Music Video Pre-Production Checklist: The Complete 6-Week Plan

Introduction

Pre-production is where music videos are made or broken. Every minute spent in pre-production saves ten minutes on set — and ten minutes on set translates directly into money, creative quality, and the wellbeing of your entire team. After producing over 300 music videos at 171 Entertainment, we've refined our pre-production process into a detailed, repeatable checklist that we use on every production.

This guide is the most comprehensive music video pre-production resource we've published. Whether you're preparing for your first independent production or your hundredth professional shoot, this checklist gives you a clear, week-by-week framework to follow. Bookmark it, print it, and use it on every production.

Week 6–5: Creative Foundation

The first two weeks of pre-production are about establishing the creative and financial foundations. Nothing else can happen productively until these are in place.

The Creative Brief Document

Your creative brief is the single most important document you'll create in pre-production. Every team member — director, DP, wardrobe, art direction — will reference it throughout the project. A comprehensive creative brief includes:

• Song information: Title, artist, BPM, key, total runtime, and the audio file or streaming link
• Genre and target audience: Who is this video for, and where will they discover it?
• Three-word creative direction: Distil the entire visual concept to three words. "Dark, cinematic, intimate." "Bright, playful, nostalgic." This three-word framework keeps all creative decisions aligned.
• Format choice: Performance (artist performing the song), narrative (a story connected to the lyrics), conceptual/abstract, or hybrid. Each format has radically different production requirements and costs.
• Reference videos: 5–10 music videos that capture visual elements, colour palettes, camera styles, or moods you want to incorporate. These are the shared creative language of your team.
• Key visual elements: Specific locations, wardrobe direction, colour palette, props, or visual motifs the video must include
• Distribution platforms: YouTube, Vevo, Instagram Reels, TikTok — each has different aspect ratio and quality requirements that affect production decisions
• Total budget: The approved figure. All creative decisions flow from this number.
• Production timeline: Shoot date, delivery date, and any hard deadlines (album release, press, broadcast)

Director and Key Crew Selection

The director is your single most important hire. Their creative vision, leadership style, and technical expertise will define the entire production. When selecting a director:

• Review their portfolio specifically for work similar in genre, style, and budget to your project
• Assess their treatment document — how clearly can they articulate a vision for your specific song?
• Check their references — speak to artists and producers they've worked with before
• Confirm their availability for all pre-production meetings, the shoot day, and post-production review sessions
• Agree on their creative decision-making authority in writing before you begin

Simultaneously, begin identifying your Director of Photography (DP). The director-DP relationship is the creative core of your production. In many cases, the director will bring a preferred DP — this partnership is usually worth honouring.

Budget Approval and Allocation

Before any bookings are made, have a signed, approved budget in hand. Your initial budget document should include:

• Director and creative fees
• Crew department estimates (camera, lighting, art direction, hair and makeup)
• Equipment rental estimate
• Location estimate (fees, travel, permits)
• Art department, wardrobe, and props estimate
• Catering estimate (calculate per head per meal: $18–$30 per person)
• Post-production estimate (editing, colour grading, VFX)
• Insurance estimate
• 10% contingency — non-negotiable

For detailed cost breakdowns at every production tier, read our music video budget breakdown guide.

Week 4: Planning Intensifies

Full Crew Booking

With the director confirmed and the budget approved, book your full crew in Week 4. Start with the most in-demand positions:

Camera department:

• Director of Photography (DP) / Camera Operator
• 1st Assistant Camera (AC) / Focus Puller
• 2nd Assistant Camera / Digital Image Technician (DIT)

Lighting department:

• Gaffer (Head of Electrical/Lighting)
• Best Boy Electric
• Lighting Technicians (number depends on setup complexity)

Grip department:

• Key Grip (for productions with complex camera movement equipment)
• Grip Technicians

Art department:

• Production Designer or Art Director (for narrative/set-build productions)
• Set Decorator / Props Master

