Shooting Schedule

Shot Breakdown
Call List
Unit- 3
 Shooting Schedule
● A shooting schedule is a project plan of each day's shooting for a film production. It is normally created
and managed by the assistant director, who reports to the production manager managing the
production schedule. Both schedules represent a timeline stating where and when production resources
are used.
● A shooting schedule includes the entire schedule for the film shoot through to the end. It is a schedule
given to everyone involved on set and includes each location, the resources needed (props, make-up,
effects), and the cast involved.
● It pinpoints the time required for each scene based on the page count and talks with different heads of
department such as the cinematographer, location manager, and director. This meticulous level of
planning is executed by the assistant director who is in charge of all logistics on set, especially related
to scheduling.
● With the help of a shooting schedule each department can be on the same page about what needs to
be prepared without confusion or unnecessary questions. This allows the film crew to plan ahead when
it comes to call times, wrap times, and their individual jobs.
● It is also an important part of setting a deadline for a film based on the estimations on the shooting
schedule.
 Shooting Schedule
https://www.youtube.com/watch?v=w9KmYOUNwKA

Traditionally, a film production board (aka stripboard) was

created using cardboard charts that held color-coded strips
of paper that represented scenes in a shooting script.

These days, a shooting schedule is often created on a

computer in one of two ways:

1. Film Shooting Schedule Template: Scenes are

inputted manually into a spreadsheet for
reordering. The benefit is that it's free! The
downside is that it's a spreadsheet which means a
lot of repetitive data entry and human error.
2. Film Production Scheduling Software - With the
exception of StudioBinder, most film scheduling
software is a little on the pricey side, but the
benefit of a dedicated solution will ultimately save
you time, limit errors, and lend your production a
more professional image.
 Shooting schedule template
● Shooting schedules must have several pieces of information to be as efficient as possible. These templates will have a section for
every scene number listed in shooting order. It will include a short, one sentence description of the scene along with the set heading
often found on a scene header in a script for easy identification. It will include if that scene is an interior (INT.) or exterior (EXT.)
scene as well as if it’s a day or night shoot. This helps add context to what the workday – or night – will look like and what kind of
lighting is needed for it.
● Something that helps with continuity is adding what day it is in the story. For example, say a story takes place in the span of seven
days, each scene should then have the appropriate day it applies to within the story. This can help wardrobe figure out what
costume to give the actors for that day or even how an actor looks like by that point in the story if hair and make-up are heavily
involved.
● The page length is also noted with each scene because it is what initially determines how long a scene might take to shoot. Script
pages are normally eight inches in length; therefore the script is measured in eighths of a page. One page on average is one minute
of screen time, without counting possible visual effects, stunt choreography, or emotionally heavy scenes. So within the shooting
schedule template you could jot down for a scene, “1 and 3/8”. Depending on the shoot, a five-page shoot day is pretty standard.
● Another required factor for your shooting schedule is to write in what cast members are needed for each scene. This helps schedule
what days to bring in the characters and juggle around the scene order. Assistant directors avoid having actors waiting around,
especially on sets where actors might not get cozy trailers to spend the hours in between scenes.
● Therefore, the key is to cluster scenes for them to have a good workday and also to give them days off. They work with the actors’
schedules as well as taking into account emotionally draining scenes. This can help create a safe environment for them to emote.
Often the actors’ names aren’t used on the schedule. But rather their characters are given identification numbers and those numbers
are the ones used on the schedule for a cleaner look.
 What is a stripboard ?
● A stripboard is a production document that organizes scenes in the order of shooting using color-
coded strips of three types: scene strip, day break or banner.
● Each scene strip can have different color based on the time of day and the type of shot (interior or
exterior).
● Additionally a scene strip can contain information about the shoot location, the characters in the
scene and the number of pages.
● A day break is employed to mark the end of day, meaning all the scenes above that day break will
be shot in one day.
● A day breakstrip can contain information about the number of scenes and the shoot date.
● A banner is used usually to mark a meal breaks or location change.
 Lining the script
You break down, or line, your script by pulling out elements that affect your budget and schedule. With different-colored
highlighters in hand, start combing through your script (or have the assistant director do it, if you have one), highlighting
important items with a different color for each category. You end up with a very colorful script after the process is complete. This
process is intended to flag the script so accurate breakdowns can be made. The categories to highlight include the following:

