Filming in Rome: Permits, Studios & Production Logistics
From Roma Capitale permits and Cinecittà stages to the Colosseum, Trastevere and the 40% Tax Credit Cinema — everything international productions need to plan a shoot in Rome
Filming in Rome — riprese a roma — is one of the most rewarding yet demanding shoots in Europe. The city pairs Cinecittà, the most storied studio complex on the continent, with a permit landscape run by Roma Capitale and the Soprintendenza Speciale di Roma. It also offers visual signatures that producers chase from Los Angeles to Tokyo: the Colosseum, the Roman Forum, Trastevere, Piazza Navona, the Vatican perimeter and the Tiber. White Lotus Season 2, Ripley, House of Gucci and the Rome sequences of No Time to Die all based their operations here in recent years. This guide covers what global teams need to plan a production in Rome. It explains where to file permits, how Cinecittà and nearby stages match which formats, and which neighbourhoods deliver which looks. It also covers when to shoot around the Roman summer and Ferragosto, what the Italian 40% tax credit brings to the budget, and how lead times shape your schedule. Our team works the Rome film offices, Cinecittà stages and crew rosters each week, so the focus here is practical, not editorial. Use it as a hub, since each section links out to a deep-dive guide for the area you need to plan around.
As Fixers in Italy, we bring local expertise to international productions filming in Italy. 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
Why Rome for Production
Industry Depth, Cinecittà Heritage, and the Looks Producers Come For
Rome is the working and historical centre of Italian cinema. The reasons global teams keep choosing it for film in Rome — and for riprese a roma — go well beyond the Eternal City postcards. It is one of the few European capitals that combines a top-tier crew base with a national funding network. It also has the Cinecittà studio complex, which is large enough to host Hollywood-scale series and feature builds.
- Italy produces 200+ feature films a year, with Rome accounting for the majority of crewed and funded projects
- MiC, Roma Lazio Film Commission and the 40% Tax Credit Cinema all sit within a single ride across the city
- Crew rosters cover Italian, English, Spanish, French, German and increasingly Arabic and Mandarin
- The Colosseum, Forum, Trastevere, Vatican perimeter and modern EUR district all sit inside one shooting day
Industry Depth and the Rome Production Ecosystem
Rome film production runs on an unusually layered network. The MiC sets national policy and oversees Tax Credit Cinema through the Direzione Generale Cinema. The Roma Lazio Film Commission and Roma Capitale's film office handle permits and location liaison at the regional and city level. Major TV networks (RAI, Mediaset, Sky Italia) and global streamers (Netflix, Disney+, Amazon, Apple, HBO) all keep Roman production and commissioning teams here. That density means union talent, post houses, gear rental, insurance, customs brokers and legal counsel all sit within the same metro area. Most of it is easy to reach from the centro storico inside 45 minutes. For inbound shoots, this means fewer hand-offs and shorter pre-production cycles than in cities where the production stack is split across many metro areas.
Cinecittà and the Studio Belt
Cinecittà — founded in 1937 and expanded steadily since — remains the central anchor of Italian production. The complex on Via Tuscolana houses 22 active soundstages totalling more than 40,000 m² of stage space. It also has permanent backlots (the Ancient Rome and Renaissance sets), water tanks, scenic shops and post-production facilities. Recent global clients include the Italy unit of Ridley Scott's House of Gucci, Steven Zaillian's Ripley, and the Rome sequences of many HBO and Netflix tentpole series. Beyond Cinecittà, the wider Rome studio belt holds De Paolis (Via Tiburtina) and Lumina Studios, and more virtual production volumes are coming online across the region. Global shoots can base talent and creative leads in central Roman hotels while keeping production trucks and stage builds inside the standard travel-time radius.
Crew, Talent, and Language Coverage
Rome crews are deep in every department. Cinematographers, gaffers, key grips, sound mixers, art directors, costume designers, hair and makeup, VFX supervisors and stunt coordinators all work at the day rates set by the Italian union agreements. English fluency is now standard at HOD level and more and more common down to the assistant grades. This is a clear shift over the last decade, driven by streamer-led production volume. Talent agencies cluster in Prati, the centro storico and Parioli, and casting directors here handle global SAG and Equity-style deals as routine. Period-specialty costume and props houses around Cinecittà are unmatched anywhere in Europe for Renaissance, Roman antiquity and 19th-century work.
