design-film-shot-list

Design Film Shot List

Create a comprehensive, scene-by-scene camera shot list that aligns visual storytelling with production logistics.

Why This Is Best Practice

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

Steps

1. 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).

2. 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.

3. 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.

4. 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.

5. 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.

6. 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.

7. 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.

8. 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.

Rules

• Every shot must have a unique identifier — never use duplicate shot numbers within a scene.
• Shot size and movement must be defined before the shoot day; do not leave these as on-set decisions unless a shot is explicitly marked "coverage TBD."
• Group setups by lighting state first, then by camera angle — lighting is the longest reset; camera repositioning is fast.
• Never remove a shot from the locked list without director and 1st AD sign-off; mark it "omitted" with a reason instead of deleting.
• Insert coverage must be listed separately from principal coverage; inserts are often second-unit or pickup work.

Common Mistakes

• Writing shot lists in script order instead of production order — This forces inefficient lighting resets and camera repositions, adding hours to the shoot day.
• Omitting lens focal length — Without focal length noted, the camera department cannot pre-pull focus marks or verify the visual language matches the storyboard.
• No time estimates per setup — The shot list becomes a wish list rather than a production plan; the 1st AD cannot build a realistic schedule without setup time data.
• Not distributing to grip and electric before the shoot — Department heads arrive on set without pre-planned rigging, causing improvised solutions that cost time and money.

When NOT to Use

• Documentary or run-and-gun shoots where the subject dictates camera placement in real time — use a coverage checklist instead.
• Improvised or devised theatre-to-film projects where blocking is not fixed before the shoot.
• Second-unit action units operating under stunt coordinator direction with their own camera plan.