done?

Block shooting is done to save time and make the schedule more efficient. Instead of shooting Scene 8 from one direction and then turning around to complete it, Scene 9 can be shot from the same direction before turning around. In that case, cameras, lights, and other equipment only need to be moved one time to complete both scenes.

When is block shooting used on set?

Block shooting is commonly used for large scenes with many actors who need coverage. It may also be used in the studio when the walls of a set need to be moved for camera placement. It takes time and care to remove the walls of a set. With block shooting, the walls can be removed for shooting multiple scenes in one direction and put back in just once for the turnaround on both scenes.

Tips for block shooting

Take good notes! It can be confusing switching back and forth from one scene to another. Make sure you have detailed notes about what your actor is doing in each scene. If you step back onto set and didn’t hear what scene was being set up next, ask a PA or the 2nd 2nd AD. Check in with the other stand-ins to make sure everyone is on the same page about what is going on in the current setup.

You may also have different color cover for each scene when block shooting. Layer tops over one another to make it easier to switch back and forth between your color cover changes, and bring all your options with you in case you need to make a quick change on set.

Good luck, and have fun block shooting!

Do you have any tips about handling block shooting as a stand-in? Any other situations you’ve encountered when block shooting was used? Please comment below!

So when setting up the shot, should you hit your mark, or should you stray from your mark so that you’re seen by the camera?

The answer isn’t absolute.  The answer generally depends on the interests of the DP and camera crew in that particular take.  However, a decent guideline for managing such a conflict is to hit your mark first, and adjust as requested, keeping aware of where the lens is should you be asked to “find the lens.”

What Does It Mean to “Find the Lens”?

“Finding the lens” means to position yourself in the shot so that you can see the lens from where you are.  If you have a clear view of lens and you appear to be within its scope, then you probably have found the lens.

If you’re blocked by another actor or set piece from seeing the lens, likely you haven’t found the lens.  To find the lens, slowly adjust your position until you can see the lens and the camera crew says to stop–presumably because it can now see you.

The resulting blocking means you will probably be remarked, and your new position is a “cheat” from the prior position in order to make a better shot.

Do you always find the lens rather than take your mark when you’re stacked up?  Do you have any pointers for finding the lens?  If so, comment below!

You’ll Appear in the Show

Parents or friends far removed from the business sometimes hold the belief that because you are working on a particular TV show or film, you’ll be “in” the TV show or film when it comes out.

Stand-ins work behind the scenes for a production, specifically in the setup of shots.  Technically speaking, stand-ins do not appear on camera.  A stand-in technically needs to be upgraded to a photo-double, principal actor, etc., to appear on camera.  Another way a stand-in may appear on camera is as a background actor, which is work sometimes asked of stand-ins.

Unless a stand-in is upgraded or works in the background, the closest the stand-in will be to “being seen” in a production is by way of being named in the credits.  Not all stand-ins are awarded production credits.  Therefore, waiting to see if credits are awarded to stand-ins is sometimes the “second climax” of a particular film or television project!

You’re Buddy-Buddy with the Actor

Sometimes people imagine that if you are standing in for a star actor, you are close or chummy with that actor.

In most instances, stand-ins are not very familiar with their first-team counterparts.  Other than the occasional polite exchange or professional conversation, most stand-ins rarely interact with the principal actors.  The actor-stand-in relationship is somewhat like a revolving door: When you’re on set, the principal actor is not; when the principal actor arrives, you step off.

This is not to say that there aren’t stand-ins who are familiar with the stars for whom they stand in.  This is just to say that being the actor’s “buddy” is not part of the job description for a stand-in.

The Work Is Easy

While some stand-in work doesn’t require much from the person, some stand-in work is very demanding.

For many stand-in jobs, the work demands discipline in being quiet, being attentive, and being detail-oriented.  Stand-ins frequently work long hours on top of long commutes, which makes the work even more taxing.  Working in loud, cramped areas and being continually asked to move adds more stress to the stand-in’s job.

While one day of stand-in work may be a breeze, a series of days on the same production (or even different productions) can spend the energy of even the most enthusiastic person.  A stand-in who regularly works 12-hour days does a 60-hour work week–not counting commutes.

Standing In Is Common Sense

Some people who find themselves standing in for the first time don’t know what the words “mark” or “blocking” mean.

Given that there are those types of people, standing in is not common sense.  Standing in takes education and experience.  While it helps to work background to learn the rhythms of production, you can’t learn standing in until you actually do standing in.

Furthermore, each production runs a bit differently.  Some productions will have a friendly camera crew who will kindly direct you to do what they need.  Other productions will have a grumpier camera crew whose courtesy is lacking in their interactions with you.  Add to this that some assistant directors will treat you with respect while others will nearly completely disregard your humanity.

When you are standing in, you have to learn how each production does things, meaning you have to adapt to each set.  To be an effective stand-in in these productions, you have to be smart, and smarts oftentimes are learned from prior stand-in experience.

What are some common misconceptions you’ve heard about standing in?  Or what misconceptions have you had?  We’d love you to share below!

