Hoodlum provides practical, fixer-led Film Production Services in Myanmar for international documentary, factual television, current affairs, commercial, branded, cultural and carefully assessed location productions. Myanmar can offer Yangon streets, colonial and modern architecture, river environments, religious sites, markets, agricultural settings and distinctive regional production value, but every project must be planned around current security conditions, crew entry, Ministry of Information requirements, location permissions, customs, communications and transport. Through Hoodlum’s wider film fixer network in Asia, we help producers evaluate whether a shoot is feasible, prepare an authority-ready production file, source local support and build a security-led plan before travel.

Hoodlum’s international production services connect permits, locations, crew, customs, drones and logistics through one production plan.

Why Film Production Works Well in Myanmar

Myanmar can provide production value that is difficult to recreate elsewhere in Southeast Asia. Yangon combines dense street movement, markets, residential districts, religious architecture, river access, industrial edges and layers of twentieth-century urban fabric. Central Myanmar can provide dry-zone textures, agricultural landscapes, waterways, monasteries, historic settlements and long road perspectives. The country is relevant to documentaries, factual series, cultural programmes, carefully framed current-affairs work, development stories, humanitarian subjects, history, architecture and selected commercial productions.

That production value comes with an unusually demanding operating environment. Myanmar should not be treated as a destination where a foreign crew can arrive, hire a vehicle and begin filming informally. Authority expectations, censorship considerations, sensitive subjects, checkpoints, communications disruption and sudden changes in local access can all affect a schedule. A location that appears technically available may be inappropriate or unsafe by the time the crew is due to travel.

Hoodlum approaches Myanmar through feasibility first. We review the editorial subject, intended contributors, locations, crew profile, equipment, data plan and travel route before recommending a production structure. Our international production services are designed to turn the creative brief into a documented, risk-aware and locally supported operating plan rather than promising access that cannot be responsibly delivered.

Yangon is normally the most practical base for an international production working in Myanmar. It offers the strongest concentration of accommodation, vehicles, translators, production assistants, local producers, equipment contacts, private medical options, communications and authority-facing support. Yangon International Airport is also the usual entry point for crew and professional equipment, making the city the logical place to complete arrival procedures and hold the first production briefing.

The city can support interviews, controlled interiors, commercial properties, hotels, offices, religious exteriors, market context, riverfront material, transport sequences and general street coverage where permission and subject sensitivity allow. Filming around government buildings, military or police facilities, protests, checkpoints, strategic infrastructure and politically sensitive sites must be excluded unless explicit written authority has been obtained and a current security assessment supports the activity.

A Yangon schedule should be built around verified access rather than a long speculative shot list. Hoodlum’s local fixer confirms who owns or controls each site, whether a location release is sufficient, whether municipal or ministry awareness is needed, and whether the proposed camera footprint will attract unwanted attention. We also plan secure vehicle loading, low-profile movement, data handling, backup communications and daily route checks. Even when the entire production is Yangon-based, the operational plan must remain flexible enough to react to local restrictions or changes in the security environment.

Mandalay and central Myanmar can be relevant for productions focused on craftsmanship, religion, agriculture, river systems, historic urban development, transport, trade and dry-zone landscapes. Mandalay has a different visual and logistical character from Yangon, with broader roads in parts of the city, monastery complexes, workshops, markets and access to the wider central region. However, infrastructure damage, route disruption and changing security conditions must be checked immediately before any movement.

Naypyitaw is an administrative capital with government compounds, wide roads and highly controlled environments. It is not a casual location option. Productions considering Naypyitaw need clear purpose, formal introductions and specific permission for any government-facing access. The same caution applies to airports, bridges, telecommunications sites, power infrastructure and transport nodes throughout Myanmar.

Regional travel should never be confirmed from an old recce report. Hoodlum reassesses road conditions, checkpoints, curfews, accommodation, medical support, communications and current advisories for the proposed dates. A journey that was possible during development may not remain appropriate during production. We therefore build go/no-go decision points into the schedule and maintain an alternate Yangon-based plan. This protects the crew and gives the producer a practical fallback when access changes after flights, visas or permits have already been arranged.

Bagan is one of Myanmar’s most recognisable heritage environments, but it is also a protected archaeological landscape rather than an unrestricted visual backdrop. Commercial photography, video or film activity around protected ancient monuments may require written permission under Myanmar’s heritage framework. The relevant route can involve the Department of Archaeology and National Museum, local site management, religious custodians, the Ministry of Information and other authorities depending on the production.

