The car was parked the whole shoot. Every bit of motion is camera, cut and sound.

The Automotive Filmmaking Shot List · Free

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.

A car will not perform for you. It will not react, it will not move, and it will not help you out. It sits there in a parking lot in the middle of the afternoon and waits for you to make it look fast.
So the motion has to be built. Seven shots, in order, with the actual settings next to them. It is built to be used on a shoot, not read once and filed.

What Is Inside

Seven shots, in the order I actually work in.

Get the safe coverage first. Then get aggressive. Then collect the transition material that makes the edit easy.

Shot 01

Whole-car coverage

Get the foundation before you disappear into details.

Direct side profileFront three-quarterStraight frontRear three-quarter

One full pass around the car before you get experimental. If you had to cut the video using only these, the car should already read clearly.

Shot 02

Crash zooms

One of the core movement shots in the style.

Wide to tightTight to wideSwipe out

Lock focus before the zoom so the camera does not hunt through the range. Where to use them, and why you should not make every one identical.

Shot 03

Detail whip-ins and whip-outs

Once the whole-car coverage is safe, start attacking the details.

HeadlightsWheels and brakesBadgesFront grillQuarter panels

Get lower. Move closer. Dutch it when the geometry supports it. Do not just document the detail, find a way to make the detail itself feel like movement.

Shot 04

Low-shutter arc whips

The signature flashy shot.

24 fps1/4 shutterAround 16mmSped up in post

Move alongside the feature in a slight arc instead of standing back and panning. The raw clips look strange before the edit. That is exactly what is supposed to happen.

Shot 05

Dynamic static shots

The breathing room that makes the aggressive shots hit harder.

5 to 10 per carLower anglesTighter cropsDutch angles

Keep something moving in frame. Tree shadows, leaves, passing traffic, changing reflections. The calm shot is what gives the next fast shot somewhere to go.

Shot 06

Dedicated whip pans

Collect the transition glue before you leave.

Fast left and rightAround detailsTrees and leaves

These do not need to be beautiful standalone shots. They are editorial glue, and they are what gets you cleanly into and out of a static shot.

Shot 07

Creative extras

Once the essentials are covered, improvise.

ReflectionsStrange anglesInterior and exteriorLocation-specific movement

The first six give you a reliable foundation. Once that is banked you can experiment as hard as you want without getting home and finding you missed the shots the edit actually needed. The list is there to make you safer, not more repetitive.

Also Inside

The setup, the checklist and the running order.

The baseline setup he shoots every car on, including both shutter speeds and why they differ
How he picks a usable location during normal client hours, with no golden hour
The final walk-around check before you move the car or wrap the shoot
A one-screen quick reference of the whole running order, in sequence

This is the coverage order Sage uses when he is handed a car and has to come back with a fast, movement-heavy edit. It is a shot list, not a formula. The goal is not to copy the same shots every time, it is to leave the shoot with enough reliable coverage that the edit already has momentum before you open the timeline.

Views On One Parked Car

Views On His Best Film

Brands And Shops Filmed

2021

Filming Full Time Since

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…

You already own a camera and you are already shooting. This is not a first-camera handout.
Your footage never comes out the way you saw it in your head.
You have filmed something that barely moves, a car, a product, a room, a person standing still, and it came out looking like a slideshow with music on it.
You want the shot names and the settings, not another video essay about storytelling.

Skip it if…

You have never picked up a camera. Start on the free stuff first, then come back.
You want somebody to promise you clients or a number by a certain date. Sage will not do that, on this page or anywhere else.

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? ⌄

Mostly, yes. This one is written for cars specifically, because that is what Sage shoots every week and the shot names, subjects and running order all assume a car in front of you. The thinking underneath it does carry, the movement, the sequencing and the contrast between fast and still are the same ideas on a product or a room. But he would rather hand you the version he actually uses than a general one he does not.

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.

Seven shots. In order. No filler.

The shot names, the settings, and the order Sage works in when a client hands him a car. Take it out on your next shoot and see how many of the seven you were skipping.

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