Information for Talent
Important Information for all Talent
BEGINNERS - Background Extras
No Experience Necessary
See Yourself on the Big Screen, Have Fun & Make $$$
Background Extras a really important part of any Feature Film, TV Series or TV Commercial. This is when a scene really comes to life and look more realistic. As you could imagine a scene in an airport or at a football game. It would not look realistic without all the extras in the Background.
Different productions require different looks, sizes and ethnicities. For example, when casting for Wentworth TV Series we needed ladies who could look rough that could pass as a Female Prisoner. In the picture above you can see some of the background extras for Picnic at Hanging Rock, where female extras needed to have natural coloured hair and gentleman needed slightly longer hair with no modern haircuts.
Sometimes we are requested a natural look, or a bikie or punk look. It could be a scene that requires Kids, Mums, Dads, Aunts, Uncles and Grandparents. There are roles that come through for all different ages, sizes and looks.
ALL AGES – From Newborns to up to 100 years of age.
A
LL SHAPES AND SIZES – From Skinny Minnies to Lumps, Bumps, Warts & All
ALL ETHNICITIES – From Caucasians, African American, Asian, Middle Eastern, Maori, Indigenous and more
NO EXPERIENCE IS REQUIRED to become involved, so if you’ve ever dreamed of being a part of this exciting industry, here’s your chance.
INTERMEDIATE - Experienced Extras, Feature & Bit Part Roles
Experienced extras with no formal acting OR Actors just starting out with Formal Acting Training
Featured Role
A Featured Extra is someone who is still considered a background performer, but is potentially recognizable in the final product.
They are recorded but they are NOT speaking, NOT featured in individual shots, and NOT interacting with product being shown (unless specifically stated).
Bit-Part Role
In acting, a bit part is a small role in which there is direct interaction with the principal Actor and/or cast.
You are also given direction from the Director with no more than 50 words
ADVANCED - Hero, Support, Bit-Part Roles
Formal Actor Training Required
Supporting Role
The supporting role is the actor that performs a role that is either below or supporting the hero role
This role is just as important as the Hero role.
In recognition of important nature of this work, the film industries give separate awards to the best supporting actors.
Hero Role
Hero Role is the term used for the main character / role
The term hero comes from the Greek 'hḗrōs', which basically referred to a demigod in Greek mythology and folklore. ... An actor will usually be called upon to play such a hero in some production or another.
Principal Role
Principal Role means a performer with lines.
This means that is could be an everyday person with no training OR an Actor with training who will be performing a role with lines
Recurring
Recurring actors appear in multiple episodes, either over the course of a season or the entire series. Sometimes these actors are under contract for a specified amount of time or are brought on as the story demands. On Orange is the New Black, Laverne Cox’s character Sophia has been heavily featured as a recurring character appearing in 36 of 91 episodes.
Series regular
A series regular is part of the main cast and is contracted to work on a show for a period of time, often for multiple years even if the show has not been picked up for that many seasons. Actors may be credited as series regulars even if they don’t work on every episode. For example, Mandy Moore has not been in every episode of This is Us, but she is still credited as a series regular. The opposite is also true. Even if an actor appears in most episodes of a season or if they are part of the main storyline, it doesn’t necessarily mean they are series regulars.
Co-star/day player
Co-stars and day players play characters with a limited number of lines allowed and are typically only in one or two scenes. The term co-star is used more often when describing the screen credit while day player is more commonly heard when referring to the type of contract or role. Some examples of day players are a person being interviewed at a crime scene on Blue Bloods, a customer asking for help on Superstore, or a bartender giving advice to Liza on Younger. Sometimes actors will refer to each other as “co-stars.” In this context, they mean “co-worker” instead of a day player who appears on a show.
Cameo
A cameo is when a well-known actor or celebrity briefly appears in a scene. Depending on the reason for the appearance, the actor may or may not have a line. Cameos are used for many reasons, from creating a fun moment to honoring creators like Stan Lee in the Marvel Cinematic Universe. Knowing the types of acting roles and who does what on set helps you be successful the next time you’re booked as a Background Actor, Stand-In, or double on a TV show.