Talent department:

• Makeup Artist
• Hair Stylist
• Wardrobe Stylist

Production:

• First Assistant Director (1st AD) — manages the schedule on the day
• Production Coordinator — manages logistics leading up to and including the shoot day
• Production Assistants (PAs) — 1–3 depending on production scale

Location Scouting

The director or production coordinator conducts initial location scouting in Week 4, assessing potential locations for:

• Lighting conditions: Visit at the same time of day as the planned shoot. Note available light direction, intensity, and quality.
• Power access: Identify power points, circuit amperage, and whether a generator is required.
• Ambient noise: Traffic, air conditioning, aircraft, and neighbourhood sounds all affect the shoot environment.
• Access and logistics: Where can equipment trucks park? Is there a loading zone? Are there stairs or tight doorways that limit equipment movement?
• Visual interest: Background depth, texture, architectural features, and the location's ability to support multiple shot setups.
• Safety: Any hazards that require mitigation — electrical risks, structural concerns, traffic management.

Present 2–3 location options per scene to the director, with photographs from the planned shooting time of day.

Storyboard and Shot List

The director and DP develop the storyboard and shot list in Week 4, informed by the creative brief and initial location options. A complete shot list includes for every shot:

• Shot number and location/setup name
• Camera movement type (static, dolly, slider, gimbal, crane, handheld)
• Lens length (24mm, 35mm, 50mm, 85mm, anamorphic)
• Shot type and framing (wide establishing, medium shot, close-up, extreme close-up, detail)
• Lighting setup summary
• Artist performance direction specific to this shot
• Estimated time to complete including setup transitions

Once the shot list is complete, build the day's schedule. Work backwards from your wrap time, factoring in setup transitions (30–90 minutes each), lunch (45–60 minutes), and a buffer at the end of the day for coverage shots.

For a full storyboarding tutorial, read our music video storyboard guide.

Week 3: Logistics Lock

Location Agreements and Permits

Week 3 is when you lock in all location access. This requires the most lead time of any pre-production task.

Council and government permits:

• Apply for film permits for any public land (parks, footpaths, public streets, council-managed reserves). Allow 1–3 weeks for approval. Costs typically $50–$500 per location depending on your council.
• State government and national park permits require separate applications through the managing authority. These may take 2–4 weeks and often impose conditions on crew size, equipment, and environmental impact.

Private location agreements:

• A written, signed location agreement with each private property owner should include: the shoot date and hours of access, number of crew and vehicles accessing the property, any restrictions on areas of the property, the production's liability obligations, payment terms (if any), and the property owner's right to be on-set or remain off-site.

Production insurance:

• Most locations require proof of public liability insurance before granting access. Standard production insurance for a single-day shoot ranges from $500–$1,500 for $10M–$20M public liability cover.
• Check whether your equipment rental company requires their own insurance or is included in your production policy.

Equipment Booking

Confirm all equipment rentals in Week 3 with a signed hire agreement. Your equipment list should be developed by the DP and Gaffer based on the finalised shot list and locations:

Camera package:

• Camera body (with confirmed firmware version)
• Lens set (primes and/or zooms per shot list requirements)
• Follow focus system
• External field monitor(s)
• Batteries (minimum 4× per camera) and chargers
• Media cards (calculate required capacity: 4K at 150Mbps requires approximately 4TB per 8-hour day)
• Camera support: tripod and fluid head, shoulder rig

Camera movement:

• Gimbal (DJI Ronin, Tilta Hydra, MoVI) for smooth handheld movement
• Slider (1–2m) for subtle tracking shots
• Dolly and track for formal tracking shots
• Jib or crane for elevated angles

Lighting package:

• Key lights (size and type per locations: ARRI SkyPanel S60-C, Aputure 600D, HMI for large spaces)
• Soft sources (large LED panels, octoboxes, chimeras)
• Practical lights and LED strips for set decoration
• Grip and C-stands for mounting and flagging
• Gels and diffusion materials
• Haze machine and haze fluid (for atmospheric beam effects)

