Shot list or storyboard? You are asking the wrong question
Search either term and you will find articles weighing the two against each other, as if a production picks one. It does not. They answer different questions about the same shot: the storyboard says what the frame looks like, the shot list says when and how it gets made. Asking which one you need is like asking whether a building needs drawings or a construction schedule.
What each one is for
A storyboard frame carries composition: what is in shot, where the camera sits, what the eye should land on. It is how a director shows a DP an idea before any of it exists, and how an editor sees the cut before the footage does. Its audience thinks in pictures.
A shot list row carries logistics: a number to say out loud, a size, a lens, a movement, a duration. It is how an assistant director turns intent into a running order, and its audience thinks in time. Nobody lights from a spreadsheet and nobody schedules from a drawing.
The real problem is that they drift
On most productions the board lives in one file and the list in another, made at different times, usually by different people. Then the plan changes, as plans do, and one of them gets updated while the other quietly keeps the old truth. Shot 7 on the wall is not shot 7 on the paper. On the day, that resolves the expensive way: with the whole unit standing still while two documents argue.
This is why the veterans' answer to "shot list or storyboard" is neither: it is one numbered plan, where the frame and its row are the same object. Update the shot and there is nothing else to update.
When you can skip the drawings
Plenty of scenes need no board at all. Dialogue coverage, interviews, run-and-gun documentary: the shots are conventions, not compositions, and a list carries them fine. Board the shots that are expensive, dangerous, effects-bound or compositionally exact, and let a reference photograph stand in for a drawing whenever one exists. A storyboard is a communication tool, not an art requirement, and a still from another film often communicates faster than a sketch.
When you cannot
Anything the money is nervous about. Stunts, effects, product hero shots, the frame the client approved. If an image has to be agreed in advance by someone who will not be on set, it needs to exist in advance, and it needs to be the exact image the crew is trying to make. That is a board frame, attached to a numbered shot, so the approval and the schedule point at the same thing.
The test
Whatever tools you use, run this check the night before: pick three shot numbers from the list and ask what they look like; pick three frames from the board and ask when they shoot. If any answer takes longer than ten seconds, the two documents have already drifted, and the day will find the gap for you.