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
Croatia occupies a rare position in the global film industry. A country of four million people, it has provided 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 productions simply arrived and started shooting. Every one of them depended on local professionals who understood the terrain, the bureaucracy, the weather patterns, and the community relationships that determine whether a shoot runs smoothly or collapses into expensive delays. Those professionals are film fixers. A film fixer is the person — or, increasingly, the production service company — that turns an international production's creative ambitions into a workable plan on Croatian ground. They secure filming permits from city film offices and the Ministry of Culture, assemble local crew, arrange equipment, navigate the Croatian Audiovisual Centre's cash rebate programme, manage relationships with municipal authorities and residents, and solve the problems that surface when a foreign team operates in unfamiliar territory. The term originated in journalism, where foreign correspondents depended on local contacts for access, translation, and safe passage. The film industry adopted the concept and expanded it dramatically. 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
A film fixer is a local production professional who coordinates the logistical, administrative, and practical requirements of international productions filming in their territory. 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 professional relationships needed to keep a foreign shoot on schedule and on budget. In Croatia, where a compact geography belies significant regional variation — coastal Dalmatia operates differently from continental Zagreb, island shoots require marine logistics, and Dubrovnik's Old Town demands its own specialised permit process — the fixer's local knowledge is not a luxury but a structural necessity.
- ●Fixers hold detailed knowledge of local locations, regulations, crew availability, and equipment suppliers across Croatia
- ●They serve as the production's official point of contact with government bodies, municipal film offices, and local communities
- ●Most Croatian production fixers speak English fluently alongside Croatian, and many speak additional European languages
- ●The role can mean a single freelance coordinator or a full [production service company](/services/) offering end-to-end support
How the Term Reached the Film Industry
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 territory — transport, interviews, translation, passage through checkpoints. As international 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 considerably. A journalist's fixer might arrange a single vehicle and a translator for an afternoon. A production fixer coordinates weeks of multi-department logistics involving dozens of crew members, multiple locations, significant equipment inventories, and budgets that require careful local management. Croatia's emergence as a filming destination accelerated precisely during this period, and the country's fixer infrastructure grew in parallel with its rising international profile.
Solo Fixer vs Production Service Company
These terms overlap but carry different implications. A solo fixer is typically a freelancer — one experienced local professional providing coordination, problem-solving, and cultural interpretation. A production service company is a registered business offering comprehensive services: crew hiring, equipment sourcing, accounting, insurance, permit management, location agreements, and full production oversight. Many of Croatia's current production service companies began as individual fixers who built their operations as international demand grew, particularly after the Game of Thrones era brought sustained attention to the country's production potential. The Croatian market includes both: individual fixers supporting smaller documentary and branded content crews, and established service companies managing large-scale feature and series work across multiple Croatian regions simultaneously.
ACT 02
What Does a Fixer Do?
The Full Scope of Fixer Responsibilities, from Permits to Wrap
The practical work of a production fixer extends further than most people anticipate. Their responsibilities span the entire production lifecycle — from the first scouting trip through principal photography to final equipment return — and touch every 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/) — coordinating with the Dubrovnik Film Office, Zagreb Film Office, Split city authorities, and the Ministry of Culture for heritage locations and protected 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
- ●Equipment — arranging rental from Croatian equipment 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 architecture, Plitvice Lakes' cascading waterfalls, Istria's hilltop villages, Split's Diocletian's Palace
- ●Government and community liaison — representing the production to municipal authorities, harbour masters, national park management, and local residents
- ●Translation and cultural mediation — bridging language gaps and interpreting local customs, expectations, and negotiation styles for international crews
- ●Transport and accommodation — organising vehicle 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
Before a single frame is captured, the fixer builds the infrastructure the shoot depends on. In Croatia this begins with location research — not just identifying visually striking spots (the country has them in abundance) but confirming that each location is practically filmable, accessible for crew vehicles and equipment 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, limited access windows, and a permitting process that requires coordination with both the city film office and heritage authorities. The fixer manages every layer of this, while simultaneously sourcing local crew matched to the production's technical requirements, arranging equipment rental, booking accommodation 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 equipment to an island location.