An Opening Precaution

Avoid being certain about future days of stand-in work.  While a callsheet may indicate your actor is working, production may be using a different stand-in those days.  Also, weather or other factors may change the production schedule.  If you have a close relationship with the background casting director, consult casting for guidance on production’s use of you as a stand-in for your actor.  If you are a regular stand-in on the project, you are in a better position to ask than, say, a background actor who was pulled to stand in that day.

Predicting Stand-In Work  for Yourself … in the Future!

If you’re expecting to be standing in for #3 (Ben Hauck!) over the next few days of production, the callsheet may have the Advance Schedule listed.

The Advance Schedule section shows the scheduled scenes for the next 1-2 days.  This may appear at the bottom of a the callsheet, on the second page of the sides packet, or at the end of the sides packet.  Sometimes the Advance Schedule may even be omitted from the sides packet, meaning the actual callsheet would be the source for the Advance Schedule.  The background PA should have the actual callsheet, and this person is probably the best person to ask if you want to see the actual callsheet.

Along with the scheduled scenes, the Advanced Schedule lists the actors/characters involved.  Knowing that your actor is working on an future day will help you get a sense of whether you’ll be working, and seeing how many scenes your actor is in may aid in your predicting your relative calltime and the length of your day.

However, take note: Advance schedules often change, especially as weather affects production, so keep that in mind when predicting your work schedule.

Is Your Actor Completely Wrapped?

Another way to predict future stand-in work is to look at the Actor/Character section under the column “SWF” (or named something similar).  This section indicates your actor’s current and remaining involvement with the particular production (or particular episode of production).  Here are deciphered the codes from that column:

• W = Work … Your actor is working on the project today.
• SW = Start Work … Your actor is starting work on the project today
• WF = Work Finish … Your actor is finishing work on the project today
• SWF = Start Work Finish … Your actor is a day-player; that is, your actor is starting work today and finishing work today.
• H = Hold … Your actor is on hold for the day and won’t be on set.

If your actor is listed as SW or just W, this indicates that your actor will have future work on the project, which may mean future stand-in work for you.  However, if your actor is listed as SWF or WF, this indicates that your actor’s last day on the project (or episode) will be today.

How do you figure out if you’re standing in later in the week?  What other callsheet clues do you know for predicting future stand-in work?  Share below!

Here we’ll cover some useful tips for reading the callsheet and, in particular, predicting your out time.

An Opening Precaution

Avoid making definite plans outside your work on a day you’re standing in.  While every indication from the callsheet, casting, and the crew may point to your wrapping around a particular time, last-second changes can mean you’re working longer than anyone expected.

Several times my own predictions of a short day ended up being full days, and one time when I thought I was wrapped, I learned I’d now be standing in for another actor, which turned an 8-hour day into a 13-hour day!  So to avoid logistical nightmares and stressful frustration, keep your expectations low about out times, and always talk in terms of your predicted out time.  Never admit to knowing when you’ll wrap.  You’d be surprised how many people foolishly do!

Finding the Primary Parts of the Callsheet

Now onto the juicy stuff: Dissecting the callsheet.  The primary sections on the callsheet are probably the Scene section and the Actor/Character section.  These are the most important parts of the callsheet to you.  Usually the Scene section is listed first followed immediately by the Actor/Character section.

Let’s say you show up for your first day of standing in on a major motion picture.  You might be told by the background PA, “You’ll be standing in for #3.”  In order to determine which character and which actor is #3, you look in the Actor/Character section.  You find #3.  Let’s say you find the actor is Ben Hauck (!!) and his character is Raymond Nader.

You then probably want to know how many scenes you’ll be involved in.  Simply look in the Scene section and look at the “Cast” column.  In that column will be the actor/character numbers.  Look for each scene listing #3, then note the scene number from the “Scene #” column.  Let’s say that #3 is in Scene 42, 43, and 12pt.

From there, you can flip through the sides and find the scenes 12, 42, and 43 and read the parts for Raymond Nader in preparation for the shooting day.  The abbreviation “pt” means “part,” and it indicates that only a part of that scene will be shot.  For guidance on just what part, look in the “Scene Description” column for a single-sentence overview of the scene.

Identifying these parts of the callsheets are the first steps toward predicting your out time from the callsheet.

Predicting Your Out Time from the Callsheet

There are many known and unknown factors that figure into how long you’ll be on set.  However, there are some usual factors that play into the length of your day. You may be able to get a very rough idea of the length of your day by looking in particular places on the callsheet.  Here are a few places to look . . .

The Page Length(s) of Your Scene(s)

In the Scene section is the ”Pages” column.  The “Pages” column indicates how many pages of the scenes are being shot.  Pages are measured in whole numbers (1, 2, 3, etc.) and in eighths (1/8, 2/8, 3/8, etc.).

Usually 1/8 of a page will take a relatively short amount of time, while 3-4+ pages will take a lot of time.  The usual pace at which your director shoots or the production moves might better inform how long it will take to shoot 1/8 of a page or 4 pages.  Often shooting time is compounded by the number of characters in the scene . . .

