Getting Permission to Film
Finding the perfect place is only half the battle — you still have to be allowed to shoot there. Getting a real, reliable "yes" is a skill of its own: knowing who actually owns the permission, how to ask, and how to turn a friendly maybe into a confirmed booking.
Welcome to the securing phase. You've found and assessed a place; now you have to earn the right to shoot in it. Getting permission to film at a location is where a lot of first-timers fumble — they assume a friendly nod is a booking, ask the wrong person, or skip the permits a public shoot legally needs. This chapter is about getting a real yes: reliable, from the right person, and (next chapter) in writing.
First: who actually owns the yes?
The most common mistake is getting permission from someone who can't actually give it. The person on site is often not the one with authority. Before you celebrate a yes, find out who truly controls the property:
- A rented home or business? The landlord or property owner may have to approve, not just the tenant or manager who's excited to help.
- A chain business? A local manager may love the idea, but corporate/regional is who signs off.
- A shared or governed property? An HOA, a co-op board, a body corporate, or a building management company may hold the real veto.
- Public or council land? A government office and a permit — not any individual — grants it.
Always ask directly: "Are you the person who can approve filming here, or is there someone else who needs to sign off?" It's a simple question that saves you from the nightmare of a yes that evaporates the week of the shoot.
Private property vs. public permits
Private property
- You deal directly with the owner/authority
- Agreed via a location agreement (next chapter)
- Terms, fee, dates, and rules are negotiated
- Their insurance requirements often apply
- Relationship and trust do most of the work
Public / municipal
- Streets, parks, public buildings need a film permit
- Apply through the film office or city (lead time!)
- Often requires proof of insurance
- May involve fees, police, or road/parking control
- Covered in depth in the Permits & Releases course
Know which world you're in for each location. Private property is a negotiation with a person; public space is an application to a body. Many shoots involve both — you have the owner's yes for the shop and a permit for the sidewalk out front. (The full permit process is its own course; here, just know it exists and needs lead time.)
How to make the ask
When you approach an owner, you're asking a stranger to let a small circus into their space. Make it easy to say yes:
- Be clear and specific. What the project is, the dates and hours, how many people, what you'll do, and how long you'll be there.
- Be professional and reassuring. Explain that you're insured, tidy, and respectful — address the fear before they voice it.
- Lead with respect, not just money. Many owners care more about their property being safe and their day undisrupted than about the fee.
- Anticipate the worries. Damage, mess, noise, being inconvenienced — name them and explain how you'll handle each.
- Make yourself a real person. People say yes to a trustworthy human far faster than to a faceless "production."
Turn a maybe into a booking
A warm "sure, sounds great" is not a locked location. Until it's confirmed with the right person for specific dates — and ideally in writing (next chapter) — treat it as a lead, not a booking. Follow up promptly, nail down the exact dates, confirm the authority, and don't stop scouting a backup for anything that isn't truly locked. Enthusiasm is lovely; a confirmed date and a signature are what let you actually schedule the shoot.
The most painful location I ever lost, I never really had. A shop manager was thrilled to have us — "absolutely, come film, it'll be fun." I took the yes, built two shoot days around it, and told no one to keep looking. Four days out, corporate found out and killed it flat: the manager was never allowed to approve outside filming. We scrambled and shot in a worse place. The lesson burned in: a yes is only worth the authority behind it. Now the first thing I establish, before I get excited, is who actually owns this decision — and I don't consider a location locked until that person has confirmed real dates. Charm gets you in the door; verifying the authority keeps the door from slamming later.
You've got a genuine yes from the right person. Now you make it solid and safe — putting it in writing. Next: location agreements and release forms, the paperwork that protects your shoot.
Keep your location lists, scout reports, permit deadlines, and shoot-day logistics organized in one place. The Toolbox turns a messy scouting process into a repeatable, professional workflow.