BY HRISTO LAZAROV – ANAMORPHSTUDIO
When you start scouting locations for your project, it is important to follow a clear preparation process and do strategic research. In this post I share some key tips on how to choose not only the space but also the right props, so that your visual concept fully comes to life.
1. Analyse the space
• Size of the location: always choose a more spacious place when you can. In real life we are used to smaller rooms, but on set more space means more creative freedom. Large locations allow you to work with long lenses, add props, build volume in the scene and position camera, lighting and grip equipment more comfortably.
• Ceiling height: don’t underestimate this factor – a higher ceiling means more options for controlled lighting and for freely placing flags, diffusion and other tools.
2. Colours and texture of the location
Pay attention to the colour and texture of the walls and floor – they affect the colour balance and how light is scattered or absorbed. Avoid highly reflective surfaces unless that is the effect you want.
3. Does the place have character?
Ask yourself: “Does the location tell a story?” Does it complement the theme and atmosphere of the film, commercial, music video or shoot? Find out whether the space has authentic value and whether it can be adapted to the look you want.
4. Document the location properly
Photograph the location in wide shots, from all main angles and in different light throughout the day. This will help you plan framing and lighting design later.
When the space limits the shot:
• No room for grip elements such as diffusion frames, cutters or flags;
• Difficulty shaping the light;
• No way to control unwanted spill from the walls;
• Unplanned reflections that compromise the quality of the shot.
Worth knowing: small spaces are not necessarily a bad choice. They can be very well suited to certain scenes and aesthetics. You just need to be aware of their limitations and adapt your technique to them.
Think like a space designer
When choosing a location, don’t think only as a cinematographer or photographer – think like the visual designer of the scene, the person who builds the spatial vision of the story. Where will the camera, lights, actors and props be? How will the space contribute to the impact of the shot? A location is not just a background – it is an active co-author of the feeling and rhythm of the scene.
If you are shooting in a controlled environment and need a flexible, adaptable space, Anamorphstudio offers:
• A spacious industrial studio with natural light and a cyclorama;
• The option to build custom sets;
• Ready-made props and set dressing;
• A space suited to both low-budget and high-budget productions.
Wall colour: the quiet hero or the invisible enemy of your shot
When choosing a location, one of the most overlooked yet most important elements is the colour and tone of the walls and background. What at first looks like an insignificant part of the scene can completely change the overall feel, the light balance and the visual aesthetic of the shot.
Colours matter – not only for style, but also for lighting.
When shooting against white walls, be especially careful – they reflect a lot of light, which often leads to a flat image, a lack of depth and poorly defined shadows. With bright or saturated colours there is a risk of colour spill, which tints the actors or objects in the scene with unwanted tones.
That is why neutral, muted shades such as dark green, blue, brown or grey are often preferred – they absorb more light, emphasise form and add depth to the image.
The white wall – a difficult partner
From personal experience: the most challenging scenes are shot in rooms with white walls, especially when space is limited. White surfaces mix all light sources and splash them around the room.
This leads to:
• Difficulty controlling exposure;
• Unwanted reflections with different colour temperature and CRI;
• Visible “contamination” in the background (colour patches from the light);
• No control over the texture and depth of the image.
Over time, even slightly dirty white walls can cause problems in post-production and require serious correction.
Walls are not just a background – they are part of the story
Just as you carefully cast actors for their roles and models for your visual projects, you should choose locations with the same care. They don’t just “hold” the scene – they complete the atmosphere and make the story believable. The colour, texture and feel of a place should match the emotion and aesthetic of the film.
The perfect location does several jobs at once:
• Supports the story and atmosphere;
• Works well with the composition and the chosen lenses;
• Allows lighting and equipment to be positioned efficiently;
• Meets the requirements for time, access and control.
That is why location scouting is not just looking for a “suitable background”, but a creative process with clear artistic and technical goals.
Practical tips for choosing walls and backgrounds:
• Look for natural tones and textures.
• Avoid loud or reflective surfaces unless you want them on purpose.