The Number of Actors/Characters in Your Scenes

When a scene has a large amount of principal actors in it, frequently a director will want to get coverage of those actors.  This means camera setups, and camera setups mean time.  A scene that is 1/8 of a page with 1 actor would probably be relatively short, but a scene of 1/8 of a page with 11 actors would probably take a long time.  Keep the number of actors/characters in scenes in mind when figuring out the length of your day.

Your Actor’s Last Scene of the Day

If there are 4 scenes scheduled for the day, and #3 is in the first scene, there is a good chance you’ll be wrapped after the first scene of the day.  Obviously, this is not the case if you will be a utility stand-in for the shoot day.

Set/Ready Time for Other Actors

Say crew is in at 3pm, and you’re only standing in for #3 in the first scene.  Now say that the first scene for #4 (say, Sara DeRosa!) is the second scene.  If you look in the Actor/Character section under the column “Set/Ready,” you see that #4 has a set/ready time of 6pm.  This suggests you might wrap at some time around 6pm.

Of course, this is not a guarantee, especially when shooting is slow for the day, but the Set/Ready time for another actor may guide you into production’s expectations for when your last scene will be complete.

Ben’s Tip!
Don’t forget the push!  When production last night went past the anticipated wrap time, nearly all of the times on the callsheet had to push as a result.  So if the callsheet says Sara DeRosa has a set/ready of 6pm, but the top of the callsheet says all calls were pushed 1/2-hour, then Sara DeRosa has a set/ready of 6:30pm, not 6:00pm.

D or N

In the Scene section is a column titled “D/N.”  This stands for “Day/Night,” and it indicates the time of day of the scene.

As far as determining the length of your day, this column may help you predict your out time when shooting exteriors or on sets with natural light in the windows.  If you’re shooting exteriors and your only scene, the first scene, is listed as “D” but the other three scene are listed as “N,” this may suggest that your scene is daylight-dependent, and you may wrap by dark.

Similarly, if #3 is in the last scene of the day, and that scene is listed as “N,” predict that you won’t be wrapped until sometime in the night.

Block Shooting

In the Scene section, there may be a note that several consecutive scenes will be “block shot.”  Block shooting is usually done when two or more scenes take place on the same set.  In order to save time, the crew sets up the cameras for shooting all of these scenes from one direction, then they’ll set up the cameras for shooting all of these scenes from the opposite direction.

If the first scene of the day is being block-shot with the second scene, this probably means you won’t wrap right after the first scene in the Scene section.  Instead, it means you will be probably wrapped after production completes shooting the block-shot scenes from one direction, turns around, and completes shooting of your scene from the other direction.  That is, your day will be a little longer than what first appears to you in the Scene section.

Additional Considerations

If there are stunts or large crowds involved in your scenes, expect that those circumstances will add to the length of your day in most cases.  Also realize that as a stand-in, you’re rarely as clued into the scheduling of the shooting day as much as, say, ADs are, so keep in mind you may be out of the loop with respect to the day’s actual scheduling of scenes.  If you keep your expectations low about when you’ll wrap, you will avoid getting frustrated as circumstances change.  Better still, you’ll be pleasantly surprised when you wrap earlier than you expected!

Next week on Stand-In Central, Part 2 of this post: Predicting Future Stand-In Work from the Callsheet!

How do you predict your out times?  What other callsheet clues do you know?  Share below!

Stand-In as Tool

Perhaps foremost of oversimplifications is the stand-in is a tool. The stand-in is like a tool for the crew.

In particular, the stand-in is like a tool for the director of photography (DP). You are like a hammer that flies into the DP’s hand the moment a nail must be driven, only instead of a nail being driven, a shot needs to be set up. You are at the DP’s beck and call. When the DP needs you, you hear a call for second team or your name. You go where the DP needs you to go, stand where the DP needs you to stand, look where the DP needs you to look. You are the means for accomplishing the DP’s job of lighting and setting up the shot. Without this tool, it would be a much more difficult effort for the DP.

As a tool, you can become better at being like a tool*. You can be available the moment the DP needs you. You can ensure what the DP needs to accomplish is accomplished with you as expediently as possible. You can just do your job silently, without question. Seeing yourself as a tool for the crew may help you better understand how to be a great stand-in.

* Editor’s Note: Of course, I don’t mean this in the disparaging sense!

Stand-In as Shape

Another oversimplification is the stand-in is a shape. When stand-ins are chosen for their body type, this oversimplification rings truer. Stand-ins stand in place for lighting but also perform blocking, and the shape of the stand-in may prove helpful in setting up the shot, whether in showing how distinguished the first-team actor will be in the shot, providing the right height for adjusting the camera, or just showing how much the first-team actor will fill a shot.

Being a good stand-in in this sense is largely out of your control because your shape is basically uncontrollable, though keeping in mind that matching your first-team actor’s shape and height may prove important to the crew as you do your daily work. Small adjustments you can make–like to your hair, your clothing, your shoes, etc.–may make you that much better of a shape and that much better of a stand-in.

