We operate in virtually every film-friendly corner of Latin America. From the bustling production scene in Mexico to picturesque locales in Uruguay, Costa Rica, Panama, and beyond, Mission Control provides local expertise wherever your script takes you. Our regional network means you always get accurate advice on climate, gear availability, crew language skills, travel logistics, and permitting in any country. No matter the location in Latin America, we have the experience to facilitate a successful shoot.

• Travel Times: There are no direct flights from Paris to Montevideo, Uruguay, so travel usually involves one connection. A common route is via Madrid or São Paulo – total travel time is roughly 15–16 hours. For instance, Air Europa via Madrid or Air France with a South American partner will get you to Montevideo with one stop (approx. 16h including layover) . Another approach is flying to Buenos Aires, Argentina (Paris to BA ~13h ) and then a short 45-minute hop or a 2-3 hour ferry ride across the Rio de la Plata to Montevideo. From the U.S., connections are often through Miami (Miami to Montevideo ~9h non-stop) or through Buenos Aires. Despite the lack of non-stop Europe service, Uruguay is fairly easy to reach via its neighbors – a factor to consider if bringing in crew or equipment (sometimes productions route gear through Buenos Aires due to more flight options). • Weather: Uruguay has a temperate climate with four seasons, opposite to the Northern Hemisphere. Summers (December–February) are warm to hot (30°C days, pleasant nights) and are the high season – ideal for beach shoots and outdoor scenes with green landscapes. Winters (June–August) are mild to chilly: temperatures can dip to 5°C at night and around 13–15°C by day. It never gets brutally cold (snow is virtually unknown), but winter brings more overcast days and occasional rain. Rainfall is fairly evenly distributed through the year, but spring (Sep–Nov) can be a bit wetter and sometimes windy. For filming, the prime months are October through April for longer daylight and comfortable weather. Autumn (March–May) is particularly nice – stable weather and beautiful golden light. Summers are great for sun and blue skies, though January can be very hot and humid at times. Uruguay’s climate overall poses few extreme challenges – you won’t have hurricanes or monsoons here. One consideration: because the country is mostly flat, wind can be an issue on the coast; a coastal shoot might need wind mitigation (wind screens, secured audio) especially in the spring. But generally, expect moderate, manageable weather. The light in Uruguay is often compared to the Mediterranean’s, making it attractive for cinematographers – clear and crisp in the cooler months, soft and golden in summer evenings. • Film Industry Considerations: Uruguay, despite its small size, has built a strong reputation in advertising production. The country has specialized in producing commercials (often for international brands) for many years and has a highly professional crew base oriented toward servicing these projects . Montevideo is the center of the industry – you’ll find very skilled crews, many of whom are bilingual or have worked abroad. Crew sizes tend to be smaller and multitasking is common (a positive when trying to keep a nimble unit). Equipment: Uruguay has a decent array of rental gear in Montevideo – digital cinema cameras (Alexa, RED, etc.), lenses, lighting, and basic grip equipment are available. For any high-end or uncommon gear that isn’t locally available, it’s simple to source from Argentina just across the river; Montevideo-based producers frequently truck in additional equipment from Buenos Aires overnight. The country’s small scale means fewer studios – most shooting is done on location, but there are a couple of soundstage spaces in Montevideo for set builds or product shoots if needed. Permits: Filming permits in Uruguay are generally straightforward and often faster than in larger countries. Montevideo’s film commission (and Uruguay’s national film agency ICAU) are very cooperative. Closing a street in Montevideo or arranging police assistance is typically feasible with a bit of notice and at low (or no) cost, given the city’s manageable traffic. Uruguay’s officials are keen to accommodate productions to bolster the country’s film-friendly image. Talent: Uruguay’s population is relatively small (3.5 million), but there’s a good pool of actors and models, many of European descent which can be useful for certain casting looks. If very specific casting is needed that can’t be found locally, Buenos Aires (a city of ~15 million) is an hour’s flight away and often used as an extended casting resource, with talent then brought over (no visa issues between Argentina and Uruguay). Another big plus: Uruguay is known for being organized and safe – the production process is typically low-stress with little bureaucracy and a collaborative approach by local crews. • Recommended Shooting Locations: Uruguay offers charming and clean visuals, often described as having a “European” look in South America. The country is famous for its beaches and coastline along the Atlantic. For upscale fashion or car commercials, Punta del Este is a prime spot – it’s a glossy resort city with modern high-rises, luxury houses, marinas, and long stretches of beach; it can double for Miami or Southern France on camera. Along the coast you also have areas like José Ignacio (a chic, more rustic beach town with dunes and designer beach shacks favored by celebrities) and Cabo Polonio (remote dunes, no electricity – giving a raw natural beach setting). Montevideo itself provides a variety of looks within a compact area : the capital has a mix of historical and modern architecture. The Ciudad Vieja (Old City) has colonial-era and early 20th-century buildings, cobblestone streets, and European-style plazas – great for period looks or an Old World feel. Then just blocks away, the downtown and beachfront Rambla area features Art Deco, Neoclassical, and modern buildings along a 20km waterfront esplanade . Montevideo’s Rambla (seaside promenade) is iconic – palm-lined with the ocean on one side and city on the other, ideal for car commercials (smooth roads with a scenic backdrop) or lifestyle shoots. In terms of landscapes, Uruguay doesn’t have mountains or jungles, but it has picturesque rolling countryside (the pampas): green hills, farmland, vineyards and estancias (ranches). These rural scenes can work well for automotive commercials needing gentle curves and open roads, or for any narrative requiring a pastoral backdrop. One unique landscape element: palm tree groves in the eastern interior (e.g. Valle del Lunarejo or near Rocha) – savannah-like fields dotted with palm trees, giving an exotic twist to rural scenes. Colonia del Sacramento, a UNESCO World Heritage town, offers beautifully preserved Portuguese colonial architecture on quaint stone streets – it’s often used to portray old colonial towns and could double for Mediterranean villages too. Urban infrastructure like empty highways, modern bridges, stadiums are available in or near Montevideo for more generic cityscapes. Uruguay’s low population means many locations are easy to secure and not crowded – you can find an empty beach, a quiet colonial street, or an open country road with relative ease, perfect for controlled shoots. In summary, Uruguay shines for beach and urban European-style settings, clean and safe cityscapes, and pastoral rural scenes. It’s an excellent choice for high-end brand visuals that want a Latin American flavor with a modern, upscale twist, or for car spots needing well-maintained roads in scenic locales without interference. • Production Incentives: Uruguay has put in place incentives to lure productions. The main offering is a cash rebate of 20%–25% on eligible local spend through the Uruguay Audiovisual Program (PUA). For international productions (including advertising) that partner with a local Uruguayan company, the program will reimburse up to 25% of qualified expenses incurred in Uruguay . There is a cap of USD $400,000 per project for the rebate and a minimum spend requirement (about $500k to $1M depending on project type) . Notably, this rebate did not initially cover commercialsunder certain lines, but Uruguay has specific provisions now