Scout at the hour you'll film
Write every answer on one scout sheet. Check the city's rules separately, because each North Texas city and each property sets its own.
Compare conditions during the actual filming window rather than relying on a visit at a different hour. Visit on the same weekday and at the same time as the planned shoot, and walk the route the crew will take from the vehicle to the set.
Bring three things: the address and the list of spaces you hope to use, a phone for photos of each space, and the person who can answer questions about the building. Photograph rooms, not people, and keep customer details, screens and paperwork out of your photos.
Address, access, parking and loading
Confirm access before choosing a camera position:
- the exact address, building and suite, and the entrance the crew should use;
- where a vehicle can stop to unload, and where it can park for the whole shoot;
- whether parking is paid, time-limited or reserved, and who arranges a pass;
- the route from vehicle to set: stairs, elevators, heavy doors, door codes;
- building hours, security check-in, badges or escorts;
- who unlocks the door on the day, and how to reach them.
If unloading or parking would use a public street or curb, treat that as a separate question for the city. As of October 2026, for example, the City of Dallas lists parking on a restricted curb lane among its commercial filming permit situations. Other cities word things differently. Dallas commercial filming guidance
Sound: find every interruption
Test speech in the actual space rather than assuming later editing will resolve an interruption. Stand still in each space for one minute and write down everything you hear. Then use this table to ask the right questions.
Scroll horizontally to see the full table.
| Source | Where to look | What to ask |
|---|---|---|
| Air conditioning and air handling | Vents, ceiling units, rooftop equipment | Can it be paused for takes, and who controls the thermostat? |
| Refrigeration and ice machines | Kitchens, bars, break rooms, storage | Can it pause for a few minutes? The business decides what is safe to switch off |
| Background music, TVs, paging | Ceiling speakers, waiting areas | Who controls it, and can it be off during filming? |
| Phones, door chimes, printers | Front desk, offices | Can they be silenced or moved away from the set? |
| Traffic, sirens, construction, leaf blowers | Street side, neighboring lots | Which side of the building is quieter, and at what times? |
| Aircraft | Overhead | How often did a plane pass during your scout? |
| People | Staff areas, customer flow | When is the quietest hour for an interview? |
Compare two possible interview rooms by listening and making a permitted test recording. Note audible reflections, interruptions and which room gives a usable answer. The room size or appearance alone does not decide the choice.
Light: windows, time of day and fixtures
Record:
- which way each window faces, when direct sun reaches the room, and whether blinds or shades can control it;
- overhead fixtures that buzz, flicker or mix colors, and whether they can be switched off by zone;
- mirrors, glass and screens that will reflect lights or crew;
- signs, logos, notices or artwork you don't want in frame.
For exterior shots, note where the sun sits at your shoot time and what's behind the subject. Make the observation near the shoot date and record the time; revisit the plan if the date changes.
Power and technical needs
- Count the outlets near each set and ask whether they're switched.
- Ask the facilities contact which outlets share a circuit, and have the production team confirm the intended equipment load. Do not guess an outlet rating or alter electrical systems.
- Plan cable routes away from walkways and doors.
- If anything appears on a screen in the shot, decide who supplies the file and who checks it.
- For events, ask who runs the house sound and how a recording feed works. Our conference audio guide covers that conversation.
Make the plan practical.
Keep your answers and unresolved questions together before the project conversation.
Use the worksheetSpace for people and gear
Mark the full interview footprint: space between the speaker and the background, room for the camera and lights, and a path that doesn't cross customer traffic. Note:
- the room size and ceiling height of each set;
- a staging area for cases and a place for people to wait;
- a private room for changing or a quiet moment before going on camera;
- which areas stay open to customers or staff during the shoot;
- site safety rules: protective equipment, sign-in, escorts and no-go areas.
Who approves the space, in writing
Permission comes from whoever controls each space, and that isn't always the business you're filming:
- the owner or tenant of the business;
- the landlord or property manager, for shared areas or if the lease requires it;
- the venue's event manager, for hotels, conference centers and rented spaces;
- the event organizer, if the shoot is part of someone else's event;
- the relevant authority for public-space use, and any local process that applies to the actual activity.