Signature Visual Looks
The visual reasons producers come to Rome are well-known. The Colosseum and Roman Forum suit ancient and historical work, while Trastevere's cobbled lanes suit romance and intimate drama. Piazza Navona and the Pantheon bring Baroque grandeur, the Vatican perimeter gives landmark beats, and Villa Borghese and the Aurelian Walls fit green-belt drama. The rationalist EUR district (built for the 1942 World's Fair that never happened) carries hard-edged modernist and dystopian work. The Tiber bridges, Castel Sant'Angelo and the Spanish Steps round out the establishing-shot vocabulary. Each of these is covered in detail below, with guidance on how shoot in Rome workflows clear them through the Comune and Soprintendenza.
ACT 02
Filming Permits in Rome
Roma Capitale, the Soprintendenza, and the Permit Landscape
Rome filming permits are handled by Roma Capitale's film office, the Roma Lazio Film Commission and — for any heritage-controlled site — the Soprintendenza Speciale di Roma. This section gives you the working summary. For the full step-by-step on records, fees and edge cases, see our deep-dive guide.
- Roma Capitale's Ufficio Cinema is the primary contact for street, square and public-domain filming inside the Comune
- The Soprintendenza Speciale di Roma governs the Colosseum, Forum, Palatine, catacombs and most heritage sites
- ATAC (metro/bus) and Trenitalia/RFI (rail) need their own permits with separate lead times
- The Vatican City perimeter and Vatican-controlled basilicas are ruled by their own administrations, not the Italian state
Roma Capitale's Ufficio Cinema
Roma Capitale's film office is the single entry point for most public-domain filming inside the Comune. The team handles requests for streets, piazzas, parks, Tiber lungoteveri, public gardens and city-owned buildings. Standard street shoots with a small footprint (handheld, no truck, no crew base) usually clear in two to three weeks. Larger setups — full lighting packages, power packs, picture cars, base camp — push the lead time to four to six weeks. They also trigger Polizia Locale planning. The Roma Capitale review covers the shoot synopsis, neighbourhood impact, the production's local representative and the firm's IVA standing. Once issued, the autorizzazione di ripresa names the exact perimeter, gear footprint and time window for your shoot.
Soprintendenza Speciale di Roma and Heritage Sites
Some sites route through the Soprintendenza Speciale di Roma. These are the Colosseum, Roman Forum, Palatine Hill, Domus Aurea, Imperial Fora, Baths of Caracalla, the catacombs, and any of the city's hundreds of heritage-listed buildings. This is the most important authority for global shoots doing any historical or 'Eternal City' work. Lead times here run six to twelve weeks. Location fees are steep, often €5,000–25,000 per shoot day based on the site. Approvals depend on shot lists, gear lists and at times a script review for cultural sensitivity. The Soprintendenza will set specific gear limits — no flame, no pyrotechnics, no certain rigging types — that you need to design into the shoot plan from the first scout. For shoots targeting the Colosseum or Forum, treat six weeks as the absolute minimum lead time.
Polizia Locale, Drones and the Vatican
Some shoots route through the Roma Capitale Polizia Locale, working with the prefecture. This covers anything that affects road traffic, needs a security perimeter, or involves stunts, weapons, pyrotechnics, drones or large crowd scenes. Closures along key axes — Via dei Fori Imperiali, the Lungotevere, the Via del Corso — are technically possible but need longer lead times. They are often blocked during papal events, state visits, major football matches and the August Ferragosto window. Drone operations also need an ENAC declaration. They may need NOTAM planning for flights above 50 metres or near off-limits airspace, which covers most of central Rome by default. The Vatican City and Vatican-controlled basilicas (St Peter's, Santa Maria Maggiore, St John Lateran, St Paul Outside the Walls) answer to the Holy See's own filming office, not the Italian state. That means a separate application, a separate timeline and a separate fee structure. For a full walkthrough of permit types, fees, records and rejection-recovery tactics, see our Rome permit deep-dive at /blog/film-permits-guide/.
ACT 03
Studios in Rome
Cinecittà, De Paolis, Lumina, and the Wider Rome Studio Belt
Rome studios are anchored by Cinecittà and backed by a cluster of mid-sized and pro facilities, all reachable from central Rome in under 45 minutes. The lineup below is a working summary. The full sourcing guide with stage dimensions, ceiling heights, water tank specs and virtual production volumes lives in our dedicated studios article.
