Coverage is the closer shots that focus on different parts of a scene. Peter Kiwitt explains how to plan coverage so the camera tells the story.
referred to as a “oner.”
Coverage is made up of additional, usually closer shots, each of which focuses on a different element or group of elements in a scene—the more elements, the more potential coverage. The way a scene is covered is somewhat dictated by the master (there needs to be continuity).
In practice, things are often not so simple. A master may cover only a part of the action or duration of a scene. There could be more than one master or no master at all. As for coverage, there could be multiple shots of one element or a combination of elements within a scene. Or a shot could shift from one element to another.
When trying to decide how to shoot a scene, think of yourself as a storyteller. You tell the story to the audience by choosing what is best for them to see and the best way for them to see it. It is not enough to merely turn on a camera and record the action as if at a play.
By focusing on one element in a shot and excluding another, you can show the audience different elements as each becomes important. In this way you also can comment on how the different elements relate to each other. This is essence of telling the story with the camera; it creates the need for multiple shots of the same scene.
In addition to the all-important goals behind each decision, and to the purely technical requirements of cinema, there are other factors to consider when breaking down a scene. Many times it is desirable to have more than one shot of an element purely for the sake of visual variety, especially if the scene is long and the element is static. Sometimes it is better to shoot a tighter rather than looser shot if there is a potential continuity problem—the tighter the shot the fewer elements to match. If a fast pace is desired, such as in an action scene, additional shots will allow the cutting to be more dynamic. Also remember, short of splitting the screen, only one shot can be shown at a time; it does no good to have the best part of two or more shots occur at the same instant (for example, do not begin a dolly in one shot at a moment where you plan to use another shot). Conversely, every shot does not have to be usable in its entirety if there are other shots to cut in (which is why it is sometimes quicker to get at least two shots of each scene rather than in a oner where everything must be perfect).
There are also considerations of time. Time is literally money when shooting and you will never have enough. Therefore, try to design your shots to achieve the desired creative effect as efficiently as possible. This means trying to limit the number and complexity of shots. Different types of shooting have different time frames. As a starting point figure a day’s shooting might yield twenty different setups (which could include more than one camera). Of these setups, some shots can be time consuming but most should be simpler. Some time consuming factors are lighting large areas, complicated movements on the part of the actors or camera, special rigging, stunts, and special effects. Simplifying factors include shooting in an already lit area, shooting the same action with a different lens, and shooting tighter shots.
You must also consider the order in which shots will be made. Until you decide what comes next, nothing else can be done. When planning your order, try to shoot as much as possible in the direction you are already working in. Usually it is best to start on the widest shot and work in. Outdoors, the sun and the weather will also influence your decisions.
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