Sometimes you need the help of the other stand-ins in order to do your job.  Likewise, sometimes they need your help in order to do their jobs.  Here are some ways you can help out your fellow stand-ins and ultimately live and work more harmoniously as “a family.”

Set Up a Chair

When you’re the first stand-in to arrive to set, if you have the opportunity to grab a chair for yourself, also see if you can grab a chair for your fellow stand-in.  Setting up chairs for you and your fellow stand-ins helps to set aside an area for stand-ins to set their belongings as well as develop a positive work relationship.

Point Out Important People on Set

If you’re working with a stand-in new to your set, help your fellow stand-in know who the ADs are, the background PA, as well as the DP and director.  This will help the stand-in know to whom to pay attention and from whom to expect instruction.  Pointing out the camera operator(s) may also be of help to your fellow stand-in.

Note When Someone’s Looking

When you’re standing in, sometimes a DP or director will be looking at the scene but one stand-in’s back may be to the onlooker.  When you see someone looking at your scene, let your fellow stand-in know.  This will help the stand-in know to be extra focused in the moment and quiet stray movement and idle chitchat.

Note When There Is a Safety Hazard Behind

With grips, electrics, and set dressers moving in lights, equipment, and furniture, stand-ins are often in their path.  Alert your fellow stand-in when a safety hazard is coming in from behind.  If danger is imminent, move your fellow stand-in away from the danger.

Also, as the dolly holding the camera tracks forward, your fellow stand-in may be in its path but not know it.  Watch in case your fellow stand-in is going to be hit by the camera or dolly, and alert the stand-in that the camera is tracking in.

Note When There Is a Safety Hazard Above

Hazards aren’t just from behind; sometimes the hazards are overhead!  Alert your fellow stand-in when a safety hazard is above.  Crew members working on ladders and dropping in cable are overhead dangers that your fellow stand-in should not be under.  Advise your fellow stand-in to move out of the way if something above looks even slightly precarious.

Relay an Instruction That Goes Unheard

If your fellow stand-in’s back is to a person giving instructions, it becomes hard to discern instructions.  If the camera crew is trying to communicate with your fellow stand-in but the stand-in isn’t hearing, relay the instruction to the stand-in.  It may be difficult for your fellow stand-in to hear given the surrounding noise, or your vantage point may make it easier for you to read lips and discern instructions.

Relay to a PA or AD When a Fellow Stand-In Is “10-1″

A stand-in may make a decided effort to communicate to an AD or the background PA the need to step off set for a quick bathroom break, but there may be no AD or PA in sight.  In such a case, it may help if you accept the task of relaying to an AD or the background PA when your fellow stand-in sets off set for the bathroom.

Ultimately, it’s your fellow stand-in’s responsibility to convey the need to head to the bathroom (“10-1″ is the codeword for “in the bathroom”), but you can help relay the message when there’s no one around to tell.

Offer to Cover for When Your Fellow Stand-In Is Absentee

Occasionally your fellow stand-in will be away from set when requested.  When your fellow stand-in is needed but can’t be found, offer to the crew to stand in for the stand-in until the stand-in arrives.  Sometimes the crew will oblige your request, other times not.

Watch Your Fellow Stand-In’s Actor during Marking Rehearsal

If your fellow stand-in can’t watch marking rehearsal, keep track of the stand-in’s actor during marking rehearsal and note the actor’s blocking.  Share that information with your fellow stand-in so that you can both function better during the setup of the shot.

Make a Plate

When your fellow stand-in is standing in and you’re not standing in in the current scene, it just might so happen that “Sandwich O’Clock” happens.  That is, pre-lunch or post-lunch food might be served by craft services.

The crew might partake in the food but your fellow stand-in may not get to step off.  Asking if your fellow stand-in would like some food is most considerate, and making a plate for your fellow stand-in is even better.

Got an idea how you can help your fellow stand-ins?  Is there something you wish other stand-ins would do for you?  If so, share below!