Power and cables:

• Extension cables and power boards (industrial rated)
• Generator (if no mains power available or for high-draw setups)

Audio playback:

• High-quality Bluetooth or wired speaker capable of reaching the entire set clearly
• Backup speaker (always have a backup)
• The actual audio file in the correct format on a dedicated device

Wardrobe and Art Direction

The wardrobe stylist and art director present their plans in Week 3:

• Wardrobe: 2–3 complete looks per artist per setup, based on the creative brief's colour palette and visual direction. Allow for quick-change times in the schedule.
• Props: Every prop in the storyboard confirmed as available, budgeted, and sourced.
• Set decoration: For set builds or dressed locations, a mood board and materials list with costs.
• Hair and makeup: References and a confirmed timeline for preparation on the day (allow 60–90 minutes for hair and makeup per artist before first camera setup).

Week 2: Final Preparations

Technical Recce (Tech Recce)

The technical recce is a formal location visit with the full key crew present — director, DP, gaffer, 1st AD, and production coordinator at minimum. It typically happens in Week 2 and is one of the most valuable hours you will spend in pre-production.

During the technical recce, the team:

• Walks through every planned camera position and confirms each shot in the list is achievable at this location
• Identifies the gaffer's power requirements and confirms available power sources
• Maps out crew parking, equipment truck access, and any logistical constraints
• Identifies any safety hazards and plans mitigation
• Confirms or adjusts setup sequence and timing for the schedule
• Takes photographs from every planned camera position for reference
• Identifies any changes required to the shot list or schedule based on on-site realities

Casting and Extras Confirmation

For narrative videos requiring supporting cast or background extras:

• All cast members contracted with signed agreements covering usage rights, rates, and any exclusivity conditions
• Extras booked and confirmed with call times
• All talent briefed on the creative concept, their role, wardrobe requirements, and what to expect on set
• Confirm dietary requirements for catering (this affects craft services and meal orders on the day)

Pre-Production Pack

Compile the pre-production pack — a single document containing all essential information — and distribute it to every crew member in Week 2:

• Creative brief (full version)
• Shot list and storyboard panels
• Day's schedule with setup names and times
• Location addresses with maps, parking instructions, and access notes
• Crew contact list (all names, roles, and mobile numbers)
• Wardrobe and art direction reference images
• Location-specific safety information
• Equipment list (for crew department heads to confirm)

Week 1: Shoot Week

Day-Before Checklist

The day before the shoot is about confirming that everything is in place and reducing the chance of any day-of problems:

• Confirm all crew call times and locations with individual messages (not just a group message)
• Confirm talent call times and green room arrangements
• Confirm all equipment is collected, tested, and packed in the correct cases
• Charge all camera batteries, monitor batteries, and wireless system batteries
• Format all camera media cards and confirm total capacity is sufficient
• Test the audio playback system with the actual production audio file
• Confirm catering order is placed for the correct number of heads and dietary requirements
• Check the weather forecast and have a contingency plan for outdoor shoots
• Pack the first aid kit
• Send the call sheet to all crew and cast (see below)

The Call Sheet

The call sheet is the official document for the day. Send it to all crew and cast by 6pm the evening before the shoot. Every call sheet must include:

• Shoot date and project name
• Full address of each location with postcode, and parking/access instructions
• Individual call times for every crew member and talent role (stagger these — crew always before talent)
• Full day schedule with setup names, estimated time per setup, and transitions
• Scheduled meal breaks and projected wrap time
• Full equipment list (for crew reference)
• Nearest hospital or medical centre address
• Emergency contact numbers: director, 1st AD, and production coordinator
• Weather forecast
• Any specific access codes, gate combinations, or building contact names

