Your premier on-ground team for official government filming permits, vetted local crew, camera gear rental, location recce, and high-altitude logistics across Kathmandu, Pokhara, Everest, and all of Nepal.
Trusted by international productions
Everything on the ground
Take the whole package or the one piece you are missing. Productions arrive with their own DoP and just need permits and a driver who knows the checkpoints. We run as much or as little of the ground operation as your shoot needs.
On the ground in Nepal
Permits cleared, gear through customs, crew at altitude and cameras rolling. A look at the productions we have run across Nepal, valley floor to high Himalaya.
Turnkey ground fixing, custom permit applications, high-altitude logistics, local technical crew, and CAAN-approved drone operations across Nepal.
Single point of contact owning the ground operation from treatment review to equipment export. Handles schedule contingency, local authorities, and on-set troubleshooting.
Official permit filing via registered local entity: Ministry of Information (MoCIT), national park conservancies, drone clearances, and customs temporary import bonds.
Technical scouting briefs with GPS coordinates, sun position tracking, 360° drone pans, and realistic access assessments for difficult Himalayan terrain.
English-speaking cinematographers, sound recordists, drone pilots, high-altitude mountain guides, and specialized field interpreters for remote regions.
Complete movement plans covering expedition 4WD fleets, domestic flight bookings, helicopter charters, remote camp lodging, and generator power.
Complete aerial clearance from CAAN, Ministry of Home Affairs, and Defence. Licensed high-altitude UAV pilots with cinema FPV and heavy-lift packages.
Plenty of productions arrive having booked transport and accommodation themselves and assume the rest follows. This is the part that does not.
| What it takes | Local fixer | Booking direct | General operator |
|---|---|---|---|
| Knows which permit category your project falls in | Yes | No | Sometimes |
| Files the application as a registered local company | Yes | No | Sometimes |
| Handles protected area and heritage permissions separately | Yes | No | Sometimes |
| Negotiates access with whoever actually controls the location | Yes | No | No |
| Plans the schedule around road time rather than map distance | Yes | Sometimes | Yes |
| Builds acclimatisation into the shooting days | Yes | No | Sometimes |
| Crew who have worked at altitude with a camera | Yes | No | No |
| Clears equipment through customs on temporary import | Yes | No | No |
| Tells you when your plan will not work, before you book | Yes | No | Sometimes |
Different productions, different problems
A documentary and a commercial share almost nothing here beyond the weather. Each of these is what that kind of shoot actually runs into.
From a recent production
Location, light and scale you cannot build. This is a stretch of one shoot we fixed end to end, from the recce and permits through to wrap and equipment export.
See where we shoot →From the valley floor to the roof of the world
We work the whole country, and we tell you plainly when a single schedule is trying to cross too much of it. Deciding which Nepal your film actually needs usually saves the most money.
See every regionA location three hours away in the dry season can be a day and a flight in the monsoon. We plan around the ground, not the map.
Four stages. The order matters more than any single one of them, because the paperwork runs in sequence and the lead times compound instead of overlapping.
What you are making, roughly when, how many people, and what you must come away with. A paragraph is enough to start. We would rather read a rough outline early than a finished treatment late.
Which locations fit the schedule, which permit category applies, what the season will do to you, and anything we think is a bad idea. In writing, before money moves.
Applications go in, in the sequence they have to go in. Crew and vehicles are held, locations confirmed with whoever actually controls access, and you get a schedule with the weak points marked.
We run the days, deal with what changes, and keep the plan honest. Weather and permissions move. The job is absorbing that without losing the shoot.
One named licensed fixer owns your production from initial brief to equipment export. Experienced, government-accredited, and supported by our full Kathmandu operations desk.
Founder & Managing Director
Oversees Ministry of Information clearances, inter-departmental permits, military clearances, and high-altitude logistics management for international feature films and broadcasters.
CEO & Executive Partner
Finance and banking director approving multi-currency production budgets, cash disbursements in remote zones, compliance audit reports, and major studio service agreements.
Senior Fixer & Production Manager
Senior unit fixer managing customs equipment clearance at Tribhuvan Airport (KTM), 4WD convoy logistics, local ward protocols, and emergency medical evacuation plans.
DoP & Chief UAV Operator
Experienced high-altitude cinematographer and CAAN-licensed heavy-lift drone pilot with credits across Everest Base Camp, Annapurna Circuit, Mustang, and Upper Dolpo.
Most of what goes wrong on a Nepal shoot is outside anybody’s control. Saying so at brief stage is the difference between a schedule that survives and one that does not.
Approval is a government decision. We prepare the file properly and follow it up in person. Nobody controls the answer.
Lead times change without notice. We tell you the sequence and where your schedule has no slack, not a number to plan against.
If you need a mountain in shot, build spare days in. Any fixer implying otherwise is selling you something.
Mountain strips fly visually and in the morning. Assume one lost day and price the alternative before you need it.
A contributor can change their mind the day before. Consent means it can be withdrawn.
