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!

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.

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!

Many reasons stand-ins are fired are avoidable, and some reasons are probably unavoidable.  Below is a shortlist of common reasons stand-ins get fired.

Being Late

You can lose your job as a stand-in when you show up late to work.  As a stand-in, the saying goes that “on time is late”; you want to make sure you collect color cover before your calltime, because usually you need to be on set right at your calltime.  Productions often need stand-ins immediately at crew call or only a few minutes after, meaning there is no room for lateness when you’re a stand-in.

If you’re late to a stand-in gig, instead of being told “you’re fired,” you might find that a background actor was upgraded to stand in in your place.  You might also find you won’t be needed or you’re dismissed without pay.

Being Nowhere to Be Found

When production calls for second team and you are AWOL, this does not look good for you as a stand-in.  Production needs you to be on set right when they call for you, and if no one can find you when they call for second team, your absence can jeopardize your future work as a stand-in.

When you need to step away to the bathroom or attend to something personal, make sure to communicate to the background P.A. or the 2nd 2nd A.D.  They are responsible over you.  When you are excused, the presumption is that you will be back momentarily.  Rarely on set can you take any kind of long break, especially without notifying  these members of production.

If you are continually absent when production calls for you, it should be no surprise to find that your stand-in job is in jeopardy.  Sometimes an A.D. will step in for a stand-in who can’t be found.  Other times another stand-in will step in for an absentee stand-in.   This does not look good for you if you find an A.D. or stand-in in your place after being away, and it could be a sign that your days are numbered as a stand-in on the production.

Talking to First Team

Talking to first-team actors is a tricky subject.  Certainly some first-team actors are friendly and will chat with you, or even engage you in conversation.  However, some actors do not appreciate the unnecessary attention, especially when they are trying to concentrate.  If you find that you make first team uncomfortable because you try to chat them up, you might find you’re no longer asked back.

Keep your conversation with first team courteous, professional, and to a minimum when you are standing in.  Being a stand-in does not mean you are first team’s “buddy.”  Later on down the line you may find you can be a bit more personable with an actor or an actor may initiate more personal conversation with you, but keep in mind that your job could be on the line if you end up interfering with the actor’s work by talking too much to first team.

Not Knowing How to Stand In

Fortunately a website like Stand-In Central is available to educate people on how to stand in on a TV or film set.  However, not all stand-ins are familiar with the routine when they take a gig, and their ignorance of the job may lead to their getting fired.

Stand-ins who don’t know much about the job tend to make some of the above mistakes.  But more specifically, stand-ins without any training may not be able to follow simple instructions from the camera crew, the DP, or the assistant directors.  Not knowing what a mark is, not knowing what it means to “Go to your 1,” being unfamiliar with terms like “second team,” not knowing the importance of a stand-in, etc., can quickly show through when you start a stand-in gig, and if a production needs experienced stand-ins, you might find yourself removed from set or not asked back.

Communicate with Casting After Being Let Go

Truth be told, not always do stand-ins know whether they’ve been fired.  You might not be asked back to a production, a fact which might imply you’ve been fired, but a fact which also might mean you simply are not needed or they went with another stand-in.  Firings of stand-ins are almost never hostile arguments.  Instead, they tend to come in the form of phonecalls never received about returning work.

If you believe you were fired or let go from a stand-in gig, check with the background casting director within a couple days of the gig for any job feedback.  Definitely do this sparingly; don’t call casting the day after every stand-in gig you do.  Instead, if you expected to be on a gig for a while but suddenly aren’t asked back, get some information from casting on what happened so that you know whether you can do anything about it when you stand in in the future.

Likely if you have a good reputation with casting, “getting fired” won’t limit your future stand-in opportunities (unless the reason was egregious, perhaps).  Casting knows that stand-ins are fired sometimes for seemingly ridiculous or picky reasons, and they often have enough experience with a particular production to know its temperament.  That experience can put your “firing” in perspective.

Conclusion

Getting fired from stand-in job is not the worst thing in the world, but it’s not also not the best.  If you watch out for some of the common reasons stand-ins get fired when you’re working, you will greatly reduce your chances from being fired yourself.

Do you know of other common reasons stand-ins are fired?  Do you have advice for stand-ins who lose their stand-in job?  Have you been fired and want to share?  Feel free to contribute your perspective below.

While the suggestion may seem cute, having some way to freshen your breath while on set ensures a pleasant work environment for those with whom you sometimes work very intimately.

Care For Your Breath

As you may well know, working in close proximity with someone who has halitosis can make for an immediately depressing situation.  The situation only deteriorates when the person is a stand-in and the stand-in gig involves sitting, standing, or lying very close.

