Frequently Asked Questions

A film fixer is a local production specialist who handles logistics for international crews filming in a foreign country. Fixers manage permits, location access, crew hiring, equipment rental, transportation, and cultural navigation. They bridge the gap between your production and local authorities, vendors, and talent so you can focus on the creative work.

Contact us with your project details including dates, locations, crew requirements, and budget range. We respond within 24 hours with an initial assessment and typically deliver a detailed proposal within 48-72 hours. There is no commitment required for an initial consultation, and we are happy to discuss your project at any stage of planning.

Costs vary significantly based on project scope, crew size, equipment needs, and shoot duration. A single-day corporate interview might start from a few thousand euros, while a multi-week feature production involves substantially more. We provide transparent, itemized quotes with no hidden fees. French social charges are factored into all crew rates upfront, and we can advise on the CNC tax credit which offsets up to 30% of qualifying spend in France.

Yes, we maintain crew networks across all major cities and regions in France. Paris has the deepest talent pool, but we have established teams throughout the country. For regional shoots, we source local crew whenever possible to reduce travel costs and leverage local knowledge. If specific expertise is needed, we can mobilize specialists from Paris or other cities.

That is our specialty. We bridge the gap between international production companies and local crews, vendors, and authorities in France. Our team handles everything from carnet requirements for equipment crossing borders to coordinating with local unions and navigating co-production rules. Most of our clients are UK, US, German, and Asian productions.

Our team provides complete pre-production services including script breakdown and scheduling, location scouting across all regions, casting through our agency network, crew selection from our vetted professionals, budget development with local tax credit calculations, and permit submissions to film commissions and local authorities. You receive a production-ready package before cameras start rolling.

Feature films typically require 8 to 12 weeks for locations, casting, and paperwork. Commercials can be turned around in 2 to 4 weeks when locations are straightforward. Documentaries depend on access requirements and interview scheduling. We can accelerate timelines when needed, but permit processing by local authorities creates certain minimum lead times that cannot be shortened.

It happens, and we plan for it. Every location package we prepare includes backup options, and we maintain strong relationships with property owners and film commissions to handle last-minute changes. Our location managers have successfully arranged same-week replacements for a wide range of shoot locations.

Absolutely. We build budgets in local currency with detailed line items following industry formatting standards. If you have a target number, we will tell you honestly what is achievable, whether that means adjusting the shooting schedule, finding alternative locations, or restructuring the crew. We prefer a frank conversation upfront over delivering surprises later.

Send us your dates, locations, and a rough crew list. We respond with availability and day rates within 24-48 hours. Once you confirm, we handle the booking paperwork. Local crew contracts have specific requirements around hours, overtime, and social charges that we manage so you do not have to navigate the bureaucracy. You receive a single crew list with contact details and call sheet information.

We handle everything from two-person documentary setups to 150-person feature units. Typical commercial shoots run 15 to 30 crew including a DP and camera team, gaffer with electricians, key grip, sound mixer with boom operator, plus art department and hair and makeup as needed. Our network scales to fit any production size.

City-based crew can often mobilize within 24-48 hours for urgent jobs. Regional shoots need more lead time, typically 5-7 days minimum for locations outside major cities. The real constraint is usually equipment availability from rental houses, not crew. With 2-3 weeks notice, we can assemble the ideal team rather than just the available one.

All department heads in our network, including DPs, gaffers, sound mixers, and ADs, are fluent in English. That is a baseline requirement for international work. Supporting crew varies, but we always ensure communication coverage across each team. For fully local-language shoots, we have native crews across every department.

Yes. We work with major rental houses daily. Most equipment packages include crew who stay with their assigned gear, as the gaffer works with their preferred lighting setup and the DP selects camera equipment they know. We also handle customs procedures and carnet documentation for international productions bringing their own equipment.

The entire pipeline from dailies through final delivery. This includes offline editing through Avid or Premiere, online conform, VFX integration, color grading sessions, sound editorial with Foley and ADR when needed, and a final mix. We handle all technical handoffs so you are not managing separate vendors. Deliverables come quality-checked to specification for any platform.

Commercials typically run 2-3 weeks from offline lock to final delivery. Documentaries span 8-12 weeks depending on archive clearance and transcription needs. Projects with substantial VFX require 16-24 weeks. We have handled emergency turnarounds for festival deadlines, but realistic scheduling from the start produces better results.

Daily. Each streaming platform has its own technical specifications: Netflix requires IMF packages with particular audio channel arrangements, Amazon follows its own quality evaluation process, and Apple TV+ needs Dolby Vision. We stay current on all of them. For broadcast, we deliver to EBU R128 loudness standards. Cinema DCPs are tested on theater servers before delivery.

Everything current: ARRIRAW, RED R3D, Sony Venice X-OCN, Blackmagic RAW, ProRes in all flavors. We also handle legacy formats when archive material enters the edit, including digibeta, HDCAM SR, and film scans. Our partner facilities maintain both modern infrastructure and older decks for when you need them.