Film Permits Nepal is an independent, privately owned production-support service based in Kathmandu. We are not a government office, we do not issue permits, and we cannot approve any application ourselves. What we do is help international productions prepare, organise and present the paperwork that filming in Nepal typically requires, so that when your material reaches the relevant authority it is complete, consistent and easy to assess.
This page explains our working method from first contact to final handover. It is written for producers, line producers, production coordinators, fixers and legal teams who want to understand exactly what happens at each stage, what we handle, what stays with you, and where a regulatory fact needs to be confirmed against current official sources before anyone relies on it.
Our method is deliberately document oriented and step based. We begin with a short review of your project, request the information we need, agree a written scope, prepare and check your documents, coordinate the submission with you, help you respond to any questions raised, and keep clean records of what was decided. Where your plans touch drones, protected areas, heritage or religious sites, restricted zones or imported equipment, we flag the additional permissions that may apply and explain how they interact with the main filming paperwork.
Throughout, we work in conditional language for anything regulatory. The exact fees, the precise authority that applies, and the time any decision takes depend on your locations, your activities and current official guidance. We confirm those specifics during your review rather than promising them in advance. Nothing on this page is a guarantee of approval, timing or access.
How an engagement begins: the initial review
Every engagement starts with a short, no obligation initial review. You send us a brief outline of your project and we read it against the general pattern of what filming in Nepal usually involves. The aim at this stage is not to promise anything. It is to understand your production well enough to tell you what preparation is likely to be needed and where the real complexity sits.
A useful outline includes the type of production (feature, documentary, commercial, television, music video, photography, journalism or institutional), a plain description of what you intend to film, your rough shooting dates, the locations or regions you have in mind, the approximate size of your crew, and any elements you already know are sensitive, such as drone work, wildlife, protected areas or interviews on difficult subjects. You do not need final answers. Early, honest estimates are more useful to us than polished but inaccurate detail.
When we read your outline, we are looking for the shape of the work. Is this a single location shoot with a small crew, or a multi region schedule that will touch several different kinds of location permission? Are there triggers, such as drones or imported equipment, that add separate workstreams? Are your dates tight enough that sequencing becomes the main risk? These questions determine how much preparation your project realistically needs.
We then give you a candid, conditional summary. We describe the categories of document a production like yours typically prepares, the additional permissions your plans may trigger, and the parts of your plan that tend to cause delay if they are left late. Where a specific fee, authority or timeline matters, we say plainly that it must be confirmed against current official sources during your review, rather than quoting a number we cannot stand behind.
The initial review is intentionally light. It exists so that you can make an informed decision about whether to proceed, and so that we can be honest early about anything that looks difficult. If your plan includes something we believe is genuinely hard to arrange, or something we cannot support, we tell you at this stage rather than later. Nothing is committed until we move to a written scope.
The information request stage
Once you decide to proceed, we move from a general outline to a structured information request. This is the point where a loose description becomes an organised picture of your production. We send you a clear, itemised list of what we need, grouped by category, so that you and your team can gather it in parallel rather than one piece at a time.
The request is tailored to your project, but it usually covers several recurring areas. We ask for details of the production company and the responsible producer, a description of the project and its creative intent, an outline of the crew and their roles, a working list of locations with intended dates, a description of the equipment you plan to bring or hire, and notes on any special elements such as drones, vehicles, sets, crowd scenes or sensitive subjects. Where interviews or contributors are involved, we ask how you intend to handle consent.
We deliberately ask for more context than a bare form would. A form captures fields. Our request tries to capture intent, because intent is what determines which permissions apply. Two productions can describe the same location and need very different permissions depending on what they actually do there. Filming a quiet establishing shot is not the same as staging a scene with equipment, lighting and a crowd, and the paperwork reflects that difference.
We also explain, next to each item, why we are asking for it. When people understand the purpose of a request, they tend to provide better information and fewer placeholders. If something does not apply to your production, you simply mark it as not applicable and we adjust. If something is still undecided, you tell us it is provisional and we plan around the uncertainty rather than pretending it does not exist.
