From page to screen: breakdowns, shot lists and coverage

Once a script is finished, it becomes a production document. Departments read it for different purposes, and the director turns it into a plan of shots. Screenwriters who understand this process write scripts that are easier to produce, and writer-directors need these skills to make their own films. This lesson follows a script into preproduction: the script breakdown, scheduling by pages and locations, how script choices affect cost, the director's shot list and coverage plan, and how floor plans show camera positions. It prepares you to break down and shot-list your own short.

The script breakdown

A script breakdown lists everything each scene requires so that departments can budget and schedule. The first assistant director or a line producer usually leads it, marking up the script by category: cast, extras, props, wardrobe, makeup, vehicles, animals, special effects, stunts, locations and special equipment. Traditionally each category had its own color of highlighter; today, scheduling software uses tags. Each scene gets a breakdown sheet summarizing its needs, length in eighths, location and time of day.

Scheduling: pages, locations and days

Productions schedule by grouping scenes that share locations, cast and time of day, not by shooting in story order. All scenes in the terminal office might be shot on one day, even if they fall at the beginning, middle and end of the story. Night scenes are often grouped because they require night shoots with different crew hours. Child actors, animals and special effects all add scheduling constraints.

How script choices affect cost

Screenwriters do not need to write cheaply, but they should know what costs money. Producers often ask writers to adjust scripts to fit a budget, and a writer who understands production can make cuts that protect the story.

• Locations: every new location means a company move, permits, set dressing and lost shooting time.
• Night and exterior scenes: night shoots cost more in lighting and crew time; exteriors depend on weather.
• Cast and extras: more speaking roles and crowds mean more fees, wardrobe and coordination.
• Children and animals: limited working hours and supervision requirements.
• Stunts, effects, vehicles and water: specialists, safety planning and insurance, which CINE-340 covers.
• Period settings: costumes, vehicles and locations from another era.

The shot list

A shot list is the director's plan of every shot needed for each scene, usually prepared with the cinematographer. Each entry gives a shot number, the shot size (such as wide, medium or close-up), the angle, any camera movement, the lens if known, a brief description and sometimes notes on sound or effects. Shots are usually grouped by set-up: each time the camera and lights move to a new position, the crew must re-light and re-rehearse, so set-ups, not shots, drive the schedule.

Coverage strategies

Coverage is the set of shots that gives the editor enough material to assemble a scene. A common approach for dialogue scenes starts with a master shot covering the whole action, then moves in for medium shots and close-ups of each character, plus inserts of important details. Other approaches include shooting a scene in a single take (a oner), using two cameras at once, or planning a minimal, precise set of shots. More coverage gives the editor flexibility but costs time.

• Master shot: a wide shot of the whole scene, establishing geography.
• Singles and over-the-shoulder shots: each character's lines from their side of the line of action.
• Inserts: close shots of objects and details.
• Cutaways: shots of something outside the main action, useful for editing.
• Oner: a scene played in one continuous shot, which demands rehearsal and saves editing time.

Floor plans and camera positions

A floor plan, also called an overhead, shows the set from above, with the positions of actors, furniture, the camera and its direction for each set-up. It helps the director, cinematographer and gaffer plan lighting and avoid crossing the 180-degree line, which you studied in FILM-101. Overheads mark camera positions as A, B, C and so on, with lines showing the field of view and arrows for movement.

The writer's role in production

On many productions, especially features, writers are not on set. On television, writers often are, because showrunners and episode writers supervise production. Writer-directors carry the script through every stage. In all cases, scripts keep changing: locations fall through, actors improvise, scenes are cut for time. Script supervisors track what is shot against the script, noting changes and continuity, and their notes go to the editor.

In the United States, many series writers are expected to produce their episodes on set, and guild rules and showrunner practice determine how involved writers are during shooting and post-production.

Location scouting and the writer

Locations are often found after a script is written, and the real places available may change the script. A scene written in a lighthouse might move to a harbor office if no lighthouse is available; a city street might become a laneway because permits are cheaper. Writers who stay involved can adapt scenes to locations while protecting their purpose. Writer-directors often visit locations before final drafts and rewrite scenes to use what a place offers, such as a window with a striking view or a corridor perfect for a long walk-and-talk.

Continuity and the script supervisor

The script supervisor tracks continuity and changes during shooting. They note which shots were taken, how long each take ran, which takes the director preferred, dialogue changes, and details such as which hand held a cup. Their notes, called the lined script and daily reports, guide the editor and protect the production from continuity errors.

Preparing your own production documents

For your capstone short, you will prepare a simple breakdown, a shot list and a floor plan for the key scene. Start by marking each scene's needs in the script, then build the shot list with your cinematographer, grouping shots by set-up. Draw the floor plan last and check every camera position against the line of action. Keep the documents short and clear; on a small crew, everyone will use them.