Preparation is one of the most vital stages of any shoot, whether it’s a short-form commercial, a high-end TV drama, or a larger-scale production. The camera prep process ensures that everything is technically sound, creatively aligned, and ready to meet the demands of the project. Having worked extensively across various formats and scales of production — from small commercials to long-form TV dramas — I've seen how the nature of prep shifts depending on the job. The time and resources allocated to prep are often dictated by the budget and schedule, but the core principles of thoroughness and attention to detail remain constant.

Short-Form vs. Long-Form Prep

On short-form commercials, camera prep can often feel compressed. It's not unusual to prep on the morning of the shoot or at best be given half a day the day prior. This limited timeframe makes it crucial to have a sharp eye and streamlined workflow. By contrast, TV dramas typically allow for more comprehensive preparation, with up to three days to check every detail. This time is invaluable — it allows for in-depth testing, lens evaluations, and communication with other departments, all of which contribute to a smoother production.

On larger-scale productions, prep can extend even further. I’ve seen designated days purely for lens testing, where the DoP would assess flare characteristics, sharpness, and contrast across different focal lengths. This process plays a huge role in defining the visual aesthetic of the project. When I first received my rehoused IronGlass lenses, I took them to No Drama Camera Rental in Manchester to put them through their paces. Using a colour chart and grey scale card, I tested each lens to ensure they lined up as a set — a crucial step in verifying consistency for a shoot. Older lenses, especially vintage glass, often present unique challenges like barrel distortion or inconsistent focus marks. Problem-solving these issues on the spot is something I had to learn quickly in the early days of my career.

Knowledge Gained from Years as a Focus Puller

My years as a 1st AC have been invaluable in shaping how I approach prep as a cinematographer. Understanding the technical intricacies of lenses, cameras, and wireless focus systems helps me anticipate potential issues before they arise. One key step is programming lenses into the focus handset, whether it's a Preston, ARRI WCU-4, or Hi-5 unit. This process has evolved significantly with newer systems offering features like lens mapping, Bluetooth connectivity, and cloud-based backups. Personally, I’ve found the ARRI Hi-5's modular architecture particularly useful for customising workflows, especially on long-form jobs where consistent lens data is critical. This not only improves efficiency on set but ensures that marks are accurate and consistent throughout the shoot. With newer focus systems offering advanced features like lens mapping and Bluetooth connectivity, staying up to date with the latest technology has been essential.

Lens Testing and Shimming

Lens projection is another crucial part of prep. By projecting each lens, you can check for sharpness across the frame, chromatic aberrations, and edge fall-off. Measuring lenses against a focus chart ensures they’re lining up correctly — if not, shimming might be required to adjust the back focus. This precision is especially important when working with multiple lenses across a set, as even slight variations can affect the final image. Creating lens lists featuring T-stop, close focus measurements, and focal lengths is another way to stay organised and maintain consistency across the shoot. This testing contributes directly to the visual aesthetic of the project, helping to align technical performance with the creative vision.

Monitor Calibration and Sensor Checks

Calibrating monitors with colour bars is another step that can’t be overlooked. It ensures that what the DoP sees is as accurate as possible. When checking sensors, I always power up the camera within the first hour of prep, allowing it to reach temperature before outputting false colour and applying peaking with the port cap on. By pushing the ISO to its maximum, any sensor blemishes become visible. If I notice any dead pixels, I’ll either perform pixel mapping to mask the issue or I may request to switch the camera out for a replacement early on in the prep if possible.

It’s also essential to check every monitoring output — from the viewfinder to on-board monitors and wireless video transmitters feeding Video Village. This avoids the risk of mistaking a display fault for a camera issue. Keeping my laptop on hand during prep allows me to update firmware, troubleshoot issues, and research solutions on the fly — a small detail that can save valuable time during a shoot.

Prepping for Different Operating Styles

Every job is unique, and understanding the operating style is a key part of prep. Liaising with the operator or DoP during prep can help anticipate their preferences, such as handheld configurations, preferred monitoring setups, or wireless follow focus requirements. This communication not only streamlines the workflow but also builds trust, ensuring that the camera department is aligned with the vision of the production. Whether it's rigging for Steadicam, multi-camera setups, or stabilised heads like the Libra on tracking vehicles, knowing how to cable the camera and manage power distribution can save a lot of headaches on set. Modern tools like the DJI Ronin 4D or the Sony Venice in Rialto mode also require their own specialised prep, particularly when it comes to balancing and configuring wireless systems. Motion control systems bring their own complexities, with camera triggering, syncing, and lens motor calibration all requiring detailed attention.

Film vs. Digital Prep

Though I primarily work in digital, the principles of prep remain consistent with film. Stock management, communicating with the DoP about how many rolls are required, and conducting steady tests are all essential. The phrase “checking the gate” — still used even in digital workflows — originates from film shoots, where the gate was inspected after each take to ensure no debris or hair was obstructing the frame. Liaising with the rental house is critical during film prep, especially regarding stock deliveries, spares, and stock refrigeration if required.

Adapting to Every Production

One of the biggest lessons I've learned in the camera department is how different every production is. On some jobs, you’ll have a fully kitted-out camera truck with a dedicated driver and a consumables budget. On others, the logistics fall to you — ensuring communication between departments, managing transport, and keeping a keen eye on the finer details. Regardless of the scale, the preparation remains the same: every piece of equipment should be meticulously checked, every process followed with care. A well-organised prep day not only ensures technical readiness but also contributes to a more confident and collaborative atmosphere on set. When the crew sees that everything is in place and functioning as expected, it sets a positive tone for the entire production.

Looking to the Future

As the industry evolves, virtual production and LED volume shoots are becoming more common. Understanding how to prep for these environments — from syncing camera metadata with virtual environments to calibrating lenses for parallax corrections — is something I’m keen to learn more about. The tools and workflows may change, but the principles of thorough, methodical preparation will always remain at the heart of what we do.

Conclusion

Camera prep isn't just a technical exercise — it's a mindset. It’s about being methodical, anticipating challenges, and setting the entire team up for success. Whether it's a quick morning commercial prep or a week-long drama prep, the fundamentals are the same: know your kit, trust your process, and never underestimate the importance of thorough preparation. The time spent in prep will always pay dividends when the camera rolls.

Camera Prep: The Foundation of a Successful Shoot