A stand-in for film and television is a person who substitutes for the actor before filming, for technical purposes such as lighting and camera setup.
Stand-ins are distinguished from body doubles, who replace actors on camera from behind, in makeup, or during dangerous stunts. Stand-ins do not appear on camera.
A body double is a person who substitutes in a scene for another actor such that the person’s face is not shown.
A photo double can be used when a principal actor is in a scene but is not the focus and is essentially functioning as a Background Actor. Since the photo double looks like the actor from a distance, they can film in the actor’s place while they prepare for other scenes.
On a TV/film set, Cast Stand-ins, Body Doubles and Picture/Photo Doubles are considered part of second team. Principal actors are considered part of first team.
When first team steps off set, second team steps in to replace them. When first team arrives on set, second team steps off or is excused very soon after.
The exact nature of the stand-in/double job varies with each production, but below are the typical responsibilities of the stand-in:
To be a good stand-in, it helps to be aware of these responsibilities and develop abilities in order to fulfill them. In particular, you need to pay very close attention and be very attentive. Ultimately, you are there to help the rest of the crew. When you can perform what is expected of you as a stand-in, production can run smoothly and swiftly.
In the entertainment business, stand-in work and photo-doubling work are in the same category and are often grouped together. When finding stand-ins for actors, casting may aim to find a stand-in who can also photo-double for the actor.
However, there are times when casting is looking for a person to solely photo-double for the actor. Here are some do’s and dont’s for submitting and preparing for photo-double work.
DO ensure arrive a minimum of 15 mins prior to call time.
DO ensure you are freshly showered everyday and wear deodorant.
DO ensure to brush your teeth each morning and have fresh breath spray or mints to freshen up throughout the day.
DO ensure to listen and obey all instructions from crew at all times. Your safety and the safety of others come first.
DO NOT wear any strong perfume or aftershave as this can stay on the costumes.
DO NOT start up a conversation with the Main cast. Please remember they have been memorizing their lines prior to getting on set and are getting into their character. If they start up a conversation with you, then feel free to continue the conversation with them.
DO NOT ask anyone about the script or any of the story lines.
DO list your current sizes. Even if the casting notice says it is for a hand double, it is likely that you will have to dress in the actor’s clothing and it is important that you match the actor’s sizes.
DO take out a tape measure and record your current sizes if you are unsure.
DO list sizes for your height, shirt, dress, pants, bust/waist/hip, as well as your shoe size and any other sizes requested in the casting notice.
DON’T lie about your sizes. If you can’t fit into the clothing, production may not be able to use you. You will be embarrassed, and you will waste your time and production’s time. This will probably be reported to casting as well, and it may jeopardize your reputation with their office.
DON’T lie about tattoos. You can never be sure what the insert shots are going to consist of and what may be shown. For example, you may have a tattoo on your ankle that can be seen on camera if you are sitting down in the insert shot and have bare legs. Tattoos cannot always be covered up completely with makeup and may be a problem. Casting and production need to be the ones to decide if your tattoos will interfere or not.
DO read the casting instructions carefully. Do they want photos of both the front and back of your hands? Photos of your feet? Other body parts?
DO submit current photos. If your nails are shorter than in the photos you send, that could be a problem. Mention that in the notes.
DON’T edit the pictures of your hands or other body parts. If you have prominent freckles, moles, scars, or tattoos, they should be visible in your pictures.
DON’T withhold any changes about your hands or other body parts. If you currently have a cut or other blemish, mention it in the notes. It is possible it can be covered up with makeup and will not cause a problem, but casting and production have to be the judge of that.
DON’T say you are willing to cut or colour your hair unless you are completely comfortable with any changes production may make. The details of the changes are usually listed in the casting notice.
DON’T submit for any kind of work you may be uncomfortable with. If the photo-double work requires special situations, it will usually be listed in the casting notice. Some of these situations may include nudity or implied nudity, simulating sex, being in water, or lying on the ground outside.
DO ask questions. Find out more details about the work if you feel unsure about any aspects of it.
DO ask if there is a bump in pay for any special situations.
DO prepare your hands and nails. You may choose to get a manicure, but this is not necessary. If you do get a manicure, don’t get your nails cut short. Production can always cut your nails shorter on set if needed.
DO come in with clean, polish-free nails.
