Video Shoot Day Run-of-Show: How to Run Set From Call Time to Wrap

A video shoot day run-of-show is the order of everything that happens on set, from call time to wrap: the safety briefing, each setup, the shots in priority order, sound and picture checks, media backups and the handoff at the end. This checklist covers the day itself; planning happens before it. This page is part of our video production guide.

How to use this checklist: fill in the run-of-show template at the bottom from your call sheet and shot list, print it with these checklists, and give one person the job of ticking them off on the day.

Open the set before crew call

The producer or director arrives before the crew, so the first hour goes to work rather than questions. Everything you planned with our pre-production checklist gets a last check on site.

• Arrive before crew call with the printed call sheet, shot list and run-of-show.
• Walk the location and confirm access, parking, power and restrooms still match the plan.
• Check the weather and light against the schedule, and move exterior setups if needed.
• Set up a base area for gear, food and the media station away from the shooting area.
• Confirm talent and contributors are on time, and send updates to anyone running late.
• Mark the day's A-priority shots on the run-of-show so everyone knows what can't be cut.

Run the safety briefing

Keep it short and do it every day, with everyone present, before any gear is rigged.

• Point out exits, the first aid kit and the nearest hospital listed on the call sheet.
• Name who is in charge of safety on set and how to stop work.
• Show where cables will run, and agree how they get taped or covered.
• Explain any hazards specific to the location, such as water, traffic, heights or machinery.
• Repeat any location or permit conditions the crew must follow.
• Run the drone pilot's preflight and airspace check before any flight is scheduled.

If the day includes drone shots, the pilot's checks come before anyone else's plan. Our guide to drone video and Part 107 covers what the pilot reviews.

Set up in a sensible order

A consistent setup order avoids the most common delays: waiting for power, relighting after the camera moves and finding sound problems after the first take.

• Run power and distribution first, before lights or monitors go up.
• Block the scene with the director and talent before lighting it.
• Set the main light, then fill, background and practical lights.
• Build the camera, set the frame rate and shutter, and confirm the white balance.
• Place microphones and check levels while lights are adjusted.
• Line up a final rehearsal before the first take.

Shoot in priority order

The shot list is already sorted by setup. On the day, the job is to protect the shots the edit can't live without.

• Shoot A-priority shots first in each setup, then B, then C.
• Get every angle in one lighting direction before turning around.
• Slate every take, or log it clearly when you can't slate.
• Mark the best take for each shot on the list as it happens.
• Check the clock against the run-of-show at the end of every setup.
• Agree with the director which C shots to drop when time runs short.
• Record cutaways and details while the setup is still lit.

Check sound and picture as you go

Problems found on set can be fixed in minutes. The same problems found in the edit often mean a reshoot.

• Listen on headphones to every take, not just the first.
• Stop for planes, traffic, air conditioning or fridge hum, and retake.
• Record room tone at every location before the crew moves.
• Check focus on a large monitor after each new setup.
• Watch for flicker, reflections and continuity changes between takes.
• Review the first take of each setup on playback before moving on.

Protect the media during the day

Footage is the one thing you can't replace, so treat the media station as part of the shoot, not an afterthought.

• Label each card with day, camera and card number before it goes in.
• Offload full cards during the day, not only at wrap.
• Verify each copy and make a second copy before a card is reused.
• Keep used and empty cards in separate, marked cases.
• Log card numbers against the shot list as each card is offloaded.
• Keep backup drives in different bags or vehicles when leaving the location.

Wrap and hand off

Wrap isn't over when the camera stops. The handoff decides how smoothly the edit starts.

• Finish the final offload and verify every card before the crew leaves.
• Mark the shot list with captured, moved and dropped shots, with reasons.
• Collect signed releases from everyone who appeared on camera.
• Reset the location to how you found it, and photograph it.
• Check all gear against the gear list before loading out.
• Agree who carries each copy of the footage and where it goes next.
• Send a short wrap note with the media log, the marked shot list and open issues.

Planning a day with interviews? Our testimonial interview questions give the interviewer a ready question list. If you'd rather have a crew run the whole day, our in-house video production team plans, shoots and edits every project, with no handoffs.

The run-of-show template

Copy this block, replace each bracket from your call sheet and shot list, and add one line per setup:

RUN-OF-SHOW: [project] / Day [#] of [#] / [date]
Owner of the schedule: [name]
[time]  Crew call and base setup
[time]  Safety briefing (all crew)
[time]  Setup 1: [location / lighting]  Shots: [A shots] then [B, C]
[time]  Setup 2: [location / lighting]  Shots: [A shots] then [B, C]
[time]  Meal break
[time]  Company move to [location], if any
[time]  Setup 3: [location / lighting]  Shots: [A shots] then [B, C]
[time]  Room tone and pickups
[time]  Final offload, verify, wrap
Cut first if late: [C shots]
Media station: [name]   Releases: [name]