From Wikipedia, the free encyclopedia
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 helpful in the initial processes of film and television production.
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.
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. However, on some productions the jobs of stand-in and double may be done by the same person. In rare cases, a stand-in will appear on screen, sometimes as an in-joke. For instance, the actress who pretends to be Ann Darrow in the stage show during the final act of King Kong (2005) is played by Naomi Watts’ stand-in, Julia Walshaw.
Stand-ins do not necessarily look like the actor, but they must have the same skin tone, hair color, height and build as the actor so that the lighting in a scene will be set up correctly. For example, if the lighting is set up with a stand-in shorter than an actor, the actor might end up having their head in relative darkness. In some cases, a star and stand-in do differ in height: Ann Sheridan’s stand-in, Marveen Zehner, was taller than the actress and reportedly worked shoeless,[1] and actor Tommy Noonan wore three-inch risers in his shoes to stand-in for Tyrone Power.[2]
Some celebrities mandate that they will always have the same stand-in. Famous cases include Pluma Noisom (stand-in for Claudette Colbert), Harry Cornbleth (Fred Astaire) and Adam Bryant (Robin Williams). When Bette Davis walked out on her Warner Bros. contract, she negotiated for her regular stand-in, Sally Sage, to continue to work at the studio.
Stand-in use in animation[edit]
Stand-ins are also used for animated characters in a live-action film, sometimes with life-size character models, so that the animators know where to place their animation and how to make them move realistically, and for actors to know where to look. In these cases, skin tone and hair color are not so important. Height and build, however, are still important for any interactions between live-action and animated characters.
See also[edit]
- Fake Shemp
- Understudy
- Doppelgänger
- Impersonation
- Look-alike
- Political decoy
- Simulacrum
- Stand-In (1937 film)
- «The Stand In» (Seinfeld episode)
References[edit]
- ^ Gunson, Victor. «Stand-In No Silly Hollywood Affectation; He-Or She-Saves Studio Time, Expense». Belleville News-Democrat Vol. 92, No. 30, 5 February 1948, page 2. Accessed 5 March 2022.
- ^ Sullivan, Ed. «Looking at Hollywood with Ed Sullivan: Playing Movie Star is the Stand-In’s Business». Chicago Sunday Tribune Vol. XCVII No. 26, 26 June 1938, Graphic Section page 2. Accessed 5 March 2022.
External links[edit]
Look up stand-in in Wiktionary, the free dictionary.
- Stand-In Central: Learn How to Be a TV/Film Stand-In
- Stars and Stand-Ins: Hollywood’s Unsung Heroes Step Into the Spotlight
DECEMBER 12, 2022
Tony Santoro (left) Stand-In for Tony Franciosa (right) on Valentine’s Day (1963)
A Stand-In takes the place of a principal actor for rehearsals, camera blocking, and lighting setups. From the possibility of consistent work opportunities to interacting more closely with the crew, Stand-In roles are highly sought after. Here’s what you need to know about getting booked as a Stand-In by Central Casting.
Camera blocking and lighting
Blocking is how a character moves during a scene, interacts with other characters, and uses props. Determining camera blocking helps a production run smoothly and quickly, but it can also direct the audience’s attention, inform the viewer how to feel, and accentuate meaning in a scene. Stand-Ins are used during the camera blocking process, freeing the principal actor for other responsibilities.
Cinematic lighting is about more than just being able to see the action on screen. It can convey mood, inform story, give importance to a prop or character, and works with other elements to create the overall aesthetic of a production. Stand-Ins are an important part of the lighting process and allow the crew to work out the right placements while the principal actors are getting ready or fulfilling other duties.
Types of Stand-Ins
There are different kinds of Stand-Ins that serve a variety of purposes on set. Some need to resemble the principal actor as closely as possible, while others just need to have a similar height. No matter what kind of Stand-In you are, you are an integral part of the production.
Single Camera Stand-In
Single Camera Stand-Ins must often match the principal actor in height, build, hair color, and complexion. They are mainly used for lighting and camera setups in one hour dramas like The Rookie, Tell Me Lies, and FBI and some half hour comedies like The Goldbergs, Home Economics, and Young Sheldon.
