List the information before the camera choices
Read the scene and identify what viewers need to discover, understand or feel. Then choose views that carry those beats. A close-up is justified by the detail or reaction it reveals; a wide shot is justified by the geography or relationship it establishes.
Use stable scene and shot identifiers even if the order later changes. Time references can move during editing, while an identifier allows notes, references and revisions to remain attached to the same planned image.
Copy one record for each planned shot
Keep the fields concise enough to scan during review. Describe the beginning and end state of the action, particularly for prop handovers, entrances or movements that connect to another shot. Include sound when a cue changes the timing or interpretation.
Use the acceptance check to express the minimum story requirement. “The viewer sees the key change hands” is clearer than “looks cinematic.”
SCENE ID / SHOT ID:
SCRIPT VERSION:
STORY PURPOSE / INFORMATION REVEALED:
FRAMING / VIEWPOINT:
CHARACTERS / LOCATION / PROPS:
ACTION START STATE:
ACTION END STATE:
EYELINE / SCREEN DIRECTION:
CONTINUITY FROM / TO OTHER SHOTS:
DIALOGUE / ESSENTIAL SOUND:
REFERENCE LINKS AND PURPOSE:
REQUIRED OR OPTIONAL:
ACCEPTANCE CHECK:
CURRENT STATUS / REVISION NOTE:Worked illustration: a key changes hands
The fictional example below describes a single important action. It records the relationship to neighbouring shots so the production team can review the handover as part of a sequence rather than approve an attractive image that does not connect.
The framing remains a practical instruction. A separate visual reference can define the look, but the shot record explains what must remain legible if the look changes.
Review neighbouring records together
Check the sequence for missing information, duplicate coverage and incompatible states. If one shot ends with the key in a pocket and the next begins with it in a hand, decide whether the change needs to be shown or whether the second shot should be revised.
After a storyboard or edit change, update the affected records and mark unused shots clearly. Keep alternatives only where a real decision remains open. Before another production pass, confirm that the list represents the current cut and not a mixture of abandoned versions.
Questions & answers
Should I include shot duration?
Add a provisional timing note when it matters to the beat, then revise it during the animatic or edit. Do not treat an early duration as more authoritative than whether the action is understandable.
Can I use one row instead of a full record?
Yes. A table works well for a simple sequence. Preserve the fields that explain purpose, action and continuity, and expand only the shots with important dependencies or uncertainty.
Explore the workflow with your own idea.