Say that your calltime is around the same time the crew is in. What are some of the things you can get done before your calltime?

Collect Your Voucher

One of the first things you’ll likely want to do before your calltime is collect your voucher. This is not only so that you can get paid, but also so that you can collect your color cover. You will usually get your voucher from the background P.A. when you check in in holding.

If you’re told to report to set rather than holding, you might not get your voucher until later from the background P.A. In such a case, when you see the background P.A. later in the day, ask for your voucher. Else, you can collect your voucher from the background P.A. when you wrap.

Collect Sides

On many sets, when you collect your voucher, you will also be handed sides. Sides are the scenes being shot today. On the cover of the sides is the callsheet, indicating a lot of information about the shoot today. Quickly study the callsheet on the cover of the sides to determine the name of the actor and character for whom you’re standing in as well as the location of set where you need to be.

If sides aren’t available from the background P.A., usually an A.D. on set will have sides to give you. Just ask, say, the 2nd 2nd A.D. It is very important that you have sides so that you know about the scene(s) in which you are involved, so don’t hesitate to ask.

Get Color Cover

Once you have your voucher, you can head to the wardrobe department to collect color cover. Color cover is clothing that is similar to the clothing worn by your actor in your scene(s). Make sure to at least have your name on your voucher–you trade your voucher for your color cover.

In some cases–such as when you are unable to collect your voucher–the wardrobe department might accept your union card in place of your voucher. Still other times the wardrobe department might require nothing from you in exchange for your color cover. Do your best in providing them what they need from you.

You might be responsible for several different items of color cover. Arriving before your calltime gives you an opportunity to find a place to set your extra color cover.

Set up “Stand-In Paradise”

When you arrive before your calltime, you can figure out a place near set to set your belongings.

Likely you will be entitled to a chair when on set, though sometimes you may have to be patient in getting a chair. Getting to set early may allow you some time to scavenge a chair to use and set up “Stand-In Paradise”–what I like to call the area near set where stand-ins’ chairs and belongings are.

Get Breakfast

When you’re called around the time crew is called, you may have time before your calltime to get breakfast. If you have a specific breakfast item in mind, keep in mind that other crew members are ordering items and you may need extra time to get your custom-made burrito, breakfast sandwich, etc.

If you see on the callsheet or hear from the background P.A. that you will be “NDB’d,” this means you will have a 15-minute period of time for breakfast. (“NDB” stands for “non-deductible breakfast” and helps to bring your lunchtime roughly in sync with the crew’s lunchtime.) If you’re being NDB’d, you might skip out on getting breakfast before your calltime so that you can get other things done.

Scope Out the Location

When you’re at a new location, it can be helpful to find the set before your calltime. If you’re called to holding, sometimes set will be a considerable walk from holding. Arriving early can help you figure out how close set is as well as manage how much of the above you can realistically get done before your calltime.

Scope Out the Bathrooms

Since it may be hard to find time to step off set to hit the bathroom, knowing where the bathrooms are can help you estimate how quickly you can get in and out of the bathroom when you’re working.

Knowing where the bathrooms are (or aren’t!) may also help you regulate how much you hydrate yourself in the morning. If a bathroom is far away from set, it might be a good idea to watch your liquid intake.

So, How Much Time Before Your Calltime Should You Arrive?

If you did all of the above in a studio where holding, set, the wardrobe department, and breakfast are close, you could get all of the above done in a few minutes. If you’re at a location where things are sprawled out, all of the above could take 15-30 minutes.

Given that “on time is late,” generally aim to arrive 15-45 minutes before your calltime when you’re standing in. 45 minutes before your calltime probably is at the level of overachievement, but in most cases it will allow you plenty of time to get the above done and enjoy your morning. Giving yourself 15 minutes may make you a bit crazed if you try to get all of the above done, but it may also be just enough time.

What things do you try to get done before your calltime? Are there other things you try to get done before your calltime? We’d like to hear. Post your response 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!