Throughout this stage we handle your material carefully and confidentially. You send documents through the secure method we provide, not through casual channels, and we keep your working files organised so that nothing is lost or duplicated. The output of the information request stage is a complete, honest inventory of your production. That inventory is the raw material for everything that follows, and the quality of your final paperwork depends heavily on how thoroughly this stage is done.
Defining the scope of support
Before we prepare a single document, we agree a written scope. This is one of the most important steps in our method, because it prevents the two most common problems in production support: unclear expectations and quiet, uncontrolled growth of the work. A clear scope protects both sides.
The scope sets out, in plain language, what we will do for you, what you will do yourself, which parts of your plan we are supporting, and which elements are explicitly excluded. It names the production, the responsible contacts, the intended locations and dates as known at the time, and the categories of preparation we have agreed to handle. It also records the assumptions the scope rests on, so that if those assumptions change, everyone can see what shifted.
We are careful to describe our role accurately. We prepare, organise and check documents, we coordinate submissions with you, and we help you respond to questions. We do not approve applications, we do not stand in for a government authority, and we do not guarantee that any permission will be granted, that any location will be accessible, that a drone flight will be allowed, or that equipment will clear customs. Those outcomes depend on the relevant authorities and on current official rules. The scope states this clearly so there is no misunderstanding later.
Where your production involves triggers such as drones, protected areas, heritage or religious sites, restricted zones or imported equipment, the scope notes them as separate considerations, because each may involve its own permission and its own preparation. If a specialist is likely to be needed, for example a customs specialist for equipment movement, we say so, and we describe where our support ends and theirs begins.
The scope also explains how changes are handled. Productions evolve, and new locations, new dates or new activities are normal. Rather than absorbing changes silently, we treat them through a defined change process, described later on this page, so that added work is visible and agreed rather than assumed. This keeps the relationship honest and keeps your planning accurate.
Once the scope is agreed, both sides know what success looks like. You know what to expect from us and what remains your responsibility, and we know the boundaries of the work. That shared clarity is what allows the later stages to run smoothly.
What we do and what we do not do
Because our independence matters, we state it plainly rather than leaving it implied. Film Permits Nepal is a private company. We are not a ministry, a licensing body or any part of government, and we have no authority to grant, refuse or fast track any permission. When we describe our work, we describe support, not decision making.
What we do is practical and defined. We help you understand the general preparation workflow. We build the document inventory your production needs. We prepare and check application materials for completeness and internal consistency. We flag additional permissions that your plans may trigger. We coordinate the timing and assembly of your submission. We help you interpret and respond to questions raised during review. And we keep organised records of what was submitted and decided, so your production has a clean paper trail.
What we do not do is equally important. We do not issue permits or approvals. We do not guarantee that a permit will be granted, that a location will be released to you, that a drone flight will be permitted, or that gear will clear customs on any particular day. We do not assert specific government fees, processing times or a named issuing authority as settled fact, because those depend on your circumstances and on current official guidance that must be checked at the time. We do not provide legal advice, and where a question is genuinely legal we suggest you take qualified counsel.
We also decline work that would require us to misrepresent a production, to overstate what is permitted, or to promise outcomes we cannot control. If a plan depends on something being approved that we have no ability to secure, we say so honestly at the outset. It is better to set a realistic expectation early than to encourage a schedule built on an assumption that may not hold.
This honesty is not a limitation on the service. It is the service. Productions that understand exactly where the boundaries lie can plan around them, build sensible contingency, and avoid the costly surprises that come from assuming a support provider can guarantee a regulator's decision. Our value is in preparation, organisation and clarity, not in promises about matters that are not ours to decide.
The document preparation workflow
Document preparation is the core of what we do, and we approach it as a disciplined, repeatable process rather than a scramble near the deadline. The goal is a submission that is complete, internally consistent and easy for a reviewer to assess without having to ask basic questions.
We begin from the inventory built during the information request stage. Each item is checked against the general expectations for a production of your type. We look for gaps, where something expected is missing, and for inconsistencies, where two documents disagree with each other. Inconsistency is a frequent and avoidable cause of delay: crew lists that do not match passport details, equipment values expressed in different currencies, dates on a schedule that conflict with dates on a location plan. Catching these before submission is far cheaper than fixing them afterwards.
