This shot lets yousee the orientation,meaning wherethey stand, and theinteraction betweenthe two characters.POINTOFVIEWshows what acharacter is lookingat, making theaudience feel likethey are watching theaction directlythrough the eyes ofthe charactecaptures thehuman subject'sentire body alongwith room to seethe location orplace of the scene.shows a vastamount of thescene's locationwhile making thecharacters appearsmall, if visible, inthe space.EXTREMELONGSHOTadditional detailsto enhance thestory but notdirectly related tothe main action inthe scene.CLOSE-UPtwo similarlyframed butreverse shotsare cut togetherto connect thecharacters.where the subjectfills most of theframe (top tobottom) from headto toe, filling mostof the frame.hows a character'sreaction tosomeone orsomething thatoccurred in theprevious shot.SINGLEWIDESHOTfree!MEDIUMCLOSE-UPTWO-SHOTfree!REACTIONSHOTcaptures 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.Free!the subject'shead andface take upmost of theframeCUTAWAYSHOTcaptures ahumansubject's facefrom aboutmid-chestFULLSHOTOVER THESHOULDERfree!MEDIUMSHOTINSERTSHOTshows acharacter frombehind theshoulder ofanothercharacter.EXTREMECLOSE-UPSHOTREVERSESHOTCOWBOYSHOTclose-ups/extremeclose-ups thatemphasize aparticular objectinside a scene thatis crucial to thestory.free!This shotallows theaudience tofocus solely onone character.This shot lets yousee the orientation,meaning wherethey stand, and theinteraction betweenthe two characters.POINTOFVIEWshows what acharacter is lookingat, making theaudience feel likethey are watching theaction directlythrough the eyes ofthe charactecaptures thehuman subject'sentire body alongwith room to seethe location orplace of the scene.shows a vastamount of thescene's locationwhile making thecharacters appearsmall, if visible, inthe space.EXTREMELONGSHOTadditional detailsto enhance thestory but notdirectly related tothe main action inthe scene.CLOSE-UPtwo similarlyframed butreverse shotsare cut togetherto connect thecharacters.where the subjectfills most of theframe (top tobottom) from headto toe, filling mostof the frame.hows a character'sreaction tosomeone orsomething thatoccurred in theprevious shot.SINGLEWIDESHOTfree!MEDIUMCLOSE-UPTWO-SHOTfree!REACTIONSHOTcaptures 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.Free!the subject'shead andface take upmost of theframeCUTAWAYSHOTcaptures ahumansubject's facefrom aboutmid-chestFULLSHOTOVER THESHOULDERfree!MEDIUMSHOTINSERTSHOTshows acharacter frombehind theshoulder ofanothercharacter.EXTREMECLOSE-UPSHOTREVERSESHOTCOWBOYSHOTclose-ups/extremeclose-ups thatemphasize aparticular objectinside a scene thatis crucial to thestory.free!This shotallows theaudience tofocus solely onone character.

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