“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!

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.

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!

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!

“SWHF” stands for “Start-Work-Hold-Finish.”  This column implies the length of an actor’s job on a film or television episode, or whether the actor is in the midst of a multi-day gig.

“SW” stands for “Starts Work,” and it means it’s your actor’s first day on the job (or first day of an episode in television)

“W” stands for “Works,” and it means your actor in in the midst of the acting job

“WF” stands for “Work Finish,” and it means it is your actor’s last day on the job (or episode in television)

“SWF” stands for “Start-Work-Finish,” and it means your actor is a day-player–your actor will work for just that day

“H” stands for “Hold,” and it means that, at least theoretically, your actor is not being used that day

If you are standing in and you are trying to predict whether you’ll be needed to stand in another day for your actor, the “SWHF” column may be helpful in predicting whether you may be needed.  If you’re standing in for a day-player (i.e., if your actor is listed as “SWF”), there’s a decent chance you won’t be needed back the next day for that actor.  If your actor is listed as “W,” then your actor will be continuing work later, so you may be needed back (but not necessarily the next day).  If your actor is listed as “SW,” similarly, your actor will be continuing work later and you may be needed back again at some point.

If you are lucky enough to see the preliminary callsheet often distributed to crew midway through the work day, check the “SWHF” column for a little more insight into your actor’s schedule.  You may find that your actor is “H” the next day, meaning you may not be back to stand in for that actor.

How have you used the “SWHF” column in planning your workweek?  If you have insights or stories, post them below!

“D/N” stands for “Day/Night,” and the column has information that dictates the time of day when a scene in a script takes place.  If a scene is listed as “D,” it’s a day scene, and if it’s listed as “N,” it’s a night scene.  You may also see other times of day listed, like “Dawn,” “Dusk,” and the like.  Often the day or night is listed as “D1,” “N1,” “D5,” “N7,” etc.  These numbers correspond to the day or night as reflected in the storyline.

Noting the time of day for a scene may help determine the length of your day as a stand-in.  For example, if you are shooting exteriors and the scenes your actor is in are all listed as “D,” there’s a decent chance you’ll be wrapped by the time it is dark.  Or, if it’s day and your actor’s scene is a night exterior, there’s a decent change you’ll be wrapped late or before sunrise.

Of course, day and night can be faked when in a studio or indoors, and “D” or “N” may not determine your anticipated wrap time.  Also, surprises do happen on sets, and you may be used to stand in for another actor later or earlier in the day, affecting your wrap time.  This is to say that you should use caution (as always) in predicting your wrap time, and never use the “D/N” column as an absolute determinant of your wrap time.

What other listings have you seen in the “D/N” column?  Have any funny experiences reading that column?  If so, post a comment below!

But there’s a trick to get around the discomfort!

“Home”

I call it “home.”  Home is the place right between the eyes, on the bridge of the nose.  When you look not into the other stand-in’s eyes but instead into this place between the eyes, there will be almost no perceptible difference to the camera.  You will appear to be looking into the other stand-in’s eyes.  (Try it with the image on the right!)

Remarkably, this technique removes much of the awkwardness that comes with looking directly into another stand-in’s eyes.  If I looked into your eyes, you might think I was looking at you, making you feel self-conscious.  But looking at the bridge of your nose between your eyes looks as if I’m looking at your nose bridge.  Looking at home tends to circumvent self-consciousness, and it allows you to stay focused while you’re working.

Origin of the Term

I got the idea for the term while standing in regularly on a film with another stand-in.  We had to stand and look into each other’s eyes so often, I remarked that getting into that position was like coming home.  “Home” then started to mean for me the place between the eyes, which I found after realizing it was tough looking for so long into another’s actual eyes!  I could be more comfortable standing in by looking at home than looking into the eyes.

How do you deal with looking at another stand-in?  Find it tough, too?  Comment below!

“Second Team!”

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

“Checking the Gate!”

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

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

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

“I’m Ten-One!” / “I’m 10-1!”

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

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

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

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

“Color Cover”

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

“Camera-Right” / “Camera-Left”

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

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

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

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

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

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

Procedures

Know Your Bathrooms

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

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

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

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

“I’m 10-1.”

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

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

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

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

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

When You’re 10-1

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

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

Watch What You Drink & Eat

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

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

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

The Best Time
to Step away to the Bathroom

Know the Shooting Routine

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

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

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

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

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

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

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

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

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

When You’re Also Doing Background Work

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

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

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

Rather than taking clunky steps in the direction in hopes of landing in the position they want (a sort of boxy, guess-and-check ”dance” toward finding your new position), I have a lot of fun in doing a moonwalk-like “slide” in the direction I’m told.  I slowly and smoothly glide my feet out of my current position into a new position.

When repositioning, I see this kind of gliding movement as better than stepping because it allows the crew and myself to determine precisely where I should be without having to do an exchange of imprecise footwork than can take up a few seconds of setup time and add a small amount of frustration to the process of setting up.

Just today while standing in, I decided to call my gliding movement “analog movement.”  The other kind of movement of taking steps rather than gliding I decided to call “digital movement.”  The terms come from recording.

In sound recording, analog is different from digital.  If you’re familiar with vinyl records, you know what analog is all about.  If you know about CDs, mp3’s, and the like, you know digital.  Think of a sound.  Think of a sine wave as a playback of that sound.  In analog, that sine wave is continuous–it’s smooth and flowing.  In digital, the sine wave is “steppy”–it’s stairstepped rather than smooth.  The basic difference is that more information is included in the analog signal compared to the digital signal.  You can include very subtle details in the analog signal.  In digital, sometimes those subtle details get dropped.

Here’s an image to help you conceptualize the differences better.  The top image represents an analog signal, and the bottom image represents a digital signal.  You can note that they’re both basically waves, but in digital, the signal is a bit choppier–more like an approximation of the sound than a reflection of the sound.

Analog vs. Digital (click image for source credit)

Basically, doing analog movement as a stand-in helps me to pinpoint quickly and easily precisely where the crew need to have me.  It’s also a fun way for me to reposition myself.  Digital movement makes finding that precise spot just a little bit harder.  By comparison with analog movement, digital movement is a slightly inefficient way for me to reposition myself.

Of course, sometimes you just have to step.  But when subtlety is important in the positioning (as in a tight shot), in my opinion, analog movement is hands down the preferred kind of movement when standing in.