Hubbry Logo
Stand-InStand-InMain
Open search
Stand-In
Community hub
Stand-In
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Contribute something
Stand-In
Stand-In
Stand-In
View on Wikipedia
from Wikipedia

Stand-In
Theatrical release poster
Directed byTay Garnett
Charles Kerr (assistant)
Written byClarence Budington Kelland (story)
Gene Towne
C. Graham Baker
Produced byWalter Wanger (uncredited)
StarringLeslie Howard
Joan Blondell
Humphrey Bogart
Production
company
Distributed byUnited Artists
Release date
  • October 29, 1937 (1937-10-29)
Running time
91 minutes
CountryUnited States
LanguageEnglish
Budget$523,869[1]
Box office$617,521[1]

Stand-In is a 1937 American screwball comedy directed by Tay Garnett and starring Leslie Howard, Joan Blondell and Humphrey Bogart. The film's screenplay was written by Gene Towne and C. Graham Baker from a story by Clarence Budington Kelland. It was produced by independent producer Walter Wanger, and released by United Artists. The film is set in Hollywood and satirizes[2][3] the film industry during the classical Hollywood era.

Plot

[edit]

During the Great Depression, Fowler Pettypacker, a Wall Street banker, is debating whether or not to accept an offer from Ivor Nassau to buy "Colossal Pictures," a fictional film studio on Poverty Row. The studio has not been turning a profit, but financial analyst Atterbury Dodd advises against selling. He stakes his reputation on his mathematical calculations that show Colossal should turn a profit. The bank sends Dodd to Hollywood as the new head of the studio.[4]

Colossal's star actress, Thelma Cheri, eccentric foreign director Koslofski, and press agent Tom Potts are conspiring with Nassau to sabotage the studio. They are deliberately running up costs on producer Douglas Quintain's jungle feature, Sex and Satan, so that the film flops and the studio goes bankrupt.

In Hollywood, Dodd meets Lester Plum, a cheerful former child star currently working as a stand-in for Cheri. Lester teaches Dodd about the business of filmmaking and eventually becomes his secretary. Under Lester's tutelage, Dodd comes to see that the workers are more than just numbers. Lester falls in love with Dodd, but he is initially oblivious to her feelings.

When Dodd is unimpressed by a viewing of Sex and Satan, Koslofski puts the blame squarely on Quintain. Quintain had discovered Cheri and made her a star, falling in love with her in the process, but she sides with Koslofski. As a result, Dodd fires Quintain. After an audience preview confirms that the film is awful (they prefer the ape over Cheri's performance), Dodd seeks out the heartbroken producer. Once he sobers up from his drunken binge, Quintain comes up with the idea to salvage the film by cutting down Cheri's part and expanding the ape's. However, before they can do so, Pettypacker telephones Dodd, informing him that he has sold the studio to Nassau, and that Dodd is fired. Dodd convinces the initially hostile workers into rallying behind him to finish the film. Then, he asks Plum to marry him.

Cast

[edit]

Themes and interpretations

[edit]

Despite acknowledging director Tay Garnett, screenwriters Graham Baker and Gene Towne, and producer Walter Wanger as not being known for having leftist leanings,[5] author Matthew Kennedy wrote that the film's "respect for the little people of Hollywood [is] reflected in its anti-capitalist, leftist ideology as rendered by original story writer Clarence Budington Kelland, the man who was also behind the 1936 populist classic Mr. Deeds Goes to Town."[3] Kennedy adds that Dodd, "a pawn for the bankers", has to stop "treating labor as 'cogs' or 'units'" in order to win the affection of Plum.[3] Kennedy also refers to a scene in which a group of below-the-line crew members throw Nassau over the studio walls as an allegory for revolution, and concludes that, "it is the stand-in, not the star, who ultimately gets the man. At the final fade, however, Lester Plum is still a nameless face in the machinery."[3]

Production

[edit]

Stand-In is based on the story Kelland, Clarence Budington (13 Feb 1937). "Stand-In". The Saturday Evening Post..[6]

