Chile Production at a Glance
Permits & Municipalities
Chile has 16 regions and 346 communes. A multi-location Santiago shoot could involve permits from 3–6 municipalities, depending on where the locations fall.
Drones & Protected Areas
Drone filming is regulated by DGAC, while professional filming in protected areas can require separate CONAF authorization. Plan both early.
ATA Carnet & Customs
Chile participates in the ATA Carnet system. Temporary import procedures for professional camera and production equipment should be planned before travel.
Foreign Crews
Entry permission and authorization to perform paid work are separate issues. Confirm each visiting crew member’s requirements before travel.
Locations & Seasons
Chile stretches more than 4,000 km north to south. Seasons, climate, altitude and travel conditions vary dramatically between regions.
Production Logistics
Transport, power, communications, equipment, basecamp and contingency planning become increasingly important outside major cities.
Film Permits in Chile
There is no single nationwide film permit in Chile. Requirements depend on the location, municipality and production footprint.
Public streets, sidewalks, plazas, traffic control, parking, large crews, generators, drones and other production activity may require authorization from the municipality or another responsible authority.
Filming in Santiago
Greater Santiago contains multiple communes with separate municipalities. A multi-location production can therefore require coordination with several municipalities rather than one central “Santiago film office.”
Practical rule: identify the municipality responsible for every location before locking the shooting schedule. As one example, Providencia publishes a public-space authorization procedure that specifically includes film shoots.
For production support with permits and locations, see ABSA Films Fixer & Service Production in Chile.
Common Permit Questions
- Is the location public or private?
- Which municipality or agency controls it?
- Will roads, sidewalks, parking or pedestrian movement be affected?
- Are drones, generators, structures or special effects involved?
National Parks & Protected Areas
Professional filming in Chilean protected areas requires authorization under the applicable CONAF process. Commercial productions may also be subject to fees and location-specific operating conditions.
Requirements can affect crew size, vehicles, equipment, drones and production infrastructure. Confirm the specific protected area early in pre-production; the published CONAF/ChileAtiende procedure recommends submitting professional filming requests well in advance.
Official information: CONAF protected-area resources | ChileAtiende filming procedure
PHOTO TO ADD
Protected landscape / national park production
Protected landscape / national park production
Drone Filming in Chile
Drone operations in Chile are regulated by the Dirección General de Aeronáutica Civil (DGAC). Requirements depend on the aircraft, location and type of operation, with DAN 151 and DAN 91 covering different operating circumstances.
Registration, pilot credentials and operational authorization may apply. International productions should confirm the exact coordinates and requirements before scheduling aerial filming.
Official information: DGAC: How to Operate a Drone in Chile | DGAC regulations
Before Scheduling a Drone Shoot
- Confirm exact coordinates and airspace.
- Confirm aircraft and pilot requirements.
- Allow time for required DGAC authorization.
- Confirm permission from the property or location authority.
Bringing Camera and Production Equipment Into Chile
International productions bringing professional camera, lighting, sound, grip or other production equipment into Chile should determine the customs procedure before the equipment travels. The correct process depends on the equipment, its origin, how long it will remain in Chile and whether it will be re-exported.
For temporary professional equipment, an ATA Carnet can simplify temporary admission when the goods and trip qualify. Productions that are not using a Carnet may need another temporary-admission procedure through Chilean Customs and should coordinate documentation before arrival.
Prepare a detailed equipment list with descriptions, serial numbers, values and country of origin. The traveling crew should also understand who is responsible for presenting and closing the customs documentation when the equipment leaves Chile.
Official authority: Servicio Nacional de Aduanas de Chile.
ATA Carnet for Film Equipment
Yes. Chile participates in the ATA Carnet system. Chilean Customs designated the Santiago Chamber of Commerce as the national guaranteeing organization, and the International Chamber of Commerce lists Chile in its ATA Carnet network.
An ATA Carnet functions as an international customs document for eligible goods temporarily imported and then re-exported. For a production, that can include qualifying professional equipment traveling with the crew.
The Carnet must accurately match the equipment traveling, and it must be properly presented to customs at the relevant points of export, import and re-export. A Carnet is not a substitute for location permits, drone authorization, immigration compliance or other production approvals.
ATA Carnet resources
International Chamber of Commerce — ATA Carnet country directory
Servicio Nacional de Aduanas — Chilean Customs
For crews originating outside Chile, the Carnet itself is normally obtained through the authorized issuing organization in the country or customs territory where the equipment begins its journey. The ICC directory identifies the relevant national organization.
International Film Crews: Entry and Work Authorization
Entry permission and authorization to perform paid work are separate questions under Chilean immigration law. A person admitted under Permanencia Transitoria is generally not authorized to carry out remunerated activities simply because they have been admitted to the country.
SERMIG provides an exceptional work-authorization process for holders of Permanencia Transitoria who will perform specific and sporadic remunerated activities. Its current guidance includes public performers, athletes, speakers, advisers and expert technicians as examples. The application can be made before or after entry to Chile and requires supporting documentation appropriate to the case.