As a professional stand-in, you should care for the state and condition of your breath.

• Consider the food you’re eating in light of your current day’s assignment.   If your day’s work involves being very close to another stand-in, stay away from foods that will “reek” havoc on your breath.
• Bring a toothbrush and toothpaste to work so that you can brush your teeth after lunch or after “sandwich o’clocks.”
• Have a breath mint, Listerine strip, gum, candy, or some other breath freshening agent before you step on set as added insurance against bad breath.
• The craft services table often has gum and breath mints in case you need them.  Be mindful of the rest of the cast and crew and take only what you need from the table.

Care for Other Stand-Ins’ Breath

Bringing enough breath fresheners to share with others will allow you to improve another stand-in’s breath if it’s on the offensive side.  Even if the other members of second team don’t have bad breath, condition the attention to breath by offering other stand-ins breath fresheners when you go to have one yourself.

If another stand-in’s breath happens to be a bit bad, take the initiative to offer the stand-in a breath mint rather than stewing in the odor.  Often enough, a stand-in doesn’t know his or her breath had gone south.

• Initiate by getting out your mints and offering “Would you like a  mint?”  You’ll usually avoid embarrassing the stand-in.
• Presented in a shy and friendly manner, offering the stand-in a mint by saying, “Hear, have one of these” will sound like generous advice rather than a rude order.

Each of these ways should make the other stand-in appreciative of your help rather than embarrassed about the inconvenient odor. With a little initiative, you hopefully will be on your way to a more fragrant stand-in environment.

How do you handle the breath of other stand-ins?  How do you handle your own?  Do you have any funny stories with respect to stand-in breath?  If so, post below!

In many cases, then your responsibilities as a stand-in are off-camera: near the monitors, watching the takes for changes in the blocking.  It is these changes that you usually should know when you are called back onto set for another setup.

However, for a production that does numerous takes of actors whose blocking doesn’t significantly change, watching the monitors for every take can become an exercise in futility, especially when working on a production that doesn’t demand much detail from stand-ins.  Rather than become a lazy stand-in, you can prepare yourself for stand-in work later in the day during those times when your attention doesn’t need to be hyperfocused on the monitors.

“What’s Next?”

You might not always be in the know about what’s next to do on a shoot, but you might have a sense.  “Is next up another setup of the same scene, or will next up be rehearsal of a new scene?”  This question may help get you to think about what you might need to do to prepare for the next scene, and how much time you might need.

For example, if the next scene is at another location, you may need to spend this time gathering your things to prepare for a move.  If the next scene requires new color cover, you may want to make sure you have it available.  Getting jumps on these tasks helps to make production run much more smoothly but also makes your work easier and less stressful for when you’re needed.

“Whom Am I Standing in For?”

If you’re a utility stand-in and it’s not always clear for whom you’ll be standing in, spend this time to find out which character will be yours to follow in the next scene.  This may mean you have to ask the background P.A. or possibly the 2nd 2nd A.D.

“Have I Read the Next Scene?”

If you haven’t read the next scene, it might be a good opportunity now to give it a read before the rehearsal of the scene.  Knowing the scene on paper may help you to take notes on the sides during the rehearsal, so that you can better plot the timing of lines to blocking.  The better you know the scene, the better you’ll be able to take in information during the rehearsal.

“What’s the Advance Schedule Look Like?”

If a preliminary schedule is floating around set, you might have an opportunity to look at it.  If you do, you may be able to figure out some general information on the shoot schedule over the next couple days.  You also might get a sense of the crew calltime and your calltime.  These things are subject to change, but when you’re not required to look at the monitors, looking at the advance may be a helpful professional pursuit in the meantime.

Overall, Think Ahead

In general, it helps to think ahead and prepare when you’re working as a stand-in.  As a result, you’ll be better able to respond to variables that change in production at a given moment.  Time when you don’t have to watch the monitors may spell downtime for you, but sometimes that downtime could be used better, to your professional advantage.

When do you find you don’t need to watch the monitors?  What do you do during those times?  Share those thoughts below!

Standing in when you’re also handling background work can be pretty challenging, as many actors who have been pulled to stand in can attest.  Oftentimes, these stand-ins have to rotate out of standing in into immediately doing background in the same scenes they’re working.  They may not have a moment to get to the bathroom or grab a bite to eat from craft service.  Also, they may be run ragged in managing color cover and their background wardrobe on a day they’re pulled.

Here are some pointers for those times when you’re standing in and doing background, in order to keep your head straight in the madness.

