Thank you. Your permit support request has reached us, and this page confirms that it is now in our queue for review. Nothing further is required from you at this exact moment, although reading the notes below will help the next stage move faster.
Film Permits Nepal is an independent, privately operated production support service based in Kathmandu. We are not a government office and we do not issue permits ourselves. What we do is help foreign and domestic productions understand what a filming project in Nepal typically involves, prepare and organise the documents that a production usually needs, and coordinate the practical steps of getting an application ready and submitted to whichever authority applies to your locations and activities. Which authority that is depends on where you plan to film and what you plan to do, and we confirm those specifics against current official sources during your review rather than guessing in advance.
This confirmation is the beginning of a conversation, not the end of one. A real person will look at what you sent, form an initial picture of your production, and come back to you with either a set of clarifying questions or a first outline of how your project could be prepared. The sections that follow explain what happens next, how to tell whether your submission was complete, how we will reach you, how your documents are handled, and which guides are worth reading while you wait. If anything here raises a question, you are welcome to reply to your confirmation email at any time.
What happens next
Your request now sits in a review queue that a coordinator works through in order of arrival and urgency. The first thing that happens is a human read of everything you submitted. We look at the type of production you described, the locations you named or hinted at, the rough dates you gave, and any documents or notes you attached. From that first read we form a working picture of your project so that our reply to you is specific rather than generic.
The next step depends on how complete your submission was. If you gave us enough to work with, our first reply will usually outline how your production could be prepared, which document groups are likely to matter, and what we would need from you to take the next step. If key details were missing, our first reply will instead be a short set of questions designed to fill those gaps quickly. Either way, the aim of the first contact is to move your project forward, not simply to acknowledge it a second time.
We do not begin any formal preparation or submission on your behalf until we have agreed a scope with you and you have confirmed you want to proceed. This confirmation page does not commit you to anything, and it does not commit us to a fee, a timeline, or a particular authority. It simply means your enquiry is in the system and a person will respond.
A few practical points worth knowing at this stage. First, the depth of your reply from us tends to match the depth of what you send in: a detailed brief produces a detailed response. Second, early-stage productions are welcome; you do not need locked dates or a final script to start a conversation, and many productions reach out precisely because they are still deciding whether Nepal fits their plan. Third, if your project is time sensitive, say so clearly in your reply, because it helps us prioritise correctly. The clearer your picture, the sooner we can turn it into a practical plan.
How to read this confirmation
It helps to understand exactly what this page does and does not mean, so that you can plan the next few days with confidence. This page confirms one thing only: that your request was received by us and is now queued for a human review. It is a receipt, not an approval, and it does not represent any decision by any authority.
Because we are an independent private service and not a permit issuer, no message from us at any stage should be read as a permit, a licence, a guarantee of access to a location, permission to fly a drone, or confirmation that equipment will clear customs. Those outcomes rest with the relevant authorities and custodians, and they depend on your specific locations, activities, dates, and documents. Anything we tell you about requirements is framed as preparation guidance that we confirm against current official sources as your review progresses.
You should keep the confirmation email that accompanies this page. It is the simplest way for both sides to refer back to the same enquiry, and replying to it keeps your correspondence threaded together rather than scattered across separate messages. If you did not receive a confirmation email within a reasonable time, check spam and promotions folders first, and then reach out through the contact route described later on this page, because it may mean the address you entered contained a small error.
If you submitted more than one request, perhaps for different projects or different legs of the same trip, it is worth telling us that they are related when we reply, so we can keep the picture coherent. Equally, if you submitted the same project twice by accident, a quick note lets us merge the two rather than treat them as separate enquiries. None of this is urgent, but a tidy thread makes the whole process smoother for everyone involved.
The review that begins now
When a coordinator picks up your request, the review follows a consistent internal shape even though every production is different. The purpose of this first pass is to understand your project well enough to give you a useful, specific reply rather than a template.
