Round Table: Rental
Posted on Sep 11, 2024 by Samara Husbands
Expert insights on maximising relationships with rental companies, embracing industry trends and advancing sustainability initiatives
The Panel
- Matt Beard Sales director, Hireacamera
- Melanie Georgieva Long form sales director, Panalux
- Jacob Alatise Partner, CameraOne
- Matt Collis Camera operations manager, Panavision
- Mike Pollard Managing director for film and TV, Sunbelt Rentals
- Barry Bassett Managing director, VMI
Definition: What are some key factors filmmakers should consider when selecting a rental company, beyond just the availability of equipment?
Melanie Georgieva: Knowing your budget and what you’ve got to work with is crucial. Filmmakers should look for companies that offer flexibility in their rental packages, and have the technical knowledge to understand their needs and adapt the package accordingly. Rental companies with bases local to your shooting location can significantly reduce transport and logistics costs – especially if something’s needed last minute. And perhaps one of the most considerable factors is the company’s reputation for reliability and customer support. Rental companies that are ready and willing to advise and provide help in the event of any problem – no matter the time or location – will stand you in good stead.
Barry Bassett: Last year was hard, and 2024 is proving to be equally hard. Independent rental companies are finding it tough, so it’s important for cinematographers and producers to consider additional factors when comparing rental companies, such as sustainability and business ethics, rather than price alone. All rental companies have to be competitive, but at VMI, we also place importance in our role as an investor into our collective community, so we can train and empower the next generation of filmmakers.
Cameras used to be fairly standard, but the modular design of modern ones means rental cameras are not identical across different rental companies, since the level of accessorisation can make a huge difference to usability and compatibility. As an example, we only use ARRI camera accessories, which offer the greatest standardisation across all equipment, but they are also the most expensive. Not everyone does this, but our clients like it. It means that, if you need to use a big lens and 19mm bars, you will have the confidence that all ARRI 19mm bridge plate kits will work with any of our cameras.
Not all companies customise their kits to suit individuals’ needs to the same extent, and this is crucial when people are travelling and need bespoke, compact and lightweight kits. The range of lenses and equipment available today is huge, so consider whether the rental company will be able to offer a spare in the event of equipment failure: having one of everything isn’t always the most reliable approach.
Also, the availability of cameras and lenses for test shoots with multiple prime sets is a regular request to help design a look for a feature or drama, so make sure this is available without cost to you. Finally, consider the quality of the personnel on the camera floor: who is capable of setting your kit up the way you want to use it? Ours is a difficult industry – and filmmakers shouldn’t compromise on the way that the kit is presented or configured.
Jacob Alatise: It’s important that you develop a relationship with the company you are considering, but the availability of equipment does sometimes supersede everything else. At CameraOne, we’ve always been a people business. Yes, we have lots of equipment and a deep inventory, but our ethos has always been to service the customer to the highest level, no matter how big or small the project.
Mike Pollard: Filmmakers need a company that prioritises exceptional customer service from initial discussion through to the completion of production. Having a team of in-house experts is key, since they have industry and product knowledge. They can support with addressing enquiries and equipment specifications to enable filmmakers to make the most informed decision ahead of production.
A rental company which offers a consolidated and managed service option could significantly streamline the production and delivery process, freeing up filmmakers’ time to focus on creativity rather than logistical concerns. Additionally, choosing a company that offers low-carbon solutions is essential.
Matt Collis: Right at the top of any filmmaker’s list of considerations should be the level of support the rental company offers, not just for those with equipment already in use but also when you need advice on where to get started. Within the fast-moving production world, it’s crucial for filmmakers that rental companies have the infrastructure in place.
The company should allow you to physically test the equipment as well. At Panavision, we have dedicated testing rooms for filmmakers to make sure they have exactly what they need before any shoot, whether it’s for short-form commercials or long-form feature films. The equipment is prepped in the test room by our camera equipment team before the crew’s arrival, and our technical team are there to lend their expertise and support if needed.
Matt Beard: While our range is extensive, having the latest and greatest equipment is only part of the equation. The guidance we offer is a huge part of why filmmakers choose us: from the moment you reach out, our experienced team will guide you through every step, offering expert advice and ensuring compatibility with your existing gear. We understand that preparation is key to a successful shoot – and that’s why we meticulously check every piece of equipment before it leaves our premises, and again upon its return. This rigorous process ensures that our gear is always in top-notch condition. We want you to focus on your creative vision, safe in the knowledge that your equipment needs are completely covered.
