I want to start putting together a proper shotlist for my next project. What is the easiest way to break down the script with a shot list to make shooting go as smooth as possible?
Shot List - Newb Question
- Thread starter stephenlevi
- Start date
You simply go through the script and make a document of every shot, the type of shot, if there's any movement, and a small description of what's occuring in the scene.
Also, I would reccomend a "Shot Breakdown". Documenting everything above, plus location, when they occur , what props are involved, and most importantly, who is involved. (This will help you keep track come shoot day, especially if it's multiple days/locations.)
Previously i've used Microsoft Excel. However, I know SonnyBoo, a member here, has a wonderful website with free templates/documents. I believe the shotlist is second in the list.
http://www.sonnyboo.com/downloads/downloads.htm
Also, I would reccomend a "Shot Breakdown". Documenting everything above, plus location, when they occur , what props are involved, and most importantly, who is involved. (This will help you keep track come shoot day, especially if it's multiple days/locations.)
Previously i've used Microsoft Excel. However, I know SonnyBoo, a member here, has a wonderful website with free templates/documents. I believe the shotlist is second in the list.
http://www.sonnyboo.com/downloads/downloads.htm
Start with a master, add the medium closeups, add the extreme closeups, add the cutaways, next scene.
I am editing the film in my head when I make the shot list. Every shot I put down I think to myself how do I get from that shot to the next shot, How do I get from that shot to the next shot.
I am editing the film in my head when I make the shot list. Every shot I put down I think to myself how do I get from that shot to the next shot, How do I get from that shot to the next shot.
I know the shots I want to do. It's just putting it on paper to make things go effortlessly. For example, doing all the wide shots first. Then doing all the mediums, etc. So I don't have to move lights around as much and not changing lens as much, etc.
Using celtx you can enter the shots you envision within each slugline.
https://docs.google.com/viewer?a=v&...kwZTMtNTA4NjE2Mzk4MDhh&hl=en&authkey=CPjN3-sH
This would be the draft that you and your production crew work with, as opposed to what your actors would receive, (don't give them anything to complicate their job).
https://docs.google.com/viewer?a=v&...kwZTMtNTA4NjE2Mzk4MDhh&hl=en&authkey=CPjN3-sH
This would be the draft that you and your production crew work with, as opposed to what your actors would receive, (don't give them anything to complicate their job).
That's another animal to a degree.
First get all the shots on paper, in the same order as the script, THEN move things around to minimize setups. You have to balance doing it that way against other things though. It may be hard for an actor to shot the master of their big emotional scene, then go back and shoot the closeups 5 pages back where they were in a totally different mindset. It may be harder to maintain continuity if you shoot the master of the apartment before the character moved objects a,b,c, and d, then shoot the master where they move those oblects, then go back to shoot more coverage from the scene before they were moved. It has to be a balance of many factors.
Sonny's method (of course) is the standard way it's done, with brackets as in his photo.
"I start with brackets in the script itself. Then make that it's own list separate for each scene. "
Awesome, Sonnyboo. I'd never seen that before.
Awesome, Sonnyboo. I'd never seen that before.
I start with brackets in the script itself. Then make that it's own list separate for each scene.
Please note also that the hand written shot numbers are the exact same thing you would see listed on a SLATE during the shoot.
From script to shot list to shooting to the edit - all the shot numbers will match up...
S2CA = Scene 2 Camera angle A
S2CB = Scene 2 Camera angle B
S2CC = Scene 2 Camera angle C
During the shoot, the Clapper/Loader will say "Scene 2 Apple, Take ___", "Scene 2 Bubble, Take __", "Scene 2 Cake, Take __" etc.
Even on the smallest shoots, this kind of organization prepares you for bigger shoots. Creates good habits that pay off later.
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The brackets represent which camera angles I will use to get each line. Instead of shooting everything from every angle, I pre-plan which lines are important for a Close Up, and which ones only need to be Over the Shoulder, etc.
This is AWESOME organization, and I'll be honest, I could benefit by coming closer to matching your method. For the purposes of the OP, however, I have to offer an alternative to one thing that you mentioned. You are well experienced, and by now know when you don't need to shoot everything from every angle. I don't recommend the same strategy for a newbie.
A newbie will most likely be working with a relatively inexperienced cast and crew. Incontinuities are going to abound. Play it safe. Get maximum coverage. As much as time will allow, shoot everything, from every angle. I think it is a good habit to learn, and then you can ween yourself off of it when you feel more confident in getting just what you need. Joseph is a big fan of maximum coverage.
You make a good point, CF. This is something that is 100% preferential, as in one person's opinion is neither right or wrong, so I am not saying that someone shouldn't take your advice on shooting everything for coverage if that is your preference.
I choose not to shoot the extra coverage mostly as a convenience to the experienced actors. They don't have to give it their all repeatedly for entire takes and angles that will never ever make the edit. To not have to deal with the footage in post helps too, but is secondary.
This is just my method and opinion for my own working style. It may or may not work for anyone other than me, or for the actors I usually work with.
Everything else, in terms of scene numbering et al I think is just good organization and also prepares people for working with larger crews, as it has helped me immeasurably as I transitioned from making camcorder shorts to feature films and television production.
No doubt, it is definitely a preference, and there is no right or wrong.
As an admittance of my own experience-level (and of those whom I primarily work with, who are experienced with theater, but relatively inexperienced with film), I found it to be a great difficulty editing simply for continuity in my first feature. Thankfully, I'm pretty darn good as an editor (if it's okay to toot my own horn), because the footage the director side of me got was absolutely fraught with incontinuities. Plain and simple coverage allowed editor-Joseph to save director-Joseph's butt. Anyway, it's for that reason that I spread my cautionary tale and advise a newb to start by playing it safe, and move to effiency later.
Cheers!
. Anyway, it's for that reason that I spread my cautionary tale and advise a newb to start by playing it safe, and move to effiency later.
Cheers!
Couldn't agree with you more. Better to have way to many shots to choose from than not enough.
@Sonny, love the concept with the bracket. Very simplified way of doing things indeed!
I have worked with some film school grads as my AD and Sonnyboo's method is what they are taught, so guessing that is the "professional" way to do it.
It's pretty much the standard for the camera department on most bigger shoots. To apply it to the shot list, script supervisor, and then post production is where it helps the most so that there is a complete continuity to the naming and the shots to the files they eventually become.
There is a hilarious extra on INGLORIUS BASTERDS where you hear the thick Italian accented clapper using dirty words for most of the letters in the shot lists as she slates them.
Thanks for those resources, sonny! I'm wondering in regards to the shot list from your website. Is S.B. Shot # where you'd put the S2CA or would you label it differently? And what does S.B. stand for? And under Angle, would that be where I would have Medium-Close or Wide or OTS, etc? Or would you actually put the angle, as in, from above or below or 30% to the left, eye level, etc?