We start by classifying the production at a high level, for example whether it reads as a documentary, a feature, a commercial, a television or factual programme, a music video, a photography project, a journalism assignment, or an institutional piece. This matters because the considerations, the document groups, and the additional permissions that tend to apply vary a good deal by production type, and the classification shapes how we prepare everything that follows.
Next we look at your locations. The single biggest driver of complexity in a Nepal shoot is where you intend to film. Filming entirely in ordinary public and private settings is one situation; filming in or near heritage sites, religious sites, protected areas such as national parks or conservation areas, or areas that may carry additional restrictions is another, and each of those can bring its own custodian, its own permission, and its own set of considerations. During review we note which of these your project appears to touch so that we can flag them early.
We then consider your activities and equipment. Plans that involve drones, imported professional equipment, road or crowd control, sets or construction, or sensitive subjects all tend to add steps. Finally we look at your timing, because the calendar interacts with everything else, including public holidays and seasonal factors that can affect access. None of this is decided in the first review; it is mapped, so that when we reply we can point to the parts of your project that will need the most attention and the parts that are likely to be straightforward.
Missing-information reminder
The most common reason a first reply turns into a round of questions rather than a plan is simply that a few important details were not included. This is completely normal, and it is easy to fix, but it does add a step. To help the next stage move quickly, it is worth checking whether your submission covered the essentials below. If any were missing, you do not need to wait for us to ask; you can reply to your confirmation email and add them now.
The details that most often make the difference are your production type and a short description of what the project actually is, your intended or candidate locations even if not yet final, your approximate shooting dates or the window you are working within, the rough size and make-up of your crew, and whether you expect to use a drone or bring professional equipment into the country. A sentence on the purpose or subject of the project also helps, because purpose can influence how a production is treated.
If you already hold any relevant documents, mentioning that they exist is useful even if you do not attach them yet. Equally, if you do not yet have something, saying so is just as helpful, because it tells us where preparation effort will be needed. There is no expectation that you arrive with a complete document set; part of what we do is help assemble it.
- Production type and a short project description
- Intended or candidate locations, even if provisional
- Approximate shooting dates or your working window
- Rough crew size and composition
- Whether a drone or imported equipment is involved
- The purpose or subject of the project in a sentence
- Any relevant documents you already hold, or gaps you know about
Contact details
From this point, correspondence about your production happens by email, which keeps a clear written record that both sides can refer back to. The most reliable thing you can do is reply directly to the confirmation email you received, because that keeps everything threaded under the same enquiry and ensures your messages reach the coordinator handling your project rather than a general inbox.
If for any reason you did not receive a confirmation email, first check your spam, junk, and promotions folders, since automated confirmations sometimes land there. If it is genuinely not there, it usually means the contact address entered on the form contained a typo, in which case you can reach us again through the contact page on this site and mention that you submitted a request but did not receive confirmation. Including the production name and the approximate date and time you submitted helps us match your new message to the original enquiry.
We operate on Nepal Standard Time from Kathmandu. Because many of the productions we assist are based in very different time zones, there is often a natural gap between your message and our reply, and that gap is a function of the clock rather than a lack of attention. If your enquiry is time sensitive, please say so and include your own time zone and the deadline you are working towards, so we can gauge urgency accurately.
A short note on how to make correspondence efficient. Keeping a single email thread per production, using a clear subject line, and grouping your questions into one message rather than several rapid separate emails all help us give you a complete answer in one reply. If your plans change materially while you are waiting to hear from us, a brief message describing the change is welcome and will be folded into our review rather than treated as a new request.
What we may ask you to clarify
When we come back to you, there is a good chance we will have a few targeted questions. These are not obstacles; they are the fastest route to an accurate plan, because the right preparation depends heavily on specifics that a short form cannot always capture. Knowing in advance what we tend to ask lets you prepare answers and shortens the whole exchange.