A production file for Bagan should explain the editorial purpose, crew size, exact monuments or viewpoints, dates, hours, equipment footprint, lighting, sound, drone intentions and proposed movement through protected areas. Productions must expect restrictions on tripods, tracking equipment, lighting placement, physical contact with structures, access outside public hours and any activity that could disturb worshippers or visitors. Separate consent may be needed for interiors, monks, ceremonies, museum material or controlled archaeological areas.

Religious imagery requires particular care throughout Myanmar. Filming should be respectful in framing, clothing, footwear, contributor interaction and the handling of sacred representations. Hoodlum coordinates a culturally briefed fixer and confirms which custodian can authorise the requested activity. We also build extra time for site inspections and revisions. The correct approach is to adapt the shot plan to conservation and religious requirements, not to arrive with a commercial schedule that assumes exclusive control of a living heritage environment.

Myanmar’s rivers, delta environments, agricultural areas and rural communities can support documentary, environmental, food, livelihoods, development and cultural productions. The Yangon River and selected accessible parts of the Ayeyarwady system may offer working waterfronts, ferries, villages, agriculture and river transport. Any regional plan must still be tested against conflict exposure, flood conditions, checkpoints, local authority control and the reliability of boat or road access.

Community filming depends on proper introductions and informed contributor consent. A local fixer should explain who is producing the programme, where it will be shown, what participation involves and whether payment, expenses or location contributions are proposed. In sensitive communities, the production must also consider whether appearing on camera could create risk for contributors after the crew has left. Editorial ambition cannot override contributor safety.

Field movement requires conservative scheduling. Roads can deteriorate during the monsoon, bridges may be damaged, fuel and power can be inconsistent, and communications may drop outside major centres. Hoodlum plans suitable vehicles, vetted drivers, safe accommodation, water, power, data backups, route reporting and an extraction option. We do not route crews through areas simply because they offer strong visuals. Each field location must pass a practical access and security review, and the production should retain the ability to reduce the crew or relocate the sequence without undermining the entire shoot.

Best Time of Year to Film in Myanmar

Myanmar has a tropical monsoon climate, but production conditions vary sharply between the dry central zone, the humid south, river and delta areas, mountain regions and conflict-affected territories. Weather planning cannot be separated from access and security planning because rain, flooding, road damage, landslides, heat and local restrictions may all affect the same route.

The generally drier period between November and February is often the most workable window for exterior filming in Yangon, Bagan and parts of central Myanmar. Temperatures are usually more manageable, rainfall is lower and road movement can be more reliable. March and April can become extremely hot, particularly in central areas, which affects crew endurance, equipment cooling, vehicle scheduling and the length of exterior shooting days.

The monsoon period, broadly from May through October, can create heavy rain, high humidity, flooding and slower regional movement. Productions considering river, delta, rural or remote work should build additional travel time, weather holds, equipment protection and alternate locations into the schedule.

Productions filming in Myanmar should plan around:

• High heat before the monsoon
• Heavy seasonal rain and flooding
• Humidity and condensation affecting cameras and sound equipment
• Road and bridge conditions outside major cities
• Changing access restrictions and curfews
• Limited medical and communications support in some regions
• Backup plans that can be activated without regional travel

Hoodlum helps crews assess the proposed filming window against current access, weather, transport and security conditions before travel is confirmed.

Visa and Entry Requirements for Crew

Foreign crew members should begin with the official Myanmar eVisa portal and the relevant Myanmar embassy or consulate. The correct entry route depends on nationality, purpose, port of entry, length of stay and whether the crew will undertake professional activity. A tourist permission should never be assumed to cover paid filming, journalism, commercial production or technical work.

The crew file should normally include passport scans, passport photographs, employment role, company details, invitation or sponsor information, travel dates, accommodation, return or onward travel, filming purpose and local contact information. Journalists, factual crews and productions involving public-interest subjects may face a different level of scrutiny from a small corporate or privately commissioned shoot. The wording used across visa, invitation, filming and customs documents should be consistent.

Hoodlum helps producers map the entry process to the shoot schedule and identify where local legal or immigration advice is required. We do not describe a visa as approved until the issuing authority has confirmed it. Crew members should also carry printed and digital copies of their travel documents, local contact information and filming correspondence while moving in Myanmar. Because rules and operating conditions can change at short notice, the production should reconfirm entry requirements immediately before ticketing and again before departure.

