What Is a Film Fixer? The Complete Guide to Production Fixers
How local production fixers keep international shoots on track in Croatia and beyond — from Dubrovnik film office permits and HAVC cash rebate applications to crewing up across the Adriatic coast at short notice
Here is how this works in practice. Croatia occupies a rare position in the global film industry. A country of four million people, it has given the backdrop for some of the most recognisable images in modern entertainment — the terracotta rooftops and limestone ramparts of Dubrovnik standing in for King's Landing in Game of Thrones, the same city's narrow streets doubling as the casino planet Canto Bight in Star Wars: The Last Jedi, the Croatian coastline serving as a Mediterranean playground in Succession. None of those shoots simply arrived and started shooting. Each one of them depended on local pros who understood the terrain, the bureaucracy, the weather patterns, and the community relationships that determine whether a shoot runs smoothly or collapses into costly delays. Those pros are film fixers. A film fixer is the person — or, increasingly, the shoot service firm — that turns a global shoots's creative ambitions into a workable plan on Croatian ground. They secure filming permits from city film offices. The Ministry of Culture, assemble local crew, arrange gear, handle the Croatian Audiovisual Centre's cash rebates programme, manage relationships with city authorities and residents, and solve the problems that surface when a foreign team operates in unfamiliar area. The term started in journalism, where foreign correspondents depended on local contacts for access, translation, and safe passage. The film industry adopted the concept and expanded it a lot. This guide explains what fixers do in concrete terms, when you genuinely need one, how the role differs from a line producer or coordinator, what shapes pricing, and how to select the right fixer for your Croatian production.
As Fixers in Croatia, we bring local expertise to international productions filming in Croatia. Our team's deep knowledge of local regulations, crew networks, and production infrastructure ensures your project runs smoothly from pre-production through delivery.
ACT 01
What Is a Fixer?
The Local Expert Behind Every Successful International Shoot
Here is the short of it. A film fixer is a local production pro who sets up the logistical, administrative, and practical needs of global shoots filming in their area. The title circulates across several industries — journalism, corporate intelligence, diplomatic circles — but in film it refers specifically to someone with production experience, deep regional knowledge, and the pro relationships needed to keep a foreign shoot on schedule and on budget. In Croatia, where a compact geography belies major regional variation — coastal Dalmatia operates in new ways from continental Zagreb, island shoots need marine logistics, and Dubrovnik's Old Town demands its own specialty permit process — the fixer's local knowledge is not a luxury but a structural must.
- Fixers hold detailed knowledge of local locations, rules, crew availability, and gear suppliers across Croatia
- They serve as the production's official point of contact with government bodies, city film offices, and local communities
- Most Croatian production fixers speak English fluently alongside Croatian, and many speak extra European languages
- The role can mean a single freelance coordinator or a full [shoot service firm](/services/) offering from start to finish support
How the Term Reached the Film Industry
Here is what we have to work with. The word fixer entered common use through war reporting and foreign correspondence. A fixer was someone who could arrange what a journalist could not manage alone in unfamiliar area — transport, interviews, translation, passage through checkpoints. As global film production expanded through the 1990s and 2000s, shooting crews working in countries where they lacked contacts and language skills found they needed the same kind of ground-level expertise, scaled up a lot. A journalist's fixer might arrange a single car and a translator for an afternoon. A production fixer sets up weeks of multi-department logistics involving dozens of crew members, many locations, major gear inventories, and budgets that need careful local management. Croatia's emergence as a filming destination accelerated precisely during this period. The country's fixer infrastructure grew in parallel with its rising global profile.
Solo Fixer vs Production Service Company
Here is the layout. These terms overlap but carry different implications. A solo fixer is mostly a freelancer — one skilled local pro giving planning, problem-solving, and cultural interpretation. A shoot service firm is a registered business offering full services: crew hiring, gear sourcing, accounting, insurance, permit management, location agreements, and full production oversight. Many of Croatia's today's shoot service firms started as person fixers who built their operations as global demand grew, specific after the Game of Thrones era brought sustained attention to the country's production potential. The Croatian market has both: person fixers supporting smaller documentary and branded content crews. Set up service firms managing large-scale feature and series work across many Croatian regions at once.
ACT 02
What Does a Fixer Do?
