“She f.o.’s after he enters.”

Have you ever wondered what “f.o.” meant?

What “F.O.” Stands For

“F.o.” stands for “fucks off.”  It is not meant in the rude sense.  Instead, it is a somewhat crude synonym for “exits” or “goes away.”

So, saying “she f.o.’s” means “she exits” or “she goes away.”

(No worries, it’s not meant as mean.)

Wonder about any other terminology you hear on a TV or film set?  Post your questions below!

With winter upon us (albeit a rather warm one so far this year), we thought it would be good to rerun Sara DeRosa’s “Winter Wear” article.  Sara’s added some information to the article about Uniqlo’s HEATTECH clothing.  Consider picking some up!

- The Editor

It’s that time of year again! The weather is getting colder, windier, and soon it will be snowier. But the show must go on! Here are tips about what to wear to keep warm when standing in outside during the colder months.

Jackets

One of the most important pieces of clothing that will help you keep warm and toasty is a good jacket. I recommend buying a full-length, down-filled jacket. The long length keeps more heat trapped against the length of your body. Most come with a bidirectional zipper so you can unzip the jacket from the bottom, giving you options for more ventilation and for more legroom when walking.

These jackets can be more on the expensive side, but they are a smart investment. You can find cheaper, quality options at discount stores such as Burlington Coat Factory. You should choose a neutral color, and it’s best to buy one with a hood and roomy pockets.

Tops

For tops underneath your jacket, you should layer different types and thicknesses of shirts. Layers are great because you can always take layers off or add more as needed. Different options for tops that are good for layering include long-sleeved t-shirts, cardigans (for a light sweater option), and heavier sweaters or sweatshirts.

It helps to have a tank top, t-shirt, or long-underwear top that you can tuck into your bottoms for your first layer to keep you as insulated as possible. Longer length shirts that cover your middle and longer sleeved tops that cover your wrists will also help with keeping in your body heat.

Bottoms and Socks

You’ll also want to layer up on the bottom as much as you can. Start with leggings or long underwear that is tighter so it will fit under a pair of your jeans or other pants. You can always remove this layer if you get too hot.

Sara’s Tip!
Sometimes it is difficult to fit a full pair of leggings underneath a pair of jeans that are tighter around the waist. To still get full leg coverage, a great alternative is American Apparel Thigh-High Socks.

For socks, layer starting with the thinnest pair, and add 2 or 3 more pairs, ending with very thick socks. This may seem like a lot of socks, but your feet and toes are one of the hardest parts of your body to keep warm. In order to keep your body heat trapped, make sure some of your layers are long socks that will cover areas your pants don’t cover.

Toe warmers–as well as hand warmers and back (or “full-body”) warmers–are often available on set in coldweather situations, but they are also often a commodity.  If warmers are a requirement for you to stay warm, buy a box before the winter weather season begins.  Because local stores may be out of stock when it really counts, order warmers online to ensure you have a personal stock when production has none to offer.  DrugStore.com offers a selection of warmers in bulk quantities at affordable prices.

But make sure you don’t put warmers directly on skin!  Affix them to the first layers of clothing where you’re using them.

Footwear

As mentioned above, feet and toes are one of the hardest places to keep warm. Boots are the most ideal type of footwear for standing in outside.

Look for a snow-boot type pair with good insulation and thick lining. Ones with a short heel can be beneficial because with your foot at a slight angle inside the boot, the blood is encouraged to flow downward to keep your feet warm.

Accessories

Other components that will help keep you warm include scarves and gloves. You can layer more than one pair of gloves, if necessary. Covering your ears with hats and headbands are a must as well, but a hood may be your best defense against the cold, especially if it is windy outside.

If the hood on your jacket is somewhat loose, wear a sweatshirt with a tighter hood underneath your jacket, or keep your hat on under your hood for double protection.

HEATTECH

Uniqlo is a Japanese clothing company that has created a signature line of HEATTECH “heat-generated” clothing.  The Uniqlo website describes HEATTECH as “[f]abric with cutting-edge technology works with your body heat to warm you up and keep you warm.”

I am a big fan of this technology. IT WORKS! And it is inexpensive. As of now, they only offer their clothing for sale in the USA via their stores in New York City.

• Men’s HEATTECH
• Women’s HEATTECH

Color Cover

If color cover is given to you while standing in outside, find a way to wear it in addition to your outerwear. Wear the color cover over your jacket, even if it has to be draped around your shoulders. Figure out a way to make it work without sacrificing any of your layers.

