Before You Lock in the Location: Access Updates for Productions

Recent discussions between regional film offices, agencies and industry representatives have highlighted several changes and pressure points around location access that may affect productions working across Otago, Southland and other parts of Aotearoa.

The Film Otago Southland Location Access Round Table was held in Queenstown on 10 April, bringing together representatives from Film Queenstown Lakes, Film Dunedin, DOC, LINZ, QLDC, Screen Auckland, traffic management, and industry practitioners. While some of the discussion was region-specific, several themes are relevant to screen workers and productions more broadly: permitting processes are becoming more detailed, some costs have increased, traffic management requirements are shifting, and early planning is becoming even more important.

Traffic management is moving to a risk-based model

One of the key updates discussed was the transition from the Code of Practice for Temporary Traffic Management to the New Zealand Guide to Temporary Traffic Management.

The new system is risk-based rather than rules-based, which means productions will need to identify site-specific risks and propose controls that are appropriate for the location and activity. This may offer more flexibility in some situations, but it also requires stronger justification, clearer documentation and earlier conversations with traffic management providers.

For productions, the practical takeaway is simple: traffic management should not be left until late in the schedule. Application timeframes may increase, and responsibility for risk management now sits more heavily with the production company, alongside the traffic management provider.

Full road closures on State Highways are expected to be harder to achieve. Stop/Go setups and shoulder closures are generally more feasible options. Drone filming near State Highways remains unchanged and still requires an approved Traffic Management Plan.

Screen Auckland is supporting the Auckland Screen Industry with this transition by encouraging early risk assessments, providing guidance tools, and clarifying roles and expectations under the new framework.

This is currently a work in progress.

In the interim, for more information regarding NZGTTM from NZTA, click here. For more information regarding NZGTTM from Auckland Transport, click here

DOC filming fees have increased

DOC also outlined changes to filming fees, effective from 1 April 2026.

The standard minimum processing fee for film permits has increased from $230 + GST to $930 + GST. DOC advised this reflects the usual staff time required to process applications, normally around five hours, with hourly staff rates now sitting at $186.

New management fees have also been introduced to cover administration and invoicing time, with the minimum fee sitting at $180 + GST.

Industry representatives raised concerns about the impact on small-scale and short-form productions, including short films and low-impact projects. DOC acknowledged this feedback and noted that further work is underway, including clearer definitions around small-scale activities.

Productions working across multiple DOC areas should also take note: one-off filming applications now need to be submitted for the relevant region. If filming is planned across more than one DOC region, each region may require its own application and processing fee.

Film Otago Southland is drafting a letter to DOC to formally note industry concerns about the change in fees.

LINZ permit windows need careful planning

LINZ provided clarification around filming windows and applicable fees, when the actual filming duration might end up being less than what is outlined in the permit. LINZ advised that, as an example, a production could currently request a two-day film permit within a four-day window. However, if a production requests a four-day permit and only ends up filming for two days, LINZ cannot currently charge only for the days actually used once the permit is executed. Fees apply to all permitted days.

This is particularly relevant for productions building in weather cover or flexible scheduling. Once approvals are issued, LINZ has limited flexibility, and changes may require a new application or a restarted assessment process.

The key message here is to plan permit windows carefully before applications are submitted. Locations, production, ADs, safety and weather-cover planning should be aligned early, otherwise unused permit days may still carry a cost.

Low-impact commercial filming is under the spotlight

QLDC noted that activities such as wedding, portrait and landscape photography, filming and influencer content creation are generally low-risk and low-impact. However, if these activities are commercial, meaning there is financial gain, they may still technically require permits.

Council is looking into a possible “no-impact filming” exemption or notification system, designed to provide more oversight while creating a streamlined no- or low-fee process for very low-impact activity.

This is an area worth watching, especially as the line between traditional screen production, branded content, tourism promotion and influencer activity continues to blur.

Drone access and industry trust

Drone access on DOC land was also discussed, including the green, orange and red zoning approach. Green zones are generally more permissive, while red zones are not automatically declined but are assessed depending on purpose and context.

Concerns were also raised around informal or non-compliant filming, including some influencer activity, and the risk this poses to the screen industry’s wider social licence.

That matters for everyone. When productions or commercial content creators do not follow the correct process, it can affect the level of trust agencies, councils and landowners have in the wider industry.

The takeaway for productions

The overall message is not that filming on public land is becoming impossible. But it is becoming harder to rely on old assumptions, informal arrangements or last-minute fixes.

For productions, the practical advice is clear: 

• start location access conversations early, 
• check which agency manages the land, 
• budget properly for permit costs, involve traffic management and safety early, and 
• do not assume that low-impact filming means no permit is required.
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There was also a positive suggestion to recognise and celebrate film-friendly landowners, potentially through storytelling or social media acknowledgement. This could help encourage more private landowners to make locations available to the industry.

As productions continue to work across public roads, conservation land, council-managed spaces and private property, clear communication between industry and agencies will remain essential.

Before you lock in the location, check the access pathway. Future-you, the line producer, and the entire call sheet will thank you.

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Photo Credit: Tobias Keller

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