The recent film One Battle After Another filmed extensively in San Diego County

 The recent film One Battle After Another filmed extensively in San Diego County, including desert, downtown, and border areas. Filming took place over four to six weeks in 2024 and involved multiple locations across the region. 

Filming locations in San Diego County

• Otay Mesa
  : Used for scenes near the U.S.-Mexico border. In July 2024, filmmakers worked with city, county, and federal officials to shoot scenes in the area, including next to the California Highway Patrol Commercial Vehicle Enforcement Facility.
• Downtown
  : Filming occurred in the East Village neighborhood and inside the Westgate Hotel. The hotel's governor's suite was used for a scene.
• Anza-Borrego Desert State Park
  : The dramatic desert landscape was used for high-intensity action sequences, including car chases. The final car chase was filmed at the "Texas Dip" in Borrego Springs.
• Lower Otay Reservoir
  : The production used this area as a base camp while filming car chase scenes on nearby county roads.
• Imperial Beach
  : Listed as an official filming location by the City of San Diego.
• Agua Caliente
  : The production also filmed in this area of the county.

While no major setbacks have been publicized for the San Diego filming of

One Battle After Another, the production faced logistical challenges inherent to shooting a large-scale project in diverse locations. The successful shoot was facilitated by close collaboration with local government agencies, including the Border Patrol and California Highway Patrol. 

Logistical hurdles and solutions

• Coordinating complex action sequences: The production required careful coordination with multiple agencies for action-heavy scenes.
  • In the desert, the crew filmed a "high-intensity action sequence" and car chase at the "Texas Dip" in Borrego Springs.
  • Filming at
    Otay Mesa
    , near the U.S.-Mexico border, involved working directly with U.S. Border Patrol and CHP.
• Balancing security and public access: Filming took place in heavily populated areas like downtown San Diego's East Village and
  Gaslamp Quarter
  . To avoid disruptions, some scenes were filmed late at night.
• Navigating multiple government agencies: Because the production filmed in both city and county locations, it had to coordinate with different governmental entities. San Diego's film program manager highlighted how the city and county worked together to act as a "concierge service" for the filmmakers, assisting with permits and logistics.
• Managing equipment and crew: Utilizing diverse locations from the desert to the urban core and the border required moving a large cast and crew and their equipment to several different settings over a six-week period. The
  Lower Otay Reservoir
  was used as a base camp for the desert car chase scenes to manage this. 

Positive takeaways from the San Diego shoot

Ultimately, the production seems to have overcome these challenges successfully. Public officials highlighted the positive experience and outcome:

• The diverse San Diego landscapes, including the desert and border area, appealed to the production and were an asset.
• The six weeks of filming provided a significant boost to the local economy, injecting nearly $7 million through expenses like lodging, wages, and supplies.
• Local officials and the film crew developed a strong relationship, with the county's deputy director of economic development noting that they hoped to encourage more productions to film in the area. 

The City and County of San Diego acted as a "concierge service" for the filming of

One Battle After Another by providing streamlined, one-stop assistance for all the production's logistical needs. This comprehensive support helped the filmmakers navigate the complexities of filming across a diverse range of locations and coordinate with numerous government agencies. 

Key ways San Diego assisted the production:

• Location scouting: City and county officials helped the filmmakers identify and secure a variety of suitable shooting locations. This collaboration was crucial for a film that used diverse settings, from the desert landscapes of Borrego Springs to the urban environment of downtown San Diego.
• Permitting assistance: Instead of forcing the filmmakers to deal with multiple city, county, and federal agencies separately, the local film office consolidated and expedited the permitting process. This simplified system is an effort by San Diego to attract more film productions.
• Inter-agency coordination: Film office staff facilitated communication and collaboration between the production crew and various public agencies. For example, they worked with the U.S. Border Patrol and California Highway Patrol to coordinate filming near the U.S.-Mexico border and with the County Sheriff's Department and County Fire for scenes involving weapons and explosions.
• Logistical support: The city and county helped the crew manage their equipment and operations across a large geographic area. They assisted the production in using a base camp at the Lower Otay Reservoir to facilitate filming in nearby areas.
• Building a positive relationship: By offering seamless, comprehensive service, San Diego successfully encouraged the production to extend its stay. This built goodwill and demonstrates the region's appeal to the film industry. The hope is that this positive experience will encourage other productions to film in the area. 

A prime example of San Diego expediting the permitting process for

One Battle After Another is the consolidated coordination for complex action sequences. For scenes near the U.S.-Mexico border and involving high-stakes car chases, the production needed permits from multiple government agencies, including the California Highway Patrol (CHP), U.S. Border Patrol, and the city and county. 

Rather than having the film crew file separate applications and coordinate with each agency individually, the city and county film offices acted as a central point of contact. This allowed the production to: 

• Submit their overall filming plan, including the scenes involving federal and state law enforcement.
• Receive streamlined support from film office staff who directly coordinated with all relevant departments and jurisdictions. 

The film offices took on the heavy lifting of inter-agency communication, facilitating approval for aspects like:

• Road closures for chase scenes, which required permits from both city and county transportation departments as well as coordination with police.
• Presence of "cloned" military or law enforcement vehicles and uniformed personnel, which required special authorization and close communication with law enforcement agencies to ensure public safety.
• On-set coordination during filming near sensitive areas like the international border, which required direct collaboration with the Border Patrol. 