PCA Director Joseph Breen found the story submitted to the PCA in Mar 1937 "unacceptable" because of the portrayal of "Thelma Cheri" as a "loose woman" and that of other characters as being involved in "illicit sex relations." Breen also commented, "The specific and general treatment of the characters and situations, which reflect unfavorably upon the motion picture industry and its personnel, is objectionable from the point of view of general industry policy." Subsequently, suggestions by the PCA were accepted by Walter Wanger Productions, including changing the character of "Thelma Cheri" to that of an unmarried woman; deleting a speech about the stifling of competition in the industry and the crushing of independent companies by the majors; and deleting a speech by Atterbury at the end, in which he says he is going to start a Senate investigation of the motion picture business.[4]

Joan Blondell, after working on the 1937 film The Perfect Specimen for Warner Bros. Pictures, was cast in Stand-In (a Walter Wanger Productions, Inc. production and a United Artists release[6]) as part of a "studio talent swap."[3] She reportedly enjoyed the working environment of Stand-In.[5] Blondell had previously worked with Bogart on the 1932 film Three on a Match and the 1936 film Bullets or Ballots, and stated of him, "He wasn't a man one ever felt close to—nobody did. But I liked him."[5] Shortly after production on Stand-In wrapped, Blondell was hospitalized for neuritis and exhaustion.[5]

In Garnett's autobiography,[7] he relates that after Bogart's wife, Mayo Methot, complained that Bogart was only getting "heavy" parts, Garnett convinced Walter Wanger to use Bogart in this role, hoping that it would lead to romantic leads for him.[4]

Bogart was loaned from Warner Bros. Pictures.[4]

Reception

[edit]

The film recorded a profit of $9,274.[1]

A reviewer for Life called the film "a pretty good one", and praised Howard's role as Dodd as "a comic part like nothing he has ever done before," and "one of his most engaging performances."[2]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Stand-In

View on Grokipedia
from Grokipedia
A stand-in is a performer who temporarily substitutes for a during the technical preparation phases of film and television production, such as setting up lighting, adjusting camera positions, and rehearsing blocking, to ensure efficient filming once the main cast arrives. This role emerged as an essential part of Hollywood's workflow from the early days of the , where precise technical setups were needed without occupying the stars' time unnecessarily. Stand-ins are distinct from extras, who fill background roles, and from or body doubles, who perform visible actions or appear on camera in specific shots; instead, they remain off-screen during . The primary responsibilities of a stand-in include mimicking the actor's movements and positions as closely as possible to aid the and departments, often enduring long hours on set to perfect scene compositions. To qualify, stand-ins must closely match the principal's physical attributes, such as height, build, hair color, and skin tone, though acting experience is not always required—many enter the field through background work or networking in the industry. Under SAG-AFTRA guidelines, stand-ins earn competitive rates, typically $262 for an eight-hour day as of July 2025, with potential for benefits on larger productions, reflecting their value in streamlining workflows and reducing costs. Stand-ins play a crucial behind-the-scenes role in enabling high-profile s to conserve energy for performances, fostering long-term professional relationships in some cases; for instance, worked consistently with stand-in Harry Cornbleth throughout his career. Similarly, has included specific stand-in provisions in his contracts since 1986, highlighting the trust built in this unsung position. While the job demands stamina and due to irregular schedules, it offers aspiring performers valuable on-set exposure to production processes.

Definition and Etymology

Core Definition

A stand-in is a person or element that temporarily replaces a principal performer or component during the preparatory phases of production, facilitating technical setups such as lighting, camera positioning, and blocking. This role allows the primary talent to conserve energy and focus on actual performance, ensuring efficient workflow without compromising setup accuracy. Stand-ins must approximate the principal's physical attributes, including height, build, hair color, and complexion, to maintain visual consistency in non-performance scenarios; they do not deliver lines, perform actions, or appear in the final product. This matching ensures that technical elements align properly with the intended shot composition before begins. In broader contexts outside , the stand-in concept draws parallels to everyday temporary replacements, such as a filling in for an absent educator or a proxy attending an event on another's behalf. The term evolved from its literal meaning of "standing in" for someone to a specialized professional designation by the mid-20th century, as reflected in its established usage within the 1937 film Stand-In. Unlike related roles such as extras or body doubles, stand-ins are dedicated exclusively to pre-shoot .

