REACTIONSHOTSINGLEshows acharacter frombehind theshoulder ofanothercharacter.shows what acharacter is lookingat, making theaudience feel likethey are watching theaction directlythrough the eyes ofthe charactecaptures ahumansubject's facefrom aboutmid-chesthows a character'sreaction tosomeone orsomething thatoccurred in theprevious shot.COWBOYSHOTCLOSE-UPOVER THESHOULDERWIDESHOTfree!EXTREMECLOSE-UPfree!CUTAWAYSHOTwhere the subjectfills most of theframe (top tobottom) from headto toe, filling mostof the frame.This shotallows theaudience tofocus solely onone character.the subject'shead andface take upmost of theframecaptures thehuman subject'sentire body alongwith room to seethe location orplace of the scene.two similarlyframed butreverse shotsare cut togetherto connect thecharacters.MEDIUMCLOSE-UPshows a vastamount of thescene's locationwhile making thecharacters appearsmall, if visible, inthe space.close-ups/extremeclose-ups thatemphasize aparticular objectinside a scene thatis crucial to thestory.INSERTSHOTPOINTOFVIEWfree!SHOTREVERSESHOTfree!EXTREMELONGSHOTadditional detailsto enhance thestory but notdirectly related tothe main action inthe scene.This shot lets yousee the orientation,meaning wherethey stand, and theinteraction betweenthe two characters.MEDIUMSHOTTWO-SHOTFree!captures the subjectsfrom the waist up andincludes somesurrounding areaswithin the setting whilestill being closeenough to capture thecharacter's emotions.frames thecharacter mid-thigh to allow theaudience to seethe character'sgun holster withinthe shot.FULLSHOTREACTIONSHOTSINGLEshows acharacter frombehind theshoulder ofanothercharacter.shows what acharacter is lookingat, making theaudience feel likethey are watching theaction directlythrough the eyes ofthe charactecaptures ahumansubject's facefrom aboutmid-chesthows a character'sreaction tosomeone orsomething thatoccurred in theprevious shot.COWBOYSHOTCLOSE-UPOVER THESHOULDERWIDESHOTfree!EXTREMECLOSE-UPfree!CUTAWAYSHOTwhere the subjectfills most of theframe (top tobottom) from headto toe, filling mostof the frame.This shotallows theaudience tofocus solely onone character.the subject'shead andface take upmost of theframecaptures thehuman subject'sentire body alongwith room to seethe location orplace of the scene.two similarlyframed butreverse shotsare cut togetherto connect thecharacters.MEDIUMCLOSE-UPshows a vastamount of thescene's locationwhile making thecharacters appearsmall, if visible, inthe space.close-ups/extremeclose-ups thatemphasize aparticular objectinside a scene thatis crucial to thestory.INSERTSHOTPOINTOFVIEWfree!SHOTREVERSESHOTfree!EXTREMELONGSHOTadditional detailsto enhance thestory but notdirectly related tothe main action inthe scene.This shot lets yousee the orientation,meaning wherethey stand, and theinteraction betweenthe two characters.MEDIUMSHOTTWO-SHOTFree!captures the subjectsfrom the waist up andincludes somesurrounding areaswithin the setting whilestill being closeenough to capture thecharacter's emotions.frames thecharacter mid-thigh to allow theaudience to seethe character'sgun holster withinthe shot.FULLSHOT

shot coverage - Call List

(Print) Use this randomly generated list as your call list when playing the game. There is no need to say the BINGO column name. Place some kind of mark (like an X, a checkmark, a dot, tally mark, etc) on each cell as you announce it, to keep track. You can also cut out each item, place them in a bag and pull words from the bag.


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  1. REACTION SHOT
  2. SINGLE
  3. shows a character from behind the shoulder of another character.
  4. shows what a character is looking at, making the audience feel like they are watching the action directly through the eyes of the characte
  5. captures a human subject's face from about mid-chest
  6. hows a character's reaction to someone or something that occurred in the previous shot.
  7. COWBOY SHOT
  8. CLOSE-UP
  9. OVER THE SHOULDER
  10. WIDE SHOT
  11. free!
  12. EXTREME CLOSE-UP
  13. free!
  14. CUTAWAY SHOT
  15. where the subject fills most of the frame (top to bottom) from head to toe, filling most of the frame.
  16. This shot allows the audience to focus solely on one character.
  17. the subject's head and face take up most of the frame
  18. captures the human subject's entire body along with room to see the location or place of the scene.
  19. two similarly framed but reverse shots are cut together to connect the characters.
  20. MEDIUM CLOSE-UP
  21. shows a vast amount of the scene's location while making the characters appear small, if visible, in the space.
  22. close-ups/extreme close-ups that emphasize a particular object inside a scene that is crucial to the story.
  23. INSERT SHOT
  24. POINT OF VIEW
  25. free!
  26. SHOT REVERSE SHOT
  27. free!
  28. EXTREME LONG SHOT
  29. additional details to enhance the story but not directly related to the main action in the scene.
  30. This shot lets you see the orientation, meaning where they stand, and the interaction between the two characters.
  31. MEDIUM SHOT
  32. TWO-SHOT
  33. Free!
  34. captures the subjects from the waist up and includes some surrounding areas within the setting while still being close enough to capture the character's emotions.
  35. frames the character mid-thigh to allow the audience to see the character's gun holster within the shot.
  36. FULL SHOT