Take Charge of Your Work

When it comes down to it, when you’re standing in, production is going to care that you are on set, ready to work, with the appropriate color cover (and shoes, as needed).  Production is not going to care that the wardrobe truck is far away, that holding is far away, or that you’re also doing background work.  They will want you when they want you, and they will not want to wait for you when you are needed.

Insofar as this is true, when you arrive to background work and find you are also standing in, it is good policy to take charge of your day as opposed to letting the background PA dictate your day.  This is good advice because while the background PA may be the utmost professional, the PA’s head may be swimming with many other logistics of the day for the general background, which may leave the details of your logistics as a day-playing stand-in an afterthought.

Taking charge of your day implies being proactive and aggressive in finding out answers to questions you have with respect to fulfilling your responsibilities both as a background actor and as a stand-in.  In a given scene, on most sets your responsibilities as a stand-in are greater than your responsibilities as a background actor, but generally you should not presume this.  Instead, you should assume that both responsibilities are of equal importance, and you should endeavor to fulfill them all.

Checklist of Needed Information

If you were just standing in, you probably would let the background PA dictate your day when the PA finds it important to share.  But if you are also standing in, this “need to know” approach is probably ineffective for you in fulfilling your job responsibilities.

As soon as you find out you are standing in, see if you can get answers to these important questions with respect to your work.  If there is a line of actors checking in, make these queries as quick and direct as possible as not to hold up the check-in line.

1. Find out if sides are available to you.  Usually they are, and getting them should be primary because your sides can answer a number of your questions, like locations of set and the wardrobe department, the scenes your actor is in, etc.
2. Find out the number of your actor for whom you’re standing in.  Clarify for yourself the character’s name and the name of the actor playing the character by looking at the callsheet on the front of the sides, but if you can’t figure this out on your own, ask the background PA.
3. Find out if you need color cover, and if you do, find out where the wardrobe department is located.  Sometimes the wardrobe department is on another floor; sometimes the wardrobe department is in a truck blocks away.  Get as specific an address of the department as possible from the background PA.
4. Find out how soon you are needed.  If you are needed in a scene several hours from now, you can probably relax with respect to getting color cover, reading sides, etc.  However, if you are needed in the first scene of the day, you probably need to prioritize your readying yourself to stand in.  This probably means making your way to set as soon as possible so that when crew is in, you are on set.
5. Find out the location of set!  If you’re in a movie studio with multiple stages, make sure you know on what stage (and set) you need to be.  If you’re on location, find out the address of the set.  If you need to get on a van to go to set, make sure you aren’t out of touch with the background PA as you get color cover, wardrobe approval, etc.

With answers to these questions, you can start to calculate where you need to be and when.  If you’re in the first scene, you may need to go straight to the wardrobe department for color cover and then set.

Obviously, showing up early to any set you work on can help temper the madness that might befall you should you learn you’re standing in.

Ben’s Tip!
Wherever you go on set, take with you your voucher and your union card (or ID).  These may be necessary in order to get color cover, wardrobe for background work, or props.  Leaving them in holding when you head to set may delay your getting to set, but also interfere with your ability to fulfill your background responsibilities.

Taking Care of Background Responsibilities

Although you may be standing in in the first scene of the day and unable to get approved from wardrobe, hair, and makeup, you will still need to get each department’s approval.

Once first team has arrived on set and you’ve been excused as a stand-in, usually the background PA will be on set.  Seek out the background PA and explain you still need to get approved from wardrobe, hair, and makeup (or whatever department still hasn’t approved you).  Usually this puts the burden on the background PA to take responsibility over your getting approved and directing you on what to do next.  This also signals the background PA that you can’t be used as background until you get these approvals.

Should you see a crew member from any of these departments who handles background actors, see if you can get approved then.  However, if it’s unclear to this crew member that you are also standing in, make sure you don’t get too involved with their readying you that you delay your arrival back on set when you’re needed to stand in.  Manage your time with the departments, still stay close to set, and prioritize your standing in over whatever readying is needed.

Watching for Your Actor’s Blocking Changes When Doing Background

Part of your responsibilities as a stand-in is watching the monitors for changes in your actor’s blocking.  When you’re doing background in the same scene you’re also standing in in, watching monitors is not possible, so you may not be able to note your actor’s blocking changes.

This situation is a regular conflict of interest for the stand-in also doing background.  In order to resolve it, I do any number of things.