Def: What advice would you give filmmakers navigating the process of renting equipment for the first time?
MC: Look for a rental company that’s approachable, pays attention to detail and has a good range of accessories available. When you’re first starting out in the industry, you might not have a large budget to work with, so choosing a company that’s able to understand your needs is crucial. They can work with you to create a package that will still give you the look you’re after, but within budget. Sometimes, the cheapest option is not always the best way forward, as that rental house may not offer the customer support you’ll realistically need. This can be crucial on a project when you might need to lean on the advice and expertise of a technical team. At Panavision, our prep team, film and digital engineers and lens technician experts are available to support around the clock, no matter the budget.
JA: If you are renting equipment for the first time, don’t be afraid of not knowing everything. Tell the person you are speaking to that you haven’t rented equipment before and will need some help. By doing this, the company will be able to ask you more questions, so you end up getting exactly what you need.
MP: I recommend reaching out and collaborating with industry experts from the start. This will allow you to gain a deeper understanding of the equipment available in the market and how it can be used on-set. Establish a relationship with a reliable rental company that can offer guidance and support throughout the rental process, making the entire experience smoother and more efficient. At Sunbelt Rentals, we’re keen to share our knowledge and provide resources to the industry through panel discussions, partnerships and case studies which showcase the potential of traditional and sustainable equipment options. I would also recommend making the switch to sustainable solutions whenever possible. This doesn’t just benefit our planet, but using eco-friendly innovations such as battery storage technology can lead to long-term commercial cost savings for your production.
MB: Hiring equipment puts you in the unique position of being able to take multiple cameras and equipment for a spin in a relatively risk-free fashion, without having to part with large sums of cash – only to find you aren’t quite happy with what you decided to buy. Similarly, we find that a large proportion of clients hire kit for a day or two in advance of their shoot date. Committing to a relatively small outlay to give yourself time to familiarise and get comfortable with equipment pays off in the long run. Finally, at least where Hireacamera is concerned, have no fear if you aren’t completely sure what you want; never be afraid to ask for advice and recommendations. We have a wealth of experts here who are only too happy to make suggestions and help build the ideal kit list for any given project – in fact, we find it all the more satisfying when a project is a success and we were part of its inception.
BB: Cultivate a relationship with a rental company – be helpful to them and they will be helpful to you in return! It is necessary to shop around to ensure that you are getting a good deal, but be fair – a race to the bottom doesn’t benefit anyone, and asking for too many variations just wastes everyone’s time. It is better to trust your regular provider to the point where you can share how much money you have and what your preferred equipment choices are, then see if they can put together a deal which works for everyone.
MG: I would advise filmmakers to talk to their peers and do their own research on the rental company. Consider what’s important to you and the needs of your show. If the budget doesn’t stretch very far, consider if the company could be flexible to your needs. A knowledgeable technical team should be able to suggest relevant alternatives that still allow you to achieve the results you are expecting. Filmmakers should also consider the location they’ll be filming in and how this will impact overall logistics. Choose equipment companies which can provide support in that location and have local bases so you don’t incur large transport costs. Be open to suggestions from the technical support teams and allow for contingencies and flexibility in your plan.
Def: How do rental companies such as yours support training and education for filmmakers to ensure they can use specialised equipment?
JA: For anyone looking to rent equipment from us, the best thing to do is see the equipment first-hand. We are always more than happy for filmmakers to come to our offices where we can show you the equipment. We’ll even make you a brew and share our finest cookies and brownies – something not to be missed!
MP: Supporting skills, education and employment is an essential part of our sustainability strategy, Our Planet.
We understand the importance of investing in local communities, which is why we work with key film and TV institutions and education providers to host a variety of workshops and training programmes. This not only nurtures and supports the industry’s talent pipeline, it addresses the skills gap and supports accessibility. We have developed partnerships with industry bodies and membership organisations, such as WFTV, and proudly sponsor its WFTV Fearless Leadership Programme for a second year running. Our collaboration with the Liverpool Film Office is focused on increasing training initiatives and supporting 1000 new entrants into the industry through surgeries and career open days.
We also encourage and promote sustainability best practices across the industry – and with our customers and partners. Our experience and knowledge in this space ensures that filmmakers have access to specialised equipment and sustainable solutions customised to each individual production and location.
