FULLSHOTPOINTOFVIEWshows what acharacter is lookingat, making theaudience feel likethey are watching theaction directlythrough the eyes ofthe charactefree!close-ups/extremeclose-ups thatemphasize aparticular objectinside a scene thatis crucial to thestory.This shotallows theaudience tofocus solely onone character.SHOTREVERSESHOThows a character'sreaction tosomeone orsomething thatoccurred in theprevious shot.INSERTSHOTCUTAWAYSHOTshows a vastamount of thescene's locationwhile making thecharacters appearsmall, if visible, inthe space.TWO-SHOTMEDIUMCLOSE-UPcaptures ahumansubject's facefrom aboutmid-chestcaptures 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.two similarlyframed butreverse shotsare cut togetherto connect thecharacters.EXTREMECLOSE-UPREACTIONSHOTEXTREMELONGSHOTCOWBOYSHOTthe subject'shead andface take upmost of theframeadditional detailsto enhance thestory but notdirectly related tothe main action inthe scene.shows acharacter frombehind theshoulder ofanothercharacter.free!where the subjectfills most of theframe (top tobottom) from headto toe, filling mostof the frame.MEDIUMSHOTfree!free!captures thehuman subject'sentire body alongwith room to seethe location orplace of the scene.This shot lets yousee the orientation,meaning wherethey stand, and theinteraction betweenthe two characters.SINGLEWIDESHOTFree!CLOSE-UPOVER THESHOULDERFULLSHOTPOINTOFVIEWshows what acharacter is lookingat, making theaudience feel likethey are watching theaction directlythrough the eyes ofthe charactefree!close-ups/extremeclose-ups thatemphasize aparticular objectinside a scene thatis crucial to thestory.This shotallows theaudience tofocus solely onone character.SHOTREVERSESHOThows a character'sreaction tosomeone orsomething thatoccurred in theprevious shot.INSERTSHOTCUTAWAYSHOTshows a vastamount of thescene's locationwhile making thecharacters appearsmall, if visible, inthe space.TWO-SHOTMEDIUMCLOSE-UPcaptures ahumansubject's facefrom aboutmid-chestcaptures 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.two similarlyframed butreverse shotsare cut togetherto connect thecharacters.EXTREMECLOSE-UPREACTIONSHOTEXTREMELONGSHOTCOWBOYSHOTthe subject'shead andface take upmost of theframeadditional detailsto enhance thestory but notdirectly related tothe main action inthe scene.shows acharacter frombehind theshoulder ofanothercharacter.free!where the subjectfills most of theframe (top tobottom) from headto toe, filling mostof the frame.MEDIUMSHOTfree!free!captures thehuman subject'sentire body alongwith room to seethe location orplace of the scene.This shot lets yousee the orientation,meaning wherethey stand, and theinteraction betweenthe two characters.SINGLEWIDESHOTFree!CLOSE-UPOVER THESHOULDER

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