The permit question comes up on every single production we do. Do we need one? What does it cover? What happens if we don't get one? After years of shooting across all five boroughs, here's what we actually know.
Who issues permits in NYC
The Mayor's Office of Media and Entertainment (MOME) handles all film, TV, and commercial production permits for New York City. Their website (nyc.gov/film) is genuinely useful. The office also provides a dedicated Film Desk at 1 Centre Street that can answer specific questions about locations, equipment staging, and crew sizes. They are not the enemy. They're a resource.
When you legally need a permit
In New York City, you need a permit anytime you're shooting with professional equipment on public property — streets, sidewalks, parks, bridges, subway platforms — and have a crew of two or more people. That's a broad definition that technically covers a lot of documentary and run-and-gun work. In practice, enforcement is inconsistent. The NYPD will more actively intervene in Midtown Manhattan than in a quiet residential block in the Bronx.
What a permit actually costs
For an independent production (defined as a budget under $500,000), the standard MOME permit fee is $300 per day. This is extraordinarily cheap for what you get: legal right to occupy a public location, a point of contact if police approach you, and the ability to request a police presence if needed. Applications take a minimum of two business days; give them five if you can.
Parks are a separate system
NYC Parks has its own permitting process, separate from MOME, and their fees are structured differently. A shoot in Central Park, Prospect Park, or any other city park requires a Parks filming permit on top of any MOME paperwork. Budget extra time and extra fees for any park location — they're worth it, but they have more rules.
The subway: don't
Filming on the NYC subway system requires a permit from the MTA, which involves a separate application, a production fee, and MTA staff presence during the shoot. It's expensive and logistically complicated. For the vibe of a subway scene without the hassle, the unused station at the New York Transit Museum in Brooklyn is frequently permitted and far easier to work with.
Our actual approach
We permit the anchor locations — the ones we're committing significant crew time to, where we can't afford to get shut down. For transitional shots, coverage, and incidental street photography, we work lean and fast without paperwork. The key is knowing which locations carry real risk and which ones don't. That knowledge is a function of experience in this specific city, which is part of what we bring to every production.
Making something in New York City? We'd like to hear about it.
hello@emberstudios.nyc →