The columns of a shot list
| Column | What to write | Example |
|---|---|---|
| Scene | Scene number from the script or the storyboard | 4 |
| Shot | Letter or number of the setup within the scene | 4B |
| Size | Wide, medium, close-up, extreme close-up, insert | Medium |
| Angle | Eye level, high, low, over the shoulder | Over the shoulder |
| Movement | Static, pan, tilt, dolly, handheld, gimbal, drone | Slow push-in |
| Lens | Focal length if it matters to the look | 50 mm |
| Description | What happens in the shot, in one line | Maya reads the letter |
| Cast | Who is in frame | Maya |
| Gear | Anything beyond the standard package | Slider |
| Estimate | Minutes planned for the setup | 25 min |
| Done | Ticked on the day |
Order the list by setup, not by story
Write the list in story order first, so nothing is forgotten. Then reorder it for the shoot: group the shots that look in the same direction with the same lighting, start with the widest shot, and keep the shots that need a special tool together so it is rigged once.
Add the estimates and total them. If the day adds up to fourteen hours, decide now which shots can be merged or dropped, not at four in the afternoon.
Common mistakes
- No estimates. A list without minutes is a wish list, not a plan.
- B-roll left for the end. It is the first thing cut when the day runs late. Give it its own lines.
- One list per person. The director, the first AD and the script supervisor must tick the same list.
Tracking the list during the shoot
In CrewDesk a shot list can be attached to the project as a document, or entered as tasks for the shoot day. As setups are completed, the producer sees from the office what is done and what is at risk, without calling the set.