Aug 10, 2026

Storyboard vs Shot List: Which Do You Need?

A storyboard is your visual blueprint, a sequence of drawn or rendered frames that shows how a scene reads on screen. A shot list is your technical checklist, a row-by-row inventory of every shot the crew must capture, with the parameters to execute each one. Most scripted productions need both, because they answer different questions: the storyboard answers how does this scene look? while the shot list answers what exactly do we shoot?

Here is how to decide quickly:

Shot list only: micro-budget shorts, documentary and run-and-gun work, interview-driven corporate videos, or any project where the director and DP can hold the visual plan in their heads.
Storyboard only (rare): animation pre-production or early-stage client pitches before a shot list is practical.
Both: any scripted commercial, branded content with client sign-off, VFX or stunt sequences, or multi-day shoots where schedule precision matters.

Before prep begins, do two things: check whether your script contains any complex sequences (stunts, VFX, product reveals, multi-camera choreography) that require visual problem-solving, and confirm whether a client or agency needs to approve the visual plan before production spends money. If either answer is yes, build the storyboard first.

Key Takeaways

A storyboard will answer this question for you. You will also need to make a shot list as well for most scripted commercials. These go hand in hand, but storyboards should be created first.

Point	Details
Storyboard = visual blueprint	Sequenced frames showing composition, movement, and timing; built for creative problem-solving and client approval.
Shot list = technical inventory	Row-by-row document with shot size, angle, lens, and duration; the 1st AD’s primary scheduling tool.
Sequence matters	Lock the script first, then build the storyboard, then translate panels into shot-list rows.
Commercials need both	A :30 spot typically uses 8–12 storyboard frames for client sign-off, then a full shot list for the shoot day.
Kinter handles pre-production	Kinter Media builds storyboards, shot lists, and full crew packages for commercial shoots from concept through delivery.

What a storyboard actually shows you
What a shot list actually does for your crew
How storyboards and shot lists compare side by side
Do you need both? A practical decision guide
How they work together on set — an industry-tested workflow
How to make a storyboard and a shot list (step-by-step + templates)
Common mistakes and best practices
How Kinter approaches storyboards and shot lists on commercial shoots
Full pre-production handled for you
Sources

What a storyboard actually shows you

A storyboard is a series of frames that show important points or angles of your shot. It can be thought of as a comic strip. You take all of the actions from your script and create frames around them. This allows the director, DP, client, and agency to have an idea of what the film will look like.

On each frame you should include:

What your frame will look like (foreground, background, etc.)
If there is any camera movement such as pans, tilts, etc., use arrows.
Describe the action happening in that frame.
Dialogue/Voiceover: the dialogue or VO that will be over the picture.
Timing: time in seconds, this is very important when working on commercials.

Storyboards become more important when working on commercial projects. You will usually see about 8-12 boards for a :30 commercial. Each board will need to contain more info than your average film storyboard. Timing of shots as well as how you're going to show the product. Usually you have to worry about different aspect ratios for different deliverables. Storyboards are used to get client buy in on commercials. Your agency and client will approve of the storyboards before going into production to shoot the commercial.

Storyboards are essential for:

Commercials or any type of client based work.
If you're doing heavy VFX or stunt work, its always good to have a board that you can show to your director and VFX supervisor.
If you're working on animation or motion graphics.
It can get pretty complicated when trying to explain multiple cameras and angles.

If your scene just has simple dialogue or if you're shooting an interview or doc style project, storyboards may not be necessary.

Tip: When shooting for an agency client on a commercial, always use your storyboard as your contract. It's there to protect both parties if any questions arise about shots on set.

What a shot list actually does for your crew

A shot list will break down all of your shots you need to shoot on a per line basis. Similar to a storyboard, it will show you what shots you need but will go into more detail. This is your go-to sheet when creating a schedule and breaking down your day with your 1st AD and DP.

Always include:

Scene # and shot #
Shot Size (ECU, CU, MCU, MS, WS, EWS)
Camera Angle(Eye Level, Low Angle, High Angle, Dutch)
Camera Movement(Static, Pan, Tilt, Dolly, Hand Held, Steadicam)
What Lens(focal length or name of lens)
Describe what is happening in the shot
List any props and or special equipment used.
Estimated time (allows 1st AD to know how long to allow per day)
Location/set (if multiple locations on a day)
Any notes (Safety, vfx markers, second unit)

This is used by your DP and 1st AD to plan out your days. When formatted correctly you can fit 18-22 lines per scene when printed. This will usually be all you need for a given scene. If it's longer your 1st AD is going to hate you.

The camera department, producer and gaffer will use this to see what equipment you may need to switch between. They can also use it to know when they may have to move company. Your producer will use it to check against the budget if needed, like if the list shows 28 shots in a 10-hour day, something has to give.