- Cinecittà Studios (Via Tuscolana) — flagship complex with 22 stages, Ancient Rome and Renaissance backlots, water tanks and post facilities
- De Paolis InCir (Via Tiburtina) — long-standing TV and film stages with deep tech crew base on the eastern side of the city
- Lumina Studios — flexible mid-size stages popular with commercials, music videos and high-end editorial
- Independent stage operators across Rome and the Castelli Romani, with virtual production volumes increasingly common
Cinecittà — Via Tuscolana
Cinecittà is the largest single-site film studio in continental Europe. The campus on Via Tuscolana hosts 22 active soundstages totalling more than 40,000 m² of stage space. At its heart sits the legendary Teatro 5, the largest stage, built first for Federico Fellini and still booked for global tentpoles. The site also has permanent Ancient Rome and Renaissance backlots used in everything from Gangs of New York to The Young Pope, three water tanks, scenic and prop shops, costume warehouses and post-production facilities. Cinecittà has hosted shoots from Roman Holiday and Ben-Hur to Gladiator, La Vita è Bella, House of Gucci, Ripley and the recent HBO/Sky tentpole drama slate. For inbound long-form drama, it stays the default first call when you need central Rome hotel bases and stage-to-location turnarounds under an hour. Booking lead times have grown a lot since the streamer build-up. For major series, six to nine months ahead of principal photography is now standard.
De Paolis InCir — Via Tiburtina
De Paolis InCir, on Via Tiburtina in eastern Rome, is one of the older operating studio campuses in the city. It stays a workhorse for both Italian and global shoots. Several stages, scenic shops and dressing facilities sit on a single site with on-campus parking. That helps when production trucks would otherwise struggle with central Rome's ZTL (tight traffic zones) and loading rules. De Paolis is also the regular home of major Italian television drama, so crew rosters in the eastern Rome quartiere run very deep. The site suits commercial and mid-budget feature work that needs a Cinecittà-adjacent footprint without competing for Cinecittà's biggest stages.
Lumina and the Mid-Size Studio Layer
Lumina Studios and the wider mid-size studio layer in Rome host a heavy share of commercial, music video, fashion and editorial work. Their stages suit brand campaigns, music promos and short-form drama. The Castelli Romani belt south of the city — Frascati, Castel Gandolfo, Albano — also clusters art-department workshops, prop houses and gear rental. This keeps build-day logistics inside one tight area for shoots that don't need the full Cinecittà footprint.
Equipment, Lighting and the Service Layer
Italian rental houses cluster around Cinecittà and the eastern Tiburtina belt: lighting (Movie People, Panalight Italia, Cartoceto), grip, power packs and trucking. Some shoots build custom stages or run blue/green-screen and LED-volume work without committing to a full Cinecittà footprint. For them, the independent service layer is often the most flexible partner. For full stage matrices, daily rates and the stages best suited to virtual production and LED-volume work in the Rome belt, see our Rome studios sourcing deep-dive at /blog/studio-soundstage-options/.
ACT 04
Locations in Rome
The Visual Categories That Bring Producers to the City
Rome's strength as a location city comes from three thousand years of building styles packed into a fairly compact urban core. The types below cover most of what global shoots request. For the working scout files (best times of day, light, foot traffic, permit difficulty), see our Rome location scouting guide.
- Ancient Rome — Colosseum, Forum, Palatine, Imperial Fora, Baths of Caracalla, Appian Way
- Baroque centre — Piazza Navona, Pantheon, Trevi Fountain, Spanish Steps, Piazza del Popolo
- Trastevere and atmospheric quartieri — cobbled lanes, medieval facades, Tiber-side osterie
- Vatican area — St Peter's perimeter, Via della Conciliazione, Castel Sant'Angelo, the Tiber bridges
- Period interiors — palazzi, salons, libraries, churches, noble apartments in the centro storico
- EUR and modern Rome — rationalist 1930s build style, the Palazzo della Civiltà Italiana, modernist office stock
- Green and aristocratic Rome — Villa Borghese, Villa Doria Pamphilj, Gianicolo terraces
- Roman countryside — Appian Way ruins, Castelli Romani villas, Tivoli (Hadrian's Villa, Villa d'Este)
Ancient Rome and the Heritage Spine
The ancient core — Colosseum, Roman Forum, Palatine Hill, Imperial Fora, Baths of Caracalla, Appian Way — is the single most-requested look in Rome. It is also the hardest to clear. Each shoot here routes through the Soprintendenza Speciale di Roma with six- to twelve-week lead times and steep location fees. The trade-off is worth it, because nowhere else in the world delivers these exact images with the same authenticity. That is why shoots from Gladiator to recent streamer epics still anchor their Rome work around them. Early-morning windows (4:30–8 AM) before public opening are standard for shoots that need the heritage sites without crowd dressing. The Soprintendenza will negotiate exclusive access slots for the right project at the right fee.