BB: Ours is a highly technical industry, and helping our clients to master new equipment is necessary because there are few opportunities for formal training. We periodically offer camera workshops on such equipment as Phantoms, gimbals and lighting, which are free of charge and useful for operators and DOPs. This isn’t always possible, so we allow crew to book our camera test rooms, receive some instruction and familiarise themselves with new equipment. Camera tests are crucial for ensuring crew have fully familiarised themselves with equipment on their job, especially when testing with equipment members of the crew may be supplying.
Lens tests can be boring, but a recent VMI innovation to reinvent this concept was well received. In a break from tradition, VMI invited 40 camera department professionals to come and shoot their own tests across full-frame lenses from Cooke, Gecko, Tribe and Sigma on either a Sony VENICE or ARRI ALEXA Mini LF. We supplied camera kits and lenses, a studio, actor, grip and AC, and asked the DOPs to design the scenes and shoot them with all lenses provided. It was a fun experience – and everyone enjoyed working together and learning about the lenses!
MG: At Panalux, we believe this starts with the company itself being approachable. We have experienced teams throughout the company that aren’t only available to existing customers, but also to those who are looking for general advice on lighting and available services. From R&D and manufacturing through to technical expertise, our teams offer support to point you in the right direction. Beyond our online and over-the-phone support, the new state-of-the-art demo room at Panalux London is a place where crews can test any configuration of equipment with advice on-hand within the facility.
We also believe in the importance of partnering with organisations in regions where we operate to host workshops, as well as engage in opportunities to further encourage and train aspiring crew members from a diverse range of backgrounds to pursue careers as sparks and gaffers.
MC: By partnering with schools and industry bodies, rental companies should be able to point people in the right direction for any training courses, ongoing workshops or work experience. At Panavision, for example, we’re closely affiliated with the National Film and Television School (NFTS), London Screen Academy, Bournemouth Film School and The Guild of British Camera Technicians (GBCT). We host workshops both at Panavision’s own facilities and externally at an organisation’s location. We also work closely with multiple student bodies to set out dedicated days where they’re able to use our facilities for training.
We take great pride in knowing we’ve helped many filmmakers get started in their careers. As a trusted brand in the industry, we have an important role to play in inspiring the next generation. We not only share expertise with current and aspiring filmmakers, but we learn and grow from the feedback of filmmakers to better our own equipment and services. This is the kind of learning environment we want to continue to foster.
Def: Can you discuss any notable trends or innovations in the rental industry, and the impact they’re having?
MP: Film and television is experiencing a significant shift at present. The demand for greener applications and more sustainable equipment is growing, alongside the importance of wellbeing and diversity. This shift, coupled with a new generation of filmmakers, is proving a catalyst for change. It’s driving innovation, leading to the development of more sustainable solutions from the latest in LED lighting through to hybrid generators. At Sunbelt Rentals, we are constantly increasing our support for the industry by expanding our equipment offering to include sustainable options, while working to create opportunities for all individuals to enter the industry and develop their skills.
MB: In an ever-evolving industry, we pride ourselves on being early adopters, constantly on the lookout for new trends and innovations. The market can be divided into two distinct groups: established users who remain loyal to tried-and-tested brands and technologies, and those who prioritise innovation and cost-effectiveness over brand loyalty. The latter group is focused on the tangible benefits new equipment can deliver, such as improved speed and smarter operations.
Take the lighting sector, which has witnessed a significant surge in demand. More and more, consumers are seeking compact, affordable solutions which can be remotely operated, with set-up assistance provided via platforms like Zoom. Brands such as Aputure have swiftly responded to this demand by offering reliable and affordable lighting solutions. Similarly, within the realm of remote monitoring and camera motion, companies like Hollyland and Edelkrone have emerged as pioneers. Hollyland has made strides in providing cost-effective remote monitoring solutions, while Edelkrone has introduced highly customisable motorised jib and slider solutions, catering to the needs of modern, budget-conscious filmmakers. This shift towards innovative, practical solutions is reshaping the industry landscape, providing customers with more versatile and accessible options.
