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

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.


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