This "one-stop" approach significantly reduced the time and bureaucratic effort for the filmmakers, allowing them to focus on production rather than navigating a maze of different municipal, state, and federal requirements. The result was a faster and more efficient permitting process for a large, multi-location movie. 

Another example of how San Diego expedited permitting for

One Battle After Another is the use of the Filming Authorization Application System, a digital platform designed for efficiency. Rather than requiring paper applications and in-person visits for every permit, the city streamlined the process through this online portal. 

The system allowed the production to:

• Centralize communication: The platform served as a single point for communication between the film crew and the various city departments involved in filming, such as Police, Fire, and Transportation.
• Handle specialized requests: The platform is specifically designed to handle complex requests, like those involving street and lane closures, special effects, and the use of weapons. For One Battle After Another, this included scenes with gunfire and explosions in places like the Anza-Borrego Desert.
• Coordinate inter-departmental approval: When the film crew needed to shut down streets in downtown San Diego's East Village or Gaslamp Quarter, the system helped coordinate approvals from multiple relevant departments simultaneously. The Special Events & Filming Department used the portal to fast-track approvals for late-night filming to minimize disruption.
• Quickly gain approval for public space usage: Because the system centralizes all filming requests for public spaces like parks, beaches, and city streets, the film was able to quickly secure permissions for its wide variety of locations. 

This digital system eliminates the need for repeated, time-consuming interactions with different municipal offices, allowing the film crew to secure the necessary permissions with greater speed and fewer administrative hurdles.

While details specific to the film

One Battle After Another are not publicly available, the city of San Diego's Filming Authorization Application System features several functions that facilitate and accelerate the process for large-scale, complex productions. For a production like One Battle After Another, which involved extensive action sequences across diverse locations, the system likely provided these specific benefits: 

Handling complex action sequences

• Centralized submission for multiple public safety reviews: Scenes involving gunfire, simulated confrontations, or special effects require review by the San Diego Police Department (SDPD) and Fire-Rescue Department. Instead of the production needing to submit separate forms to each department, the online system automatically routed the application to all relevant safety agencies. This allowed for simultaneous review, significantly reducing the waiting period.
• Automatic deadline flagging: The system likely used tiered application deadlines. For complex shoots like those for One Battle After Another, which included road closures, effects, and weapons, the system would have flagged the production's application to ensure it was submitted with the necessary lead time (up to two weeks for some special effects). This helps productions stay on schedule and avoid delays. 

Managing multiple locations

• Consolidated location management: The Filming Authorization Application System, based on the Eproval platform, allows productions to apply for permits for multiple locations on a single application. For One Battle After Another, which filmed in downtown San Diego, East Village, and the desert, this likely meant the production could manage permits for all its city locations at once rather than filing separate paperwork for each.
• Staggered location authorizations: With the Eproval-based system, productions can receive authorizations for different locations as they are approved, even if other permits are still pending. For a production moving quickly between locations, this is a major advantage. For example, the crew could receive an authorization to film at the Westgate Hotel in downtown San Diego before the desert permits had been finalized. 

Streamlined agency communication

• Standardized review workflow: When the film office routed the production's permit to city agencies like the Police or Transportation departments, the online system would have provided a standardized workflow for review. This prevents miscommunication or missed requests, particularly for complex needs like intermittent traffic control.
• Digital storage for historical context: For a large film with a prolonged schedule, the digital permit record provided a single, centralized source of information. This historical data could then be easily accessed by city staff if modifications to the original plan were needed, further expediting mid-shoot changes.

For complex scenes in

One Battle After Another—such as those involving simulated gunfire and combat—the city's Filming Authorization Application System, powered by the Eproval platform, streamlined communication with the San Diego Police Department (SDPD) by creating a centralized, real-time workflow for public safety reviews. 

Here is an example of how this process likely worked:

Scenario: The film crew needed to shoot a scene with simulated gunfire and "cloned" police vehicles in an urban area like the East Village.

Old, fragmented process:

• The production company would fill out a generic film permit application.
• The film office would manually forward the application to the SDPD's Permits and Licensing Unit.
• The police unit might have had to track down the production contact for more detailed information, such as:
  • What type of weapons are being used (prop, non-firing)?
  • Are blank cartridges involved?
  • How will the public be notified?
  • Will the fake police vehicles use lights and sirens?
• This back-and-forth communication could take days, involve multiple phone calls and emails, and lead to delays if information was lost or misunderstood. 

Streamlined, online process via the Filming Authorization Application System:

1. Online application with embedded safety forms: When the production company applied for their permit online, the system would have prompted them to provide specific details about the weapons, special effects, and vehicle usage. The application would likely include a dedicated section for "gunfire or weapons" and "cloned/faux military or law enforcement personnel/vehicles".
2. Automated notification to relevant SDPD unit: As soon as the application was submitted, the system would have automatically routed it to the correct SDPD contacts—likely a specific point-person within the Permits and Licensing or Special Events division. The online platform prevents manual errors and ensures the right people are notified instantly.
3. Real-time status tracking and collaboration: The system provides a centralized hub for communication. The SDPD reviewer could have immediately seen all the information about the complex scene and could have requested specific clarifications directly within the application's digital timeline.
   • Police could have asked: "Please provide a detailed safety plan for the prop firearms and specify how you will handle blank cartridges."
   • Production could have responded: "Here is our safety officer's certification and the manufacturer's spec sheet for the props."
4. Integrated permit conditions: Once the SDPD signed off on the safety plan, the permit could have been digitally updated with specific conditions required by the police, such as using security personnel, posting notices to the public, or requiring an on-site police officer.
5. Efficient officer detail requests: For scenes requiring police presence for traffic control or security, the system might have integrated the SDPD's Officer Detail Request Form, further centralizing the process. 
6. When
   One Battle After Another needed to film a street closure in downtown San Diego, the Filming Authorization Application System managed the process by digitizing and centralizing a complex, multi-agency effort. 
   Here is an example of how the system would have streamlined a street closure:
   Scenario: The production needs to shut down a portion of a street in the Gaslamp Quarter during late-night hours for an action sequence.
   Simplified online application
   The production's location manager would submit a single application through the online portal, specifying the exact block, dates, and times for the closure. 
   • Instead of separate forms, the application includes tiered deadlines for activities with public impact. For a street closure, the system would require the request at least one week in advance, automatically alerting staff to the necessary lead time.
   • The application includes specific sections for traffic control, parking, and public notification, ensuring all required details are captured upfront. 
   Automated, real-time agency coordination
   The system eliminates the manual forwarding of paperwork by automatically routing the application to all relevant city departments for simultaneous review. 
   • Police Department: The SDPD receives immediate notification, allowing them to review the traffic control plan and allocate officers for on-site assistance. The system can even facilitate the "SDPD Officer Detail Request" form.
   • Transportation Department: The city's Traffic Engineering section reviews the plan to ensure proper detour routes are planned and that the closure minimizes disruption to regular traffic flow.
   • Special Events & Filming Department
     : This department serves as the main coordinator, monitoring the progress of the application and ensuring all internal and external communication is tracked. 
   Managing public and business notification
   • Good Neighbor Outreach: The system integrates the city's outreach requirements, ensuring the production uploads proof of notification to all affected residents and merchants. For this Gaslamp closure, the system would track that the production sent notices to local businesses within a specified radius at least 24 hours before filming.
   • "No Parking" signs: The system helps coordinate the posting of "No Parking" signs, which are required by the SDPD 72 hours in advance of any towing. This avoids manual miscommunication and ensures enforcement is ready for the day of the shoot. 
   Digital records and status tracking
   • All communication, revisions, and approval statuses are logged within the system, creating a transparent record. Both the film crew and city staff can see the exact status of the permit at any time.
   • Once approved, the final permit and its conditions—including those set by the SDPD—are accessible digitally to the crew on site, ensuring compliance
   Filming at night in San Diego's Gaslamp Quarter for

   One Battle After Another presented unique challenges related to public interaction, managing noise, and coordinating during a busy event. The production overcame these issues through careful planning and leveraging the city's streamlined permitting process. 

   Challenges of filming in the

   Gaslamp Quarter

   • Managing crowds and onlookers: The
     Gaslamp Quarter
     is a vibrant entertainment district with active nightlife. Filming, even late at night, drew attention from pedestrians, which could disrupt takes and create safety hazards.
   • Handling noise: The quarter's numerous bars and venues produce significant noise, which can interfere with audio recording. The film crew had to work around this by filming during the quietest possible hours and possibly using specialized equipment to reduce background noise.
   • Operating alongside local businesses: The crew had to coordinate with local businesses and hotels to minimize the impact of filming, especially if any streets or sidewalks were partially closed.
   • Filming during Comic-Con: The production filmed late at night during Comic-Con. This presented an amplified challenge, as the
     Gaslamp Quarter
     and East Village areas are packed with attendees and events. The crew had to navigate dense foot traffic, with one local business owner recalling how the crew worked through the night to wrap up a scene.
   • Working with law enforcement: Coordinating with the San Diego Police Department (SDPD) was critical for any scenes involving street closures, prop vehicles, or other public safety concerns. The "concierge service" approach through the city's film office would have facilitated these arrangements. 

   Solutions and examples

   • Night-only shoots: The filmmakers deliberately scheduled filming to take place late at night and into the early morning hours, often from 1 a.m. to 6 a.m., when foot traffic from bars and restaurants would have lessened.
   • Coordinating with a local pub: The crew's work in the Gaslamp Quarter left a positive impression on local businesses. For instance, the production filmed inside and outside the
     Stout Public House
     , working closely with a local actor to schedule a night shoot.
   • Leveraging the concierge service: The city's streamlined permitting process was crucial for planning and executing the late-night shoots. The Special Events & Filming department would have worked with SDPD and the production to manage any street closures, traffic control, and safety protocols.
   • Maintaining discretion: Filming during the chaos of Comic-Con required the crew to operate discreetly and efficiently. Despite the filming taking place publicly, one reporter noted that much of it "took place without public knowledge" due to the crew's stealth. 

   The San Diego Special Events and Filming Department assists productions filming late at night by acting as a liaison and central hub, coordinating between the film crew and the various city departments, local businesses, and residents

   . This helps manage the unique challenges of filming during the night, especially in busy areas like the Gaslamp Quarter. 

   Key functions of the film office for late-night shoots

   1. Streamlined permitting and review

   • Facilitating complex requests: For late-night shoots that require street closures, special lighting, or noise, the film office helps expedite the authorization process through its online Filming Authorization Application System. Instead of contacting multiple departments, the production can submit a comprehensive request covering all needs.
   • Interdepartmental coordination: Film office staff coordinate directly with the San Diego Police Department (SDPD), Transportation, and other agencies to ensure all safety and logistical requirements are met. This prevents communication bottlenecks and ensures a faster review, especially for shoots that fall outside of regular business hours. 