●Actors
●Extras (background people)
●Props
●Wardrobe or special costumes
●Sets and locations
●Special effects
●Vehicles
●Animals
●Special equipment
●Special makeup, Optical effects
 Breaking in to breakdown sheets

A breakdown sheet also has a header that includes the following details:

●Scene number
●Script page
●Page count (length of scene divided into eighths — 1-1/2 pages would be 1-4/8)
●Location/setting
●Synopsis of scene (one sentence)
●Exterior or interior
●Day or night
●Script day (for example, third day in the story when Mary arrives at the plantation)
●Breakdown sheet numbe
Shooting Schedule-
 How to make a shooting schedule
1. Double check script formatting
Common Formatting Corrections Made by 1st ADs
●Consolidate and correct redundant scene headings, locations and characters
●Tag elements such as key props, vehicles, wardrobe, special effects, etc.
●Generate scene numbers
●Provide scene headings when a slug line has been used for a shot
A correctly formatted shooting script should import smoothly into film production scheduling software.

2. Import the shooting script

After the shooting script has been formatted correctly, import it into your film scheduling software. After importing, all of your scenes,
characters, and locations will be parsed for you. Scenes will be color-coded based on the combination of INT/EXT and DAY/NIGHT. If your
film production software supports it, other color variations may display based on dawn, dusk, sunset, sunrise, twilight, etc.
Each scene strip is organized with the following details:
●Scene Number
●INT/ EXT (interior/ exterior)
●Script Location (e.g. "Death Star - Docking Bay")
●Scene description (first action description in script)
●Day / Night
●Characters (labeled as a Cast ID for quick reference)
●Shooting Location
●Total page count (counted in 1/8ths)
 How to make a shooting schedule
3. Review scene strips

Strips are typically colored depending on whether the scene takes place at day or night and if it’s an interior or
exterior.

Although various film production scheduling software have minor variations in color palettes, it’s best to stick with
standard strip board color conventions for the sake of simplicity

4. Assign cast and shooting locations to each scene

The next step is to make sure that every scene strip has the correct talent and shooting location assigned. This will help
you quickly bucket the shooting schedule based on physical shooting locations and talent.

First thing is first, confirm the correct talent has been added to every scene. Don't forget to include non-speaking
characters too!

...and then assign shooting locations to every scene

 How to make a shooting schedule
5. Reorder scenes by set or shooting location
Once all of the scenes have been added to the stripboard, it's time to re-order them! Since the availability of a shooting
location tends to be the most common determinant for organizing shoot days, start by ordering your strips by location and
then special requirements (next section) or cast availability.
If you haven't secured your shooting location yet, bucket by scene setting first. Then reorder the sets by the most likely
order of shooting. For example, if you have multiple scenes that take place at a dry lake and a scene that takes place on
a deserted dirt road, chances are you'll shoot the dirt road scene on the way to, or from, the dry lake.
6. Use automations to speed up your reordering workflow
Numerous film production scheduling software offer auto-reordering options to help group strips for you. This should get
you 80% to the finish line.
Just select up to three sorting parameters of your choice. if you've already assigned shooting locations to your scenes,
our recommendation is to set the first sorting rule to Shooting Location so it groups them all together for you. If you don't
have shooting locations secured yet, then sort by Script Location (scene headings) instead or secondary and tertiary
rules to group DAY then NIGHT and INT then EXT.
 How to make a shooting schedule
7. Identify the end of each day with "day breaks"

A daybreak marks the end of a shoot day. It’s usually black or gray and include the day of days, shoot date, and
total page count for that day.

For example:

After your strips are roughly ordered, add daybreaks to mark the end of each day.The day break should
automatically calculate the day of days and the total page count of the strips it pertains to.

