Free Shot List Template

What Is a Shot List?

A shot list is a pre-production document that itemizes every planned shot in a film, video, or photo shoot before production begins. Each line represents one shot, described by its scene number, shot type (wide, medium, close-up), camera angle, lens choice, any camera movement, a brief description of what is in frame, and special notes for the crew.

The shot list is created by the director, director of photography (DP), or both together during pre-production. On set, it serves as the crew's shared checklist: the AD (assistant director) uses it to track progress against the schedule, the DP uses it to plan lighting setups and lens choices in advance, and the camera operator uses it to know exactly what framing is expected for each take. After the shoot, the editor references the shot list to confirm all necessary footage was captured.

• Pre-production planning: maps the entire shoot before a single frame is captured
• On-set checklist: the AD marks off each shot as it wraps to track schedule progress
• DP prep: allows the cinematographer to plan lighting setups, lens choices, and equipment needs in advance
• Continuity reference: ensures wide, medium, and close-up coverage exists for every scene
• Editor reference: confirms which shots exist and how they were intended to cut together

What to Include in a Shot List Template

A complete shot list template has eight columns. Not all productions need every column, but omitting scene number, shot type, and description makes the list too vague to use on set. The notes column carries context that does not fit the structured fields: lighting conditions, wardrobe continuity flags, performance direction, or visual effects tags.

Lens choice is often left off beginner shot lists but matters significantly for the DP. Knowing that shot 4 is an 85mm close-up versus a 50mm allows the camera team to prepare the right glass before the setup rather than switching mid-scene and losing time.

• Shot number: sequential numbering for the entire shoot day or per scene
• Scene number: corresponding screenplay scene, matching the script breakdown
• Shot type: EWS, WS, MS, MCU, CU, ECU, OTS, POV, two-shot, insert, cutaway
• Camera angle: eye level, low angle, high angle, dutch (canted), bird's eye, worm's eye
• Lens: focal length (24mm, 50mm, 85mm) or descriptive range (wide, standard, telephoto)
• Camera movement: static, pan, tilt, dolly, track, handheld, steadicam, crane, zoom
• Description: one sentence describing what is in frame and what is happening
• Notes: lighting conditions, wardrobe flags, sound considerations, VFX tags, or performance direction

How to Create a Shot List Step by Step

Creating a shot list is a scene-by-scene process that starts with the script and ends with a prioritized, numbered document the whole crew can reference on shoot day.

1. Read through the screenplay or project brief and identify every distinct scene requiring coverage
2. For each scene, list the narrative beats: what must happen visually for the audience to understand the scene
3. Determine the minimum required shots for each beat: an establishing wide, a coverage medium, and at least one close-up is the standard base
4. Add coverage shots: over-the-shoulder angles for dialogue scenes, inserts for detail shots needed in the edit
5. Assign shot types and camera angles based on the emotional intention of each moment (low angle = power; high angle = vulnerability)
6. Choose lenses based on the visual language: wide lenses (24mm, 35mm) for expansive or distorted perspectives, longer lenses (85mm, 135mm) for compression and isolation
7. Note camera movement: static shots are fastest to execute; complex dolly or crane moves require more time and equipment
8. Number shots sequentially and sort by location so the crew can shoot efficiently without unnecessary camera moves between setups
9. Share with the DP, AD, and camera team before shoot day and review it together during the pre-shoot walkthrough

Shot List Template in Google Docs, Sheets, and Excel

Google Sheets is the most practical format for shot lists used on active productions. The table structure maps directly to shot list columns, filtering by scene number isolates a single scene's shots instantly, and sharing with the full crew requires only a link. Color-code rows by location or scene to make the sheet scannable at a glance on a phone or tablet during the shoot.

Google Docs or Word work for simpler productions or when you want a printable version that the AC or script supervisor can carry as a paper checklist on set. Use a table with the same column structure as the Sheets version and format it to print cleanly on landscape-oriented pages.

Excel is common in larger productions that use dedicated production management software (Celtx, StudioBinder, Movie Magic) which can export shot lists as spreadsheet files. The column structure is identical to the template above regardless of which tool you use.

• Google Sheets: best for active shoots, easy link sharing, filter by scene, color-code by location
• Google Docs: good for simple printable checklists, use a table matching the column structure above
• Excel: compatible with production management software exports, same column structure
• Word (DOCX): printable table format, familiar for productions using Microsoft Office
• Dedicated software (StudioBinder, Celtx): auto-generates shot lists from script breakdowns and links to storyboards

Shot List Tips for Film, YouTube, and Commercial Video

The most common mistake first-time directors make is building a shot list too ambitious for the available time. A standard narrative shoot executes roughly 10-15 setups per day, where each setup covers all shots from one camera position before the camera moves. A shot list with 40 fully different setups for a single day is almost always unrealistic and leads to rushed final shots or missed coverage.

For YouTube and social media video production, shot lists are shorter and more flexible than narrative film lists. Group shots by setup (all wides in location A, then all close-ups, then B-roll) rather than script order. Shooting out of script order to maximize location efficiency is standard; the shot list and the editor's assembly put the footage back in the correct narrative sequence.

• Be realistic about time: plan 10-15 setups per day for narrative shoots, more for simpler commercial or social content
• Group shots by camera position (setup) rather than script order to minimize unnecessary camera moves
• Always plan B-roll: cutaways and insert shots are the most commonly forgotten items and the most needed in the edit
• Mark must-have shots clearly so the AD knows which shots cannot be cut if the day falls behind schedule
• Both sides of OTS coverage must be noted explicitly, since forgetting the reverse angle is a common continuity mistake
• Walk the location before shoot day: what looks good on a shot list may be physically impossible in the actual space