Guest star
Guest stars are actors who appear in one episode (sometimes more) whose characters are often in multiple scenes and play a significant role in the story. If the role is particularly meaningful, a show may cast a well-known actor as a guest star, like Sterling K. Brown appearing in an episode of Brooklyn Nine-Nine.
MEAA Industry Rates
Payment varies dependent on the assignment and on your role:
MEDIA ENTERTAINMENT AND ARTS (MEAA) Equity Minimums 2021
TV COMMERCIALS
Extra Rates start at $37.78 per hour, minimum 6 hour call.
Featured Extras rates are approx 40% more Loadings can add an additional 25 – 50% more.
Featured, Bit-part, Supporting and Hero roles depend on the Usage Fees.
This can be anywhere from $1,500 to up to $110,000
Rates for TV Commercials are always listed on the availability checks and booking emails.
All DMC Extra, Featured and Bit-Part Roles have expected Overtime, with a total of up to 14 hours on set, unless stated otherwise.
Please ensure that when you accept a booking to allow for the entire day and evening with no restrictions
FEATURE FILMS
WEEKLY
Performer Class 2 - $1,176.44
Performer Class 1 - $1,086.51
Weekly Double/ Stand-in - $946.88
DAILY
Performer Class 2 - $329.41
Performer Class 1 - $304.21
Double/ Stand-in - $215.88
Extra - $225.82
HOURLY
Bit player (2 lines) - $45.62
Extra - $33.89 min 4 hours
All Full Time Extras, Stand In, Body Double, Picture Doubles are usually on a 50 hour week unless stated otherwise.
All roles have expected Overtime, with a total of up to 14 hours on set, unless stated otherwise.
Please ensure that when you accept a booking to allow for the entire day and evening with no restrictions
TV SERIES
WEEKLY
Performer Class 2 - $1,112.10
Performer Class 1 - $1,027.08
Weekly Bit Player - $999.87
Weekly Double - $946.88
DAILY
Performer Class 2 - $266.91
Performer Class 1 - $246.50
Bit Player (6 lines) - $263.30
Double - $225.81
Extra/Standin - $225.82
HOURLY (min 4 hour call)
Bit Player - $32.90
Double - $30.87
Extra / Standin - $30.86 min 4 hours
All DMC Extra, Featured and Bit-Part Roles have expected Overtime, with a total of up to 14 hours on set, unless stated otherwise
Please ensure that when you accept a booking to allow for the entire day and evening with no restrictions
ADDITIONAL
TV & Film Standard Wardrobe Fittings are $109.99, or $75 per hour
(You get paid to play dress up!)
Overtime, Cancellation Fees and Reschedule Allowances are also paid
Holiday Pay is also paid out on all Feature Films and TV
Residuals are also paid if a production is successful and shown overseas or ends up reaching a certain box office target.
HOURS REQUIRED ON SET
HOURS REQUIRED ON SET
Generally when you are booked, you are given how many hours you are called for on set.
For example you could be given an 8 hour call or a 8+ hour call. However there is always expected overtime on set.
GENERAL EXTRAS
There is always expected overtime on Extra Roles. Always allow for up to a 14 hour day.
For late time finishes, Production usually let us know if you are required till late in cause you have to catch public transport home.
ACTORS, BIT PARTS CAST STAND IN, PICTURE DOUBLES
There is always expected overtime on Actor, Bit Parts, Cast Stand in, Picture Doubles and featured. Again always allow up to a 14 hour day. Hopefully you are only required for the hour call you are booked for. But always be prepared. Full Time Stand-ins are generally booked as a 10 hour day. But always expect overtime for up to usually a 14 hour day
FULL REPRESENTATION & MANAGEMENT
FULL REPRESENTATION & MANAGEMENT
INCLUDES;
* Submissions for background extras for all roles that you fit the criteria for Feature Films, TV Series TV Commercials, Print & Billboard Campaigns
* Casting Software for Background Extras, Featured, Bit Part, Supporting, Hero and Principal Roles for Feature Films & TV Series
* 2nd Casting Software for Background Extras, Featured, Bit Part, Supporting, Hero and Principal Roles for TV Commercials, Print & Billboard Campaigns
Services which relate to the management of your career and career development in regard to the Activities, including:
• Advice in any matters relating to publicity and public relations, and the general practices of the entertainment industries;
• Advice in regard to the proper formats for presenting yourself to third parties, including potential clients, sponsors and contracting parties;
• Training and development videos;
• Training advice, such as courses, workshops etc;
• Editing of artist’s photos, where needed;
• Uploading self-tape auditions;
• Development advice; and
• Any other management services we may offer to you from time to time.