Multi-Camera Stand-In
Multi-Camera Stand-Ins establish camera shots, movements of the principal actor, dialogue, and blocking. They run through the entire episode in place of the actors so the production team can block out all the movements before filming on shows like Bob Hearts Abishola, The Conners, and The Neighborhood. 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.
Utility Stand-In
Utility Stand-Ins 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.
Stand-Ins for Orange is the New Black (New York) / Marilyn Monroe and her Stand-In J Woodbury (1948)
How to get booked as a Stand-In
When booking Stand-Ins, Casting Directors will likely send an availability inquiry through our casting platform or post to our Jobs page. Please read all messages carefully and include any additional information requested, like a Stand-In resume, before replying.
If you’ve been a Background Actor for a while, you know Stand-In jobs often require experience. So how do you gain experience to get that first Stand-In job? Some productions may opt to hire Stand-Ins with no experience if they match the height, build, and/or look of the principal actor. Then there are instances when production needs to upgrade a Background Actor to a Stand-In on set. Paying attention, following directions, and being professional can help lead to these types of opportunities. Please do not ask production to be upgraded, just be present and prepared if an opportunity arises.
Want more tips to get cast as a Stand-In? Check out our video with Central Casting Los Angeles Casting Director Sara V. and Assistant Director Molly Rodriguez to learn more.
‘STAND-IN FOR AN ACTOR’ is a 17 letter
Phrase
starting with S and ending with R
Crossword answers for STAND-IN FOR AN ACTOR
Synonyms for STUNTMAN
7 letter words
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#3
You should take the definition for exactly what it says — it is very time consuming to set up the lights and cameras to film a scene, a «stand-in» takes the place of a big movie star (often literally «standing in his/her place») while they work things out with the equipment; meanwhile the famous celebrity can relax in his (or her) trailer.
A person who films dangerous scenes in place of an actor (performing the car chases, fights, etc.) is commonly referred to as a stuntman (or stuntwoman).
Last edited: Aug 19, 2013
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#4
It means that the stand-in stands in for a period of time during which the lighting and cameras are adjusted in whatever ways they need adjusting.
When they are suitably adjusted, they are ready (to be used to film the scene). Prior to that, they were being readied.
A stand-in is not a stuntman, or a stunt double. He is little more than a shape off of which the light must bounce when calibrating the correct illumination of the scene.
I suppose it helps if he or she has passing resemblance to the actor for whom they are standing in.
When the cameras are ready, the stand-in steps aside, and the actor takes his place, then filming commences. (Cross-posted)
What is your specific problem in understanding the bolded parts. Is it the use of ‘ready’?
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#6
I can imagine that it’s used in a variety of different ways, after all, a stand-in is just another word for a substitute. If you’d asked me, I’d have said it was a stunt double.
I think there is a more specific term for the manikin-like individual who stands on the spot for lighting purposes …. I was going to say something stupid …
stand-in
1. In film and television, someone who stands in place of an actor while lights, cameras, and sound equipment are set up and adjusted. I got a job as a stand-in for a local television shoot. It’s pretty dull work, but the pay is good!
2. By extension, anyone who acts as a substitute for the duty or role of someone else, especially on a temporary basis. The vice-president assumed she would be nothing more than a stand-in while the president recuperated from his illness, but after he died, she was forced to lead the country for real. Don’t get so high and mighty with us, Jeff. You’re just a stand-in while the boss is on vacation.
Farlex Dictionary of Idioms. © 2022 Farlex, Inc, all rights reserved.
stand in (for someone)
to substitute for someone; to serve in someone’s place. The famous opera singer was ill, and an inexperienced singer had to stand in for her. The new singer was grateful for the opportunity to stand in.
McGraw-Hill Dictionary of American Idioms and Phrasal Verbs. © 2002 by The McGraw-Hill Companies, Inc.
stand-in
n. a substitute; a temporary replacement. The audience booed the stand-in. They had paid to hear a star.
McGraw-Hill’s Dictionary of American Slang and Colloquial Expressions Copyright © 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
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