8. Use banners to add key notes to the shooting schedule

A banner is simply a custom strip that represents something that takes a significant chunk of time away from the
shoot day, such as a meal break or company move. Make sure that banners are accounted for in the total
estimated time for the day. Be sure to a lot time for each banner so that your call sheet accurately reflects what
can be accomplished in one shoot day.
 How to make a shooting schedule
9. Archive scenes in the boneyard

It may sound a little morbid, but a “boneyard” is just a backlog of strips kept away from the main
shooting schedule. Strips that are moved to the boneyard are typically non-essential or removed scenes
due to script changes or shooting delays.

10. Print & share the shooting schedule for feedback

Once you have a preliminary shooting schedule ready, it's time to confer with the key production staff
(UPM, 1st AD, Director, etc) for feedback and approval.

Remember, your shooting schedule is a living document, and schedules change over time.Keep it
updated. Even through production.There will be times after you start shooting when scenes may need to
be cut or bumped to other days or locations. Just return to your stripboard, update the strips as required,
and export a new version of the shooting schedule.
 How to make a shooting schedule

11. Generate call sheets from each daybreak

This is more of a StudioBinder Pro Tip, but let's say

you've worked hard and created a detailed shooting
schedule.

Now you're heading towards production and about to

create call sheets...

Just click the + icon on the Day Break:

And a new call sheet will be created with all of details

from that day's scenes: Shoot Date, Day out of Days,
Shooting Location Instructions, Cast, Scene Schedule,
Banners, and the next day's Advance Schedule.
 Call List (Call Sheet)

The call sheet automatically pulls in the schedule

 Breakdown the script

12. Breaking down the script

If you haven't done so yet, and

with your shooting schedule
finalized (...for now), your next
step is breaking down the script.

Script breakdown sheets

complement the shooting
schedule and identify all the key
elements within scenes that
need to be prepped (e.g. props,
wardrobe, special effects, etc).
 Shooting Schedule Considerations

As you reorder the stripboard, consider all the factors that will affect your shooting schedule:

● Talent availability
● Crew availability
● Location availability
● Vehicles and equipment availability
● Minors and stunts availability
● How many pages can you shoot per day?
● What days will you shoot? (M-F or weekends only)
● Days you can not shoot (holidays, travel, weather issues, etc.)
● Changes in physical appearances of a character (hair, weight, facial hair, etc)
 Call list
● A call sheet is a daily filming schedule created by the assistant director on a show or movie. Based on the
director’s shot list, a call sheet contains important details, like the location, the cast call times (what time to
arrive for work), and the shooting schedule.
● The document is distributed to all cast and crew so they know when to be on set and where to go.

