Aug 25, 2026

Your Pre-Production Checklist: Lock the Script, Then Execute

Pre-production translates the idea for a video into a shooting plan that the crew can execute. Production checklists start with a locked script and convert it into a scene-by-scene breakdown, then schedule, budget, shot plan and set of confirmed approvals confirming everyone has the responsibilities they agreed to handle. The checklist below offers marketers and production buyers a simple order of operations that doesn’t rely on a winking “pending” email as approval.

– Lock the script. All decisions made after briefing should reference that version. – Assign each item to an owner, provide a due date, and demand some form of evidence that it is approved. A signed agreement, purchase order, or even a dated written “sign-off” email is better than “yeah, that’s good”. Verbal approval and an unconfirmed meeting on your calendar are not the same as “responsible person accepts they must complete this task.” – Consider permits, releases, insurance, tax reporting and safety planning items as required by each project. This article is providing guidance on operations, not legal or tax advice. – Do a final checklist pass before call time so people have time to complete outstanding items.

What a pre-production checklist should do
The pre-production checklist, from script lock to final prep
Paperwork and approval records
How to keep the checklist current
The day-before confirmation list
When to bring in a production team
Sources
FAQ

What a pre-production checklist should do

Production checklists are dependency trees, not to-do lists. The script defines the project scope. The breakdown determines what that scope depends on. The schedule and budget make those dependencies achievable. Locations, crew, equipment, paperwork, and finally the call sheet flow from those decisions.

When preparing for a brand shoot, define what locked means before planning starts. If something is “locked” it better have an owner’s name assigned to it, and some evidence that the “yes, that will do” decision is final for the currently approved plan version. Evidence can be a signed agreement, approved estimate, issued purchase order, or even a dated written sign-off email. Verbal confirmation and a tentative meeting in your calendar aren’t the same thing.

StudioBinder’s pre-production checklist covers the typical documents involved across the creative, logistical, and administrative workstreams. You do not need to follow this order. You do need to agree as a team that changes are visible before reaching the set.

The pre-production checklist, from script lock to final prep

1. Lock the script and the decision record

Lock and version the approved script. Note who approved it, and capture any outstanding creative or rights questions next to their name, rather than embedding them in email comments. The producer, client decision-maker, and director should know what the current script is without sorting through email chains.

Hands marking script margins for clearance

Clear whatever requires clearance or permissions early when it is easy to fix. This can be music, logos, artwork, third-party video footage, locations, or recognizable people. Clearing or licensing requirements vary by asset, use and governing law. The U.S. Copyright Office suggests users clear permission with the rights holder or license under the governing terms. Have counsel or another rights professional review relevant issues impacting your production. This guide from the Copyright Office for musicians is a helpful resource, not a legal alternative.

2. Break down the script by scene

Create a scene-by-scene breakdown from the locked script. Include cast, wardrobe, props, set dressing, locations, vehicles, animals, stunts, visual effects, specialty equipment, and audio components as needed. Assign each category to an individual who can confirm if it’s been secured, cleared or is still pending.

Having a solid breakdown allows departments to plan ahead from a central source rather than re-identify needs from memory. Reconcile it against the shot list once the director and cinematographer have planned coverage. That's where it's still inexpensive to fix a missing wardrobe change, product sample, or specialty rig.

3. Build the budget and shooting schedule together

The schedule should work within your budget, not the other way around. Build a top sheet that identifies your major cost groups, then put together a shooting schedule based upon scenes, locations, cast availability, daylight hours, setup times, etc. A stripboard is traditionally how producers arrange scenes and production elements for scheduling. Page lengths are commonly referenced in eighths using this method. Read ProdSlate’s overview of scheduling for more on that convention.

Diagram of film production budgeting and scheduling components

Put your budget to the test with your schedule. If your scheduled production doesn’t realistically fit into a location because the time allowed is limited, you may need to add crew, reduce the number of shots required, find another location or move the production to another day. Note your decision and update the source schedule accordingly. When working with actors, a day-out-of-days report can help visualize each performer’s working and hold days.

4. Confirm cast, crew, and points of contact

Before listing someone on the call sheet, confirm their role, availability, pay rate or scope, work hours, cancellation policies and who has approval authority to make changes. Use a written agreement that complies with the project and any governing union or employment requirements. A producer or an experienced advisor should review whatever agreement you plan to use. This article does not provide employment, labor, or contract advice.

