Production fixers in Barcelona, working all of Spain. Send the brief, we put the right people on the ground. Nothing on the invoice that wasn't on the shoot.
or write to hola@losfixers.com
You get the structure and nothing bolted onto it. Every euro on the budget turns up on the day and does a job. That is the entire idea, and it is why we come in under a production house without cutting a single corner that matters.
Real crew, real kit, real permits, real insurance. Line by line, at what it costs, with one fee on top that you agreed before we started.
What it does not mean is cheap people. The camera operator, the sound recordist and the gaffer are the same names a production house would book. We just aren't charging you for the floor they'd have sat on.
Every brand, broadcaster and agency with a football budget is now pointing at Spain. Not one of those 26 plays for Real Madrid, which has never happened before, and it has moved the centre of gravity north.
We don't sell you the players. Their agents do that. We're the part that comes after: the crew outside the hotel at 06:00 with the permit already signed.
We're based here, not parked here. Anywhere on the peninsula or the islands, we're on the ground the next morning with a local core already booked.
The jobs that land Tuesday and shoot Friday. That's the whole business.
Camera, sound, lights, grip. Built to your call sheet by lunchtime.
Rooms, lighting, roaming crew, back-to-back turnarounds.
Two-camera setups, translator on hand, files delivered same night.
Photographer, assistants, digi-tech, a location that clears.
A city in a day. Gimbal, drone, dawn light, no drama.
City filming permits, road closures, drone clearance, insurance.
Camera, lights, grip, transport. Local rates, no hidden markup.
Spanish, English, Arabic. The call that unlocks the thing.
You won't have to explain how it works at either end.
We've spent years inside Gulf productions and we live in Spain now. We know how an approval chain in Riyadh actually moves, how client attendance really works, what Ramadan does to a schedule, how a protocol day runs and who has to nod before anything happens.
We also know what a Spanish crew will and won't accept, how a permit gets signed rather than promised, and what happens to a call sheet at three in the afternoon in August.
Most jobs that go wrong on this route don't go wrong on the shoot. They go wrong in the gap between two ways of working. There is no gap here. Same team on both ends, one budget, no handover.
Dates, a rough idea, a budget range. That's enough to start.