Trastevere, Piazza Navona and the Baroque Centre
Trastevere's cobbled lanes around Santa Maria in Trastevere and Piazza Trilussa deliver a romantic, intimate-drama register. That look defines a large share of inbound feature, music video and short-form work. Piazza Navona, the Pantheon, the Spanish Steps and the Trevi Fountain anchor the Baroque vocabulary, and they are the most tourist-dense parts of the city year-round. Early-morning shoot windows (5:30–8:30 AM) are usually the answer. Partial closures of these piazzas are possible through Roma Capitale but costly and politically sensitive, so most shoots schedule around the crowds rather than try to overpower them. The Spanish Steps got their no-sit ordinance in 2019, which has made early-morning filming there more viable, since the steps now reliably clear all night.
Vatican Perimeter, Castel Sant'Angelo and the Tiber
The Vatican perimeter gives some of Rome's most reliably cinematic establishing geometry. The key views are Via della Conciliazione nearing St Peter's Square, the Castel Sant'Angelo bridge, and the Tiber lungoteveri between Castel Sant'Angelo and Ponte Sisto. Note one thing with care: anything inside St Peter's Square or the Vatican itself is ruled by the Holy See, not Roma Capitale or the Italian state. Those applications run on a separate Vatican timeline with their own limits on cast, costume and content. Many shoots want the cinematic Vatican exterior beat — the dome of St Peter's framed from the Tiber, or Castel Sant'Angelo at golden hour. For those, Roma Capitale permits cover the bridge and lungoteveri and are the standard route.
EUR, Modern Rome and the Roman Countryside
The EUR district (south of the centre, built first for the 1942 Universal Exposition) gives the rationalist modernist register now used in modern thrillers, sci-fi and dystopian work. The Palazzo della Civiltà Italiana ('Square Colosseum') has anchored Fendi campaigns and Ridley Scott's House of Gucci sequences. For green-belt work, Villa Borghese and the Gianicolo terraces sit inside the city walls. For country-villa work, Tivoli (Hadrian's Villa, Villa d'Este) and the Castelli Romani villa belt lie 30–60 minutes outside Rome and deliver the aristocratic register. For the full taxonomy with permit difficulty ratings and shoot-window guidance, see our /locations/rome/ landing page and /services/pre-production/location-scouting-services/.
ACT 05
Seasonal Considerations for Filming in Rome
Best Months, the Roman Summer, and Ferragosto Closures
When you shoot in Rome matters almost as much as where. The city has clear shoulder windows, a brutal summer, and the August Ferragosto shutdown that squeezes availability across the whole production stack. Plan against this calendar from the first scout.
- Best operational months: April–early June and mid-September–October
- Avoid July–August: Roman heat (often 35–40°C), tourist saturation, and the Ferragosto closure window
- Winter (December–February) gives fast permits, cool temperatures and the lowest tourist density of the year
- Festival and event blackouts: Cannes (May, drains some crew north), the Rome Film Fest (October), papal events, major Roma vs Lazio derby weekends
The Roman Summer and Ferragosto
Rome from late June through early September is hostile to filming for two reasons. First, the heat. Daytime temperatures of 35–40°C and humid nights make outdoor shoots brutal on crew, talent and gear, and union heat rules extend break times sharply. Second, Ferragosto. The whole week around 15 August (formally a national holiday, informally a fortnight) sees most Italian firms, suppliers, vendors and many crew members shut down. Cinecittà runs on reduced staffing and Roma Capitale's permit office runs on skeleton coverage. Getting any urgent decision from the Soprintendenza in mid-August is close to impossible. Productions that simply must shoot in Rome in summer mostly schedule early-morning and night-only call sheets. Budget for higher hotel and crew rates as a heat premium. The honest planning answer is to shoot in April, May, early June, mid-September or October if you can.
