Ever been to - or coordinated - a wedding? A special birthday party? Perhaps a charity event, musical concert, or film festival? More than likely, you have benefited from some wonderful person employing Location Scouting for a truly enjoyable experience. Or possibly been rudely introduced to the perils of poor Location Scouting when you couldn’t park, packed all the wrong things, and couldn’t find a clean bathroom.

Preparing for a film shoot is not too dissimilar from any other live event. But before we dive into the “how to” of location scouting, it’s worth it to understand the essential “why for” of location scouting.

THE IMPORTANCE OF A LOCATION

Building the Vision - Background, Mid-Ground, Foreground

A location is more than just the scene heading in a script. Within the two-dimensional frame of a cinematic palette, a location is the backdrop for the characters and main action. It informs the foreground and midground set pieces (i.e. tree branches, benches, tables, technology, etc.). It sets the tone for the moment about to unfold in real-time in front of an audience. So, while it’s easy to think of finding a location to match the description as a strictly logical one-for-one progression, in reality, discovering where you will film is integral to executing a successful visual project. Creatively, the importance of a location scout is to determine if there is, in fact, a place you would be willing to shoot. Whether or not it is feasible is another question.

Building the Budget - Schedule before Budget, Location before Schedule

It’s easy to take a script and immediately worry about what the budget will be. However, there are many, many steps between reading a script - even if it’s a polished draft - and providing a reliable budget. In broad strokes, you must break down the script to create a schedule first, and from that schedule, you can begin to build a budget. However, other than cast and crew, the big factor that will play into your budget is where you film it. Do you have to pay for a location fee? Or a permit? Do you have round-the-clock access to the location or will it only be available during certain hours or times of the year? How much will it cost to light the intended scenes here and how much equipment & crew will it require? Do we have to travel to get everyone there? These essential questions allow you to ground your vision with immediate questions you can begin to answer long before “what is your budget?”. Logistically, the importance of a location scout is to determine how costly your ideal vision will be. Whether or not your team is on the same page is another question - and this is where any filmmaker begins to segue away from development (i.e. researching and ideating) and into pre-production (i.e. collaborating and planning).

Building the Producing Team - Don't Sign on by Title, Take it one Task at a Time

Once you have more information about what you want to see on screen and what you need to make that happen logistically, you can more easily collaborate and delegate within your team. Sometimes it’s hard to know exactly what everyone should be doing based on their title, or even how many titles to hire. In my experience, if you are the producer and you don’t know how many team members you need to hire, then add people who can tackle the task first. Once they do the job, then you can talk about what worked, what may need improvement if you continue your working relationship, and in what capacity they could add to the team. It’s a bit like employing a contractor before you hire them as an employee.

One big reason to do an official location scout is because you can hire a camera operator or a local fixer just for the scout and it can begin a longer conversation including but not limited to joining the project. This also relieves you from committing too early to someone whom you’ve just met and don’t have the time or resources to vet otherwise. From a relationship perspective, a location scout can be a great way to safeguard your production relationships by testing them before there is a greater risk.

What's the best first task for a new producer on a team? HELP SECURE THE LOCATIONS!

HOT TIP: Proof-of-concept short films (or pilots) can be shot at the same location intended for the feature (or series). This means that you can test out your location, cast, and crew with less money and time - so definitely worth considering as part of your Location Scouting!

WHEN LOCATION SCOUTING

Exterior Locations:

When scouting exterior locations, the instinct to find the epic wide shot is well worth your time. The closer the shot (Medium or Close-up especially), the easier it is to supplant production inside to match the longer/wider shots outside. It is, in fact, why so many big-name productions and filmmakers will still film on location - sometimes you just can’t beat really being there and taking in the landscape. So, allow your dream to linger for a while, and as an artist, ask yourself:

• What emotions does this view evoke?
• Does this set the tone for my film?
• Does this transition our audience away from something else and into the scene that is here?
• Does the view need anything else to feel complete?
• Is this time of day what we need?

HOT TIP: DAY/EXT lighting is free, super cheap & easy to manipulate, and looks good on everyone (provided you follow some basic guidelines). It’s also unpredictable, so professional shoots will have backups - either an HMI for more light, a silk to dim the light, or a flag to block out the light. Conversely, filming NIGHT/EXT is the most expensive because it requires such large lights to make it look good.