International Crew Accreditation and Work Permissions

International crew accreditation and work permissions in Myanmar depend on the production type, the crew member’s role, the visa category and the authority route used for filming approval. A business eVisa or embassy-issued visa does not automatically authorise every form of professional filming, journalism, technical work or paid production activity.

A visiting production should prepare one consistent crew file covering the production company, commissioning client or broadcaster, project title, synopsis, crew roles, passport details, travel dates, local sponsor or production partner, accommodation, equipment and intended filming locations. Camera operators, directors, producers, presenters, journalists, sound recordists, drone operators and specialist technicians may be reviewed differently depending on the subject and the authority involved.

The Ministry of Information’s Motion Picture Development Division is responsible for film and video licensing functions, censorship supervision and assistance with internal and external shoots. Productions should therefore confirm the correct route before crew members travel and should not describe professional filming as tourism simply to obtain easier entry.

Hoodlum helps align immigration documents, crew lists, invitation letters, filming correspondence and customs paperwork so that the production presents the same accurate information at each stage.

Film Permits and Production Approval

Myanmar does not present international producers with a simple public one-stop film commission. Film and media coordination can involve the Ministry of Information, including its film, video, information and censorship functions, alongside local or subject-specific authorities. The correct approval route depends on whether the project is documentary, news, factual entertainment, commercial, feature, branded, institutional or privately commissioned.

A professional application should set out the production company, commissioning client or broadcaster, synopsis, editorial purpose, script or treatment, crew list, passport details, filming dates, locations, contributor categories, equipment, intended distribution and local production partner. Authorities may request revised wording, additional context, script review or confirmation that sensitive sites and subjects have been removed. The production should not conceal the true nature of the project in order to obtain a simpler visa or location letter.

Hoodlum prepares a coherent production file and manages communication through the appropriate local channel. We also identify site-specific permissions that sit outside the main film approval. These may include heritage, municipal, religious, transport, private property, port, airport or institutional consent. A general approval should not be read as permission to film every location named in a creative treatment. Final call sheets are issued only after the relevant access has been reconfirmed and the security review remains current.

Private Locations and Location Agreements

Private locations in Myanmar are generally arranged through the owner, occupier or authorised manager, supported by a written location agreement. The agreement should cover dates, hours, permitted areas, crew size, equipment, power, parking, fees, property protection, privacy, cancellation and wrap-out. In apartment buildings, compounds, hotels or commercial sites, the apparent owner may not control common areas, security gates or exterior filming, so these points must be checked separately.

Public filming may require local authority awareness or permission, particularly when the production uses tripods, lighting, traffic management, generators, large vehicles or visible talent. Streets and markets are also socially sensitive spaces. A fixer should manage introductions, contributor releases and the distinction between general background and identifiable participation.

Sensitive locations require a much stricter exclusion test. Crews should not photograph or film police, military personnel, checkpoints, demonstrations, government security sites or strategic infrastructure without explicit written authority. Religious buildings and tourist sites can also carry filming and drone restrictions. Hoodlum marks these controls directly on the location plan and crew briefing. We prefer a smaller, controlled setup over a conspicuous unit that increases exposure. The goal is not merely to secure a signature; it is to ensure that the planned filming remains lawful, culturally appropriate and operationally safe on the day.

Drone Filming Requirements

Drone work in Myanmar carries legal and security risk that is substantially higher than in many production territories. Official travel guidance warns that bringing in or using a drone without the necessary permissions can result in confiscation, criminal penalties or imprisonment. In the present conflict environment, drone activity may also be interpreted through a security lens even when the production purpose is commercial or documentary.

Hoodlum will not build aerial filming into a Myanmar schedule unless written import and operational permissions have been secured, the exact locations have been reviewed, the local authority route is clear and the current risk assessment supports flight. The production should be prepared for drone filming to be refused or removed from the plan. Approval for one location should not be treated as nationwide permission, and flights near airports, government buildings, religious sites, military or police facilities, infrastructure, crowds or conflict-affected areas should be assumed restricted unless an authority states otherwise in writing.

Where aerial context is creatively important, we assess safer alternatives such as licensed archive, elevated ground positions, fixed rooftop access, cable-supported cameras or a different country doubling for the shot. A foreign operator should not carry a drone into Myanmar on the assumption that permission can be negotiated after arrival. Equipment customs, radio-frequency considerations, operator credentials, insurance and data handling must all be addressed before travel.