DO come prepared to photo-double other body parts if casting mentioned the possibility — like feet, legs, back, etc.
DON’T ask production to reimburse you for a manicure unless you were instructed by casting to get one. Production will usually cover the cost for you in this case, but verify this with casting when you are booked.
DON’T try to cover up cuts, scars, or tattoos on your hands or other body parts with make-up. If you were approved by production and were honest about the status of your hands and other body parts, they will do what is necessary to prepare you for what they need.
Stand-ins, Body and Picture Doubles do not require a lot of gear, though there are a few items you should bring with you.
As far as what to wear, you will want to bring clothing appropriate for the climate of set. Take into account the weather for the entire day when choosing what to wear and what to bring to set.
Generally speaking, when choosing what to wear, avoid loud shoes, distracting clothing, and finely patterned clothing that may strobe on camera.
Getting to your stand-in job 15-30 minutes before your call time usually gives you plenty of time to get everything you need to get done, done. It gives you time to get your voucher, fill it out, get your label, claim colour cover from wardrobe, and eat breakfast.
Arriving early also gives you a buffer against problems in your commute. Believe it or not, you are an integral part of production, and if you are late, you can slow down production.
Usually you will report to background holding, though sometimes casting will inform you to report directly to set. When you’re standing in, it’s not uncommon to be needed on set the minute the company is in. Whatever the case, when your scene is up, you are ready and nearby set.
When company is in, rehearsal with the director and principal actors often begins. In most cases, this rehearsal is dubbed a private rehearsal, and only a select few can watch it. After the private rehearsal is done, you may hear “Marking rehearsal!,” along with a call for department heads and second team. At this time, you immediately make your way over to set to watch marking rehearsal. The background PA and the 2nd AD will make sure you’re there, as they’re the people most directly responsible for you. Should you have any questions when you’re on set, you ask them.
In marking rehearsal, the principal actors rehearse for the crew. It is called “marking rehearsal” because at this point the principal actors’ marks are laid down on the floor as they go through their blocking. During the marking rehearsal, the crew studies what will be done in the scene, analyzing how it will be shot and lit.
As you watch marking rehearsal, you carefully study every movement your designated actor makes, taking notes on your sides. As you watch marking rehearsal, you are oriented to details as well as the greater picture. You do your best to figure out the blocking on your own or possibly consult with other stand-ins on what they saw. After marking rehearsal, other crew members may rely on your observations of what your actor did so they can prepare properly. Essentially, during setup, you are the scholar of your actor’s blocking.
In case it’s not obvious, you don’t typically ask the principal actor or the director for information on the blocking. You leave them alone. If you have any questions, you consult the background PA or the 2nd AD.
Each time you stand in, you feel out just how immediately you should step in. Sometimes the crew needs to move set pieces before it is even safe for you to step in. Whatever the case, when first team steps off, you are ready to be on your mark should the director, DP, or AD’s need you.
When you step to your first position, you line your toes up flush with the mark. Your actor has a specific tape colour, so as you move to your second position and later positions, you hit the marks matching your actors colour. As you are asked to shift off of a mark into a new mark, a camera assistant will re-mark your position. You don’t re-mark yourself.
While the crew sets up a shot, the DP will look at you, observing how the light and shadow hit your face, perhaps clicking a light meter very close to your face to get a light reading. The camera operator will frame you and ask you to move from first position to second position and so on. A camera assistant may walk up to you and take a measurement near your eye, or the camera assistant may send a tape measure out to you and have you hold it at the side of your eye. At times it may seem as if you’re not being used, but you won’t always know when you’re being used. Often, you are being used without knowing it!
Because of these factors, when you are working, ideally you are silent, still, and focused. There is a lot of chaos swirling around you that can easily distract you as you stand in. Although you may be tempted to chitchat with the stand-in working next to you, it may get in the way of your concentration.
Once the lights are set up and the camera has been worked out, the 1st AD may call out “Second team rehearsal!” Background actors may or may not be included in this rehearsal. Background actors will start moving on the command “Background action!” You, however, will start moving just after, on the command “Action!“
By this time, it’s probably been clarified whether you’ll be reading the lines of the scene. As a stand-in, sometimes you read the lines, sometimes you don’t. Sets vary on what they need the stand-ins to do. You are rarely required to emulate the exact performance of the principal actor any more than doing the exact blocking. Of note, not all stand-ins are actors, nor are they expected to act.