Historical Origins of the Term

The term "stand-in" derives from early 20th-century , formed as a from the verbal "to stand in," meaning to occupy another's position or act as a replacement. The itself has older roots, with senses of substitution appearing in English as early as the , but the form first emerged in 1870 in a commercial , referring to a compensatory agreement or proxy in a dispute where one party effectively "stood in" for another's loss. Prior to its entertainment applications, the concept of a "stand-in" as a temporary substitute appeared in 19th-century non-performative domains, such as , where individuals or arrangements temporarily filled roles during absences or injuries, though the noun was not yet standardized and often expressed verbally as "stand in for." In , for instance, temporary proxies for leaders during unavailability were noted in diplomatic and governmental , evolving toward more formalized replacements by the late 1800s. Similarly, in sports like and , substitute players "standing in" for regulars became common amid growing professionalization, laying groundwork for the term's later performative connotations by the 1910s. The term's adoption in theater began in the early 1900s within American , including circuits, where the verbal phrase "stand in" was attested by to describe proxies rehearsing roles in place of principal performers during technical preparations. By circa 1915, it had entered Broadway lexicon, with understudies or assistants "standing in" for stars during lighting and blocking runs in rehearsals, reflecting the era's expanding production demands. A key milestone in the term's Hollywood integration occurred in the late 1920s during the era, when trade publications began documenting "stand-ins" as dedicated roles for lighting and camera tests. For example, a 1928 Screenland magazine article highlighted as Corinne Griffith's stand-in for the The Divine Lady, noting stand-ins as a "recent addition" to streamline productions amid the industry's rapid growth. This usage solidified the term's association with proxies, distinct from understudies, and marked its transition from theater to a standardized .

Roles in Live-Action Entertainment

Film and Television Production

In film and television production, stand-ins primarily serve as temporary substitutes for principal s during technical preparations, enabling efficient setup without requiring the stars to be present for extended periods. Their core duties include standing in place to facilitate camera blocking—where shot compositions and actor movements are planned—and assisting with adjustments to ensure proper illumination and exposure. Stand-ins also participate in walkthroughs, mimicking the actors' physical positions and basic actions to help directors and cinematographers visualize the scene, all while avoiding delivery of to maintain focus on technical elements. This role saves time and protects principal performers from fatigue during potentially lengthy pre-shoot phases. Stand-ins integrate into the production workflow by arriving early to the set, often before principal actors, to undergo measurements for height, posture, and other physical attributes that must closely match the performer they are doubling. members then use colored tape to mark precise positions on the floor—known as ""—for focus pulling, blocking, and camera framing, with stand-ins rehearsing these spots to refine setups. Without speaking lines, they replicate subtle movements like gestures or walks, allowing the camera and teams to test and iterate until optimal. This process is especially vital in high-budget blockbusters, where complex setups involving multiple lights, cameras, and effects can consume hours per scene, ensuring smooth transitions when principals arrive. Within unionized environments, stand-ins are a standard feature governed by guidelines, which classify their work as covered employment to promote safety and fair practices, such as providing adequate rest during long setup days and ensuring they are not exposed to hazardous conditions meant for principals. For instance, on television sitcoms filmed before live audiences, stand-ins support rapid rehearsals to align blocking with multi-camera setups, helping maintain the fast tempo of episodic production. In these shows, they contribute to pre-taping walkthroughs that synchronize movements for audience sightlines and camera switches. Unique challenges for stand-ins in this medium arise from the contrasting paces of film and television; productions often allow deliberate, iterative adjustments over extended days, while demands quick adaptations to tight schedules, such as completing multiple takes in under 12 hours to meet deadlines. Additionally, the rise of digital tools like previsualization (pre-viz) software has streamlined initial planning by simulating shots virtually, somewhat reducing on-set rehearsal time, yet stand-ins remain essential for real-time physical verifications of lighting and that virtual models cannot fully replicate. These factors require stand-ins to exhibit high stamina, precision in hitting , and flexibility amid shifting directives.