Production: Keeping the Machine Running
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, coordinate 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 an equipment failure that needs a same-day replacement from a local rental house. On documentary productions in Croatia, fixers frequently arrange interview subjects, provide editorial context about Croatian history and politics, and facilitate 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
International productions filming in Croatia navigate a specific set of administrative requirements: work notifications for foreign crew within the EU framework, equipment import declarations, compliance with the Croatian Audiovisual Centre's cash rebate programme (which offers a 25% rebate on qualifying Croatian spend, with an additional 5% bonus for productions that promote Croatian culture or locations), production insurance, Croatian labour law obligations, and financial reporting requirements. The fixer coordinates all of this — working with local accountants, legal advisors, and the HAVC to keep the production compliant while maximising the financial benefits Croatia offers. The rebate paperwork is not a formality; it directly affects the production's bottom line, and errors or incomplete documentation can result in reduced or delayed payments.
ACT 03
When Do You Need a Fixer?
Five Situations Where Local Expertise Becomes Essential
Not every production requires a fixer, but the vast majority of international shoots in Croatia benefit 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 immediately.
- ●Your production is shooting in a region where you lack established local contacts and operational experience
- ●The shoot involves multiple permit authorities — city film offices, the Ministry of Culture, national park administrations, or harbour authorities
- ●You need to assemble local crew and equipment under time pressure, drawing on a trusted network
- ●The production plans to apply for the HAVC 25% cash rebate, requiring careful documentation 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 require 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 approach first, what documentation to prepare, and how to present the production in terms that accelerate approval rather than trigger additional review. Without that knowledge, a production can lose weeks waiting for a response that a well-connected local professional could have resolved in days. Dubrovnik's film office, shaped by years of managing major international productions since Game of Thrones, is professional and efficient — but that efficiency works best when the applicant understands the process.
Maximising the HAVC Cash Rebate
The Croatian Audiovisual Centre administers a cash rebate programme that returns 25% of qualifying Croatian production expenditure, with an additional 5% bonus available for productions that promote Croatian culture, heritage, or locations. The incentive is genuinely competitive within Europe, but the application and compliance requirements are detailed. A fixer or production service company experienced with the HAVC process ensures that qualifying expenditure is correctly categorised from the start, documentation meets the required standards, and the production does not inadvertently reduce its rebate 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 significant sum — the kind of money that justifies the fixer's involvement 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 equipment to an island location requires ferry scheduling, potentially private boat charter, and careful planning around seasonal timetables that change between summer and winter. Coastal weather — particularly 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 productions and can plan around them rather than reacting when they arise. They know which islands have reliable power supply, which harbours can accommodate an equipment 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
International productions frequently ask how a fixer differs from a line producer or a production coordinator. The three roles share certain responsibilities but serve distinct functions, and understanding the boundaries helps you build the right team for a shoot in Croatia.
- ●A fixer provides local expertise, logistical coordination, and territory-specific problem-solving grounded in Croatian knowledge
- ●A line producer owns the overall production budget, schedule, and operational execution across the entire project
- ●A production coordinator manages administrative workflows — call sheets, travel arrangements, crew communications, and documentation
- ●On international shoots in Croatia, all three roles often operate simultaneously with clearly defined responsibilities
Where the Responsibilities Overlap
The overlap is real: all three roles involve logistics, scheduling, and coordination. A line producer on a domestic shoot handles many of the tasks a fixer would cover on an international one — hiring crew, managing budgets, coordinating permits. The distinction is territorial knowledge. A line producer based in London or Los Angeles cannot walk into the Dubrovnik Film Office and navigate 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 international productions 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 requires Croatian ground knowledge.
