International Film Production:

What It Takes to Shoot Abroad


August, 2026

Filming in another country can open up locations, talent, and creative possibilities that are hard to find at home. It also changes how a production needs to be planned.


Think Foundry has produced commercial and branded work across the U.S. and abroad, assembling crews in Silicon Valley, New York, Los Angeles, and international locations. Over the years, we have built a trusted network of crew members, rental partners, and local producers who help us adapt each production to the place and the needs of the project.


That experience has taught us that a successful international shoot depends on far more than flights and call sheets. Local crew structures, rental terms, insurance, permits, customs, and transport can all work differently. Our job is to understand those differences early, then build a production plan that keeps the work moving and gives the client one less thing to worry about.

Start With The Local Crew Structure

Every international production starts with understanding how crews work in that country. Role titles, responsibilities, and standard practices can differ from what we are used to in the U.S. In many European countries, for example, G&E (Grip and Electric) roles may use titles such as lighting technician rather than electric.

Local working habits matter, too. In Japan, crews often travel to set together, especially when a production takes place outside a major city such as Tokyo. In many countries, international productions also hire a fixer: an on-the-ground producer who helps navigate permits, local regulations, cultural norms, logistics, and communication with local vendors and crew.


A strong local partner does more than translate. They help us understand how work gets done, spot issues early, and make decisions that fit the place rather than forcing a U.S. production model onto it.


Plan For Different Gear Rental Terms

Our approach to gear stays consistent wherever we shoot: start with what the project needs, then build the most practical package around it. The booking process, however, can change from country to country. 


Rental houses outside the U.S. often require additional documentation to open a new account, including a bank letter, certificate of insurance, or voided check. Many also require a 50% deposit or full payment before releasing the equipment. Most of our U.S. vendors invoice us after production wraps.


These details affect budgets, payment timing, and when gear can be confirmed. Resolving them early helps protect the schedule and avoid last-minute surprises.

Decide What Travels and What Stays Local

Every international commercial shoot calls for a different travel plan. The right approach depends on where we are filming, who needs to travel from the U.S., and which equipment makes sense to bring.


We at Think Foundry have traveled with as many as 15 Pelican cases and, on other projects, with nothing more than our laptops. Sometimes bringing our own equipment gives the project more flexibility and makes better use of our internal inventory. In other cases, hiring locally keeps the production lighter and more efficient.


The goal is not to bring as much as possible. It is to bring exactly what the work calls for and source the rest from partners we trust.

Leave Time to Land and Prepare

When we arrive, we usually leave time to adjust to the time zone and finish the last round of preparation before the shoot. That may include meeting the local crew, scouting locations, checking gear, or confirming logistics.


That time is part  of the production plan, not a travel luxury. It gives the team room to solve small issues before they reach the set, so everyone can focus on the work once cameras roll.

Once production wraps, we try to experience a little of the place we have traveled so far to reach. Over the years, that has meant boat rides in the South of France, track time in Monaco, a flight over Indonesia, Disneyland in Tokyo, a visit to London's royal landmarks, and afternoon fika in Sweden.


The work comes first. But taking time to understand a place, and the people helping us create there, is one of the best parts of international production. We work hard, but we also play hard.


Planning a commercial shoot outside the U.S.? Tell us where you need to go and what you want to make. We can help build the right production plan, from local crews and equipment to logistics and shoot-day execution.  If you’re working on something interesting, we should meet. hello@thinkfoundry.com

Our San Francisco Video Production Work

We’ve worked at tech companies ourselves, so we know what tech companies need. We understand manufacturing, engineering, robotics, and more because we’ve experienced it. Learn more about us and see what we’ve accomplished.




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