** Masterclass Management Program **
DMC offers their talent to be part of their Masterclass Management program
There is no cost involved with this as this is part of your management services
This includes monthly zoom meetings of regular advice and training
PROFESSIONAL PHOTOS
PROFESSIONAL PHOTOS
DMC highly recommend to include professional casting photos on your profile.
Professional Casting Photos are very different to your acting headshots and are a requirement to be booked for the International production houses and larger paying roles.
** Please note, you do not need to have these photos to have a profile with DMC Talent, however we do highly recommend them, as some Casting Directors do require them for the larger and higher paying roles.
These include your head & shoulder photos, 3/4 photos, full length photos, Cast Stand-in, Picture Double and Body Double photos.
Shop around as most photographers charge around $550 to $1500 for these photos, and majority of the time, they dont fit the criteria's.
DMC have a great special on the moment
Regular Price $550
SPECIALS
Adults - Only $295
Students - Only $199
** Must have a valid USI Number
15 yrs & Under - Only $195
Seniors over 70 yrs - Only $199
Cast Stand-in, Picture and/or Body Doubles Roles
Majority of Cast Stand-in, Picture and/or Body Double Roles can be easily trained on the job. Usually after the 2nd day most talent have gotten the hang of it.
These roles can be a one off day, or can be a full-time role for the entire length of the filming of the production. Generally Cast Stand-in are paid as a full-time 50 hour week, with expected overtime of up to 14 hour days. So please ensure to only go for these roles if you have the flexible time to accommodate for these long hours and overtime.
Otherwise DMC Talent do run short workshops throughout the year for talent who are interested in being cast in one of these roles
Here is a great breakdown of the different type of roles, whats required, an example of routine day and the onset terminology.
Stand-in
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.
Body Double
A body double is a person who substitutes in a scene for another actor such that the person's face is not shown.
Picture or Photo Double
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.
WHAT DOES THIS MEAN ?
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:
* Step in immediately to set when production calls “Second team!”
* Carefully study your principal actor’s blocking in marking rehearsal
* Stand still on the principal actor’s marks
* Accurately perform the blocking of the principal actor during setup/camera rehearsal
* Watch the monitors for changes in the blocking when shooting
* Listen for “Checking the gate!” to know when to be close to set again
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.
The Do's and Dont's of Doubling
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.
IMPORTANT
* 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.
SUBMITTING YOUR SIZES
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.
SUBMITTING YOUR PHOTOS
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.
SUBMITTING FOR SPECIAL SITUATIONS
YDON’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.
PREPARING FOR PHOTO-DOUBLING WORK
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.
WHAT TO TAKE WITH YOU
Stand-ins, Body and Picture Doubles do not require a lot of gear, though there are a few items you should bring with you.
* A face mask (in consideration of the coronavirus pandemic)
* A pen
* A breath freshener
* For women: Heels and flats
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.
* Removable layers for working in cool studios
* Layers, gloves, hand warmers, toe warmers, a hat, etc., for working in cold weather
* Lightweight, breathable clothing for working in warm weather
* Sunscreen, bug spray, and other skin protection for working outdoors
* Rain gear, an umbrella, rain boots, etc., for working in wet weather
Generally speaking, when choosing what to wear, avoid loud shoes, distracting clothing, and finely patterned clothing that may strobe on camera.
Routine Example
Here is a example of your day
ARRIVING ON SET
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.
WATCH THE REHEARSAL
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.
First team steps off, you immediately step in
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.
SECOND TEAM REHEARSAL
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.
1st AD says THANK YOU, SECOND TEAM
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!“
CUT, CHECKING THE GATE
When you hear “Checking the gate!,” it’s time to get back to set. (Depending on the production, you might also hear “Check that!” or “Checking the chip!“) If the gate is good, there may be a new setup or a rehearsal for a whole new scene. But if there appears to be a problem in the gate, they may do another take.
LUNCH
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.
YOU'RE WRAPPED
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.
ONSET TERMINOLOGY
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