This topic seems to keep popping up, and since I've got some time tonight, I'm going to address this in some detail and hopefully put it to be for good.
NO SCRIPT CONTAINS CAMERA DIRECTION. EVER. Not spec scripts, not shooting scripts, none that any of us will ever write. Only directors who write their own scripts are allowed to do it, and even then it is only considered to be footnotes and are not used by the camera crew.
Here is the process for further clarification:
1. A writer writes a script and sells it.
2. A producer hires a crew to shoot it, including director, actors and crew.
3. Production meetings are held in which the Director, often working closely with the DP (Director of Photography) and the Effects Designer decide how the film should be shot. From these meetings a shooting script, scene breakdowns, and shot-sheets are developed.
4. Using the shooting script, scene breakdowns, and shot-sheets an artist draws up storyboards, which lay out the film in a visual format similar to a comic book.
5. Principle photography begins and the camera crew uses the shot-sheets to shoot by. The director and actors have their shooting script to work from. And the whole crew has the scene breakdowns to keep it all together.
Now, what are shot-sheets, shooting scripts, and scene breakdowns? We'll start from the top.
A shooting script (in preproduction) is where the script is broken up into scenes and the needs for shots are determined. This is done with colored pencils where boxes are drawn around individual scenes, shots are denoted by lines, and special effects and sound effects are highlighted. A different color corresponds to a different need (blue for sound, brown for special effects, etc) and shots are listed by numbers that correspond to the accompanying shot-sheet. Again, NO CAMERA DIRECTIONS ARE TYPED IN. They are only referenced by number and show the duration that the shot should be held.
This is the pre-production shooting script that is circulated to each department so that they can figure out what they need to do to deliver for each scene. For example, the sound department knows that they only need to look for the blue underlined segments to find out what special sounds they need to add (blaster bolts, tires screeching, stuff that you don't normally hear). Foley is another matter that we won't get into. From here Scene Breakdowns are made.
Scene Breakdowns are a single page, made in a spreadsheet format, for each individual scene. On that page is listed everything that is needed to complete that scene. For example: what characters appear, how many extras, props needed, special effects, sound effects, location or set, time of day, makeup, wardrobe, etc. It is a categorical list of all the components that will go into making a scene happen. From there a series of shot-sheets are generated for each individual camera shot.
Shot sheets are organized and laid out just like a scene breakdown, only much more specific. All of the factors laid out in the scene breakdown are also present here, but only the ones dealing with what will be on camera for that single shot. In addition they also include the lens size and camera equipment needed (dolly, crane, handheld), and the begining and ending segments of dialogue so that the camera crew knows how long the shot needs to last. From here a second shooting script is then generated.
The second shooting script is for prinicple photography and is given to the actors. Many times the actor's shooting script will only have their dialogue and no others. The director and crew however still use the original shooting script so that they can keep all the logistics in order. Yes, it is confusing to have two different versions of the shooting script floating around. But that's just how it is. But since they don't see ours and we don't see theirs, it's never really a problem.
However, let me point out for the hundreth time that no version of any script ever has camera directions on it. And even the camera directions on the scripts written by directors are either ignored completely or written out for the shooting script. The crew goes by the shot-sheets, not the script.
Shooting a film is a massive undertaking requiring hundreds, if not thousands, of people. To try and keep all the information needed on the script alone would be asinine in pre-production and utter chaos on the set. Only rank amateurs ever attempt it that way, and never more than once. It's just too complex.
The bottom line is that camera directions in a script are pure dead weight. They are useless to the crew and an annoyance to the actors. That is why producers don't want to see them in a script, because you are trying to sell them something that they don't need or want. All a producer ever wants to see in a script is interesting action and good dialogue. That's it. Nothing else. The best spec scripts are light and lean. Descriptions are tight and clear and the dialogue is punchy. Any consideration of camera angles on your part is a waste of time, both yours and the producers and will only get you rejected.