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

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