When the 1st AD dismisses you (usually with a “Thank you, second team“), or when your designated actor has arrived to take your place, you step away from set. However, you don’t do this until you’re certain none of the crew around the camera is still using you to set up their shot.
When you step away, you go find a monitor in order to watch for changes in the blocking. Often times things do change. While you need to watch takes for changes, stand-in presence at the monitors is a lower priority than the presence of other crew members. If the monitors are private, you may want to quietly watch the monitors at the sound cart.
If you need to head to the bathroom, once cameras are rolling is your best opportunity to tell the background PA or 2nd AD that you are “10-1” (heading to the bathroom). However, return quickly as it could be only one or two takes before you hear “Cut! Checking the gate!“
When you are standing in, you are considered part of the crew, and although you may be held with the background actors, you eat before the background actors eat. This is mainly for logistical reasons: Eating with the crew allows you enough time to eat in order to be back on set when company is back in.
If you are still on the same scene after lunch, you return to your marks when company is back in. If you are onto the next scene after lunch, you prepare to watch marking rehearsal if your actor is involved in that scene.
If you are onto a new scene, keep in mind that you may be standing in for a different actor, and/or you may need to change your colour cover.
Once you’ve been wrapped for the day, you turn in your colour cover to wardrobe and get your voucher back. On your voucher, you make sure to check off “Stand-In” or write it in the notes. The background PA will sign you out in holding, or if you are a regular stand-in, the 2nd AD may sign you out on set.
If you are a regular stand-in on the production, at this time you might take a look at the prelim or call sheet for the next day to have a sense of what the next day looks like. Otherwise, you’re out.
1: your start mark (“go to your 1” or “on your 1”); also known as first position
10-1 or 10-100: a code referring to a quick bathroom break (“I’m 10-1”); in theory, 10-2 or 10-200 means a longer bathroom break but you rarely hear it or say it (except maybe jokingly)
Abby: the second to last shot of the day, named after assistant director Abby Singer
AD: an assistant director, of which there are several: the assistant director, the second assistant director (“2nd AD“), the second second assistant director (“2nd 2nd“)
background PA: a production assistant responsible for the background actors; this is the production assistant with whom you usually have the most contact, so if you need to step away, you would typically tell the background PA
banana: a verb meaning to travel in an arc rather than straight line (“banana over to the table”)
blocking: the sequence of positions through which an actor moves in a particular scene (e.g., an actor goes to a door, opens it, leaves, comes back, then sits on the couch), usually designated by marks on the ground
callsheet: a dense sheet of information about the shooting day, usually affixed to the front of the day’s sides; of note to the stand-in, it details the shooting schedule, your character number, as well as shooting location and oftentimes the advance schedule
camera-left or camera-right: if the camera were a person and the lens was the face, these would be the respective sides of the camera’s body (“look camera-left” or “cross camera-right”)
clock or counterclock (anticlock): means “turn your body in the direction (or opposite direction) of a clock’s hands”
color cover: costuming provided to you by wardrobe to wear that typically matches the color and/or style of costuming worn for that scene by the principal actor; typically you give your voucher to wardrobe in order to receive your color cover
DP: short for “director of photography,” an important person to listen to as the lights and camera are being set up
first team: the principal actor(s) involved in a scene; see also second team
half-speed: means “do your blocking at about half the speed of the actual speed,” usually so that the camera department can coordinate a shot better and safely
hot set: a set where the set dressing is arranged intentionally and should not be touched (often a sign will explain “hot set” especially when the set doesn’t look as if it is intentionally arranged)
mark: where you stand in a particular shot, usually denoted by tape or some other landmark
martini: the last shot of the day; sometimes called the martini sequence when it is unclear if the last shot is actually going to be the last shot
PA: a production assistant; you mostly interact with the background PA or the 2nd 2nd AD when you have a question or concern
second team: the stand-in(s) for the principal actor(s) involved in a scene; see also first team
sides: miniaturized pages from the script for the scenes being shot on the day
stand down: a command meaning that you don’t need to stand in right now
voucher: your contract and timesheet, usually traded in to the wardrobe department while you have colour cover from them
wrap: the official term for the end of the day