Other Tips for Keeping Warm

Keep moving! Walk around the set area when you have short breaks from standing in. Pop inside a warming tent if there is one available there. If you have a longer break when you are not needed for a scene, head back to holding and ask the PA there to give you a warning when your next scene is coming up.

Warm liquids will help keep you warm. If you’ve already had too much coffee, tea, or hot chocolate, drinking warm water works, too.

And most importantly, layers layers layers! Bring extra layers with you to set–shirts, sweaters, and socks.  You will be prepared for changes in the weather.

Good luck, and have a wonderful winter!

What do you wear to keep warm while standing in outside in the winter months? Do you have tips for keeping warm while on set? Comment below!

Whether or not it’s requested by a casting director, a stand-in résumé is a great tool to use to list your stand-in experience for your own reference. There is no one way to format it, so I’ve included suggestions of what information is helpful to add to a stand-in résumé.

Actors and Projects

The most important information on your stand-in résumé is going to be a list of the names of the actors for whom you have stood in. If you prefer, you could also list the names of the characters that the actors played.

It is equally important to list on which project(s) you stood in for that actor. Some actors sport varying looks in their different projects (different hair colors, hairstyles, facial hair, weights, etc.), and casting may want to know what look you matched.

If you were used regularly to stand in for multiple actors on a project, you could list these actors’ names on separate lines with the project name next to each name. You could also group the actors’ names together and list the project name only once.

Utility Stand-In Work

You may have been used to stand in for multiple actors for whom you were not physically a great match, or you may have been used often to stand in for dayplayers on a project you regularly worked on.

In these cases, you should use the term “Utility” in place of the actors’ names. This will help to avoid confusion that may arise if you list actors you have stood in for whom you don’t really resemble.

Photo-Doubling

There are some projects for which casting is directed to find a stand-in who could also work as a photo-double for the actor if needed. In these cases, casting would want information about your measurements and your photo-doubling experience.

Just as with stand-in work, for photo-doubling work you should include the actor you photo-doubled for and the project name. You could also mention the body parts for which you have photo-doubled (hands, legs, back, etc.).

For photo-doubling work, it’s helpful to include somewhere on your résumé your basic measurements (height, weight, bust/hips/waist, etc.) and general clothing sizes (dress or shirt, jacket, pants, shoes, etc.).

Formatting Your Résumé

Your stand-in résumé will more resemble an actor’s résumé than a business résumé.  Your stand-in résumé will feature a large heading showing your professional name.  Just below your name will be your contact information and union affiliations, along with your measurements and clothing sizes.  Below this section will be columns displaying your work experience.  Any supplemental work experience (special abilities, talents, training, etc.) rounds out your stand-in résumé.

Listing Your Work Experience

A straightforward way to list work experience on your stand-in résumé is by creating two columns. In the first column, list the names of the actors for whom you have stood in. Line it up next to a second column in which you list the name(s) of the project(s) on which you stood in for the actor.

Ordering Your Work Experience

The most recent project would generally be placed at the top followed in order by previous projects, much like listing job experience on a standard work résumé. Listing the dates of the projects is optional as well. It may be to your advantage to list dates if you stood in on a project long-term, such as for several seasons of a television show. This information could be added to a third column.

Film vs. Television

Listing your stand-in experience on films separately from your stand-in experience on television projects is up to you. Unless you’d like to fill out the page more, it’s acceptable to list everything in one category.

Photo-Doubling

You may want to note projects on which you only worked only as a photo-double for an actor and not as the actor’s stand-in.  “Photo-Doubling” is an optional section you could that would help fill out your résumé.

Get Started!

Sample Résumé (Adobe .pdf)
Click here to view a sample stand-in résumé to guide you in creating your own.

Résumé Template (Word .doc)
Click here to download a template for creating your own stand-in résumé.

Sample résumé and résumé template created by Ben Hauck.

Have fun with your résumé! Since there is no formal standard stand-in résumé format, you can make it your own. Keep in mind that there is a lot of optional information to add or not to add, so set up your résumé in the way that promotes you the best.

Good luck!

Have you found it helpful to have a stand-in résumé on hand? Any tips you’d like to share with others about making one? Please comment below!

If the mark is in the shape of the letter T, your feet should go on opposite sides of the stem of the T, and your toes should touch the underside of the top of the T.  Marks usually designate a very specific location determined first by the actor in the rehearsal of a scene, then adjusted by the camera department as they set up the shot.

When you are standing in on your mark, often you will be adjusted by the camera operator.  This movement almost always implies that you will need to be “remarked.”  The responsibility of remarking you is that of the camera assistant. This is usually the crew member who originally laid down the marks during marking rehearsal, but more generally it is the responsibility of the camera department.  Remarking is not the responsibility of the stand-in.