The Full Scope of Fixer Responsibilities, from Permits to Wrap
Here is the breakdown. The practical work of a production fixer extends further than most people expect. Their responsibilities span the entire production lifecycle — from the first scouting trip through principal photography to final gear return — and touch each department on the shoot. Here is what that scope looks like in practice, drawn from the Croatian production environment.
- [Filming permits](/services/pre-production/film-permit-acquisition/) — setting up with the Dubrovnik Film Office, Zagreb Film Office, Split city authorities, and the Ministry of Culture for heritage locations and covered sites
- [Crew sourcing](/services/film-crew/) — drawing on Croatia's growing English-speaking crew base across camera, lighting, grip, art, wardrobe, transport, and production departments
- Gear — arranging rental from Croatian gear houses and managing customs clearance for gear imported through Zagreb Airport or the Port of Rijeka
- [Location scouting](/services/pre-production/location-scouting-services/) — matching creative briefs to Croatia's remarkable range: Dubrovnik's medieval walls, Zagreb's Austro-Hungarian build style, Plitvice Lakes' cascading waterfalls, Istria's hilltop villages, Split's Diocletian's Palace
- Government and community liaison — representing the production to city authorities, harbour masters, national park management, and local residents
- Translation and cultural mediation — bridging language gaps and interpreting local customs, expectations, and deal-making styles for global crews
- Transport and lodging — organising car fleets, island ferry logistics, boat charters for coastal locations, hotel blocks, and daily crew movements
- Budget management — building accurate EUR-based budgets, managing local expenditure, and preventing the cost overruns that come from unfamiliarity with Croatian pricing structures
- Emergency problem-solving — handling the unpredictable, from sudden bura winds disrupting coastal shoots and cruise ship traffic blocking Dubrovnik exterior shots to last-minute permit amendments and crew availability changes
Pre-Production: Building the Foundation
Here is how the work shapes up. Before a single frame is captured, the fixer builds the infrastructure the shoot depends on. In Croatia this starts with location research — not just identifying visually striking spots (the country has them in abundance) but confirming that each location is in use filmable, easy to reach for crew cars and gear trucks, and obtainable within the production's permit timeline. Dubrovnik's Old Town, for example, is a UNESCO World Heritage Site with strict filming protocols, tight access windows, and a permitting process that needs planning with both the city film office and heritage authorities. The fixer manages each layer of this, while at once sourcing local crew matched to the production's tech needs, arranging gear rental, booking lodging in the right districts, and building a budget that accounts for costs a foreign producer would not foresee — from the seasonal pricing variations in Dalmatian tourist zones to the marine transport costs of getting grip kit to an island location.
Production: Keeping the Machine Running
Here is how it adds up. Once cameras roll, the fixer becomes the production's operational anchor. They liaise with permit offices and location owners in real time, manage relationships with neighbours and bystanders, set up local crew, and handle whatever surfaces — a cruise ship appearing in frame during a Dubrovnik exterior, a bura wind event closing a coastal road, a location owner raising concerns about noise levels, or a gear failure that needs a same-day replacement from a local rental house. On documentary shoots in Croatia, fixers frequently arrange interview subjects, give editorial context about Croatian history and politics, and help access to locations and institutions that would be unreachable without local introductions. On commercials and branded content, they keep the shoot moving fast enough to protect compressed schedules while managing the impact of a large crew on locations that often have residential or tourist traffic to consider.
Administrative and Legal Compliance
Here is the run-down. Global shoots filming in Croatia handle a specific set of administrative needs: work notifications for foreign crew within the EU framework, gear import declarations, compliance with the Croatian Audiovisual Centre's cash rebates programme (which gives a 25% rebates on qualifying Croatian spend, with an extra 5% bonus for shoots that promote Croatian culture or locations), production insurance, Croatian labour law obligations, and financial reporting needs. The fixer sets up all of this — working with local accountants, legal advisors, and the HAVC to keep the production compliant while maximising the financial gains Croatia gives. The rebates forms is not a formality. It directly affects the production's bottom line. Errors or incomplete records can result in reduced or delayed payments.
ACT 03
When Do You Need a Fixer?
Five Situations Where Local Expertise Becomes Essential
Here is what that looks like on the ground. Not each production needs a fixer. But the vast majority of global shoots in Croatia gain significantly from having one. The country is compact and increasingly well-known as a filming destination, yet the practical complexity of operating across its coastal cities, islands, national parks, and continental interior means local knowledge repays its cost almost at once.