   2. Managing public disruption and safety

   • Addressing noise ordinances: The city has noise ordinances that are stricter between 10 p.m. and 7 a.m. in residential areas. The film office negotiates acceptable noise levels and hours with productions, and the permit outlines specific rules to minimize disturbance to residents and businesses.
   • Public notification enforcement: The film office ensures that productions adhere to notification requirements. For late-night shoots, the production is often required to distribute flyers to residents and businesses within a specific radius, informing them of the dates, times, and activities.
   • Controlling crowds and traffic: By coordinating with the SDPD, the film office manages traffic control plans, parking restrictions, and public safety on set. This is particularly crucial in a high-traffic nightlife area like the Gaslamp Quarter, where the film office would have assisted in scheduling late-night shoots to minimize public impact. 

   3. Mediation and community relations

   • Acting as a go-between: The film office acts as a neutral third party, helping to mediate between the film crew and any affected parties, such as hotel or restaurant owners. For a film like One Battle After Another, the office likely facilitated communication between the crew and local establishments to secure shooting locations and minimize impact.
   • Leveraging local knowledge: Film office staff leverage their relationships with local businesses and community groups. This knowledge helps the production crew better navigate the area and avoid unnecessary friction with locals. 

   4. Incentives and logistical support

   • Streamlined approval for public property: The city offers no location fees for filming on public property, including streets, beaches, and parks. The film office ensures productions can efficiently secure these locations, even for late-night hours, further incentivizing filming.
   • Facilitating on-site coordination: Film office staff can visit the set during production to help resolve any issues that may arise in real-time. This on-the-ground support is especially critical during complex night shoots with many moving parts.

   For late-night filming in San Diego, including in areas like the Gaslamp Quarter, noise is regulated by the City's Municipal Code, with specific restrictions applying between

   10 p.m. and 7 a.m.. The intensity of the restriction is based on the type of zone and time of day, with special exemptions possible through a city permit for public benefit. 

   Key noise restrictions by zone

   Commercial zones (like the

   Gaslamp Quarter

   )

   • Nighttime (10 p.m. to 7 a.m.): The maximum allowable one-hour average sound level is 60 dBA.
   • Evening (7 p.m. to 10 p.m.): The limit is also 60 dBA.
   • Daytime (7 a.m. to 7 p.m.): The limit is 65 dBA. 

   Residential zones (adjacent to the

   Gaslamp

   )

   Because the

   Gaslamp Quarter

   is a mixed-use area with hotels and residential properties nearby, crews must be especially mindful of stricter residential rules. 

   • Nighttime (10 p.m. to 7 a.m.): The average sound level must be lower, with the exact limit (40-50 dBA) depending on the specific residential designation.
   • Evening (7 p.m. to 10 p.m.): Stricter limits apply during this time as well. 

   How the film office and permits manage noise

   For a major production like One Battle After Another, the city's Special Events and Filming Department grants a permit that outlines specific noise conditions. This permit can grant exceptions to the general noise ordinance by considering factors such as: 

   • Public benefit: The film office can weigh the film's potential economic benefit against the temporary noise disruption.
   • Neighborhood impact: If a shoot is determined to be less disruptive at night due to different activity levels, the permit can allow for it.
   • Noise mitigation: The film permit would require the production to take specific measures to control noise, such as:
     • Limiting hours: Scheduling loud activity to conclude as early as possible. For One Battle After Another, filming in the Gaslamp ran until 6 a.m., but the noisiest action scenes likely ended much earlier.
     • Physical dampening: Using sound blankets or baffles around generators and other loud equipment.
     • Notification: Requiring advance notice to be sent to nearby hotels and residences. 

   Ultimately, while the standard noise ordinance is restrictive, the city's film office uses a special permitting process to allow nighttime filming with specific, pre-approved conditions. This system allows filmmakers to work while ensuring that public disturbance is minimized.

Typical permit conditions for late-night filming noise levels include specific restrictions on decibel levels, strict operating hours for noisy equipment, mandated noise mitigation techniques, and requirements for notifying the public

. These conditions are negotiated and enforced by the city's film office to balance the needs of the production with the public's right to quiet. 