• In some instances, when my actor has a lot of blocking in the scene, I ask the background PA who wants to use me if I can sit this scene out in order to watch the blocking.  When I can watch the blocking, I can be a better stand-in and better assist the crew in later setups.
• In other instances, depending on the feel of the set, I don’t let the conflict of interest bother me and simply keep in mind there is no way for me to know changes in blocking when I’m also doing background work.  When I return to standing in and am asked about blocking changes, I simply explain “I was doing background in the scene so I don’t know,” which tends to lead crew to seek answers from an AD.

Some sets tend to avoid the conflict of interest by letting background actors sit out background work from the scenes in which they’re standing in.  This policy may be unspoken; it may apply generally but not always; or it may never apply.  Always be ready to do background work when you’re also standing in unless you’re told you can relax from background during the scene.

Managing Color Cover and Background Wardrobe

When you’re excused from set after standing in, you may need to remove your color cover in order to wear your background wardrobe.  Then, when you’re told to relax from background, you may need to put back on your color cover in order to stand in.  If either wardrobe is involved in putting on or taking off, you have yourself an ordeal!

In these cases, you may need to organize your various clothing options in order to quickly change into them.  There may be no simple option, so “doing your best” may satisfy production.  If getting into color cover is too difficult to do when you’re also doing background, let the background PA or 2nd 2nd AD know, should either want to sit you out from background in that scene.

Remember Your Label!

If you’re wearing a stand-in label (that is, that piece of tape with your name and your character’s name), make sure to take it off when you’re doing background work!

It will help if you affix your label to your color cover so that when you remove your color cover to wear your background wardrobe, you don’t have to worry about it.  However, you might not be wearing color cover, in which case your label is on your background wardrobe.  You’ll need to devise some method for yourself for remembering to take it off.

If your label is on your background wardrobe, your label may pull at the fabric of your wardrobe or leave a residue when you take it off.  Be mindful of where you affix your label so that you don’t damage your background wardrobe, but also make sure to keep it visible for the crew so they know your name.

Keep track of your label, too.  If you continually take it off and put it back on, it often will lose its stickiness and may fall off.  If you lose yours and it’s important, ask the background PA for another label.

Managing Your Personal Needs

When it comes to taking a quick break to get to the bathroom or to grab a bite to eat, you need to take initiative.  If you find yourself trapped in a long cycle of standing in and doing background when you need to get to the bathroom, communicate to the background PA or 2nd 2nd AD that you need to go to the bathroom (“go 10-1″).  In most cases, your wish will be granted without objection.  Keep in mind, though, you may be needed back on set as soon as possible to do background work, especially if you are matching a previous shot you were in.

Food may be delivered on set by craft services, and you are usually entitled to that food as a member of the crew.  These deliveries may stave off the need to visit the craft service table.  However, if the food arrives when you are in the middle of standing in, getting food for yourself may be impossible.  You might ask an available stand-in to get you some food, or you might be able to get the 2nd 2nd AD or a key PA to help you.  If worst comes to worst, treat your hunger or dietary needs like your bathroom needs and take initiative in getting food.

Meals

When you break for a meal, when you’re both a background actor and stand-in, you usually eat when crew eats.  This means you are permitted to eat in line ahead of the other background actors.  The thinking is that since you’re technically crew when you are a stand-in, you gain this privilege.  But this privilege is bolstered by the thinking that you may be needed to stand in immediately after the meal, so you need maximal meal time.

Keep in mind that you may have a shorter meal break than the rest of background (say, a half-hour rather than an hour), especially if you are standing in in the first scene after lunch.  Also keep in mind any color cover needs you may have as you come out of your meal break and go back to work.

Ben’s Tip!
Regardless of whether you’re standing in after the meal or not, you are regarded as crew all day, so you are entitled to eat with crew and before the other background actors at all meals during the day.  Consider this a perk of standing in!

Checking Out

Remember that when you’re standing in, in most cases you will work at a higher rate.  Note on your voucher “Stand In” in the appropriate place.  And if you worked as a stand-in in circumstances unlike how you worked background (say that you stood in in smoke or wet conditions), make sure you note those circumstances on your voucher as well.

Conclusion

While not all days when you’re pulled to stand in will be difficult, doing both background and standing in can present unique challenges that a day of simply either doesn’t present.  Realize that “stand-in/background actor” is a harder job than just “background actor” or “stand-in,” so stay on top of the responsibilities in order to preserve your own personal sanity as you work on set.

Any other tips for handling background work when you’re also standing in?  Have a trick for remember to take off your label when you’re going to do background?  If so, post a comment below!

A Collapsible Chair

On many sets when you’re standing in, you’ll need to fight for a place to sit.  Studio chairs may be scarce, and if you’re on location for exteriors, this may doubly be the case.

