You go over the camera package order with the 1st AC to make sure you both have everything you need. You discuss issues like monitoring, video village, and you'll have to discuss workflow, data management, etc. if you aren't hiring a DIT. You go over any special equipment needs, Steadicam, remote head work, anything that can be day-played. Obviously you discuss the camera and lenses. You go over the working and photographic style for the show, how the director wants to work, the logistics, the locations. Some of this discussion involves the UPM or line producer as well. You have to find a happy balance between the equipment package and size and skill of the crew, there is no reason to rent more gear than the crew can handle, and if you need more crew to pull off the shots the director wants, then you have to discuss that with the line producer. You don't want to get into a situation where you have a lot of camera gear to move around a location and not enough people because your 1st AC only has a 2nd AC under them how also has to do downloading, so they disappear for large chunks of time. And if the camera crew is expected to set-up two video villages, one for the director and a separate one for producers, not to mention run picture to the sound department, then there has to be enough people do to that.
That's a good article Dan. I particularly like the line that camera assistants don't monitor sound recording.