• Check how the colour behaves under different light.
• Shoot test frames in natural and artificial light.
Shoot smart – think like a painter and a production designer at the same time.
Don’t underestimate the background – sometimes it is exactly what carries the emotion, tension or atmosphere that makes a shot unforgettable.
If you are shooting in a studio and want maximum control over the walls, set and light, Anamorphstudio offers:
• An industrial space with natural light and a cyclorama;
• Sets that can be changed to suit the project;
• Custom set builds and a flexible layout;
• A space for low, mid and high-budget productions with short set-build deadlines.
What is location scouting?
Location scouting is the process of finding suitable places to shoot films, TV productions, commercials, music videos and any other visual content. It is one of the most important steps in pre-production, because the location not only serves as a backdrop but also contributes to the atmosphere, authenticity and aesthetic of the project.
There is no one-size-fits-all approach.
There is no strict method for finding the right place – it all depends on the type of location you are looking for.
A few examples:
• If you need a modern apartment or a family house and have no budget to build a set, you can contact real estate agencies.
• If you are looking for an old, abandoned factory or empty land, you will need a different approach – often fieldwork, contacting municipalities or searching specialised online databases.
• Finding historic, culturally significant or hard-to-reach locations almost always requires prior research and connections with institutions or local experts.
The location manager – the professional approach
One of the most common and effective methods is hiring a location scout (location manager). These are professionals who specialise in finding and securing suitable locations for film, photo and video projects.
They:
• Have a large archive of locations and a network of contacts;
• Know the local environment and the logistics of access and permits;
• Work with both interior and exterior spaces that can be adapted to the needs of a particular scene;
• Help save time and effort, especially on complex projects.
The creative work stays in your hands
Even if your budget allows you to hire a professional, the creative choice remains your responsibility.
You are the one who must judge whether the location:
• Supports the story and atmosphere;
• Contributes visually to the shot and the style;
• Is functional and suits the logistics and needs of the production.
This article aims to help you make exactly that choice – with confidence and clarity.
What makes a location “good”?
In visual storytelling there is no universal answer to the question “What is a good location?” – as with most creative processes, it all depends on the story, style and goals of the project. Still, a few basic guidelines can help you make the right choice.
1. It supports the story without getting in the way
In many films, locations simply serve as a backdrop, a stage on which the action unfolds. They shouldn’t attract attention to themselves but rather bring out the characters and their experiences. These spaces work best when they:
• Look authentic without raising doubts in the viewer;
• Fit naturally into the world of the story;
• Stay “invisible”, so the viewer isn’t distracted by the setting.
Locations like these are strong because of their discretion – they build trust and a sense of reality. And precisely because of that “invisibility”, they are often ideal.
2. It adds layers to the atmosphere and the characters
In other cases the location plays a more active role. It not only has to be believable, it also has to contribute to the visual aesthetic, the emotional tone and the character of the story.
A few examples:
• A character’s messy apartment can reveal their inner state;
• An impressive architectural setting can bring visual style or symbolise a theme;
• The environment can create contrast or tension in the scene.
In such cases the location becomes a symbolic and emotional element that strengthens the story. It can stand out and be memorable – as long as it doesn’t distract from the story itself.
How to prepare for location scouting
Whether you work with a professional or look for places yourself, good preparation is key.
A few practical tips from my own work as a cinematographer:
1. Always bring a camera or smartphone
Take photos and video from different angles. Notes matter too – write down everything you notice: sound, people moving through, potential problems.
2. Use professional apps
• Sun Seeker – visualises the movement of the sun during the day, extremely useful for planning natural light;
• Cadrage Director’s Viewfinder – lets you preview the frame on location with specific lenses and formats.
These tools are used by directors and cinematographers around the world and give you a real idea of how the scene will look before the crew even arrives.
The right location for your story and artistic vision
When you read a script, you inevitably start imagining what the places where the action unfolds look like.
These visual ideas take shape from:
• the descriptions in the script,
• the atmosphere created between the lines,
• the way the characters interact with the space.
