Published: November 19, 2024 | Last Updated: November 25, 2024
Coverage Definition & Meaning
Coverage involves shooting multiple versions (angles, framings, distances) of the same scene to ensure sufficient editing options in post-production. This allows editors to control performance timing and pacing. Coverage is also a “safety net” for technical issues and continuity errors. If you’re “missing coverage,” you might have to do reshoots, which is time-consuming and expensive. That’s why coverage is so important.
Types of Coverage Shots
So, what types of shots are included in coverage? Well, any shot, depending on the project. That said, some shot types are more commonly included than others and are often considered the bare minimum to ensure camera coverage of a scene. Those are:
- Establishing shots (establishing context and setting)
- Cutaway shots (reactions, environment)
- Cut-in/cut-out shots (variation in shot size)
- Over-the-shoulder shots (a character’s point of view)
- Shot reverse shot (reactions, dialogue), most often following the 180-degree rule.
See also FilmDaft’s comprehensive guide to camera shots, angles, and movements.
Standard Methods Used for Camera Coverage
There are various fairly standardized methods to get good coverage of a scene.
Many directors follow the “V coverage” strategy, starting with wide shots, such as establishing and master shots, and progressively moving closer to the subjects to capture medium shots, then close-ups, or even extreme close-ups. After that, they capture any artistic angles and inserts.
For a typical dialogue scene, the basic format of coverage includes:
- A wide shot (WS) of Actor 1
- A mid shot (MS) of Actor 1
- A close-up (CU) of Actor 1
Then, turn around and repeat those shots for Actor 2.
The Master Scene Method
A master shot is a continuous, wide-angle shot that captures the entire scene, including all characters and actions, from start to finish. It is sometimes used as the establishing shot.
The master scene method starts with the master shot, followed by additional coverage from various angles. For complex scenes, you can break down the action into smaller “mini-master shots” (for example, a two-shot of a couple in a diner) instead of attempting to capture everything in a single master.
When you’ve captured the complete sequence in one long take, you can then get into the nitty-gritty of getting coverage, similar to the V-method.
The Triple-Take Method
The triple-take method (aka the overlapping method) links consecutive shots through overlapping actions to ensure continuity in editing. This is done by having your actors repeat the same action at the end of one shot and the beginning of the next. Each shot overlaps its action with the preceding and following shots.
It’s called the triple-take method because it requires you always to consider the take before and after the one you’re currently shooting.
The triple take is a fast way to capture a scene with a single camera because it doesn’t rely on a master shot (there is no need for a full scene repetition). Instead, you divide the scene into more minor sequences. It’s handy for scenes where an action can’t be repeated—for example, in run-and-gun scenarios or when a car or building is blown up.
I recommend creating a storyboard or shot list first, so you know what coverage you want. Shooting more intricate sequences can make coverage pretty complex.
The In-One Method (the “Oner”)
The In-One Method (or “oner”) captures everything in a single take. This is also known as a “long take,” a “developing master,” a “oner,” or in French, plan-scene or plan-sequence.
The “Oner” is similar to the master scene method, capturing a scene from beginning to finish. However, it is planned, often involving extensive blocking and choreography, and executed without the intention of using additional coverage shots.
The Freeform Approach
The freeform “documentary” approach uses a handheld style, typically with three passes: focusing on dialogue, reactions, and creative choices. It’s often used in run-and-gun scenarios and comedies such as mockumentaries or found-footage-style horror movies.
Shooting Coverage with Multiple Cameras – Best Practices
If you have the luxury of shooting with multiple cameras, you can simultaneously cover the scene from multiple angles. However, often, you’ll find yourself working with one, two, or maybe three cameras (if you’re lucky!).
Now, you might think you would shoot Actor 1 with one camera and Actor 2 with another, and then perhaps a two-shot of both actors or a master shot with the third camera if you have it. However, that’s pretty uncommon. When shooting with two cameras, it’s more common to cover one actor at a time—for example, capturing a wide shot and a mid shot. Then, turn around and do the same for Actor 2. And then get fancy with insert shots, etc.
This often means capturing the same scene multiple times, and on big productions, it’s not uncommon for a single scene to span a couple of days.
See how to set up and edit footage from multiple cameras in Premiere Pro.
Summing Up
Getting coverage is important because it provides editors with multiple options to construct scenes, maintain continuity, emphasize dramatic moments, and fix potential problems in post-production, ultimately ensuring the story can be told as intended. Also, you don’t want to go back and do a reshoot because it’s both time-consuming and expensive.
Hopefully, this article has given you a better understanding of coverage and how you can approach covering a scene yourself.
Up Next: The FilmDaft guide to scene composition.