This is more nuanced than saying that every foreign camera crew needs the same “film visa.” Nationality, immigration status, the person’s role, who is paying them and the nature of the activity can matter. Productions should review each visiting crew member’s situation before travel.
Important correction to older guidance: SERMIG’s current work-authorization page does not state a universal 15-business-day application rule. It says the request must be submitted at least by the business day before remunerated activities begin, during the stated processing hours. Productions should still apply well in advance rather than treating that minimum as a production-planning recommendation.
Official information: SERMIG — Work authorization for Permanencia Transitoria | SERMIG — Permanencia Transitoria
Local Film Crews and Equipment Rental in Chile
Chile has an established professional production sector, particularly in Santiago, with camera, lighting, grip, sound, drone and production-support resources available locally. For many international shoots, sourcing at least part of the package in Chile can reduce freight, customs exposure and excess baggage while giving the visiting team access to technicians familiar with local conditions.
ABSA Films sources bilingual local crews and professional camera, lighting, grip, sound and specialty equipment through established Chilean vendors and crew networks. Packages can be built around the visiting production’s preferred workflow rather than forcing the crew into a fixed house package.
For detailed service information, visit ABSA Films Fixer & Service Production in Chile.
Where to Film in Chile
Chile can cover dramatically different visual briefs without leaving the country. The practical choice is not only about scenery: distance, altitude, seasonal weather, road access, accommodation, permitting jurisdiction, communications and emergency support can materially change a production plan.
Santiago & Central Chile
Chile’s largest production base offers urban architecture, modern business districts, residential neighborhoods, industrial areas and quick access to the Andes, vineyards and the Pacific coast. Municipal boundaries matter when planning public-space filming.
Atacama Desert & Northern Chile
High desert, salt flats, volcanoes, mining landscapes and some of the driest environments on Earth. Productions must plan for long distances, altitude, sun exposure, limited services in remote zones and potentially sensitive protected or border locations.
Valparaíso & Pacific Coast
Historic urban textures, hills, ports, beaches and coastal roads are within practical reach of Santiago. Heritage areas and public-space shoots can introduce additional permissions, so exact locations should be cleared before the schedule is locked.
Patagonia & Southern Chile
Mountains, glaciers, forests, lakes, fjords and open steppe provide major landscape value, but weather changes quickly and travel can involve flights, ferries and long road transfers. Remote shoots need realistic weather holds and contingency planning.
Production Logistics: Transport, Power, Communications and Basecamp
Chile’s geography makes logistics a central creative and budget consideration. Remote locations can require 4×4 transport, dedicated drivers, fuel planning, satellite communications, generators, mobile restrooms, catering, medical planning and weather contingencies.
In Santiago and other major cities, conventional production infrastructure is much easier to source. The planning challenge increases as the production moves into high-altitude desert, mountain, island, forest or Patagonia environments.
For multi-location shoots, schedule design should account for real travel time, crew turnaround, equipment movement and the possibility that weather or access conditions affect a remote day.
Remote-production checklist
- Vehicle type and backup transport
- Fuel range and refueling points
- Power generation and charging
- Radio, cellular and satellite communications
- Catering, water and sanitation
- Medical and evacuation planning
- Altitude and weather exposure
- Equipment protection and overnight security
- Crew turnaround and accommodation
Insurance, Safety and Production Risk
Insurance requirements in Chile are not identical for every shoot. A municipality, private property owner, park authority, equipment vendor or other stakeholder may require specific documentation or liability coverage as a condition of access.
Productions should also assess risks created by altitude, remote travel, weather, water, mountains, vehicles, drones, stunts and specialized equipment. The correct response is project-specific: identify the exposure during scouting and budgeting, then build the appropriate safety, insurance and contingency plan before the crew arrives.
Audiovisual Incentives in Chile
Chile has operated the IFI Audiovisual program through Corfo to attract qualifying high-impact foreign audiovisual productions. The program is not a blanket rebate available to every shoot, and the terms depend on the specific call for applications.
For example, Corfo’s 2025 national call advertised reimbursement of up to 30% of qualified spending in Chile and up to 40% for qualifying productions carried out outside the Metropolitan Region. The program targeted high-impact foreign productions such as feature films, television series and OTT content; commercial advertising was not included in the underlying high-impact program definition.
Do not build a budget around a rebate percentage until the current call, eligibility rules, deadlines and available funding have been confirmed.
Official source: Corfo — IFI Audiovisual 2025 announcement
Key distinction
A government incentive program is different from a general tax exemption. Eligibility should be verified against the active Corfo program rather than described as an automatic “Chile film rebate.”
How Far in Advance Should You Plan a Shoot in Chile?
There is no single lead time that fits every production. A small private-location shoot may be organized relatively quickly, while a project involving multiple municipalities, national parks, drones, imported equipment, foreign crew authorizations, traffic control or remote logistics can require substantially more preparation.
