Martini Shot is a technique in filmmaking production.
The Martini Shot follows the standardized production workflow: The Script Supervisor notes the timecode and take number, while the 2nd Assistant Director enters the wrap time into the Daily Production Report. Typically, the Martini Shot falls between 6:00 PM and 10:00 PM on regular shooting days, and between 6:00 AM and 10:00 AM on night shoots. The Camera Assistant marks the film roll or memory card with "MS" for Martini Shot. In multi-camera setups, the last shot of the master camera is considered the official Martini Shot.
The term established itself from 1962 onwards in Hollywood studios when the strictly regulated working hours of the IATSE and SAG unions led to fixed wrap times. Previously, it was referred to as the "Final Shot" or "Last Setup." In the 1970s, European productions adopted the American term, while in Germany, the expression "Schlusslicht" (final light) was used concurrently. Since the 1990s, "Martini Shot" has become internationally established and is retained even in digital productions, although physical film rolls are no longer changed.
Francis Ford Coppola deliberately used emotional scenes as Martini Shots in "Apocalypse Now" (1979) to keep the actors in the desired mood overnight. Ridley Scott plans simple dialogue scenes as Martini Shots for complex action sequences to avoid delays due to technical problems. The Martini Shot is chosen strategically: New or inexperienced actors rarely receive this final shot, as time pressure can lead to mistakes. For exterior shoots, the selection is based on lighting conditions – interior shots are preferably planned as the last shot to remain weather-independent.
The "Abby Singer Shot" (second to last shot) is named after the legendary Assistant Director Abby Singer and serves as a warning to the crew. Unlike the spontaneously occurring "Pick-up Shot" (reshoot of individual shots), the Martini Shot is planned daily. For overtime, it's referred to as the "Overtime Martini," which triggers additional union allowances. In series production, the "Season Wrap" replaces the last Martini Shot of a season, while in documentaries, the term is used less frequently due to flexible shooting times.
Als DoP plane ich den Martini Shot immer als technisch unkomplizierte Einstellung – meist eine einfache Dialog-Szene ohne Kamerabewegung oder Spezialeffekte. Nach 12-14 Stunden Drehzeit ist mein Team müde, und ich will kein Risiko eingehen, dass wir wegen eines technischen Problems in die Overtime rutschen. Die Beleuchtung halte ich bewusst simpel, oft nur mit bereits stehendem Equipment.
Ich nutze den Martini Shot strategisch für emotionale Wendepunkte oder ruhige Charaktermomente, weil die Crew dann besonders fokussiert ist – alle wollen nach Hause, also herrscht absolute Konzentration. Bei schwierigen Schauspielern plane ich bewusst keine wichtigen Szenen als letzten Shot, da der Zeitdruck zu schlechten Takes führt. Manchmal verschiebe ich komplexe Dialoge auf den nächsten Tag, wenn ich merke, dass die Energie fehlt.
Der Martini Shot ist mein täglich wichtigster Kostenfaktor – jede Minute Verzögerung kostet bei einer 80-köpfigen Crew etwa 400-600 Euro in Überstundenzuschlägen. Ich achte darauf, dass der 1st AD spätestens 30 Minuten vor der geplanten Wrap-Zeit mit einfachen Einstellungen beginnt, um pünktlich zu enden. Bei Außendrehs kalkuliere ich grundsätzlich 15% Zeitpuffer für wetterbedingten Verzögerungen ein.
1. Was beschreibt „Martini Shot" am besten?
2. Zu welchem Department gehört „Martini Shot"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.