Once the creative needs are fulfilled, you’ll be able to negotiate with the logistical questions, like:

• Weather
• Accessibility
• Bathrooms
• Trailers & Equipment Holding
• Neighbors & Surrounding Businesses
• Foot and Vehicle traffic
• Parking
• Permitting

If you don’t like the look of the location, don’t bother figuring out the logistics. But if you think it would fit or elevate the vision of the project, then take a little time to see if it would be worth your time, and effort, and within your budget. Of course, this kind of research can also establish your budget - so consider being as thorough as possible to increase your chances of finding funding.

Interior Locations:

When scouting interior locations, there are notable differences, and most of them are beneficial. Bathrooms are more likely to be closer, cleaner, and more spacious - your cast will love you for that. You have more control over the lighting and fewer wild sounds interrupting clean audio. You’ll even be able to rest more comfortably between takes or setups, as you’ll be in the shade if not air conditioning - ideally. On one of my recent short films for the 48-hour Film Project, “Livin’ with Lisa” (2022, picture below), we didn’t visit the location before we booked it. We found out on the day of filming that there was no air conditioning, and the bathroom was outside, also not air-conditioned… for an early August shoot. Thank goodness for one-day shoots, cold drinks, and shade!

With added creature comforts, however, there is now a swath of new items on your checklist to investigate: available power sources, how many outlets and their loads (they will short circuit or just not turn on), who will let you into the building, where can equipment be staged safely, where can crafty be set up without interfering with a hot set, where can video village set up, and, of course, where are you able/allowed to park (always an issue, and closer to buildings, you’re likely to content with street and/or metered parking).

Lest we forget the ever-important SOUND, interior locations may shield you from some outside noise, but you’ll now have to contend with other inside noises - running water, the hum of electronics, people in adjacent rooms, and even sometimes the heater or A/C that you’ve grown accustomed to will have to be halted during takes. Luckily, most of these things you can turn off or corral, but they will still have to be weighed against the PROs/CONs of filming elsewhere.

Lots of podcast studios have popped up, and they look trendy and cool. This is great if your podcast is destined to have a visual component, but first and foremost, it must pass the quality sound check.

You can see, then, the advantage of filming inside a studio where you can control most of the logistical factors. Unfortunately, a studio, or any other pre-fabricated space, requires a dedicated art department to dress it to your project’s needs.

The INT. CHURCH scenes for “Sanctuary” were filmed inside a location we used as a studio. Knowing we were building the frames to the specifications of a real church, we needed to confirm the frames for the walls we were building would fit through the doorway AND up the stairs. Otherwise, our build crew would have to do even more work during production and build it all from scratch on location, causing us to spend more money to secure the location, and increasing the chances we would damage the location with the build. Luckily, the frames fit! The Location Scout was integral to the Art Department’s success.

It’s worth noting that some interiors can be multi-purposed as well. If the frame is fairly tight within a scene, then we only need enough of the backdrop to inform where we are. I cannot count how many times I’ve helped set dress a hotel room or conference room to look like something else. A doctor’s waiting room, a hospital room, an interrogation room - all we require are chairs, doorways, curtains, a table, and formulaic wallcoverings, and you’d be surprised how easily it translates to a multitude of settings. BONUS: Some locations have their own set dressings, decorations, and props! Don’t be afraid to ask the owner if you and your crew can use those as well - it’ll save you a ton on art department expenses.

HOT TIP: When scrolling through Peerspace, Giggster, or even AirBnB (if they allow filming), be sure to take note of what is in the space already - set dressings, decorations, and potential props. Before you book the space, be sure to go to the location to confirm those items are still available for you AND ask for permission. When you arrive on the day, take pictures of everything in the location exactly as you found it - floors, walls, outlets, with and without furniture if you take away furniture out of the space - the same way you do when renting an apartment. If the owner claims something has been damaged, it’s your responsibility to have proof of what it looked like before you started filming there. If you witness the damage, best to take pictures of it before the owner brings it to your attention - the same way you do when reporting damage after a car accident. If you change anything in the space, you’ll also want these pictures so you can reset everything as you found it.

Some filmmakers, need logistical control and are willing to increase their budget to customize the space. For other filmmakers, mostly independent productions, they need to do the most with the least amount of art department. For these leaner-budget films, doing a thorough Location Scout is the deciding factor for its success.