Theater and Stage Performances

In theater and stage performances, stand-ins—often referred to as light walkers—primarily function as proxies for principal during technical preparations, including plots, checks, and blocking rehearsals, allowing crews to test and refine elements without requiring the full cast's constant presence. These roles are especially critical in musicals, where light walkers enable extensive practice to avoid fatiguing lead performers through repetitive runs. Light walkers in environments must adapt to real-time physical of sets, props, and spatial dynamics, simulating performer movements to ensure seamless integration of technical aspects like visibility and acoustics across the venue. In unionized productions, these roles fall under oversight by , which sets standards for stage work including technical rehearsals. A key example of this usage occurs in professional productions like those at the , where light walkers—specialized proxies similar to film stand-ins—substitute for actors onstage while designers create and set lighting cues, facilitating efficient tech weeks. Similarly, the Minnesota Opera employs light walkers to stand in for singers during cueing, ensuring precise illumination without disrupting principal rehearsals. In regional theaters with constrained budgets, light walkers frequently multitask across roles, maximizing limited resources while maintaining production quality. Unlike in or television, light walkers in theater emphasize live energy and instantaneous adjustments to maintain performance flow, prioritizing equitable visibility from all seats over camera-specific framing. This real-space focus heightens the demand for quick pivots in response to ongoing technical tweaks during rehearsals.

Applications in

Traditional Techniques like Rotoscoping

, a foundational technique in early , was invented by in 1915 as a method to achieve more realistic and fluid character movements by tracing live-action footage frame by frame onto transparent cels. The process began with filming performers—often stand-ins—who enacted the desired actions, which were then projected onto an for animators to outline and refine, allowing for lifelike motion that surpassed the stiff, hand-drawn approximations of the era. This innovation was patented in 1917 and marked a significant advancement in blending live with , enabling creators to capture natural gestures and timings that were challenging to invent from imagination alone. Stand-ins played a crucial role in rotoscoping by providing the raw live-action reference material, with actors or performers often exaggerating movements to suit the stylized needs of animation while maintaining anatomical accuracy. In Fleischer's Out of the Inkwell series (1918–1929), stand-ins like Fleischer's brother Dave, dressed as a clown, were filmed performing antics that animators traced to create the character Koko the Clown, resulting in groundbreaking realism for cartoon figures interacting with live environments. Similarly, at Disney Studios, rotoscoping informed the human animation in Snow White and the Seven Dwarfs (1937), where live models such as dancer Marge Champion served as stand-ins for Snow White, their filmed performances guiding animators to depict graceful, believable motions in scenes like the forest dance sequence. These stand-ins were essential for bridging the gap between live performance and drawn characters, ensuring emotional expressiveness and physical plausibility. The technique extended beyond simple tracing to incorporate tools like the , which simulated depth by layering cels at varying distances from the lens, often informed by stand-in footage to align movements across planes for effects. In production, stand-ins would perform actions captured on , which animators then adapted onto multiplane setups to create immersive, three-dimensional scenes without relying on flat compositions. However, had limitations, such as potential unnatural stiffness in the final if the traced lines were not sufficiently stylized or varied, as the direct replication of human motion could appear too rigid in a context, requiring skilled intervention to infuse personality and exaggeration. A notable historical example is ' Gulliver's Travels (1939), where was extensively applied to the title character, with live actor Sam Parker filmed as a stand-in to capture Gulliver's proportions and gestures, traced frame by frame for seamless integration with the animated world. To achieve the scale effects between the giant Gulliver and the tiny Lilliputians, child actors were employed as stand-ins in live-action references, their smaller statures helping animators visualize and draw the relative sizes and interactions accurately during the process. This approach not only enhanced the film's visual spectacle but also demonstrated 's versatility in handling complex spatial dynamics in feature-length animation.

Modern Digital Methods including Motion Capture

In modern , (mocap) serves as a key digital method where stand-ins, often performers in specialized suits embedded with reflective markers or inertial sensors, execute physical actions that are recorded by multiple cameras or wearable devices to generate 3D movement data for animating digital characters. This process captures volumetric motion in real-time or during , allowing animators to map human performances onto CGI models with high fidelity. A prominent application of mocap involving stand-ins appears in feature films, such as The Lord of the Rings trilogy (2001–2003), where performer Andy Serkis wore a motion capture suit to portray Gollum, providing the foundational movements that were enhanced with CGI for the character's hybrid live-action and animated form. Similarly, in Avatar (2009), stand-in actors in performance capture suits delivered nuanced motions for the Na'vi characters, integrating seamlessly with visual effects to create immersive alien environments. These techniques enable hybrid productions by blending captured human dynamics with computer-generated elements, reducing the need for purely manual keyframe animation. Advancements in mocap have expanded to include sophisticated facial capture rigs, such as those developed by Vicon, which use high-resolution cameras to track subtle expressions via head-mounted markers, allowing stand-ins to convey emotional depth in digital avatars. AI-assisted cleanup further refines by automating and marker occlusion resolution, improving accuracy in complex scenes. Stand-ins for these methods are frequently selected from trained dancers or athletes, whose precise control over body mechanics ensures reliable capture of intricate actions like or combat sequences. The benefits of mocap include enabling precise physics simulations, where captured 3D trajectories inform realistic interactions like or collisions in animated environments, far surpassing the limitations of earlier 2D tracing methods. Unlike , which relies on frame-by-frame outlines of filmed footage to approximate motion, mocap delivers full 3D skeletal data that supports scalable, interactive animations across media. This shift has streamlined production workflows, saving considerable time in compared to traditional techniques.