Functions of a Call Sheet: A call sheet is one of the most important production documents in filmmaking. It
breaks down the who, what, where, and when of the production phase on a day by day basis. The main goals of a
call sheet are:
● To organize all cast and crew: The central function of a call sheet is ensuring the cast and crew arrive at the
right place at the right time.
● To indicate who is required: A call sheet lets everyone know who needs to be on the film set that day.
● To keep a film production on schedule: A movie or show has a budget for a specific number of filming days.
Any deviation from the shooting schedule can cause the project to go over budget.
● To set clear expectations: A call sheet lets production personnel and cast members know what scenes they
will be filming that day.
 Call list: Things You Need to Include on Your Call Sheet
From the weather forecast to the nearest hospital, a call sheet lays out the information that the crew might need during
production. The first page always contains the most important details but the entire document is a carefully curated digest for that
particular shoot day.
●Date and day of the shoot: The date and the day of the shoot (i.e. shoot day 1 of 15) should be listed at the top of the first page.
●Call time: The general crew call time should be easy to find on the first page. The call time is when the crew needs to be on set
and ready to start work. Cast calls are individual call times for specific actors or actresses.
●Production title and company: The name of the project, as well as the production company and production office contact info,
should also be included on the first page.
●Weather: The weather forecast, including wind, temperature, and sunset times, can impact both indoor and outdoor filming and
will give crew an idea of expected filming conditions.
●Important points of contact: The names of the director, producer, first assistant director (1st AD), and the production manager,
as well as their contact information should be on the call sheet.
●Locations: The or addresses of filming locations, as well as any parking information. Call sheets also list the address of the
nearest hospital with an emergency room.
●Crew list: The names and contact information for every crew member on set that day. Equipment lists are also often included
here.
 Call list: Things You Need to Include on Your Call Sheet
●Shooting schedule: A call sheet outlines the scenes that will be filmed that day, including the scene number, scene
heading and description, what cast members are in each scene, and the location. Lunch time and the estimated
wrap time will also be listed in the schedule.
●Cast: Cast members who needs to be on set that day are listed in this section as well as their character names and
call times. Extras and stand-ins (people who stand in place of actors while technical adjustments are made to
lighting and camera) also have call times and are listed just below the main cast section.
●General notes: These are the notes that apply to everyone on set. For instance, if there is a stunt happening that
day that requires a special safety notification, it would be mentioned here.
●Special notes: This is where the AD lists any specific notes for departments. For instance, the prop department
would look here for information about specific props needed for certain scenes.
●Walkie channels: Many film productions use walkie talkies on set, and different departments are assigned their own
channels to communicate. While there are industry standards for channel assignment by department, it’s still
important to list these on the film call sheet.
●Advanced schedule: An advanced schedule gives the cast and crew information about the next day’s shooting
schedule so they can prepare ahead of time.
 How to create a Call Sheet
1. Get organized. Gather all of the information you need to put on the call sheet.
2. Choose your template. Some ADs create call sheets in Excel, but there are call sheet software programs
that offer free call sheet templates.
3. Keep your call sheets organized and easy to access. Create folders on your computer so you can save all
relevant information, like call sheets and production reports, together by date.
4. Make your call sheet as detailed as possible. You don’t want to risk leaving off important information.
5. Use bold or all caps for information that you want to stand out. This might include certain phone number or
important safety information.
6. Check in with the department heads. Run through the details with head department personnel to see if
everything looks okay. For instance, review lighting information with the key grip.
7. Add the latest weather forecast. Keep it as current as possible, since forecasts often change on a day by
day basis.
8. Only send call sheet out once to avoid confusion. Review all of the information and make sure everything
on the call sheet is correct before you hit send.
9. Make sure the call sheet is received. After emailing the call sheet to the cast and crew, track who replies to
make sure everyone has received it.
10. Have paper copies of the call sheet on set. These will come in handy for staying organized throughout the
day.
 Call Sheet components
1. VIP contact details

At the top-left corner of a call sheet, you can usually find the
production company logo, production office details, and VIP
contacts (i.e. director, producer, 1st assistant director, etc.). If a
talent or crew member needs to get in touch with someone ASAP,
this is where they’d look first

2. Production title & crew call

Every call sheet needs to have the title of the production and
general crew call time prominently placed near the top. If you have
a special announcement to highlight, this is a great place for it
 Call Sheet components

3. Date, day-of-days & weather

Usually near the top, you’ll find the date and what day of the
shoot you’re on, known as the Day Out of Days report.

Weather is also placed in this vicinity, and indicates high/low

temperatures, sunrise / sunset times, and other details.

Some call sheets, particularly more robust, feature film call

sheets (like the template we developed for StudioBinder) may
summarize the day’s schedule up top and call out key times
like Shooting call, Meal Breaks, and Estimated Wrap
 Call Sheet components

4. Set address, parking & hospitals: Locations are often stated near the top half of a call sheet. If there’s more than one location, label each with a
number (i.e. “Location 1,” “Location 2,” “Location 3” etc.). Also include the address for parking since it is usually different than where you’ll be shooting.
If there are any notes about parking, driving directions, or shuttles, this is where you would include it. Regardless of production scale, always include
the location of the nearest hospital to each location. The only time you’ll need be looking this up on the callsheet is when you have a serious
emergency on set, so it’s important.Double check to make sure your call sheet lists a full hospital with an 24 hour emergency center (not just a local
clinic).
 Call Sheet components

5. Daily shooting schedule

The next major chunk of a call sheet is dedicated to what

you’re actually shooting for that day. At the bottom, sum up
all the pages to get a total page count for the day. A typical,
dialogue-driven indie film shoots about 5 pages per day

● Scene Number
● Scene Heading from Script
● Notes regarding the scene (i.e. key props, stunts,
prep, etc.)
● Day or Night scene
● Performing talent in the scene (Character ID)
● Location in the storyline
● Page count for the scene
 Call Sheet components
6. Talent list

Below the schedule for the day, you can find there will be a section that indicates talent call times for
the day. This area typically has the talent’s name, character ID number (i.e. 1, 2, 3, etc.), character
name, status, and call times

WHAT DOES STATUS MEAN ON A CALL SHEET?