On locations, we often need to move from a general area to something more concrete. Saying Kathmandu is a start, but whether you mean a public street, a private interior, a heritage square, or a religious courtyard changes the picture entirely, because different settings can involve different custodians and permissions. If your locations are still candidates rather than decisions, telling us the shortlist is genuinely useful, because we can flag which options are likely to be simpler to prepare and which will need more lead time.
On activities, we may ask how you intend to film rather than just what you intend to film. Questions about drone use, artificial lighting, sound, generators, vehicles, crowd or road control, set dressing or construction, and the presence of identifiable members of the public all help us anticipate additional permissions. On people, we may ask about interviews, contributors, minors, or sensitive subjects, since these can carry consent and confidentiality considerations.
On logistics, we may ask about crew nationalities, the equipment you plan to bring versus source locally, and your firm dates versus flexible ones. None of these questions implies a problem with your project. They exist so that when we describe what your production would involve, we are describing your actual production and not a generic one. The more precisely you can answer, the more precisely we can prepare, and the fewer follow-up rounds the process needs.
How confidentiality is handled from here
Productions often share sensitive material with us, including unreleased concepts, scripts, treatments, client or talent names, budgets, and travel details. We treat the information you send as confidential and use it only for the purpose of reviewing and preparing your enquiry. It is not a subject for casual discussion, and it is not shared beyond the people working on your project without a reason connected to your request.
At the review stage, access to your information is limited to the coordinator and colleagues directly involved in preparing your project. When the nature of a location or activity means we need to confirm requirements with an authority or custodian, we share only what is necessary for that specific purpose, and we aim to discuss that with you rather than surprise you. If your project is especially sensitive, for example a journalism assignment involving source protection or an institutional piece involving vulnerable contributors, it is worth flagging that explicitly in your reply so we can handle correspondence with extra care.
Email, by its nature, is a convenient but not perfectly private medium. For that reason, please avoid sending highly sensitive personal identifiers or financial credentials by ordinary email. If a document needs to be transferred securely, mention it and we can agree an appropriate method rather than defaulting to an email attachment. We will never ask you to enter passwords, card numbers, or government identity numbers into a form or reply in order to progress your enquiry.
You remain in control of your own material. If at any point you want to know what we hold in connection with your request, or you decide not to proceed and would like your correspondence closed, you can tell us and we will act on that. The detailed handling of storage, retention, and deletion is described in our confidentiality and document security material, which is the right place to look for specifics beyond this summary.
What we are not doing while you wait
It is just as important to be clear about what is not happening during this waiting period as it is to describe what is. Setting accurate expectations now prevents misunderstandings later, and it reflects the honest limits of what an independent support service can and cannot do.
We are not, at this stage, submitting anything to any authority on your behalf. No application has been lodged, no fee has been paid, and no permission has been requested, because none of that happens until we have agreed a scope with you and you have confirmed you want to proceed. Receiving this confirmation does not start a clock on any official process.
We are also not making any promises about outcomes. We cannot and do not guarantee that a permit will be granted, that a specific location will be accessible, that a drone will be permitted, that equipment will clear customs, or that any step will take a particular amount of time. Those results depend on authorities and custodians whose decisions are outside our control, and anyone who promises such guarantees in advance should be treated with caution. What we offer is careful preparation and coordination that gives your application the best chance of being complete and correct, not a guaranteed result.
Finally, we are not verifying specific fees, exact processing times, or the precise authority that applies to your project purely from this initial submission. Those specifics are confirmed against current official sources as part of your review, because they can change and because they depend on your particular locations and activities. If you have seen a figure or a rule quoted somewhere and want to know whether it still holds, that is exactly the kind of thing we check during the review rather than assert from memory.
How scope changes are handled if your plans shift
Productions rarely stay perfectly still between the first enquiry and the shoot, and that is expected. Dates move, locations are added or dropped, a drone shot is introduced, a crew grows, or a creative idea evolves in a way that touches a sensitive subject. None of these changes are a problem in principle, but each can change what your production needs, so the sooner you tell us, the better.
