Single-Camera Dialogue Coverage: A Filmmaking

Guide
Shooting a multi-actor dialogue with one camera requires careful planning and coverage. In practice, the
crew first blocks the scene and rehearses so actors know their marks and movements. Then the camera
crew usually films a master (wide) shot of the full scene – capturing all actors, setting and action – before
moving in for tighter coverage 1 2 . (This wide master serves as a reference and helps the script
supervisor and editor keep everything consistent.) After the master take, the camera is repositioned
repeatedly to capture coverage from different angles and shot sizes (mediums, close-ups, over-the-
shoulders, etc.) 3 4 . The script supervisor meticulously logs every detail (actors’ eyelines, positions,
props, wardrobe, etc.) and often takes photos of costumes, makeup and set-ups 2 5 . This ensures each
take can be reset correctly and later cut seamlessly.

• Master/Wide Shot: Start with a wide “master” take that includes all the actors and the bulk of the
dialogue/action 1 . This establishes who is where in the room and serves as a safety shot.
(NoFilmSchool recommends beginning coverage “as if walking into a party” with a wide shot showing
everyone, which “helps the script supervisor minimize continuity errors” later 1 .)
• Two-Shot: Often the next angle is a two-shot (medium-wide) showing both speakers in frame. This
confirms the spatial relationship of the characters. In fact, many filmmakers begin dialogue scenes
with a two-shot to set context (making both actors visible) before cutting to tighter angles 6 7 . A
two-shot lets the editor show both characters’ body language and reactions at once, conveying their
rapport or tension 7 .
• Over-the-Shoulder (OTS): Classic dialogue coverage then alternates over-the-shoulder angles. An
OTS frames one actor from just behind the other’s shoulder 8 . For example, one OTS shot will have
Actor A’s shoulder/side-of-head blurred in the foreground, with Actor B in focus. Then the camera
moves to the opposite side for the reverse OTS on Actor B. These shot/reverse-shot pairs keep both
actors oriented in the space and show each one’s face during their lines 9 8 . (Filmmakers must
“keep the distance and style consistent” between the two OTS setups so the cut is smooth 9 .)

Example: In this over-the-shoulder setup, the left person’s shoulder is blurred in the foreground while the right
actor’s face is framed. The OTS angle keeps the listener in view to maintain spatial context 8 .

• Medium/Close-Up Singles: In addition to OTS, the camera will cover each actor with isolated
medium shots or close-ups. A “single” or “dirty single” means only one actor is in focus (sometimes
with a blurred hint of the other off-screen) 10 . These shots emphasize the speaker’s expression and
emotion. Editors typically use a pair of singles – one for each actor – at some point to highlight
emotional beats. In practice, a common coverage checklist is: wide/master, two-shot, OTS on A, OTS on
B, medium on A, medium on B, (and often close-ups on each) 11 10 . NoFilmSchool suggests “at the
end of shooting a scene, there should be a wide shot, two medium shots, and two close-ups” 11 ,
which is a good baseline for edit coverage.

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Blocking and Performance Continuity
Because each camera angle is shot in a separate take, actors must repeat their movements and timing
exactly for every coverage setup. On set this means the director and script supervisor carefully note
blocking (actor positions, gestures, eye-lines, props usage) so it can be matched. In rehearsals, actors learn
their marks (often with tape on the floor) and practice the scene repeatedly. Then during shooting, the
master wide take “locks in” the physical choices: once actors have hit their marks and made gestures in
the wide shot, they are expected to duplicate those choices in later takes 12 . As one actor-writer explains,
“the master wide is a reference shot – after that, the person on continuity will be on you like a hawk if you
start to make new choices” 12 .

If an actor’s timing or action drifts, the script supervisor (and often the 1st AD) will gently correct them. For
example, if one character was holding a prop or moving at a specific moment in the wide, the actor must do
so exactly the same way in the close-up takes 13 . Productions commonly keep detailed continuity reports:
the script supervisor writes down which props are used and when, and even photographs costumes, hair,
and set-dressings 2 . This way, if Actor A was sipping a drink mid-line in one angle, the actor must sip at
the same word in all other angles (or the shoot is rescheduled). As one summary put it: “During every take,
the action must be the same…Make sure your actors know what movements they are making during the lines they
are speaking. They must maintain these movements for every shot” 13 .

Continuity can get especially tricky if actors move a lot (e.g. playing a game or walking). Cinematographer
David Mullen recounts a case where a poker-game scene required absolute precision: the assistant director
actually marked on the script exactly when each card was picked up, bet placed, etc. On each take he
whispered cues (“now you take a card…now you place a bet…”) so that all four actors executed the same
motions in sync 14 . This illustrates a pro tip: if a particular physical action or prop-use might not match
between angles, the coverage plan can hide it. For instance, mismatched hand positions are often
concealed by framing the cut on the other actor (an OTS) so the inconsistent hands are out of view 15 .
Otherwise, the crew simply repeats the take until the performances line up perfectly.

Continuity in Editing
In post-production, the editor’s job is to sew these multiple takes into a seamless sequence. Good coverage
gives them options, but only if continuity is maintained. Editors rely on the script supervisor’s notes and the
footage to match space and time. One key is the eyeline match: when Actor A looks off-screen at character
B in one shot, the cut to the next shot should have Actor B looking back in the opposite direction. For
example, if A is framed left-looking and hears B’s lines, the cut to B’s close-up should show B looking right
(toward A) 16 . This preserves the illusion that they’re facing each other. Similarly, crews adhere to the 180-
degree rule: all setups stay on one side of an imaginary line between the actors, so screen left/right
positions stay consistent 16 .