From time to time, you will be moved from your original mark and need to be remarked.  Here are some tips on how to address getting marked or remarked when you’re standing in.

Wait to Be Remarked

The most common scenario you will find yourself in is that you will be repositioned from your original mark.  This will mean that you will need to be remarked.  Often, the camera assistant is paying close attention to whether you’ve been moved during the setup of a shot, and the camera assistant will take care of remarking you without needing to be asked.  However, sometimes the camera assistant will be busy doing other tasks, meaning the camera assistant will miss that you’ve been remarked.

In general, do nothing if you’ve moved but not remarked.  Instead, wait for the camera department to call for you to be remarked.  In most cases this will happen within a few minutes of your being repositioned.

Ben’s Tips!
#1 – When you’ve being remarked, pay attention to where your feet are.  Sometimes in your new position you will be standing on the tape for your old mark.  In making your new mark, the camera assistant may simply move the old tape.  So, make sure you give the camera assistant room to move your mark … but also stay on your new mark!
#2 – All the while, try to keep your attention up and where it should be while you’re getting remarked.  While you’re being remarked, the DP might be looking at you to see how the light falls on you.  Staying focused on the ground can take away precious time from the DP as the shot is being set up.

Ask to Be Remarked

If you are asked to move to a second position (that is, from your first mark to your next mark in a scene), it is usually critical that you are first remarked before you move to the second position.

If you’re being asked to move to your second mark before being remarked, politely let the camera department know that you need to be remarked.  You can tell either the camera assistant or the camera operator.  (If for some reason neither is available, let an A.D. know that you need to be remarked.)

Generally, do not move to your second mark until your new first mark has been remarked.  Doing so will preserve the work already done in setting up the shot.

Ask for a Mark

Sometimes a mark will not be laid down during the marking rehearsal at a place where your actor stops or stands.  Other times an additional position will be added to a scene after the marking rehearsal.  If you’ve been positioned in a place without a clear mark, and you feel the actor will need that mark in performing the scene, you might ask for a mark.

In such a case, again, politely ask the camera assistant or camera operator for a mark.  A mark may or may not be important to the camera department in such a case, but it can’t hurt to ask if you feel a mark would be helpful.

Ask Before Moving Your Mark

If things are a bit crazy on set, and if the camera assistant is nowhere to be found, it might be easier for you to remark yourself than to have someone else remark you.  In general, though, do not remark yourself without asking.

If it looks that it might be optimal for you to remark yourself, first ask permission from the camera operator if it’s okay to remark yourself.  In so doing, the camera operator may immediately call for the camera assistant to remark you, or the camera operator may even remark you.  At other times, the camera operator may say it’s okay to remark yourself.

However, very rarely would you remark yourself.  Marking and remarking yourself is not your responsibility.  If you marked and remarked yourself without asking, you potentially would interfere with the camera assistant’s responsibilities and potentially cause conflict.  In general, always ask permission before moving your mark.

Do you have any tips on getting marked or remarked as a stand-in?  Have you had any interesting experiences in terms of getting marked or remarked?  If so, please share below!

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!

“Cover Set” Defined

A cover set is a proposed schedule that may or may not be used for the next day of shooting.

The most common reason a crew will go to cover set is because inclement weather is expected and exterior scenes are scheduled to be filmed. Rain, snow, and other weather conditions are not ideal for filming outside.

In rarer cases, a hurricane may prevent equipment trucks from parking in the streets at the scheduled filming location. (Thanks, Hurricane Irene!) In advance of such instances, a cover set schedule is created, and the crew is given notice of what this cover set schedule will be.

Preparing for a Cover Set

As a stand-in, a cover set could mean a big difference in your schedule. Depending on which schedule is chosen, you may be going to a different location or working a different part of the day. Or you may be working if the cover set is used and not working if it is not used! Make preparations for both schedules. If you have any conflicts, let casting know.

Usually a decision is made by wrap time as to which schedule is being used for the next day, and the crew is notified before they leave.  Sometimes, though, if production wraps on Friday and is to resume on Monday, crew might not be notified until Sunday whether they are going to cover set or not.  Casting won’t know until crew knows, which is usually when weather or other conditions are better understood for the next day.

Sara’s Tip!
If the crew goes to cover set and you were scheduled to work in the original schedule, find out when that day is rescheduled for so you can check your availability.

What are your experiences with cover sets? Do you have any tips to share about preparing for different schedules when a cover set is a possibility? Please comment below!