- Your production is shooting in a region where you lack set up local contacts and operational experience
- The shoot involves many permit authorities — city film offices, the Ministry of Culture, national park administrations, or harbour authorities
- You need to assemble local crew and gear under time pressure, drawing on a trusted network
- The production plans to apply for the HAVC 25% cash rebates, needing careful records from the outset
- The timeline is compressed and a single logistical delay would cost more than the fixer's entire fee
Navigating Croatia's Permit Landscape
Croatia's filming permit process is manageable but layered. A production spanning Dubrovnik's Old Town, a national park, and a Zagreb street location may need separate permits from the Dubrovnik Film Office, the relevant national park authority (Croatian national parks each have their own management), and the Zagreb Film Office — each with its own application process, timeline, and conditions. Heritage sites add the Ministry of Culture. Harbour locations bring in harbour masters. A fixer who has filed hundreds of these applications knows which offices to way first, what records to prepare, and how to present the production in terms that accelerate approval rather than trigger extra review. Without that knowledge, a production can lose weeks waiting for a response that a well-connected local pro could have resolved in days. Dubrovnik's film office, shaped by years of managing major global shoots since Game of Thrones, is pro and efficient — but that efficiency works best when the applicant knows the process.
Maximising the HAVC Cash Rebate
The Croatian Audiovisual Centre administers a cash rebates programme that returns 25% of qualifying Croatian production expenditure, with an extra 5% bonus ready for shoots that promote Croatian culture, heritage, or locations. The incentive is genuinely competitive within Europe, but the application and compliance needs are detailed. A fixer or shoot service firm skilled with the HAVC process makes sure that qualifying expenditure is correctly categorised from the start, records meets the needed standards, and the production does not inadvertently reduce its rebates through administrative errors or misclassified costs. On a substantial production, the difference between a well-managed and a poorly managed HAVC application can represent a major sum — the kind of money that justifies the fixer's role many times over.
Island and Coastal Logistics
Croatia's Adriatic coastline and its more than one thousand islands are among the country's greatest visual assets. But they introduce logistical complexity that mainland shoots do not face. Getting gear to an island location needs ferry scheduling, potentially private boat charter, and careful planning around seasonal timetables that change between summer and winter. Coastal weather — specific the bura, a cold northeasterly wind that can arrive with little warning — affects both shooting conditions and marine transport. A fixer with coastal and island experience has already solved these problems on previous shoots and can plan around them rather than reacting when they arise. They know which islands have reliable power supply. This harbours can accommodate a gear truck, and which ferry routes run frequently enough to support a daily crew commute from a mainland base.
ACT 04
Fixer vs Line Producer vs Production Coordinator
Understanding Where Each Role Fits
Global shoots frequently ask how a fixer differs from a line producer or a production coordinator. The three roles share certain responsibilities but serve distinct functions. Knowing the boundaries helps you build the right team for a shoot in Croatia.
- A fixer gives local expertise, logistical planning, and area-specific problem-solving grounded in Croatian knowledge
- A line producer owns the overall shoot budgets, schedule, and operational execution across the entire project
- A production coordinator manages administrative workflows — call sheets, travel arrangements, crew communications, and records
- On global shoots in Croatia, all three roles often operate at once with clearly defined responsibilities
Where the Responsibilities Overlap
The overlap is real: all three roles involve logistics, scheduling, and planning. A line producer on a domestic shoot handles many of the tasks a fixer would cover on a global one — hiring crew, managing budgets, setting up permits. The distinction is territorial knowledge. A line producer based in London or Los Angeles cannot walk into the Dubrovnik Film Office and handle the Old Town filming protocol, source a replacement lens from a Zagreb rental house on a Saturday afternoon, or explain to a Croatian harbour master why a production needs exclusive berth access for three days. The fixer fills precisely that gap. On smaller global shoots in Croatia, the fixer may effectively serve as the local line producer. On larger shoots, the two roles work in parallel: the line producer manages the global production picture while the fixer handles everything that needs Croatian ground knowledge.
Matching Roles to Production Scale
For a small documentary crew travelling to a single Croatian location, a fixer alone may be enough — they handle everything locally while the producer manages the wider project from abroad. For a medium-scale commercial, you mostly need a fixer for local logistics alongside either a line producer or production coordinator overseeing the wider schedule. For a large feature film or series — the kind of production that occupies Dubrovnik locations for weeks, films across many Croatian cities, and involves global cast with complex travel needs — you need all three: a line producer managing the global budget, a production coordinator handling administrative workflows, and a local fixer or shoot service firm managing crew, permits, gear, marine logistics, and each other detail on the ground. Croatia's production infrastructure is strong but distributed. A fixer who knows the regional differences between working in Zagreb, Split, and Dubrovnik brings value that scales directly with the production's ambition.