Editors also match physical actions: a gesture begun at the end of one shot should be continued at the start
of the reverse shot. For example, if Actor A raises a hand just as Actor B speaks in one take, the cut to Actor
B’s reaction should show B looking up at that same moment. This matching action makes the dialogue flow
naturally. When done well, the audience never notices the cuts – they experience a continuous
conversation. (Continuity editing is built on these rules: eyelines, screen direction, and matching motion
16 .) In practice, editors may scrap a take that’s “not continuous enough” or splice audio from one take to

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another if a performance is better 17 . But with meticulous coverage, script notes, and matching eyelines,
most dialogue lines can be cut together smoothly.

Tips and Best Practices from the Pros

• Use a Script Supervisor: Nearly every set shooting one-camera coverage has a dedicated scripty.
This person tracks all continuity and dialogue details on each take, then briefs the director and
editor. If an actor flubs a prop or piece of blocking, the scripty notes it and calls out corrections 5 .
In editing, the scripty’s log and photos help the editor find matching moments.

• Plan Blocking for Coverage: Since the camera will move, block the scene so actors don’t
accidentally get in the frame of other angles or walk off marks. For example, if two actors cross in
front of each other, you may need a different coverage strategy (like holding a wider OTS) or extra
takes. Mark the floor subtly (tape “Xs”) where actors must stand for each coverage. Rehearsal is
crucial: many directors and DP’s run through the entire scene camera-off to fine-tune positions
before the takes start.

• Capture "Shot + Reverse": Always shoot both sides of a shot-reverse-shot pair in succession. Get
the OTS of Actor A immediately followed by the OTS of Actor B (ideally using the same focus distance
and lens). This makes it much easier for the editor to cut between them. Backstage recommends: “If
also capturing a reverse shot, keep the shot parameters (style, distance between characters, perspective)
aligned for continuity” 18 . In other words, don’t change lens or focal distance between A’s and B’s
angles unless story demands it.

• Audio Consistency: Typically, the best audio track from the take where the speaking actor is in front
is used. Record clean sound on both sides (boom or lavs). In editing, the dialogue audio from one
take is usually used across cuts – editors match the picture to that audio. (If ambient noise or
performance is poor, ADR or sound design may be needed for minor lines.)

• Take Multiple Passes for Key Beats: For important lines or emotional moments, do extra takes. The
actor may give a slightly different read each time, and the editor will thank you for choices. You can
also do stepped coverage: for a single dramatic line, you might shoot that line from multiple angles
even if the rest of the dialogue is covered once.

• Review and Continuity Checks: On set, use monitors or video assist to check continuity. Look at
playback of a close-up against the wide. Does hair, costume, or set lighting match? Small
adjustments (wiggles of hair, repositioning a prop) can be fixed immediately. A final tip: always err on
the side of coverage. It’s easier to edit with more angles than to realize mid-edit that you missed
Actor B’s reaction angle.

Example Workflow
A typical one-camera coverage might follow these steps: (1) Wide/master take with the full scene and
dialogue; (2) Two-shot or medium covering both actors as they converse; (3) OTS of Actor A speaking (with
Actor B’s shoulder visible); (4) OTS of Actor B; (5) Medium or close-up of Actor A; (6) Medium or close-up
of Actor B. Each angle is usually filmed twice to ensure a clean take. For example, filmmaker Wolfcrow

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advises: “To do [single-camera shooting]… let the actors act out only parts of the scene while you record it, change
camera position and film the next part…and piece together the scene in editing” 4 . In practice, Kubrick’s crews
often shot a long dialogue bit with multiple takes: first the wide, then they repositioned for mid-shots, then
for close-ups, and cut them together. This segmented approach – filming the same lines several times from
different setups – is standard for single-camera dialogue scenes.

By following a logical coverage plan, blocking consistently, and staying on top of continuity, filmmakers can
weave together performances that feel natural and connected. The final cut will then use the best takes of
each line, smoothly alternating among wide, OTS, and tight shots, so the audience simply experiences an
engaging back-and-forth conversation.

Sources: Industry cinematography guides and interviews 1 8 6 12 13 16 14 5 , with insights from

professional shoots and script-supervisor best practices.

1 3 11 Learn How to Shoot a Scene with a Single Camera | No Film School

https://nofilmschool.com/learn-how-shoot-scene-single-camera

2 13 Maintaining Continuity from Take to Take — Stream Semester

https://www.streamsemester.com/articles/maintaining-continuity-between-takes

4 How to film a scene with one camera

https://wolfcrow.com/how-to-film-a-scene-with-one-camera/

5 Ultimate Guide to Script Supervisors & Script Supervisor Template

https://www.studiobinder.com/blog/script-supervisor-forms-template/

6 7 8 9 10 Over the Shoulder Shot: Everything You Need to Know - NFI

https://www.nfi.edu/over-the-shoulder-shot/

12 Acting for Camera: How to Use the Frame (Framing Technique) | StageMilk
https://www.stagemilk.com/how-to-use-the-film-frame-for-actors-2/

14 15 Continuity in Dialogue Scenes - General Discussion - Cinematography.com

https://cinematography.com/index.php?/forums/topic/65068-continuity-in-dialogue-scenes/

16 What is Continuity Editing in Film? Definition and Editing Techniques

https://www.studiobinder.com/blog/what-is-continuity-editing-in-film/

17 How to film dialogue with one camera? : r/Filmmakers

https://www.reddit.com/r/Filmmakers/comments/ccogba/how_to_film_dialogue_with_one_camera/

18 Over-the-Shoulder Shot: How to Use This Filmmaking Tool (with Examples)

https://www.backstage.com/magazine/article/over-the-shoulder-shot-examples-75430/