for advertising – meaning high-budget ad campaigns can qualify, especially if they use local services and talent. Additionally, Uruguay offers a VAT exemption of 22% on production services for foreign shoots . This VAT exemption is straightforward: foreign producers can get a certificate through the film commission to not pay VAT on rentals, hotels, transport, etc., making those costs effectively tax-free . When you combine the VAT savings and the potential rebate, Uruguay becomes quite financially attractive. For example, crew and gear expenses could be more than 20% cheaper than sticker price after rebates. Another incentive is the lack of taxes on foreign cast/crew income – Uruguay does not tax short-term production work by non-residents, simplifying payroll. The relatively small scale of Uruguay’s industry also means your project will likely get VIP attention – the film commission often goes the extra mile to assist with locations and logistics, effectively adding value beyond formal incentives. • Logistical Challenges: On the flip side of being small and efficient, Uruguay’s limitations come from scale and variety. If a script calls for dramatic mountains, dense jungle, or huge metropolitan crowds, Uruguay cannot provide those – you’d have to plan for those sequences elsewhere. However, for many commercial shoots, this isn’t an issue as the country covers a lot of the needed bases (coast, city, countryside). The crew size is smaller; if you have a very large-scale production, you might need to import crew for specialized roles or if multiple shoots happen concurrently. That said, Uruguay can handle a decent-sized commercial production – the infrastructure for large advertising shoots (which often involve international crews of 50-100 people) is in place. One challenge can be the peak season: January and February is summer vacation in Uruguay and many crew and resources might be engaged with the influx of commercial shoots or on holiday. It’s wise to secure crew and accommodations early if filming in the height of summer, especially around Punta del Este where tourism peaks. Equipment availability is another consideration – while most standard gear is available, there may only be a few of each item in country. If your shoot needs two techno-cranes simultaneously, for instance, you’d likely need to source an extra from Argentina. Fortunately, borders with Argentina are open and the import process for gear is efficient, particularly with the VAT exemption in place. On logistics like transport and distances, Uruguay is easy: you can drive from Montevideo to most corners of the country in 4–6 hours at most. The road network is good and relatively empty. This means a production can be based in Montevideo (with its full amenities) and still reach far locations with a short drive. Bureaucratic hurdles are minimal, but do remember that to unlock incentives, you must engage a local production company and follow the program guidelines – missing paperwork could risk the rebate, so a reliable local partner is key (most are well-versed in this). In terms of safety and security, Uruguay is one of the safest countries in the region; crime rates are very low, which reduces risk for night shoots or leaving equipment (still use normal precautions). Overall, Uruguay’s logistical “challenges” are more about its capacity – as long as your production fits within what the country offers (and most commercials and brand shoots do), you’ll find it an incredibly smooth place to film, often easier than larger nations due to the lack of red tape and compact geography. The small limitations are easily planned for, and many foreign crews come away praising how straightforward shooting in Uruguay is.

• Travel Times: Mexico is well-connected internationally. A direct flight from Paris to Mexico City is about 12 hours . From other major hubs: Los Angeles to Mexico City is ~4 hours (and under 3 hours to cities in northern Mexico), New York to Mexico City around 5 hours. There are numerous direct flights from European cities (London, Madrid, etc.) and across the U.S. to Mexico’s main airports. Additionally, Mexico has multiple international gateways; depending on your shooting location, you might fly directly into e.g. Cancún (for Yucatán/Caribbean locations), Guadalajara or Monterrey(for interior or north), or Mexico City (central). This flexibility means travel for crew and shipment of gear can often be optimized to arrive closest to set. • Weather: Mexico’s climate is diverse, ranging from arid deserts to tropical coasts. Generally, the dry season(November to April) is the most favorable period in many regions . For example, central Mexico (Mexico City, etc.) has a dry, mild winter with little rain from Nov through April – ideal for filming with clear skies. The rainy season runs roughly May through October, bringing frequent afternoon storms especially in the south/central areas . Coastal and tropical areas (Caribbean coast, Pacific coast, southern jungles) are hot and humid in summer with a risk of hurricanes from July to October on both coasts . If you plan a beach shoot on the Riviera Maya (Caribbean), the best weather is in winter months when it’s sunny, warm, and less humid. Northern Mexico (e.g. Sonora, Chihuahua deserts) sees extremely hot summers (40°C+ in July/August) and mild winters – spring and fall are the best times for desert scenes to avoid dangerous heat. Mexico City’s high elevation (2,250m) gives it pleasant temperatures year-round (21–27°C daytime) but a pronounced wet season in summer. In summary, December through April is a safe bet in most of Mexico for dry weather and moderate temperatures. If shooting in the summer months, focus on locations like Baja California (which has a relatively dry summer) or highland areas, and be cautious with coastal hurricane season. Mexico’s varied geography also means you can “chase” good weather – for instance, if the coast is rainy in summer, you might shoot in the drier north. Always keep an eye on the calendar for major national holidays (e.g. Easter, Day of the Dead) as they can affect logistics and crowd control, though they can also offer rich cultural backdrops if desired. • Film Industry Considerations: Mexico has one of the most established film industries in Latin America. Mexico City in particular is a production powerhouse, with a deep pool of talented crew and state-of-the-art equipment. You’ll find a full spectrum of skilled labor – from veteran cinematographers and art directors to specialized technicians – many of whom have experience on Hollywood features and high-end commercials. Most crew in the main cities speak at least some English, and many are bilingual, having worked with US and European productions for years. Major cities have multiple rental houses providing everything: Alexa Minis, REDs, Panavision cameras, extensive lens selections, lighting from HMI to LED, motion control rigs – you name it. There are also large studios and backlots like Estudios Churubusco in Mexico City, should you need controlled environments or set builds. Unions: Mexico does have film industry unions, but for commercials and foreign projects the rules are quite flexible – using a reputable local production service company will navigate any labor requirements seamlessly. Permits: Film permitting in Mexico is generally efficient. Mexico City has a one-stop film commission (COMEFILM) where many public locations can be permitted without fees, especially for short shoots, though bigger setups (streets, traffic control) will involve police coordination. Historic or sensitive sites (e.g. archaeological zones like Chichén Itzá or certain government buildings) require special permits and often fees – these can take longer, and the fees can be significant (e.g. filming at popular ruins can run in the thousands of dollars and must be requested well in advance). It’s crucial to have local producers handle these, as personal relationships and understanding the bureaucracy go a long way. Customs: Mexico offers a Temporary Import Permit for film equipment – meaning if you bring gear, you can do so without paying import tax, provided you have a detailed inventory (a carnet ATA is accepted as well). However, because the local rental market is strong and to support local businesses, it’s often more convenient to rent in Mexico rather