International audiovisual production: complete guide

Shooting a film in Singapore, Brazil, Morocco or Argentina from Paris requires a different method from a French shoot. Here are the real questions to ask — pitfalls, overheads, levers — based on 6 years of Kyma international productions.

Why shoot internationally

Three valid reasons to shoot outside France:

1. The subject requires it. A Relais & Châteaux series can't be shot in Paris for the Mirazur restaurant in Menton — you have to be there. Same for CNP Brazil or Dior Utah.
2. The context adds meaning. Filming a chef in Morocco in his riad is the film, not a backdrop. The location is part of the message.
3. The audience is local. For a brand targeting Southeast Asia, shooting in Singapore with a local crew immediately gives credibility Paris can't have.

False reasons: shooting abroad "because it's cheaper". In reality, it rarely is once transport + non-productive days are factored in.

The real overheads of an international shoot

Here are the 7 items to integrate from the initial budget.

For a 3-day on-site production, expect a total overhead of €8,000 to €25,000 compared to an equivalent shoot in France. Important to know from the brief.

Local crews or relocated French crew?

The question always comes up: send your own crew or hire locally? There's no universal answer, but here's the decision grid.

Send your French crew

Pros: absolute creative consistency, well-oiled team, no risk of variable quality.

Cons: high cost (flights + accommodation), no local knowledge, sometimes language issues.

When: strategic projects where visual consistency is critical (luxury campaign, multi-country series).

Hire locally

Pros: ground knowledge, reduced cost, local contacts.

Cons: variable quality, risk of cultural mismatch, harder to manage remotely.

When: simple shoot, budget constraints, project with strong local need.

Kyma's approach: hybrid

Our standard: French director + DOP (to hold creative consistency) + local crew (sound assistant, gaffer, fixer) hired by a trusted partner in country. Best of both.

Our Singapore studio (Kyma Asia) plays this role for Southeast Asia: local presence, established contacts, but creative direction centralised in Paris.

The 5 pitfalls to avoid

1. Underestimating permits. Shooting in a public place in Singapore requires an official permit, paid, to request 4 weeks ahead. Same in Morocco, Italy, Brazil. Not doing it = risk of fine or losing the shoot.
2. Forgetting VAT. A service billed to a foreign client doesn't have the same VAT as a French service. Anticipate with your accountant.
3. Choosing an unverified fixer. The fixer (local production) is your gateway — bad fixer = bad shoot. Always ask for 3 recent client references.
4. Bringing too much equipment. Customs can hold cameras, drones, equipment. Either pre-declare (ATA Carnet), or rent locally. No improvisation.
5. Under-scaling post-production. Footage from exotic shoots often requires more colour grading, more audio work (wind, accents, languages). Post-prod budget at +30% vs France.

3 recent international productions

CNP Assurances Brazil & Argentina

5-day shoot for institutional series. Kyma 3-person crew + local fixer + 2 locally hired technicians. Additional budget vs Paris: €18,000. Result: films delivered on time, controlled quality. View CNP case →

Relais & Châteaux — 12 destinations

Series repeated across 12 international sites (Morocco, Italy, Spain, Bulgaria, Basque Country). Proven method: 2-person crew, natural light, immersive capture. Calibrated format for comparable duration. View Relais case →

Dior Sauvage Utah

International shoot with Paris-centralised art direction + extended local crew. Typical case where the full French crew was essential to hold the expected luxury quality. View Dior case →

Frequently asked questions