Stand-In as Reflective Surface

A stand-in may also be oversimplified into a reflective surface. When DPs have lights adjusted and stands moved in order to distribute the light better around your face and body, you are more like a reflective surface than a human being. You might look nothing like your first-team actor, but your hair color, skin color, or facial shape may resemble your first-team actor’s, making you a great reflective surface for the DP to use.

Feeling oversimplified as a reflective surface rings truest when you can see the DP looking at you but, in a way, not looking at you. The DP will be looking at your skin but totally unconscious of your humanity. You might feel a bit creeped out when being treated in this way, but it is an aspect of the job of stand-in, albeit an oversimplification if seen as your only function.

Being a better reflective surface may mean keeping track whether your first-team actor is wearing glasses (which may reflect light), wearing your hair as your first-team actor does, and wearing color cover. These aspects can have an impact on lighting, and knowing that can make you a better stand-in.

Stand-In as Color

One final oversimplification of the stand-in is the stand-in is a color. This oversimplification is similar to that of the reflective surface: To the DP, your coloring may be of help in lighting the shot. However, as a color, you also help the director and those at video village distinguish you from the background actors. When you wear color cover, your being like a color helps crew to determine which character you are representing in a shot, especially on sets when you stand in for a number of different actors, when it isn’t always clear whom you’re representing in this scene.

Being a good stand-in in this case means staying on top of color cover, not to mention making your hair available for lighting, and keeping your skin tone similar to that of your first-team actor’s.  When a stand-in is oversimplified as being just a color, a day at the beach that leaves you tanned or sunburnt may rival your ability to be a great stand-in.

Any other oversimplifications of the stand-in you can think of? If so,
share below!

“Second Team!”

That’s you.  All of the stand-ins collectively are referred to as “second team.”  By comparison, “first team” refers to the collection of principal actors for whom you’re standing in.  You’re likely going to hear “Second team!” called just after the principal actors have rehearsed with the director.  You’ll hear it after you hear the gate is good.  What’s a good gate?  Read on …

“Checking the Gate!”

This is said at almost the end of a particular shot.  The scene is rehearsed, marked, set up, and filmed from that setup.  Once the director has gotten what he or she wanted, you’ll hear “Checking the gate!” called out.  What does “checking the gate” mean?

Basically, it means that a member of the camera department looks into the camera for specks of dirt, dust,  hair, etc., that may have ruined takes.  If the “gate is good,” usually that means moving on to the next shot.  If there’s a bad gate or “flag on the play” as you sometimes might here, usually they’ll do another take.

Of importance to you, when you hear “Checking the gate!,” you want to be very close to set such that you can step in at any moment.  When you hear “Checking the gate!,” it’s definitely not time to go ten-one.  (What??)

“I’m Ten-One!” / “I’m 10-1!”

“Ten-one”–or “ten-one hundred” as it’s sometimes called–is simply code for “in the bathroom.”  You might hear “The director’s 10-1″ spoken over the walkies.  This means that the director is in the bathroom.

Usually non-film crew people do not understand this term; it is a polite, even secret way of communicating over walkie something less than glamorous.  Background actors don’t commonly know the meaning of the term (unless they’ve been around a while).  Knowing the meaning of the term will help you assimilate better with the crew, especially when nature calls.

When’s the best time to go ten-one?  Perhaps once the cameras roll for the first take, a little after when you were excused from set and first team stepped back in.

Did you have trouble in that camera setup, standing in?  If so, it might have been partly because you weren’t ready for a couple other important terms …

“Color Cover”

The term for the clothing you’re wearing that represents the clothing worn by the first-team actor is called “color cover.”  You usually pick it up from wardrobe before you’re on set to stand in.  Not all sets require it of stand-ins, but some sets find it very important.  In order to collect your color cover, usually you trade in your voucher, which you’ll get back when you return your color cover.

“Camera-Right” / “Camera-Left”

If you’re anything like me, when you get stressed, figuring out left and right, especially on someone else, is tough.  Figuring it out on an inanimate object like a camera can be even trickier!

“Camera-right” and “camera-left” are simply terms for the sides of the camera from the camera’s perspective.  If you’re facing the camera, if you’re told to look camera-right, you look to the left of the camera (which is the camera’s right side).  If you’re facing the camera and you’re told to look camera-left, you look to the right of the camera (which is the camera’s left side).

Now, when you’re not facing the camera but your back is to the camera, obviously things get thrown a bit for a loop as camera-right and -left are also your right and left.

If you’re good with right and left, you’ll have no problem translating this on the fly.  However, if you’re not, something that helps me is to picture the camera like a person with arms and to identify that person/camera’s arms as “right” and “left.”  Sometimes before a day of work I just go over in my head which side is camera-right and which is camera-left so I’m not caught offguard.

Did this post save your life on your first day standing in?  If so, share your experience below!

Below are a few uncomfortable situations you might find yourself in as a stand-in, and how you might go about handling them to ensure they are comfortable.  If you ever feel unsafe when you are standing in, do not work, else remove yourself from the situation until the situation is safe.  Notify a PA or AD of the unsafe situation in order to correct it.

Kneeling In

In some scenes you may find that your actor is kneeling in the scene.  Standing in for your actor will require you to kneel; however, you will probably be kneeling a lot longer than your actor will.  This will probably mean you will tax your knees.

