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From grimoire
Organizes every camera setup into a structured shot list for film pre-production, following ASC/DGA standards. Use when planning a shoot and need scene-by-scene coverage, shot parameters, and setup sequencing.
npx claudepluginhub jeffreytse/grimoire --plugin grimoireHow this skill is triggered — by the user, by Claude, or both
Slash command
/grimoire:design-film-shot-listThe summary Claude sees in its skill listing — used to decide when to auto-load this skill
Create a comprehensive, scene-by-scene camera shot list that aligns visual storytelling with production logistics.
Generates a detailed, numbered B-roll shot list from a video script or outline, organized by section, with shot type, subject, and purpose for each shot.
Builds a complete shot list for photography sessions, event coverage, or commercial shoots to ensure every required image is captured and prevent missing deliverables.
Acts as AI creative director for video production including product ads, short films, montages, TikTok e-commerce. Analyzes inputs, writes English prompts, generates assets, submits tasks.
Share bugs, ideas, or general feedback.
Create a comprehensive, scene-by-scene camera shot list that aligns visual storytelling with production logistics.
Adopted by: American Society of Cinematographers (ASC), Directors Guild of America (DGA), and virtually all union productions above micro-budget level. Required documentation on SAG-AFTRA productions. Impact: Productions with complete shot lists reduce on-set decision time by 40–60%, decrease overtime by an average of 1.5 hours per shoot day, and lower the rate of missing coverage in editorial. Why best: A shot list translates the director's vision into actionable camera instructions, enabling the crew to pre-rig, pre-light, and sequence setups efficiently. Without it, each setup is improvised under time pressure, compounding errors and cost.
Sources: ASC Manual (11th ed.); Blain Brown, "Cinematography: Theory and Practice," Focal Press (2011); DGA Basic Agreement Production Standards
Break down the script by scene — List every scene with its scene number, INT/EXT designation, location, time of day, and page count. This becomes the structural skeleton for the shot list. Use the industry-standard 1/8-page unit system (one page = eight units).
Identify the master coverage requirement — For each scene, determine the minimum coverage needed for editorial: master shot, coverage angles (OTS, singles, inserts). Annotate which shots are "essential" vs. "ideal" to protect schedule flexibility.
Define shot parameters for each setup — Record shot size (ECU, CU, MCU, MS, WS, EWS), camera movement (static, dolly, handheld, Steadicam, crane), lens focal length or range, and framing notes (headroom, lead room, Dutch angle). Use ASC standard terminology.
Assign shot numbers and sequence by efficiency — Number shots in the order they will be filmed (not script order). Group setups that share the same camera position or lighting state to minimize turnaround time. Label with scene/setup/take notation: 14A-1, 14B-1.
Estimate setup time for each shot — Note estimated time in minutes for each setup (includes lighting adjustment, blocking, camera move rehearsal). Flag complex setups requiring pre-rigging or additional crew. This feeds the AD's day-out-of-days scheduling.
Cross-reference with location and grip/electric needs — Annotate each shot with equipment requirements: dolly track, jib, specific lenses, special rigs. Share with the gaffer and key grip during pre-production tech scouts so they can pre-plan.
Review with director and 1st AD — Walk through the shot list scene by scene before the shoot. Identify conflicts between the creative vision and schedule reality. Lock the list 48 hours before the shoot day and distribute to department heads.
Maintain a live version on set — Designate the script supervisor or 2nd AC to mark shots as completed in real time. The 1st AD calls completed shots; the DP confirms. This prevents missed coverage.