While your request is still in review, the simplest way to handle a change is to reply to your confirmation email and describe it plainly. We will fold the change into our first response rather than treating it as a separate enquiry, which keeps everything coherent. If a change arrives after we have already begun preparing a scope with you, we will explain how it affects the preparation, whether it introduces a new document group or an additional permission, and what it means for timing, so that you can decide how to proceed with a clear view of the trade-offs.
Some changes are minor and absorb easily, such as adjusting a shooting date within the same window. Others ripple outward, such as adding a protected area or a heritage location, which can introduce a custodian and a separate permission that were not part of the original picture. Introducing a drone is a common example of a change that adds its own considerations regardless of how simple the rest of the shoot is. Because the effect of a change depends entirely on its nature, we assess each one on its own terms rather than applying a fixed rule.
The practical guidance is straightforward: treat us as a running conversation rather than a one-time transaction. Tell us about material changes as they happen, ideally before they are locked, so we can flag anything that affects preparation while there is still time to adjust. A change mentioned early is usually easy to accommodate; the same change mentioned close to the shoot leaves far less room to manoeuvre.
Preparing for the next conversation
There are useful things you can do while your request sits in the queue that will make the next conversation faster and more productive. None of them are required, and none of them commit you to anything, but each one removes a step from the process that would otherwise sit between you and a concrete plan.
The most valuable preparation is to firm up your own picture of the production. Even a rough one-page brief that states what the project is, where you hope to film, when, with roughly how many people, and using what kind of equipment gives us far more to work with than scattered details. If your locations are still a shortlist, write the shortlist down, because we can react to options as easily as to decisions and it helps us flag the simpler and the more demanding choices early.
It is also worth taking stock of the documents your production already has and the ones it does not. Foreign productions typically prepare a recognisable set of materials, and knowing which of those you already hold, which are in progress, and which do not yet exist tells us exactly where preparation effort will need to go. You do not need to gather everything now; the point is simply to know your own starting position so the conversation can be specific.
Finally, think about your constraints and state them clearly when we reconnect. Hard deadlines, budget boundaries, fixed travel dates, and any elements that are non-negotiable for creative or editorial reasons all shape sensible planning. If there are parts of the project that are still genuinely undecided, say so, because knowing what is fixed and what is flexible helps us prepare a plan that bends where it can and holds firm where it must. A little of this groundwork now tends to save several rounds of back-and-forth later.
Common reasons a review takes longer
Most first replies go out in good time, but some enquiries naturally take longer to turn around, and it helps to understand why so that a wait does not read as neglect. The pace of a first response is shaped by a mixture of the clock, the complexity of your project, and the completeness of what you sent.
Time zones are the simplest factor. We work from Kathmandu on Nepal Standard Time, and many productions write from far away, so an overnight gap for you is often a working-hours gap for us. A message that seems to sit unanswered may simply be waiting for the Kathmandu day to begin. Weekends and public holidays in Nepal also affect timing, and the calendar can be busier at certain points in the year, all of which can extend a normal turnaround.
Complexity is the second factor. A single-location shoot in ordinary settings is quick to assess; a project spanning heritage sites, a protected area, drone work, and imported equipment involves more moving parts, and giving you an accurate first response takes proportionally more thought. We would rather take a little longer and give you something specific than reply quickly with something generic that we have to walk back.
The third and most controllable factor is completeness. When a submission is missing core details, our first reply has to be a set of questions, and the real substance waits for your answers, which effectively adds a round. This is exactly why the missing-information reminder earlier on this page matters; the more complete your original request, the sooner the useful reply arrives. If a genuine delay develops on our side, the right move is to send us a short, polite nudge on your existing email thread rather than starting a fresh request, which would only separate your correspondence and slow things further.
What our written summary will typically contain
When we move past the initial questions and give you a substantive response, it usually takes the form of a written summary that lays out how your production could be prepared. Knowing the shape of that summary in advance helps you read it quickly and act on it, and it sets a fair expectation of what a first substantive reply does and does not include.
