A stand-in for film & television is a person who substitutes for the actor before filming, for technical purposes such as lighting and camera setup. Stand-ins are helpful in the initial processes of film and television production.
Stand-In a Great Way to Be Seen!
Stand-ins allow the director of photography to light the set and the camera department to light and focus scenes while the actors are absent. The director will often ask stand-ins to deliver the scene dialogue (“lines”) and walk through (“blocking”) the scenes to be filmed. This is a great way to get on camera in front of the Director! For all purposes – YOU ARE THE ACTOR.
Stand-Ins are not Doubles!
Stand-ins are distinguished from doubles, who replace actors on camera from behind, in makeup, or during dangerous stunts. Stand-ins do not appear on camera in the final product. However, on some productions the jobs of stand-in and double may be done by the same person. Note; some actors do not use doubles but these actors are highly skilled in there perspective fields.
Interested in working as a Stand-In ?
From the possibility of consistent work opportunities to interacting more closely with the crew, background actors want to become Stand-Ins for a variety of reasons. Here are some Stand-In tips to keep in mind the next time you’re booked.
I. Know which type of production you’re working on Multi Camera or Single Camera;
On multi-cam shows, Stand-Ins run through the entire episode in place of the principal actor to establish camera blocking.
Multi-camera represent the more traditional approach to television comedy, dating back to shows like The Dick Van Dyke Show, Three’s Company, Seinfeld, and Friends. The contemporary multi-camera shows like The Big Bang Theory have taken the torch from those classics.
For single cam productions the Stand-In’s responsibilities revolve more around lighting and camera setups. A single camera show may be a bit more film-like, with reactions and actions being driven by the director.
A photo double must resemble an actor as closely as possible in height, build, hair color, and complexion. They often need to look like they could be the actor’s twin. 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.
In filmmaking, a double is a person who substitutes for another actor such that the person’s face is not shown. There are various terms associated with a double based on the specific body part or ability they serve as a double for, such as stunt double, “dance double”, “butt double” and “hand double”.
Each state has its own strict requirements for how long minors can work and often the principal child actors have other commitments, like school, they must attend throughout the day. Movies and TV shows will consistently employ doubles for minors so production can keep filming when the child actors are not available. Minor Background Actors and doubles must also adhere to the child labor requirements, so depending on the child actor’s age and size, production may wish to use a double over the age of 18.
Be clear on the type of production and your role before heading to set so you know what will be expected of you on your workday.
II. Always be on time
If you’ve worked as a Background Actor, you know how important it is to show up to set on time. As a Stand-In, you need to be ready to hit your mark at your call time. Production schedules often change, which is why we recommend checking for call time changes before you go to bed, when you wake up, and before you leave for set. Successful Stand-Ins know that production should never have to look for them and are ready to work when “second team” is called.
III. Familiarize yourself with STAND-IN terms.
You probably know common production lingo but may be less familiar with terms related to Stand-In work. Here are just a few;
Upstage
- When facing the camera (or audience) this is the area behind you. If asked to move upstage, move toward the back of the set.
Downstage
- To move downstage, you would move to the front of the set toward the camera.
Camera left
- This refers to the point of view of the camera. If you’re facing the camera and the Director instructs you to move camera left, you will move to your right.
Camera right
- This refers to the point of view of the camera. If you’re facing the camera and the Director instructs you to move camera right, you will move to your left.
Actors Mark
- This is the taped x on ground for actors to stand.
IV. TAKE DETAILED NOTES
Taking copious notes is a big part of working as a Stand-In. Depending on the type of production, you will either be given sides or a script, bring something to write with and note where to move, when to move, and prop directions in a scene. Also writing down your wardrobe, hair styling, and other details can be useful to you, other Stand-Ins, and principal actors.