Appleboxes and Applebox Seat Cover (from CinemaGadgets.com)

Two pieces of equipment you may want to request depending on how you are kneeling are a kneepad and an applebox (perhaps with a seat cover).  If your knees are on the floor, a kneepad will take away some of the discomfort of the position.  (Your first-team actor may want a kneepad as well.)  If you are crouched down, an applebox will give you something to sit on so that you don’t have to support your entire weight on your knees.  A seat cover will make the wooden applebox more comfortable to sit on.

The typical channel for requesting these pieces of equipment is through an assistant director like the 2nd 2nd AD.  The props department usually handles these items, so it may also be appropriate for you to request one of these items from a member of the props department.  Usually the best time to do this is just as you are assuming your stand-in mark after marking rehearsal.  Most of the time, crew is responsive to these types of requests since they want to ensure you are safe when doing your work.

Standing in for Someone Shorter than You

Appleboxes may come in handy when you are standing in for someone shorter than you.  For example, if you are standing in for a child, you might sit on an applebox instead of standing to approximate the actor’s height.

However, if you are standing in for an adult, you might need simply to be a bit shorter.  You can accomplish this by spreading your legs wider than your natural stance in order to drop your height.  However, doing this may tax your legs, especially if your legs are far apart.  If you find you are standing in for a long time in an uncomfortably wide position, take moments when you need them to relax your legs.

Utility stand-ins might be more prone to being in this type of uncomfortable situation given that they stand in for a number of different actors with a range of heights.  Most regular stand-ins won’t have to stand in for actors considerably shorter because they were likely brought in because they matched their actors’ heights.

Standing in in Doorways

Standing in in doorways can be very problematic, demanding, and even dangerous.  When you are standing in for an actor who is, say, answering a door in a scene, crew will often need to go in and out of the same door where you are standing in, especially if you are shooting on location.  Crew may also need to go in and out while the DP is trying to light you or the camera department is trying to line up the shot.  Your desires to move out of the way for entering and exiting crew may be held in check by the demands of the DP and camera department setting up the shot.

Further problems come up when your character is behind, say, a closed glass door.  With crew needing to be on both sides of the door, and needing to get in and out of set, the opening and closing of the door can get someone like yourself hurt while you are focused on the DP or camera department.

If possible, when standing in in doorways, stay as much in frame while also shifting your body to accommodate the passage of others.  Also, when possible, start with the door open until second-team rehearsal so that crew can enter and exit freely without your having to move places each time they pass.

Since your body may be to the back of crew, be very careful when you are moving behind yourself when standing in in a doorway.  The camera may be set up right behind you, or crew may be approaching behind you trying to pass.

Standing in in a Sex Scene

A famous scene from the film Love Actually, telling the touching story of two stand-ins for an adult film falling in love

Without prior notice, you may find you’re standing in in a sex scene.  From the stand-in perspective, these kinds of situations on most sets are rather clinical and do not require you to perform anything of a sexual nature more than perhaps lying on top of or underneath someone, or standing behind or in front of someone, completely clothed except for maybe shoes.

Crews typically become super professional during the rehearsal, marking, and setup of sex scenes.  If you feel uncomfortable standing in in a sex scene, keep in mind that the crew’s professionalism may make the experience easier for you.  At this time, there is typically a dearth of joking and humor, and the work is all very serious.  If, however, you feel completely uncomfortable standing in in a sex scene, make these feelings known to the background PA as soon as you find out that you are supposed to stand in in the sex scene so that the crew may find a replacement.

If you are to remove clothing in order to light the scene properly, request from an assistant director like the 2nd 2nd AD a robe and slippers standing by, especially if you will remain unclothed between shots.  A robe and slippers assures you will be decent and warm between camera setups.  The wardrobe department will likely be responsible for providing these items for you, and they may require that you trade your voucher for them much as you would for color cover.  Nudity probably is never a requirement from the stand-in, so if you feel there is a request with which you are uncomfortable, do not perform it, and/or consult your union representative.

Also, keep in mind that another stand-in in the scene with you may feel uncomfortable, so use professionalism yourself when on set standing in in the sex scene.  The novelty of the scene does not mean it is any less serious of a setup, and your focus is needed in it as much as when you are standing.

Know of any other uncomfortable situations standing in?  Have any anecdotes of tricky stand-in situations?  Any other advice for stand-ins in these situations?  Post your replies below.

Dear Stand-In Central,

I had my first interview today to be a Stand-In for the lead female actress in a feature film. Three ladies showed up. One was eliminated right off the bat because of her body structure. The two of us who remained each had something the other did not. The other lady had more of the body shape of the lead actress, while I was closest to her complexion.

I must not have been too far off on the body shape though, as they did not mention this like they did for the third lady that they dismissed.  The lead actress is very fair skinned, very similar to me. The second lady whose body shape was closer to the actress has a pretty dark tan.

So I guess my question is, when you don’t have a Stand-In that meets all of the qualifications perfectly, which trait is on top? Body shape or complexion?

Thanks for your time!