Types and Professional Aspects

Stand-ins in film and television production are primarily utilized for technical rehearsals and setup, approximating the principal actor's physical presence to facilitate , camera positioning, and blocking without appearing in the final . This role contrasts sharply with that of a photo double, who provides a close visual match to actor and is actually photographed for specific shots, such as appearances, inserts, or scenes where the actor's face is obscured or not required. Photo doubles thus contribute directly to the on-screen content, often substituting in partial body shots like hands or distant figures, whereas stand-ins are replaced entirely before begins. Unlike stunt doubles, who are trained performers responsible for executing high-risk physical actions—such as falls, fights, or vehicle maneuvers—to protect the principal from injury, stand-ins handle only non-hazardous positioning and movement replication during safe preparatory phases. Stunt doubles appear in the final product, typically with their faces concealed through editing, makeup, or camera angles, emphasizing their role in delivering the action sequences that stand-ins merely outline for technical crews. Stand-ins differ from extras, or background actors, in their targeted, principal-specific focus; while extras populate crowd scenes to create atmospheric realism and are visible in the final footage as anonymous fillers, stand-ins serve a precise technical function tied to a single character's marks and do not contribute to the on-screen ensemble. This distinction underscores the stand-in's behind-the-scenes utility versus the extra's role in enhancing the scene's populated environment without individualized performance demands. In theater, stand-ins never assume live performance duties or deliver lines on stage, setting them apart from understudies, who rehearse and master entire roles—including dialogue, blocking, and character interpretation—to step in as full replacements during actual shows if the principal is unavailable. Understudies, often ensemble members, bring their own stylistic approach to the part when performing, whereas stand-ins prioritize exact mimicry solely for rehearsal efficiency without any expectation of audience-facing execution. This boundary ensures stand-ins support production logistics in both film and stage contexts without overlapping into the performative territory reserved for understudies.

Training, Compensation, and Challenges

Stand-ins typically require no formal degree or to enter the , with entry often gained through prior experience as background actors or other on-set roles. Recommended preparation includes taking classes to build foundational skills in movement and blocking, as well as physical such as to enhance endurance for prolonged standing and repetitive actions. Knowledge of set etiquette—such as maintaining focus, respecting actor boundaries, and understanding production terminology like call sheets and marks—is essential for professionalism and is often learned on the job or through union resources. Unions like provide access to membership for stand-ins, which offers protections, networking opportunities, and educational workshops on industry standards, though no specific stand-in certification program exists. Membership eligibility generally requires proof of qualifying employment under SAG-AFTRA contracts, enabling stand-ins to work on union productions and access benefits like health coverage after accumulating workdays. Compensation for stand-ins in the U.S. is primarily hourly or daily, with minimums as of July 2025 setting rates at approximately $240 for an 8-hour day on dramatic television series or $36 per hour on other non-dramatic productions, including minimum call times of 3 to 7 hours depending on the show format. Following the 2024-2025 negotiations, stand-in rates saw increases, such as from $34 to $36 per hour under the Network Television Code. Daily guarantees ensure payment for a full shift even if work ends early, but rates vary by market—higher in (often $35–$50 per hour including overtime) compared to regional areas—and additional premiums apply for conditions like wet work or night shoots. Residuals are rare for stand-ins, as they do not typically perform on camera unless upgraded to a principal role, limiting long-term earnings from reruns or streaming. Stand-ins face significant physical demands, including long hours of standing in uncomfortable positions, which can lead to fatigue and require high stamina to match an movements precisely during setups. The gig-based nature of the work contributes to job instability, with irregular schedules and competition for making consistent employment challenging, often forcing stand-ins to balance it with auditions or other jobs. Emotionally, the role involves closely mimicking principal ' mannerisms without receiving on-screen or recognition, which can feel invisibilizing and hinder personal aspirations. Safety risks mirror those on any set, such as exposure to falling , electrical hazards, or unstable during and camera tests. To build a , stand-ins should network through casting agencies like , which handles bookings for background and stand-in work, by maintaining an updated profile and attending open calls. Transitioning to principal or positions is common, leveraging on-set to gain visibility with directors and producers, though success depends on persistence and skill development.

