✨ Reality before romance
We pressure-test the idea, access, schedule and cost before everybody falls in love with a villa that has no parking, no sound control and one decorative socket from 1974.
BBC, C4, C5, ITV credits. Costa del Sol postcode. You get both.
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.
UK broadcast production in Spain
Ballsy.tv is the broadcast production company in Spain for UK TV teams who need local access, proper production judgement and somebody who understands why “we’ll fix it in the edit” is not a transport plan.
The 30-second answer
Use one that understands both sides of the shoot. Ballsy.tv combines 20+ years of UK broadcast experience with Spanish locations, permits, local crews, suppliers, contributors and logistics—so the brief stays recognisably yours while the production actually works here.
What you actually get
A useful Spanish production partner does more than forward three phone numbers and vanish into the hills. We translate a UK brief into a Spanish plan that can survive the budget, the permit office and the first day of filming.
We pressure-test the idea, access, schedule and cost before everybody falls in love with a villa that has no parking, no sound control and one decorative socket from 1974.
Shortlists come with the production truth: access, light, public footfall, unit base, power, permissions and whether the neighbour owns a leaf blower with emotional needs.
Permits, contributors, suppliers, transport, interpreters and the phone calls that get answered because we know who to call—and how not to annoy them before lunch.
Call sheets, risk thinking, schedules, cost control, releases and communication that make sense to a British production office. Nobody needs a translation of the translation.
We help decide what genuinely needs to travel and what is smarter to source locally. Because flying six cases of stands across Europe to save €40 is how budgets become performance art.
Talent, contributors, runners and crew all deserve clear plans and decent treatment. Calm production is not soft production; it is how the good material actually makes it home.
Today’s production panic prevented
If the location owner says “it’ll probably be fine,” congratulations: you have just discovered tomorrow’s emergency.

How it works
We keep the chain short. You speak to people who can make decisions, spot trouble and fix it—rather than a majestic email ecosystem where every answer is “circling back.”
Dates, format, editorial ambition, crew size, locations, contributors, kit and budget range. “Somewhere sunny, perhaps with a donkey” is a mood board, not yet a production.
We flag permit lead times, travel and work questions, equipment movement, local labour, insurance, daylight, travel time and anything else likely to leap out of a hedge later.
All-local, fly-in, or hybrid. One filming day or a multi-region run. We match the team to the actual show rather than dressing every brief in the same expensive trousers.
Locations, releases, permits, transport, parking, accommodation, contributors, kit, catering, comms and contingencies. The dull list that creates the exciting television.
We run the day, protect the editorial, keep the schedule honest and solve problems before they mature into a production WhatsApp group called “URGENT FINAL FINAL.”
The first email
The fastest route to a meaningful answer is a brief with the following. If half of it is still unknown, tell us that too. Development is allowed to be developing.
We can join at development, rescue a wobbling production or run the Spanish end from start to finish. The earlier we enter, the fewer “character-building moments” your line producer has to endure.
Questions producers ask
Every job is different, which is production language for “the answer depends.” Here are the answers before the dependencies arrive wearing sunglasses.
Yes. We are based on the Costa del Sol and coordinate production support across Spain, bringing in the right regional crew, permit contacts and suppliers for each brief. A Madrid studio job and a mountain access documentary should not be staffed from the same little black book.
Often yes, but entry, work and equipment requirements depend on nationality, role, duration and how the kit travels. Spain has specific routes for audiovisual professionals, while UK guidance also tells employers to check the Spanish requirements for the assignment. We identify what needs confirming before anybody reaches check-in with seventeen batteries and a hopeful expression.
As early as possible. Public-space filming involving occupation, parking or traffic management commonly needs at least 15 working days, and some productions need much longer. A month or more gives us room to solve access, contributors and logistics properly. Tomorrow is not a lead time; it is a cry for help.
Absolutely. Full production support is available, but so are focused briefs: a single location, contributor access, a recce, permit coordination, a local producer, crew sourcing or a “please tell us this is possible before 4pm” call.
Those are home turf, but the production service applies across documentary, factual entertainment, reality, branded content, sizzles and location-led shoots. Tell us the editorial need and we will tell you honestly whether we are the right people.
Production, immigration, customs and permit rules can change. Ballsy.tv checks the current route with the relevant authority for each brief; this page is practical guidance, not legal or immigration advice.
Keep digging

You have come this far. We respect the commitment and mildly question your workload.
We answered while this loaded. Twenty years of telly, twelve of Spanish sun, and a WhatsApp that actually pings back.
WhatsApp the gaffer →
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 DavidEverything above was the pitch. This is the door.
Book the €295 Session →We brought UK telly standards to Spain and left the UK telly shouting at home. Best import-export deal ever done.
The 3D story of how Spain gets fixed while London sleeps.