Clearance Services · Los Angeles
Clearance that protects your creative work without killing it. We find the yes — and when we can't, we find a way around the no.
"We get you to the martini shot."
Get In TouchWhat We Do
Most clearance people are the ones who say no. We're the ones who figure out how to say yes — or find a smarter path when we can't. We handle the full range of clearance and production services across features, series, docs, and digital content, bringing in additional specialists as the project demands.
End-to-end clearance of third-party materials — footage, photography, artwork, and more. We work from existing script clearance reports to research, track, and resolve every flagged item, and flag new risks as they emerge through production. Our job is to find solutions, not roadblocks, from first review through final delivery.
One of our strongest specialties — and one many coordinators don't fully master. We handle extensive footage research, chain of title verification, and rights clearance for commercials, TV, and features. Experienced working at Jukin Media's level, where volume, speed, and accuracy are non-negotiable.
Coordination of on-screen product placement from initial outreach through agreements and on-set supervision, balancing creative and commercial requirements.
Clearance trackers, fair use logs, cue sheets, releases, and all documentation required for final delivery — maintained with meticulous accuracy throughout the production lifecycle.
Available for on-set and in-house engagements in the Los Angeles area. Experienced working directly alongside line producers, legal teams, and post as a trusted production partner.
"Nobody wants a clearance coordinator who kills great ideas. My job is to protect the work — and find a way to keep it."
About Lauren
I'm Lauren Oliver, and I've been doing this since 2007. Here's what I'll tell you upfront: clearance people have a reputation for being the ones who say no, slow things down, and make everyone's life harder. That's not how I work. My job is to protect the creative work — which means finding ways to keep the ideas you love, not reflexively killing them because something looks complicated.
I can do that because I understand both sides of the table. I've worked as an assistant to line producers on set, and I've worked in-house at a major studio. That means I know what clearance looks like from the crew perspective — the time pressure, the creative investment, the chaos of production — and I know what it looks like from the studio side, where compliance and documentation actually live. Most coordinators know one or the other. I've worked both.
Footage research is one of my strongest suits, and it's an area where a lot of coordinators fall short. Knowing what's actually clearable — chain of title, platform restrictions, what will hold up at delivery — before a director falls in love with a clip is the whole game. I've done this at volume through Jukin Media for both commercials and TV, where the pace is relentless and the margin for error is zero.
I studied journalism at USC with a minor in film, which gave me the research discipline and copyright foundation this work demands. I operate as an independent contractor and bring in trusted specialists when the project calls for it — so you get senior-level attention without the overhead of a larger shop.
Selected Credits
Let's Work Together
We're taking on new projects — features, series, docs, and digital content. The earlier you bring us in, the smoother it goes.
[email protected]Based in Los Angeles · Available for on-site and remote engagements