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!

The person with whom I was standing in also had a tough morning. We resolved to take care of each other. A sort of “You watch my back, I’ll watch yours” policy. The policy was not unlike how many families are with their own: Families tend to take care of each other.

When I’m standing in regularly on a production, I like to think of the other stand-ins as family. If I can get them something, I do. If I need to cover for them, I do. If there is a new stand-in on set, I welcome them. I may help them get ahold of sides if they haven’t gotten them yet. I may give them the lowdown on the crew and the expectations of production.

The thought is that if I take care of the other stand-ins, they’ll return the kindness with favor. It will make working with them a pleasure. They’ll help me out when I’m in need by my helping with their needs.

The thought also is that I’ll have some added security when things start to get crazy on set. Another set of eyes and ears. A sense of perspective when things go wrong. Someone who will let me know what I missed if I missed something, or will cover for me when something goes down.

A nice consequence is that by seeing the other regular stand-ins as family, they start to feel like family. A home away from home. You can start to build attachments that last a long time.

A simple concept, but a beautiful one when embraced.

[*] I ended up being extremely grateful for having this handout, and it was the inspiration for this website.