BB: Back in the eighties, cameras first went widescreen; then in the nineties, they went digital; they migrated to HD in 2000 and in the 2010s went 4K. The latest big thing is widespread adoption of full-frame acquisition, but such enormous sensors mean that zoom lenses are necessarily large and focus is often critical. To help, manufacturers have been widening their autofocus capabilities and manufacturing more lenses with native mounts, such as E-mount (Sony), EF mount and, more recently, RF mount (both Canon). The recent innovation of the DJI Ronin 4D builds a four-axis gimbal into a 6K cinema camera and offers interesting functionality into production. However, the most interesting development to me is the dichotomy of some cameras becoming ever-more expensive for scripted drama (ARRI ALEXA 35, Sony VENICE 2, ARRI ALEXA Mini LF etc). At the same time, they are also becoming cheaper and smaller, so that the most inexpensive, lightweight 4K+ cameras are now being used for documentary productions (think the Sony FX3, Canon C300 III etc).
As more operators and camera assistants own an increasing amount of their own kit, rental companies are being squeezed more than ever before, with lower share of revenue for camera hire, though they still have to stock the same broad range of cameras and equipment. This erosion of margin has largely been responsible for so many rental companies going bust recently (Take 2, ProCam, Pro Motion, Shift 4, Presteigne Charter, Alias Hire), with the inevitable outcome that rental companies now need to work harder to ensure they are adding value to the client.
MG: We’re seeing regional trends have an impact in terms of the wider lighting rental sector. Certain areas across the UK, such as Scotland, Liverpool and Wales, have been surging in popularity as locations for shooting. With our regional offices, we’re able to provide equipment and support for the crews working in those areas and beyond.
Panalux’s in-house research and development department is proactive in consistently providing new upgrades to existing equipment. The fast-evolving innovation in lighting equipment is owed in part to the feedback we get from our customers. Every shoot is different and has its own challenges that might pose a need for something that hasn’t been thought of yet. We value the continuous feedback loop we have with gaffers and DOPs very highly, so that we can continue to provide them with the very best tools to achieve their desired results.
MC: There’s an ongoing trend where newer technology is being combined with older legacy equipment. Modern camera set-ups are getting smaller, and rigs are getting lighter and more compact. But filmmakers still want to use vintage lenses for their unique optical attributes, so that means we’re seeing more demand for new compact rigs and bracketry that can house legacy equipment. A similar trend is happening in virtual production; we’re experiencing an increasing demand from productions who want to use these modern systems but with classic lenses. It’s interesting to see how the industry innovates so rapidly, driving technology forward, yet almost always finds a way to continue to integrate older techniques.
Def: In what ways are rental companies addressing sustainability and environmental concerns in their operations and offerings?
JA: We’ve always been considerate of the environment and sustainability long before it started to grab the headlines, so this is nothing new for us!
MP: Sunbelt Rentals is taking proactive steps to address a range of environmental concerns. We have hired experts in sustainability and social impact to provide guidance to our customers and the industry. This not only ensures sustainability is at the forefront of decision-making, but also benefits local communities. Additionally, our partnerships, including BAFTA albert, British Film Institute and the Production Guild of Great Britain, ensure that we’re working alongside industry professionals to drive change. From supporting climate skills masterclasses to developing craft and technical workshops, we continue to work with crews and broadcasters to implement greener applications. We are also supporting production and sustainability consultants on all things such as data monitoring and implementing uniform standards.
MB: At Hireacamera, we’re always trying to make strides towards a greener future, with the end goal to become a net-zero organisation. We select our equipment with durability in mind, and all our kit is transported in flight cases rather than single-use plastic and cardboard. Our offices run exclusively on low-energy automated LED lighting, and we review our energy providers regularly to keep track of more sustainable and innovative options. We are especially proud of the recent completion of our ‘paperless project’, designed to end the need for paper instruction manuals, checklists, invoices and conditions reports to ship with our orders. We firmly believe that all these relatively modest adjustments add up to huge changes, helping shape our world for the future. And, remember, we are a hire company, so we’re recycling equipment every single time an order leaves the warehouse!
BB: Sustainability isn’t merely a buzzword any more. As an albert-certified, carbon-neutral organisation, VMI’s commitment to reducing its negative environmental impact and building a more socially equitable company is one it takes very seriously. Unusually, VMI committed to become a net-zero company by 2030, posting its annual carbon audits on the web every year. VMI, as a recognised albert supplier, has taken great strides to reduce its impact on the environment – and continues to do so going forward, wherever and whenever possible, becoming fully, albert-certified carbon neutral for the first time in 2022 and, in just three years, has halved its group carbon emissions.
