What is a Location Coordinator?

Core Duties of a Film Location Coordinator

The location coordinator's workload is administrative-heavy but operationally critical. Their responsibilities span the entire production lifecycle — from pre-production prep through principal photography and into location wrap.

Permit Applications and Film Office Liaison

One of the most time-sensitive responsibilities a location coordinator holds is managing the permitting process. On productions shooting in cities like Los Angeles, New York, Atlanta, or Chicago, permits must be obtained from multiple municipal authorities — the city film office, county agencies, state transportation departments, utility companies, and sometimes federal land management agencies.

The coordinator is responsible for:

• Submitting permit applications to city and county film offices (e.g., FilmLA, NYC Mayor's Office of Media and Entertainment)
• Tracking permit statuses and expiration dates across all active locations
• Ensuring permits specify every production activity that will occur — including stunts, smoke effects, pyrotechnics, prop weapons, and drone operation
• Coordinating fire safety officers and police officers required by permit conditions
• Filing amendments when shooting plans change
• Maintaining a permit binder or digital tracker with all active and completed permits

Missing a permit, or having a permit that doesn't cover the actual activity, can shut down an entire shooting day. The coordinator's attention to detail here is non-negotiable.

Neighbor Notifications and Community Relations

Production companies are often required — by permit condition or by courtesy — to notify residents and businesses near filming locations. The location coordinator drafts, prints, and distributes neighbor notification letters that detail:

• Dates and hours of filming
• Expected noise levels or light usage (e.g., night shoots)
• Temporary parking restrictions or street closures
• Production contact information for complaints or questions
• Compensation information for affected residents (where applicable)

The coordinator also manages community goodwill — fielding calls from neighbors, escalating complaints to the location manager, and ensuring the production maintains positive relationships that allow for repeat use of locations or referrals.

Parking and Transportation Logistics

Securing parking for cast, crew, base camp, and production vehicles is a logistical puzzle the coordinator solves daily. This involves:

• Identifying and negotiating parking lots or street zones near each location
• Coordinating with the transportation coordinator on base camp needs (trailers for cast, wardrobe, makeup, catering)
• Arranging shuttle routes when base camp is distant from set
• Obtaining temporary no-parking orders from the city
• Communicating parking information for the daily call sheet

Basecamp Layout and Setup Coordination

The coordinator creates and distributes basecamp maps — annotated diagrams showing where each trailer, generator, catering truck, and production vehicle will be positioned at the location. These maps are shared with the transportation department and posted on the daily call sheet so everyone arrives knowing exactly where to go.

Vendor Coordination and Contracts

Locations departments work with a wide range of vendors: portable toilet companies, generator suppliers, traffic control companies, location equipment rental houses, and property owners. The location coordinator:

• Solicits bids and manages vendor relationships
• Issues purchase orders in coordination with the production office
• Tracks delivery and pickup schedules for equipment
• Manages location agreements and property use contracts, ensuring they are signed before production arrives
• Submits invoices and check requests to accounting

Location Reports and Documentation

Throughout production, the coordinator maintains a running record of all location-related activity. This includes:

• Location reports — Formal records of activity at each location, including crew call times, wrap times, incidents, and damages
• Location folders — Complete packages (permit copies, property contact info, maps, safety notes) distributed to key crew
• Damage documentation — If a location sustains any damage, the coordinator works with the location manager and production insurance to document and resolve it

Scout Support

When location scouts are actively searching for new locations, the coordinator provides logistical backup — booking hotels for location scouts traveling out of town, processing mileage reimbursements, and organizing photo submissions for the director and production designer's review.

Wrap Coordination

At the end of a location's use, the coordinator oversees wrap logistics: ensuring all location equipment is removed, restoration is completed (if required by the location agreement), security deposits are reclaimed, and final invoices are submitted. The coordinator is often the last point of contact with property owners to sign off on condition reports.

Skills Required to Work as a Film Location Coordinator

The location coordinator role demands an unusual combination of administrative precision, interpersonal skill, and on-the-fly problem solving. Below is a detailed breakdown of the competencies that define strong performance in the role.

