● FREE SHOT LIST One page. Instant download.

Movement Filmmaker
Sage Moore
A parked car shot front three quarter, the frame the shot list came out of

The car in that edit was parked the whole shoot.

The Static Subject Shot List

Every shot I used to make a car that never moved feel like it was moving.

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It never moved once. Every bit of motion you felt came from somewhere else. This is the list of where.

Almost nothing you film moves the way you want it to. A parked car sits there. A product sits there. A room sits there. A person freezes the second the camera comes up. So the motion has to be built. One page, four sections, the actual shots and the actual settings. It is short on purpose. You are meant to shoot with it open, not read it once.

What Is On The Page

Four places motion actually comes from.

Motion is not decoration. It is the thing that makes the frame feel alive.

Section 01

The camera

Motion the camera makes on its own.

The whip arcThe crash zoomThe snap shotsThe wheel rotation shotThe whipThe static shot

Six moves, each with the shutter speed, the focal length and the post speed ramp written next to it. Including the one focus mistake that ruins a whip pan every time.

Section 02

The foreground and background

The cheapest motion in filmmaking.

Static shotShoot through somethingLet something else move

Three ways to get movement into a locked off frame without touching the camera or the subject. One of them is free and outdoors and most people walk straight past it.

Section 03

The previous frame

Half the feeling of motion is built in the edit, not on the day.

Cut on motionKeep the directionOpposite motions can flow

Why a direction carried across a cut reads as one continuous movement, and why cool shots in a random order are still a slideshow.

Section 04

And then sound

The part almost nobody grades themselves on.

Sound is doing about half the work. There is a thirty second test on the page: cut the sound out of a shot you think is working and see how much of it was never in the picture.

"Spend more time on the sound design than you do the edit."

Plus, From The Actual Edit

The real project, named.

  • The exact lens and settings, and the cheaper prime he has shot the same edit on
  • The shot that opened the piece, described frame by frame
  • The one shot he says carried the whole edit
  • What he would do differently now, and a link to the edit so you can go check

A car is the example, not the subject. A car will not perform for you, will not react, and will not move unless you make it look like it does. Solve that and a product on a table, a room, an athlete between reps and a person who freezes on camera all get easier.

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Views On One Parked Car
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Views On His Best Film
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Brands And Shops Filmed
2021
Filming Full Time Since
Sage Moore holding a cinema camera
Who Wrote This

Sage Moore

Movement filmmaker · Nashville, TN

Sage films movement. Parkour, flips, lifting, running, and for the last four years, cars. He has shot for Exotic Autosport and Nomad on retainer, worked with Katamu, and travelled internationally shooting luxury real estate with Gavren Dochterman.

The reason he can write this specific list: he does the movement he films. He is the athlete and the person behind the camera at the same time, so he knows which moment carries the impact and where the camera has to be to catch it. That is the same instinct he points at a parked car.

"Gear matters, but only to an extent. Taste matters more."

Grab it if…

Skip it if…

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Fair questions

Do I need a specific camera? ⌄
No. Sage shoots on a Sony a7S III, but nothing on this page depends on that body. He notes on the list itself that he has made one of these edits with a single 12mm prime. If your camera records video and you can move it, the list works.
Is this only for filming cars? ⌄
No. The car is the worked example because a car is the strictest version of the problem, and one shot on the list is named after a wheel. Everything else is about where the camera goes, what sits between the lens and the subject, and how one frame flows into the next. Point it at a product, an interior, a bike, a person who freezes on camera. Same list.
Why do you want my phone number? ⌄
So Sage can text you when the free live training is about to start, and occasionally when something new is worth your time. That is it. The consent wording under the button is the whole deal, nothing hidden behind it, and STOP works the first time you send it.
Is this going to make my videos get more views? ⌄
Not on its own, and Sage is not going to tell you otherwise. Reach is its own separate problem and a shot list does not solve it. What this fixes is the craft half. A better next video, and the ability to look at your own footage and name the specific thing that is wrong with it instead of just feeling that something is. That is the part that compounds.

One page. Every shot. No filler.

The shot names, the shutter speeds, the focal lengths and the post speed ramps. Written by the person who shot the edit, about the edit. Take it out on your next shoot and see how many of the four you were skipping.

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