- Cassandra

Hi Cassandra!

That’s a great question, and there’s definitely no solid answer for it.  Like many things in the film and television industry, winning jobs is usually up to human choice, which is not necessarily something you can deduce logically.  In fact, human choice is a bit irrational, if not wholy unpredictable!

However, there may be some general tendencies to help you predict who gets the job in terms of complexion vs. body shape.  I passed along your email to contributor Sara DeRosa, who stands in currently on the television series Gossip Girl.  I’ve also provided my thoughts; I’ve been doing stand-in work recently on The Big C.

- The Editor

Response from Sara DeRosa:

Sara DeRosa

I would definitely say complexion before body structure. I have been on one stand-in interview where body type was a consideration, but otherwise I have not really encountered this. I would say that complexion is more important for lighting purposes, and differing body structures are easier to work around (given that the stand-in is the same height as the actress).

However, I have been on stand-in interviews where the production is looking to hire a stand-in who can also photo-double for the actress. Therefore, the stand-in would have to closely meet the measurements and sizes of the actress in order to be able to fit into the same clothing the actress will be wearing. But complexion would still be very important when considering a person for photo-doubling.

Response from Ben Hauck:

Ben Hauck

In most cases, ultimately whose decision it is what person works (and continues working) as the stand-in for an actor is the director of photography, also known as the DP.  There are other crew people who decide whether a stand-in keeps a job (e.g., the assistant directors), but the DP is a person the crew wants to keep satisfied by providing “tools” like well-matched stand-ins for doing his or her work effectively.

Some DPs really care about a very close match between actor and stand-in because the closer the match, the easier it is to accurately light and set up a shot with the stand-in, without having to make adjustments when the first-team actor steps in.  Other DPs don’t really seem to care who stands in, as long as there is a body to light and around whom to set up a shot.

Given the importance of lighting, I would think DPs would end up being pickier about complexion over body shape.  However, body shape in terms of facial shape tends to have importance given that different faces cast different shadows.  Someone with a facial shape that matches the actor but not necessarily the complexion or body shape may end up getting the gig.

Another important quality is height, which probably ranks around the same as complexion if not more.  Body shape may be more important of a factor when it comes to extremes: If you’re slender to stand in for an obese actor, or vice versa, there is probably less chance of continuing the gig.

But on the whole, in agreement with Sara above, it seems to me that complexion > body shape would generally be the selection principle.

There is something to be said about waiting to be instructed before doing anything on set.  But there is also something to be said about anticipating when you are needed.

When you anticipate being needed as a stand-in, you help those responsible over you to do their jobs and not have to worry as much about you.  You also help the production day move along more smoothly.

You may even increase the potential you’ll be brought back as a stand-in in the future.  A stand-in who knows what to do without being told is a stand-in who is often remembered and even requested in the future.

Anticipating = Knowledge + Conditioning

Anticipating your being needed as a stand-in is a skill.  You can develop this skill with knowledge of the shooting routine.  You can also condition this skill by just being on set regularly.

With knowledge of the routine, you will have a familiarity with the chances of your being needed at this given moment, in the next moment, or in the near future.

With just being on set regularly, you start to condition yourself to the various cues and requests you hear on set.  You find you don’t have to be so vigilantly tuned in to the swarm of sound and movement encircling you.  Instead, just as a pavlovian dog’s mouth waters at the sound of a dinner bell, eventually your body becomes so conditioned to the call of “Second team!” that you jump the moment it’s called, before you have a moment to think about it!

The Products of Anticipating

When you anticipate being needed to stand in, you tend to put yourself in a place to step into your job as soon as you’re needed.

Say that you are given a place off set for when you are standing down.  This may mean that when second team is called, you have to cover some distance in order to get to set.

If you anticipate second team’s being called rather than wait for it to be called, you can get closer to set so that when second team is actually called, you are there to jump in immediately.  You avoid delaying production when you anticipate being needed.

Or say that crew has the set and is setting up a shot, and the director of photography is watching the setup.  At any moment, the DP may ask for second team to step in.

Waiting to be instructed to step in may mean that you keep the DP waiting.  But anticipating stepping in may mean you beat the actual call for second team.  Again, you avoid delaying production when you anticipate being needed.

When Anticipating Is a Con, Not a Pro

Granted, some kinds of anticipating can backfire when you’re standing in.

Anticipating is a bit worse at the end of a setup than at the beginning of one.  For example, if you anticipate being excused from set and walk away from set before second team is officially excused, you may frustrate, say, the camera crew who is still using you to set up a shot.

But anticipating, say, when you need to step in at the beginning of a setup usually doesn’t result in problems.  If you step in too early, you’ll usually just be asked to relax for a little bit as the crew sets up the shot and is ready to have you in.

Pointers for Conditioning the Skill of Anticipating

A set can be a chaotic environment, and it can be hard to process a lot of the noise and movement going on around you.  You won’t know who is who, who is important, who is not that important to you.