Historical Evolution

Early 20th-Century Development

The role of stand-ins emerged in the silent film era of the 1910s, driven by the need to protect high-profile actors from the hazards of early filmmaking techniques. The earliest documented use dates to 1914, when director D.W. Griffith employed a stand-in for Lillian Gish during the production of Home, Sweet Home, allowing for safe testing of shots without exposing stars to prolonged setup times. This practice gained prominence around 1915 with the rise of complex artificial lighting in ambitious productions like The Birth of a Nation, where proxies substituted for principal performers to experiment with light arcs and positioning, minimizing risks to actors amid the era's rudimentary equipment. Such innovations marked stand-ins as essential for efficient pre-shoot preparations in an industry transitioning from natural to controlled illumination. In the 1920s and 1930s, the Hollywood studio system formalized stand-ins as a standard role, particularly with the advent of sound films that demanded precise rehearsals for dialogue and movement. Major studios like integrated stand-ins into their assembly-line production model, using them for blocking scenes, adjusting camera angles, and practicing to streamline workflows. A notable example is the 1939 production of , where relied on stand-ins such as for dance rehearsals and Bobbie Koshay as her primary double, enabling Garland to conserve energy for principal filming while ensuring seamless transitions in musical sequences. This period saw stand-ins evolve from substitutes to specialized performers, often selected for physical resemblance to stars, reflecting the studios' emphasis on efficiency and star preservation. Technological advancements in and during this era involved arc lights and early cameras that could harm actors through intense heat and exposure—known as "Klieg eyes." By the , carbon arc lamps provided powerful but harsh illumination. Labor unions began acknowledging this role in amid broader Hollywood organizing efforts; by December 1939, stand-ins incorporated as "Hollywood Standin Players, Inc.," establishing formal recognition and even creating the Elmer Awards to honor exemplary contributions, underscoring their growing professional status. The practice of using stand-ins spread globally during the interwar years, with early adoption in European cinema to support innovative visual styles. This adaptation mirrored Hollywood's developments, adapting the role to local technological and artistic demands in an era of international film exchange.

Post-1950s Advancements and Industry Standards

In the 1950s and 1960s, the rapid adoption of broadcasting and film formats such as significantly heightened the demands on production setups, necessitating more precise and camera blocking where stand-ins proved indispensable for rehearsing scenes without involving principal actors. These technological shifts, aimed at differentiating cinema from the encroaching popularity of black-and-white TV, extended setup times and underscored the stand-in's role in multi-camera television workflows, allowing directors to refine compositions efficiently before . From the 1980s through the 2000s, advancements in digital previsualization—emerging in the early —and widespread screen () techniques transformed scene planning, enabling virtual mockups that sometimes streamlined rehearsals but amplified the need for stand-ins to ensure accurate actor positioning and on physical sets. Even in screen environments, stand-ins were routinely employed to mark positions for principals, with any incidental appearances digitally removed in to maintain focus on precision. Union contracts, such as those negotiated by SAG and AFTRA in the late and early 2000s, formalized protections for stand-ins, including mandatory overtime provisions and coverage under principal performer agreements to address their integral yet often underrecognized contributions. The 21st century brought further evolution through the , which from 2020 onward promoted remote collaboration and virtual production methods using LED walls and AI-driven tools, potentially diminishing some on-set stand-in requirements by allowing digital simulations for blocking and . However, stand-ins remained essential in hybrid workflows, particularly for live-action elements in global streaming productions like those from , where international shoots demanded adaptable personnel to match diverse principal casts across locations. As of 2025, virtual production continues to expand, with market growth projected to exceed $10 billion by 2032, yet stand-ins persist in physical and hybrid setups to support precise on-set adjustments. Industry standards have also advanced, with organizations like IATSE issuing safety bulletins that apply to stand-ins, mandating and hazard reporting to mitigate risks during setups. Similarly, AMPAS's Representation and Inclusion Standards, implemented in the late 2010s, encourage diversity in production and casting roles, aligning with broader Hollywood initiatives to improve ethnic and gender representation that gained momentum amid campaigns like #OscarsSoWhite.