When you know you’re standing in, you may want to bring along with you a portable chair.  A portable chair is a useful piece of stand-in equipment that may save your legs on those long days on set.

Buy Yours

Many folding chairs are surprisingly inexpensive.  For as little as $4-$12 you can buy a sturdy, supportive collapsible chair.  These chairs often are canvas and come in bags so you can sling them over your shoulder for easy transport.  Collapsible stools leave a smaller footprint but they also don’t provide the back support that you may want when it comes time to sit.

Try department stores to see if they stock collapsible chairs.  They may be in the camping or sports departments.  Online, Bed Bath & Beyond sells a popular collapsible chair with armrests for about $9.

Mark Yours

While set dressers are carting objects out of the shot like the chair you set up for yourself, you might be stuck standing in.  Putting your name on your chair in a visible spot will let set dressers know whose chair it is when they’re moving it.  Putting your name visibly on your chair also helps to distinguish your chair from an otherwise identical one owned by another crew member.

Place Yours

Set up your chair in an area friendly to second team.  Your set may have designated a place where second team holds, in which case set up your chair there.  If it is okay to set up your chair near a monitor, do so, minding the eyelines of other crew members watching the monitors.  If the monitors are crowded with chairs, you may want to avoid setting up your chair there and instead stand to watch the monitors.

Keep in mind the principle to “Never settle.”  It is probable that if you set up your chair somewhere on set–especially if the set is on location–you will need to move it, else it may be moved for you.  Keep it out of the way of carts and equipment and the paths they may travel in.

Know of any great portable chairs you’ve brought to stand in?  Have some advice for finding places to sit when on set?  Comment below!

Some actresses always wear their hair styled in the same exact way. But for other actresses, their hairstyles change depending on the scene. And you may stand in on a project for two or more actresses with different hair types and hairstyles!

On some sets, DPs and camera operators are not very strict about the appearance of the stand-in. But on other sets, they can be very particular about appearance–from color cover to high heels, hair color shades to hairstyles, etc.  While you may not feel that matching your hair is necessary for some sets, for the sets that are more meticulous about their stand-ins, it is best if you can imitate the hairstyle of the actress for lighting purposes and camera setups.

So what aspects of hairstyling should you consider while standing in day-to-day?

Note:
These tips are for working  day-to-day with your current hairstyle to imitate the style of the hair of the actress you will be standing in for. For more tips and information about changing your current style to match your hair to an actress for a stand-in gig, see ”Stand-in Hair for Women: Changing Your Hair for Stand-in Work.”

Hair Length

If the actress has short hair (above the chin as in a bob cut, pixie cut, etc.), hair length may be an important consideration when booking a stand-in.

If you have much longer hair than the actress you are standing in for, your hair length is something the DP will have to keep in mind when lighting you.  When you have long hair, the DP may look at how it falls across your shoulders, how far it falls down your back, etc. This can change how they set up the lighting, especially with lighter hair.

If casting got the OK to book you, then your hair length should not be an issue on set. Just make sure your pictures are up-to-date and you are not being booked off an old headshot when you had a much different hair style.

Bangs

Bangs can make a difference with lighting too. I stand in regularly for an actress who currently has long, sweeping bangs across her forehead. Last week on set, I heard the DP mention how he wanted a particular light set, saying it will look different on the actress compared to me because she has bangs and I do not. This was a difference between the hairstyles of the actress and me that the DP had to keep in mind; I have never been asked to cut my hair to match hers.

On the other hand, if you do have large bangs that cover most of your forehead, you may want to consider pinning them back or to the side if you are standing in for an actress without bangs.

Hair Framing Your Face

As I mentioned above, bangs can make a difference for lighting. The light interacts differently with hair than it does skin, whether it is bouncing off of it or absorbing it. So you should also think about how your hair frames your face compared to the hairstyle of the actress you are standing in for.

It may seem like an insignificant detail, but how your hair frames your face can make a difference if your hair is falling by the sides of your face or is pulled back away from your face.  On a long term stand-in job, I saw the DP repeatedly come up to another woman I was standing in with and tuck her hair back behind her ears. It was always done in a friendly manner, but it made me realize how much this small change you may not think matters can be important for lighting purposes.

Ponytails and Up-dos

You may arrive on set and find out that the actress you are standing in for that day will be wearing her hair pulled back or in an up-do. It is a good idea for you to pull your hair back too.  Your hair doesn’t have to look just like the actress’s, but it should mimic the general style of her up-do (pony tail high or low, bun high or low, or half-up half-down).