Typical permit conditions for noise levels

• Permitted operating hours for equipment: Even with a late-night permit, the film office usually requires that loud activities and equipment, like generators and camera cranes, operate within certain windows. For San Diego, the standard quiet hours are 10 p.m. to 7 a.m. for residential zones, though this can be extended for commercial districts. A special permit grants an exception but with strict conditions.
• Decibel (dBA) limits: While the standard ordinance has maximum decibel levels (e.g., 60 dBA for commercial zones between 10 p.m. and 7 a.m.), a permit for nighttime filming may include specific exceptions. The condition, however, often forbids "excessive, offensive or unreasonable" noise, which includes anything considered a public nuisance.
• Noise mitigation techniques: To reduce noise, productions are often required to implement specific mitigation strategies. These include:
  • "Quiet" generators: Using modern, sound-insulated generators.
  • Sound blankets: Placing sound-dampening blankets around noisy equipment.
  • Limited use of loud effects: Scheduling loud events like special effects, simulated gunfire, or fight scenes for a single take or a short window of time.
  • Restricted amplification: Using no or very low-level amplification of sound.
• Public and business notification: To manage expectations, the production company is required to notify affected residents and businesses in advance. This typically involves distributing notices detailing the filming activity, the hours, and a contact number for complaints.
• Officer details and enforcement: For shoots involving street closures or potential public interaction, the San Diego Police Department (SDPD) may be required on-site. Any noise complaints from the public are routed to the film office and SDPD. Non-compliance with the permit conditions can result in a shut-down of the production.
• Post-event review: The permit system, such as San Diego's use of Eproval, tracks compliance. A post-event review can be conducted to ensure the production adhered to the permitted conditions and noise restrictions.
• Instead of a fixed decibel limit, late-night filming permits in San Diego typically include a noise variance that allows the production to exceed normal restrictions under strict, pre-approved conditions
  . This provides flexibility for filmmakers while ensuring public disturbance is minimized. The exact decibel levels allowed depend on the specific circumstances of the shoot. 
  Standard noise ordinance vs. permit variance
  The city's standard noise ordinance generally requires reduced noise levels between 10 p.m. and 7 a.m. in residential zones and sets limits for commercial areas. However, a late-night filming permit grants an exception (a "noise variance") for a specific duration, location, and set of activities. 
  The Special Events and Filming Department grants these variances by considering factors such as:
  • The neighborhood's character and density.
  • Whether filming at night would be less disruptive than during the day.
  • The type of equipment used and the noise it produces. 
  Example of permit conditions
  For a shoot involving special effects or gunfire in downtown San Diego, like One Battle After Another, the permit would not specify a blanket decibel limit. Instead, it would include the following types of conditions:
  • Approval for specific effects: The permit would grant permission for simulated gunfire or other loud special effects during a very limited, pre-determined window (e.g., 2 a.m. to 3 a.m. on a specific night).
  • Mandatory noise mitigation: To minimize the impact of generators and other loud machinery, the production would be required to use sound blankets or "quiet" models.
  • Limited operating hours for loud equipment: The permit might limit the operation of heavy equipment to a specific block of time or require it to be shut down between takes.
  • Public notification: The production would be required to notify residents and businesses in advance, providing a contact number for complaints, which are routed to the film office and handled in coordination with the San Diego Police Department. 
  By using this variance system, San Diego can accommodate film crews with complex needs while still maintaining regulatory control and mitigating disturbances to the public.

Noise mitigation strategies for late-night filming permits in San Diego are typically a combination of physical controls, operational scheduling, and community relations, all overseen by the city's Special Events and Filming Department

. These measures are designed to minimize disturbance to residents and businesses, especially in mixed-use areas like the Gaslamp Quarter where noise ordinances are stricter after 10 p.m.. 

Physical noise controls

• Insulated generators: Productions are often required to use quiet, sound-insulated generators instead of standard, loud models. The film permit may specify the type or model of generator approved for use at night.
• Acoustic blankets and barriers: Sound-dampening blankets, also known as "sound baffles," are used to wrap around noisy equipment or placed on stands to create a temporary acoustic barrier. These are effective at absorbing noise and containing sound from generators, fans, and other machinery.
• Enclosures for equipment: For particularly loud equipment, the production may construct temporary enclosures to contain the noise. This is especially useful for machinery that must run continuously.
• Window and door management: When filming indoors at night, a permit condition may require that all doors and windows be kept closed during takes to prevent sound from escaping the building and to block outside noise from entering. 
• Operational and scheduling strategies
  • Off-peak scheduling: The permit dictates the specific hours during which loud activities can occur. The production for One Battle After Another, for instance, likely filmed its noisiest scenes in the Gaslamp during the absolute quietest hours, such as 1 a.m. to 6 a.m., when foot traffic is at a minimum.
  • Pre-event noise assessment: For complex shoots, the film office may require a noise assessment to predict the potential impact. This helps in pre-determining which scenes might need additional mitigation or stricter scheduling.
  • Limited effects runtime: The permit would strictly limit the duration and frequency of loud special effects, such as simulated gunfire. These would be scheduled for a single, designated take or a very short, pre-approved window of time. 
  Community and communication measures
  • Courtesy notifications: The production company is required to distribute notices detailing the filming schedule, locations, and contact information. For late-night filming, these notices must be delivered to affected businesses and residents in advance, informing them of the dates, times, and activities.
  • Real-time complaint response: The permit requires the production to staff a mobile phone to handle any immediate noise complaints from the public. This ensures any unexpected issues can be resolved quickly.
  • Police coordination: For scenes involving potential noise or public disruption, the film office coordinates with the San Diego Police Department (SDPD) to ensure officers are aware of the filming activity and can respond to concerns, enforcing the permit's noise conditions. 
  Instead of setting specific, quantitative decibel limits, late-night filming permits in San Diego typically operate on a variance system with qualitative restrictions

  . The Special Events and Filming Department weighs several factors to grant an exception to the standard noise ordinance, rather than issuing a fixed decibel level for every permit. 

  How the permit variance works

  The city's standard noise ordinance varies by zone and time. For example, in commercial zones like the Gaslamp Quarter, the limit is typically 60 dBA between 10 p.m. and 7 a.m.. The purpose of a late-night filming permit is to grant a variance from this standard based on the following considerations: 

  • Public interest: The film office considers the temporary economic benefits versus the public's right to quiet.
  • Neighborhood impact: The level of a noise variance depends on the character of the neighborhood, whether it is primarily residential or commercial, and the anticipated foot traffic at night.
  • Mitigation effectiveness: The permit's final conditions are based on the effectiveness of the proposed noise mitigation techniques, such as using insulated generators. 

