The Three-Hour Mistake
Last year, I burned three hours of a shoot day on a single location change.
We’d wrapped at our first spot by noon—feeling great, ahead of schedule—and figured we could knock out two more scenes across town before sunset. The drive was only twenty minutes. Should’ve been easy.
Except we hit traffic. Then couldn’t find parking. Then the new location’s “available bathroom” turned out to be locked. By the time we unpacked, set up, and actually rolled camera, we had maybe ninety minutes of usable light left. We got the shots, barely, but the whole crew knew we’d screwed up.
One location per day. That’s the rule I should’ve followed.
Location scouting isn’t just about finding pretty backgrounds. It’s about understanding what a space costs—in time, money, logistics, and sanity. Get it right in pre-production, and your shoot days flow. Get it wrong, and you’re apologizing to twelve exhausted people at 9 PM.
The Problem: Why Most Location Scouts Fail
Here’s what usually happens:
You read the script. You picture the perfect spot—maybe you even saw it in a movie once. You search online, find something close, and think, “Yeah, that’ll work.”
Then you show up on shoot day.
The sun’s in the wrong spot. There’s construction noise you didn’t hear when you visited at 3 PM on a Tuesday. The bathroom situation is… unclear. Your gaffer’s staring at a single outlet wondering how to power a 2K.
The issue isn’t that you picked a bad location. It’s that you scouted for aesthetics and forgot about everything else.
Location scouting is a balancing act between:
- What the story needs (visual tone, atmosphere, believability)
- What production needs (power, space, bathrooms, parking)
- What your budget allows (permits, fees, time, logistics)
Most guides tell you to “check the lighting” and “take photos.” Cool. But they don’t tell you how to actually evaluate a space when you’re standing there with a clipboard, or what to do when the perfect location costs $3,000 you don’t have.
The Underlying Cause: Why This Keeps Happening
Because nobody teaches the unglamorous stuff.
Film school shows you Kubrick’s tracking shots through the Overlook Hotel. YouTube breakdowns analyze Roger Deakins’ naturalistic lighting in farmhouses. But no one talks about the 47 logistics questions you need answered before you book that farmhouse.
The truth is, location scouting is boring until it isn’t. It’s checking circuit breakers. It’s asking about loading zones. It’s walking the same 200 square feet a dozen times imagining camera positions.
And when you’re doing this on a micro-budget—like most of us are—you’re also negotiating with property owners who’ve never heard of a “location release,” or you’re shooting guerrilla-style and praying nobody calls the cops.
The stakes are high. A bad location can:
- Eat your schedule (like my three-hour disaster)
- Blow your budget (unexpected fees, overtime, equipment rentals)
- Ruin your footage (bad sound, bad light, bad spatial flow)
- Burn bridges (angry property owners, pissed-off neighbors)
And yet, this is one of the least-documented parts of filmmaking. Everyone wants to talk about cameras and color grading. Nobody wants to talk about outlet testers and bathroom access.
So let’s fix that.
The Solution: How to Actually Scout Locations
Good location scouting is a system. Not inspiration—system. Here’s the framework I use on every project now:
1. Start with the Script, Not the Location
Before you Google “abandoned warehouse near me,” break down your script.
What does the scene need?
- Mood/tone: Claustrophobic? Expansive? Gritty? Polished?
- Action: Are actors moving through the space, or is it static coverage?
- Story logic: Does this location make sense for these characters?
Write this down. I’m serious. Make a one-page brief for every location. Otherwise, you’ll fall in love with a spot that looks cool but doesn’t serve the story.
Example: For Going Home (a short I directed about a homeless hard of hearing person trying to get home), I needed a small-town airport that felt transitional—not bustling, not abandoned. Somewhere in between. That specificity ruled out 90% of options before I even started searching.
2. Prioritize Needs Over Wants
You will not find the perfect location. Accept this now.
What you can find is a location that has the non-negotiables and can be dressed or adjusted for the rest.