We describe conditions honestly and plan around them. Medical and insurance advice has to be your own.
Almost certainly yes, and usually more than one. Filming permission, national park and conservation area entry, restricted area permits for some regions, and separate approval for drone work all sit with different authorities.
Which ones apply depends on where you are going, what you are making and whether it is broadcast, commercial or press. Requirements change, so we confirm the current position for your shoot rather than working from last year’s answer.
Earlier than feels necessary. Permit processing is not the only clock: helicopter availability, the good weather windows and any crew worth having are all booked ahead in season.
We will not quote you a processing time as a promise, because approval sits with a government office.
Late October to early December gives the most reliable clear skies and mountain visibility, which is why it is also the most contested for crew and aircraft. March to April is the other good window, hazier but quieter.
The monsoon, roughly June to September, means cloud, landslides and flights that do not go. The rain shadow north of the main range stays workable.
Sometimes, with approval, and not everywhere. Drone flight is separately regulated, with restrictions near airports, in national parks, close to the mountains and around anything designated sensitive. Approval is a decision and it can be refused.
Tell us early if aerials are essential, because it changes the lead time and sometimes the location.
Often, and it is usually the better answer. Local crew cost less to move, need no acclimatisation from abroad, and know how a place works. For specialist roles productions travel people in and we build the rest around them.
Cost is driven by shooting days, how far from a road you need to be, whether aircraft are involved, permit categories and crew size. A three-day Kathmandu shoot and a three-day Everest shoot are not comparable numbers.
Anyone quoting a firm all-in price before reading your treatment is guessing.
Most of our work is outside the valley. Kathmandu is where kit clears, crew assemble and permits are filed, but the shoot is usually somewhere the road runs out.
We cover the seven regions on the site in depth, from the Terai in the south to the high Himalaya in the north, and we tell you plainly when a single schedule is trying to cross too much of that in too few days.
Yes. Permit support is one of the things we do on its own, not just as part of a full package. Plenty of productions arrive with their own crew and kit and need the permission chain handled and someone accountable at the checkpoints.
Tell us the shoot and we will tell you which permissions it needs and how much time to leave.
Carefully, and as the default rather than on request. We do not publish a client or a project without explicit permission, and unreleased work stays unreleased.
Named references are provided privately, with the client’s agreement, rather than posted on the site.
You get a straight read, usually in prose rather than a form letter: whether it works on your dates, what it involves, and where we think the risk is. If part of the plan will not work, that is in the first reply, not the third.
A rough outline is enough to start. It does not need to be a finished treatment.
We are not an insurer and we do not sell cover. What we do is give you the accurate ground information your own insurer and your production’s risk assessment need: real travel times, altitude profiles, access constraints and named dependencies.
Where a shoot needs a risk assessment for a commissioner, the written plan we provide is built to support one.
Often, yes, and we say so honestly when we cannot. News and fast-turnaround jobs are a normal part of the work, and the honest answer about what is achievable on your timescale comes first.
The permission position and the season still apply, and we will not pretend a closed road or a refused approval is negotiable because the deadline is tight.
You do. We support, coordinate and arrange the ground side of a shoot. The edit, the story and the final cut are yours. We do not take a credit as a producer of your film, because that is not what a fixer is.
Our name belongs on the logistics and the access, not on your work.
Where we can, yes. Reliability at altitude and in remote country is earned on the mountain, not on a roster, so we bring back people we trust for the conditions your shoot will meet.
For specialist roles you may prefer to travel someone in, and we build the local team around them.
We plan for it rather than against it. Mountain flights go in the morning and in weather, roads close in the monsoon, and a schedule with no slack is a schedule that breaks. We build in contingency as structure and name the dependencies before you commit.
When a day is lost to something outside anyone’s control, the question is whether the plan had room for it. Ours are built so that it does.
Yes. For a location nobody on the production knows, a recce is often the cheapest insurance you can buy. We can scout in person, or start with photographs and access notes before anyone flies, so a shoot day is not the first time the location is seen.
What a recce returns is a plan built on the real place at the real time of day, rather than on a reference image.
We prepare the temporary import side from a full, serial-numbered kit list well ahead of arrival, and we tell you what tends to draw attention, drones, transmitters and large battery counts in particular.
We cannot promise a clearance time, because that decision is customs’, but starting the paperwork early is what keeps it from holding up a shoot date.
No. A brief is the start of a conversation, not a contract, and nothing on the site is an offer. You can ask what is possible, get an honest read, and walk away with no obligation.
If a plan does firm up into work, it is set out in writing first, so both sides know exactly what is being done.
Enquiries and planning run in English. On the ground, the team works across the languages a shoot actually meets, and we match an interpreter to the region and the subject rather than assuming one national language covers everyone.
Nepal is home to many languages, and the right interpreter for a particular valley is a working decision, not a courtesy.
Start here
A rough brief is enough. What you are making, roughly when, how many of you, and what you need in the can. You will get a straight answer on whether it works, and what we think the risk is.