Maintain only one active contact list with work phone, work email, emergency contact, travel information where applicable, and department point person responsible. Limit editing access to the individual or team tracking the most current version. Everyone else should know where to find it.

If you're shooting in the U. S. , you may also need to consider who to report payments to. According to the IRS: Qualifying payments of $2,000 or more of nonemployee compensation made after December 31, 2025 may be subject to Form 1099-NEC reporting requirements. Refer to the IRS’ rules and exceptions regarding these statements. Double check classifications and filing responsibilities with your tax professional or IRS Form 1099-NEC guidelines.

5. Secure locations and access plans

Once confirmed in writing, include it on the call sheet. File the executed location agreement or release, updated scout photos, access instructions, parking diagram, power plan, site contact, restrictions including crew size, noise limitations, shooting areas and/or hours. If shooting exterior, identify an alternative location or plan B that fits the schedule and budget.

Hands photographing film location scout site

Location-specific permits and insurance requirements are determined by the applicable city, property owner, venue, insurance carrier and type of production activity taking place. A COI is one of many requested documents but does not negate the location owner's written conditions or required permit. Double check permit requirements early, especially when the production will impact public space, traffic, aircraft operations or access to a venue.

6. Approve the storyboard, shot list, and coverage plan

A storyboard visually represents what you plan to shoot. A shot list organizes that vision into what setups will cover what lenses, movement, audio and lighting requirements plus talent and time needed. Build both from your locked script and double check that you've planned enough (and the right) shots to cover what the client will expect to deliver.

From the script, identify the essential coverage for each scene first: wide/master shot, primary action, close up detail where it supports the story and any inserts or pickups. Next, label shots requiring special rig, specific prop, controlled sound, second unit, or particular time of day. Understand how the storyboard vs. shot list complement each other by reading the full guide.

7. Test the gear, media, and technical workflow

Pull the equipment list from the shot list, not a standard rental package. Verify camera bodies, lenses, camera support, lighting, grip, sound, power, communications, expendables, media, backups. Test unfamiliar or high-consequence setups under near-project conditions.

Hands assembling camera rig for test day

Define how cards will be labeled, who is authorized to handle them, where footage will be copied, and how the team will verify copies before media leaves the set. Document that workflow and place it on the call sheet or department notes. Following a short documented workflow is easier than reconstructing one while the first card is full.

Confirm the operator, aircraft, airspace, location and operating requirements if aerial footage is within scope. Know the airspace before booking the shot. The FAA states that a person flying under the Small UAS Rule, Part 107, must hold a Remote Pilot Certificate. Local permissions may also be required and site restrictions can apply. Review the FAA's commercial drone guidance for up-to-date federal requirements.

8. Close the logistics, safety, and documentation loop

Store current insurance details, releases, permits, vendor confirmations, delivery instructions, parking details, and emergency contact information in a single controlled location for the project. A form used on another project may not suffice. Requirements can change based on location, performers, audience, stunts, vehicles used, equipment and jurisdiction.

Designate a safety lead and build an emergency plan specific to the job site. At minimum the team should know how to report an emergency, where to find emergency contacts and who is coordinating response. OSHA describes emergency action plans should be workplace specific and that trained responsible people need to coordinate an evacuation when one is necessary. Review OSHA's emergency action plan information and consult qualified safety or legal expertise for hazards beyond your team's experience.

9. Run final prep and issue the call sheet

Run production through the final pre-production checklist and confirm the plan accounts for actual conditions. Weather plan, access window, parking, catering, crew call times, talent travel, equipment pick up, media workflow, releases, permits and location contact information. Clear discrepancies against the most recent script, schedule and shot list. Not last week's attachments.

Deliver the call sheet with date, addresses, call times, schedule, parking/access directions, key contact info, and whatever information people need to show up ready to work. Then follow up to confirm receipt with those who need to take action. Here's StudioBinder's call sheet overview: a call sheet is the daily schedule and information document sent to cast and crew.

Paperwork and approval records

Variety exists with forms depending on the project. However, approval documentation should be auditable. Maintain these items up to date and tied to the version of the project they're approved against:

Script approval notes: version, date, who approved, outstanding issues.
Script breakdown: scene, page count, people needed, props, wardrobe, locations, special needs, and who owns it.
Budget / schedule: approved assumptions, changes, and the version tied to the current shot list.
Deal memos and release forms: documents appropriate for the engagement, performer, location, and use. Consult qualified professionals to learn what is needed.
Location file: agreement or release, any permits needed, certificate-of-insurance stipulations, scout notes, access plan and on-site contact.
Call sheet: current date, call times, locations, contacts, safety/access notes, and distribution/log.
Media log: card #, transfer status, where it's stored, and who verifies.

