Location Scouting Guide: Finding the Perfect Setting for Film

Every great film starts with a place that feels real-even if it’s completely made up. You can write the best script, cast Oscar-worthy actors, and shoot with the latest camera, but if the location doesn’t sell the story, the whole thing falls flat. That’s why location scouting isn’t just a step in production-it’s the foundation.

What Makes a Location Work for Film?

A good location isn’t just visually striking. It needs to serve the story, fit the budget, and cooperate with the crew. Think about film location scouting like casting a character. Does it have the right mood? Can it handle the noise of a generator? Will the sun hit the window at 3 p.m. exactly when the scene calls for it?

Take the opening of Mad Max: Fury Road. The desert wasn’t just a backdrop-it was a character. The salt flats of Namibia weren’t chosen because they looked cool. They were chosen because they were empty, harsh, and endless. No traffic. No power lines. No tourists. That’s the kind of detail scouts look for.

You don’t need a desert to make this work. A quiet suburban street at dawn, a decaying warehouse, a library after hours-these can be just as powerful. The key is whether the place feels like it belongs in the world you’re building.

How to Start Your Location Search

Start with the script. Underline every location mention. Then ask: Is this real? Can we find it? Or do we need to build it?

Most indie filmmakers make the mistake of chasing ‘iconic’ spots. A bridge in Paris. A rooftop in New York. But those places are crowded, expensive, and often require permits that take months. Instead, look for stand-ins.

For example, if your story is set in a 1970s Detroit factory, you don’t need to fly there. Look for abandoned industrial buildings in your own city. Auckland has dozens. The old Dominion Road meatworks? Perfect for gritty, post-industrial scenes. The old St. Mary’s Hospital in Grey Lynn? Great for eerie, institutional interiors.

Use Google Earth. Zoom in. Look for clusters of similar buildings. Check street view. Note the time of day the sun hits. Look for power lines, satellite dishes, or modern signage that could ruin the shot. Then go there in person.

The Five Things Location Scouts Always Check

1. Access and Timing - Can you get the crew in at 4 a.m.? Is there parking for trucks? Will neighbors complain about noise? Some towns have quiet hours. Others require permits for filming on public sidewalks.

2. Power and Infrastructure - Is there electricity nearby? Can you run cables without tripping hazards? Do you need a generator? Some old buildings have no outlets. Others have outdated wiring that can’t handle lights.

3. Weather and Light - What does the sun do here in February? Does rain flood the basement? Does the wind blow through the windows? Auckland’s weather changes fast. A sunny morning can turn to fog by noon. Scout at the same time of day you plan to shoot.

4. Background Noise - Is there a train line nearby? A busy road? A church bell? Even a distant helicopter can ruin a take. Record ambient sound on your phone. Play it back. If you can hear it clearly, the mic will too.

5. Permits and Legal Risks - You can’t just show up with a camera and start filming. Public parks? You need council approval. Private property? Written permission. Even filming on a sidewalk can require a permit if you block foot traffic. In New Zealand, the Film Commission has a free guide for location permits. Download it.

Working With Property Owners

Most homeowners are happy to help-until they realize you’re turning their living room into a crime scene. Be upfront. Show them the script. Explain how long you’ll be there. Offer to clean up. Some even want to be extras.

In one Auckland project, we needed a 1980s kitchen. We found a house where the owner still had the original cabinets, linoleum, and fridge. We offered to repaint the walls after filming. He let us use it for three days. In return, we gave him a DVD of the film with his name in the credits.

Always sign a simple release form. Even if it’s a friend’s place. It protects you if something breaks. Most location managers use a basic one-page form that covers: dates, access, insurance, and damage liability.

What to Bring on a Scout

You’re not just looking. You’re collecting data. Pack:

• A digital camera or smartphone with a good lens
• A notebook and pen (yes, paper still works better than apps when you’re running around)
• A tape measure (for doorways, stairwells, room sizes)
• A light meter or phone app to check brightness
• A sound recorder (to capture ambient noise)
• A GPS app to mark the exact location
• A printed map (in case you lose signal)

Don’t rely on your memory. You’ll scout 20 locations in a week. By day three, you’ll mix them up. Label every photo: “St. Kilda Garage - 2/15/26 - 10 a.m. - Sun from left, noise: traffic on Main Rd”.

Common Mistakes (And How to Avoid Them)

Mistake 1: Choosing a location because it looks cool, not because it works for the scene.

You find a stunning cliffside. Perfect for a romantic monologue. But the only access is a 20-minute hike with no cell service. Your grip team can’t carry gear. Your sound person can’t hear the actor. You waste half the day just moving equipment. Always ask: Can we actually shoot here?

Mistake 2: Ignoring the crew’s needs.

A director once picked a beautiful old church for a night scene. No power. No bathrooms. No heating. The crew had to huddle in a van for three hours between takes. Morale dropped. Mistakes piled up. Location scouting isn’t just about the camera. It’s about the people behind it.

Mistake 3: Forgetting the aftermath.

You film in a park. Leave behind a few cables. A broken chair. A pile of sandbags. The council fines you $500. Always plan for cleanup. Budget for it. Hire a local crew member to handle it. Or better yet-don’t leave anything behind in the first place.

When to Build Instead of Scout

Sometimes, there’s no perfect location. That’s when you build. A soundstage lets you control everything: light, sound, weather. But it’s expensive.

Ask yourself: Is the location irreplaceable? If your story is about a specific train station in London, you might need to go there. But if it’s just “a train station,” you can build one for less than $10,000 using flats and projections.

In New Zealand, companies like StageCraft NZ specialize in modular sets. They can build a 1950s diner in two weeks. It’s cheaper than flying to the U.S. and paying for permits, travel, and hotel stays.

Tools and Resources

You don’t need fancy software to scout. But these help:

• Google Earth Pro - Free. Use the ruler tool to measure distances. Use street view to check for signs, cars, or power lines.
• LocationHub - A global database of film-friendly locations. Free for indie filmmakers.
• Film NZ - New Zealand’s official film commission. Offers free location guides, permit templates, and local contacts.
• ShotList - An app for organizing your scout photos and notes. Syncs across devices.

Also, talk to other filmmakers. Join local film groups. Someone in Auckland has already filmed in that warehouse you’re eyeing. They’ll tell you about the security guard who hates cameras-or the landlord who lets you shoot for free if you bring him a copy.

Final Tip: Trust Your Gut

You’ll see 30 locations. Some will feel right. Others will feel wrong-even if they look perfect on paper. That’s intuition. It’s built from experience. Pay attention to it.

One scout took me to a derelict library in Dunedin. Dust everywhere. Broken shelves. Faded murals on the ceiling. It was cold. No power. The script called for a 1940s archive. We didn’t even have to dress it up. We just turned on a single lamp. The whole scene came alive.

That’s the magic of location scouting. You’re not just finding a place. You’re finding a moment.