A location can be visually perfect and still be unavailable to film. In Mongolia, location permits are not a single document issued for every shoot. Requirements change according to the landholder, the province, the type of production, the crew size, the equipment package, and whether the work affects public access, aviation, heritage sites, or protected land.
For an international production, the practical approach is simple: identify the locations early, confirm who controls them, and begin the permit process before travel, equipment movement, or final call sheets are locked. This avoids losing a weather window or moving a unit after it has already reached a remote area.
For locations that fall under national coordination, the Mongolian National Film Council publishes current permit guidance and is the authoritative point of contact.
Location Permits Depend on Where and How You Film
A commercial shoot on a private property, a documentary interview in Ulaanbaatar, and a large vehicle unit in the Gobi may all require different approvals. The first question is not only, “Can we film there?” It is, “Who has the authority to approve filming, and what will the production need to do on site?”
Private locations usually require the owner or operator’s written permission. This may include hotels, businesses, industrial facilities, ger camps, ranches, mines, event venues, and private residences. The agreement should cover access hours, areas available to the crew, vehicle parking, power use, location fees, cleaning, security, and any restrictions on photography or branding.
Public locations can involve municipal authorities, district administrations, local police, road authorities, site managers, or provincial government offices. A small handheld crew working discreetly may need a different level of coordination than a commercial with trucks, lighting, generators, drones, picture vehicles, or traffic control.
Protected areas, national parks, monasteries, museums, historical sites, and culturally sensitive locations require particular care. Approval can take longer, and access conditions may be strict. A production may be asked to limit crew numbers, stay on approved tracks, use designated campsites, avoid certain hours, or work with a local ranger or site representative. These are operational conditions, not details to leave until the day before the shoot.
Start Location Permits Before the Recce Is Final
A recce is where permit planning becomes useful. Once the director, photographer, or production designer identifies preferred options, the local producer can begin checking availability, land control, access routes, and filming restrictions. Waiting for a final creative decision is sometimes necessary, but waiting until the full schedule is confirmed can create avoidable pressure.
The best permit applications are specific. Authorities and owners need to understand what is being filmed, when the team will arrive, how many people and vehicles are involved, and whether the unit will create any public impact. A clear production brief also prevents misunderstandings. A stills campaign, factual documentary, branded content shoot, and feature production can look very different to a location manager even if they are filming at the same site.
At an early stage, share the expected dates, company details, project description, crew size, vehicle count, equipment list, drone requirement, and proposed location plan. If dates are weather dependent, explain the working window and establish a realistic backup day. Mongolia’s distances and weather can make last-minute moves difficult, especially outside Ulaanbaatar.
Do Not Treat a Scout Approval as a Shoot Approval
Being allowed to scout, photograph references, or hold a preliminary meeting does not automatically grant permission for a full filming unit. The shoot may involve more people, larger vehicles, lighting stands, aircraft activity, or restrictions that were not relevant during the scout.
The same applies to verbal approval. A local contact may be welcoming and cooperative, but the owner, site operator, provincial authority, or protected-area administration may still need to confirm the work formally. Written confirmation keeps the location team, production office, and visiting crew working from the same plan.
What Authorities and Location Owners Need to Know
Most location permit requests are easier to process when they answer practical questions upfront. A concise application should state the production company, local production partner, purpose of filming, dates and hours, exact location, crew size, vehicles, technical setup, and contact person on the ground.
It should also explain whether the production plans to use drones, generators, elevated camera positions, controlled smoke, props, animals, weapons, road holds, or overnight camping. These elements may trigger additional approvals or safety planning. If they are omitted from the initial request, a permit may need to be revised later.
For public-facing shoots, crowd management matters. If a unit occupies a sidewalk, blocks access to a business, uses a large lighting setup, or films in a busy public space, the production must plan for pedestrians, neighbors, security, and traffic. A smaller footprint can reduce approvals, but it may also limit lighting, sound control, and vehicle access. The right choice depends on the creative requirement and the available schedule.
Remote Locations Need More Than Paperwork
Across Mongolia’s remote provinces, location access is often the larger production issue. A permit can be approved, but the site may still require a 4×4 route assessment, fuel planning, local drivers, satellite communications, field catering, accommodation, and a weather contingency.
The Gobi, Altai region, northern forests, and open steppe all present different conditions. A road marked on a map may be a seasonal track. A river crossing may be possible one week and unsuitable the next. A location near a nomadic family may require local introductions and respectful coordination before vehicles and crew arrive.
For remote shoots, permit planning should run alongside logistics planning. Confirm the route, travel time, nearest fuel point, medical support, camp setup, local fixers, and communications before the unit leaves the city. This is especially important when filming windows are short or when a production is moving between provinces.
Local access also needs to be handled properly. In some areas, a community leader, herder family, ranger, or district representative can help establish the correct approach to a location. Their role is not a substitute for formal approvals where those are required. It is part of making the production practical, respectful, and workable on the ground.
Drone Filming Requires Separate Planning
Drone work should never be treated as an add-on. The aircraft, pilot, flight area, altitude, proximity to people, and relationship to airports or restricted zones can all affect what is possible. Permissions may involve aviation-related requirements as well as approval from the location owner or local authority.
Build drone planning into the first location discussion. Confirm whether the desired shots are realistic, whether the pilot has the necessary documentation, and whether weather conditions support the planned flight window. High winds, cold temperatures, dust, and long travel distances can affect battery performance and flight safety.
Aerial filming near airports, government facilities, urban centers, border areas, or sensitive sites requires particular caution. If a drone shot is central to the creative, develop a ground-based alternative as well. This protects the schedule if approval, weather, or site conditions change.
Permits, Visas, Customs, and Call Sheets Must Match
International crews should make sure their filming purpose is consistent across the production paperwork. Location permits, journalist visas where applicable, equipment documentation, customs declarations, crew lists, and call sheets should describe the project accurately.
This does not mean every document needs identical wording. It means the core facts should align: who is filming, what is being filmed, where it will take place, and how long the team will work in Mongolia. Inconsistencies can slow down equipment clearance or create questions during an inspection.
ATA Carnet planning is equally relevant when a production brings cameras, lenses, lighting, grip, drones, and other temporary imports. The equipment list should be prepared early and checked against the actual package traveling with the crew. Last-minute substitutions are common in production, but they should be recorded before arrival rather than explained after the fact.
Build Time Into the Schedule
There is no reliable single lead time for location permits. A private location may be confirmed quickly. A complex public-space shoot, protected-area request, road control plan, or aerial requirement can take longer. Dates around public holidays, seasonal travel periods, and local events may also affect availability and processing.
The practical rule is to begin with the most complicated locations first. Keep alternative sites alive until permits are confirmed, and avoid booking nonrefundable transport around a location that is still pending. A strong location plan includes a primary option, a practical backup, and enough information to switch without rebuilding the entire production.
OnVelvet Mongolia coordinates permits as part of the wider production plan, connecting location access with crews, equipment, transport, customs, and field logistics. The goal is not paperwork for its own sake. It is a clear path from approved location to a working shoot day.
Good permits work quietly. When the unit arrives, the right people know the plan, vehicles have somewhere to go, the crew understands the conditions, and the location remains available for the shot that brought everyone there.
New to production in Mongolia? Start with our complete guide to filming in Mongolia, or see how a film fixer in Mongolia can handle permits, crews, equipment and logistics for your shoot.