than ship everything. One important consideration: safety and security. While many areas in Mexico are completely safe for filming, some regions (due to crime or cartel activity) are not recommended. Local knowledge is key – a Mexican production team will guide you on safe location choices and can arrange security if needed. In popular tourist and urban filming locations, you’ll mostly just need standard precautions (secure your equipment, hire night security at unit base, etc.). Lastly, Mexico’s long history of hosting foreign productions means the “film-friendly” factor is high – you’ll often find police and authorities are used to film crews and are cooperative, especially in cities like CDMX, and the overall vibe on set will be familiar and professional. • Recommended Shooting Locations: Mexico’s range of locations is one of its greatest strengths . For car commercials, consider the dramatic deserts of Baja California or the north – dunes in places like Algodones Dunes (near Mexicali)or the wide open desert highways in Sonora/Chihuahua give that classic road movie look (films have often used northern Mexico to stand in for the US Southwest). In contrast, the country offers lush jungles and ancient ruins in the south: the Yucatán Peninsula has jungles dotted with Mayan pyramids (Chichén Itzá, Tulum, Uxmal) – striking backdrops for luxury or adventure visuals. The Yucatán also has unique cenotes (clear turquoise sinkhole pools) which make for exotic aquatic scenes or fashion shoots in ethereal cave-like settings. For fashion and high-end brand shoots, Mexico City (CDMX) is a goldmine – it features everything from sleek modern architecture (e.g. the Soumaya Museum’s futuristic exterior, or the skyscrapers of Paseo de la Reforma) to charming colonial neighborhoods (the leafy, European atmosphere of Roma/Condesa or the historic Centro with its baroque architecture). The city’s streets, galleries, and even its colorful markets can add vibrant urban texture. Mexico also boasts 11,000 km of coastline : the Caribbean coast (around Cancún, Tulum) offers white sands and bright blue waters – quintessential paradise beaches ideal for resort or swimwear commercials. The Pacific coast gives a different vibe: e.g. Los Cabos has dramatic rock arches and desert-meets-sea landscapes; Puerto Vallarta or Acapulco offer classic tropical beach town settings. There are also unique natural wonders like the Copper Canyon (a grand canyon system in Chihuahua) for rugged canyon visuals and Sumidero Canyon in Chiapas with its sheer cliffs rising from a river. Need mountains? Mexico’s got them – the volcanoes Popocatépetl and Iztaccíhuatl near Mexico City are snow-capped part of the year and create epic backgrounds. Colonial towns such as San Miguel de Allende or Guanajuato present picture-perfect colorful streets (San Miguel is famed for its aesthetics and is a frequent spot for lifestyle shoots). Additionally, Mexico can easily double for other countries: its diversity means you could simulate Middle Eastern deserts, tropical islands, European-like cities (parts of Puebla or Mexico City have a very European feel), etc. According to one production executive, “Mexico provides filmmakers with a wide variety of locations, from deserts and mountains to rainforests and over 11,100 km of coastline. Mexico City features diverse neighborhoods and architectural styles, making it a great destination for urban locations.” This encapsulates the breadth available in Mexico – truly a one-stop shop for virtually any setting. • Production Incentives: Mexico offers a notable tax incentive primarily in the form of VAT exemption for foreign productions. In practice, qualifying foreign shoots can be exempted from the 16% Value Added Tax on most local goods and services – this acts as an immediate cost saving. To benefit, productions usually register with the Mexican Film Commission and work through a local production company so that services are billed without VAT (COMEFILM can guide this process). Aside from VAT savings, Mexico has the EFICINE and FIDECINE programs – however, these are aimed at feature film co-productions and domestic content rather than short-term commercials. There isn’t a straightforward cash rebate like some other LatAm countries, but Mexico’s overall production costs are moderate, and the government support often comes in the form of facilitating permits, military equipment (if needed for scenes), or infrastructure rather than direct cash. A new incentive program has been discussed (as of 2023) to introduce rebates for international productions, but details and implementation are pending. That said, many Mexican states individually sweeten deals: for instance, Jalisco or Querétaro might offer local support or discounts to attract projects. The lack of a big federal rebate is often offset by the fact that Mexico’s crew rates, location fees, and accommodations can be more affordable than in the US/Europe. Additionally, there is no import duty on temporary film equipment and no tax on the fees of foreign actors/technicians working under a short-term project, which simplifies budgeting. In summary, while Mexico’s incentives might not be as direct as a cash rebate, the cost advantages and VAT waiver make it financially attractive. Many foreign commercials find that their budget goes further in Mexico than almost anywhere else in North America. • Logistical Challenges: Mexico’s main challenges involve scale and security considerations. Scale and traffic: Mexico City is enormous – moving a crew across town can take time (traffic is heavy). It’s wise to cluster your shooting locations or use police escort for convoy if you have multiple moves in a day in CDMX. Likewise, if shooting nationwide, realize that flying from, say, Mexico City to Cancún (2+ hours) then driving to a jungle location could effectively consume a day; plan your schedule with internal flights and ground transport carefully to avoid fatigue and lost time. Security: While many parts of Mexico are completely safe, some regions have cartel activity or higher crime rates. Productions typically avoid certain border areas and some rural zones in states like Guerrero, Tamaulipas, Sinaloa, etc., unless coordinating with authorities. If your story or concept requires those areas, you’d need heavy security support. In cities, petty crime means gear vigilance is needed – never leave equipment trucks unattended without security. It’s common to hire local police or private security to guard set and equipment overnight. Permits bureaucracy: Mexico has a bit of red tape especially for very specific requests (e.g. filming with drones near airports or in sensitive archaeological sites requires extra permissions from agencies like INAH for cultural sites). Start those special permit applications early. Health considerations: In jungles or remote villages, crew might need precautions for water (use bottled water always) and insect bites; in high altitude (Mexico City or higher, like Toluca, which is 2,600m), allow a little acclimation if coming from sea level. Equipment import vs. local rental: If bringing gear, expect thorough inspections at customs – having a detailed list and carnet is critical to avoid delays. But as noted, most times local rental is easier. One benefit: experienced local production companies – Mexico has world-class line producers who have handled everything from James Bond action sequences in downtown Mexico City to remote fashion shoots in cenotes. Leveraging their expertise will mitigate most challenges. With their help, issues like arranging police escorts, street closures, or dealing with local communities (for example, needing permission from an ejido (community-owned land) to film in a particular village) can be navigated smoothly. Weather interruptions are relatively predictable by season compared to tropical countries, but if you’re shooting during hurricane season on the coast, have an evacuation/weather delay plan. In conclusion, Mexico’s challenges are those of a big, diverse country – but its infrastructure and film-friendly environment mean that even big logistical puzzles (like car rigs on busy city streets or coordinating multi-location cross-country shoots) have been solved there many times before. With prudent planning, Mexico can deliver huge production value with manageable risk.