Many directors and visual storytellers find it useful to collect images that express their vision early in prep. This includes creating mood boards or lookbooks – visual collages or digital books with inspiration and guidelines for the overall style of the project.
These references can include:
• frames from other films,
• photographs (your own or archival),
• paintings, illustrations or architectural examples,
• any visual material that resonates with the mood of the story.
A visual tool like this not only helps the director and cinematographer, it also makes communication easier across the whole crew – from the production designer to the location scout. It serves as a starting point when choosing places to shoot.
Functional aspects of the location
Finding a location that fits visually and thematically is only the first step. The second, equally important step is assessing how functional the place is.
The question is: can this location actually support the shooting process?
A few key aspects you must check:
• Access and logistics – easy access for crew and equipment, parking options;
• Sound control – ambient noise, traffic, wind, industrial sounds and so on;
• Light control – the ability to use or block natural light;
• Safety – for both crew and actors;
• Facilities – power, toilets, a makeup room, space for base camp, catering and more;
• Legal access – the need for permits, insurance or communication with owners.
On bigger productions these tasks are split between departments – production manager, assistant director, production designer, sound recordist, electrician and so on.
On smaller crews, people often cover several roles, so it is important that someone takes responsibility for each of these checks.
Light and the path of the sun
One of the most important things to consider when choosing a location is how it affects the images you can create. So when it comes to your shooting schedule, it is essential to take the path of the sun during the day into account.
If you plan to shoot at night, you need to analyse the existing lighting on location. This will help you plan and organise the additional lighting equipment you need. It is the director of photography’s (DoP’s) responsibility to check whether the lighting conditions allow the look and atmosphere they and the director imagine for the film.
Power sources
If you plan to use artificial lighting in addition to the natural or available light on location, it is important to make sure in advance that the place has enough electrical power for the production’s needs.
First of all, check:
• Where the sockets are
• Whether there is a high-power connection (if needed)
• The location and condition of the fuse board
This check is usually done by the gaffer or another member of the lighting crew with the right electrical qualifications.
Besides lighting, the location must also provide power for the other needs of the shooting day, such as:
• hair and makeup
• wardrobe
• battery charging
• catering
• technical stations and more
If the location can’t provide enough power, alternatives must be planned – most often generators. Arranging them is the job of the production manager, unit manager or location manager, who work closely with the 1st assistant director (1st AD) and the lighting department.
Natural and available light
When choosing a location, it is important to visit it at roughly the time of day (and season) you plan to shoot.
This lets you observe:
• how the natural light changes at certain hours,
• how it shapes the space,
• and what mood it creates in that particular place.
The path of the sun
While you are there, notice where the sunlight comes from at different times of day.
You can check this with:
• a compass,
• or better still, a professional mobile app such as Sun Seeker.
A tool like this lets you visualise the sun’s path and predict:
• what shadows will appear,
• what reflections there may be,
• and which areas will be lit or in shade during the shoot.
The position of the sun directly affects the visual style and mood of the shot. That is why information about the sun’s path should be a key part of your shooting schedule.
If you are shooting at night
When you plan night scenes, you need to take the existing lighting on location into account. It will help you plan what kind of additional lighting equipment you need.
It is important for the DoP to check whether the available light allows the look they and the director are after. If not, the lighting plan must be adapted and supplemented.
Sound
When choosing a location, it is important to consider the ambient sound, as it can affect the quality of your sound recording.
Ambient noise
• Roads, railways or rivers near the location can create unwanted background noise.
• Do you need to take measures to eliminate these sounds, or can they be used as part of the atmosphere?
Interior sounds
Don’t forget interior noise sources such as:
• air conditioners,
• pumps or other machines that need to be switched off if they interfere with recording.
These factors should be considered at the scouting stage to make sure the sound recording goes smoothly.
Tip: involve the sound team in the scouting process to ensure the best possible audio quality during the shoot.