ACT 05
What Does a Fixer Cost?
How Fixer Pricing Works and What Shapes the Investment
Here is how the picture comes together. Fixer pricing depends on the scope of services, the length of the buy-in, the country, and the complexity of the production. We do not publish fixed rates — they differ too much by project to be meaningful — but knowing how pricing mostly works helps shoots plan realistic budgets for filming in Croatia.
- Person fixers mostly charge day rates that differ by country, region, and experience level
- Shoot service firms quote project-based fees that cover the full scope of local planning
- Full-service fees mostly represent a percentage of total local production spend
- The cost of operating without a fixer — permit delays, miscommunication, logistical failures — nearly always exceeds the fixer's fee on global shoots
Day Rate vs Project Fee
A freelance fixer charging a day rate suits small shoots — a documentary crew of three to five people shooting for a few days, or a journalist needing local support for a specific story. For anything more substantial, a shoot service firm delivers better value by bundling planning, crew management, gear sourcing, permit handling, and production oversight into a single relationship. Comparing a freelancer's day rate to a service firm's project fee is misleading. The firm replaces many roles you would otherwise need to fill separately. Croatia adopted the euro in 2023, removing the exchange rate complexity that before added another layer to budget planning — costs are now straightforward for European and global shoots accustomed to working in EUR.
Factors That Influence Pricing
Several variables affect what you will pay: the region (Dubrovnik's high tourist demand affects local pricing in new ways than Zagreb or inland Croatia), the length of buy-in across pre-production, production, and wrap, the size of the crew and gear package being managed, the complexity of locations and permits (island shoots cost more to service than mainland ones), and whether the production needs specialty logistics such as marine transport, aerial filming planning, or heritage site access. Productions planning to apply for the HAVC rebates should also account for the extra administrative work the application needs. The most effective way is to share a complete project brief and receive a detailed, line-by-line quote you can review with full transparency.
Why Fixers Pay for Themselves
Productions that skip the fixer to reduce their budget frequently spend more in the end. A single lost shooting day on a global shoots — caused by a permit rejection, a location owner withdrawing access, a ferry missed because no one checked the winter timetable — can cost far more than the fixer's entire fee. Beyond preventing problems, skilled fixers actively reduce costs through their knowledge of local pricing, their relationships with vendors who extend preferential rates to trusted repeat clients, and their ability to build realistic budgets that prevent the overruns caused by unfamiliarity with Croatian markets. A fixer who correctly structures HAVC rebates records can recover 25-30% of qualifying local spend — an amount that dwarfs the fixer's fee many times over and fundamentally changes the production's financial picture.
ACT 06
How to Choose a Fixer
Six Criteria for Evaluating Your Production Partner
Not each fixer delivers the same quality of work. Choosing the right one is a decision that affects each aspect of the shoot, from permit approval speed to crew calibre to budget accuracy. Here are the criteria that matter most when selecting a fixer for a Croatian production.
- Shown experience with shoots of comparable scale and format in Croatia
- A registered, insured business with transparent pricing and clear contractual terms
- Set up relationships with Croatian film offices, crew networks, and gear suppliers
- Strong communication skills, multilingual skill, and responsiveness across pre-production
- Contactable references from recent shoots of similar complexity
- Cultural fluency — a fixer who knows both Croatian realities and global shoots expectations
Evaluating Experience and Track Record
Request a production list and examine the scale, format, and recency of previous work. A fixer with extensive documentary experience may not be the strongest fit for a large-scale commercial, and vice versa. In Croatia, look for experience in the specific regions and environments your production involves — a fixer who has managed shoots in Dubrovnik's Old Town brings different knowledge than one whose experience centres on Zagreb studio and street work, and neither may have the marine logistics expertise needed for an island shoot. Contact references directly and ask specifically about problem-solving ability, communication quality, budget accuracy, and whether the reference would rehire. A fixer who has set up dozens of global shoots in Croatia carries body-level knowledge about local authorities, seasonal challenges, and regional logistics that newer operators cannot replicate.