How storyboards and shot lists compare side by side

A storyboard vs. shot list can be described as similar. The main difference being that a storyboard is visual and the shot list is more of an asset list.

Dimension	Storyboard	Shot List
Primary purpose	Show how a scene reads visually; solve composition problems before the shoot	Inventory every shot with technical parameters for scheduling and execution
Format / deliverable	Sequential illustrated frames with annotations	Structured table or spreadsheet, one row per shot
Who primarily uses it	Director, DP, client, agency, VFX supervisor	1st AD, DP, camera team, producer, gaffer
When to create it	After script lock, before shot list; during pre-production	After storyboard is approved (or after script, if no boards)
Typical contents	Composition, camera movement arrows, action notes, dialogue, timing	Scene/shot number, shot size, angle, movement, lens, props, duration, notes
Scheduling / budget effect	Identifies complex shots early; supports client sign-off before spend	Drives day scheduling, gear lists, and crew call times
Who signs off	Client, agency, director	Director, 1st AD, DP

StudioBinder allows you to make shot lists that can be shared and printed as well as gives you an estimate on shoot times. Can be used for film, tv, commercials and photography. Storyflow will allow you to create your storyboards and will help guide you through each panel. Has great templates for commercials and short films. Both are useful tools to have when creating these documents.

A moodboard is different than a storyboard. A moodboard can consist of images and ideas that represent what your vision is for your project. Storyboards will go more in depth on what you want each panel to look like. You may use a mood board when pitching and then use a storyboard when your idea has been accepted.

Do you need both? A practical decision guide

This all depends on what type of work you're doing and your relationship with your client. But here are some guidelines.

Just use a shot list if:

You are shooting a documentary/vox pop/run and gun type of project.
Your director and DP know what they're doing and can explain to one another.
Budget will not allow for a storyboard artist. Your shots are not going to be too involved.
One camera interview style shot or Corporate talking head.

Add a storyboard when:

There is a client or agency that will need to see your visuals prior to shooting day.
If your script calls for VFX or Stunts or you are showcasing a product or have many camera setups that are being plotted out.
Scripted Commercial. Most likely TV Commercial that is planned to the second for the :30 or :60 spot.
Animation or Motion graphics you will need storyboards this is what you build your show around.

Three scenario examples:

Short film low budget. Director/DP will have their prep work done. You will know what you need to cover. Dialog shots some insert maybe 1 action shot. Use StudioBinder to create your shot list. There is no need to storyboard every scene you will run out of time/money.
:30 Commercial you are working for an agency. Your client will want to see what this will look like before we go and shoot. Create a storyboard with around 8-12 frames, include how long they'll last on screen and make sure the product is framed correctly. Send to your client, once they approve it you can use it as your shot list. You will need both, storyboards just come first.
Documentary/vox pop. Run and gun style shooting. You won't have a script so there's nothing to storyboard. Just create a shot list of what you'll need to cover when it comes time.

There are many programs that allow you to storyboard with AI if you're on a lower budget and still need to storyboard certain shots. These tools have opened up the opportunity for more indie films to use storyboards.

How they work together on set — an industry-tested workflow

Usually it's best to have a script > storyboard > shot list > shoot.

Hands sketching storyboard panels in pre-production

Step 1: Have your script and know what you're doing. Make sure you and your producer know what you're going to do when shooting your project. Maybe you know you will need to storyboard a certain shot. If you're not sure what you're doing, don't waste time storyboarding.

Step 2: Storyboard. The Director will need to create a storyboard (can work with storyboard artist or use programs such as Storyflow or generate from AI). This does not have to be beautiful, it's just there to help you figure out how your sequence plays out. Storyboarding will also allow you to get approval from your client if you're shooting a commercial. Storyboarding allows you to get approval on your commercial and lock in a budget.

Step 3: Break down your boards to your shot list. You will want to go through each board and create a row on your shot list per shot. If you have a board that has 2 shots then make 2 rows, one for the wide shot and one for your dolly in. Make sure the Director and DP both understand how the boards translate to the shot list.

Step 4: Have your 1st AD break down the day. Once you have your shot list you want to have your AD break down the day. By breaking down the day you can ensure you're shooting efficiently and not wasting time. Not breaking down your shot list by setup will cause you to lose time on set.

Step 5: Annotate your shot list on set. If you decide to cut a shot or change it up while on set have your AD annotate your shot list. This will help you and your post team know what was shot.

Tip: Share your shot list with your crew the night before you're shooting. Having them see what you are going to be shooting that day will allow them to prepare for that shoot. It also will allow your DP to better understand what they need to bring for the shoot.

Storyboards allow your DP and Director to communicate on what needs to be accomplished that day.