A typical summary begins by restating our understanding of your production, so you can immediately confirm we have understood it correctly or correct us if we have not. It then identifies the document groups that a project like yours generally prepares, framed as categories rather than a rigid checklist, because the exact set depends on your specifics. Where your locations or activities appear to trigger additional considerations, such as a heritage or protected-area permission or a drone-related step, we flag those as areas that will need attention and explain why.
The summary also tends to separate what is likely to be straightforward from what is likely to need more lead time, so you can plan around the demanding parts rather than being surprised by them later. Where a specific fee, a specific timeline, or a specific authority is relevant, we describe how those are confirmed against current official sources rather than quoting a figure or a name as settled fact, because those specifics can change and depend on your project. This is a deliberate honesty, not a hedge; it protects you from planning around a number that may no longer hold.
Finally, the summary points to the next practical step, whether that is answering a remaining question, deciding on a location option, or confirming that you would like us to proceed with preparation. It is written to be acted on, and the clearer your reply to it, the more precisely we can carry your project into the preparation stage.
If you need to reach us before we reach you
You do not have to wait passively for our first reply. If something has changed, if you left out an important detail, or if a new deadline has appeared, you are welcome to reach out proactively, and doing so often speeds things up rather than complicating them.
The cleanest way to add information is to reply to your confirmation email. Because that message is already tied to your enquiry, anything you add lands in the right place and is read alongside your original request. Try to keep everything about a single production in one thread; a tidy thread lets whoever picks up your project see the full picture at a glance, whereas the same details spread across several separate emails are easy to miss.
When you write, a little structure helps us help you. A clear subject line, your production name, and your questions grouped into one message rather than sent as a rapid series all make it more likely you get a complete answer in a single reply. If your enquiry has become time sensitive, say so directly and include your own time zone and the date you are working towards, because vague urgency is hard to act on but a stated deadline is easy to prioritise.
If you have decided not to go ahead, that is useful for us to know too. A short note telling us you no longer need support lets us close your enquiry cleanly and stop taking up a place in the queue, and it means your correspondence is not left open indefinitely. There is no obligation attached to having submitted a request, and stepping back is always an option. Whatever the reason you are reaching out, the same principle applies: the clearer and more specific your message, the faster and more useful our response can be.
Useful guides while you wait
The waiting period is a good time to read, because the more you understand about how filming projects in Nepal are typically prepared, the more productive our eventual conversation will be. The guides on this site are written to be genuinely useful to a production at the planning stage, and they are framed as preparation guidance rather than as official rulings, with the specifics confirmed against current sources during your own review.
If you are still orienting yourself, the broad overview guides on how the permit preparation process works and what documents foreign productions typically assemble are the natural starting point. They explain the general workflow, the main document groups, and the kinds of steps that most projects encounter, which gives you a mental map before we get into your particular details.
From there, it is worth reading the guides that match your project. If your shoot touches specific settings, the material on heritage sites, religious sites, national parks, conservation areas, public spaces, or private property will help you anticipate the considerations attached to each. If your plans involve a drone or bringing professional equipment into the country, the drone and equipment-and-customs guides describe the sorts of information those elements usually require. There are also guides organised by production type, from documentary and feature work to commercials, music videos, television, photography, journalism, and institutional projects, each written with that category's typical concerns in mind.
As you read, keep a running note of any questions the guides raise about your specific project, and bring that note to our next exchange. The guides are deliberately general, because a website cannot know your dates, your locations, or your equipment; their job is to make you a more informed partner in the conversation, not to replace it. Reading a couple of the relevant ones now is one of the best uses of the time between submitting your request and hearing back from us.