As a practical production rule, start regulatory and logistics review as soon as the locations and technical footprint are known. Protected-area filming is a clear example: the current CONAF procedure instructs applicants to submit at least two months in advance. Some municipal processes have their own notice periods; Providencia, for example, currently requests at least 15 business days for its general public-space application.
Early planning also gives the production time to change a location or technical approach if a permit, airspace restriction, environmental condition or budget issue makes the original plan impractical.
Filming in Chile FAQ
Direct answers to common questions from international producers planning film, television, commercial, documentary and branded-content shoots in Chile.
Do I need a permit to film in Chile?
Not for every shoot. Permission depends on the location and production footprint. Public-space occupation, protected areas, drones, road impacts and controlled properties can each trigger separate approvals. There is no single nationwide film permit covering every production.
How do film permits work in Santiago?
Greater Santiago contains multiple communes and municipalities. Public-space permissions are therefore handled according to the authority responsible for the specific location rather than through one universal “Santiago film permit.”
How long does a filming permit take in Chile?
There is no universal turnaround. Each authority sets its own process. Providencia currently asks for at least 15 business days for its general public-space request, while CONAF instructs protected-area filming applicants to submit at least two months in advance.
Can I film on public streets in Chile?
Potentially, but using streets, sidewalks, plazas or parking areas can require permission from the relevant municipality or other authority, especially when the production occupies space or affects traffic and pedestrians.
Can I film in Chilean national parks?
Yes, subject to authorization. CONAF requires professional filming or image capture in protected areas under its administration to follow its application procedure. Commercial projects may also be subject to fees and location-specific conditions.
Do I need permission to fly a drone in Chile?
Drone operations are regulated by DGAC. Requirements depend on the type and location of the operation and can include pilot credentials, aircraft registration and operational authorization. The airspace and exact coordinates should be checked before filming.
Does Chile accept ATA Carnets?
Yes. Chile participates in the ATA Carnet system. The ICC lists Chile in its international network, and Chilean Customs has designated the Santiago Chamber of Commerce as the national guaranteeing organization.
Can I bring professional camera equipment into Chile?
Yes, but temporary imports should be planned before travel. Depending on the equipment and circumstances, an ATA Carnet or another Chilean Customs temporary-admission procedure may be appropriate.
Can foreign film crews work in Chile?
Foreign crew members must have the immigration status and any work authorization appropriate to their activities. Permanencia Transitoria does not automatically authorize remunerated work; SERMIG provides an exceptional authorization process for qualifying specific and sporadic activities.
Can I hire English-speaking film crews in Chile?
Yes. Chile has experienced production professionals accustomed to international workflows. ABSA Films can source bilingual crew across camera, lighting, grip, sound, production, locations, transport and drone departments according to the project.
Can I rent ARRI, RED and Sony equipment in Chile?
Professional cinema equipment is available through Chilean rental vendors. ABSA Films can source ARRI, RED and Sony camera packages plus lighting, grip, sound, drone and specialty equipment based on availability and the production’s technical requirements.
What is the best time of year to film in Chile?
It depends on the location and creative brief. Central Chile generally has warm, dry summers and cooler, wetter winters, while the Atacama, Andes and Patagonia have very different conditions. Chile’s Southern Hemisphere seasons are opposite those of North America and Europe.
What should productions know about filming in the Atacama Desert?
Plan for altitude, strong sun, temperature swings, long distances and limited services outside major towns. Some locations may involve protected areas or border-zone considerations, so exact coordinates matter during pre-production.
What should productions know about filming in Patagonia?
Build weather flexibility into the schedule. Distances can be large, conditions can change quickly and some locations require flights, ferries or long road transfers. Remote communications, transport and contingency planning are essential.
How far in advance should we plan a shoot in Chile?
Start as soon as locations and the technical footprint are known. Straightforward shoots may move quickly, while protected areas, drones, multiple municipalities, imported equipment and remote logistics require more lead time. CONAF currently asks protected-area filming applicants to submit at least two months ahead.
Official Resources for Filming in Chile
For regulations and applications, always confirm the current requirements with the responsible authority. These are the principal official resources referenced in this guide:
- Servicio Nacional de Aduanas — Chilean customs and temporary-import requirements.
- International Chamber of Commerce — ATA Carnet — international ATA Carnet network and national issuing organizations.
- DGAC — civil aviation and drone/RPAS regulation.
- CONAF — filming in protected wild areas administered by CONAF.
- Servicio Nacional de Migraciones (SERMIG) — immigration status and work authorization.
- Corfo — IFI Audiovisual and other investment-support programs when calls are active.
- ProChile — Film Commission Chile and international promotion of Chile’s audiovisual sector.
Regulations, fees, forms and application windows can change. This guide is production-planning information, not legal or immigration advice. Verify current requirements for the specific project before travel or filming.
Need Production Support in Chile?
ABSA Films provides fixer and service-production support for international film, television, commercial, documentary, branded-content and photography productions throughout Chile.
We can coordinate location research, permits and access, local crews, equipment, transportation, customs support, drone production, accommodation, basecamp and remote logistics around the requirements of your project.