Non-negotiables usually include:
- Space for your camera positions and crew movement
- Adequate power (if you’re lighting) or natural light (if you’re not)
- Sound environment that won’t destroy your audio
- Access—can you actually get your gear in here?
- Safety—is this place going to kill someone?
Everything else is a want. Wrong wall color? Paint it or flag it out. Missing furniture? Rent it. Ugly ceiling? Shoot low angles.
I’ve shot in locations where the “kitchen” was actually a corner of a living room, but it had great window light and we could control the sound. A few apple boxes and some set dressing later, nobody knew the difference.
3. The Real Location Checklist (Not the Boring One)
Forget the generic “check the lighting” advice. Here’s what I actually look for:
Power:
- Count the outlets. Test them (bring an outlet tester—$10 on Amazon).
- Find the breaker box. How many amps per circuit? (Standard is 15-20 amps.)
- If you’re running multiple lights, you need a plan. Will you need a generator?
Sound:
- Stand still for 60 seconds. Close your eyes. What do you hear?
- HVAC, refrigerators, traffic, airplanes, neighbors—all of it will be louder on your recorder than in your ears.
- Can you turn off the noisy stuff? Will the owner let you?
Light:
- What time are you shooting? Visit the location at that time. The sun moves. Shadows move. Don’t guess.
- For interiors: Where are the windows? Can you black them out if needed?
- For exteriors: Where’s the sun at different times? Bring a compass app.
Space:
- Pace it out. Can you fit your camera, actors, and crew without everyone tripping over C-stands?
- Is there a corner for your gear/video village/director’s monitor setup?
- Is there a separate space for actors to wait (a “green room”)? Even a hallway works.
Logistics:
- Parking—where, how many cars, any fees?
- Bathrooms—are they accessible? Are they… functional?
- Load-in—how far from your parking to your set? Stairs? Elevators?
- Neighbors—will they care? Should you warn them?
Permissions:
- Who owns this? Do you need a permit?
- If it’s public property (park, street, beach), check local film office rules.
- If it’s private, you need a signed location release. Always.
4. Document Everything (Your Future Self Will Thank You)
When you scout, take:
- Photos (wide, medium, close—from every angle)
- Video (walk through the space, narrate what you’re seeing)
- Notes (measurements, outlet locations, noise sources, contact info)
- Time-stamped info (what did this look like at 10 AM vs. 3 PM?)
I keep a simple Google Doc for each location with all this info. When my DP asks, “How much space do we have for the dolly track?” I don’t have to guess—I have the answer.
5. The Guerrilla Approach (When You Can’t Afford Permits)
Let’s be honest: most of us can’t drop $500 on a location permit for a short film.
So you shoot guerrilla. Here’s how to do it without getting shut down:
- Keep your crew small. 3-5 people max. Any more and you look like a “production.”
- Avoid obvious gear. Big lights and jibs attract attention. A mirrorless camera and a boom pole? You’re just “filming a student project.”
- Be ready to move. Have a backup plan if someone asks you to leave.
- Be polite. If security/cops show up, explain it’s non-profit, no one’s getting paid, you’re a student or indie filmmaker. Most people are just curious, not hostile.
- Don’t be a dick. Leave the location cleaner than you found it. Don’t block pathways. Don’t piss off locals.
I’ve shot in public parks, busy streets, even a small-town airport (with permission, but it took months of polite emails). The key is confidence and courtesy. Act like you belong there, but respect the space.
Implementing the Solution: Your Step-by-Step Process
Here’s how to put this into practice on your next project:
Phase 1: Research (Before You Leave Your House)
- Break down your script by location
- List your non-negotiables for each space
- Use Google Maps Street View to pre-scout areas
- Contact your local film commission for location lists
- Ask filmmaker friends for recommendations
Pro tip: I keep a running photo library of interesting locations I see in daily life. You never know when that weird alley or cool staircase will be perfect for a future project.