  Example of permit conditions instead of a decibel limit

  For a shoot involving loud special effects or heavy equipment, the permit would not necessarily set a limit like "70 dBA for three minutes." Instead, it might include the following specific conditions:

  • Designated time window: Approval for the loud activity is granted for a specific, narrow window, such as between 1 a.m. and 2 a.m..
  • Pre-event notification: The production is required to give advance notice to residents and businesses detailing the noise and a contact number for complaints.
  • Controlled effects: The permit may require that effects like simulated gunfire be limited to a single take and that all crew adhere to strict protocols to minimize repeated noise.
  • Sound monitoring: In some cases, the city may require the production to perform decibel readings at specific off-site locations to ensure compliance. 

  Ultimately, the goal is not to set a precise noise limit but to manage the noise impact effectively through careful scheduling and mandatory mitigation, ensuring public disturbance remains minimal and temporary.

Typical mitigation techniques for simulated gunfire are a combination of using appropriate prop firearms, employing noise-dampening methods, and implementing strict scheduling and safety protocols. For filming late at night in San Diego, these are particularly important to minimize noise complaints from residents and businesses

. 

Prop firearm selection and safety

• Opting for alternatives to blanks: Wherever possible, productions might use non-gunfire methods to create the effect. This often involves using a function gun with no firing capability and adding the gunshot sound effect in post-production.
• Blank-firing firearms with modifications: When blanks are necessary for visual effects like a muzzle flash, the firearm is modified so no projectile can be fired. These firearms use proprietary, uniquely sized blanks to prevent the use of live ammunition.
• "Non-guns" for visual cues: In scenes that don't require the visual of a firing gun, filmmakers may use replicas made from hard rubber or metal that have no firing capability. 

Noise dampening methods

• Acoustic blankets and barriers: On-location shoots can use sound-absorbing blankets or purpose-built barriers placed strategically to absorb and direct the noise away from sensitive areas, such as hotels or apartments.
• "Quiet" blank loads: The charge in a blank cartridge can be adjusted to produce less sound while still creating the visual effect of a muzzle flash.
• Remote triggering for sound effects: Some specialized systems, like the GunShot Box, can be used to simulate realistic gunfire sound effects. These are remotely controlled and produce explosions with safe sound levels and no blank cartridges, offering a controllable noise level. 

Scheduling and communication protocols

• Late-night scheduling: The permit for filming, especially in commercial zones like the
  Gaslamp Quarter
  , requires the crew to schedule any loud activities during specific hours to minimize public disruption.
• Public notification: As a condition of the permit, the production must distribute notices to affected residents and businesses detailing the nature of the simulated gunfire, the hours it will occur, and providing a contact number for complaints.
• On-site safety protocols: A designated armorer or weapons master oversees all firearm handling and loading, ensuring strict safety protocols are followed. All cast and crew are briefed on the use of the prop firearms.
• Police coordination: The city's film office facilitates communication with the San Diego Police Department (SDPD), which can provide oversight and ensure all safety procedures are being followed during scenes involving simulated gunfire

Examples of scheduling protocols to minimize simulated gunfire noise during late-night filming in San Diego include restricting noisy scenes to specific time windows, limiting the number of takes, and carefully coordinating the entire production schedule. These measures are critical for managing public disturbance and ensuring compliance with the city's noise ordinances.

 

Restricting to specific time windows

Instead of allowing simulated gunfire throughout the night, the permit would designate a short, pre-approved timeframe for the action.

• Off-peak scheduling: The production might be required to film simulated gunfire scenes during the quietest hours of the night, such as between 1 a.m. and 4 a.m. in a commercial district like the
  Gaslamp Quarter
  , when foot traffic and noise from businesses are minimal.
• Strategic timing: If there are predictable lulls in noise from other sources, such as late-night street cleaning or delivery truck schedules, the production may coordinate around those times to minimize cumulative noise. 

Limiting the number of takes

To prevent repeated loud blasts, the permit would restrict the number of times the simulated gunfire could be performed.

• "Take-and-done" policy: For particularly complex or loud scenes, the permit might enforce a "take-and-done" policy, where the crew is allowed only a limited number of takes. This encourages efficiency and minimizes repeated noise.
• Rehearsals without noise: All rehearsals for action scenes would be conducted without firing blanks. The actors would go through their motions silently, and the simulated gunfire would only be used for the actual takes. 

Coordinating the production schedule

The overall shooting schedule is designed to group similar, disruptive activities to reduce the total time of disturbance.

• Grouping noisy scenes: The schedule groups all special effects and loud action scenes for a single night or a concentrated period. This avoids multiple, dispersed nights of noise, which is more disruptive to the community.
• Prioritizing complex scenes: Scenes involving simulated gunfire are often prioritized and scheduled for earlier in the night's shoot when the cast and crew are freshest. This increases the chances of a successful take with fewer retakes.
• Planning for contingency: The schedule builds in flexibility and "buffer time" for potential delays. This prevents the production from having to make rushed decisions to film a loud scene outside of the permitted time window. 

On-set communication and coordination

• Designated special effects window: The armorer and special effects coordinator would be given a precise window of time to set up, execute, and wrap the simulated gunfire effects. All other departments would know to complete their work before and after this period.
• Real-time updates: The production uses internal and external communication protocols to keep both the crew and the film office informed of any changes or potential issues with the loud scenes. This allows for quick problem-solving and proactive management of potential noise complaints. 