Ask each one what they need from you, and when. Read the full current official checklist and resolve every condition with the responsible office; this scout worksheet is not that checklist and does not confirm eligibility or permission to proceed. Separately arrange the releases for people featured in the video.
Check the city’s filming requirements
There is no single regional filming rule. The Texas Film Commission says it does not issue film permits and that public-property permits are typically handled by the city, depending on who owns the property. Use the current local process for the specific address. Texas Film Commission permitting overview
Scroll horizontally to see the full table.
| City | What its official page says | Our guide |
|---|---|---|
| McKinney | City application route; Parks check before park/trail requests; the official FAQ gives at least 15 days to submit | Check the official city sources below |
| Frisco | Professional filming guidance explicitly names public and private property | Frisco planning |
| Dallas | City-property, public-access and curb-use questions require an activity-specific check | Dallas planning |
These are selected planning points, not complete permit requirements. Check McKinney's filming page, its official FAQ, Frisco's filming section and Dallas's commercial filming page. Follow the full applicable checklist and written determination rather than using another city's private-property answer.
For any other city, find that city's own page for your address, and ask the city office when your plan doesn't fit its wording. More city guides live in Local shoot planning.
This is general information, not legal advice. The city and the property owner decide what applies to your shoot.
Plan the fallback before you leave
Every location has a weak point. Before you leave the scout, write down what you'll do if it fails: a second room if the first is noisy, a different angle if the sun moves, a backup date if access falls through. Name the person who decides and the time they decide by. If any part is outdoors, add the heat and lightning checks from planning an outdoor shoot in North Texas.
The location-scout worksheet
Copy this into a document and fill in one sheet per location. Date every answer.
A. Address and access
Scroll horizontally to see the full table.
| Check | Answer | Confirmed by / date |
|---|---|---|
| Address, building, suite | ||
| City (confirm city limits, not just the mailing address) | ||
| Crew entrance and load-in point | ||
| Unloading spot and all-day parking | ||
| Route to set: stairs, elevator, doors, codes | ||
| Building hours, security, badges, escorts | ||
| Person who opens up on the day, and how to reach them |
B. Sound (one-minute listen at the shoot hour)
Scroll horizontally to see the full table.
| Check | Answer | Can it be paused? Who controls it? |
|---|---|---|
| HVAC and air handling | ||
| Refrigeration or machines | ||
| Music, TVs, paging | ||
| Phones, chimes, printers | ||
| Traffic, construction, outside noise | ||
| Aircraft passing during scout | ||
| Quietest hour for interviews |
C. Light
Scroll horizontally to see the full table.
| Check | Answer |
|---|---|
| Window direction and direct-sun times | |
| Blinds or shades available | |
| Fixtures that buzz, flicker or mix colors; switchable? | |
| Reflections: mirrors, glass, screens | |
| Items to keep out of frame |
D. Power and technical
Scroll horizontally to see the full table.
| Check | Answer |
|---|---|
| Outlets near each set; switched? | |
| Shared circuits to avoid | |
| Safe cable routes | |
| Screen content and who supplies it | |
| House sound or AV contact (events) |
E. Space and people
Scroll horizontally to see the full table.
| Check | Answer |
|---|---|
| Room size and ceiling height per set | |
| Staging area for gear | |
| Waiting or changing room | |
| Areas open to customers or staff during the shoot | |
| Site safety rules | |
| People on camera; releases arranged | |
| Private information to keep out of frame |
F. Approvals
Scroll horizontally to see the full table.
| Who | What they approved | In writing? Date | What they need from you |
|---|---|---|---|
| Business owner or tenant | |||
| Landlord or property manager | |||
| Venue or event organizer | |||
| Relevant authority and applicable local filming process |
G. Contingency
Scroll horizontally to see the full table.
| Risk | Fallback | Decision maker | Decide by |
|---|---|---|---|
| Noise | |||
| Light | |||
| Access or approval | |||
| Weather (outdoor parts) |
How we can help
Production projects are quoted per project, line by line, after a 15-minute call, with a proposal within 24 hours of the call. A completed scout sheet, sent with your inquiry, gives us the address-level detail a proposal needs. See video production.