The columns of a shooting schedule
| Column | What to write |
|---|---|
| Shooting day | Day number and date |
| Scene | Scene number |
| Set and location | The set in the story and the real address |
| Int / Ext, Day / Night | The four combinations drive lighting and hours |
| Pages | Length of the scene in eighths of a page, or estimated minutes for unscripted work |
| Description | One line |
| Cast | Performers needed, by number or name |
| Extras, vehicles, special gear | Anything that must be booked |
| Notes | Company moves, sunset-dependent scenes, minors' hours |
Grouping rules, in order
- Location first. Finish everything at one address before moving the company.
- Then cast. Group a performer's scenes to reduce their number of days.
- Then day or night. Avoid switching between day and night shoots without rest in between.
- Exteriors early. Shoot weather-dependent scenes first and keep an interior as cover.
- Hard scenes in the middle. Not on day one when the crew is new, not on the last day when there is no margin.
Keeping versions under control
Date every version and note what changed. Many productions print revisions on colored paper in a fixed order so that anyone can tell at a glance which one is current. Whatever your method, one person owns the schedule and one place holds the current version.
From schedule to calendar
Once the schedule is set, its shoot days go into CrewDesk's calendar, linked to the production. Other productions of the company appear on the same calendar, so a camera or a crew member booked twice is caught early. For the method behind the document, read our guide on how to make a production schedule.