Checking Professionalism and Infrastructure
A reliable fixer or shoot service firm should be a well registered Croatian business with production insurance, clear contractual terms, and the operational infrastructure to support your shoot. They should give itemised budgets, not rough estimates. Their responsiveness and thoroughness during pre-production is a reliable predictor of their performance once cameras roll. Be cautious of fixers who cannot give a registered business address, proof of insurance, or a clear contract. The fixer handles major budgets and logistical responsibilities on behalf of global clients. Professionalism is a baseline need, not a differentiator.
Testing the Relationship Before You Commit
The first enquiry and quoting process gives you a clear preview of the working relationship. Does the fixer ask detailed questions about your project before quoting, or do they produce a number at once? Do they give suggestions based on local knowledge — a better location, a more practical schedule, a permit consideration you had not identified — or do they simply agree with everything you propose? The best fixers push back constructively. They flag unrealistic timelines, suggest alternatives, and surface risks the production had not considered. In Croatia, a strong fixer might tell you that your preferred Dubrovnik Old Town location is unavailable during peak cruise ship season, then recommend a comparable walled-city setting in a nearby Dalmatian town where permits and access are simpler and the visual result as well compelling. That kind of proactive partnership separates adequate fixers from top ones.
ACT 07
Real-World Examples of Fixers in Action
How Production Fixers Solve the Problems That Would Otherwise Stall a Shoot
The value of a fixer becomes clearest through concrete scenarios. Here are three anonymised examples from Croatian shoots that illustrate what a production fixer brings to a global shoot.
- Old Town period drama: managing heritage permits, crowd control, and tourist-free windows in Dubrovnik's walled city
- Island commercial: setting up marine transport, power packs logistics, and weather spares for a luxury brand shoot on a Dalmatian island
- Multi-city series: assembling crew and managing simultaneous permit applications across Zagreb, Split, and the Istrian coast
The Dubrovnik Period Drama
A European production firm needed three days of exterior filming inside Dubrovnik's Old Town for a period drama. The creative needed clean, tourist-free medieval streets — a major ask in a city that receives thousands of cruise ship visitors daily during high season. Our fixer set up with the Dubrovnik Film Office to secure filming windows in the early morning hours before the cruise passengers arrived, arranged short-term street closures with the city authorities, sourced period-appropriate set dressing from a Croatian art department network, and negotiated with the Old Town residents' association to manage noise and access during filming. When the second day's schedule was threatened by an unexpected morning cruise arrival that shifted the tourist window, the fixer had already pre-arranged a backup schedule with a later afternoon block, preserving the day's work. The production wrapped on time, and the director later noted that the Dubrovnik Film Office's professionalism — cultivated through years of managing shoots from Game of Thrones onwards — made the process smoother than expected. But only because the fixer knew how to engage with that office correctly.
The Island Luxury Commercial
A global fashion house planned a two-day commercial shoot on one of Croatia's smaller Dalmatian islands — visually spectacular but logistically demanding. The island had no film infrastructure, tight power supply, and ferry service that ran only twice daily in the shoulder season. Our fixer arranged private boat charter for crew and gear transport, sourced a power packs set to supporting the lighting package, set up with the island's small city authority for location access, and built a backup plan for weather delays that had an alternative mainland coastal location near Split. When rough seas on the morning of the first shoot day made the boat crossing inadvisable, the fixer activated the mainland backup within two hours. The crew filmed the exterior sequences at the backup location that day, crossed to the island the following morning when conditions improved, and completed the left setups. The production lost zero shooting time. The client's producer commented that without local marine and weather expertise, the shoot would have been delayed by at least a full day — a cost that would have exceeded the fixer's fee several times over.
The Multi-City Television Series
A streaming sites commissioned a travel-based series that needed filming across Zagreb, Split, and the Istrian peninsula within a twelve-day window. Each city involved different permit authorities, different crew availability, and different logistical profiles. Zagreb is a continental European capital with straightforward urban filming logistics, Split combines a living ancient palace with a modern city centre, and Istria's appeal lies in its rural hilltop villages and coastal towns spread across a wide area. Our fixer submitted permit applications to all three city authorities at once, assembled a core crew that could travel between locations with supplementary local hires in each city, arranged a gear package that moved with the unit in a dedicated truck, and built a schedule that accounted for the travel distances and the specific access windows each location needed. When the Zagreb shoot ran a half-day over schedule due to weather, the fixer rearranged the Split permits to accommodate a shifted arrival date — a change that would have taken the foreign production team days to negotiate independently but which the fixer resolved with a single call to a contact at the Split film office. The series completed on schedule and within budget.