• Travel Times: There are not currently direct flights from Paris to Ecuador, but one-stop flights (via Madrid, Amsterdam or the U.S.) are typical. The travel time from Paris to Quito or Guayaquil is usually around 12–13 hours including a short connection. For example, KLM via Amsterdam or Iberia via Madrid will get you to Quito in about 12 hours total (11+ hours flying time) . From the U.S., Ecuador is quite accessible: Miami to Quito/Guayaquil is ~4 hours, and from New York about 6 hours. Regionally, Ecuador’s capital Quito is a hub that’s a quick hop from Bogotá, Lima or Panama City. Note that Quito’s airport is about an hour outside the city, and if you plan to film in the highlands or Amazon, additional ground travel or domestic flights (like to Coca for the Amazon) may be needed. • Weather: Straddling the equator, Ecuador offers relatively constant temperatures year-round, but climate varies by region: coast, highlands, and Amazon. The coastal region (and Galápagos) has a hot wet season roughly January to April (warm, humid, with periodic heavy rains) and a cooler dry season June to December (more overcast but little rain). The Andean highlands, including Quito (elevation 2,850m), have a mild spring-like climate year-round; days are ~20°C and nights ~10°C. There is a drier stretch June–September in the highlands, and a wetter season October–May, though even in rainy months it’s often clear in the mornings. The Amazonian east is hot (25–30°C) and humid with frequent rain year-round, with a slightly less rainy period December–February. Because Ecuador is small, one can theoretically move from one climate to another in a single day’s drive. For filmmakers, this means you can choose locations based on the time of year: e.g. shoot on the coast in the dry cooler months (Jul–Nov) for easier conditions, or take advantage of the clear summer (Jun–Aug) in the mountains for stable weather and great visibility of peaks. The Galápagos Islands, a unique location 1000 km off the coast, are best filmed in the cooler dry season (Jul–Nov) when seas are calmer and skies blue (though wildlife is abundant year-round). Importantly, at high altitudes sun exposure is intense (bring sunscreen) and weather can change quickly – always have rain gear and cold-weather clothing available when in the Andes, even if it’s sunny in the morning. • Film Industry Considerations: Ecuador’s film industry is emerging, but the government and private sector are making strong efforts to attract international productions. You’ll find a growing number of production service companies and fixers primarily in Quito and Guayaquil. The local crews are enthusiastic, and while smaller in number, they are resourceful. For most foreign productions, especially commercials, you would hire a local production service company which can source a crew (many have experience on international jobs) and handle permits and logistics. English is not as widely spoken as in Costa Rica, but key crew (producers, some camera department folks) will speak enough English; otherwise a bilingual fixer/translator is needed to interface with Spanish-speaking technicians. Equipment: Basic film gear is available in-country (Quito has a couple of rental outfits with cameras like REDs or basic Alexa kits, lighting, and grip). However, for high-end needs, productions often bring in equipment from outside. Ecuador facilitates this by offering VAT and import tax exemptions on temporary imports – so bringing gear from, say, Colombia or the U.S. is relatively easy and tax-free . Additionally, under new incentives, payments to foreign crew or service providers aren’t taxed in Ecuador , simplifying hiring of international specialists. Permits: Ecuador’s permitting is generally straightforward except for environmentally sensitive areas. City filming in Quito or Guayaquil requires standard municipal permits (best obtained via a local producer who knows the process). For national parks (like Cotopaxi Volcano park or Galápagos National Park), special permits and park ranger oversight are mandatory. Galápagos in particular has strict rules – crew size may be limited and you must follow conservation guidelines closely – but filming is allowed with advance coordination with the Galápagos National Park Directorate. Filming in indigenous community areas (such as certain Amazon regions) may require community permission and hiring local guides, which a fixer can arrange. One advantage: Ecuador’s small size and less-hectic production scene can mean quick bureaucratic turnaround and a very personal level of cooperation from local authorities excited to host a foreign shoot. • Recommended Shooting Locations: Despite its compact size, Ecuador is incredibly rich in locations, offering almost every terrain except arid desert. In the Andes highlands, you have stunning volcano landscapes – Cotopaxi (a cone-shaped snow-capped volcano) and Chimborazo (Ecuador’s tallest mountain) provide jaw-dropping backdrops for car commercials or adventure-themed visuals. There are high-altitude plains (paramo) with wild horses that can double for Tibetan highlands or other wild environments. The Quilotoa Crater Lake, an emerald lake in an extinct volcano caldera, is an eye-popping site for fashion or travel ads seeking a mystical vibe. Ecuador’s colonial cities are gems: Quito’s Old Town (a UNESCO World Heritage site) has beautifully preserved Spanish colonial architecture and churches, great for luxury or historical ambiance, while Cuenca offers European-style plazas and cobblestone streets in a quieter setting. In the Amazon basin, Ecuador offers lush rainforest, rivers and indigenous village settings – easily accessible from the town of Tena or Coca, you can capture dense jungles, waterfall cascades (like San Rafael Falls), and wildlife (though films requiring significant wildlife footage often work with controlled environments or animal handlers). Along the coast, there are scenic Pacific beaches – e.g. Los Frailes Beach (in Machalilla National Park) is a pristine crescent bay backed by cliffs, excellent for a tranquil beach scene. The Galápagos Islands are a world unto themselves: dramatic volcanic rock shorelines, turquoise waters, and fearless wildlife (sea lions on beaches, iguanas, giant tortoises). For a high-end brand, an shoot in Galápagos instantly communicates exclusivity and natural beauty – though logistically it’s a big endeavor, the visuals are unparalleled (the Galápagos have been one of Hollywood’s favorite exotic filming spots ). Another unique spot is Baños in central Ecuador, where lush mountains and waterfalls meet adventure sports – think swing at the “End of the World” or bridges perfect for dynamic lifestyle commercials. Additionally, Ecuador’s claim of having “four worlds” (Coast, Andes, Amazon, Galápagos) in one is not an exaggeration – you could film a tropical jungle, a high mountain, and a surf beach all within a couple days’ travel. • Production Incentives: Ecuador has recently rolled out very attractive incentives to draw foreign productions. The headline benefit is a 37% rebate on qualifying audiovisual production expenditures . This comes in the form of the “Audiovisual Investment Certificate (CIA)”, essentially refunding 37% of the money you spend in Ecuador (one of the highest rebate percentages in the region). Importantly, this incentive applies to advertising productions as well , not just feature films. The process to obtain the rebate is designed to be simpler than in many other countries. In addition to the cash rebate, Ecuador offers a suite of tax exemptions: foreign productions get zero VAT on services – production services are VAT-exempt at the point of purchase with a certificate , and even if VAT is paid, it can be refunded. There’s also an exemption on the 5% currency remittance tax for foreign payments related to the production , and no withholding tax on payments to non-resident crew or suppliers . In essence, Ecuador is trying to eliminate taxation on production spend to maximize cost savings for you. To take advantage, a production needs to register with the Ecuadorian film authorities (through a local production company) and meet a minimum spend (which has been relatively accessible – details can be obtained from the film commission, but it’s designed to accommodate even medium-scale projects). With relatively low base costs (Ecuador touts some of the most competitive production costs in the region even before incentives ) and the robust 37% rebate, shooting in Ecuador can be very budget-friendly. • Logistical Challenges: Ecuador’s challenges mostly come from geography and developing infrastructure. Altitude and terrain: Quito and many prime highland locations are high up – working at 3,000+ meters altitude means you need to allow time for cast/crew to acclimate and be prepared with high-altitude gear (crew should stay hydrated, and you might keep oxygen canisters on set for strenuous shoot days). Moving heavy equipment at altitude is more labor-intensive, so plan for slightly slower pace or additional manpower. Remote jungle and islands: If filming in the Amazon region, roads penetrate only so far – deeper locations might need canoe travel or helicopter/aerial support. Communication in the rainforest can be limited (satellite phones may be needed). The Galápagos are 2 hours by plane from the mainland, with flights only from Quito/Guayaquil and a strict weight limit on luggage/gear – you’ll likely have to charter cargo or arrange special freight for extensive equipment. On the islands, there are few vehicles and limited accommodations, so production size has to be kept in check and planned well in advance. Crew depth: While local crews are skilled, the pool is not large. For bigger shoots, you might bring in additional crew from neighboring countries (Colombia, Peru) – fortunately, the language and cultural similarities make integration easy, and the new incentives remove taxes on foreign crews. Permitting and bureaucracy: Though generally straightforward, certain permits (like those for protected areas or using drones in national parks) can take time and have specific rules. It’s advisable to hire a local production manager who knows the ins and outs of government procedures. Transportation: Ecuador’s main highways are decent, but mountain roads can be narrow and winding – if you have a convoy of trucks, travel times may be longer than distances suggest. Also, landslides can occasionally close mountain roads in the wet season. Flexibility is key – having backup locations or an extra day or two for unexpected delays is wise when tackling multiple regions. On the positive side, Ecuador is compact, so logistics are simpler than in a large country – and the production incentives are designed to help smooth out any hurdles by making the effort financially worthwhile. With good local partners, the challenges of filming in Ecuador can be managed, opening up a tremendous variety of unique locations for your project.

