ABSTRACT
You're kind of busy selecting cameras, lenses, and your support material— tripods, dollies, and so on. You're going to have a lot of help from your crew in ordering and checking out the equipment you want (making sure it works, making sure there's enough for the show, and loading and organizing it on the camera truck). You've spent some time, based on your analysis of the script, letting the key grip, the gaffer, and the first camera assistant know what sort of equipment you think you'll need. You've met with the production manager or the producer to sign your contract, and at that time you've gotten the crew list and the schedule. Right now, the schedule is still subject to change (and it will, all the time you're shooting; I'm talking about major changes here, like shooting in the Sierras instead of Malibu, and moving scenes up to the first week from the last). You may have had some input into the schedule, but not much; it's more a matter of when actors and locations are available and how they can be scheduled so their usage is consolidated. It's a lot about time and money. It needs to be.