Best Operational Windows
April through early June and mid-September through October give the longest practical shoot days. Temperatures stay manageable (mostly 18–28°C), with the most stable weather and the cleanest light of the year. May gives the bluest skies and the best-known 'Roman light'. The catch is that the second half of May runs into the Cannes Film Festival, which pulls some Italian-based crew and key talent north for two weeks. October offers warm afternoon light without the summer heat, and it is more and more the top window for inbound feature work and high-end series. November through February cuts shoot days to 9–10 hours of usable light. It also brings steady overcast that suits some looks (gritty drama, modern realism) and frustrates others (sun-drenched romance, anything built on long shadows from the Roman sun). Permit lead times are at their shortest in winter, which can help shoots on tight pre-production timelines.
Festival, Religious and Sports Calendars
Several windows in the Rome calendar take parts of the city out of the production pipeline. The Vatican Easter (Holy Week through Easter Monday) closes large parts of the Vatican perimeter and the centro storico. Major papal events — canonisations, jubilees, papal funerals or conclaves — can shut down the whole Vatican-Trastevere-Piazza Navona axis at short notice. The Rome Film Fest in mid-October draws global film industry attention and hotel inventory to the Auditorium Parco della Musica area. State visits and EU summits often trigger short-notice closures of central districts that no permit can override. Roma vs Lazio derby weekends close traffic axes around the Stadio Olimpico and put major Polizia Locale resource on football coverage rather than film planning. See our /locations/rome/ landing page for an overview of how we plan scouting around these constraints.
ACT 06
Crew Availability and Costs in Rome
Lead Times, Day Rates, and the 40% Tax Credit Cinema
Rome offers some of Europe's deepest crew availability — especially for period, costume and historical work — and one of its most generous rebate structures. Plan crew bookings against the city's calendar and price the 40% Tax Credit Cinema into the budget from day one.
- DOPs, key grips, gaffers and sound mixers: 4–8 weeks lead time for top tier, 2–3 weeks for mid-tier
- Production designers and costume designers: 8–12 weeks for prep-heavy shoots, specific period work
- Stunt coordinators, SFX supervisors and underwater units: 6–12 weeks for full-scale work
- Tax Credit Cinema returns 40% on qualifying Italian spend, capped at €20M per project
Lead Times for Booking Key Roles
For a typical inbound feature or six-episode series, plan eight to ten weeks minimum from script lock to the first day of principal photography just for crew booking. Plan longer if Cinecittà stage availability is part of the constraint. The director of photography, production designer and 1st AD are usually the binding limits. Top-tier Rome talent is booked across many competing shoots year-round, especially since the streamer-led rise in production volume. Mid-tier department heads and the bulk of crew (camera assistants, electricians, grips, sound utilities, costume team, hair and makeup) are usually ready on two to three weeks notice. That holds outside the Cannes, Venice Film Festival and Rome Film Fest windows. Commercials run on tighter schedules. A five-day Rome commercial typically needs two to three weeks for crew, or one week if the agency has standing ties with local shoot service firms.
Day Rates and Budget Anchors
Rome crew day rates follow Italian union agreements that set minimum pay by department and seniority. In practice, expect roughly €450–750/day for camera assistants, €700–1,200/day for gaffers and key grips, €1,200–1,900/day for DOPs, and €1,800–3,200/day for production designers. Global name talent on negotiated contracts runs much higher. Italian payroll adds INPS social contributions on top, usually 30–35% of gross, which is non-negotiable and must sit in the budget from day one. Gear rental, location fees and base-camp logistics are broadly on par with Madrid and Lisbon. They run clearly lower than Paris or London for equivalent specs, and far lower than New York or Los Angeles. Cinecittà period costume and props rental rates are competitive worldwide for the quality and depth of inventory on hand.
Tax Credit Cinema and the Incentive Picture
Italy's Tax Credit Cinema returns 40% of qualifying Italian spend for most global shoots and approved co-productions, capped at €20 million per project. Eligibility means passing the MiC's cultural eligibility test and spending at least €250,000 of qualifying spend in Italy (€150,000 for documentary). Take a €5 million Rome-based shoot that spends €4 million on qualifying Italian crew, locations, post and gear. The Tax Credit Cinema returns up to €1.6 million on it. The Lazio Region runs a separate regional film fund through the Roma Lazio Film Commission that can stack on top. It usually adds 15–25% of qualifying Lazio spend back to the producer's ledger as grants or low-interest production loans. The full mechanics, application timeline and record needs for the federal credit are covered in our /blog/film-tax-incentives-guide/. Our team can also walk you through whether your production passes the cultural eligibility test before you commit to a Rome production base. To start a Rome production conversation, contact us at /contact/ with your script status, shoot window and budget envelope.
