Dangerous or technically complex physical action on camera — jumps, fights, vehicle work. Always choreographed and executed with certified stunt coordinator.
You need an explosion, a fall from fifteen feet, or a motorcycle chase — this is where the stunt comes into play. It's not simply a "dangerous scene," but a calculated, biomechanically considered action performed by a trained double or specialized performer, executing a movement that would either be too risky for the lead actor or is technically so complex that only a professional can handle it safely. The difference from improvised action scenes: everything is planned, insured, and certified.
On set, it works like this: The stunt coordinator (or stunt supervisor) has already reviewed the script, assessed risks, and designed safety systems — harnesses, airbags, crash pads, water tanks. They will discuss camera angles and lighting with you as the DoP to make the illusion work: the audience should believe the lead actor is performing the jump, but in reality, it's the stunt double, perfectly matched in costume, hair, and lighting. The most critical stunts — body burns, car crashes, high falls — require several days of planning and rehearsals with the team before shooting begins.
Classic stunt categories include: High Falls (falls from great heights into airbags or water tanks), Pyrotechnic Stunts (controlled explosions, on-body fire effects), Vehicle Action (car rollovers, motorcycle transfers, braking maneuvers), Fight Choreography (appears brutal but is completely controlled through timing and sightlines), and Water Stunts (dives, current scenes). For every single-take action — especially with fire or height — the coordinator has an emergency plan, medical personnel are present, and sometimes you need three or four takes until the movement is visually perfect.
For the camera, this means: Your resolution must be high enough to avoid continuity errors between the double and the star. Close-ups make stunts vulnerable — often the lead actor is used for these, or the double only for wide shots. Steadicam or dolly moves during stunts require multiple takes to be safe and consistent. And remember: a real stunt costs time and money. Sometimes a good VFX stunt (digital enhancement of real base movements) is more efficient — the director decides this based on budget and the effects supervisor.