Matching Roles to Production Scale
For a small documentary crew travelling to a single Croatian location, a fixer alone may be sufficient — they handle everything locally while the producer manages the broader project from abroad. For a medium-scale commercial, you typically 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 multiple Croatian cities, and involves international cast with complex travel requirements — you need all three: a line producer managing the global budget, a production coordinator handling administrative workflows, and a local fixer or production service company managing crew, permits, equipment, marine logistics, and every other detail on the ground. Croatia's production infrastructure is strong but distributed, and a fixer who understands 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
Fixer pricing depends on the scope of services, the duration of the engagement, the country, and the complexity of the production. We do not publish fixed rates — they vary too much by project to be meaningful — but understanding how pricing typically works helps productions plan realistic budgets for filming in Croatia.
- ●Individual fixers generally charge day rates that vary by country, region, and experience level
- ●Production service companies quote project-based fees that cover the full scope of local coordination
- ●Full-service fees usually 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 international shoots
Day Rate vs Project Fee
A freelance fixer charging a day rate suits small productions — 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 production service company delivers better value by bundling coordination, crew management, equipment sourcing, permit handling, and production oversight into a single relationship. Comparing a freelancer's day rate to a service company's project fee is misleading; the company replaces multiple roles you would otherwise need to fill separately. Croatia adopted the euro in 2023, removing the exchange rate complexity that previously added another layer to budget planning — costs are now straightforward for European and international productions 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 differently than Zagreb or inland Croatia), the duration of engagement across pre-production, production, and wrap, the size of the crew and equipment package being managed, the complexity of locations and permits (island shoots cost more to service than mainland ones), and whether the production requires specialised logistics such as marine transport, aerial filming coordination, or heritage site access. Productions planning to apply for the HAVC rebate should also account for the additional administrative work the application requires. The most effective approach is to share a complete project brief and receive a detailed, line-by-line quote you can evaluate 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 an international production — 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, experienced 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 rebate documentation 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 every fixer delivers the same quality of work. Choosing the right one is a decision that affects every 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.
- ●Demonstrated experience with productions of comparable scale and format in Croatia
- ●A registered, insured business with transparent pricing and clear contractual terms
- ●Established relationships with Croatian film offices, crew networks, and equipment suppliers
- ●Strong communication skills, multilingual capability, and responsiveness throughout pre-production
- ●Contactable references from recent productions of similar complexity
- ●Cultural fluency — a fixer who understands both Croatian realities and international production 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 coordinated dozens of international productions in Croatia carries institutional knowledge about local authorities, seasonal challenges, and regional logistics that newer operators cannot replicate.
Checking Professionalism and Infrastructure
A reliable fixer or production service company should be a properly registered Croatian business with production insurance, clear contractual terms, and the operational infrastructure to support your shoot. They should provide 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 provide a registered business address, proof of insurance, or a clear contract. The fixer handles significant budgets and logistical responsibilities on behalf of international clients; professionalism is a baseline requirement, not a differentiator.
Testing the Relationship Before You Commit
The initial 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 immediately? Do they offer 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 equally compelling. That kind of proactive partnership separates adequate fixers from exceptional 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 productions that illustrate what a production fixer brings to an international shoot.
- ●Old Town period drama: managing heritage permits, crowd control, and tourist-free windows in Dubrovnik's walled city
- ●Island commercial: coordinating marine transport, generator logistics, and weather contingencies 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 company needed three days of exterior filming inside Dubrovnik's Old Town for a period drama. The creative required clean, tourist-free medieval streets — a significant ask in a city that receives thousands of cruise ship visitors daily during high season. Our fixer coordinated with the Dubrovnik Film Office to secure filming windows in the early morning hours before the cruise passengers arrived, arranged temporary 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 productions 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, limited power supply, and ferry service that ran only twice daily in the shoulder season. Our fixer arranged private boat charter for crew and equipment transport, sourced a generator capable of supporting the lighting package, coordinated with the island's small municipal authority for location access, and built a contingency plan for weather delays that included 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 remaining 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 platform commissioned a travel-based series that required 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 simultaneously, assembled a core crew that could travel between locations with supplementary local hires in each city, arranged an equipment 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 required. 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.
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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.
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