- Start with the overview guides on the preparation process and typical documents
- Read the location guides that match where you plan to film
- Check the drone and equipment-and-customs guides if either applies
- Browse the guide for your production type for category-specific notes
- Note questions as you read and raise them in your next message to us
| Stage | What happens | What you can do | What it does not mean |
|---|---|---|---|
| Request received | Your enquiry enters the review queue and this confirmation is issued | Keep the confirmation email and reply to it with anything you forgot | It is a receipt, not an approval or a submission |
| Human review | A coordinator reads your submission and maps your production | Nothing yet; make sure core details were included | No authority has seen or decided anything |
| First reply | You receive either clarifying questions or an initial preparation outline | Answer questions fully and confirm our understanding of your project | It is not a permit, a quote, or a fixed timeline |
| Clarification | We exchange details on locations, activities, dates and documents | Reply promptly and group questions into one thread | Requirements quoted are preparation guidance, confirmed against official sources |
| Scope agreement | We describe how your production could be prepared and you decide | Tell us clearly whether you want to proceed | Agreeing to talk is not agreeing to a fee or a result |
| Preparation begins | With your go-ahead, document preparation and coordination start | Provide documents you hold and flag any you lack | Preparation does not guarantee approval, access or timing |
What the service includes
- Confirmation that your permit support request was received and queuednA human review of your submission before any reply is sentnA first response with either targeted questions or an initial preparation outlinenGuidance on which document groups and permissions typically apply to your project typenClear, honest framing of what depends on official sources and authoritiesnA single email thread per production so correspondence stays coherentnConfidential handling of the information you share for the purpose of your enquirynAccess to planning guides you can read while you wait
What the service excludes
- Any permit, licence, or official approval, which only the relevant authority can grantnSubmission of an application to any authority before scope is agreed and you confirmnGuarantees of location access, drone permission, customs clearance, or timingnVerified fees, exact processing times, or a named issuing authority asserted from this form alonenPersonalised legal or financial advicenEntry of passwords, card numbers, or government identity numbers to progress your requestnA commitment from you to proceed, or from us to a fee, simply by having submitted
Frequently asked questions
Does receiving this confirmation mean my film permit has been approved?
No. This page and the confirmation email only mean that your request reached us and is queued for review. We are an independent private support service and we do not issue permits, so nothing we send you is an approval. A permit, where one applies, is granted by the relevant authority based on your specific locations, activities, dates, and documents, and that happens only after preparation and submission, which are later steps. Treat this confirmation as a receipt that a real person will respond to, not as any official decision.
How long will it take to hear back from you?
It varies with the clock, the complexity of your project, and how complete your submission was. We work from Kathmandu on Nepal Standard Time, so if you are in a distant time zone there is often a natural overnight gap before you hear from us. Straightforward, well-detailed enquiries tend to get a substantive first reply sooner, while complex projects or submissions missing key details take longer because we either need more thinking time or have to ask questions first. If your enquiry is time sensitive, say so in your reply and include your deadline and time zone so we can prioritise accurately.
I did not receive a confirmation email. What should I do?
First, check your spam, junk, and promotions folders, because automated confirmations sometimes land there. If it is genuinely missing, it usually means the email address entered on the form contained a small typo. In that case, reach out again through the contact page on this site, mention that you submitted a request but did not receive confirmation, and include your production name plus the approximate date and time you submitted. That information lets us match your new message to the original enquiry and continue from there.
What information should I add if I think my request was incomplete?
Reply to your confirmation email and add whatever you left out; you do not need to wait for us to ask. The details that matter most are your production type and a short description, your intended or candidate locations, your approximate shooting dates, your rough crew size, and whether a drone or imported equipment is involved. A sentence on the purpose or subject of the project also helps. You do not need a complete document set at this stage, but telling us what you already hold and what you still lack lets us give you a much more specific reply.
Will you start working on my application right away?
No, and that is deliberate. While your request is in review, we are not submitting anything to any authority, paying any fee, or requesting any permission. Formal preparation only begins after we have agreed a scope with you and you have confirmed you want to proceed. This protects you from any process starting before you have decided to go ahead, and it means this confirmation carries no obligation and starts no official clock. The first reply from us is about understanding your project, not committing you to it.
Can you guarantee that my permit, location access, or drone flight will be approved?
