Glossary

Shot List.Your Shooting Day, Organized.

Definition

A shot list is a detailed document that catalogs every camera setup needed to shoot a scene, including shot number, description, shot type, camera angle, lens, movement, and any special requirements. It translates the creative vision of a storyboard into an actionable production plan that the assistant director uses to schedule the shooting day. A thorough shot list prevents wasted time on set by ensuring no coverage is missed and priorities are clear. M Studio's storyboard frames can serve as the visual foundation for building your shot list, with each frame representing a planned camera setup.

What Goes Into a Shot List

Shot Number & Scene Reference

Each shot gets a unique identifier (Scene 4, Shot 3A) that connects it to the script and storyboard. This becomes the shared language across all departments on set.

Shot Type & Camera Angle

Specifies the framing (wide, medium, close-up) and vertical angle (eye level, low, high). Together these define the basic visual character of the shot.

Camera Movement

Any dollying, tracking, panning, tilting, crane movement, or handheld work. Camera movement requires additional equipment and time, so flagging it in the shot list helps with scheduling and budgeting.

Lens & Technical Notes

Focal length, special filters, aspect ratio considerations, or equipment requirements. The DP and camera department use this information to prepare the right gear for each setup.

Priority Level

Marking shots as essential, important, or nice-to-have lets the AD make informed decisions when time runs short. Every shooting day has a minimum viable shot count that must be achieved.

From Storyboard to Shot List

The shot list is the bridge between the storyboard's creative vision and the shooting schedule's logistical reality. While a storyboard shows what each shot should look like, the shot list adds the practical information needed to execute it: what equipment, how much time, what sequence to shoot in.

Experienced directors and ADs build shot lists by working through the storyboard scene by scene, grouping shots by camera position (to minimize setup changes), lighting requirements (to shoot all similar-lit shots together), and actor availability.

The process often reveals that a 12-shot storyboard sequence can be captured with 6 camera setups by combining coverage. This kind of efficiency only becomes apparent when the shot list forces detailed practical planning.

Managing the Shot List On Set

On set, the AD tracks progress against the shot list, checking off completed setups and adjusting the schedule in real time. When a scene runs over schedule, the shot list's priority markings guide which shots to cut or simplify.

The script supervisor also uses the shot list to track coverage, ensuring that every scene has sufficient footage for the editor to work with. Missing a critical reverse angle or cutaway can create problems that are expensive or impossible to fix in post.

FAQ

Common questions about shot list

What is the difference between a shot list and a storyboard?

A storyboard is a visual representation of each shot, showing composition and framing. A shot list is a text-based document that catalogs technical details for each camera setup: shot type, angle, movement, lens, and scheduling information. They are complementary tools; the storyboard shows the creative intent, and the shot list provides the execution plan.

How detailed should a shot list be?

Detailed enough that any competent AD could schedule the shooting day from it, but not so detailed that it takes longer to write than the shoot itself. Include shot type, angle, movement, key action, and priority. You can add lens choices and specific equipment needs if that information will change the schedule or budget.

Should I create the shot list before or after storyboarding?

Storyboard first, then create the shot list from the boards. Storyboarding is a creative process where you explore visual ideas. The shot list is a logistical document that translates those creative decisions into a production plan. Working in this order prevents logistical thinking from limiting creative exploration.

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