An emerging favorite for international productions, Colombia combines rich settings with very attractive incentives. Within its borders you’ll find Caribbean beaches, colonial cities like Cartagena, rugged Andean mountains, and Amazonian jungles – a huge variety of looks in a relatively compact area. Colombia is a major Latin American production hub thanks to its generous 40% film rebate program  (plus an additional 20% rebate on local logistics costs ) – one of the best incentive packages in the region. The country has a growing film industry and experienced crews, and it has shed its old image to become a safe, welcoming place for filmmakers. Mission Control has on-ground experience in Colombia’s film hubs (such as Bogotá and Medellín) to ensure you benefit from local support and avoid red tape. From coordinating with Colombia’s film commission to hiring expert local stunt teams, we’ll make filming here as dynamic and rewarding as the locations themselves. • Travel Times: Paris to Bogotá is about an 11-hour direct flight (Air France and others fly non-stop). Major US hubs have shorter connections: from New York it’s ~5 hours to Bogotá, and from Los Angeles around 7–8 hours (often via Miami or Houston). Within Latin America, Colombia is easily reached via Panama City or Miami. Note that Colombia has multiple international airports (Bogotá, Medellín, Cartagena, Cali), so crews can often fly straight to the region of shooting. • Weather: Colombia’s climate is tropical and, importantly, varies more by region and altitude than by season . Being near the equator, there are no winter/summer distinctions, but there are wet and dry periods. The Caribbean coast and llanos (eastern plains) have a dry season roughly December–April. The Andes regions (like Bogotá, Medellín) also experience two drier seasons: roughly December–March and July–August are the best windows for consistent weather . Bogotá sits at 2,600m altitude, giving it mild days (~18°C) and chilly nights year-round (“eternal spring” climate, though nights can be as low as 5–10°C). Coastal cities like Cartagena are hot (30°C+) and humid with tropical rains mainly April–November. The Amazon region in the south is hot and wet most of the year. For filming purposes, you can generally shoot year-round in Colombia by choosing the right region at the right time – e.g. plan Caribbean beach shoots in Jan–March for sunshine, or use Bogotá’s relatively stable climate anytime (just be prepared for some rain and cooler temps in the capital). • Film Industry Considerations: Colombia has become a popular production destination in recent years, so the local industry is experienced and growing. Bogotá is the main production hub where most crew and equipment are based . You’ll find a solid pool of bilingual (English-speaking) crew; heads of departments (directors of photography, production designers, etc.) and many technicians are fluent and accustomed to foreign productions . Crews are non-union, known for being hardworking and flexible with overtime and turnaround times – this adds efficiency to shooting schedules. There are several high-end rental houses in Bogotá and Medellín, offering modern gear (for example, Alexa cameras, Phantom high-speed cameras, Technocranes and full lighting/grip packages are available locally ). For permits, Colombia has an accommodating framework: the Bogotá Film Commission (and other city commissions) can approve standard permits in ~2 weeks, usually at no charge . More complex shoots (e.g. downtown street closures, extensive public space use, or drone filming) require longer lead time and possibly fees or police support, but these are navigable with a local fixer. One requirement: foreign crews often need a local production service company or fixer to sponsor permits and coordinate with authorities – in practice, any serious shoot will have a Colombian production partner to handle this. Colombia offers professional services like casting (a diverse talent pool thanks to the country’s mix of ethnicities) and production design; keep in mind some specialized services (large soundstages, advanced post-production) are limited but improving. • Recommended Shooting Locations: Colombia is incredibly diverse in locations for its size . For colonial charm and vibrant color, Cartagena’s walled old city on the Caribbean coast is a standout – its cobblestone streets and bougainvillea-draped balconies are perfect for fashion campaigns or luxury travel visuals. In the interior, the Coffee Region (around Quindío) provides lush green hillscapes with coffee plantations and the iconic Cocora Valley wax palm forests – a unique, almost surreal landscape great for high-end automotive or outdoor lifestyle shoots. The country also boasts desert terrains like the Tatacoa Desert (reddish rock formations under dramatic skies) and the Guajira Peninsulawith its dunes by the sea, both excellent for car commercials needing wide open, otherworldly spaces. Urban options include Bogotá’s mix of modern skylines and historic districts (the colonial La Candelaria neighborhood, or the gritty-cool street art of downtown Bogotá) and Medellín’s modern cityscape set in a mountain valley. Colombia’s Caribbean beaches (e.g. Palomino or Tayrona with palm-fringed white sand and turquoise water) rival any tropical destination for paradise-like scenes. With mountains, jungles (the Amazon in Leticia or Chocó’s rainforests), colonial towns (like Barichara or Villa de Leyva), and even high-altitude lagoons, Colombia can cover a wide range of location needs within relatively short distances. summarizes that you can find “vibrant cities, Spanish colonial architecture, Amerindian ruins, beaches, islands, mountains, rainforest, waterfalls, rivers, and deserts” – all within Colombia’s borders. • Production Incentives: Colombia offers one of the most attractive incentive schemes in Latin America. International productions can access a 40% cash rebate on qualified local production expenditures (services such as crew, equipment rental, catering, etc.) and an additional 20% rebate on logistical expenses like hotels, transportation and flights purchased in Colombia . In practice, this means up to 40% of your shooting expenses and 20% of your lodging/travel costs in-country can be reimbursed by the Colombian Film Commission’s program (known as the FFC – Filming in Colombia incentive). There is a minimum spend requirement (around USD $500k for long-form content), and the project must apply and be approved beforehand. For smaller projects like commercials that may not hit the threshold, Colombia also has a newer incentive in the form of a transferable tax credit (called CINA) – a 35% tax credit which can be sold on, effectively yielding cash back. The incentive programs have made Colombia very affordable: combined with already lower production costs, producers often find shooting in Colombia to cost a fraction (sometimes half) of an equivalent shoot in the US or Europe . It’s advisable to involve the Colombia Film Commission or a local line producer early to navigate the application process for these incentives. • Logistical Challenges: While Colombia’s major cities are production-friendly, certain challenges persist. High altitudein Bogotá can be a factor – crews coming from sea level might need a day to adjust (and heavy physical activity or extensive gear hauling can be more taxing at 2,600m). For comfort, it’s wise to schedule lighter work on the first day in Bogotá. Transportation within cities like Bogotá can be slow due to traffic; coordinating call times to avoid rush hour and consolidating locations can help. If your shoot involves multiple regions (say, Andes and coast), expect to do internal flights – fortunately these are short (1–2 hour flights) and frequent, but factor in gear transfer (shipping equipment by air or having duplicate gear sets in different cities through rental houses). Some remote areas (deep Amazon jungle, certain mountainous villages) have limited road access – reaching them may require chartering small planes, 4x4 vehicles, horses, or hiking with gear, so plan logistics and backup plans carefully. Security in Colombia has improved drastically and the country is safe to film in popular areas; however, remote jungle zones or border regions might still present risks (or be controlled by park authorities/indigenous communities), so local guidance is essential. Lastly, rain can be an unpredictable challenge – in tropical areas, sudden downpours or even mudslides can occur in wet season. It’s common to build some weather contingency into the schedule, especially if filming outdoors in the Andes or rainforest zones. By leveraging knowledgeable local production teams and allowing flexibility, these logistical hurdles can be overcome, letting you tap into Colombia’s immense creative potential.