Also note if her hair is completely pulled away from her face and/or off of her neck. Keep a few hair elastics, bobby pins, and clips in your bag when you go to set so you’ll be ready for anything!

Do you have any thoughts on how your hair should be styled while standing in? Do you have any experiences or tips to share? If so, please comment below!

I recently saw a few problems arise from the deceptively simple job of sitting in–that is, standing in where there is only a single seated mark. I had made the comment that this task’s seeming simplicity was a potential trap for a stand-in.  That trap could be easily avoided simply by having it pointed out that sitting in can require you to be even more specific with your stand-in observation than when you’re supposed to stand.

From camera’s point of view, focusing a tight shot on a seated actor relies chiefly on how that actor has chosen to sit. With that in mind, here are a few things to take note of when watching the marking rehearsal.

Is the Actor Leaning Back, or Sitting Forward?

This is the most general and also the most important thing to watch out for, as this positioning has the most bearing on where the camera is focused.

Where Are the Actor’s Feet and Arms?

Take a look at where the actor has chosen to position his feet. Flat on the floor? Legs crossed? If crossed, at the knee? The ankle?

If at a bar, or against a table, what portion of the actor’s arms are on the table? Is he leaning deeply with the entire elbow and forearm flat against the surface? Perhaps, propping himself on just his elbows? Sitting upright with his hands in his lap?

Identifying what the actor has chosen to do with his feet and his arms will help you correctly emulate his exact position once you take over the mark.

What Is Your Actor Doing with Props, and When?

The props I find to have the most bearing on your position in the scene are cups and reading material.

If your actor is holding a book, magazine, or newspaper, where that prop is positioned will affect your eyeline.

Sips from a cup may change from take to take. However, noting the line on which your character reaches forward for his cup or puts it down is vital, as this action affects your positioning.

In Conclusion

A simple scene like when you’re sitting in can be an opportunity for you, the stand-in, to be even more specific with your performance. Errors will stand out in a scene without much blocking, so aim to impress even in even simplest of scenes.

Dear Stand-In Central,

I have a question. I stand in regularly on a TV show. Occasionally I trade contact info with people who stand in a day here or there. Sometimes these people text me with questions about the schedule for the next day. The thing is, I don’t always feel comfortable  about giving out this information. Do you have any advice about giving out this info to others? Thanks.

- A Flustered Stand-In

Hi Flustered,

That can be a tricky situation to be in!  Here are a couple perspectives from Stand-In Central on your question.  Thanks for the email, and I hope the responses help you figure out how to field requests for preliminary information in the future.

- The Editor

Response from Sara DeRosa:

Sara DeRosa

As working actors, we are always trying to balance work, auditions, and life in general. Situations may arise where you are asked to stand in on a project for the next day, but you have an audition or another important obligation. Asking a stand-in on the project for information about the advanced schedule can be extremely helpful. You can find out what part of the day you are expected to be called in, and if you will be needed all day or not. Also, you may want to find out where the filming location is that day.

However, schedules on sets are always changing. Even when filming has already begun for the day, the scene order could be switched, or you may be asked to stay to stand in for another actor. Also, the preliminary information that you get for the next day could change before the final callsheet is released at wrap time that day.

When asked for advanced schedule information, I would advise you only to give it out to people  you know well and you can trust with the information. Locations and advanced storylines are private information. Some sets are so protective about this information that they only give sides and advanced schedules to a select few crew members, or you are asked to sign out these documents and are required to return them at wrap time.   If you don’t feel comfortable giving out this information for any reason, simply don’t do it.

Response from Ben Hauck:

Ben Hauck

Giving out preliminary information is no simple matter.  If someone asking you for preliminary information thinks giving it out is “no big deal,” he is mistaken: It can be a very big deal.  There are several factors to consider before giving out preliminary information.

First off, who is asking you for the information is probably the biggest factor for determining whether to give out preliminary information.  If the person is a trusted source who can keep the information confidential, who will appreciate that the information may change, and who will not hold you responsible for decisions that person makes should you make a mistake in relaying the information, you may find in that person someone who knows how to take preliminary information.

However, not all people are like this.  If you don’t know a person well, then you don’t know whether he’ll keep the information private, whether he’ll understand that the schedule could completely flipflop, or whether he’ll be upset with you if you make a mistake in relaying information.  If the person turns out to be one of these problems for you, it could cause you undue stress, stress you could have spared had you not given out the information.