Equipment Customs Clearance

Professional filming equipment entering Myanmar should be declared and planned through Myanmar Customs before the crew travels. The customs authority publishes procedures for temporary admission and airport clearance, but the exact treatment of a production package depends on the equipment, purpose, value, import route and supporting approvals. A local customs broker or experienced production partner may be required.

The equipment manifest should include each camera, lens, sound recorder, radio, monitor, light, battery system, grip item, laptop, storage device and specialist accessory, with make, model, serial number, quantity, value and country of origin. Drone equipment and radio transmitters must be identified separately because other permissions may apply. Invoices, packing lists, permits, licences and a re-export undertaking may be requested. The crew should carry identical copies of the manifest used for pre-clearance and ensure that every temporarily imported item leaves the country.

Hoodlum helps align the customs file with the filming approval and crew travel plan. We also advise on whether local rental or a reduced package will lower risk and simplify arrival. Productions should not schedule a critical scene immediately after landing. Clearance can be delayed by documentation questions, inspections, system availability or changes in authority requirements. A buffer day, secure storage and a plan for essential hand-carried equipment are sensible production protections.

Safety and Security for Productions

Myanmar is currently a high-risk production environment. Armed conflict, arbitrary enforcement, checkpoints, curfews, communications controls, landmines in some areas and rapid changes in local authority can affect international crews. Government travel advisories from several countries warn against travel to all or significant parts of Myanmar. A production decision must therefore be based on professional security advice, insurer acceptance, duty-of-care review and the exact location and subject, not on a general assumption that major cities remain normal.

Hoodlum starts with a written risk profile. We review the crew’s nationalities and roles, editorial sensitivity, contributor exposure, accommodation, routes, medical options, communications, data security, evacuation triggers and the ability to suspend the shoot. We avoid demonstrations, political gatherings, military or police sites and unverified rural routes. The team should carry passports and relevant permissions, follow curfews and checkpoint instructions, and maintain a low public profile.

Communications cannot be treated as guaranteed. Internet services and mobile networks may be restricted or interrupted. The production should establish check-in windows, offline maps, duplicated contacts, secure data procedures and a response if a crew vehicle misses a scheduled report. Sensitive rushes, contributor details and contact lists require a deliberate data policy. Hoodlum’s risk-led production support is designed to protect people first; a scene is replaceable, but crew and contributor safety is not.

Myanmar’s monsoon, heat, humidity, cyclone exposure and earthquake risk affect production planning. Heavy rain can make roads impassable, delay river movement, damage bridges and interrupt power or communications. The dry season may improve access in some regions but can bring heat, dust and water-management demands. Coastal and delta plans need a conservative weather margin, particularly around cyclone seasons.

Crews should seek professional travel-health advice for their route and season. Medical support outside major cities can be limited, so the production should assess evacuation options, suitable insurance, prescription supplies, first-aid capability, food and water controls, mosquito protection and heat management. A crew working in remote areas needs a different medical plan from a small interview unit based in Yangon.

Earthquake damage can also affect roads, hospitals, hotels and location safety long after the initial event. A building that is available for filming should still be assessed for safe access, power and emergency egress. Hoodlum incorporates weather holds, route alternatives, backup interiors, spare power, rain protection, data redundancy and cancellation triggers into the schedule. The right contingency plan is not a paragraph in a risk document; it is a set of practical alternatives that the line producer can activate without waiting for a crisis.

Myanmar Film Rebate and Cash Rebate Incentive

International producers should not build a Myanmar budget around an assumed national cash rebate. Any project-specific support, local sponsorship, government cooperation or institutional access should be confirmed in writing through the relevant authority or commissioning partner. The financial case for Myanmar is usually based on editorial relevance, access and production value rather than an automatic incentive mechanism.

The budget should instead make realistic allowance for development, local producing, fixer preparation, authority submissions, translations, visa work, customs, transport, security review, contingency days, controlled accommodation, communications and alternate locations. A small crew can reduce visibility and logistics, but it still needs adequate local management. A low quote that omits customs support, security checks or proper contributor handling is not a reliable production budget.

Hoodlum prepares a transparent local cost framework linked to the approved schedule. We separate fixed bookings from variable field costs and identify items that may change if a location is removed or a route becomes unavailable. Exchange conditions, cash access and payment controls should also be reviewed before travel. Producers should keep an accessible contingency rather than committing every line to the creative plan. In Myanmar, budget flexibility is part of operational safety.