The status column indicates the length of the talent’s job on a multi-day project. The column is
populated with a combination of the letters S, W, H, F, which stands for Start, Work, Hold, Finish.

● “SW” stands for “Starts Work,” and means it is the talent’s first day on the job.
● “W” stands for “Works,” and it means your talent is in the midst of their job.
● “WF” stands for “Work Finish,” and it means it is your talent’s last day on the job.
● “SWF” stands for “Start-Work-Finish,” and it means your talent will work for just that one
day.
● “H” stands for “Hold,” and it means that your talent is not being used that day.

WHAT DOES PICKUP AND ON SET MEAN ON A CALL SHEET?

Pickup indicates what time talent will be picked up for transport to set. This is most often used when
talent is shooting away from home, and will be shuttled from their hotel lodging.

On local projects, talent may drive themselves to set. In this case, you can leave the pickup column
blank or enter O/T which stands for “Own Transport.”

The “On Set” call time column indicates what time the talent must be finished with makeup /
wardrobe, and report to set for performance.
 Call Sheet components
7. Background & stand-ins

The extras list features a headcount of all the extra ‘types’ that will be coming in that day along with their call times.

So for example, if you’re shooting a scene that takes place in a Cafe, you could have 17 extras playing cafe patrons, 3
baristas, 4 servers, etc. You then add up all of the extras to get a total head count. This informs the production unit,
make-up, wardrobe, catering, assistant director (etc) of the number of extras that will need to be maintained that day

A stand-in or stunt person, is someone that that stands in for major talent when their face is not featured on-camera, or
when they’re not performing their own stunts. Similar to extras, they usually have one or two call times. However, a
stand-in or stunt person’s name should be stated along with the name of the talent or character they are standing in for
 Call Sheet components
8. Department notes
In most call sheets, you’ll need an area to highlight specific notes for departments. These notes
can be anything; key props in the scene, wardrobe, a note regarding a complicated lighting setup,
or a reminder to bring something to set (i.e. paperwork). You get the idea.

9. Crew list
After talent, you can add a list of all the crew members in attendance that day. Usually all you
need is their position, name and call time. Some productions like to include contact details as well
 Call Sheet components
10. Advanced schedule

An advanced schedule is essentially a preliminary shooting

schedule for the next day. This is not always necessary (as changes
are made daily to the shooting schedule), but it’s helpful in many
cases to provide the talent and crew an idea of what’s coming up on
the next day of the shoot so they can prep.

The advanced schedule looks exactly like the schedule featured

above (see point #5), but to avoid confusion, it is labeled “Advanced
Schedule” with the corresponding date and appropriate day-of-days.

11. Walkie talkie channels

You can add walkie channels in the footer or general notes of a call
sheet.Although there are
industry standards for which channels to use for certain department
s
, sometimes channels may vary by production so it’s best practice
to have them listed out on the callsheet.
Tutorial for call sheet
https://www.youtube.com/watch?v=HUj4v9ROpsk
 Shot Breakdown
● A shot list is a document that maps out everything that will happen in a scene of a film, or video, by describing each shot within
that film or video. It serves as a kind of checklist, providing the project with a sense of direction and preparedness for the film
crew.
● It is typically made in collaboration with the director, cinematographer, and even first assistant director. Shot lists are especially
critical in managing and preparing for film scenes. Making a movie demands knowledge of shot type, camera movement, lighting,
actor staging, and much more. Putting this information down in a shot list helps the filmmakers remember what it is they wanted,
and how to execute.
● With so many moving parts, having a concrete document stating which shots demand what equipment, and how long shot setups
will take, determine so much of the schedule and budget.