Chile is a land of extremes and stunning backdrops – all within a very producer-friendly environment. In one country, you have the driest desert in the world (Atacama) and snow-capped alpine peaks, futuristic city skylines in Santiago and ancient forests in the south. Thanks to a well-developed infrastructure and stable government, Chile is one of the easiest places to film in Latin America. Most of the country is accessible within a few hours by plane , which allows a production to shoot a variety of landscapes on a tight schedule. The government actively supports filmmakers (Film Commission Chile helps with permits and connections ), and a generous incentive program now offers up to a 30%–40% cash rebate for qualifying productions . Mission Control’s local Chilean contacts and knowledge of regional logistics (from high-altitude desert shoots to coordinating in remote Patagonian areas) help unlock Chile’s incredible locations for your project. • Travel Times: Air France operates direct flights from Paris to Santiago (~14.5 hours) . There are typically daily non-stops on this route. From the U.S., flights are about 10–11 hours (e.g. New York to Santiago ~10 hours nonstop; from Los Angeles ~11 hours). Regional connections from hubs like São Paulo, Buenos Aires, or Lima are also common for reaching Chile. Keep in mind that Chile’s length (4,300 km) means some domestic flights can be a few hours (Santiago to Punta Arenas in Patagonia is ~3.5 hours), so internal travel planning is important. • Weather: Because Chile stretches from the tropics down to near Antarctica, climate varies greatly by region. The Atacama Desert in the north is the driest desert on Earth – virtually no rainfall, with warm days and cold nights year-round (great for clear skies and Mars-like landscapes). Central Chile (around Santiago) has a Mediterranean climate: hot, dry summers (Nov–March) and cool, wet winters (June–Aug). In contrast, Patagonia in the far south has short, mild summers and very cold, windy winters, with weather that can change quickly even in summer. Chile’s seasons are opposite to Europe’s – peak summer is Dec–Feb. For filming, that means you can shoot “summer” scenes during the European winter by coming to Chile. The best window for Patagonia and southern Andes shoots is November through February (long daylight hours, accessible roads); the Atacama and central regions are workable almost any time (just avoid Chile’s winter rains in central Chile for outdoor shoots). • Film Industry Considerations: Chile is known as one of Latin America’s most stable and efficient countries, and this extends to production. The crew base is smaller than Argentina or Mexico, but highly professional and accustomed to international productions. Many Chilean film crew speak English (especially department heads in Santiago), and the country is generally easy to work in from a logistical standpoint. Chile offers excellent local production services and fixers; Santiago is the hub for equipment rentals, studios, and crew. All standard gear can be obtained in Santiago, though extremely specialized equipment might need to be flown in (the import process is straightforward, especially with local partners and Chile’s open economy). Permitting is centralized through the Chile Film Commission, which assists foreign productions. Shooting on public lands or city locations usually requires permits but the process is clear and not overly time-consuming. Do plan ahead for national park permits (e.g. Torres del Paine or other parks) and any shoots on Easter Island, which has special territorial regulations and limited flights (only from Santiago, 5 hours away). Overall, Chile’s “on-the-ground” production climate is very favorable: a safe environment, good infrastructure (roads, electricity, communications), and a government that actively welcomes film projects. • Recommended Shooting Locations: Chile is often described as a geographic marvel, packing nearly every landscape into one country . In the north, the Atacama Desert offers surreal vistas – vast salt flats, wind-sculpted dunes, geyser fields, and otherworldly rock formations. Valle de la Luna (Moon Valley) in Atacama can convincingly double for Mars , making it ideal for car commercials or sci-fi themed spots. Moving south, the Central Andes near Santiago provide high mountain backdrops, alpine lakes, and even ski resorts – useful for both winter scenes and dramatic road sequences with switchbacks (for example, the road to Portillo ski area). Along the coast, Valparaíso stands out with its colorful hillside neighborhoods and street art, giving a bohemian urban texture for fashion shoots or lifestyle commercials . Farther south, Patagonia delivers truly epic scenery: the granite spires of Torres del Paine, turquoise glacial lakes, sprawling pampas and ice fields. These southern locales are perfect for high-end car ads that want a sense of grandeur or luxury adventure campaigns set against untouched nature. Lastly, Easter Island (Rapa Nui), though remote, is one of the world’s most unique locations with its moai statues and wild Pacific landscapes – an incredible backdrop for an exclusive brand shoot, if logistics allow. In short, Chile can provide desert, mountain, forest, urban and ocean settings all within one country’s borders, which is a huge asset for creative flexibility. • Production Incentives: Chile recently relaunched an incentive program to attract international productions. The IFI Audiovisual program offers up to a 30% cash rebate on qualified in-country expenses (capped at USD $3 million per project) . Notably, if a production shoots entirely outside the Santiago Metropolitan region, the rebate can increase to 40% – an encouragement to film in Chile’s regions. The minimum spend to qualify is USD $2 million (or $1 million for certain regional projects ), which suits feature films or large campaigns. Additionally, Chile has no VAT on foreign service payments and streamlined temporary importation for equipment, making it financially friendly even for projects that don’t meet the rebate threshold. The combination of a rebate, VAT exemptions, and Chile’s general cost-competitiveness (crew rates and location fees are reasonable) can result in significant savings for foreign productions. • Logistical Challenges: Chile’s elongated shape means some locations are very remote. A shoot in Patagonia will face limited local infrastructure – only a few small towns exist as bases, so crews often operate from hubs like Punta Arenas. The Patagonian weather is a factor: high winds and sudden storms can delay outdoor shoots, so build in buffer days for weather cover. In the Atacama, altitude (many sites are 2,500–4,000m above sea level) can be a challenge – crews may need time to acclimate and extra hydration/oxygen support for high-altitude scenes. Easter Island requires flying an entire crew 5+ hours offshore, with minimal on-island resources, so only essential crew/equipment should go and everything else must be shipped in advance. Within mainland Chile, internal flights or long drives are often necessary to reach the far north or south; however, the domestic flight network is reliable and roads in central/southern Chile are generally good. One advantage is Chile’s overall reliability: you won’t face major bureaucratic hurdles or safety issues (it’s one of the safest countries in Latin America), which helps offset the geographic challenges. Proper planning and use of local production services will ensure that even Chile’s wildest locations can be accessed and managed effectively.