During a simulated gunfire scene, the film production must follow specific communication protocols with the San Diego Special Events and Filming Department and the San Diego Police Department (SDPD) to ensure public safety and minimize community impact

. These protocols involve initial permit application details, timely notifications before and during the event, and real-time communication channels for unexpected issues. 

Pre-filming communication

• Permit application: When submitting the Filming Authorization Application System, the production is required to disclose that it will involve gunfire or weapons. The application must include details on the type of prop weapons, planned effects (like blanks), and the proposed schedule for the loud scenes.
• Specific safety plan: The production submits a detailed safety plan, including information on the designated weapons armorer, how props will be stored and handled, and the procedures for the actual simulated gunfire. This plan is reviewed by the SDPD and the film office.
• Early warning notification: The permit requires that the film office and SDPD are notified at least one week in advance of any simulated gunfire. This gives both departments time to prepare and plan for any necessary public safety measures.
• Public notice distribution: The production is responsible for distributing courtesy notices to residents and businesses in the immediate vicinity of the shoot. This notice outlines the specific time window for the simulated gunfire, explains that prop weapons are being used, and provides a contact number for questions or concerns. 

On-site communication

• Armorer and safety officer: The production must have a qualified armorer on set to supervise the handling and use of all prop firearms. The armorer and a designated safety officer are responsible for enforcing all safety protocols and communicating directly with the on-site film office representative or SDPD if needed.
• Police liaison: For complex shoots, an SDPD liaison officer may be assigned to the production. The film office ensures the crew has direct contact with this officer to facilitate on-site communication, especially if the scene involves vehicles or street closures.
• Real-time status updates: During the hours of the scheduled gunfire, the film office is kept updated on the status of the shoot, including when the noise starts and stops. This could be managed via the Eproval platform's messaging system, which creates an auditable trail of communication. 

Communication for complaints

• Designated contact person: The public notice distributed by the production includes a phone number for direct contact. A designated person on the crew's production team is responsible for answering calls and addressing complaints.
• Routing complaints to official channels: If a member of the public contacts the SDPD directly with a noise complaint or a report of someone with a weapon, the department can immediately verify that the activity is part of a sanctioned, permitted film shoot. The SDPD or the film office can also inform the on-site crew of any ongoing complaints.
• Post-event debriefing: After the shoot, the film office may follow up with the production to address any issues or complaints that arose. This feedback helps inform future permit decisions and ensures the production remains compliant. 

Violating a late-night filming permit in San Diego can result in a range of escalating penalties, from immediate production cancellation and monetary fines to long-term denial of future permits

. The specific penalty depends on the severity of the violation, which can include breaches of noise restrictions, safety protocols, or filming outside the approved hours. 

Immediate consequences

• Production shutdown: City officials, including representatives from the Special Events and Filming Department or the San Diego Police Department (SDPD), can issue a "Cease and Desist" order for any unpermitted activity. If a film crew violates a permit, they can be immediately ordered to stop all filming. For a large production like One Battle After Another, this would cause significant financial losses.
• Permit revocation or suspension: The film permit can be revoked entirely if the production fails to comply with its conditions. A suspension can also be issued if an immediate hazard to the public is created. 

Monetary penalties

• Civil penalties: Based on the nature of the violation, the city can impose civil penalties. For example, excessive construction noise outside of permitted hours can result in civil fines starting at $250, with potential increases up to $2,500 for severe incidents.
• Administrative citations: The city can issue Administrative Citations with significant fines. For noise complaints, these can be up to $1,000.
• Cost recovery: If city staff or a third party must take action to abate a nuisance or correct a violation caused by the film crew, the city can recover those costs from the production company. 

Future permit implications

• Denial of future permits: A production company with a history of violations risks having future permit applications denied. As outlined in the city's Filming Registration Form, the "denial of film productions" is a possible consequence of violating the permit.
• Increased scrutiny: A violation could lead to increased scrutiny for any subsequent filming applications by the same company, potentially requiring additional oversight, more restrictive conditions, or a longer approval process. 

Legal action

• Judicial remedies: For serious violations, the City Attorney can file civil or criminal cases against the responsible parties.
• Criminal prosecution: In extreme cases, violations of a municipal code can be treated as a misdemeanor, potentially leading to fines or imprisonment, depending on the severity of the offense. The Filming Registration Form explicitly warns that violations could lead to "criminal prosecution".

Based on publicly available records and news reports, specific examples of

film permits being revoked by the City of San Diego are not readily accessible. The city and county's "film-friendly" approach and streamlined permitting process seem to emphasize successful collaboration rather than punitive actions. 

However, based on standard film industry practices and the city's permitting rules, a permit could be revoked for serious offenses. Potential violations that could lead to revocation include:

Exceeding noise limits and violating late-night conditions

• Persistent disturbance: A production could have its permit revoked if it repeatedly violates noise restrictions during late-night hours, particularly in residential areas. The city relies on cooperation and communication to resolve noise issues, but persistent complaints could lead to a shutdown.
• Ignoring mitigation requirements: If a film crew fails to implement the mandatory noise mitigation measures—such as using quiet generators or sound blankets—as specified in their permit, the film office could halt the production. 

Failing to follow safety procedures

• Mishandling weapons or pyrotechnics: The permit for filming scenes with simulated gunfire or pyrotechnics includes strict safety protocols reviewed by the San Diego Police Department (SDPD) and Fire-Rescue Department. A serious breach of these protocols, such as using unapproved blanks or creating a fire hazard, would likely result in immediate permit revocation.
• Creating a public hazard: If a film crew's activity poses an immediate danger to the public, police or fire officials can suspend the permit on the spot until the hazard is removed. For instance, failure to maintain safe traffic control during a street closure could trigger this action. 

