✨ Can it really be done?
We test the brief against real access, time, budget, daylight, noise, travel and permissions. “Yes” is only useful when it survives contact with Tuesday.
From Málaga to Manilva, every permit, every door, every prawn.
Great telly without killing anyone in the process. Staff first. No bullies. That is the whole company.
Seven days. Three videos. Not a penny on ads. We don’t chase the algorithm. It chases us.
BBC. Channel 4. Channel 5. ITV. Twenty commissions. We were making shows before your other fixer had a logo.
Development, production and fixing under one roof. The same people from day one to final frame. Nobody gets passed to a mate.
Great telly without killing anyone in the process. That is the whole company. It also happens to make better telly.
Permits before your flight lands. 320 days of sun. A Pomeranian in charge. Bring the brief. We bring the rest.
Every industry has them. Most companies look at the floor. We name the behaviour, we protect the people it lands on, and we make the programme anyway.
Runner to exec. Same respect, same credit, same right to say no. Nobody on a Ballsy shoot goes home smaller than they arrived.
We know the entire process, so you don’t pay to learn it. Permits, crew, locations, budgets — fixed weeks in advance. That saves companies thousands. Every time.
Factual is our specialism and where we are totally unique. Bring a true story, a hunch, a half-idea. We’ll try our very best to make it higher quality, more cinematic and harder for a commissioner to say no to.
Not a slogan. A promise. Fed, paid, rested, credited and listened to. Cared-for crews shoot better pictures. We have twenty years of proof.

TV fixer and production company on the Costa del Sol. Twenty years of UK broadcast across the BBC, Channel 4, Channel 5 and ITV. Twelve of them living in Spain. Ask us anything. Daft questions welcome. We have heard them all and we answer every one, usually before your coffee cools.
Real people answer. No call centre. No attitude. Just experience, and a Pomeranian who thinks he runs it.
Costa del Sol TV fixing
Need a Costa del Sol TV fixer for your production crew? Ballsy.tv sorts the locations, permits, contributors, people, kit and logistics—then remains contactable after you have paid the deposit. Revolutionary stuff.
The 30-second answer
A proper fixer turns the editorial brief into a shootable local plan: feasibility, contributors, locations, permits, crews, kit, transport, parking, translation and shoot-day problem solving across Marbella, Málaga and the Costa del Sol. Ballsy.tv also tells you when Plan A has become fan fiction.
The job
The title sounds like one person with a phone. In practice, good fixing is editorial instinct, production management, local relationships and controlled suspicion—all applied before the camera arrives.
We test the brief against real access, time, budget, daylight, noise, travel and permissions. “Yes” is only useful when it survives contact with Tuesday.
Public roads, beaches, parks, municipal buildings, parking and traffic arrangements can involve different authorities and paperwork. We stop your application touring Spain without you.
A view is not a location until talent, crew, kit, power, toilets, vehicles and lunch can reach it. Instagram has omitted several operational details.
Research, approaches, translation, expectations, releases and welfare. We protect the relationship so the contributor arrives informed—not surprised by a camera and a stranger holding a boom.
Local producers, camera, sound, lighting, runners, drivers, translators, boats, cars, animals and specialist access. Nobody is hired because their cousin owns a very impressive van.
We manage access, movements, neighbours, contributors, schedule changes and the tiny unexpected event now blocking three departments and wearing a municipal uniform.
Today’s production panic prevented
A drone is not a personality. It still needs permission, paperwork and somebody who knows where it may legally fly.

