Okay, how about we expand this a little bit with this:

When do you start a new "scene".

For example. A woman and a man are talking in the living room. During the
conversation he moves to the kitchen. She follows and the talk is continued
there.

If we see the man exit (but the camera does not follow), we then see her
exit and we cut to the kitchen. Is the kitchen a new scene? (I think it is,
because it is a new location).

If that is so. What now if we decided to shoot it with a steadicam that
follows them from the living room to the kitchen? Is it now just the one scene?

Joshua: thanks for the info. However, you say 80 shots with 25 setups. That
is an average 3.2 shots per setup. I'm wondering for what "kind" of movie you
get this. Because for the work I've done almost every single shot changes
the camera setup (unless you count the cutting forth and back between
two people talking [ie over the shoulder shots] as different shots?).

Now that is not to say that I can't imagine multiple shots with the same
setup, but I'm not seeing this happen very often.

Could you describe some of the multiple shots you are having for that movie
in a single setup?

Thanks!

p.s. perhaps my definition of shot (or scene, or setup) is different than yours
(or somebody else's)....

I'm sure most peoples definitions are different. What you described above, could be taken as two scenes, or one. Personally, if it were same physical location, in most cases I would consider it one scene. It really depends on the story, and locations.

Is there some reasonably priced piece of software that walks you through this process?

Script > storyboard > scene list > shot list

Rob, you are right. When I say shot, I meant more along the lines of a cut, because it's based off the storyboards, which were also cut by cut.

However, there were also shots that had the same setup that were separated in the script and in "time." Like a set of shots that occur in the beginning of the film and reoccur at the end of the film. Planning ahead prevented us from having to move back and forth to that position, if we had been shooting strictly chronologically according to the script.

Ooh, that might make it easier...I had been doing it shot-by-shot, and trying to connect all the interweaving cuts into coherent shots in my head (I might have a dozen cuts for a two person conversation, but only two shots), but getting all the cuts on paper first seems like a smarter idea. I could then note, after getting it all written down, which cuts were from the same camera position, then modify the list.