The Location Managers Guild International (LMGI) is the largest organization of Location Managers and Location Scouts in the motion picture, television, commercial and print production industries. Their membership plays a vital role in the creativ
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LMGI COMPASS | Summer 2026 • 19 person. For me, the third season of Narcos, when it filmed in Cali, did both. Cali had never before faced a production of that scale. The logistical magnitude, technical complexity and narrative intensity—constant chases, vehicular special effects and multiple urban locations—demanded a level of coordination that went beyond the norm. It wasn't just about finding visually suitable locations but about ensuring they could support high- risk scenes, continuous movement and technical precision. It was a demanding process and profoundly formative. It forced me to think strategically about every decision, to anticipate scenarios and to work with a discipline that raised my professional standards. That's when I knew this region could take on international-scale projects. Another memorable moment was Triple Frontier in Bogotá. This learning experience was different. More than the technical aspects, what remained etched in my memory was the relationships I forged with the community. An entire neighborhood transformed its daily life for weeks. Transportation routes were modified, building facades were altered and schedules and routines were adjusted. But the most significant aspect wasn't the physical transformation, but the emotional one. When filming wrapped, the project ceased to be "a foreign film" and became a story that also belonged to those who lived there. A sense of participation and shared memory was created. Both projects, though different in nature, were pivotal in my career. One taught me rigor and scale. The other, the human dimension of the craft. If there's one thing I've learned over the years, it's that a great production isn't measured only by its budget or its international reach, but also by how well it integrates into the place that hosts it. Stevie: DOES COLOMBIA OFFER ANY INCENTIVES TO HOLLYWOOD FILMMAKERS? DD: Yes, Colombia now boasts a robust, competitive and strategically designed incentive framework to attract large- scale international productions. This is not merely a matter of isolated tax benefits but rather a strengthened legal and operational framework aimed at positioning the country as a reliable destination in the global audiovisual market. The cornerstone of this framework is Law 1556, which established highly attractive financial mechanisms for foreign studios and production companies. Through the Audiovisual Investment Certificate (CINA), productions can access a tax credit equivalent to 35% of expenses incurred for audiovisual services in the country. This certificate is transferable, making it a financially flexible and negotiable tool within the Colombian tax system. Simultaneously, the Colombia Film Fund (FFC) offers a direct cash-rebate scheme that can reach 40% for audiovisual services and 20% for logistical expenses such as lodging, transportation and meals. This combination of tax credit and cash rebate creates a financial structure that is competitive compared to other territories in the region. However, the true value of these incentives lies not only in the percentage. Their strength lies in the ecosystem that supports them. Colombia has developed experienced technical teams, Rio Negro Bridge