Shotlist

A shotlist is the working list for the director and camera department: It lists each planned shot for a shooting day individually, with its number, shot size, camera angle, people involved, and a brief description of what is supposed to be visible. It translates the action into concrete shots.

How the shotlist differs from the screenplay

The screenplay describes what happens: location, characters, sequence of events, and possibly dialogue. The shotlist describes how it will be filmed. One sentence in the screenplay can become five or ten positions on the shotlist. In small productions without a screenplay, the shotlist is often the only written document about the day’s content.

A typical line contains the number of the shot, the shot size, the camera position, the people in the frame, and a note, for example about lighting or props. Some lists also note whether a shot will additionally be used as a still photograph.

Why it is important for performers

The shotlist is the most precise picture of what is expected of you on the shooting day. General arrangements made in the preliminary discussion often sound less serious than the concrete list. Only there can you see whether a scene is planned with close-ups, whether your face is supposed to be visible in certain moments, and how many repetitions from different angles are planned.

That is why it is the right document for comparing your boundaries. Place it next to your list and mark everything you do not want to do or only want to do under certain conditions. The article Your boundaries first explains how this list is structured.

Binding nature and changes

A shotlist is a plan, not a contract. On set, shots are removed, exchanged, or added because there is not enough time or something does not work in the frame. Removals are unproblematic for you. Additions are not always: A new shot with different content is a change to the agreement and requires your consent, even if it is announced only as a brief additional shot.

If additional content is discussed in the middle of the shooting day, that is a renegotiation. You do not have to agree to it, and saying no must not have any consequences for the agreed fee.

How to handle the shotlist

• Request it: For video productions, ask for it before the shooting day. Anyone who does not have one can at least write down the planned scenes in bullet points.
• Compare it: Check the content, shot size, and recognizability against the contract and your boundaries.
• Ask questions: The director can explain unclear abbreviations to you. Asking a question about the list is not a sign of inexperience.
• Keep it: Save the version you received. It can help if there is later a dispute about what was agreed.

A production that refuses to name the day’s content in writing beforehand is giving away trust. For you, that is a reason to take a closer look. Conversely, a carefully prepared shotlist shows that the director has thought through the day and that time pressure on set is more likely to remain the exception. That benefits everyone appearing in front of the camera.