FULLSHOTCUTAWAYSHOTshows a vastamount of thescene's locationwhile making thecharacters appearsmall, if visible, inthe space.Free!This shot lets yousee the orientation,meaning wherethey stand, and theinteraction betweenthe two characters.free!EXTREMECLOSE-UPthe subject'shead andface take upmost of theframeINSERTSHOTfree!POINTOFVIEWhows a character'sreaction tosomeone orsomething thatoccurred in theprevious shot.captures the subjectsfrom the waist up andincludes somesurrounding areaswithin the setting whilestill being closeenough to capture thecharacter's emotions.COWBOYSHOTshows what acharacter is lookingat, making theaudience feel likethey are watching theaction directlythrough the eyes ofthe charactetwo similarlyframed butreverse shotsare cut togetherto connect thecharacters.EXTREMELONGSHOTfree!where the subjectfills most of theframe (top tobottom) from headto toe, filling mostof the frame.WIDESHOTTWO-SHOTfree!This shotallows theaudience tofocus solely onone character.SHOTREVERSESHOTframes thecharacter mid-thigh to allow theaudience to seethe character'sgun holster withinthe shot.MEDIUMSHOTOVER THESHOULDERcaptures thehuman subject'sentire body alongwith room to seethe location orplace of the scene.MEDIUMCLOSE-UPCLOSE-UPcaptures ahumansubject's facefrom aboutmid-chestclose-ups/extremeclose-ups thatemphasize aparticular objectinside a scene thatis crucial to thestory.REACTIONSHOTSINGLEadditional detailsto enhance thestory but notdirectly related tothe main action inthe scene.shows acharacter frombehind theshoulder ofanothercharacter.FULLSHOTCUTAWAYSHOTshows a vastamount of thescene's locationwhile making thecharacters appearsmall, if visible, inthe space.Free!This shot lets yousee the orientation,meaning wherethey stand, and theinteraction betweenthe two characters.free!EXTREMECLOSE-UPthe subject'shead andface take upmost of theframeINSERTSHOTfree!POINTOFVIEWhows a character'sreaction tosomeone orsomething thatoccurred in theprevious shot.captures the subjectsfrom the waist up andincludes somesurrounding areaswithin the setting whilestill being closeenough to capture thecharacter's emotions.COWBOYSHOTshows what acharacter is lookingat, making theaudience feel likethey are watching theaction directlythrough the eyes ofthe charactetwo similarlyframed butreverse shotsare cut togetherto connect thecharacters.EXTREMELONGSHOTfree!where the subjectfills most of theframe (top tobottom) from headto toe, filling mostof the frame.WIDESHOTTWO-SHOTfree!This shotallows theaudience tofocus solely onone character.SHOTREVERSESHOTframes thecharacter mid-thigh to allow theaudience to seethe character'sgun holster withinthe shot.MEDIUMSHOTOVER THESHOULDERcaptures thehuman subject'sentire body alongwith room to seethe location orplace of the scene.MEDIUMCLOSE-UPCLOSE-UPcaptures ahumansubject's facefrom aboutmid-chestclose-ups/extremeclose-ups thatemphasize aparticular objectinside a scene thatis crucial to thestory.REACTIONSHOTSINGLEadditional detailsto enhance thestory but notdirectly related tothe main action inthe scene.shows acharacter frombehind theshoulder ofanothercharacter.

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