Preparing your journey
Finding the location is the easy part. Getting a crew, their kit and their visas to it legally is where productions lose weeks.
We scout against the brief, negotiate access with owners and film commissions, then handle the permits, visas, travel and accommodation that turn a location into a shootable one.
Quoted before the recce, so a location does not become expensive after you have committed to it.
A standing archive of locations plus scouts on the ground, and the relationships with owners and film commissions to get you in.
Crew visas and filming permissions filed together, so the paperwork clears in step with the schedule rather than after it.
Flights, transfers and ground transport for the whole unit, moved as one booking instead of forty.
Hotels and serviced apartments at negotiated rates, matched to how long the unit is on the ground.
Part of the same engagement, run by the same coordinator.
Script pages, references or a description. We come back with a shortlist.
You see the options, we negotiate access and start the permits.
Visas, flights, transfers and rooms, so the crew arrives ready to shoot.
Two kinds of brief come through this desk. One wants a skyline, a souk or a street that can be closed for four hours. The other wants a pass, a lake or a dune field a long way from a crew hotel. Both need the same three things settled before a unit moves: who owns it, who gives permission, and how the trucks get there.
Streets, skylines, markets, interiors and the permissions that come with shooting in a working city.
Mountain, desert, coast and forest, including the forest-department and protected-area clearances most schedules forget.
Reference imagery of the kinds of location we scout and clear. Tell us the look you are after and we will come back with options, access terms and the permit route for each.
If yours is not here, call and ask. We would rather answer now than have you find out later.
Ask a questionYes. We work through a network of scouts abroad as well as our own archive here, and handle the visas and permits that come with shooting overseas.
Not always, and we say so upfront. Some are pre-cleared, others need negotiation with the owner or a film commission. Each shortlist entry is marked with where it stands.
Most countries treat filming as work, so a business visa is the wrong instrument and gets refused or, worse, granted and then challenged on arrival. Film and crew visas are filed differently, and often alongside a shoot permit.
Yes. If you have already found your location, we can take on just the clearances, visas and crew logistics.
Where a state or country offers a production rebate we will identify it and file for it. We cannot promise one exists for your shoot until we know where you are filming.
Passport, destination and travel dates. We tell you exactly what is required.
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