Permit Process Knowledge

Understanding local, county, and state permitting systems is arguably the most specialized skill a location coordinator brings to the job. This includes:

• Knowledge of city film office permit applications (FilmLA, NYC MOME, FilmDenver, Georgia Film Office, etc.)
• Understanding of what activities require which permits (stunts, explosions, aerial drones, prop weapons, night shoots, street closures)
• Familiarity with state film commission processes for productions shooting on public lands
• Federal land permitting (Bureau of Land Management, US Forest Service, National Park Service) for productions shooting in national parks or wilderness areas
• Insurance certificate requirements that accompany most permits

Location coordinators in major markets (LA, NY, Atlanta) develop deep knowledge of local film offices and build direct relationships with film commission staff — relationships that can expedite approvals and solve last-minute problems.

Budget Tracking and Financial Coordination

The locations department has its own budget lines that the coordinator helps manage in partnership with the location manager. Key competencies include:

• Tracking location fees, permit costs, parking costs, and vendor invoices against the approved locations budget
• Submitting purchase orders and check requests to the production accountant
• Managing petty cash and processing expense reports from ALMs and location assistants
• Flagging overage risks to the location manager and production manager early
• Reconciling location invoices against actual spend at the end of each location use

Vendor Management

Coordinators work with a large roster of vendors whose services are booked, scheduled, and invoiced through the coordinator's office. Strong vendor management means:

• Maintaining a preferred vendor list with reliable contacts for each service category
• Getting competitive bids for major expenditures
• Clearly communicating call times, pickup times, and logistical requirements
• Following up to confirm delivery schedules
• Managing vendor disputes or service failures quickly so they don't affect the shooting day

Communication and Cross-Departmental Coordination

The location coordinator sits at the intersection of multiple departments and must communicate clearly and concisely with all of them. This requires:

• Daily written communication with the production coordinator for call sheet accuracy
• Radio communication with the 1st AD and on-set ALM during shooting days
• Written and verbal communication with property owners and neighbors (often non-industry civilians who need patient, clear explanations)
• Coordination with the transportation coordinator on base camp positions and shuttle routes
• Briefing the DP, art department, and stunts team on what each location permits or restricts

Mapping and Location Software

Modern location coordinators are expected to be proficient with digital tools that help visualize and share location information:

• Google Maps and Google Earth — For site overview, directions, and satellite imagery
• Scout (SetScouter, Locations Hub, etc.) — Location database and scouting management platforms
• Setkeeper / Movie Magic Budgeting — Budget and production management software used by some locations departments
• StudioBinder, Celtx, or similar — For accessing call sheets and breakdowns
• Digital permit management systems used by some city film offices

Attention to Detail

A permit filed for the wrong date, a neighbor letter with the wrong address, or a basecamp map that doesn't account for a fire lane — these small errors cause large problems on set. Location coordinators must have an obsessive attention to detail across dozens of concurrent tasks.

Problem-Solving Under Pressure

On any shooting day, something will change: a permit gets delayed, a property owner has a last-minute concern, a scheduled parking lot becomes unavailable. The coordinator's ability to solve these problems quickly — without escalating every issue to the location manager — is what separates a good coordinator from a great one.

Organizational Systems

Given the volume of documents, contacts, and schedules a location coordinator manages, strong personal organizational systems are essential:

• Shared folder structures for permits, location folders, contracts, and maps
• Spreadsheet trackers for permits, vendors, and schedule changes
• Contact databases for property owners, permit contacts, and vendors
• Email filing systems that allow for rapid retrieval of any document

Interpersonal and Negotiation Skills

Location coordinators regularly negotiate — with property owners over fees or access terms, with vendors over pricing, with permit offices over approval timelines. They also manage conflict — calming upset neighbors, mediating between on-set crew needs and property owner restrictions, and advocating for their department's needs within the broader production hierarchy.

Location Coordinator Film Salary: What to Expect

Location coordinator compensation in film and television varies significantly based on market, union status, production budget, and experience level. Below is a detailed breakdown of typical rates across major production markets.

Weekly Rate Ranges

Film location coordinators working on non-union or low-budget independent productions typically earn:

• Entry-level / low-budget independent: $1,200–$1,800/week
• Mid-level independent / cable TV: $1,800–$2,500/week
• Studio features and major network/streaming productions: $2,500–$3,500+/week

Weekly rates on high-end productions (major streaming series, studio tent-pole features) can exceed $3,500/week for experienced coordinators, particularly in high cost-of-living markets like Los Angeles and New York.

