Pre-Production Checklist Template With Owners and Due Dates

Spencer KaufmanBy Spencer KaufmanSeptember 14, 20264 min read

What this template is for

A pre-production checklist template turns the prep to-do list into a tracker: tasks grouped by prep week, each with one owner, a due date counted back from Day 1, a status, and a note on what it's waiting for. It covers paperwork before prep, breakdown and scouting, schedule and budget lock, casting and locations, final prep, and the day before shooting.

On this page
  1. How the template is organized
  2. How to set it up for your film
  3. Reading the SALT FLATS list on 9/29
  4. Mistakes that make a checklist useless
  5. Documents this checklist points to
  6. In Storiara

Download the template

Free, no email required. The example rows use a fictional production so you can see how each field is filled in.

Preview

PRE-PRODUCTION CHECKLIST

Header

FieldValue
ProductionSALT FLATS
Day 1Monday, October 5, 2026
Status as ofTuesday, September 29, 2026
Owner of this listRosa Delgado, line producer
Status keyDone / In progress / Not started / Late

Before prep (by Fri 9/11)

TaskOwnerDueStatusNotes
Script locked for breakdown (white draft)Sam Whitford, producer9/4Done
Chain of title and option paperwork reviewed by attorneySam Whitford, producer9/4Done
Production LLC formed, bank account openSam Whitford, producer9/8DoneDry Creek Pictures LLC
Payroll company selectedRosa Delgado, line producer9/11Done
Insurance broker quotingRosa Delgado, line producer9/11Done
SAG-AFTRA signatory paperwork submittedSam Whitford, producer9/11Done
     
     

Prep week 1 (9/14 to 9/19)

TaskOwnerDueStatusNotes
Breakdown sheets for all 44 scenesKyle Brandt, 1st AD9/16Done
Department heads review breakdownKyle Brandt, 1st AD9/18DoneStunts flagged for Sc. 39
Ruiz House and salvage yard agreements signedWalt Kemper, location manager9/18Done4 shoot days between them
Scouts: salt flats, orchard road, motel, diner, gas stationWalt Kemper, location manager9/19Done
Callbacks for roles 4 to 8Casting9/17Done
Department head deal memos signedRosa Delgado, line producer9/18Done
     
     

Prep week 2 (9/21 to 9/26)

TaskOwnerDueStatusNotes
Offers out to roles 4 to 8Casting9/22Done
White schedule locked, DOOD issuedKyle Brandt, 1st AD9/23Done
Budget locked to white scheduleRosa Delgado, line producer9/25Done
Insurance policy boundRosa Delgado, line producer9/25Done
Stunt coordinator hiredRosa Delgado, line producer9/24DoneMike Dunleavy
Picture vehicles: Dell's pickup, Hollis's tow truckIvy Marsh, production designer9/26DonePickup non-running, towed
Cast deal memos signed, roles 1 to 8Rosa Delgado, line producer9/25LateEarl (Ray Oberst) memo with agent. Works Day 7.
Remaining location agreements (motel, diner, gas station, warehouse, ranch, orchard)Walt Kemper, location manager9/26LateOrchard owner still reviewing. Needed before tech scout 9/30.
County road permit for Day 8 drivingWalt Kemper, location manager9/26In progressApplication filed 9/24
     
     
     

Prep week 3 (9/28 to 10/3)

TaskOwnerDueStatusNotes
June's travel and crew hotel block bookedBeth Arno, production coordinator9/28Done
Blue revisions broken downKyle Brandt, 1st AD9/29Done
Blue schedule and DOOD issuedKyle Brandt, 1st AD9/29DoneDOOD prepared by Mina Park, 2nd AD
Tech scout, all 9 locationsKyle Brandt, 1st AD9/30Not startedDepends on orchard agreement
Sc. 39 storyboard reviewed by stunt coordinatorLena Okafor, director10/1In progress
Production meetingRosa Delgado, line producer10/1Not started
Certificates of insurance sent to every locationBeth Arno, production coordinator10/2Not started
Nearest ER confirmed for every locationWalt Kemper, location manager10/2Not startedSalt flats ranch is the long drive
Shot lists for Days 1 to 4Lena Okafor, director10/2In progressWith Theo Lindqvist, DP
Fittings for Pace, Dell, June, and HollisRafael Ortega, costume designer10/3In progressPace 10/2. Dell, June, and Hollis 10/3. Marisol fits 10/6.
Crew start paperwork and deal memos collectedBeth Arno, production coordinator10/2In progress
Camera prep at rental houseCarla Reyes, 1st AC10/2Not started
Rehearsal: Dell and JuneLena Okafor, director10/3Not started
     
     
     

Day before Day 1 (Sun 10/4)

TaskOwnerDueStatusNotes
Ruiz House access, parking, and base camp confirmed with ownerWalt Kemper, location manager10/4Not started
Catering headcount and dietary list confirmedBeth Arno, production coordinator10/4Not started
Walkie channels assignedJordan Ames, key set PA10/4Not started
Day 1 call sheet sent, receipt confirmed by everyoneMina Park, 2nd AD10/4, 9:00 PMNot started
     
     
     

Template by Storiara (storiara.com). Free to use and modify.