References

  1. https://www.studiobinder.com/blog/what-is-a-stand-in-actor-definition/
  2. https://www.jstor.org/stable/j.ctt24hwpn
  3. https://www.backstage.com/magazine/article/pros-cons-perks-demands-stand-55945/
  4. https://www.sagaftra.org/sites/default/files/2025-07/Background%20Actors%20Rate%20Breakdown%20Sheet%20with%20formulas%20and%20Adjustments.pdf
  5. https://www.hollywoodreporter.com/movies/movie-news/jeff-bridges-sterling-k-brown-5-stars-introduce-stand-ins-1187882/
  6. https://www.centralcasting.com/spotlight/blog/what-is-a-stand-in/
  7. https://www.sagaftra.org/standing-stand-ins
  8. https://www.merriam-webster.com/thesaurus/stand-ins
  9. https://standincentral.com/2016/10/19/all-about-the-film-stand-in-1937-and-what-insights-it-provides-into-stand-in-work/
  10. https://www.oed.com/dictionary/stand-in_n
  11. https://greensdictofslang.com/entry/t5dnd2a
  12. https://www.oed.com/dictionary/stand_v
  13. https://www.etymonline.com/word/stand-in
  14. https://ladailymirror.com/2016/01/11/mary-mallory-hollywood-heights-stand-ins-honor-themselves-with-the-elmers/
  15. https://www.centralcasting.com/resources/articles/camera-blocking-basics-for-stand-ins/
  16. https://standincentral.com/2018/03/28/stand-in-101-standing-on-your-mark/
  17. https://www.thefilmlook.com/thefilmlook-video/technical-blocking-using-t-marks-tape
  18. https://www.dvinfo.net/forum/techniques-independent-production/491272-question-dps-setups-per-day.html
  19. https://www.sagaftra.org/sites/default/files/digest_background_actors_la_zones_8_4_0_4.pdf
  20. https://standincentral.com/2025/04/09/when-someone-who-is-not-a-sag-aftra-stand-in-is-standing-in-instead/
  21. https://www.studiobinder.com/blog/what-is-previs-previsualization-in-film/
  22. https://www.quora.com/How-long-are-you-on-set-for-when-working-on-a-film
  23. https://theatrecrafts.com/pages/home/topics/lighting/glossary-beginners/
  24. https://harthouse.ca/assets/images/uploads/files-upload/Job_Descriptions_and_Theatrical_Terms.pdf
  25. https://www.actorsequity.org/resources/contracts-and-codes
  26. https://www.facebook.com/StratfordFestival/posts/shining-a-light-on-light-walkerssimilar-to-stand-ins-on-movie-sets-light-walkers/1108340637991849/
  27. https://mnopera.org/light-walkers/
  28. https://dramatics.org/have-fun-and-make-a-living-in-regional-theatre/
  29. https://smnetwork.org/forum/students-and-novice-stage-managers/light-walkers/
  30. https://www.blue-room.org.uk/topic/63301-running-a-technical-rehearsal/
  31. https://www.fleischerstudios.com/mrotoscope.html
  32. https://borisfx.com/blog/what-is-rotoscoping-complete-guide/
  33. https://www.fleischerstudios.com/origins.html
  34. https://cinema.usc.edu/spectator/36.1/4_Yang.pdf
  35. https://www.waltdisney.org/sites/default/files/2018-08/WDFMMultiplaneEducatorGuide.pdf
  36. https://tralfaz.blogspot.com/2018/10/how-they-made-gulliver-travel.html
  37. https://www.adobe.com/uk/creativecloud/animation/discover/motion-capture.html
  38. https://www.motionanalysis.com/animation/from-live-models-to-motion-analysis-the-evolution-of-animation-and-motion-capture-technology/
  39. https://www.backstage.com/magazine/article/actors-nailed-motion-capture-performances-8857/
  40. https://www.media-division.com/the-making-of-avatar-some-juicy-details/
  41. https://vfxvoice.com/realistic-facial-animation-the-latest-tools-techniques-and-challenges/