Many stand-ins step onto their marks and essentially stare at the other stand-in in their scenes.   While there usually is nothing wrong with doing so, it can be generally uncomfortable for both the staring stand-in and the stand-in being stared at.

Here are some times for addressing eyelines when you’re standing in.

Assume the Position

When a shot is being set up, usually the exact eyeline is not important just yet.  What’s more important is body position and body angle so that the scene may be lit properly and the cameras may be aligned properly.

When you’re first standing in in a scene, step onto your mark and look at the other stand-in in your scene (assuming your first-team actor did look at the other first-team actor in the scene).  Memorize the position of your body when you are looking at the other stand-in, then you can look away.  Look away only your eyes, though–don’t reorient your body.  Essentially, don’t stare at the other stand-in right when you step in, and instead simply keep your body oriented properly to the other stand-in.

Look “Home”

When you actually are asked to take an eyeline to another stand-in, often what happens is that the two stand-ins will feel slightly embarrassed or uncomfortable, then smile, blush, or laugh at each other.  Of course, this is understandable behavior, but it could also distract you and the other stand-in from instructions from the DP or camera department is making.

I call “home” the point on the bridge of the nose between the eyes.  In order to thwart the discomfort of looking another stand-in in the eyes, I recommend instead of looking into the eyes, look “home.”  Looking “home” gives the appearance you are looking into the eyes of another but will probably get you around the discomfort associated with that task.   (See this past post for more information on “home.”)

Looking “home” is probably not necessary if you’re asked to look at another actor for a very short period of time.  However, looking “home” may be helpful in those times when you have to look to another stand-in for an extended period.

How do you handle eyeline work?  Do you get bothered when other stand-ins stare?  Do you have other tips for dealing with eyelines?  If so, please 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!

This column stands for “Hair/Makeup/Wardrobe.”  These are preparations a first-team actor must go through before going on camera.

Associated with this column are times.  Commonly, an actor will report to work or be picked up, then immediately go through “HMW” (possibly after a rehearsal on set before the crew and stand-ins).  The next column usually is the “Set” column, which is an estimation of when the actor should be ready to work on set to shoot the scene.

The times in these columns aren’t that important for stand-ins, but they may be helpful to gauge how long a day will be.  If you’re standing in for an actor later in the day, the time listed in the “Set” column may give you a sense of what time the production is expecting to begin shooting your scene.  If you’re standing in earlier in the day and the crew will be moving onto another location without you, the “Set” column may help indicate by what time the production expects to wrap on your scene.

Do you find value in knowing the times listed under “HMW”?  If so, reply below!

CHECK THE WEATHER

Before you decide what to wear for a work day, check the weather! Look for how hot it is going to get during the day and how much it will cool down at night so you can be prepared. Also look to see if there is a chance of rain or thunderstorms.

TOPS

Tank tops and t-shirts are a good base to start with. Keep in mind that you may have to layer color cover over your own clothes, so choose lighter materials that are breathable.

BOTTOMS

Shorts, bermuda shorts, and capris are all good options. Again, for these you’ll want to choose fabrics that are light and breathable. Pants can work too, but it’s better if they are made of a thinner material as denim jeans can get very hot. I would suggest avoiding skirts because you may find yourself having to sit on sidewalks or stumps if you are in the woods.

FOOTWEAR

Sneakers and light socks are your best bet. Closed-toed shoes are a requirement on most sets in accordance with the Occupational Safety & Health Administration workplace safety standards, so avoid wearing sandals and flip-flops. If you have to wear high heels to stand in, try to wear wedges or shoes with a thicker heel. Thinner heels are more susceptible to damage while walking on pavement, and they will sink right into the ground if you have to walk on grass.

To protect your thinner heels, you could use heel caps. Heel caps are 1″ rubber protectors that fit over the heels of most standard high heels. Heel caps can be purchased online at The SoleMates or at any Ricky’s store in New York City.

LAYERS FOR NIGHTTIME / AIR CONDITIONING

You may be working on set into the night when the temperatures drop, or you might move to an indoor location with air conditioning. To be prepared for cooler temperatures, you should bring clothing layers with you.

For tops, bring a cardigan or a long-sleeve t-shirt that you can layer over your clothing. For bottoms, 3/4-length or full-length leggings are good to layer underneath. These options are good because they are light and not bulky, so they won’t take up a lot of space in your bag.

OTHER NECESSITIES

Here is a list of other items that are very helpful to have on set while working outside:

1. Sunscreen and bug spray
2. Sunglasses and a hat (for coverage when you are not standing in)
3. Umbrella (in case of rain or for more sun coverage)
4. Hair clips (pinning up long hair can keep you much cooler)
5. Water (it’s very important to keep hydrated!)

