What Is a Studio Backlot? Definition, Film Use, and Set Examples

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Published: December 4, 2025 | Last Updated: December 10, 2025

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How a Studio Backlot Works

Studio backlots are designed to mimic real-world spaces while giving you full control over lighting setups, sound, traffic, and shoot timing. They include exterior shells or complete buildings and streets, all built to create the illusion of a specific location.

Here’s creative director John Murdy taking you on a tour through the Universal Studios Backlot in Hollywood, which has been used in tons of Blockbuster movies you probably recognize.

Many structures are just façades (missing back walls or complete interiors), while others are fully constructed. Streets are wide enough for camera setups, grip equipment, and even car chases.

Crews ‘dress’ the set by adding props like trash cans, mailboxes, street signs, parked cars, and storefronts, small details that make a fake environment feel lived in and believable on screen.

Here’s a guide to finding inexpensive props for your film.

Main Uses and Advantages

Backlots offer key advantages for both low-budget and studio productions. Their flexibility makes them useful across genres and eras.

  • Controlled environment: You can manage lighting, sound, and weather without interruption. No need for permits or public street closures, and fewer delays from outside variables.
  • Cost and scheduling efficiency: Backlots cut travel, reduce location fees, and let you shoot multiple scenes in one place, saving money on travel, overtime, and daily setup time.
  • Creative flexibility: You can redress the same set to look completely different. For example, the same building might be a 1940s diner in one scene, then a modern bookstore the next day, without rebuilding anything.
  • Realistic performance space: Unlike green screen or digital sets, backlots give actors real doors, stairs, props, and lighting to interact with. This helps them move naturally and react more believably, especially in scenes with complex blocking or action.

Types of Backlots and Famous Examples

Here’s a tour of the Warner Bros Studio Backlot.

Most major studios divide their backlots into distinct zones. These areas are reused constantly and appear in hundreds of shows and films. Here are common types of backlots and how they’ve been used on screen:

  • Urban streets and city blocks: Designed to look like dense areas in New York or Chicago. Back to the Future (1985, Universal) used Universal’s city set for Hill Valley’s town square.
  • Small towns and main streets: Courthouses, barbershops, and diners arranged around a central square. These were used in Pleasantville (1998, New Line) and Gilmore Girls (2000–2007, Warner Bros).
  • Western towns: Wooden storefronts, dirt roads, saloons, and stables. These backlots appeared in classic TV Westerns like Bonanza and modern films like Django Unchained (2012, The Weinstein Company). See also my article on movies shot in Andalusia, Spain.
  • Suburban streets: Rows of houses with porches, lawns, and garages. Wisteria Lane in Desperate Housewives (2004–2012, ABC) was filmed entirely on the Colonial Street backlot at Universal.
  • European villages or historical districts: Cobblestone alleys, gothic stonework, or war-torn facades. These often appear in war dramas or period films (like WWII-set scenes or 1800s European towns), where the real locations are either inaccessible or no longer exist.

Backlots Compared to Other Production Methods

Backlots are just one option when planning exterior scenes. Here’s how they differ from shooting on soundstages or real locations:

Backlot vs soundstage: A soundstage is a fully enclosed indoor environment. It’s better for interiors or scenes requiring precise sound and lighting. Backlots give you natural daylight and streets large enough for wide shots, vehicle scenes, or tracking camera moves that wouldn’t fit indoors.

Backlot vs location shooting: Shooting on real streets gives visual authenticity. Real locations offer specific textures (like cracked pavement, aging architecture, or natural shadows) that are hard to fake. But location shoots also add risks: permits, traffic, crowd control, and unpredictable lighting. Backlots strike a balance by simulating realism with greater control and faster setups.

The Decline and Evolution of Backlots

Backlots once covered massive areas on studio properties, especially during the Golden Age of Hollywood. But as real estate prices rose and more directors began favoring handheld cameras, gritty realism, or international locations, many backlots were sold, downsized, or demolished.

Today, digital production tools let you recreate backgrounds with green screen, LED volumes, or full CGI. For example, The Mandalorian (2019–, Disney) used LED volumes instead of real sets to create alien landscapes and futuristic cities.

Still, backlots haven’t disappeared. They’re often used in TV shows, commercials, and films that need fast turnarounds and practical settings. Directors who want natural lighting or physical interaction continue to rely on them.

Summing Up

Studio backlots give you practical outdoor sets that simulate real locations while keeping production fast, local, and under control. You can redress and reuse the same spaces for completely different films. Even in the age of CGI and virtual production, backlots are still widely used, especially in TV dramas, commercial shoots, and shows that need natural light and quick resets between scenes.

Read Next: How do you design the look of a film?


Visit our Production Design section to learn how sets, props, and color palettes support story, character, and tone from the start.


Want the full picture? Explore the Pre-Production archive for everything that happens before cameras roll—from visual planning to script breakdowns.

By Jan Sørup

Jan Sørup is an indie filmmaker, videographer, and photographer from Denmark. He owns FilmDaft.com and the Danish company Apertura, which produces video content for big companies in Denmark and Scandinavia. Jan has a background in music, has drawn webcomics, and is a former lecturer at the University of Copenhagen.