How to make a storyboard and a shot list (step-by-step + templates)

Building a storyboard

Mark your sequences that will need boards. Some sequences you won't need boards for. Pick out which shots need a storyboard. They may be difficult compositions or need to show a client or have VFX/stunts involved.
Divide each sequence into story beats. If your commercial is :30 you'll probably have around 4-6 beats. These will have 1+ frames in your storyboards. You'll want to aim for around 8-12 frames on a :30 commercial.
Draw your frames or use AI to help you make frames. You can just do thumbnail style boards if it's only for your production team. Use Storyflow's templates if you're showing to clients or pay someone to draw them. There's also AI programs that will help you produce frames if your budget doesn't allow for a board artist.
Add information to your frames. Arrows to indicate camera movement. Seconds for each shot and dialogue/VO if needed. Any information regarding aspect ratio.
Show your director of photography and, if applicable, your client. Make sure your board is locked before making a shot list.
Once done you can export your boards as a PDF to send to your client and production team.

Building a shot list

Start with your script or storyboard if one is approved. Each scene will have a section. Each shot will have a line.
Scene #, Shot #, Size of Shot, Angle of Shot, Camera Movement, Lens, What's Happening in the shot. Props and how long the shot should last and any notes.
You want to list your shots in an efficient manner. So instead of going in order of your script, you would group like shots together. If you're on a location you can shoot all your wides then close ups. Saving yourself light time.
Each scene should be about 18-22 lines when printed out. This allows the document to fit on one page and be able to read through each shot without scrolling.
I like to use StudioBinder's shot list, it has many helpful tools built into the shot list. Such as size of shot, camera movement and lens used. You can also add how long each shot should take when shooting.
Send everyone a PDF copy the night before you shoot.

As far as other preparations before production there is also a Video Production Preparation Checklist that will ensure all your locations and permits, equipment and crew are set before you send out your shot list.

Tip: Use different colors for your rows on your shot list. I typically color code them by setup. Green for natural light shots, Yellow for Artificial Light shots, Red for any VFX notes. This will allow your 1st AD to see what to expect throughout the day.

Common mistakes and best practices

There are many mistakes people make when using these documents. Here are some of the more costly ones.

Common mistakes:

Thinking that your storyboards are your final camera shots. Your boards should not be thought of as your final camera shots. You may need to change your shot once you get on set. Have your boards translate into your shot list.
Not translating your storyboards into a shot list. Once you storyboard a scene you need to take those boards and put them into a row on your shot list. This will allow your 1st AD to schedule the scenes.
Storyboarding too much. There are certain shots that you don't need to storyboard. Don't waste your time on shots that don't require it.
Bad print. 40 lines on a page is too many for your AD to work off of while setting up a shot. 18-22 lines per scene max.
File naming conventions. No "Final" shot list file. Have versions and dates associated with each document. (ie. ShotList_Scene3_v3_2026-03-14)
Not paying attention to your aspect ratios when creating boards. Commercials will need 16:9 and 9:16 deliverables so make sure your storyboards reflect that. You'll know about it when it's too late in the edit.

Best practices:

Have your script locked before making boards or shot lists.
Make a storyboard if you need to show your client something or are working with VFX.
Make sure every storyboard panel has at least one shot on your shot list.
Send the shot list to all members of the crew the night before shooting.
Make note of any changes during the shoot and keep an updated copy for your editor.

Tip: Create a column on your shot list for "changes made on set." One box for each shot. Have your AD fill this out if there are any changes that occur on set. This will help your editor know what shots you have vs what you may have planned to shoot. Will save you tons of headache.

How Kinter approaches storyboards and shot lists on commercial shoots

When producing commercials we believe pre production is what will make or break your project. We want to know what you're going to shoot when you're getting to set. Here is how we go about doing that. Script, Storyboard for client review. Shot List that your 1st AD can schedule off of.

During our last commercial for a national client we were able to spot an issue with our storyboards. We had to shoot one sequence of our client using a product reveal. This took about 12 seconds. By having the storyboards we knew that we would have to use a certain lens. And once we got to our location we knew we would not be able to use that lens because of the working distance. So by having the storyboard we saved ourselves about 2 hours on set.

When you have clients that are looking for commercial quality stories, having the storyboard will allow you and your client to know what you're shooting on set. Whether it's AT&T or Mercedes Benz we can all get on the same page. This is what allows us to tell a cinematic story on our client's brand.

Whether it's the Platinum Remi Award from Houston WorldFest or winning Best Director and Best Cinematographer from the European Cinematography Awards, Kinter has shown an ability to deliver great looking projects. It all starts from pre-production.

Full pre-production handled for you

Kinter

Pre-production is something Kinter Media takes care of when producing commercials for clients. We will provide you with a storyboard, shot list, hire the right crew members and get your project scheduled. When working with us as a brand or agency you can expect all of this to be done prior to shooting.

From start to finish we offer commercial video production services that include color grading, sound design, and multi-format export. Check out our work here on commercial videos and brand content that we have produced. Contact us if you would like a quote for your next project.

Sources

Some helpful links to learn more about these processes and template examples.