The largest country in Latin America brings vibrant energy and jaw-dropping scenery to any production. Brazil offers everything from the Amazon rainforest and tropical beaches to modern cityscapes in São Paulo and Rio. We know how to navigate Brazil’s unique production landscape – including its requirements to partner with local companies for permits  and the need to register with Brazil’s film authorities. With Mission Control as your local producer, these bureaucratic steps are handled seamlessly. Major Brazilian cities boast world-class studios, equipment rental houses, and bilingual crew, while many areas throughout the country present opportunities for breathtaking shots. Plus, shooting in Brazil can often stretch your budget further – local crews, locations, and services can cost 30–50% less than in the U.S. Our experience across Brazil’s regions means we plan for efficient travel and logistics, whether you’re filming in a remote jungle or a busy metropolis. • Travel Times: Direct flights from Paris to São Paulo take roughly 12 hours . Rio de Janeiro is similar, around 11–12 hours non-stop from Europe. From North America, flight times are shorter – ~9 hours from New York, and about 11 hours from Los Angeles (often connecting in a hub like Miami). Brazil’s major cities are well-served by international flights, though reaching remote regions (Amazon, Northeast) will require domestic flights. • Weather: Brazil’s climate spans the tropics to the subtropics. The north (Amazon basin) is hot and humid year-round with frequent rain, whereas the far south (around São Paulo and beyond) has more defined seasons and milder winters . Generally, the dry season (April–September in central/southern Brazil) offers the most reliable weather for filming, especially in the interior and savannah areas. Coastal areas around Rio have a tropical Atlantic climate – warm and humid with a rainy season roughly November–March. In summary, you can find workable weather somewhere in Brazil year-round, but be mindful of the rainy season in each region (and the Amazon’s constant humidity). • Film Industry Considerations: Brazil has a large domestic film/TV market commensurate with its size – its economy is among the world’s top ten, and the audiovisual sector is accordingly well-developed . Experienced crew and modern equipment are available, particularly in São Paulo (the country’s production powerhouse) and Rio de Janeiro. However, note that foreign productions are legally required to partner with a local Brazilian production company registered with ANCINE (the national film agency) . This local producer will handle permits and ensure legal compliance on behalf of the foreign crew. Brazil has a good reputation for sorting permits relatively quickly once a local partner is in place . Most professional crew in Brazil will have some English speakers (especially heads of department in São Paulo/Rio), but Portuguese is the working language – a bilingual fixer or producer is essential for smooth communication. Major rental houses in São Paulo and Rio can supply everything from Arri Alexa cameras to extensive lighting and grip gear; specialized gear can be imported with the help of your local partner if needed. • Recommended Shooting Locations: Brazil’s landscapes are iconic and varied. The Amazon rainforest and rivers in the north offer lush jungle settings (although challenging to access, they are unmatched for tropical visuals). Rio de Janeiro provides a mix of urban and natural beauty – think sweeping aerial shots of the city’s coastline with Sugarloaf Mountain and Christ the Redeemer in view, or fashion shoots on its white-sand beaches. For car commercials, Brazil features dramatic terrain like the Serra do Rio do Rastro mountain road with hairpin turns and misty vistas, or the endless sand dunes of Lençóis Maranhenses in the northeast for a surreal, otherworldly backdrop. Don’t overlook colonial-era towns such as Ouro Preto or Salvador for historic architecture, or the futuristic modernism of Brasília’sarchitecture for a high-end modern aesthetic. From waterfalls (the Brazilian side of Iguaçu Falls) to wetlands (the Pantanal) to palm-lined tropical beaches, Brazil has virtually every scenery a production could want. • Production Incentives: Brazil’s incentives are typically region-based. The city of São Paulo offers a cash rebate of 20%–30% on eligible expenses for productions that meet a minimum spend (~BRL 2 million, about $360k USD) and work with a local producer . Rio de Janeiro has a municipal “Rio Film Commission” rebate program as well aimed at attracting foreign shoots (including advertising projects) to the city. On a national level, co-production treaties and Ancine’s funding programs can provide support if you partner with Brazilian producers (primarily for feature films or series). It’s important to engage a Brazilian line producer early to navigate these opportunities – they can help with registering the project to qualify for incentives and tax exemptions. • Logistical Challenges: Bureaucracy in Brazil is notable – beyond the local-producer requirement , expect paperwork for gear importation (carnets) and personnel (visas or work permits if staying long-term, though short-term commercial shoots often use tourist status with the local partner handling formalities). The sheer size of the country means long internal travel times; reaching the Amazon might involve a flight to Manaus and then boat or charter plane to specific jungle locations. Remote areas (jungle interiors, wetlands) have limited infrastructure – you may need generators, satellite communications, and medical/safety planning (for example, the Amazon has wildlife and health considerations). In cities, traffic can be intense (São Paulo and Rio are known for gridlock), so schedule extra transit time for company moves. Also, while Brazil is generally safe for film crews, equipment security and personal safety should be considered, especially if filming in higher-crime areas or at night – hiring security or police escorts is common for shoots in certain urban environments. With a solid local partner and preparation, Brazil’s challenges can be managed, unlocking a wealth of unique locations and vibrant culture for your production.

• Travel Times: Paris to San José, Costa Rica is about 11.5 hours non-stop (Air France offers direct flights several times weekly). There are also one-stop options via Madrid or the US. From the US, Costa Rica is very accessible – roughly 3 hours from Miami, 5 hours from New York, and 6 hours from Los Angeles (LAX has direct flights to Liberia, in northern Costa Rica’s Guanacaste region). Costa Rica has two international airports (San José Juan Santamaría and Liberia Daniel Oduber), so crew can fly directly to the region closest to your locations . • Weather: Costa Rica has a tropical climate with warm temperatures year-round. The key factor is rainfall. The country’s dry season runs roughly December through April, which is the most popular time for filming due to consistent sunshine . The rainy season (often called the “green season”) is May through November, peaking in September/October with heavy downpours. During the wet months, mornings are often clear with rains in afternoons/evenings. The Caribbean coast has a slightly different pattern, with more year-round humidity and two rain peaks (around June and November). Temperatures vary by elevation: coastal areas are hot (30°C+), while the central highlands (including San José) are pleasantly mild (20–27°C) and cooler at night. For filming, plan outdoor-heavy shoots in dry season if possible – e.g. lush jungle scenes can still be filmed in green season (the landscape is vibrant then), but expect some schedule interruptions from rain. Note that daylight is consistent (being near the equator) – roughly 12 hours of light year-round (~5:30am to 5:30pm), so plan accordingly for available natural light. • Film Industry Considerations: Costa Rica’s production industry is smaller but efficient and very welcoming. Crews are non-union and known for being cost-effective and hardworking . A big plus is language: Costa Rica has one of the highest rates of English proficiency in Latin America , so communication on set is usually smooth (most crew, especially those working with international projects, speak English). The country is politically stable and has good infrastructure – reliable telecommunications, decent roads to most areas, and a top-notch healthcare system (important for crew safety). There are a number of production service companies in San José that can provide local crew, gear, scouting, and permitting assistance. Equipment: Basic film equipment (camera packages, lighting, grip) is available for rent, though the inventory may not be as extensive as in Mexico or Colombia. For high-end productions, heavy equipment (e.g. a technocrane or specialized lenses) might need to be brought in – however, Costa Rica’s new incentive law makes importing gear tax-free and straightforward. Studios: Only small studios exist (up to ~10,000 sq. ft.) , suitable for product or small set shoots; there aren’t large soundstages for big set-piece builds, so most shooting is done on location. Permits: Filming permits are generally easy to obtain. The Costa Rica Film Commission