Annual Income Estimates

Location coordinators rarely work 52 weeks per year — most production roles involve gaps between projects. Accounting for typical production cycles:

• Working 35–40 weeks/year (typical active coordinator): $52,000–$140,000 annually
• Strong years (multiple overlapping projects, streaming work): $90,000–$160,000
• Early career (limited credits, smaller markets): $40,000–$60,000

According to the U.S. Bureau of Labor Statistics, film and television production occupations have continued to see wage growth in major metro markets, driven by demand from streaming platforms.

IATSE Rates by Market

On union productions, minimum rates are set by IATSE collective bargaining agreements. Rates differ by local and production type:

Los Angeles (IATSE agreements)

• Location coordinators on IATSE-covered productions in LA typically earn $2,800–$3,500/week at scale, depending on the specific agreement (Basic Agreement, Low Budget Agreement, etc.)
• Productions covered by the IATSE Basic Agreement (major studios) tend to pay the highest rates

New York

• New York union productions generally track close to LA rates, with location coordinators earning $2,500–$3,500/week at scale under applicable IATSE agreements

Atlanta / Georgia

• Georgia has become one of the largest production markets in the US due to its generous tax incentive program
• Non-union rates are common on many Georgia productions; coordinators typically earn $1,500–$2,500/week
• Streaming and studio productions in Atlanta increasingly work under IATSE agreements, pushing rates toward $2,500+/week for covered productions

New Mexico

• IATSE Local 480 covers crew on many productions in New Mexico
• Location coordinators under Local 480 agreements typically earn $1,800–$2,800/week depending on the production budget tier

Comparison to Related Roles

Role

Typical Weekly Rate

Location PA

$800–$1,200/week

Location Coordinator

$1,500–$3,500/week

Assistant Location Manager

$2,000–$4,000/week

Location Manager

$3,500–$7,000+/week

Factors That Affect Coordinator Pay

• Production budget — Studio features and major streaming series pay significantly more than independent films
• Market — LA and NY rates are highest; regional markets (New Mexico, Georgia, Louisiana) vary
• Union vs. non-union — IATSE-covered productions pay minimum scale with overtime rules; non-union rates are negotiated directly
• Credits and experience — Coordinators with major credits can negotiate above scale on non-union projects
• Project duration — A 6-month streaming series provides more financial stability than a 5-week indie feature

Frequently Asked Questions About Film Location Coordinators

What does a location coordinator do in film?

A location coordinator handles the administrative and logistical management of a film or TV production's locations department. Their primary responsibilities include processing permit applications, distributing neighbor notification letters, coordinating parking and basecamp logistics, managing vendor contracts and invoices, creating location information packages for crew, and maintaining all location-related documentation. They work directly under the location manager and serve as the primary link between the locations department and the production office.

What is the difference between a location coordinator and a location manager?

The location manager leads the entire locations department and is accountable for all creative and logistical decisions related to filming locations — including working with the director and production designer on which locations to use, negotiating with property owners, and managing the department's budget. The location coordinator works under the location manager and focuses on the administrative execution of those decisions: permits, paperwork, vendor bookings, and cross-departmental communication. The location manager is on set and in the field; the coordinator is largely office-based with strong field communication.

What is the difference between a location coordinator and a location scout?

A location scout's primary job is finding potential filming locations — driving around, photographing sites, and building a library of options for the location manager and director to review. A location coordinator is not primarily a scout; their focus is on managing the administrative and logistical systems once locations are selected. On smaller productions, one person may perform both roles, but on larger productions they are distinct jobs.

How do I become a film location coordinator?

Most location coordinators start as location production assistants (PAs), working on set to learn the operational side of the department. From there, they build a network, gain credits, and either advance to assistant location manager (ALM) positions or move directly into coordination roles on smaller productions. Strong candidates typically have experience in administrative coordination, event production, or project management. Building relationships with working location managers — through on-set PA work, industry events, and LMGI networking — is the primary career driver in this field.

What permits does a location coordinator handle?

Location coordinators manage permits from city film offices (such as FilmLA or the NYC Mayor's Office of Media and Entertainment), county agencies, state transportation departments, and federal land management agencies for productions shooting in national parks or wilderness areas. Permits must specifically cover all production activities at a location — including stunts, special effects (smoke, fire, explosions), prop weapons, drone operation, and night shoots. Missing coverage for any activity can result in a production being shut down on the day.

What is the Location Managers Guild International (LMGI)?

The Location Managers Guild International (LMGI) is the leading professional organization for location professionals in the film and television industry. It advocates for location department crew, presents annual awards recognizing outstanding location work, and provides educational and networking resources. Aspiring location coordinators use LMGI events to build relationships with working location managers. Full membership typically requires existing member sponsorship and a qualifying credit history in the department.