If the producer can't find the latest version of a document, see who approved it, and easily identify if a change impacts another department, then that item isn't ready to lock. Simple.

How to keep the checklist current

Have one master plan that one person or production department is responsible for updating. That doesn't mean someone has to approve every decision. Someone does need to own the master document so the finalized version isn't bouncing around in people's inboxes, floating through PDFs and buried in text chains.

Establish review milestones based on your schedule. A good rule of thumb for operating rhythm is to flag unresolved items 48 hours out from call time, alert the appropriate decision-maker(s) on critical outstanding items at 24 hours out, and double check those last-minute critical items before calling the crew. These are project-management checkpoints, not legal deadlines. Tweak them based on travel time, permitting schedules, weather windows and the expense of making changes.

When an item locking on a change log updates, perform these three actions: Log the version change. Determine affected items. Alert those whose work is impacted. Updated locations can affect parking, power, permits, call times, shot list sequencing, or client access. Approach it as you would any change request, not as a suggestion.

For complex shoots or locations with multiple setups consider assigning department ownership and utilizing a shared repository that maintains version history. Help clients correlate decision-making responsibilities with actual departments responsible for camera, grip, sound, art, production, etc. using the film crew roles guide .

The day-before confirmation list

Review call-ready items that have potential to either stop or slow down the day the day before call time:

The call sheet is distributed and all required recipients have confirmed receipt.
The script, shot list, schedule and client approvals are referencing the current version.
The location contact, access times, parking, power and weather response are confirmed.
All necessary permits, releases, insurance paperwork, and vendor confirmations are filed and match the current scope.
Camera, sound, lighting and grip kits, batteries, media, chargers, and other specialty kits needed have been tested, packed and assigned.
Accommodations for crew, cast, transportation, catering, and accessibility have been identified for final headcount and working hours.
All emergency contacts, incident reporting procedures, and the designated safety lead are communicated to appropriate parties.
The open-items list has been assigned to someone who can decide by a certain date. If it's a showstopper, choose to adjust the plan, replace the item, or postpone the work that requires it.

When to bring in a production team

When the shoot is simple in scope and everyone who needs to make decisions is reachable, your checklist will be easy to manage. As soon as you start combining multiple locations, specialized access, talent scheduling, specialty equipment, aerial work, a fixed campaign deadline, or multiple deliverable formats, the list gets harder.

When working with Kinter Media on planning your video production, you can go from scripting and shot list creation through crew coordination and post-production services. Check out our production portfolio, learn more about our Dallas video production services, or contact us with questions regarding drone production planning if you need aerial coverage as part of your project.

Plan the shoot before the crew arrives

If you're planning to shoot video, have a script (or at least scenes broken down by location), know your target completion dates, have an idea of deliverables and know what constraints are known at the time of the first meeting. Give Kinter Media a call and we can talk about your production plan regarding your project needs.

Sources

FAQ

Does a locked script mean the script can never change?

Script lock just means the team has agreed to a working version and knows what it impacts. If the client or director later decides to make changes, simply number the new version and review how the changes impact the breakdown, budget, schedule, locations, and shot list prior to the crew pulling from it.

What should be on a pre-production call sheet?

At minimum, include when and where to show up, who to contact, and when production will take place. This can include shoot date, call times, location address and access information, crew schedule, parking details, key contact names, anticipated weather or safety issues, and any instructions necessary for the crew and/or talent to know prior to arriving on set. Include whatever information is relevant to the project and location.

Is a certificate of insurance enough to film at a location?

Production does not always need an insurance certificate to shoot on a location. The location might require a certificate of insurance with specific additional-insured wording, a signed agreement, a permit, or something else. Meet the property owner's written requirements and adhere to any rules that apply to the location and activity.

When should a production send the call sheet?

Allow enough time to confirm and clear conflicts. A good rule of thumb for many productions is to distribute it the day before call time. If your shoot involves intricate travel schedules, permitting, or several days of work, you may want to communicate it earlier and send a final reminder.