ACT 08
Common Questions
What is a fixer in the film industry?
A fixer in the film industry is a local production professional who coordinates and facilitates international film, television, and media productions shooting in their country or region. Their responsibilities include securing filming permits, sourcing crew, arranging equipment rental, scouting locations, providing translation, managing transportation, and liaising with government authorities and communities. The term was adopted from journalism, where foreign correspondents relied on local contacts for access and logistics. Today, fixers range from individual freelance coordinators to full production service companies offering comprehensive support across the entire production lifecycle.
What does a film fixer do?
A film fixer manages the complete range of local logistics for international productions. This includes researching and securing filming permits, sourcing and hiring local crew, arranging equipment rental, scouting and securing locations, liaising with government authorities and communities, providing translation and cultural mediation, organising transportation and accommodation, managing local budgets in the relevant currency, and solving unexpected problems as they arise during production. In Croatia, this also frequently includes navigating the Dubrovnik Film Office's heritage filming protocols, coordinating marine logistics for island and coastal shoots, and preparing documentation for the HAVC 25% cash rebate programme.
How much does a fixer cost?
Fixer costs vary based on the country, production scale, engagement duration, and scope of services. Individual freelance fixers charge day rates that differ by market and experience, while production service companies typically quote project-based fees covering full local coordination. Croatia offers strong value within the European production market — the country has competitive crew rates, established production infrastructure shaped by years of major international productions, and the euro as its currency since 2023. Rather than evaluating the fixer's cost in isolation, most productions find the investment pays for itself by preventing delays, securing permits efficiently, and correctly structuring HAVC rebate applications that can recover 25-30% of qualifying local spend.
What's the difference between a fixer and a line producer?
A fixer provides local expertise, logistics, and problem-solving specific to a particular country or territory. A line producer manages the overall production budget, schedule, and operational execution, typically from the production company's home base. On domestic shoots, the line producer handles many tasks that a fixer would cover on international productions. The core difference is territorial knowledge — a line producer from abroad cannot navigate Croatian film offices, negotiate with local equipment vendors in Croatian, or coordinate with harbour masters on Adriatic island logistics. On large international shoots, both roles operate in parallel: the line producer manages the global picture while the fixer handles everything on the ground.
Do I need a fixer for a small shoot?
It depends on the location and your existing local knowledge. Croatia is an EU member state with a professional film infrastructure, which simplifies some aspects of working there, but permit requirements, crew sourcing, equipment logistics, and regional differences still present real challenges for foreign crews without local support. Even a small documentary crew benefits from a fixer when filming in Dubrovnik's Old Town (where heritage permits and tourist management are essential), when shooting across multiple cities with different permit authorities, when island logistics are involved, or when the timeline is tight enough that a single delay would cost more than the fixer's fee. For small productions, the cost is modest and the risk reduction is substantial.
How do I find a fixer in Croatia?
The most reliable route is through established production service companies with a registered Croatian presence, a verifiable track record, and production insurance. The Croatian Audiovisual Centre (HAVC) maintains resources and can provide direction, and the Dubrovnik Film Office — one of the most experienced city film offices in Europe, shaped by years of managing productions including Game of Thrones and Star Wars — is an excellent point of contact for productions planning to film in that region. You can also request referrals from production companies that have filmed in Croatia previously; the industry is tightly networked and reputations travel quickly. When evaluating candidates, request an itemised quote, check references from recent productions of similar scale, and confirm the fixer operates as a registered business. Our team provides comprehensive fixer and production services across Croatia, with local expertise spanning Dubrovnik, Zagreb, Split, Istria, and the Adriatic islands.
Ready to Roll
Need a Fixer for Your Next Production?
Whether you are planning a feature film in Dubrovnik's Old Town, a documentary in Plitvice Lakes National Park, a commercial along the Dalmatian coast, or a series shooting across Zagreb and Split, our team provides comprehensive fixer and production services throughout Croatia and 35+ countries worldwide. We handle permits, crew, equipment, locations, HAVC rebate documentation, marine logistics, and every other detail so you can focus on the creative work. Contact Fixers in Croatia to discuss your next project.