Phase 2: The Site Visit (In Person)
- Visit at the same time of day you’ll be shooting
- Bring: camera, notepad, outlet tester, measuring tape, compass app
- Run through the full checklist (power, sound, light, space, logistics)
- Talk to the owner/manager—get a contact number
- Take a lot of photos and video
Real example: On Married & Isolated, we scouted a house that looked perfect online. In person? The main room had a ceiling fan that sounded like a helicopter and couldn’t be turned off. We passed.
Phase 3: Securing the Location
- Get written permission—always (location release form)
- Clarify: dates, times, access, restrictions, fees
- Arrange insurance if required (public liability)
- If it’s public property, apply for permits early
- Confirm bathroom/parking access
Budget saver: Many property owners will waive fees for student/indie films if you ask nicely and offer credit in your film. I’ve gotten free locations just by being polite and professional.
Phase 4: Final Prep (Week Before the Shoot)
- Revisit the location if possible (things change)
- Share photos/video with your DP and department heads
- Do a “tech scout” with key crew (director, DP, 1st AD, gaffer)
- Finalize your shooting plan based on space/light constraints
- Communicate parking/bathroom info to the full crew
Common Mistakes (And How to Avoid Them)
Mistake 1: Scouting Too Late
Don’t scout locations the week before your shoot. You need time to pivot if something falls through.
Fix: Scout 2-4 weeks out minimum. More if you need permits.
Mistake 2: Falling in Love with a Location
That rustic barn is gorgeous. It also has no power, no bathroom, and is 90 minutes from your crew’s home base.
Fix: Run the numbers. Does this location’s aesthetic justify the logistical nightmare? Usually, the answer is no.
Mistake 3: Ignoring Sound
You shoot in a “quiet” café. Then you get to the edit and realize there’s a constant hum from the espresso machine.
Fix: Close your eyes and listen for 60 seconds during your scout. Record audio on your phone. Check it later with headphones.
Mistake 4: Assuming You Can “Fix It in Post”
“We’ll paint out those power lines.” “We’ll ADR the dialogue.” “We’ll add the skyline in VFX.”
Fix: Plan A should never be “fix it later.” That’s Plan C. Plan A is finding a better location or adjusting your script.
Mistake 5: Not Having a Backup
Your location falls through two days before the shoot. Now what?
Fix: Always have a backup location. Always. Even if it’s less ideal, you need a Plan B.
Advanced Tips (For When You’ve Done This a Few Times)
Use Your Network
Every filmmaker you know has shot somewhere. Ask around. “Hey, anyone know a good industrial space in [city]?” You’ll be shocked what people offer up.
Build a Location Library
Take photos of interesting spots you see in daily life. I have a folder on my phone with hundreds of potential locations—alleys, storefronts, parks, weird buildings. When a script needs something specific, I already have options.
Leverage Film Commissions
Most cities/regions have a film office that maintains location databases and can help with permits. Use them. They want you to shoot there—it’s good for the local economy.
Think Modular
Can’t find a single house with the kitchen and bedroom you need? Shoot them in different locations. Audiences won’t know. (Unless you’re doing oners. Then you’re screwed.)
Negotiate Creatively
Can’t afford the location fee? Offer:
- Screen credit
- Behind-the-scenes content they can use for marketing
- Free prints/digital files of the final film
- Meals from a local restaurant (if they let you use their bathroom)
I once traded a restaurant owner free promo video work in exchange for letting us shoot in their space after hours. Win-win.
Tools & Resources Worth Using
For Research:
- Google Maps (Street View is your friend)
- Local film commissions (free location databases)
- Location rental platforms (Peerspace, Giggster)
For On-Site Scouting:
- Sun Seeker app (tracks sun position)
- Outlet tester ($10, Amazon)
- Decibel meter app (checks ambient noise)
- Artemis Pro or Cadrage (camera framing tools)
For Documentation:
- Google Photos (free, shareable albums)
- Google Docs (simple, collaborative notes)
- Frame.io (if you want to get fancy with crew notes)
People Also Ask
How to scout locations for film?