We organise documents into logical groups so the whole package tells one coherent story. Producer and company records establish who is responsible. Crew records establish who is coming and in what role. Creative materials describe what you intend to make. Location and schedule records describe where and when. Equipment records describe what you are bringing. Any trigger specific materials, such as drone details, sit alongside the main package as clearly labelled additions.
Where documents need translation, we flag it early, because translation and any required certification take time and are easy to underestimate. Where signatures or specific formats are expected, we note the requirement so you are not caught out at the last moment by a document that is complete in content but wrong in form. We do not invent a rule we are unsure of; where a formatting or certification requirement is uncertain, we mark it for confirmation against current official sources during your review.
We work iteratively. You provide material, we review it and return clear notes on what is missing or inconsistent, you update it, and we check again. This loop continues until the package is clean. We keep versions organised so it is always obvious which document is current, and we avoid the confusion that comes from several near identical files circulating by email.
The output of this stage is a prepared, checked and well ordered set of documents that reflects your production accurately. It is not a promise of approval. It is the strongest possible starting position: a submission that gives a reviewer no easy reason to send it back, and that leaves you free to concentrate on the shoot itself rather than on chasing paperwork.
Categories of documents a foreign production typically prepares
It helps to see, in advance, the general families of document that an international production filming in Nepal usually needs to assemble. The exact contents vary by production type and by location, and the precise requirements are always confirmed against current official guidance during your review, but the categories below are a reliable planning framework.
Producer and company records identify who is behind the production and who carries responsibility for it. These typically include the production company's details, identification for the responsible producer, and a clear statement of the project and its purpose. They answer the reviewer's first question: who is accountable for this work.
Creative materials describe what you intend to make. Depending on the production type this can include a synopsis, a treatment, a script or outline, a storyboard, or an editorial description. The point is to convey intent, so that the nature of the filming is understood rather than guessed at.
Crew records describe the people involved. These usually include a crew list with roles and the identity documents relevant to foreign nationals. Consistency between the crew list and supporting identity documents matters, because mismatches are a common cause of follow up questions.
Location and schedule records describe where and when you plan to work. These include your list of intended locations, a shooting schedule, and notes on the nature of the activity at each place, since a quiet observational shot and a staged scene with equipment and crowd are treated very differently.
Equipment records describe what you are bringing or hiring. These generally include an itemised list with descriptions and values, and are especially important when gear is imported, because the same list often supports customs planning. Trigger specific materials cover the special elements: drone details where aerial work is planned, and additional location specific information for protected areas, heritage or religious sites, or restricted zones.
Seeing these categories early lets you assign owners and start gathering in parallel, which is almost always faster than assembling everything sequentially at the end.
Submission coordination
When the document package is prepared and checked, we help you coordinate its submission. We use the word coordinate deliberately. We do not submit on your behalf as if we were you, and we do not control what happens once material reaches an authority. What we do is help you assemble the final package, sequence it sensibly, and present it in a clean, complete form.
Coordination begins with a final assembly check. We confirm that every agreed item is present, that the current version of each document is the one included, and that the package is ordered logically so a reviewer can move through it without friction. We check that trigger specific materials are attached where relevant and clearly labelled, so that, for example, drone related information is not buried in an unrelated section.
Sequencing matters when a production has dependencies. Some elements need to be in place before others, and some permissions interact. Where your plan involves several strands, we help you order the submission so that dependent pieces are not held up by something that should have gone first. We plan around known fixed points in your schedule, such as travel dates and shoot dates, and we build in sensible margin rather than assuming everything will move at the fastest possible pace.
We are careful about expectations on timing. We do not promise how long any review will take, because that depends on the authority, the completeness of the package and current conditions. What we can do is help you avoid the self inflicted delays that come from incomplete or inconsistent submissions, and help you plan with realistic buffers rather than best case assumptions. If a specific timeline matters to your schedule, we treat it as something to confirm and monitor, not something to guarantee.
Throughout submission coordination we keep a clear record of what was submitted and when. That record becomes important if questions are raised later, because it lets everyone see exactly what was provided. It also protects you: if a query concerns something already supplied, the record shows it. Good coordination is not dramatic. Its whole purpose is to make the submission uneventful, so that attention can shift to the shoot rather than to chasing paperwork that should already be settled.
