# Shot list with intent

Filmsers · Film Lock pack · Worksheet v1

Build a coverage list in which every shot has a story job, visible action, continuity dependency and editorial handoff instead of being a list of attractive angles.

## How to use

1. Write the scene turn before choosing angles. Each shot must reveal information, show a choice or establish a relationship that the edit actually needs.

2. Duplicate the shot-row fields for each frame. Start with the worked five-shot sequence, then remove, reorder or add rows based on the story rather than treating it as mandatory coverage.

3. Read the rows in edit order and check action handoffs. Timing is an estimate until tested in a board or cut; include only necessary movement and record sound that motivates a cut.

## Fictional worked example — The Last Signal

An original teaching example, not a customer result. Referenced images are illustrative filenames, not included media.

### Scene turn and coverage priority

Mara chooses to warn everyone instead of calling for rescue. Essential: the switch to ALL. The entrance coverage can shorten, but the decision and its consequence must remain.

### Shot row: ID, size and story job

CS1A / establishing / valley at risk; CS1B / full-body / Mara reaches radio; CS1C / close / she chooses; CS1D / insert / ALL switch proves choice; CS1E / wide hold / valley answers.

### Shot row: action and handoff

CS1D starts with right hand entering frame, turns selector from RESCUE to ALL and lifts the microphone. CS1E begins with that microphone already in her right hand at mouth level.

### Shot row: camera and timing

CS1A 24mm / eye-level / locked / 6s; CS1B 35mm / doorway / locked / 6s; CS1C 50mm / eye-level / locked / 5s; CS1D 50mm / switch height / locked / 3s; CS1E 35mm / room wide / locked / 6s. All timings are starting estimates.

### Shot row: sound and editorial intent

Radio hiss carries CS1B into CS1C. Cut to CS1D on Mara's downward glance; the selector click confirms the action. Hold CS1E through the first answering light rather than cutting before the payoff.

### Shot row: locks and open questions

All shots: Mara v1, relay-room look v1. CS1D needs readable switch markings. CS1E needs an approved valley-response design; keep its status open until that decision is made.

## Blank worksheet

Project: ____________________
Version: ____________________
Prepared by: ____________________
Approval status / reviewer / date: ____________________

### Scene turn and coverage priority

State the change, the essential shot and what can be dropped if coverage must shrink.

Your notes:

____________________

### Shot row: ID, size and story job

For each shot, assign scene/shot ID, framing, angle and the specific information it gives the audience.

Your notes:

____________________

### Shot row: action and handoff

Describe start state, visible action and end state, including the next shot's matching dependency.

Your notes:

____________________

### Shot row: camera and timing

Record starting lens, camera position, movement and estimated duration for each row.

Your notes:

____________________

### Shot row: sound and editorial intent

Name the sound or action that motivates the cut and whether the shot must play continuously.

Your notes:

____________________

### Shot row: locks and open questions

Attach character/look versions and note anything that prevents approving this row.

Your notes:

____________________

## Review before locking

- [ ] Removing a shot removes identifiable information, not just visual variety.

- [ ] Adjacent rows agree on prop position, eyeline and screen direction.

- [ ] Estimated timings, missing references and unresolved coverage are labeled honestly.

## Handoff

Save a versioned copy with your project files. These notes do not automatically update Filmsers or enforce consistency in an external engine. The public demo is shared; keep private production details in your own files.