  42. https://www.stytchastory.com/blog/involvement-of-ai-in-motion-capture--mocap
  43. https://gorevity.com/whats-the-difference-between-rotoscoping-and-motion-capture/
  44. https://www.stytchastory.com/blog/what-is-rotoscoping-and-how-it-is-different-from-mo-cap
  45. https://www.backstage.com/magazine/article/just-stand-around-second-team-players-stand-stars-46077/
  46. https://universalextras.co.uk/extras/extras-blog/extras-stand-ins-doubles-and-spacts-extras-roles-explained/
  47. https://www.torontofilmschool.ca/blog/acting/body-doubles/
  48. https://www.backstage.com/magazine/article/acting-roles-75755/
  49. https://www.backstage.com/magazine/article/swing-standby-understudy-need-know-28/
  50. https://www.backstage.com/magazine/article/theater-terms-every-actor-know-4975/
  51. https://www.stagemilk.com/film-set-etiquette/
  52. https://www.sagaftra.org/membership-benefits/steps-join
  53. https://www.sagaftra.org/contracts-industry-resources/contracts/2023-tvtheatrical-contracts
  54. https://standincentral.com/2025/07/02/stand-in-pay-as-of-july-1-2025/
  55. https://www.sagaftra.org/contracts-industry-resources/television/2025-network-television-code
  56. https://www.wrapbook.com/blog/set-safety
  57. https://www.filmd.co.uk/articles/https-www-filmd-co-uk-articles-film-production-safety/
  58. https://frombeneaththehollywoodsign.com/f/double-vision-hollywood-stars-and-their-stand-ins
  59. https://www.academia.edu/126594907/Hollywood_Unknowns_A_History_of_Extras_Bit_Players_and_Stand_Ins
  60. https://www.mentalfloss.com/entertainment/movies/caren-marsh-doll-wizard-of-oz
  61. https://www.dailymail.co.uk/news/article-13165477/judy-garland-dorothy-wizard-oz-stand-bobbie-koshay.html
  62. https://theconversation.com/explainer-film-lighting-30658
  63. https://standincentral.com/2017/02/08/award-stand-ins-elmer-awards/
  64. https://www.hollywoodsign.org/history/the-post-war-years
  65. https://theasc.com/articles/scale-and-spectacle
  66. https://www.dga.org/craft/dgaq/issues/1502-spring-2015/classics-i-love-lucy
  67. https://www.awn.com/vfxworld/little-history-previsualization
  68. https://www.finchley.co.uk/finchley-learning/the-history-of-green-screen-technology-in-film
  69. https://www.reddit.com/r/vfx/comments/k9ynh7/how_do_they_key_out_actors_wearing_green_suits/
  70. https://www.sagaftra.org/sites/default/files/2011-2014_aftranationalcode_of_fairpractice_for_networktelevisionbroadcasting_0.pdf
  71. https://www.latimes.com/archives/la-xpm-1992-03-02-ca-2342-story.html
  72. https://www.cnbc.com/2020/05/23/how-hollywood-movie-making-becomes-virtual-after-coronavirus.html
  73. https://www.magnopus.com/blog/the-rise-of-virtual-production
  74. https://www.fool.com/investing/2024/02/27/netflix-uses-global-production-to-dodge-strikes/
  75. https://www.sagaftra.org/casting-notice-netflix-production
  76. https://www.cgw.com/Press-Center/Web-Exclusives/2025/Virtual-production-VFX-trends-to-watch-out-for-i.aspx
  77. https://www.iatse728.org/safety-bulletins
  78. https://www.iatse.net/wp-content/uploads/2024/07/2024-IATSE-Area-Standards-Agreement-MOA-FINAL.pdf
  79. https://www.oscars.org/awards/representation-and-inclusion-standards
  80. https://variety.com/2016/tv/features/diversity-movies-tv-casting-directors-1201905037/
  81. https://iatse.net/take-action/dei/
Add your contribution
Related Hubs
Contribute something
User Avatar
No comments yet.