Planning a Film Shoot Abroad: Permits, Kit and What Can Go Wrong

Filming abroad can produce some of the most striking content an organisation ever makes: a project in action in East Africa, a product launch in Dubai, a team retreat in Europe. It also brings a layer of logistics that can trip up even experienced crews. Here's what goes into planning an international shoot properly.

Everything below is general guidance rather than legal advice. Rules change, and they vary from country to country, so always check the current requirements for your specific destination with official sources or a local expert.

Start early

Allow at least four to six weeks for European shoots and six to ten weeks further afield. Permits, visas and equipment paperwork all take time, and some can't be rushed.

A sample planning timeline

Every project is different, but a typical long-haul shoot might be planned roughly like this:

• 8–10 weeks before: agree the brief, locations and dates. Start researching permits, visas and drone rules.
• 6–8 weeks before: book a local fixer if needed, apply for permits and visas, and confirm contributors.
• 4–6 weeks before: book flights and accommodation, arrange insurance and start the equipment paperwork.
• 2–3 weeks before: finalise the schedule, recce locations remotely using photos or video calls, and share a call sheet.
• Final week: test and pack kit, print and digitally store all documents, and confirm local transport.

Getting the kit across borders

Professional camera equipment can attract customs duties and taxes when it crosses borders, even temporarily. An ATA Carnet acts as a passport for equipment, allowing it to be taken into participating countries temporarily without paying import duties. Since Brexit, UK crews often use carnets for EU trips too. Each item is listed in advance and checked on the way out and back in.

Not every country participates in the carnet system, and requirements change, so check before you travel. Keep an accurate kit list with serial numbers, make sure everything on the list actually travels, and allow extra time at the airport for customs checks in both directions.

Permission to film

Rules vary enormously between countries, and sometimes between cities. Some places require a permit for any professional filming in public spaces. Others only require permission for landmarks, government buildings or large crews. Private property always needs the owner's permission. A local fixer is often the fastest way to navigate this.

Visas and work rules

Some countries treat filming as work, even for a short corporate project, and tourist visas may not cover it. Each crew member's visa needs checking against the purpose of the trip. An invitation letter from the client's local office often helps.

Drones

Drone rules differ widely. Some countries are relaxed, while others, including several in the Middle East, tightly control or restrict drone use and require separate approvals. If aerial shots are important, check what's possible at the very start.

Working with a local fixer

A good fixer is often the best money you'll spend on an international shoot. Depending on the country, they can help with permits, translation, transport, introductions to contributors and local customs. When choosing one, ask for examples of previous productions, agree their fee and responsibilities in writing, and make sure they understand the tone of the project. A fixer who knows the difference between a corporate film and a news crew will open the right doors.

People, culture and consent

Consent and privacy expectations vary between countries. In some places, filming people in public without permission is common; in others it can cause real offence or even legal trouble. Use translated consent forms where needed, ask before filming anyone recognisable, and take local advice on dress, religious customs and sensitive locations. Respect goes a long way, and it shows on screen.

Packing smart

Travel light, but not too light. A smaller crew and a compact kit are easier to move, less intimidating for contributors and less likely to attract attention. Some practical tips:

• Check airline rules on lithium batteries, which often need to travel in hand luggage with limits on size.
• Carry the most critical kit, such as a camera body, lens and audio recorder, in cabin baggage.
• Pack spares of small things that are hard to find abroad: cables, memory cards and chargers.
• Bring a universal power adaptor and a small extension lead for charging several items at once.

Protecting the footage

Footage is irreplaceable. We back up to two drives every night, carried separately by different crew members, and upload to secure cloud storage whenever the connection allows.

What can go wrong (and how to plan for it)

Delayed flights, missing permits, unexpected weather, unavailable contributors and equipment held at customs are all common. Build slack into the schedule, keep digital copies of every document, and have a plan B for every key scene.

• Kit held at customs: keep the carnet and kit list to hand, and ideally have a local contact who can help.
• A contributor drops out: line up a second option for every important interview.
• Bad weather: plan indoor scenes that can be swapped in at short notice.
• Illness: carry basic medical supplies and check travel health advice before you go.
• Poor connectivity: download maps, documents and contact details for offline use before you leave.

Above all, keep the client informed. A short daily update on what has been filmed, and any changes to the plan, keeps everyone calm and makes quick decisions easier when something does go wrong.

Our Shoot Guide explains how we prepare for international filming. You can also see some of our location work on our video work page.