Clarification handling
After a submission, it is normal for questions to come back. A reviewer may want a document clarified, an inconsistency resolved, an additional detail supplied, or a point of intent explained. We treat clarification as an expected part of the process, not as a sign that something has gone wrong, and we help you respond quickly, accurately and calmly.
When a question arrives, our first task is to understand exactly what is being asked. Queries are sometimes phrased briefly, and a rushed or literal answer can miss the real point and trigger a second round. We read the question against the submission and against your production, work out what is genuinely being sought, and then help you prepare a response that answers it directly and completely.
Speed matters, but accuracy matters more. A fast answer that is wrong or incomplete usually costs more time than a considered answer that resolves the question in one pass. We help you assemble whatever supporting material a response needs, check it for consistency with what was already submitted, and make sure the reply does not accidentally introduce a new contradiction.
We also keep the clarification trail organised. Each question, and each response, is recorded alongside the submission so there is a clear history of what was asked and how it was answered. This prevents the confusion that arises when several people respond to the same query in different ways, and it means that if a related question comes up later, the earlier answer is easy to find and reuse.
Where a question touches a regulatory specific that we are not certain of, we do not guess. We help you establish the correct position against current official sources before responding, because an answer offered confidently but incorrectly can do more harm than a short delay. Our conditional approach applies here just as it does elsewhere: we would rather help you give a correct answer a little later than a wrong answer immediately.
Handled well, clarification is simply a conversation that moves a submission toward a decision. Our role is to keep that conversation clear, consistent and well documented, so that questions are resolved efficiently and your production is not held up by avoidable back and forth.
Additional permissions and permission triggers
Many productions need more than a single filming permission, because certain plans trigger separate permissions with their own preparation. Part of our job is to identify these triggers early, so that additional workstreams run in parallel with the main package rather than surfacing as late surprises.
Drones are a common trigger. Aerial filming typically involves its own considerations around the aircraft, the operator, and where and how it may be flown, and airspace near airports or over sensitive areas adds further complexity. Whether a particular flight is permitted depends on current rules and on the specific location, and we never promise that a drone flight will be allowed. What we do is help you prepare the relevant information and understand how drone permission interacts with your main filming paperwork.
Protected areas, such as national parks and conservation areas, can involve location specific permissions and safeguards that go beyond the main permit. Heritage and religious sites often have custodians or managing institutions whose permission matters as much as any central paperwork, and they may carry expectations about crew size, equipment, lighting, sound and respectful conduct. Restricted zones can involve additional sensitivity and may interact with travel considerations. Imported equipment introduces a customs dimension, and the same equipment list that supports your filming paperwork often supports customs planning too.
For each trigger, we explain what it means in practice, what information you are likely to need, and how it fits into your overall timeline. Where a specialist is appropriate, for example a customs specialist for equipment movement or a local liaison for a particular area, we say so and describe where our support meets theirs. We are careful not to overstate what any additional permission can achieve. We describe the preparation, not a guaranteed outcome, and we flag anything that depends on a specific authority or current guidance for confirmation during your review.
The reason we surface triggers so early is timing. Additional permissions frequently sit on the critical path, and a production that discovers them late can find its schedule compressed against elements that cannot be rushed. By identifying triggers during the information request and scope stages, we give you the maximum time to prepare them properly. Treating additional permissions as parallel workstreams from the start, rather than as afterthoughts, is one of the most effective ways to keep a complex production on track.
Decision records and record handling
When a decision or a formal response is received, we help you handle and preserve it properly. A production's paperwork does not end at submission. The records generated along the way, including what was submitted, what was asked, how it was answered, and what was ultimately decided, have lasting value, and we treat them with the same care as the original application.
Our first step is to record clearly what has been received, so that the outcome is unambiguous and easy to reference. We keep the decision or response together with the submission it relates to, and with the clarification history, so that the whole story of that element sits in one organised place rather than scattered across inboxes. This matters most when a production has several strands, because it is easy to lose track of which decision belongs to which part of the plan.
