Preparing Your Car for a Film Shoot: Owner Checklist

The booking is confirmed, the call sheet has arrived and your car is going to be on camera. The next few days are where a good job becomes a great one. Productions remember owners whose cars arrive clean, on time, starting first time and exactly as described, and they tend to ask for them again.

This checklist is written for private owners in the UK preparing for film, TV, commercial or photographic work. It assumes you have already agreed the terms; if not, start with our guide to renting your classic car to film productions.

Re-read everything the production has sent and check that the following are clear in writing:

• Date, call time and the exact address of the unit base or location.
• Who your contact is on the day, with a phone number.
• How the car will be used: static, pushed, driven by you, driven by others, tracked or carried on a trailer.
• Any dressing, prop plates, stickers or effects planned for the car.
• The insurance arrangements for the car parked and moving.
• Parking arrangements for you and any support vehicle.

If anything has changed since you agreed the job, ask now rather than on the day. Our guide to picture car insurance explains what to check on cover.

Unless the brief asks for dirt or patina, the car should arrive as clean as you can make it, inside and out. Cameras are unforgiving: dust on dark paint, fingerprints on chrome and smears on glass all show, especially under lights. Wash and dry the car carefully, clean the glass inside and out, dress the tyres modestly and vacuum the interior.

If the brief asks for a lived-in or distressed look, the art department will normally apply and remove any dressing themselves. Do not attempt it yourself unless asked.

The best gift you can give a production is reliability. A few days before:

• Check oil, coolant, brake fluid and tyre pressures.
• Charge the battery, particularly if the car has been laid up, and consider a jump pack.
• Make sure all lights work, including indicators and brake lights, since they may be in shot.
• Check the fuel: arrive with enough for the day plus the journey home, and a little more if there will be repeated drive-bys.
• Run the car properly to make sure it is warm and happy, rather than starting it for the first time on the morning.

If the car has a known quirk, write it down so you can brief the crew.

Work out the route the evening before, allowing for traffic and for the gentler pace many classics prefer. Early calls often mean leaving in the dark, so check the lights and wipers. If the location is in central London, check whether the Congestion Charge or ULEZ applies to your car and whether the production is covering any charges; our guide to ULEZ and the Congestion Charge for classic cars explains the basics. If the car is travelling on a trailer, confirm who is loading it and where the trailer will be parked at the unit base.

Bring your driving licence, a copy of your insurance schedule and anything the production has asked for. For a car being driven on public roads, it must be taxed, unless exempt, and have a valid MOT, unless it qualifies for an exemption. Government guidance explains which historic vehicles are exempt from MOT testing. Keep the V5C at home, but know where it is.

Film days are long and involve a lot of waiting. A useful bag includes:

• Microfibre cloths, quick detailer and glass cleaner for touch-ups between takes.
• A soft car cover or blanket for breaks between set-ups.
• A folding chair, warm layers, waterproofs and a flask.
• A phone charger and something to read.
• Basic tools, spare bulbs and fuses suited to your car.
• A torch for early calls and late wraps.

On arrival, before the car goes anywhere near set, photograph every panel, wheel, the interior, the boot and the odometer. Take a short walk-around video too. If possible, do this with your production contact present and ask them to note any existing marks. Repeat the process before you leave.

These records protect everyone. They make it quick to resolve any query and show that you take care of the car.

Productions value owners who are calm, punctual and easy to work with. Arrive early, stay near the car or let your contact know where you are, keep your phone on and be ready to move the car at short notice. Ask before starting the engine near set, and follow the assistant directors' instructions about quiet and positions.

It is fine to speak up if you are worried about how the car is being handled. Do it politely, early and through your contact. If the shoot involves driving, read how to film driving scenes beforehand so you know what to expect.

Check the car thoroughly before leaving, remove any production items, and make sure any dressing has been taken off as agreed. If you notice anything new, raise it immediately with your contact and photograph it. Once home, give the car a proper clean and check it over.

Then, if the job went well, tell us. Owners with a good track record are naturally the first people we think of for the next suitable brief.

When a booking is agreed through CarSeen, we make sure the job details are clear and written down for both sides before the day. If you have questions as you prepare, ask us. If your car is not yet listed, use the list your car form, and read how it works for an overview.