WHAT GOES ON A SHOT LIST?

● Brief description of shot- action, characters
● Scene number and shot number
● Shot type (close-up, wide shot, etc.)
● Camera angle
● Camera movement
● Camera equipment
● Framing (aspect ratio)
● Location (INT./EXT.)
● Setup times
● Sometimes audio notes, or prop mentions
Shot Breakdown
 Shot Breakdown

Why are shot lists important?: It’s easy to get lost during a shoot, even with a small team. If you’ve got lots of settings, multiple actors,
and a large crew, then things only get more complicated.A shot list keeps a project on track. Before filming, it helps directors to collect
their thoughts and build a shooting schedule. During filming, a solid camera shot list means different departments can work independently
from each other. It also makes it easy to keep going if a crew member’s sick one day, or has to leave the shoot

When to make a shot list: You should make your shot list after finishing your script, at the same time as creating your storyboard. Your
shot list will help you visualise what you want. It'll make it easier to organise the cast, crew, equipment, and locations that bring your vision
to life.
During production, you’ll add notes to the shot list to help your editor – like which takes to use, detailed comments, and shot / card
numbers. Remember to add the clip number or timecode to the shot list during production. It'll help your editor know which shot is which,
and dramatically speed up the editing time.Remember to organise your shots by location. Putting similar shots together makes shooting
easier because you can shoot them all at the same time. (Note: this might not be in order of shot number. And that's okay!) This makes
filming way more convenient – even if you're not shooting in the order of your storyboard
 Shot Breakdown: Components
What's in a shot list? A typical shot list includes:
●Scene: This is the scene number, which you'll find on your script. You might not need it for smaller productions where everything happens in
one scene.
●Setup: Add a new setup every time you reposition the camera or change the lighting. You can use these setups later to group similar setups
together, making it simpler to shoot.
●Shot: Increase the shot number by one every time you start a new shot. (Depending on your personal preference, you might want to reset
the shot number for every new setup.)
●Description: Use this column to quickly explain where you’re at in the script. You should say what the subject is – whether it's an actor,
group of actors, prop, or a setting. Then describe any action that's happening, any props involved, and what exactly the camera should
capture. This description tells your director everything that's happening in the shot, so that everyone's on the same page.
●Equipment: Use this column to list the equipment that's supporting the camera. For example, Tripod, Steadicam, Drone, Dolly, etc.
●Movement: Use this column to explain what your camera's doing when it's not static, i.e. it's moving. For example: Static, Pan, Tilt, Dolly,
Zoom, etc.
●Angle: Use this column to describe the angle of the camera in relation to the subject. If your camera's lower than your subject, it’s a low
angle. If it’s higher than the subject, it’s a high angle. You can also include other terms that help to explain the angle, for example: Eye-level,
High angle, Low angle, etc.
 Shot Breakdown: Components

● Shot size: Describe the size of your subject in the frame. Varying shot sizes and having them appear in different orders creates
dramatically different effects. A scene might start with a wide shot to establish where it's happening, before moving to a mid-shot of your
subject, then a close-up of the action. Shot sizes are often abbreviated, e.g. wide shot (WS), very wide shot (VWS), mid-shot (MS),
medium close-up (MCU), close-up (CU), extreme close-up (ECU).
● Audio: Use this column to explain how you're picking up the audio. For example: Boom, Lav(s), Voiceover (VO).
● Lens: Use this column to record which size lens you're using. For example 24mm, 50mm, 200mm.
● Time estimate: Use this column to estimate how long it will take to set up (not shoot) each shot, which helps you build your schedule
and timings for each day. It'll also highlight any time-consuming shots, in case you need to cut or change them on the day – like
changing a lengthy jib shot for one on a raised tripod.
● Camera: Use this column to remember which camera you're using (if you're using more than one).
● Cast: Use this column to note down which characters are in the shot.
● Best take + timecode: If you want to make your editor's life a lot easier, you can use these columns to note down a great take and
when it happened. If you don't have a timecode, just change that column to 'clip'.

https://www.studiobinder.com/blog/how-to-make-a-shot-list-software/