Among the most important people to you on set is the DP.  When you arrive to set, figure out who the DP is.  See if you can train yourself to discern the DP’s voice from the crowd.  If you do this, you may make it easier to zone in on the DP’s requests of you.  Since some DPs speak softly, this pointer can be especially helpful in discerning the DP’s voice from all the other voices.

At the beginning of the day, review the common requests you hear as a stand-in, especially if they are requests that regularly trip you up.  For example, at the beginning of the day, go over which side is camera-right and camera-left.  Doing so will mean you won’t be as confused in fielding requests like “Look camera-right” and will be able to respond more quickly to such requests.

Try to predict the next event in the setup sequence or what the crew will next need of you.  Try to guess what the DP wants you to do, the camera department wants you to do, and when you will be excused from standing in.  See if you can get to the point where you can accurately “read the minds” of the different crew people before they request something of you.  While you can never truly read the mind of someone else, you may be able to get pretty good at doing so as you build your skill at anticipating.

Do you have a tip for developing the skill of anticipating?  What is your personal balance of anticipating vs. waiting to be instructed?  Feel free to share in the comments below!

There are a generally accepted “best time” to get to the bathroom when you’re on set.  There are also a few procedures.  First, we’ll go over the procedures before revealing the best time to get to the bathroom when you’re on set.

Procedures

Know Your Bathrooms

When you arrive to a set, among the first things you want to locate are the bathroom options.

If you are shooting in a studio, there are likely some bathrooms on or near set.  As you are checking in, look for bathroom signs, else ask the background P.A. where you can find the bathrooms.  Knowing where both men’s and women’s bathrooms are will help you to guide other stand-ins you’ll be with in the day to locate the bathrooms quickly.

If you are shooting on location, bathrooms may be harder to locate.  They may also be some distance from set.  Usually there are bathrooms located in the honeywagon–they are sometimes marked by the names of famous duos like “Desi” and “Lucy” rather than “Men” and “Women.”  However, the honeywagon could be blocks from set.  In such a case, bathroom options may be closer.  There may be bathrooms in holding or a nearby business taken over by the production, or there may be portable toilets.

But there may also be no convenient options.  Finding this out before your day officially begins will help you manage your bathroom needs and strategize an optimal time to get away.

“I’m 10-1.”

As you know, film and television sets have their own lingo.  One way of communicating if someone is headed to or at the bathroom is to say that that person is “10-1″ (“ten-one”).

Presumably “10-1″ is code used to conceal from those not involved in the production when someone is at the bathroom.  It possibly also serves a polite function to discreetly communicate when someone has stepped away.

When it comes to heading to the bathroom, first and foremost, you want to communicate to a P.A. that you are 10-1.  The best option usually is to communicate this to the background P.A.  Other options include the 2nd 2nd A.D. or any P.A. on a walkie.

It is also not a bad idea to tell another stand-in you trust that you are 10-1.  When doing this, you have another person looking out for you should you suddenly get called to set when you’re away.  Even better is to tell a stand-in of the same gender just in case you need to be found when you’re away.

Generally speaking, it is unwise to communicate just to another stand-in that you are 10-1.  You should prioritize telling a P.A. that you are 10-1 over another stand-in.  However, on rare occasions when a P.A. is not around, this may not be practical.  In which case, it is important that you at least tell someone that you’re 10-1 so that at least one other person knows you’re 10-1.  This does not mean telling a grip or other member of the crew; it usually means at least telling another stand-in.  You want to make sure that someone knows where you are should you suddenly be requested.

When You’re 10-1

When you’re 10-1, you need to do your business and get back to set as soon as possible.  This time period is not a true break.  It is not time to smoke a cigarette or linger at craft service.  It is a time dedicated to getting to the bathroom and back to set as soon as possible.

Should you be called when you’re 10-1, a P.A. will know this and typically make a comment over the walkie if this is the case.  Sometimes a P.A. or A.D. will step in in place of you should you be 10-1 when you’re requested.  This is obviously something that you want to avoid, but if you arrive back on set and find it is the case, quickly swap places with the P.A. or A.D.

Watch What You Drink & Eat

Given the early mornings and long hours on set, it is tempting to drink coffee or tea to awaken or stay awake.  However, drinking these beverages may have a diuretic effect on you and make you want to go to the bathroom more frequently.  Also, fruits and nuts may be healthy options but can have a laxative effect that may prove uncomfortable later in the day.

When you’re regularly on set, start to tune in to your biological processes and familiarize yourself with the frequency of your bathroom needs.  Knowing this information will help you to strategize stepping away to the bathroom, especially in the face of shooting a scene several pages long.  As basic as it may sound, bathroom needs can become urgent and interfere with both your experience on set and your ability to do your job, so it is important to know yourself and to watch what you eat and drink.

All this said, make sure to stay hydrated as you work, especially if you are working in warm, strenuous, or sunny environments.

The Best Time
to Step away to the Bathroom

Know the Shooting Routine

As a stand-in, you can be pulled into set at any time.  However, there is a routine to shooting on most productions.  That is, there are predictable times when you are likely going to be needed, and there are predictable times when you are less likely going to be needed.

However, since every production is different, the best time to step away to the bathroom in general may not be the best time to step away to the bathroom on this particular production.  When you’re new on a productionn, ask the background P.A. for advice on the best time to get to the bathroom.

