Template
Shot List Template
Every column that belongs on a shot list, what each one tells the crew, and how to order coverage so the day actually works. Copy the structure, or build and track it in ScenePaper.
What is a shot list?
A shot list is an ordered breakdown of every camera setup required for a scene. Each entry specifies the shot size, camera angle, movement, lens and the action covered. Built by the director and cinematographer during prep, it is used on set to track which setups have been captured and which are still owed.
The template, field by field
Core columns
| Field | What it's for | Required |
|---|---|---|
| Shot number | Scene number plus a letter — 14A, 14B, 14C. Keeps ordering unambiguous on the day. | Required |
| Scene | Which scene the shot belongs to, linking back to the breakdown. | Required |
| Shot size | Wide, medium, close-up, extreme close-up, insert, two-shot, establishing. | Required |
| Angle | Eye level, high, low, over-the-shoulder, POV, Dutch, overhead. | Required |
| Movement | Static, pan, tilt, dolly, track, handheld, crane, gimbal, zoom. | Required |
| Subject / action | What the camera is on and what happens in the shot. | Required |
| Lens | Focal length. Determines both look and how much space the setup needs. | Optional |
| Frame rate | Where it differs from the project standard — slow motion, undercranking. | Optional |
| Equipment | Anything beyond standard build — slider, crane, drone, steadicam, macro. | Optional |
| Estimated setup time | Helps the 1st AD judge whether the day's coverage is achievable. | Optional |
| Captured | Ticked on the day. The remaining count is the number everyone asks for. | Required |
| Notes | Continuity, VFX markers, safety, or a reference frame. | Optional |
Common shot sizes
| Field | What it's for | Required |
|---|---|---|
| Extreme wide (EWS) | Subject small in frame. Establishes geography and scale. | Optional |
| Wide (WS) | Full body with surroundings. The master shot for most scenes. | Optional |
| Medium (MS) | Roughly waist up. The workhorse of dialogue coverage. | Optional |
| Medium close-up (MCU) | Chest up. Standard interview and dialogue framing. | Optional |
| Close-up (CU) | Face fills the frame. Emotional beats. | Optional |
| Extreme close-up (ECU) | A detail — eyes, hands, an object. Emphasis and tension. | Optional |
| Over-the-shoulder (OTS) | Framed past one character onto another. The backbone of dialogue. | Optional |
| Insert | A detail shot, usually of an object, cut in for clarity or emphasis. | Optional |
How to make a shot list
- 1
Break the scene into beats
Work out where the emotional or narrative turns happen. Coverage exists to serve those turns, not to fill a quota of angles.
- 2
Decide the master
Establish the wide that holds the geography. Almost everything else is defined relative to it.
- 3
Add coverage for each beat
Singles, over-the-shoulders and inserts that let the scene be cut. Ask what the edit needs, not what would look good in isolation.
- 4
Specify the technical detail
Size, angle, movement, lens. Vague entries like 'CU of him' cause debate on the day, which is the most expensive place to have one.
- 5
Order by setup, not by story
Group shots that share a camera position and lighting setup. Shooting in story order means relighting constantly.
- 6
Estimate and sanity-check
Add rough setup times and total them. If the day needs 24 setups and you average 12, the list is fiction.
- 7
Track it on the day
Tick shots as they are captured so the remaining count is visible to the director, the AD and the producer at the same time.
Hard-won tips
- Order by setup, not by story order. Every relight you avoid is time back.
- Always get the master before the coverage. If the day collapses, a master cuts; orphaned close-ups do not.
- Mark which shots are essential and which are nice to have. When you lose an hour you want that decision already made.
- Attach a storyboard frame to any shot whose intent is not obvious from the description.
- Flag VFX shots on the list so plates get shot correctly the first time.
FAQ
Frequently Asked Questions
- What is the difference between a shot list and a storyboard?
- A storyboard is a visual sequence of drawings showing how shots will look. A shot list is a written, ordered breakdown of every setup with technical detail like lens and movement. Storyboards explore intent; shot lists get scheduled and tracked on set. Most productions use both.
- Who creates the shot list?
- Usually the director with the cinematographer during prep. The 1st AD then uses it to judge how many setups a day can realistically hold.
- How detailed should a shot list be?
- Detailed enough that the crew does not have to ask what you meant. Size, angle, movement and subject at minimum; lens and equipment where they matter.
- What order should shots be listed in?
- Shooting order, grouped by camera setup and lighting — not story order. Relighting for narrative sequence wastes hours per day.
- What are the standard shot sizes?
- Extreme wide, wide, medium, medium close-up, close-up, extreme close-up, plus over-the-shoulder and insert as framing conventions.
- Do I need a shot list for a small shoot?
- Yes, and arguably more — a small crew has less capacity to improvise coverage. The list can be short, but writing it forces the decisions before the clock is running.
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