What should a shot list include?

A shot list includes a shot number, scene or board reference, shot type (WS, MS, CU), camera movement, lens or focal length, framing notes, who or what is in frame, action description, and any equipment or VFX notes.

Who writes the shot list?

The director writes the shot list, usually with the DP. On commercials and branded jobs the director will share it with the producer and 1st AD so it can be timed into the schedule.

Shot list vs storyboard, what is the difference?

A storyboard is a drawn frame for each shot. A shot list is a structured table of every shot with technical detail. They work together: boards communicate intent visually, the shot list drives scheduling and equipment.

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Guide

Shot List Template: Planning Coverage That Survives the Day

A working guide to what belongs on a shot list, how to structure it for the camera and AD teams, and the columns that make the difference between a plan and a wish list.

1. What a shot list is

A shot list is the director's plan for coverage, laid out as a structured table the camera, AD and producing teams can actually schedule against. It is more granular than a storyboard and more opinionated than a script: every row is a specific frame the director intends to capture.

2. The columns that matter

Most shot lists share a common set of columns:

Shot #: usually scene number plus a letter (12A, 12B).
Scene / board ref: where in the script or storyboard.
Shot type: WS, MS, MCU, CU, ECU, OTS, POV, insert.
Movement: static, pan, tilt, dolly, track, crane, handheld, gimbal.
Lens: focal length or zoom range.
Subject / action: who is in frame and what they do.
Notes: VFX markers, lighting cue, talent direction.
Priority: must-have vs nice-to-have (see section 6).

3. Shot types and framing

Use consistent abbreviations across the whole list. Mixing "MCU" and "Medium Close-Up" in the same document slows the camera team. A common set:

WS: Wide Shot, establishes geography.
MS: Mid Shot, waist up.
MCU: Medium Close-Up, chest up.
CU: Close-Up, head and shoulders.
ECU: Extreme Close-Up, eyes or detail.
OTS: Over the Shoulder.
POV: Point of View.

4. Camera movement

Be specific. "Dolly in" is fine; "dolly in to MCU on hands at the end of the line" is better. The grip team builds rigs from these notes, so vague movement language directly costs time.

5. Lens and camera notes

List the intended focal length (e.g. 35mm prime, 24-70 zoom at 50mm) and any frame rate change (e.g. 96fps for the slow-mo insert). For multi-camera setups, mark which body covers which frame (A-cam, B-cam) so the camera team can build the load list.

6. Priority and coverage

Every shot list is too long. Flag each row as must-have, should-have or nice-to-have. When the schedule slips, the 1st AD and director cut from the bottom of the priority list, not from memory. On commercials, mark which shots the agency has explicitly approved.

7. Workflow with the AD

Once the shot list stabilises, the 1st AD or PM times each shot and groups them into the shooting schedule. Lock the shot list before circulating the schedule and call sheet, then version any subsequent changes (v2, v3) so crew know which list is live.

8. Common mistakes

No priority column. Without it, every cut feels personal.
Mixing shot-type shorthand. Pick a convention and stick to it.
Vague movement. "Camera moves" is not a plan.
Out of shooting order. Hand the camera team a list grouped by setup, not by scene number.
Stale versions. An outdated PDF on set causes missed shots; version every release.

Build shot lists in Production Deck

Production Deck builds shot lists alongside your shooting schedule, with priority flags, lens notes and a single source of truth for the camera and AD teams.

Try Production Deck