How much does a film location coordinator make?

Film location coordinators typically earn between $1,500 and $3,500 per week, depending on production budget, market, and union status. On major studio or streaming productions in Los Angeles or New York, experienced coordinators working under IATSE agreements can earn $2,800–$3,500/week at scale. On independent productions or in regional markets like Atlanta or New Mexico, rates typically range from $1,500 to $2,500/week. Annual income for an active coordinator working 35–40 weeks per year generally falls between $52,000 and $140,000.

Is the location coordinator role union or non-union?

Location coordinator work can be both union and non-union depending on the production. On major studio and streaming productions that operate under IATSE collective bargaining agreements, location coordinators may be covered by the applicable local (which varies by region — IATSE Local 480 in New Mexico, for example). Many independent productions and smaller productions operate non-union, where rates and terms are negotiated directly. Working under an IATSE agreement typically means defined minimum rates, overtime rules, and health/pension contributions.

Education and Training for Location Coordinators

There is no single required degree for becoming a location coordinator. The role is primarily a skill-based, experience-driven position. That said, certain educational backgrounds and training programs provide a meaningful foundation.

Degree Programs That Help

While not mandatory, the following degrees are commonly held by working location coordinators:

• Film Production (BFA or BA) — Provides a broad understanding of production workflow, crew hierarchy, and industry terminology
• Production Management — Focuses on the administrative and logistical side of production, directly relevant to the coordinator role
• Communications or Media Studies — Useful for understanding the industry landscape
• Urban Planning or Geography — Occasionally a background for those drawn to location scouting and site logistics
• Business Administration — Helps with vendor management, contracts, and budget tracking responsibilities

Top programs with strong industry placement for production roles include:

• USC School of Cinematic Arts (Los Angeles)
• NYU Tisch School of the Arts (New York)
• AFI Conservatory (Los Angeles)
• Georgia State University (Atlanta — growing production hub)
• Vancouver Film School (Canada — strong US co-production ties)

The Location PA Path: How Most Coordinators Actually Start

The most common entry point into the locations department is working as a locations production assistant (Location PA). Location PAs are the ground-level crew who handle parking cones, hang permit signs, manage pedestrian flow, and assist ALMs on set. From there, the typical progression is:

1. Location PA / Location Assistant — Learning the on-set side of locations work
2. Assistant Location Manager (ALM) — Managing individual locations day-to-day, liaising with crew on set
3. Location Coordinator — Transitioning to the administrative and logistical coordination role (some people move from PA directly here)
4. Location Manager — Leading the department and accountable for all location decisions

Some coordinators arrive via the production office — working as production coordinators or production assistants — and transition into the locations department through relationships with location managers who need strong administrative talent.

Location Managers Guild International (LMGI)

The Location Managers Guild International (LMGI) is the primary professional organization for location professionals in the film and television industry. While membership is primarily geared toward location managers and assistant location managers, the LMGI is an important networking resource for coordinators aspiring to move up in the department.

The LMGI offers:

• Annual awards recognizing outstanding location work
• Educational workshops and industry events
• A directory of members used by studios and producers when hiring
• Mentorship connections within the locations community

Membership in the LMGI typically requires sponsorship from existing members and a track record of credits in the locations department.

Union Membership: IATSE Locals

Location coordinators on union productions may work under IATSE jurisdiction, depending on the market and the specific production agreement. The relevant locals vary by region:

• IATSE Local 480 (New Mexico) — Covers locations department crew on productions in New Mexico
• IATSE Local 728 (Studio Electrical Lighting Technicians, Los Angeles) — Some location professionals in LA fall under Local 728 jurisdiction on certain agreements
• IATSE Local 399 (Transportation) — Relevant when location and transportation departments overlap in responsibilities

Union membership is typically obtained through a combination of qualifying hours and sponsorship. For coordinators working in major markets, joining the appropriate IATSE local significantly expands job access on studio and network productions.

Key Skills to Develop Before Entering the Field

Coordinators who break in quickly tend to have strong prior experience in:

• Administrative work (office coordination, scheduling, filing)
• Event production or logistics management
• Government or permit processing roles
• Project management in any industry

Strong Microsoft Office and Google Workspace skills — especially spreadsheets and shared documents — are table stakes for the role. Familiarity with production management software is an increasingly valuable differentiator.