We help you understand what a decision means for your production in practical terms, while being careful to stay within our role. We do not reinterpret an authority's decision or add conditions of our own, and where the meaning of a decision is genuinely a legal question, we suggest you take qualified advice. What we can do is help you see how a given outcome affects your schedule, your locations and your remaining workstreams, so that you can plan the next steps sensibly.
Good record handling also protects you if something is queried later. If a later question concerns a matter already decided or already supplied, a clean record makes that easy to demonstrate. It reduces the risk of repeating work, and it means that if your production returns to Nepal in future, there is an organised history to build on rather than a fresh start.
We keep these records securely and confidentially, consistent with how we handle all of your material. Access is limited to those who need it, files are kept organised so nothing is lost or duplicated, and retention is handled deliberately rather than by accident. The aim is a tidy, reliable paper trail that reflects exactly what happened, so that your production carries forward a clear account of its own permissions rather than a pile of loose correspondence.
Handling production changes and scope changes
Productions change. Locations get added, dates move, a new activity enters the plan, a drone shot is proposed that was not there before, or the equipment list grows. Change is normal, and our method is built to absorb it in a controlled way rather than pretending a plan will hold exactly as first written.
When something changes, we assess it against the agreed scope and against the general requirements. The first question is always whether the change introduces a new trigger. A new location might bring a new kind of location permission. A new activity might change which permissions apply at a place you already planned to use. Added equipment might introduce a customs dimension. Identifying these implications quickly is what keeps a change from quietly derailing a schedule.
We then explain, in plain terms, what the change means for your preparation and your timeline, and what additional work it involves. If the change adds work beyond the agreed scope, we handle it through a defined change process so that the added effort is visible and agreed rather than absorbed silently. This keeps expectations honest on both sides and keeps your planning accurate, because you can see exactly how a change affects the overall picture.
Timing is central to how we treat changes. A change introduced with plenty of margin is usually straightforward. The same change introduced close to a shoot date can be difficult, especially if it touches an element that cannot be rushed, such as an additional permission on the critical path. We are honest about this. If a late change looks hard to accommodate, we say so rather than encouraging a schedule that depends on everything going perfectly. Where an outcome depends on an authority or on current guidance, we keep to conditional language and never promise that a late addition can be secured in time.
We keep records of changes just as we do for everything else, so that the history of the production stays coherent. If a later question relates to something that was added midway, the record shows when it entered the plan and how it was handled. Treating change as a managed, documented process, rather than an informal favour, is what allows a production to evolve without losing control of its paperwork or its schedule.
Confidentiality and how we handle your documents
Productions share sensitive material with us: scripts and creative intentions, crew identity documents, company details, schedules and location plans. We treat all of it as confidential, and we handle it through deliberate methods rather than casual habits, because careless document handling is a real risk in any support relationship.
We ask you to send material through the secure method we provide, rather than through informal channels, and we keep your working files organised so that nothing is lost, duplicated or accidentally exposed. Access to your material is limited to the people who need it for your work. We do not treat your documents as a general resource, and we do not repurpose your material for anyone else.
We are also careful about the limitations of ordinary communication tools. Email, in particular, is convenient but not ideal for sensitive documents, and we prefer more controlled methods for anything confidential. Where we share files or links with you, we do so in a controlled way rather than scattering copies. These practices are described more fully in our confidentiality and document security material, and this page is consistent with it.
Retention is handled with intent. We keep your records organised for as long as they are useful to your production and consistent with our stated practices, and we do not hold material indefinitely without reason. If you have specific confidentiality requirements, for example around an unannounced project or a sensitive subject, tell us early so we can accommodate them from the start rather than retrofitting them later.
Confidentiality is not only a matter of storage. It is also a matter of discretion. We do not discuss one client's production with another, and we do not treat the fact of your engagement as something to advertise. If your project is sensitive or not yet public, that sensitivity is respected as a default, not as a special favour. Handling your material carefully is part of the basic professionalism you are entitled to expect, and it runs through every stage of our method, from the first information request to final case closure.
Communication, working hours and points of contact
Clear communication keeps a production on track, and we structure ours to be predictable rather than ad hoc. From the outset we establish who your point of contact is on our side, and we ask you to nominate a primary contact on yours, so that information flows through known people rather than getting lost among many hands.
