Full Shot

What this is about

Any department that works with the body asks for this size. Costume wants it because shoes and hem are finally visible, choreography and stunt want it because the move has to be seen in one piece, and directors use it whenever a character's posture carries the beat. In coverage it usually sits between the wide and the medium: you shoot the room, then the figure, then the face. Product work uses it for anything a person holds or wears at full length.

A term only helps when everyone on set means the same thing by it — so what follows is how it is used, not a dictionary definition.

What runs differently here

Where this differs from the general case:

• Head to toe is the test: cut the feet and it stops being a full shot; add room and it drifts wide.
• The German set language calls the knee-high variant Amerikanische, cut above the knee — a separate size, not a loose full shot.
• Full shots punish sloppy floors: marks, cable runs and shoe continuity are all in frame and all visible.

With TillyGen

When a scene lives on movement, TillyGen suggests a full shot in the coverage so the blocking is not lost between wide and medium.

Change one constraint and the consequences travel through the whole plan: affected shots are flagged, the call sheet is regenerated, and nobody keeps working from yesterday's version.