BEING A STANDIN FROM A PROFESSIONAL STANDIN
Stars and Stand-Ins: Hollywood’s Unsung Heroes Step Into the Spotlight
FEDERATION PRODUCERS & VENDORS
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johnharviemorrisJohn studied theatre at the prestigious Western Australian Academy of Performing Arts. He has since travelled extensively performing Theatre, television and independent film productions in the United Kingdom, Ireland and in his homeland Australia. In recent times John has been involved in numerous film projects produced out of Australia and abroad. John’s short film “Safe House” was invited to screen at the prestigious 61st Cannes Film Festival Short Corner achieving much praise and kudos. Safe House was later produced in Hollywood as a feature film starring Denzel Washington. It was in Cannes; France that John met Richard Wayne and henceforth began formulating their idea and concept of creating an international hub for independent film makers, known as World Film Federation. John’s dynamic source of energy, enthusiasm, passion and life experience bring a focused discipline in realising the success of World Film Federation. The solid business relationships he has sustained globally is a testament to his loyalty to others which will continue to make World Film Federation a force to be reckoned with for years to come and a beacon for industry professionals the world over to aspire and partake in the global independent film community in the pursuit to assist all members become successful in their chosen career path.6000PerthWestern AustraliaAUSTRALIAPRODUCER, PRODUCTION
FatKid Films2015 Melbourne Queer Film Festival - World Premiere, Official Selection, The Dream Children, Australia
LF_KohlThey call me "SHORTY" I have owned and ran multi construction companies in home and business construction. Business Consultant.United Kingdom-
Andrea-intlE-mail Address: [email protected] Film Careers: Distribution Country: United States USA State: California We guide you through cultural pitfalls around the world and help you protect your film and brand in the markets you desire. Cultural Pitfalls helps film production companies, studios, and executives avoid getting their movies banned in foreign markets. We do the same for products and services attempting to launch in international markets. Shirin Drost has fifteen-plus years in the entertainment business, specializing in film, TV, and new media content. She is also helps film production companies in avoiding cultural pitfalls—getting their film content banned—in foreign markets. For development executives, she creates financial development and marketing strategies, and supports the film financing process by arranging pre-sales, including raising development and equity capital. For producers, she consults on the placement of the completed content into distribution. For buyers, she sources content–obtaining the finest content at the best prices. For sellers, she provides pre-market, at-market and general consultation services–with a special emphasis on new media and viral marketing. Ms. Drost also provides content sourcing services for buyers of content–such as TV program services and VOD companies.United States
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RICHARD WAYNE STUNTSRICHARD WAYNE STUNTS Men and women who don't mind taking risks and love the thrill of danger may want to consider this as a career choice. No specific certification or degree is required to become a stuntman or stuntwoman. It would be very beneficial to have somewhat of a diversified background in various activities, such as gymnastics, fencing, sky diving, scuba diving, rock climbing, martial arts, dirt bike racing and stage combat to name a few. The most important skills required are physical fitness, stamina, strength and coordination. Stuntmen are the "faceless action heroes" of film and television. They work the scenes of the movies that are risky. They do live action stunts that make all of us action film lovers drool. Imagine dangling from a helicopter, driving a Ferrari in a high speed chase on windy mountain roads, jumping off rooftops, slashing an evil doer with a sword, crashing an 18-wheeler, or falling off a cliff. This is just a day in the life of a stuntman. Not everyone can be a stuntman. Stuntmen are highly trained professional performers who take risks as part of their jobs. Every stunt is executed exactly as planned, practiced, rehearsed, rehearsed, rehearsed, rehearsed and reviewed. Stunts are designed to be as safe as possible. A beautifully choreographed sequence is amazing to watch but in reality takes days or even weeks to set up. Stuntmen average $70,000 per year. If you’re newer to the industry, you may only make $5,000 per year. It all depends on how much work you manage to find. The highest end stuntmen can make up to $250,000 per year. All it takes is one stunt to make money – the highest paid stunt ever was $150,000 for jumping off the CN Tower in Toronto. That’s about a $15,000 per second. Stuntmen love their jobs. They get to do death defying stunts and get paid for it. So if high speed boat chases, ninja fights in temples, diving with sharks, parachuting into lakes, walking on walls, or climbing a building sound better than staring at a computer screen, you should look at a career as a stuntman.JordanMaynoldiBad Friend is a full-service production company based out of New England.
Ozwood entertainmentTony Estephen is a Managing Director at Enviroshield Waterproofing based in North Strathfield, New South Wales. Also owner of Ozwood Entertainment, producing internationally acclaimed films in New South Wales, Australia.-
legaleagles3141South YarraVictoriaAustraliaCOORDINATOR, DIRECTOR, FREELANCE, LEGAL, LOCATIONS, MARKETING/PUBLICITY, MEDIA, MUSIC, PRODUCER, SCRIPT DEPARTMENT
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