Having a defined contact on each side matters more than it might seem. When several people send us documents independently, versions multiply and inconsistencies creep in. When several people answer the same clarification differently, confusion follows. A clear primary contact does not mean others cannot be involved. It means there is one person who holds the overall picture and through whom key decisions are confirmed, which keeps the paperwork coherent.
We are based in Kathmandu and work in Nepal's time zone, and international productions plan around a time difference that varies with where you are. We are mindful of this and try to be clear about when you can expect responses, so that a question sent late in your day is not mistaken for something ignored. Where a deadline is approaching, we agree in advance how we will stay in contact, so that a fast moving situation does not stall simply because of time zones.
We communicate in plain, direct language and we prefer to put important things in writing, so that there is a record and less room for misunderstanding across languages and distance. Where something matters, we would rather confirm it in a short written note than leave it to memory. This is not bureaucracy for its own sake. It is what keeps a complex, multi party process from drifting.
We also try to be honest about uncertainty in our communication. If we do not yet know something, we say so, and we say when we expect to know it, rather than filling a silence with a guess. If a regulatory point needs confirmation against current official sources, we tell you that plainly instead of implying a certainty we do not have. Productions plan better against honest uncertainty than against false confidence, and our communication style is built around that principle at every stage of the work.
Common mistakes and how we help you avoid them
Over many productions, the same avoidable mistakes tend to recur. Part of our value is simply knowing where these traps lie and steering you around them before they cost time or money. The following are illustrations of the patterns we watch for, not claims about any specific case.
The most common mistake is leaving preparation too late. Productions often underestimate how long it takes to gather documents, arrange translations and prepare additional permissions, and they compress everything into the final weeks. Elements that touch triggers on the critical path, such as certain additional permissions, cannot always be rushed, and a late start removes the margin that makes them manageable. We push preparation earlier precisely to protect that margin.
Inconsistency is the second recurring problem. Crew lists that do not match identity documents, equipment values in mixed currencies, and schedules that conflict with location plans all invite follow up questions and delay. Our review process exists to catch these before submission, because internal consistency is one of the strongest signals that a package has been prepared carefully.
A third mistake is underestimating triggers. A production assumes a location is simple and only later discovers it is a protected area, a heritage site or a restricted zone with its own permission, or it adds a drone shot without allowing for the separate preparation that entails. We surface triggers early, during the information request and scope stages, so they are handled as parallel workstreams rather than late shocks.
A fourth is treating regulatory specifics as fixed when they are not. Fees, timelines and the precise authority that applies depend on circumstances and current guidance, and a plan built on an out of date assumption is fragile. We keep to conditional language and confirm specifics against current official sources rather than encouraging you to lock a budget or schedule around numbers that may have moved.
A fifth is poor version control and scattered communication, where several near identical files circulate and no one is sure which is current. Our organised, single contact approach is designed to prevent exactly this. None of these mistakes is exotic. They are ordinary, human and predictable, which is precisely why a disciplined method that anticipates them is worth so much more than heroics near the deadline.
Case closure and handover
Every engagement ends with a deliberate closure, not a quiet fade. When your production's preparation is complete and the relevant decisions have been received, we bring the work to an orderly close so that you carry forward a clean, organised record rather than a trail of loose ends.
Closure begins with a review of what was done against the agreed scope. We confirm that the categories of preparation we committed to have been completed, that the submission and any clarifications are recorded, and that decisions received are stored together with the material they relate to. If anything remains genuinely open, we identify it clearly rather than leaving it ambiguous, and we explain what would be needed to resolve it.
We then hand over your records in an organised form. The value of this handover is practical: your production keeps a coherent account of what was prepared, submitted, asked and decided, which is useful for your own files, for any later questions, and for any future project in Nepal. Rather than reconstructing history from scattered emails, you have a tidy record that reflects exactly what happened.
We are honest at closure about what the engagement did and did not cover. We supported preparation, organisation and coordination. We did not issue any permission, and any approvals came from the relevant authorities, not from us. If your plans change after closure, for example a new shoot or an added location, that is normally a new piece of work, and we treat it through a fresh scope rather than assuming the previous engagement extends indefinitely.