Also, relaying preliminary information to another person can consume both time and attention.  Texting the minute details of the prelim and fielding the numerous questions the other person may have can disrupt your work.  If you have numerous people asking you, the consumption of your time and attention is multiplied.  Remember, it is not your job to give out preliminary information.  If a person wants preliminary information, typically she must refer questions to the casting director.  This is not standard operating procedure, but professionally speaking it is probably the optimal path to take.

Giving out preliminary information may also interfere with the job of the casting director.  Say that you are close with several stand-ins who are not working on a day you are.  Say also that you text them that they won’t be needed tomorrow.  Based on that information, say they go book other work.  Say, then, that the advanced schedule changes and forces the need for the stand-ins who booked other work.  While the casting director may have had them available because the stand-ins were in the dark about the schedule, with your information the casting director now may need to scramble to book new stand-ins.  If it gets back that you had given out this information, you might look bad.  Then again, you might not, but it seems to me that giving out preliminary information to others, though it may benefit them, may circumvent casting.

Considering the above, if you are familiar and friendly with the person requesting information, it is probably safe to give out preliminary information (if it is not confidential information).  Do it when you have the time and avoid making it a priority when you are busy on set.

And if you don’t feel comfortable giving out preliminary information?  Then you can always field a request for information by saying three simple words: “I don’t know.”  Technically, you don’t know: You don’t know what will turn out the next day.  Plans can be so much in fluctuation on a set that making a prediction is next to impossible.  Saying “I don’t know” can be a safe, proper, and professional response to a request for preliminary information, especially when you feel uncomfortable giving it out.

One last note: Protect yourself.  Some people will request preliminary information from you but not provide it to you when you request it.  Other people will regularly request preliminary information, rather than requesting it occasionally.  Again, is it not your job to give out preliminary information.  You may always ignore a request for preliminary information if providing the information has become a nuisance to you.

Do you have advice on how to field requests for preliminary information?  Any stories from experience on the effects of giving out preliminary information?  If so, post them below!

It’s Nothing Personal

As a stand-in, you’re not the only crew member who is continually being moved around.  Video Village is continually reposititioned so that it’s not in shots, and along with its movement go producers, writers, directors, assistant directors, and other important production people.  While they may have a bit more comfortable position in that they tend to have dedicated chairs, tents, even heating, they rarely get to settle in one place and simply stay there.  It’s nothing personal that you have to move around a lot.

Change Your Expectations

When you change your expectations from thinking you can find a place you can settle to thinking you won’t be able to find a place where you can settle, you may find it easier to go with the flow of production and avoid developing attachments to where you are.  You may realize that any place you put your stuff, or your body, may need to be moved, so you had best avoid getting comfortable.  Without developing attachments to where you are, you’re more flexible when you’re asked to move and better able to deal with the changing circumstances.

Label Your Stuff!

When you try to set up a space to call home on set, set dressers may find that your area is in a shot.  It is their job to broom the set, including disposing of food and drinks that are lying around.  If drinks are unlabeled with your name, occasionally set dressers will ask aloud if anyone wants to claim the drink, but often fairly quickly the drink (no matter how cold or hot) will end up in the trash if not immediately claimed.

The advice would be that if you don’t want your drinks thrown away, label them.  This advice holds for other property you might bring to set, including bags, laptops, or other loose items you might leave in places.

If you bring a foldable chair to set (not a bad idea if you would like to have something to sit on), you will probably thank yourself for labeling it with your name in case someone else has the same chair and the chairs are indistinguishable.  Also, when you are being used to set up a shot, your foldable chair might be moved.  Having your phone number on the chair may be additionally helpful if you happen to lose track of it when you’re standing in.

A Stand-In Challenge: Bring No Bag to Work!

When you bring a bag with your stuff to set, you will probably need to put it down when you are working.  This may make standing in a bit stressful for you as you worry about whether it will be moved, lost, or even stolen.

If this is you, it might be a nice challenge to see just how lightly and compactly you can travel to set.  Cargo pants or cargo shorts with their side pockets are very helpful bottoms to wear to set since you can store a number of items of use to you as a stand-in: your sides, a pen, small toiletries like a toothbrush and toothpaste, a cell phone charger, etc.  Also, a fanny pack may be discreetly worn and carry a number of items of use to you.  A light jacket with inside and outside pockets can carry a number of useful items as well.

Wearing these to set without bringing a bag may help you move about set without getting attached and better adapted to the principle of “Never settle.”

Do you have tips on finding a place to settle down?  Do you find never settling helpful when you’re on set?  How lightly do you travel to set?  How do you deal with the stress of leaving your stuff?  If you have insights, please share them below!

