14 Terms TV and Film Stand-Ins Need to Know

Television and film stand-ins spend hours on set every day, and knowing the lingo can be the difference between looking like a seasoned pro and a first-timer. Whether you’re looking to refine your skills or need an introduction to common production vocabulary, this guide will help you communicate with the crew and stand out as a reliable second team player.

What is a TV or film stand-in?

A stand-in takes the place of a principal actor for rehearsals, camera blocking and lighting setups. A stand-in’s responsibilities can vary depending on the type of production they are working on.

• Single camera stand-ins usually need to match the principal actor in height, build, hair color and complexion. They are mainly used for lighting and camera setups in films, one-hour TV dramas and some half-hour sitcoms.
• Multi-camera stand-ins work on TV sitcoms. They run through the entire episode in place of the actors so the production team can establish camera shots, movements of the principal actor, dialogue and blocking. Multi-camera stand-ins are usually hired for experience and professionalism, and don’t necessarily have to match the actor they are standing in for.

Why is it important to know TV and film stand-in terms?

Productions run on tight schedules, and a stand-in who knows what to expect and how to follow directions helps keep things moving.

Knowing production terminology can also help you prepare for future roles. If you’re a background actor hoping to land stand-in work, the right vocabulary shows you’re ready for the role. And if you get upgraded to a stand-in while on set, familiarity with these terms can show assistant directors you’re a pro. Just remember, upgrades happen at production’s discretion — you should never ask for one.

Production terms all stand-ins should know

1. Second team

TV and film stand-ins are called the second team, while principal actors make up the first team.

2. Utility stand-in

Utility stand-ins are typically used for light and camera rehearsals and may stand in for actors of varying looks, genders, and ethnicities. Matching the height of actors is more important than matching a look. If you're booked in this role, you may be standing in for multiple actors on the same project.

3. Upstage

If you're facing the camera (or audience) this is the area behind you. If a director asks you to move upstage, they want you to move towards the back of the set.

4. Downstage

Downstage is in the direction of the camera or audience. To move downstage, you would move to the front of the set.

5. Stage left

When you're facing the camera, this is the area to your left.

6. Stage right

When you're facing the camera, this is the area to your right.

7. 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.

8. 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.

9. Sides

Miniaturized call sheet and script pages for the scenes being shot that day given to you by production so you know what’s happening in a scene and can take notes. Stand-ins mainly use sides in single-camera projects, and are often given full episode scripts for multi-cam productions.

10. Blocking

Determining actors’ movements in a scene. As a TV and film stand-in, it’s important to take notes and pay attention to all your movements in a scene in case you need to relay them to the principal actor.

11. Color cover

Color cover refers to wearing wardrobe similar in color and pattern to what the principal actor will wear in a scene. This helps the crew light and block the scene correctly.

12. Stand-in resume

A stand-in resume lists your stand-in experience so casting directors and production companies can determine if you’re right for a role. Your resume should list the project you worked on, how long you worked, whether it was single or multi-cam, and the actor you stood in for.

13. Private/closed rehearsal

Rehearsal for actors, director, director of photography and first assistant director to establish initial blocking of a scene.

14. Marking rehearsal

Full rehearsal by actors for all department heads, including stand-ins. This is your first (and sometimes only) opportunity to take notes regarding your actor’s movements in a scene.