Conducting unpermitted activity

• Filming outside of approved hours or locations: A permit specifies the exact times and locations for filming. If a production moves to an unpermitted location or extends filming far beyond the permitted time without approval, the film office can revoke the permit.
• Undisclosed activities: The production could face permit revocation if officials discover the crew is engaged in activities that were not disclosed in the permit application, particularly those with public safety implications. 

Failure to comply with instructions

• Refusing to cooperate: In most cases, the film office and public safety officials will first issue a warning and attempt to gain voluntary compliance. However, if the production team refuses to correct a violation after being instructed to do so, a revocation would be the next step. 

While public examples of permit revocations are scarce, the city’s ability to levy penalties and shut down productions remains a key tool for ensuring compliance and public safety. 

Violations that can lead to immediate film permit revocation in San Diego are those that pose an immediate and serious threat to public safety and welfare

. While the city prefers to achieve voluntary compliance, officials have the authority to shut down a production immediately for serious breaches of permit conditions. 

Public safety threats

• Creating a public hazard: Any filming activity that creates an immediate and uncontrolled risk to the public is grounds for instant revocation. Examples include:
  • Failing to maintain traffic control during an approved street closure.
  • Leaving heavy equipment in the public right-of-way where it blocks vehicle or pedestrian access.
• Unpermitted weapons or pyrotechnics: Filming with unapproved or undeclared special effects, such as pyrotechnics, explosives, or simulated gunfire, is a severe violation that would trigger immediate shutdown. The San Diego Police Department (SDPD) and Fire-Rescue Department must review and sign off on all related safety plans in advance.
• Blocking emergency access: Obstructing emergency vehicle access on public or private roadways is a major safety violation that can lead to immediate termination of a shoot. 

Material misrepresentation

• False information in application: Providing false information in the permit application is considered a material violation and grounds for immediate cancellation. For instance, a production that failed to disclose that it would be using prop weapons or loud special effects would face immediate revocation if discovered on set. 

Unpermitted activity

• Filming outside of approved areas: Filming at an unpermitted location or expanding the shooting area beyond the approved footprint can lead to a shutdown, especially if it endangers the public.
• Exceeding permitted hours with public disturbance: While noise issues are often handled with a warning first, persistently exceeding permitted hours with loud activities that generate numerous public complaints could lead to an immediate shutdown, especially in noise-sensitive, mixed-use areas like the
  Gaslamp Quarter
  . 

Refusal to cooperate

• Defiance of official instruction: If a production is ordered to cease a hazardous activity and refuses to comply, officials have the right to physically prevent public access and stop the filming. 

In practice, city officials will typically attempt to work with the production to resolve an issue before resorting to revocation. However, for any offense that immediately jeopardizes public safety, the process is streamlined to prioritize a quick and definitive shutdown.

Examples of productions shut down for safety violations often involve serious incidents that directly endanger cast, crew, or the public. While public data on San Diego permit revocations for safety violations is limited, similar incidents in California and the broader film industry offer clear examples of the kinds of safety violations that could lead to an immediate shutdown.

 

Unsafe special effects: The Rust tragedy

The 2021 fatal shooting of cinematographer Halyna Hutchins on the set of the independent film Rust is a high-profile example of a shutdown caused by a catastrophic safety failure.

• The violation: The production failed to follow standard protocols for the safe handling of firearms and blanks. An armorer failed to properly check and manage prop firearms, leading to a live round being present and fired on set.
• The consequence: Production was immediately and indefinitely halted. The incident led to a full investigation by the New Mexico Occupational Health and Safety Bureau, criminal charges, and extensive legal action. This incident sent shockwaves through the industry, leading to increased scrutiny and tighter regulations regarding weapons safety. 

Inadequate safety protocols during natural disasters: Westworld wildfires

In 2017, the production of the HBO series Westworld was temporarily shut down due to nearby wildfires in Southern California.

• The violation (and safety measure): While not a permit violation in the traditional sense, the shutdown was a proactive safety measure taken by the production company and local authorities. Although the set itself was not immediately threatened, the poor air quality and danger from the spreading fire created an unsafe working environment for the cast and crew.
• The consequence: Production was suspended until the fires were contained and officials determined it was safe to resume filming. This highlights that safety violations extend beyond internal protocol to external factors that make a set unsafe. 

Obstructing emergency services: A hypothetical San Diego example

A production filming in the

Gaslamp Quarter

could face immediate revocation if it blocked access for emergency services, a common permit violation risk.

• The violation: A permit might approve a street closure for filming between 1 a.m. and 6 a.m., with strict conditions that emergency vehicles must have uninterrupted access at all times. If the crew, perhaps due to miscommunication, parks a key equipment truck in a way that obstructs the path of a fire engine or ambulance responding to a real-world emergency, it would trigger an immediate shutdown.
• The consequence: In this scenario, the San Diego Police Department (SDPD) or Fire-Rescue Department would order a "Cease and Desist" and clear the area immediately. The city would likely revoke the permit for the remainder of the shoot, issue heavy fines, and potentially deny future permits to the production company. 

These examples illustrate that the most severe consequences are reserved for violations that pose direct and immediate threats to life, property, or public services.