Shoot Day Checklist

On the day, the 1st AD manages time and the production coordinator manages logistics. The director focuses entirely on creative decisions. Your shoot day checklist:

Crew call time (1–2 hours before talent):

• Confirm all crew have arrived and are accounted for
• Set up craft services in a designated area away from the shooting area
• Prepare the green room for talent
• Begin first lighting setup
• Test all equipment before talent arrives on set
• Brief all crew on the day's schedule and priorities
• Conduct safety briefing covering electrical hazards, emergency exits, and location-specific risks

Talent arrival (while lighting setup continues):

• Artist goes directly to makeup and hair
• Wardrobe checks are done concurrently
• Director briefs artist on the day's creative objectives and performance direction
• Artist rehearses with the actual playback track, not just mentally

During the shoot:

• Start with wide establishing shots in each setup
• Move systematically from wider to tighter coverage
• The 1st AD tracks time against the schedule and flags when the crew are running behind
• Review key shots on the monitor throughout the day — not just at the end
• The 1st AD calls the next setup before the current one wraps
• Document a "safety" take for every important shot — a safe, clean take before experimenting

End of day:

• Final shot confirmed with director
• All equipment packed and accounted for before the crew departs
• Location left in the exact condition it was found
• All media cards offloaded and backed up to two separate drives before leaving location
• Crew thank-you and debrief

Post-Production Handoff

The final pre-production responsibility is ensuring a clean handoff to the post-production team. Immediately after wrap:

• Media backup confirmed on two drives before any card is formatted
• Editor receives organised media folder with clips labelled by setup, take, and angle
• Director provides edit notes and setup priority guide for the editor
• Post-production schedule confirmed: rough cut review date, client feedback deadline, colour grade session, final delivery date
• Music file (final master, not a working mix) sent to the editor for sync
• Delivery specifications confirmed for all intended platforms (YouTube 4K, Vevo, Instagram, TikTok)

For a full production timeline from initial concept to final delivery, see our music video production timeline guide.

Pre-Production Checklist Summary

Use this quick-reference checklist to track your pre-production progress:

Week 6–5: Creative Foundation

• ☐ Creative brief document completed and approved
• ☐ Director selected, contracted, and treatment approved
• ☐ Budget approved with 10% contingency included
• ☐ Delivery date and platform requirements confirmed

Week 4: Planning

• ☐ Full crew booked and contracted
• ☐ Initial locations scouted (with photographs)
• ☐ Storyboard and shot list drafted
• ☐ Day schedule drafted
• ☐ Wardrobe and art direction planning begun

Week 3: Logistics

• ☐ All location agreements signed
• ☐ All film permits applied for (or confirmed not required)
• ☐ Production insurance confirmed
• ☐ Equipment rental booked and confirmed
• ☐ Wardrobe and props finalised
• ☐ Catering arrangements confirmed

Week 2: Final Preparations

• ☐ Technical recce completed with key crew
• ☐ Shot list and schedule updated post-recce
• ☐ All cast contracted and briefed
• ☐ Pre-production pack distributed to all crew

Week 1 (Day Before):

• ☐ All crew confirmed individually
• ☐ All talent confirmed individually
• ☐ Equipment collected, tested, and packed
• ☐ All batteries charged and media cards formatted
• ☐ Audio playback tested with production audio file
• ☐ Catering order placed
• ☐ Call sheet distributed to all crew and cast
• ☐ Weather check done — outdoor contingency plan ready

Pre-production is the foundation everything else is built on. A thorough, disciplined approach to every task in this checklist means a shoot day where the creative team can focus entirely on capturing great footage — not managing logistics, solving preventable problems, or making rushed decisions. (Source: Screen Australia — Industry Standards and Guidelines.)

At 171 Entertainment, this pre-production framework has been developed and refined across more than 300 productions spanning 20 years. If you're planning a music video and want expert production support at any stage of pre-production, contact our team for a free initial consultation.