And Now:
The Routinely Best Time to Step away to the Bathroom…

Routinely, the best time to step away to the bathroom is when the cameras are rolling on the first take.

At this point, there are a number of factors that create a favorable atmosphere for being away:

• First team is on set at this point.
• The cameras are rolling so you are obviously not being used.
• Usually more than one take is shot, so leaving during the first take affords the most amount of time for getting to the bathroom.
• Since later takes tend to be better than first takes, you are less likely to miss changes in blocking should you leave when the cameras are rolling on the first take.

If you are in a studio, transit in and out of the studio when the cameras are rolling may be blocked by a P.A.  In such a case, anticipate when the cameras are about to roll so you can slip out just before you hear 3 bells (the signal that the cameras are rolling).  Don’t re-enter the studio until you hear 1 bell (the signal that the cameras have stopped rolling) or until the red lights signaling rolling turn off.

When you are away at the bathroom, especially when bathrooms are on location, pay attention that the sound of flushing.  Avoid flushing during a take if there is any possibility that the sound could be picked up during the take.

When you come back from the bathroom, it is important to make your way back to the monitors in order to see if there have been changes to your actor’s blocking.  If it appears upon returning that they’re checking the gate, it is important to make your way close to set for when the crew calls for second team.

When You’re Also Doing Background Work

The most demanding position to be in in terms of getting to the bathroom is standing in when you’re also background in the same scene.

When it comes to managing your bathroom needs when you are both standing in and working as a background actor, it is best to be prepared.  Make a point of heading to the bathroom before your scene is up, because when you’re on set you’ll be standing in, and when second team is excused you’ll be doing background.  If a scene is several pages long or involves a number of principal actors, you may find that it is hours before you have time to step off to get to the bathroom.

Do you have your own advice about getting to the bathroom on set when you’re a stand-in?  If so, please post a comment below!

As far as I can tell, there is next to nothing you can do to land a stand-in position at a stand-in interview. You are at the mercy of human choice. For all you know, everyone at the stand-in interview may be essentially equal, so picking one person over another may be random. Of course, you might know someone, and knowing someone might be an advantage. But then again, it might not be an advantage. You really don’t know what is wanted. Knowing that, I relax and say to myself, It’s basically outta my hands, and I hope for the best.

For some, getting the interview is a process in and of itself. It may involve submitting yourself after a casting call goes out for someone fitting your stats.  Often these calls ask for candidates within a 2-inch height range, along with a specific hair color and maybe a hint of weight range. From there, if you get a call from casting, the casting director will seek your approval to submit your photo (to production, i.e., presumably the assistant director or director). If production wants to bring you in, then the casting director will arrange to have you go in for the interview. This kind of process may be in place for long-term stand-in gigs. For day-playing as a stand-in, usually the process is a matter of submitting yourself then booking the gig.

The stand-in interview is nothing like your standard interview. If anything, it is more like a go-see. There is no sitting down to talk to the director, no submission of résumé and checking of references. Of course, these things can happen, but their occurrence would be atypical. My familiarity with the stand-in interview is the lining up of a handful of candidates, the giving of a once- or twice-over by maybe the director of photography, and then the picking. When I booked my first big stand-in gig, I was up against 3 other affable gents. The DP put the lead actor in the center, flanked by two of us on either side of him. We faced front, turned profile, turned the other profile, and switched places. Then, I think the DP weeded out two, then suddenly the other, leaving me standing. It was as if clouds had parted: I got the gig.

Well, I didn’t exactly “get the gig” until I got the confirmation call from casting the next day. What made me somewhat insecure after being picked was that the stand-in they chose for the female lead overheard that they were not really interested in using her. This seemed strange to me, and while I didn’t think we were in the same boat since she really was quite unlike the female lead, it did rattle me a bit. It left me completely nerveracked by the next afternoon, wondering if I had indeed booked the gig. “You never really know until you know, and even then, you might never really know …”

Why did I get the gig? Maybe it was because I was similar-enough looking to the principal actor. I could say that was the case, but honestly, I don’t really know. The DP probably only really knows, because he’s the one who picked me. For all I know, he liked my dimple.

Stand-in interviews run the gamut. I’ve had a stand-in interview when the director grumpily eliminated all of the candidates because at profile, none of us had the prominent nose the principal actor had. I’ve had a stand-in interview when no one was noticeably reviewed but suddenly one person got the job; presumably someone reviewed us from afar. I’ve also gotten regular stand-in work where I was never interviewed nor ever told I’d booked anything. In that case, one day of stand-in work led to another, and then another, and then another, suggesting to me that I’d booked something regular without actually being told it. In truth, there was a handful of days when logistics had someone else standing in for “my” actor, but generally speaking I seemed to have had the job, only along with some mild insecurity that I really had nuttin’.

The moral of the story is, there’s little to expect when it comes to the stand-in interview, and there’s little you can do.  Show up, follow instructions, and hope for the best.

If you have any unique experiences interviewing for a stand-in position, or any advice, feel free to share below.