How to Tell if a Set Is Text-Friendly

One thing that can be said about texting on set is that not all sets are for it, but neither are all sets against it.  When you arrive on set, you really just need to feel out the relationship the particular set has with your using your mobile phone.

Some sets will seem to want to protect their stars by banning the use of mobile phones on set.  Other sets don’t seem to mind the use of mobile phones as long as you are tuned into the needs of the crew when you are standing in.  Some sets will insist that background actors not use their mobile phones on set.  Sometimes this instruction will apply only to background and not to stand-ins.  Other times it will apply to both.  Still other times it might apply to the whole crew, especially if it is a closed set involving subject matter of a delicate nature.

Texting is a silent means of communication compared to a mobile phone call, so in that respect, texting may be a more preferred means of communicating when on set.  However, the “head down, face in the phone” stance that comes with texting often renders a person more of a set piece than a human being, so it may not be preferred at all when crew are trying to move and work around you.

When you arrive to set for the first time, start with a policy of abstaining from texting or using it only when you are away from set.  If you see established stand-ins texting on their mobile devices, that may be a cue that the set is relatively text-friendly and may not be hostile to your texting.  However, just because an established stand-in is texting does not mean that the set is permissive of the behavior.  Spend time feeling out the set before becoming comfortable texting when working.  In general, avoid texting when the DP or camera department is using you.

Text Abbreviations

It might be said that given the precarious relationship sets have with texting, speed in communication aids the stand-in who texts.  Particular abbreviations can serve that need.  Oftentimes individual stand-ins will develop their own code.  Here are types of codes that I’ve used when communicating via text as a stand-in, and some examples of their use.

si

I use “si” for the terms “stand-in” and “standing in.”  For example, I might text “r u si tom?,” meaning “Are you standing in tomorrow?”

Star Initials

I tend to abbreviate stars’ names.  For example, if I were standing in for Jason Bateman, I might text “im si 4 jb tom.”  Usually there is enough context that would suggest to whom “jb” referred.  If not, I would spell out the star’s name, then in future texts use the abbreviation.

Show Initials

I tend to abbreviate shows’ names as well, though I find that I sometimes capitalize the shows to distinguish them.  So, you might find me texting either of these messages: “whos si 4 bl on gg tom?” or “whos si 4 bl on GG tom?”  Both would mean “Who’s standing in for Blake Lively on Gossip Girl tomorrow?”  Again, usually there is enough context that would suggest to what “gg” referred, and where there’s not enough context, I spell out the show’s name.

bg

The initials “bg” simply stand for “background,” as in “background actor.”  I might say “im bgsi today,” meaning I’m both working background and standing in today.

These are some abbreviations you might see in text messages to enable quick texting.  What abbreviations do you use when you text on set?  Reply below!

It was a snarky reply, but a poignant one:

When you’re standing in on a project, you’re an important part of production and setup.  If you’re there simply at your calltime, you may find you can’t work immediately when you are needed.  But if you are early, you can get what you need done and once it hits crew call, you’ll be ready to work immediately when you are needed.

There are a number of things you need to do when you arrive to set as a stand-in.  You will need to check in and get your voucher and label at the location where casting directs you.  You may need to collect your color cover at a wardrobe truck or department some distance from your check-in location.  You may want to get a made-to-order breakfast at the breakfast truck, which may be some distance from either of these two locations.  You will probably also want to read your sides for the day.

Obviously, these steps take time.  That time will become more precious if you encounter unexpected travel delays like traffic or a subway problem, or if you have trouble locating where you need to be.  I’ve recently been bumped up to stand in after a stand-in for that day was caught in traffic and couldn’t make it by his calltime.  He essentially lost his stand-in job for that day because of his lateness.

It might be wise to arrive anywhere from 15-45 minutes before your calltime when you are standing in.  This kind of buffer allows you to have time to check in, get breakfast and eat it without feeling rushed, collect your color cover for the day, and read over your sides.  Not only does this buffer allow for you to do these things, but it also gives you a considerable cushion for unexpected travel delays.  When you regularly show up this early, even if you’re delayed, you will probably rarely end up “on time” or late.

Of course, you need to feel out every production to see how much time you need in order to accomplish everything you need to accomplish.  You may not need as much buffer time if your calltime is well after crew call when breakfast is no longer served.  Or 45 minutes early may be so early that breakfast isn’t even open!  But if you make a point of being early to your stand-in job, and consider “on time” as “late,” you’ll find you nearly never stress about getting to your stand-in job on time and holding up production.

How early do you typically show up to set?  Do you agree that “on time is late” when you are a stand-in?  Voice your opinions below!

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!