assists with one-stop permitting. A simple permit for public spaces takes around 2 weeks to process . National parks and protected areas do require special permits and sometimes a park ranger escort – these can take longer, so engage with the Film Commission early if you plan to shoot in a park (Costa Rica’s famed parks system is 25% of its territory ). Overall, Costa Rica’s film industry is very service-oriented: you can expect a helpful bureaucracy and enthusiastic local partners, especially since the country is keen to attract more international productions. • Recommended Shooting Locations: Costa Rica is renowned for its natural beauty, which offers a bounty of choices for visuals. Lush rainforests are one of the top draws – for example, the Monteverde Cloud Forest with its misty canopy and hanging bridges provides an ethereal backdrop ideal for fashion or adventure campaigns. Numerous waterfalls (like La Fortuna or Nauyaca Falls) are accessible and dramatic for on-camera action or as a setting for vehicles in SUV commercials. Volcanoes are a signature: Arenal Volcano, a near-perfect cone, towers over a lake and rainforest and can add epic scale to a shot (it’s great for car commercials or outdoor gear ads, with surrounding winding roads and hot springs). The Pacific Coast beaches – e.g. around Guanacaste or the Nicoya Peninsula – offer golden sands, surf waves, and stunning sunsets for lifestyle and automotive spots (imagine a car ad on a pristine beach at dusk). On the Caribbean side, locations like Puerto Viejo have palm-lined black and white sand beaches with a more rustic, jungle-meets-sea vibe. Costa Rica’s biodiversity also means you can get wildlife in the frame (colorful toucans, monkeys in trees) if desired, or use ecotourism sites like hanging bridge trails, zip-lines through jungle, and mangrove estuariesas dynamic backdrops. Interestingly, Costa Rica can double for various tropical locales: it has stood in for African jungles and Southeast Asia in past shoots (in one area, El Salto in Liberia, there’s even an African safari park with giraffes and zebras for an “African savannah” look ). In sum, for car commercials and high-end ads, Costa Rica offers spectacular roads cutting through mountains and jungles, postcard-perfect beaches, and exotic greenery – all in a relatively compact area. • Production Incentives: In 2021 Costa Rica enacted the Film Investment Attraction Law, which introduced compelling incentives for foreign productions. The package includes roughly an 11.7% cash rebate on all local spend(effectively a refund on the 13% VAT for production goods and services, making most local costs VAT-free). This rebate has no cap and applies to all budget lines spent in Costa Rica when approved – a significant benefit for commercial productions of any size. Additionally, the law provides full tax exemptions for foreign cast and crew salaries while working in Costa Rica (no local income tax or withholding on their fees), and it waives import duties on equipment brought in for the project. These incentives became available from mid-2022 and require a simple application through the Costa Rica Film Commission. Beyond the new law, producers will find Costa Rica’s overall costs moderate; crew rates and location fees are generally lower than in North America or Europe. The government’s push to promote filming means they are often willing to assist in kind – for instance, coordinating with police for road control at no charge, or expediting customs clearance for gear. All these factors create a very budget-friendly scenario for filming in Costa Rica. • Logistical Challenges: While small, Costa Rica does have a few challenges to note. The rainy season can cause production delays – heavy downpours might interrupt filming or make dirt roads impassable (especially in remote rainforest or mountain areas, landslides can occasionally occur). It’s crucial to have contingency plans (cover sets or alternative indoor locations) if shooting during wetter months, or simply aim for the dry season for key outdoor sequences. Remote locations like deep jungle waterfalls or cloud forest trails may require 4x4 vehicles, hiking in equipment, and dealing with high humidity that can affect gear (rain protection and dehumidifiers for equipment are a must in the rainforest). Crew and equipment resources, while solid, are not unlimited – the country can comfortably host up to four productions simultaneously before straining local crew availability . This means for very large shoots or back-to-back projects, you might need to import additional crew (which is facilitated by the new law’s tax breaks). However, given Costa Rica’s size, nothing is very far: one can drive coast to coast in a day, so moving your unit is relatively easy compared to larger countries. Lastly, tropical wildlife and insects are part of the environment – bug spray, boots, and knowing how to handle encounters (like not leaving food out in monkey areas) are part of the shooting experience here. In summary, Costa Rica’s challenges are mainly natural – weather and terrain – and can be mitigated with season planning and experienced local guides. The country’s well-organized support for film productions helps ensure that even with these challenges, a shoot in Costa Rica remains smooth and enjoyable.

From the sub-tropical jungles of Iguazú to the glaciers of Patagonia, Argentina encompasses an extremely diverse range of locations . Need European-style city streets? Buenos Aires can double for Paris or New York, and it comes with a highly professional crew base with decades of experience . Filming here is refreshingly straightforward – permits in the capital are simple and low-cost , and the country is very film-friendly. Argentina also offers financial perks for filmmakers, including local rebates in Buenos Aires and tax exemptions for foreign productions , making shoots cost-effective. Mission Control leverages Argentina’s blend of stunning scenery, skilled crews, and supportive infrastructure to set your production up for success. • Travel Times: Non-stop flights from Paris to Buenos Aires take about 14 hours . Major hubs like New York offer ~11-hour flights, while Los Angeles requires a one-stop journey (typically 15+ hours via connections). Despite the distance, Argentina is well-connected with daily flights from Europe and North America. • Weather: Argentina’s climate is diverse – subtropical in the north and subpolar in the far south. Buenos Aires has a mild, Mediterranean-like climate with hot summers and cool winters. Seasons are opposite to Europe, so Argentina offers warm summer conditions during the European winter (great for winter escape shoots) . In Patagonia, expect cold, windy conditions and short days in winter, but long daylight in summer. Plan shoots around the region: the southern summer (Dec–Feb) is ideal for Patagonia, while the northwest deserts are dry year-round but can be very hot in summer. • Film Industry Considerations: Argentina boasts a century-old film industry with highly experienced, largely bilingual crews . The production community in Buenos Aires is robust; most equipment rental houses and studios are based there , offering everything from cameras to lighting. Film permits are quick, low-cost, and easy to obtain in most locations – Buenos Aires in particular is very film-friendly. Crew speak fluent English (many also speak some French or Italian) and are accustomed to international shoots. • Recommended Shooting Locations: Argentina offers a stunning range of backdrops . For car commercials, the open roads and dramatic scenery of Patagonia (e.g. Route 40 with mountain and glacial vistas) are spectacular. The Salinas Grandes salt flats and multi-colored hills of Jujuy in the northwest provide otherworldly landscapes ideal for fashion or automotive spots. Iguazú Falls, on the tropical border, delivers lush jungle and waterfall scenes for high-end campaigns. And Buenos Aires can double as a European city with its Parisian-style architecture – perfect for luxury brand shoots in an urban setting . • Production Incentives: Argentina’s national incentives are evolving. The city of Buenos Aires launched a 20% cash rebate for international productions meeting a minimum spend (~USD 660,000 over at least 4 shooting days in the city) . Some provinces have their own incentives (e.g. Río Negro province in Patagonia introduced the country’s first regional rebate program). While commercial shoots might not always qualify for these high minimum spends, foreign productions benefit from Argentina’s favorable exchange rates and generally lower production costs. • Logistical Challenges: The vast geography means internal travel logistics must be considered – e.g. a shoot in Patagonia is a 3-hour flight from Buenos Aires, and remote locations may have limited infrastructure. Since crew and gear are concentrated in the capital , filming in far-flung regions requires transporting equipment and key crew, adding to lead time and cost. Also note that Argentina’s economy faces high inflation, so locking in local costs in a stable currency is wise. Overall, with good planning (and perhaps an Argentine production service partner), these challenges are manageable and the stunning pay-off in locations is often worth the effort.