We also welcome closure as a moment for candid feedback. If something could have run better, we would rather hear it, because our method improves through exactly that kind of honest reflection. And if your production returns to Nepal later, an orderly closure means we can pick up from a clear foundation instead of starting cold.
Closure is, in a sense, the mirror image of the initial review. We began by understanding your production honestly and setting realistic expectations, and we end by confirming honestly what was done and leaving you with a clean record. That symmetry is deliberate. It reflects a service that is defined by preparation, organisation and clarity from the first enquiry to the final handover, and that stays within its role at every step in between.
| Stage | What happens | Who leads | What it produces |
|---|---|---|---|
| Initial review | We read your project outline and give a candid, conditional summary of likely preparation and complexity | We lead, using your outline | A clear view of whether and how to proceed |
| Information request | We send a structured, itemised request grouped by category and explain why each item matters | You gather, we guide | A complete inventory of your production |
| Scope definition | We agree in writing what we do, what you do, what is included and excluded, and how changes are handled | Both sides agree | A written, shared scope of support |
| Document preparation | We check materials for gaps and inconsistency and organise them into a coherent package | We lead, you supply | A prepared, checked document set |
| Submission coordination | We help assemble, sequence and present the final package and record what was submitted | We coordinate, you submit | An organised, complete submission with a record |
| Clarification handling | We help interpret questions and prepare accurate, consistent responses | We support, you respond | Resolved queries and a clear trail |
| Additional permissions | We identify triggers (drone, protected area, heritage, restricted, imported gear) and run them in parallel | We flag, you decide | Parallel workstreams started early |
| Decision records | We store decisions with their submissions and clarification history, securely | We organise | A clean, coherent paper trail |
| Production changes | We assess changes for new triggers and handle added work through a defined change process | Both sides agree | Controlled, documented change |
| Case closure | We confirm work against scope and hand over organised records | We lead | A tidy record you keep |
Our working method stage by stage: what happens, who leads it, and what it produces. Specific fees, authorities and timelines are confirmed against current official sources during your review and are not stated here.
What this includes
- A no obligation initial review of your project outline
- A structured, itemised information request tailored to your production
- A written scope defining responsibilities, inclusions and exclusions
- Preparation and consistency checking of your document package
- Identification of additional permission triggers early in the process
- Coordination of the final submission and a record of what was submitted
- Support interpreting and responding to clarification questions
- Organised, confidential handling of your documents and decision records
- A defined change process for new locations, dates or activities
- An orderly case closure with handover of organised records
What this does not include
- Issuing, granting or approving any permit or permission
- Any guarantee of approval, timing, location access, drone permission or customs clearance
- Assertions of specific government fees, processing times or a named issuing authority as settled fact
- Acting as, or on behalf of, any government office or authority
- Legal advice on the meaning of a decision or on your obligations
- Submitting as if we were you, or controlling what an authority does with a submission
- Specialist customs clearance itself, where a customs specialist is required
- Reinterpreting or adding conditions to an authority's decision
- Open ended support after closure without a fresh scope
- Any work that would require misrepresenting your production or overstating what is permitted
Frequently asked questions
No. Film Permits Nepal is an independent, privately owned production-support service based in Kathmandu. We are not a ministry, a licensing body or any part of government, and we have no authority to grant, refuse or issue any permission. Permits and approvals come only from the relevant authorities. What we do is help you prepare, organise, check and coordinate the paperwork so that your submission is complete and consistent when it reaches the body that does decide.
It begins with a short, no obligation initial review. You send us a brief outline of your project, including the production type, what you intend to film, rough dates, intended locations, approximate crew size and anything you already know is sensitive. We read it against the general pattern of filming in Nepal and give you a candid, conditional summary of the likely preparation and the parts of your plan that tend to cause difficulty. Nothing is committed until we agree a written scope.
No, and we will never promise otherwise. Approval, timing, location access, drone permission and customs clearance all depend on the relevant authorities and on current official rules, none of which we control. Our role is to give you the strongest possible starting position through careful preparation, organisation and coordination. A production that understands where the boundaries lie can plan sensible contingency, which is far more useful than a promise no support provider can honestly make.