The tracker above is the SALT FLATS pre-production checklist as it stood on Tuesday, September 29, six days before Day 1. Most of it is done. Two items are late, and both have a direct effect on shoot days, which is what a checklist with owners and dates is supposed to make obvious.

If you need the full list of what goes into prep, start with the indie film pre-production checklist. That post covers every area of prep. This template is the working version: fewer words per task, and a name and a date on every line.

How the template is organized

Tasks are grouped by prep week instead of by department. A department list tells you everything locations has to do. A week list tells you what has to be finished by Friday. In the last three weeks before shooting, the second question matters more.

Each row has five columns. Task is written so that "done" is unambiguous: "Ruiz House and salvage yard agreements signed" instead of "locations". Owner is one person, with their role. Due is a date from the production calendar. Status uses four values: Done, In progress, Not started, and Late. Notes is where you say what an item is waiting on, or what's waiting on it.

How to set it up for your film

  1. Put Day 1 in the header. Every due date is counted back from it.
  2. Copy the prep weeks from your production calendar and create one section per week, plus a section for work before prep and one for the day before Day 1.
  3. Add the tasks from the blog checklist that apply to your film, and delete the ones that don't. SALT FLATS has no minors, no animals, and no VFX shots to plan on set, so none of those rows exist.
  4. Add tasks your film has that a generic list won't: picture vehicles, the stunt review for Scene 39, the county road permit for the driving day.
  5. Assign exactly one owner per task. If two people share a task, split it into two tasks.
  6. Set due dates from dependencies. The tech scout needs every location signed, so the agreements are due before 9/30. The budget needs the schedule and DOOD, so it's due after 9/23.
  7. Write the dependency in Notes whenever a task blocks another one.
  8. Review the list weekly in prep and daily in the last week. Update statuses before the meeting, not during it.
  9. Mark anything past its due date and not done as Late, and write in Notes what's being done about it.

Reading the SALT FLATS list on 9/29

The two late items are the ones that would be discussed first at the prep meeting.

The orchard road agreement is late, and the tech scout on 9/30 depends on it. Day 12 is the orchard night, so there's time to shoot it even if the agreement comes in a week later, but the tech scout can't bring department heads onto the property without it. The location manager either gets a signature on Tuesday or schedules a separate orchard visit later in the week.

Earl's deal memo is late because it's with the agent. Ray Oberst doesn't work until Day 7, so this won't stop the shoot. It still needs to be done before Earl works, and his day out of days dates (SW Day 7, WF Day 8) should be in the memo.

The county road permit is in progress with an application on file. It's for Day 8, the tow rig day, so the notes should get a follow-up date if it isn't approved by the production meeting.

"Nearest ER confirmed for every location" is not started and due Friday. It's easy to leave until the last minute, and it goes on every call sheet. The salt flats ranch is the one to check first, because it's the farthest from town.

Mistakes that make a checklist useless

Tasks without owners. "Get permits" with no name on it is everyone's job, which means nobody does it.

Status that nobody updates. If the list says "Not started" for things everyone knows are done, people stop reading it. The coordinator should update it before each meeting.

Everything due "before Day 1". That date has no information. A breakdown due 9/16 and a call sheet due 10/4 are very different kinds of work.

No dependencies. The late orchard agreement looks like a small problem until the Notes column says the tech scout depends on it.

Checking tasks off when they're "basically done". A deal memo that's agreed but not signed isn't done. Use In progress.

Documents this checklist points to

Most rows end in a document. The breakdown rows produce script breakdown sheets. The casting and crew rows produce the crew deal memo and cast deal memo. The location rows produce signed agreements and location release forms. The schedule rows produce the stripboard, one-line, and DOOD, and the last row is the first call sheet.

In Storiara

Several rows on this list come from the script in Storiara: scenes with page counts in eighths, breakdown elements, the schedule, the DOOD, and call sheets. The Locations module holds each location's address, photos, parking map, and availability dates, but signed agreements are tracked on a list like this one. See the locations feature page.

Frequently asked questions

What should be on a film pre-production checklist?

The script and rights paperwork, breakdown, locations and permits, casting and deal memos, schedule and DOOD, budget, insurance, crew hiring and start paperwork, fittings, shot lists and storyboards, the tech scout and production meeting, and the Day 1 call sheet.

How is this template different from a regular checklist?

Every task has one owner and a due date tied to the production calendar, plus a status and a note on what it's waiting for. That makes it a tracker you can review at a weekly prep meeting.

Who should own the pre-production checklist?

The line producer or UPM. The production coordinator usually keeps the file current, and each task is owned by the person who actually does it.

When should the checklist be reviewed?

At least once a week in prep, and daily in the last week. Sort by status and due date and talk only about the items that are late or in progress.

Skip the blank pre-production checklist

Upload your script to Storiara and it breaks down scenes, cast, locations, props, and wardrobe for you. The schedule, day out of days, budget, and call sheets all draw on that breakdown.

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Spencer Kaufman

Spencer Kaufman

Revenue & Strategy Lead, Storiara

Revenue and strategy expert growing Storiara's market presence and building partnerships with filmmakers and studios worldwide.