ACT 07
Common Questions
How long do filming permits take in Rome?
Roma Capitale's Ufficio Cinema usually processes standard street filming permits in two to three weeks. Larger setups with lighting, generators, picture vehicles or base camp stretch to four to six weeks, because they need Polizia Locale coordination. Soprintendenza-controlled heritage sites — Colosseum, Forum, Palatine, Baths of Caracalla, catacombs — run six to twelve weeks. The Vatican perimeter and Vatican-controlled basilicas are governed separately by the Holy See's filming office on their own timeline. Always build in buffer for Cannes, Venice Film Festival, the Rome Film Fest, papal events and the Ferragosto window, when nothing moves quickly in Rome.
Can I shoot in public spaces in Rome?
Yes, with an autorizzazione di ripresa from Roma Capitale's Ufficio Cinema. Streets, piazzas, parks, the Tiber lungoteveri and city-owned buildings are all open to filming. You need the right permit, an insurance certificate (typically €1.5–3 million public liability), and a local Italian production representative. Anything that affects road traffic, needs crowd control, or involves stunts and pyrotechnics also needs Polizia Locale clearance. Heritage sites — Colosseum, Forum, anywhere with Soprintendenza protection — need a separate Soprintendenza authorisation on top of the Roma Capitale permit. Handheld shoots with a small crew and no equipment footprint can sometimes proceed under simplified declarations, so confirm with your fixer before relying on that route.
What is the best season to shoot in Rome?
April through early June and mid-September through October are the two reliable windows. They give the longest practical daylight, the most stable weather and the cleanest Roman light of the year. Daytime temperatures typically run between 18 and 28°C. Avoid July and August. Roman summer heat regularly hits 35–40°C, tourist density peaks, and the August Ferragosto window shuts down most of the Italian production stack. Mid-May overlaps with Cannes (some crew drain), mid-October clusters around the Rome Film Fest, and Holy Week closes the Vatican perimeter. Winter offers fast permit access and the lowest tourist density of the year, with 9–10 hours of usable daylight in December and January.
Do I need a fixer to shoot in Rome?
For practical purposes, yes. Roma Capitale, the Soprintendenza Speciale di Roma and most location authorities need a local Italian production representative. That person responds to on-set issues, files Italian-language paperwork through the fattura elettronica SDI system, and acts as the named contact on the autorizzazione di ripresa. International productions also need Italian payroll for any local crew, with INPS social contributions of 30–35% on top of gross. They need Italian insurance recognised by the permit office, and customs handling for equipment imports through Italian ATA carnet processing. A Rome fixer or local Italian production service company already holds these relationships. They are usually faster, cheaper and lower-risk than building them from scratch for a single production. The same partner is also the legal claimant of the 40% Tax Credit Cinema if you intend to claim it.
What are typical day rates for Rome crew?
Rome crew day rates run roughly €450–750 for camera assistants and electricians, €700–1,200 for gaffers and key grips, €1,200–1,900 for directors of photography, and €1,800–3,200 for production designers. The Italian union agreements that govern most below-the-line crew set these rates. Add 30–35% INPS social contributions on top of every Italian payroll line. Equipment rental, location fees and base-camp logistics stay competitive with Madrid and Lisbon. They run clearly cheaper than Paris or London, and far cheaper than New York or Los Angeles for equivalent specs. Cinecittà period costume and props rental is exceptional value worldwide for the depth of inventory. The 40% Tax Credit Cinema offsets a large share of total Rome spend for qualifying international productions.
Ready to Roll
Planning a Production in Rome?
Whether you are scouting Trastevere lanes for a feature, locking a Cinecittà stage for a streaming series, negotiating Soprintendenza access to the Roman Forum, or scheduling a five-day commercial around the Rome Film Fest and Ferragosto, our Rome team has the permits, crews and Cinecittà relationships ready to go. Riprese a roma is what we do every week — and we run the operational side so directors and producers can focus on the work. Contact Fixers in Italy to discuss your next project.