Everything that needs to happen between locking your script and calling action on day one — organized in the order you should do it. This is written for indie and student productions where one or two people are handling what a full production office would do on a larger project.
Pre-production on an indie film doesn't look like pre-production on a studio picture. You don't have a production office with a dozen people coordinating departments. You might be the writer, director, producer, and AD all at once. The process is the same — the difference is that you're doing it all yourself, so the order matters even more.
This checklist follows the natural pipeline: script first, then coverage, then breakdowns, then schedule, then call sheets. Each phase builds on the one before it. Resist the temptation to skip ahead — scheduling before you've broken down the script, for example, means you'll have to redo the schedule once you realize a scene needs special equipment you didn't account for.
This phase starts when the script is locked — meaning no more rewrites (or at least, no more structural changes). Everything that follows depends on the script being stable.
Finalize the screenplay. Number the scenes. If you're working with a writer, agree that the script is locked and any further changes will be handled through a formal revision process. Import or write the script in your production tool so it's the single source of truth.
Plan your coverage scene by scene. Draw coverage lines on the screenplay to map out which shots cover which portions of each scene. This forces you to think through your visual plan before you're on set with a ticking clock.
Translate your lined script into a shot list — a structured list of every camera setup you're planning. In a connected tool, this happens automatically as you draw lines. Add shot details: framing, lens, movement, equipment notes.
On a micro-budget? You can skip formal script lining and go straight to a shot list if you prefer. But even a quick pass with lines on the page catches coverage gaps you'd otherwise miss in the edit.
With coverage planned, shift to the logistics: what does each scene actually require?
Go through the script scene by scene and tag every element: cast, extras, props, wardrobe, vehicles, special effects, special equipment. Don't skip scenes that seem simple — even a basic dialogue scene might imply wardrobe continuity, a specific prop, or background extras.
If you haven't already, finalize your cast. Get confirmed availability from every actor — specific dates they can and can't work. This information is critical for scheduling. Enter cast details (contact info, role assignments) into your production tool.
Confirm every location you need. Do a tech scout if possible — visit each location with your DP and AD to assess lighting, sound, power availability, parking, and any logistical challenges. Note any permits required and their timelines. Enter location details and scouting status into your production records.
Confirm your department heads: DP, 1st AD, sound mixer, gaffer, key grip, production designer (if applicable). They need to be involved in the remaining prep so they can flag issues in their departments before shoot day.
Using the breakdown as your shopping list, start sourcing everything: buy or borrow props, pull wardrobe, book equipment rentals. Give yourself time — the prop you need might not be available, the rental house might be booked, the wardrobe might need alterations.
On a micro-budget? You can simplify sourcing by rewriting around what you have. If you can't source a 1967 Mustang, rewrite the scene so the character drives whatever car your actor actually owns. Adapt the script to your resources, not the other way around.
Now you have everything you need to build the schedule: breakdown data, cast availability, and location access.
Arrange scenes into a shooting schedule using a stripboard. Group by location first, then by cast, then by INT/EXT and time of day. Insert day breaks and meal breaks. Balance the workload across days. Generate a Day Out of Days to verify cast schedules.
Share the shooting schedule with your department heads and cast. Give them time to flag conflicts or concerns. The schedule will likely go through a few revisions before it's locked.
With the schedule set, you know exactly how many days you're shooting and what each day requires. Fill in the remaining crew positions: additional camera operators, grips, PAs, hair and makeup, craft services. Confirm everyone's availability for the specific shoot dates.
Now that you know exact dates, confirm equipment rentals, catering, transportation, and any other services. Don't wait on this — rental houses and vendors book up, especially on weekends.
The schedule is locked, the crew is confirmed, and shoot day is approaching. This phase is about closing loose ends and making sure nothing has been missed.
Bring all department heads together — in person or on a call — and walk through the schedule day by day. Each department head should confirm they have everything they need and flag any remaining concerns. This is where problems surface that no one person would have caught alone.
Draft the call sheet for day one. In a connected tool, the scene schedule, cast calls, and logistics pull from the data you've already entered. Review it carefully — the first call sheet sets the tone for the production.
Compile all your production documents into one accessible place: script, shot lists, breakdowns, schedule, crew contact list, location details, equipment list, permits, and insurance paperwork. Whether this is a physical binder or a shared drive, everyone should know where to find it.
Call or text every actor to confirm their availability. Verify location access and parking. Confirm equipment pickups. Check the weather forecast. If anything has changed since the production meeting, update the relevant documents and notify affected crew.
The final 24 hours before your first shoot day.
Distribute the day one call sheet to all cast and crew by early evening — no later than 7 PM. Include the shooting location address, parking instructions, crew call time, and any special instructions. Send it as a PDF so people can save it offline.
Collect rental equipment and verify every item against your order. Test cameras, lenses, and audio gear. Charge all batteries. Format all cards. Don't wait until the morning of the shoot to discover a problem.
Load everything that can be loaded the night before: equipment, props, wardrobe, craft services supplies, the production book. The less you have to do in the morning, the calmer your first hour on set will be.
This is not a joke. Shoot days are long and demanding. The single best thing you can do for your production the night before is go to bed at a reasonable hour. You will make better creative decisions, handle problems more calmly, and have more patience with your cast and crew when you've had seven hours of sleep.
Remember: Pre-production exists so that production can run smoothly. Every hour you invest in prep saves multiple hours on set. The directors who look effortless on set are the ones who did the most work before they got there.
Not every production needs every step. Here's what you can safely simplify or skip on a micro-budget or student production — and what you should never skip regardless of budget.
Formal script lining — you can plan coverage with a simple shot list if you prefer, though lining catches gaps you'd otherwise miss. Day Out of Days report — useful on larger productions, but if you have three actors and a five-day shoot, you can track availability in your head. Production meeting — if your entire crew is five people, a group text might suffice. Formal tech scout — if you already know the location well, a phone call with your DP about lighting and power might be enough.
Script breakdown — you will forget something critical if you don't systematically go through every scene. Shooting schedule — even a simple one-page schedule prevents the chaos of showing up on set without a plan. Call sheets — every shoot day needs one, even if it's basic. Your crew needs to know where to go and when. Equipment check — always test gear the day before. Emergency info — always know where the nearest hospital is.