Cost and permission
It is wise to clarify the cost of a location early on, so you don’t spend too much time and work planning a shoot somewhere only to find out later that your budget won’t allow it.
The same goes for permission. If you don’t already know, you need to find out who owns the property and whether they will let you shoot there. The production manager usually takes care of this.
Checking the location against your artistic vision
Once you have found a location that fits the story of your project and solved the main organisational details, it is time to check whether and how the place will let you realise the artistic vision of the project.
This creative process is usually carried out by the director and the director of photography (DoP) in close collaboration with the production designer.
What to keep in mind
Even if the place looks impressive and matches the atmosphere you want to create, that doesn’t guarantee it will turn into beautiful film images. Here is what to check:
• Can you find the right camera angles that match your vision?
• Is there enough room for actors, cameras, sound equipment and everything needed to shoot the scenes?
Blocking the scenes
The director and DoP will need to work on location to test the blocking of the scenes. This means defining:
• The positions of the camera and actors in each shot,
• How the actors move through the scene and interact with the other elements.
This process often involves stand-ins (models or crew members, for example) to judge positions and camera movement.
This step is essential to make sure the location not only looks good but also provides the conditions to achieve the desired artistic vision.
A STANDARD CHECKLIST: LOCATION SCOUTING – INTERIOR (STUDIO)
1. Space and access
Room dimensions (width, length, height) – write down exact measurements; they will affect your choice of lenses, set design and camera movement.
Columns, niches, architectural features – are there obstacles to movement? Are there opportunities for interesting compositions?
Access for equipment – is there a loading entrance, a lift, parking nearby? Important for heavy lighting equipment or sets.
Work restrictions – are you allowed to paint, nail things, or place heavy equipment?
2. Light
Windows – size, direction, can they be controlled? Large windows can be great, but plan a way to black them out completely if needed (black drapes, flags).
Natural light – check the light level at different times of day. How does it change as the sun moves?
Artificial lighting – type and colour temperature. Warm (2700K) or cool (5000K+)? Can it be combined with your film lighting?
Lighting control – can you switch off or dim lamps separately by circuit?
Rigging / hanging lights – are there beams, hooks or hanging systems? (Especially important if you want to keep the floor clear of stands.)
3. Power
Number and position of sockets – how convenient are they relative to the camera and lighting positions?
Three-phase power (if needed) – if you have big lights (for example a 4K HMI), ask about three-phase power.
Maximum load on the circuits – so you don’t blow the installation during the shoot. Ask the technical manager about the limits.
4. Acoustics
Noise – check for constant noise from the street, air conditioners, fans, pipes.
Reverberation – a room that is too “live” (echo) is a problem for dialogue. If needed, plan for sound-absorbing panels.
5. Background and textures
Wall colour and texture – bright colours can reflect unwanted light. Matte surfaces are preferable.
Floor – material and colour. A shiny floor will reflect light and shadows. Wood, concrete, carpet – every material brings a different feel.
Ceiling – a low ceiling limits where you can place lights. Look for obstacles such as pipes or cables.
6. Creative possibilities
Interesting architectural elements
Cornices, arches, vintage details – they enrich the composition.
Depth of the space
See whether you can separate the frame into foreground, middle ground and background.
Options for shaping light
Are there natural frames (a window or a door, for example) for directing light?
Camera movement
Is there room for dollies, a crane or Steadicam moves? Where can you create dynamics in the frame?
7. Scouting tools
Phone or camera for photos and video (shoot from different angles and heights).
Laser measure (fast, accurate measurement of rooms).
Notebook and pencil (write things down straight away so you don’t miss details).
Sun app, e.g. Sun Surveyor (to plan how the sun will affect your shots).
A compact test light (to see how the walls and floor behave when lit).
Light meter / colour meter (accurate measurement of light intensity and colour).
Scout viewfinder app, e.g. Cadrage or Artemis Pro (to simulate shots at different focal lengths).
DOWNLOAD THE CHECKLIST: LOCATION SCOUTING – INTERIOR (STUDIO) HERE