Start with a script breakdown to identify your location needs. Research potential spots using Google Maps, film commissions, and your network. Visit locations in person at the time of day you’ll shoot—test power, check sound levels, assess space and light. Document everything with photos and notes. Secure permission with a signed location release before your shoot.
What does a location scout do in film?
A location scout finds and secures real-world spaces that match the director’s vision and the script’s requirements. They research options, visit sites, negotiate with property owners, handle permits and insurance, and coordinate logistics like parking and crew access. On larger productions, they report to a location manager; on indie films, this is often the producer or director.
How does a director decide on locations in location scouting?
Directors evaluate locations based on visual storytelling needs—does the space match the script’s tone and support the scene’s action? They also consider practical factors: Can they achieve their shot list here? Is there adequate light and space for camera movement? Final decisions balance creative vision with budget, schedule, and logistical feasibility.
How are filming locations chosen?
Filming locations are chosen through a process: script breakdown identifies requirements, location scouts research and visit potential sites, department heads (DP, production designer, director) assess suitability through “tech scouts,” and producers evaluate budget and logistics. The final choice balances storytelling needs, visual quality, and practical considerations like permits, access, and cost.
FAQ's - How Do I Choose a Film Location
Overall, establishing a strong sense of the film’s setting is just as crucial as creating a great performing presence. A setting significantly improves the visual appeal of a film’s overall causal effects.
The photography, setting, and performers all contribute to the emotional reaction felt when viewing what happens on the big screen. Selecting a location for a movie could be the single, most influential factor.
Sometimes a location has an impact on how the entire movie looks. It may decide how the stage sets will look. It can establish the story’s psychological tone. Few people will ever know how much a good site scout can add to a movie.
Shooting, for example, at a building with a back window where real cars are driving by is much simpler than having to pay extras, get vehicles, schedule the sequences, etc. This relates to finances. Real life is not only less expensive to film, but it also requires no budget because it is happening right now.
A practical location is a pre-existing setting that can be used for several sequences, minimising the need for location changes and assisting filmmakers on a tight budget.
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The Reality Check
Location scouting isn’t glamorous. It’s homework.
But it’s also where you can save (or waste) huge chunks of your budget and schedule. A great location makes everything easier—better shots, smoother days, fewer headaches. A terrible location makes even simple scenes a nightmare.
Do the work in pre-production. Scout early. Scout thoroughly. Ask the boring questions about bathrooms and circuit breakers. Take more photos than you think you need.
Because when you’re on set at hour nine, trying to troubleshoot a problem you could’ve predicted, you’ll wish you had.
One location per day. Non-negotiables first. Document everything.
That’s the system. Use it.
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About the Author:
Trent Peek is a filmmaker specializing in directing, producing, and acting. He works with high-end cinema cameras from RED and ARRI and also values the versatility of cameras like the Blackmagic Pocket Cinema.
His recent short film “Going Home” was selected for the 2024 Soho International Film Festival, highlighting his skill in crafting compelling narratives. Learn more about his work on [IMDB], [YouTube], [Vimeo], and [Stage 32].
In his downtime, he likes to travel (sometimes he even manages to pack the right shoes), curl up with a book (and usually fall asleep after two pages), and brainstorm film ideas (most of which will never see the light of day). It’s a good way to keep himself occupied, even if he’s a bit of a mess at it all.
P.S. It’s really weird to talk in the third person
Tune In: He recently appeared on the Pushin Podcast, sharing insights into the director’s role in independent productions.
For more behind-the-scenes content and project updates, visit his YouTube channel at https://www.youtube.com/@trentalor.
For business inquiries, please get in touch with him at trentalor@peekatthis.com. You can also find Trent on Instagram @trentalor and Facebook @peekatthis.