How the Main Approvals Fit Together

The biggest mistake in Myanmar is assuming that one approval covers the whole production. It does not.

A visa or eVisa confirms the crew member’s immigration status, but it does not automatically approve filming. Ministry of Information correspondence may support the production, but it does not replace permission from a private owner, religious custodian, heritage authority, municipality, airport, port or other site controller. A location agreement secures access to a property, but it does not authorise drone use or filming of sensitive infrastructure. Customs clearance allows equipment to enter temporarily, but it does not confirm where or how the equipment may be used.

A workable Myanmar production plan connects every layer:

• Immigration confirms how each crew member enters and whether the stated purpose is accepted.
• Crew and work checks confirm whether professional activity is compliant.
• Film approval confirms the production’s subject, locations and operating framework.
• Site permissions confirm access to private, religious, heritage and institutional locations.
• Drone permissions confirm whether aerial equipment may be imported and operated.
• Customs clearance confirms how cameras, sound, lighting and specialist gear enter and leave.
• Security planning confirms whether the approved schedule remains safe and realistic.

Hoodlum’s role is to keep these requirements connected and to stop the production from treating separate approvals as interchangeable.

When Myanmar Is the Right Choice

Myanmar may be the right production choice when the story is genuinely connected to the country and cannot be responsibly told elsewhere. It can support carefully assessed documentaries, cultural and historical programmes, development or humanitarian projects, architecture, food, religion, river livelihoods, controlled interviews and selected brand or institutional work with a clear local partner.

The country is less suitable for productions that require spontaneous public filming, aggressive street coverage, rapid movement across several regions, politically sensitive access, extensive aerial work or a large visible foreign unit. It is also inappropriate when the commissioning timetable leaves no room for visa, ministry, customs, location and security review. A creative treatment should not be allowed to force travel into an area that insurers, security advisers or local partners consider unsafe.

Hoodlum helps producers reach an evidence-based decision. We can test the brief, identify a reduced and safer version, propose remote or locally led filming, or recommend an alternative territory when the risk cannot be controlled. That advice is part of responsible international production management. The strongest Myanmar production is not necessarily the one with the largest footprint; it is the one that secures the necessary access while protecting crew, contributors and local partners.

Common Mistakes to Avoid

A common mistake is treating a general business or tourist entry permission as automatic authority to film. Visa status, professional activity, media approval, customs and location consent are separate questions and should be aligned before travel.

Another mistake is using an old recce, a tourism itinerary or a local contact’s informal assurance as proof that a regional route is safe. Myanmar conditions can change quickly. Every movement, hotel, checkpoint exposure and communications plan must be reconfirmed for the actual production dates.

Drone assumptions create particularly serious risk. A crew should not pack a drone because it has flown elsewhere in Asia or because the operator holds an international qualification. Myanmar requires prior permission, and the current conflict makes unauthorised aerial activity especially dangerous.

Productions also underestimate censorship and subject sensitivity. Scripts, treatments, interview themes, locations and visual references may attract review. Hiding the editorial purpose can expose the crew and local partners to greater risk.

Finally, crews sometimes overpack and overschedule. Large equipment manifests complicate customs, while multi-region call sheets create route and security pressure. Hoodlum recommends a lean package, controlled locations, realistic buffers and a clearly authorised local fixer. In Myanmar, disciplined production design is not a limitation on creativity; it is what makes any responsible filming possible.

How Hoodlum Supports Local Production

A capable local fixer is central to any Myanmar production. The fixer translates the brief into locally workable language, identifies the appropriate authority route, arranges contributors, negotiates private locations, checks roads and curfews, coordinates vehicles and keeps the producer informed about changes that may not be visible from outside the country. For sensitive projects, the fixer also helps the production understand what cannot responsibly be filmed.

Local crew availability varies by city and by the current operating environment. Yangon is the strongest base for production assistants, translators, drivers, camera support, sound contacts and local producers. Specialist equipment and internationally familiar technical crew may be limited, so the final crew split should be decided only after an audit of local capability. Bringing every item and crew member from abroad can increase visa, customs and visibility risk; relying on unverified local availability can create a different set of failures.

