Shot lists are among the most essential tools for filmmakers, and I’ve certainly used them extensively over the years.

On some of my earliest short films, I made the mistake of not creating a shot list and paid the price. Only once I got into the edit did I realize pieces of the puzzle were missing – whether it was an establishing shot, a reaction, or something else entirely.

Before long, I did a 180 and embraced shot listing to the extreme. I would plan out my scenes in meticulous detail, considering every possible angle and coverage option.

My workflow always started with a lined script, which allowed me to quickly visualize scenes by marking off which shots would cover which lines of dialogue. From there, I would transfer those ideas into a traditional shot list and break down specific choices for lensing, shot sizes, and camera movement

As you can imagine, this gave me far better results than simply winging it, as I had often done on my earliest attempts.

But after a few more short films, I noticed a pattern – no matter how well I planned beforehand, things always changed on the day.

The establishing shot I imagined opening the scene wasn’t possible to capture from the angle I had envisioned. Or the two-shot I wanted didn’t work with the set and blocking we were using.

On virtually every shoot I’ve ever had, it was necessary to deviate from the original shot list. Sometimes in huge ways.

So I modified my process in prep. Now, instead of simply making a shot list, I would create a shot plan.

For me, this was a much more intuitive way to work. It wasn’t just a technical breakdown of shots I thought I might need. Instead, it was a holistic look at the scene, the actors, the location, and other factors that would ultimately shape my coverage.

I would factor everything into this phase – from how quickly I needed to shoot, to the stylistic look I was after, to the crew size and amount of support gear we had available.

Thinking things through in this way allowed me to get into the headspace of actually being on set: solving logistical problems before they arose and envisioning production in a more three-dimensional way.

A basic shot list on paper is a good start, but for me, it only went so far. It was too easy to imagine shots that wouldn’t be possible on the day, or to miss opportunities by neglecting variables beyond camera placement and lens choice.

This shift fundamentally changed how I thought about pivoting and problem-solving on set.

Now, when I would run into a problem while shooting, it no longer felt like this detrimental issue that deviated from my rigid shot list.

Instead, I went into the process knowing that the environment, actors, and countless other factors would influence my choices. I began from a place of flexibility, staying open to the best ideas for the given conditions.

This is how I prefer to work today, and I’ve consistently achieved stronger results by creating room to rely on instincts and work intuitively.

My Workflow Today

As mentioned, it all starts with a shot plan – a full assessment of my resources, location, cast, and shot ideas to determine the best way to serve the story within the scope of my means.

The document itself is usually just a collection of notes and bullet points covering anything that might impact my decisions on a scene-by-scene basis.

Once I get to set, I have that plan in my back pocket, ensuring I know what I need and why.

But before imposing any ideas, I always start by letting the actors lead. I’ll block the scenes with them and see what they naturally want to do, rather than dictating pre-determined actions.

At the same time, I assess the natural lighting conditions and other environmental factors – looking for the best pockets of light and areas with the most (or least) depth.

Essentially, I’m trying to stage the action in a way that feels authentic while also taking advantage of the environment.

From this perspective, the best camera angles and shot sizes quickly become obvious. And unlike with a traditional shot list, I don’t feel locked into ideas I sketched out weeks earlier.

Inevitably, new ideas emerge on set. What might have been a wide shot on paper may become a close-up once I actually see the scene unfold. And because I’ve now captured that close-up, I might add an extreme wide for contrast. Each decision informs the next, all rooted in the real dynamics of the moment.

Every scene becomes a living, breathing thing – more intuitive and creatively in sync with the story.

To create even more flexibility, I often shoot scenes sequentially. That way, I can almost edit the film in my mind as I go. If I change something in shot 1 or 2, it can ripple forward, shaping choices in the rest of the sequence.

At times, it feels like I’m both watching a movie and making one simultaneously – and it’s my favorite way to work, at least for now.

I’m not suggesting this is the right workflow for everyone. Each project and filmmaker has unique needs. And if you’re just starting out, it’s critical to understand the benefits of a shot list before throwing it out.

But for more experienced filmmakers, this type of approach is worth exploring. It might free up your creativity in unexpected ways, and help you capture stronger, more authentic scenes with far less friction.

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