No, and you should be cautious of anyone who promises otherwise. Approvals, location access, drone permission, and customs clearance rest with the relevant authorities and custodians, whose decisions depend on your specific project and are outside our control. What we provide is careful preparation and coordination that helps your application be complete and correct, which gives it the best realistic chance, but that is different from a guaranteed outcome. We would rather be honest about this limit up front than set an expectation we cannot responsibly meet.
My plans have changed since I submitted. How do I update you?
Simply reply to your confirmation email and describe the change plainly. While your request is still in review, we will fold the update into our first response rather than treating it as a new enquiry, which keeps everything coherent. Changes are expected, whether it is a shifted date, an added location, a new drone shot, or a larger crew, and the earlier you tell us, the more easily we can accommodate them. A change mentioned early is usually simple to absorb, while the same change raised close to the shoot leaves far less room to adjust.
How is the information I sent kept confidential?
We treat what you send as confidential and use it only to review and prepare your enquiry. At this stage, access is limited to the coordinator and colleagues directly working on your project, and we share information with an authority or custodian only when a specific location or activity makes it necessary, ideally in discussion with you. Because ordinary email is convenient but not perfectly private, avoid sending highly sensitive identifiers or financial credentials that way, and mention it if a document needs secure transfer so we can agree a suitable method. Our confidentiality and document security material covers storage, retention, and deletion in more detail.
Why can't you just tell me the exact fees and timelines now?
Because specific fees, exact processing times, and the precise authority that applies depend on your particular locations and activities, and because those specifics can change over time. Quoting a number or an authority name as settled fact from an initial form would risk sending you to plan around something that no longer holds. Instead, we confirm those details against current official sources as part of your review, so that what we eventually tell you reflects your actual project. If you have seen a figure quoted elsewhere and want to know whether it still applies, that is exactly the kind of thing we check rather than assume.
Do I have to pay anything to have my request reviewed?
Submitting a request and receiving this confirmation does not, by itself, commit you to any fee. The initial review and first reply are about understanding your project and outlining how it could be prepared. Any fee for preparation or coordination work is something we would discuss and agree with you as part of defining a scope, before any such work begins, so you always know what you are agreeing to. Nothing about this confirmation obliges you to proceed, and you are free to step back at any point.
What should I do while I wait to hear back?
The most useful thing is to firm up your own picture of the production, ideally as a short brief covering what the project is, where and when you hope to film, roughly how many people, and what equipment. It is also worth taking stock of which documents you already hold and which you still need, so the next conversation can be specific. Beyond that, reading the guides on this site that match your production type and locations will make you a more informed partner when we reconnect. Jot down any questions the guides raise and bring them to your next message.
Can I reach out before you contact me, or should I wait?
You are very welcome to reach out proactively, especially if a detail was missed, plans have changed, or a new deadline has appeared. Reply to your confirmation email so your message stays tied to the original enquiry, keep everything about one production in a single thread, and group your questions into one message rather than sending many in quick succession. If your enquiry has become urgent, state the deadline and your time zone directly. And if you have decided not to proceed, a short note lets us close your enquiry cleanly, which is genuinely helpful to us.
I submitted two requests by mistake. Will that cause a problem?
No, it is easy to sort out. When we reply, or in a quick note on your email thread, just tell us that the two submissions are the same project, and we will merge them rather than treat them as separate enquiries. Similarly, if you deliberately submitted separate requests for related projects or different legs of the same trip, telling us they are connected helps us keep the overall picture coherent. A tidy set of threads makes the whole process smoother, so a brief clarification is all that is needed.
Does this service mean you are a government or official permit office?
No. Film Permits Nepal is an independent, privately operated production support service based in Kathmandu. We are not a government body and we do not issue permits or grant permissions ourselves. Our role is to help productions understand what a filming project in Nepal typically involves, prepare and organise the documents that are usually needed, and coordinate the practical steps of getting an application ready and submitted to whichever authority applies. Any official decision always rests with the relevant authority or custodian, not with us.