Through Hoodlum’s production services network, we build the crew around the real shoot rather than a generic list. We coordinate call sheets, transport, accommodation, secure loading, cash controls, contributor management, releases, meals, power, data backup and daily check-ins. The production manager and local fixer should have authority to stop or modify a setup when conditions change. In Myanmar, that operational discipline is more valuable than an overambitious schedule.

Hoodlum provides fixer-led production support for international crews that need a realistic assessment of filming in Myanmar. Our work begins before travel with development research, local feasibility, security review, authority mapping and a production file that presents the project consistently.

We support crew entry planning, Ministry of Information coordination, location research, private access, heritage enquiries, customs documentation, local crew sourcing, transport, accommodation, contributor liaison, translation, call sheets, data planning and daily field management. Where a project cannot safely use a foreign crew, we can assess a locally led or remote-production structure. Where drone filming is not approvable or appropriate, we develop alternatives rather than encouraging informal operation.

Our producers connect Myanmar planning to Hoodlum’s wider Asia production network, allowing a commissioner to compare access, risk, costs and visual alternatives across the region. We remain careful about what can be promised because permissions and conditions may change. The objective is to give the producer a defensible plan, clear decision points and one accountable local coordination structure.

For a current feasibility assessment, contact Hoodlum with the synopsis, dates, crew nationalities, locations, equipment list and intended distribution. The more accurate the initial information, the more useful the production advice will be.

FAQ Section

Do international film crews need a visa for Myanmar?

Yes. Crew members need the appropriate entry permission for their nationality and purpose. The official Myanmar eVisa system includes tourist and business routes, but a production should confirm whether its professional filming activity requires additional sponsorship, accreditation or ministry approval.

Is there a Myanmar film commission?

Myanmar does not offer a simple public one-stop film commission for foreign crews. Film, video, information and censorship functions can involve the Ministry of Information, with additional approvals from local, heritage, religious, aviation, customs or site authorities.

Is permission required to film in Myanmar?

Professional filming usually requires prior coordination. The production should submit an accurate synopsis or treatment, crew details, dates, locations, equipment and local partner information and should confirm each site-specific permission separately.

Can foreign crews film in Yangon?

Yangon can support controlled interviews, private locations and selected public filming, subject to current permissions and security conditions. Government, police, military, protest, checkpoint and strategic-infrastructure filming should be excluded unless explicitly authorised.

Can film crews use drones in Myanmar?

Only with the necessary written permissions and a current security assessment. Unauthorised import or use can lead to confiscation, arrest or imprisonment. Hoodlum does not recommend carrying a drone into Myanmar without pre-approved import and operational documentation.

How is professional equipment cleared through Myanmar Customs?

The production should prepare a detailed manifest with serial numbers and values and confirm the temporary-admission route before travel. Myanmar Customs may request invoices, packing lists, licences, permits and re-export documentation. A local broker may be needed.

Can a production film at Bagan or other protected monuments?

Commercial filming at protected ancient monuments may require prior written permission. The Department of Archaeology and National Museum, site custodians, religious authorities and the Ministry of Information may all be relevant depending on the proposed activity.

Is Myanmar safe for an international film crew?

Myanmar is currently a high-risk environment. Multiple governments advise against travel to all or significant parts of the country. Any production requires professional security advice, insurer approval, a location-specific risk assessment and clear cancellation or evacuation triggers.

Does Myanmar offer a film rebate?

A public national cash rebate should not be assumed. Any project-specific support must be confirmed directly with the relevant authority or partner. Budgets should focus on permissions, local producing, customs, security, transport and contingency.

What does a Myanmar film fixer do?

A Myanmar film fixer helps assess feasibility, identify authority routes, arrange contributors and locations, coordinate transport and translations, monitor local changes and manage the daily production. In the present environment, the fixer also plays a central role in risk communication.

External Authority Links

• Official Myanmar eVisa Portal
• Ministry of Immigration and Population
• Ministry of Information
• Department of Civil Aviation Myanmar
• Myanmar Aeronautical Information Services
• Myanmar Customs
• Myanmar Customs Procedures
• Department of Archaeology and National Museum
• UK Government Myanmar Travel Advice
• US Government Burma Travel Advisory

Planning a shoot in Myanmar? Contact Hoodlum for film permits, government authorisations, journalist accreditation, visa and regional travel support, local fixers, customs clearance, drone coordination, security planning, risk assessment and full on-ground production management. You can also view the Hoodlum Film Fixers Myanmar Google Business Profile for local production details.