Because intent, not just fields on a form, determines which permissions apply. Two productions can describe the same location and need very different permissions depending on what they actually do there. Our structured information request is designed to capture that intent, so we can identify triggers such as drones, protected areas or imported equipment early. The more honest and complete your information is at the start, the fewer surprises and delays appear later, so early estimates are more useful to us than polished but inaccurate detail.
The written scope sets out, in plain language, what we will do, what you will do, which parts of your plan we are supporting, and what is explicitly excluded. It records the assumptions the work rests on and explains how changes are handled. It matters because it prevents the two most common problems in production support: unclear expectations and quiet, uncontrolled growth of the work. With a clear scope, you know what to expect from us and we know the boundaries of the work, which protects both sides.
Triggers are elements of your plan that create separate permissions with their own preparation, such as drones, protected areas like national parks and conservation areas, heritage and religious sites, restricted zones, and imported equipment. We flag them early because they frequently sit on the critical path and cannot always be rushed. Identifying them during the information request and scope stages lets us run them as parallel workstreams, giving you the maximum time to prepare them properly rather than discovering them as late shocks near a shoot date.
We coordinate the submission rather than submitting as if we were you, and we do not control what an authority does with a package once it is received. Coordination means we help you assemble the final package, confirm every agreed item is present and current, sequence dependent elements sensibly, and record what was submitted and when. That record is valuable if questions are raised later. Our aim is to make the submission uneventful and complete, so attention can shift to the shoot rather than to chasing paperwork.
Clarification is a normal, expected part of the process, not a sign that something has gone wrong. When a question arrives, we first work out exactly what is being asked, then help you prepare a response that answers it directly and consistently with what was already submitted. Accuracy matters more than speed, because a fast but incomplete answer often triggers another round. Where a question touches a regulatory specific we are not certain of, we help you confirm the correct position against current official sources rather than guessing.
Change is normal, and our method absorbs it in a controlled way. When something changes, we assess it against the agreed scope and check whether it introduces a new trigger, then explain what it means for your preparation and timeline. If it adds work beyond the scope, we handle it through a defined change process so the added effort is visible and agreed rather than absorbed silently. We are honest about timing: a change made with margin is usually straightforward, while a late change touching a critical-path element can be difficult.
Because those specifics depend on your locations and activities and on current official guidance, and stating a number we cannot stand behind would be misleading. Fees, processing times and even the precise authority that applies can change, and a budget or schedule built on an out-of-date assumption is fragile. We keep to conditional language and confirm specifics against current official sources during your review. We would rather help you plan around honest uncertainty with sensible buffers than give you false confidence in figures that may have moved.
We treat everything you share as confidential and handle it through deliberate methods. You send material through the secure method we provide rather than informal channels, we keep files organised, and we limit access to the people who need it for your work. We are careful about the limitations of ordinary email for sensitive documents and prefer more controlled methods. We do not discuss one client's production with another, and we do not treat your engagement as something to advertise. Our confidentiality and document security material describes these practices in more detail.
We close every engagement deliberately rather than letting it fade. We review the work against the agreed scope, confirm that submissions, clarifications and any decisions received are recorded together, and hand over your records in an organised form. That gives your production a coherent account of what was prepared, submitted, asked and decided, useful for your own files, for any later questions, and for any future project in Nepal. We are also clear at closure about what the engagement did and did not cover, and any new plans are treated as fresh work under a new scope.
Sometimes, and we tell you honestly where that is the case. Our support covers preparation, organisation, checking and coordination of your paperwork, and the flagging of additional permissions. Certain elements may still call for a specialist, for example a customs specialist for physically moving imported equipment, or a local liaison for a specific protected area or community. Where that applies, we say so and describe where our support meets theirs, rather than implying we cover work that genuinely sits with someone else.
We establish a clear point of contact on our side and ask you to nominate a primary contact on yours, so information flows through known people rather than getting lost among many hands. This keeps versions and clarifications coherent. We are based in Kathmandu and work in Nepal's time zone, so we are mindful of time differences and try to be clear about when you can expect responses. We prefer to put important things in writing so there is a record, and we are honest about uncertainty rather than filling a silence with a guess.