Good luck, and have a great summer!

What do you wear to keep cooler while standing in outside during the summer months? Any other necessities or tips you can suggest? Comment below!

Usually stand-ins are members of the Screen Actors Guild (SAG) or American Federation of Television and Radio Artists (AFTRA). SAG and AFTRA are both labor unions. As union members, stand-ins are entitled to union wages, which are determined by negotiated contracts.

In recent years, union wages have gone up for stand-ins on July 1st. As of July 1st, 2011, stand-ins for television and film make $157 for 8 hours on most SAG projects, and $163 for 8 hours on most AFTRA projects. There definitely are exceptions to these base rates (such as when standing in on a commercial, standing in on a SAG CW project, personally negotiating a higher rate, etc.), but these are standard rates as of July 1st, 2011.

As union members, stand-ins also make additional money in overtime hours, meal penalties (when crew does not break for a meal after 6 hours of work), night premiums (when working during particular times), and photo-doubling (when a stand-in is on camera in place of another actor). Given the overtime many stand-ins put in, stand-ins may regularly gross $300/day or more. Of course, some stand-ins regularly work “straight 8s,” meaning they gross only their base rate because of the lack of overtime they work.

While the pay may be attractive, the amount of commitment involved when standing in may make standing in unappealing to the average person. Oftentimes a stand-in must be fully available for a day, with absolutely no outside conflicts. These long hours can impede on family and social life, not to mention health and happiness.

Standing in is not a “day job” in the typical sense; usually, a stand-in cannot leave for an appointment and come back as one might at a typical desk job. This is to say that although the pay may be a consideration for someone looking for work, the sacrifice involved in working as a stand-in may make the job impractical or even wholly undesireable.

It can be difficult to maneuver an apple box when standing in, but working with an apple box is usually temporary. Here is some information about apple boxes and some tips to help you if you are asked to use one while standing in.

Apple Box Basics

Apple boxes are wooden boxes used on sets to raise furniture, props, and people. They are produced in the following sizes:

“Full Apple” = 8″ tall

“Half Apple” = 4″ tall

“Quarter Apple” = 2″ tall

“Pancake” or “Eighth Apple” = 1″ tall

Tips for Standing In with an Apple Box

Marks

1. If your marks have already been set on the floor, try to line up the front of the apple box with the top of the mark and center it so you can stand in the right place. The camera assistant may or may not give you another mark for your apple box, so be extra aware of your positions.

2. Your mark may be adjusted by the camera operator while you are standing in. If the camera assistant puts the new mark on the actual apple box, make sure the camera assistant has the opportunity to adjust the mark on the floor before you pick up the apple box when second team is dismissed.

3. If you have two marks that are close together in a scene, you may be able to place your apple box in one position that will cover both marks. For example, if your actor takes a small step forward in the scene, set your apple box so it extends in front of you the long way (or sideways for a small side-step adjustment).

Traveling with Your Apple Box

1. When the actor you are standing in for moves throughout the scene, it is usually your responsibility to move your apple box from place to place while you are setting up the shot with the crew.

2. You may have to walk forward in the scene or walk out of frame. It can be tricky to accomplish this with your apple box. If the camera operator is practicing the camera move when you are walking a few steps away from your mark, you will not be able to pick up the apple box without leaving the frame. The camera operator may need you to start on your apple box, step off, and walk on the tips of your toes to try to match the height as best you can. When the camera crew is finished looking at the move, you should have a chance to pick up your apple box and move it to the next mark.

3. While moving the apple box, you should bend down and pick it up rather than pushing it across the floor with your feet. You don’t want to risk bumping the apple box into furniture or light stands. Also, the apple box could accidentally pick up the actors’ marks from the floor as it slides across the tape.

4. If you are asked to step out for safety reasons while a light is being set or furniture is being moved, you should pick up the apple box and take it with you so the crew has room to work.

5. When second team is dismissed, ask an A.D. if you should keep the apple box with you for the next setup or return it to the person who gave it to you (usually someone from the props department).

Ben’s Tip:
When you have to crouch or kneel when you’re standing in in a scene, you may tax your knees.  Don’t be shy in requesting an apple box for this kind of work.  Politely ask an A.D. if you could have an apple box, or if you’re familiar with the props department, you might politely ask one of them.  You can use the apple box to support your crouched or kneeling position and spare your knees any stress.  Also, there are fitted seat cushions for apple boxes, so if you need something more comfortable, you might request a cushion, too.

Have you had any experiences standing in on an apple box? Any tips you’d like to share? Please 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!