One coast, several rulebooks
Marbella, Mijas, Fuengirola, Torremolinos and Málaga are different municipalities. A production moving thirty kilometres can enter a new process, a new fee structure and a new interpretation of “quick.” This is why local coordination matters.
Handheld actuality, tripod interview, lighting, drone, generator, track, road control, parking, unit base and public management all change the request. “Two cameras” does not describe the occupation.
Municipal film office, tourism, police, beaches, parks, highways, port, heritage site, private owner or concession operator. Occasionally several of them form a small administrative boy band.
Synopsis, activity description, dates, schedules, exact mapped areas, crew and vehicle details, insurance, equipment and special effects. Vague forms return as detailed delays.
A permit does not reserve your sunrise, control a crowd or persuade a restaurant to stop dragging chairs during the interview. We plan the human layer too.
What to send us
You do not need a locked production bible. You do need enough truth for us to distinguish a documentary interview from the accidental closure of Puerto Banús.
The access works. The contributor arrives. The vehicle is where it should be. The crew gets the shot. Nobody in London learns the name of the crisis because it never got promoted to one.
Questions from the production office
Winging it is excellent for seagulls. Television benefits from slightly more paperwork.
A fixer turns the brief into a workable local plan: permits, locations, contributors, crew, suppliers, transport, parking, access, translation and shoot-day problem solving. A good fixer also tells you when the original idea needs changing before the change becomes expensive.
Professional filming in public spaces generally requires the relevant municipal permission. The route depends on municipality, location, footprint, equipment, parking, traffic impact and activity. Private property permission does not automatically cover the public road outside it, no matter how confidently somebody waves from the balcony.
Official guidance commonly recommends at least 15 working days for public-space occupation or traffic arrangements, while straightforward requests may sometimes move faster. Start a month ahead when possible. Complex sites, drones, roads, ports, protected areas or special activity can need longer.
Yes. We can build a fully local team or fill the gaps around a fly-in UK core. The right answer depends on the editorial style, equipment, reporting lines and how much of your baggage allowance you want to devote to stands.
Call us. We will be honest about what is possible and what is merely a very enthusiastic sentence. Private access, crew and logistics can sometimes move quickly; formal permissions remain controlled by the relevant authority.
Permit requirements, charges and lead times vary by authority and activity. Ballsy.tv confirms the current process for each production; this guide is not a permit or legal advice wearing a nice font.
Keep digging

Three more useful pages. Zero pop-ups asking whether you enjoy websites.
The boss is hangry. Uber Eats is an hour late. 708,351 people have watched him wait. The receipt is real. The onions were not authorised.
Apologise to the CEO →
Most fixers in Spain are logistics. Ballsy.tv is a UK broadcast team that lives on the Costa del Sol — so your permits, your access and your editorial come from people who have sat in your commissioning meeting. Marbella, Fuengirola, Málaga, Ronda, Jerez, Sotogrande and everywhere the unit van can reach.
BBC, Channel 4, Channel 5 and ITV. Brand work for British Airways and Virgin. A fixer who has also been the producer you are trying to please.
Town-hall permits run 10–15 working days and every ayuntamiento is different. We know which desk, which form and which week. Night permits included.
30% on the first €1m of qualifying spend, 25% after, regional regimes higher. We tell you upfront whether your shoot qualifies — and the price is in writing before day one.
Development, fixing, crew, locations, delivery. No handoffs, no "our partner in Málaga", no 3am silence. David picks up.
Not a fixer with a laminate of logos — a development producer who has actually sat in the commissioning meeting, then come back to Spain and delivered the shoot himself.
Twenty years across UK factual broadcast, both sides of the camera — commissioning-literate, not just crew-literate.
Branded content delivered to the standard those clients expect, not a lower "location fixer" bar.
Twenty commissioned formats over the years — genuine development credit, not just a locations spreadsheet.
Twelve years living and working this coast — the ayuntamientos, the desks, the people who say yes.
The Costa del Sol has been the backdrop for some of the UK's biggest true-crime stories for decades — and Ballsy.tv has the access most fixers can't get near: media-storm families, police contacts and the national institutions a true-crime shoot actually needs.
Relationships built over 12 years on the coast, not a cold call the week before your shoot.
A senior development producer's eye on sensitivity and story, not just a location scout's.
Talent relationships already in place for true-crime narration and pieces to camera.
An active true-crime format in development on this coast — ask about it under NDA.

Clear skies most of the year and night permits sorted before you land. The moon lights it, we run it, you make your morning flight.
Every postcard is a place we have shot. All of them ninety minutes from Málaga airport.
One night. One phone call. One production company on the Costa del Sol that did not go to bed. A 3D story, told by moonlight.
Press play Shoot in SpainWhatsApp DavidWe do it for ourselves. Imagine what we do for you.
Watch the reel →We were fixing shoots on this coast before it was cool. It was always cool. We were just early.
He signs off every shot. He is asleep for most of them.