ON-LOCATION vs. IN-STUDIO:

On the surface, it sounds like these are both the same. Actually, there may even be an assumption that both are interior sets, but both actually have the potential to have INT and EXT locations available. Remember - a single location can have different set-ups around the space, allowing for a single location to be utilized for multiple scenes. On the set of Night Train, directed by Shane Stanley, we secured a local airport for a very important scene at a local airport. HOWEVER, it had a runway that was perfect for the opening car race, a curb for a police pull-over scene, and interior offices we dressed to make it look like an FBI office. As the Production Manager for this film, it was incredibly important to limit how many times the cast and crew would move locations. Shane Stanley is incredibly good at securing amazing locations! This was shot on location in Palm Springs, California which now has a booming Film Office: FilmPalmSprings.com

On-Location

Filming “on-location” denotes filming in a space whose business is not primarily filming. This could be a bar with normal operating hours, a person’s home, or even down Hollywood Blvd. The term simply refers to “where we are filming will potentially have people and things not originally intended to be used for filming”. On-location filming tends to be cheaper but also has more challenges. Proper preparation will address most of them, but preparing alternate plans should the worst happen is advised as part of that preparation. Feature and short films benefit most from this flexibility and reduced budget.

In-Studio

Filming “in-studio” denotes filming in a space dedicated to filming as its primary purpose. This could be a voice-over booth, a warehouse with a cyclorama wall, or a fully-furnished set built in a studio lot. In-studio filming tends to be more expensive but also has fewer challenges. Proper long-term planning will make the price tag more enticing, but there is less flexibility should something happen (e.g. you can’t change locations easily if there is a power outage - you just have to wait it out). Theatre and television shows benefit most from this stability and reusable art department items.

DON’T WAIT - LOCATION SCOUT ANYTIME!

Most official location scouting happens once you know where you’ll be filming, but you can also work in reverse. Not only can you location scout in pre-production, but you can also explore locations in development. In fact, locations may inspire the script! Go on a walk and see a cool place? Snap a shot! Visit a local garden or park? Ask about filming while you’re there! Stay at a hotel or Airbnb? Show them pictures of where you’d like to film and see if they would be agreeable to it!

HOT TIP: All locations require a LOCATION AGREEMENT signed by the owner or the manager of the location. It is easier to get that signature from an independent owner, so start with small businesses before you leap into big chain businesses. Locations will also require insurance, so make sure you give the location owner a copy of the COI (Certificate of Insurance) before you start. It is best to build that trust early and reinforce it often!

STAGE 32's LOCATION MANAGEMENT MASTER CERTIFICATION

Learning how to be a Location Manager and succeeding at it means being part of the collaborative process and experience of filmmaking. It is exciting to play an intricate role in telling stories cinematically. And the industry needs more qualified Location Managers. That's why veteran Location Managers- Miranda Carnessale, Mike Fantasia, and John Rakich, are teaching Stage 32’s new Location Management Master Certification Courses. The Stage 32 Location Management Master Certification track examines and explains the real job of a Location Manager from pre-production through production, and ultimately through wrap. If you're interested in registering for this** Master Certification**, or any other Stage 32 Certification courses, you can do so NOW!

Additionally, we're wrapping up Stage 32's July Filmmakers Club with an incredible FREE Global Film & Television Production Summit on July 31st at 11:00 am PT! Featuring top producers, film & TV workforce development executives, and film commissioners, all coming together to discuss the current state of the global production industry and how Stage 32 Certification creates a pathway to work placement around the world. Register for FREE by clicking HERE!

LAST THOUGHTS

Location scouting can be incredibly involved, so getting started early is worth your time. Don’t worry about getting into the details until you know you need to. If you’ve filmed somewhere before and you’d like to film there again, keep all your research in a spreadsheet and your photos in a folder for quick reference. If you haven’t filmed somewhere before, but you’d like to explore it later, you can still keep all that information stored for quick reference. Just be sure you take all those extra photos off your phone - they can build up quickly!

For those of you reading who are producers or are interested in producing, please note - having an inventory of readily available resources is part of the value you bring to any project. Those resources could include relationships with cast, crew, vendors, and location owners. Build up that inventory of locations now and keep it fresh!

Have fun, and let us know in the comments below or in a post in the Filmmaking Lounge - where are you going to be filming next?

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