Being more sustainable is possible just by making a few tweaks, such as wrapping cables with recycled paper bands instead of plastic; wrapping filters in a wrap made from potato starch; becoming a nil-waste company, generating most of its energy from 55KW of solar panels on its roofs – these all make a difference. We bought our first EV in 2018 and will have migrated the majority of our vans by the end of 2024.
MG: The very concept of rental houses lends itself to the reuse of equipment, but of course there’s more to it than that. Panalux’s newly opened London facility demonstrates our commitment to sustainable practices, with features including EV charging points and a photovoltaic array on the roof to power the backbone infrastructure. At the completion of construction, the building earned an energy performance certificate (EPC) rating of A+, with net-zero carbon emissions.
On the production side, LED lighting solutions are helping to reduce power consumption. Our Panalux Power i-Series rechargeable battery arrays and our h-Series hybrid generators are eco-friendly alternatives to traditional power generation. Logistics also plays a pivotal role, with many productions needing to make changes to equipment or requiring extra equipment during shoots, which means additional transportation. At Panalux, we replaced fossil diesel with HVO fuel to run our fleet of vehicles and generators. Ultimately, the industry will benefit from more standardised sustainability guidelines and incentives that make it clear what productions need to do to transition to greener filming practices.
MC: On the whole, the industry is moving toward being far more energy efficient. For Panavision, one of our key focuses is to reduce the amount of waste. The model of a rental house is inherently more sustainable, allowing filmmakers to deploy equipment multiple times over one sole use case.
As a company, we’re incredibly careful to invest in technology that has the longevity to continue to successfully drive the rental model. Our heritage also lends itself to this idea. Panavision has lenses well over 50 years old which are still used today and have remained sought-after despite many changes in industry trends.
Def: How do you foresee the equipment rental market in film and TV evolving?
MP: It’s clear that the industry is on the cusp of significant change, as sustainability, wellbeing and diversity take centre stage. I believe that we will continue to see a notable rise in the demand for sustainable hiring options across all aspects of the industry. This shift towards greener practices demonstrates the industry’s environmental commitments, ensuring the film and TV sector remains resilient, forward-thinking and committed to sustainability in its processes.
JA: This is a difficult one. AI will have a real impact – to what degree, though, no one knows just yet. Being a rental company, I would much rather people rent equipment than buy for obvious reasons. However, if you rent equipment, your options and creativity are limitless. As my dad always said, ‘make sure you use the right tool for the job’, and this is so true…
MB: In the short term, we’re starting to see the green shoots of recovery following industry strikes and a massive slowdown in the commissioning of new content in general.
At a time when owner-operators are facing long spells between jobs and increasing costs, renting equipment has never made more sense. Avoid high upfront costs, monthly expenses and equipment depreciation by renting instead of buying.
More broadly speaking, the rental market is here to stay. Technology and innovation have never moved quicker, and renting allows users to stay ahead of the curve with access to the latest technology rather than investing in equipment that will soon be dated.
BB: That is a tough question. However, this is a creative industry: as equipment technology evolves, our clients find new ways of using it. The introduction of the DJI Ronin 4D less than two years ago is a good example of this, where every episode of Silent Witness and Midsomer Murders used it as well as much of the recent theatrical release Civil War. Some cameras are becoming smaller, lighter and cheaper, and clients are starting to recognise that they no longer actually have to spend the money on ARRI ALEXA Minis and Super Speeds to make images look nice. While, at the same time, ‘proper’ equipment and ‘nice’ lenses are just as popular for scripted drama, commercials and those demanding a ‘high-end’ look.
We really hope this budget-saving does not stretch to using cheaper, less-experienced crew too, else programmes will end up looking more generic and experienced cinematographers will have to become baristas!
MG: Success in the rental market is always going to come down to our ability to keep adapting and reacting in an appropriate way to the industry’s constantly shifting landscapes.
The future is in the hands of the next wave of creatives that enter our industry. Deep passion and excitement is coming from these budding filmmakers, meaning there is every reason to keep investing in training and education so that we are prepared for tomorrow’s TV and film productions.
MC: When I first began my career in this industry, almost every major and independent feature was shot on film. In the last 25 years, we’ve seen digital become something of an industry standard. Though it has repeatedly seemed film might cease to exist, it hasn’t, and today there’s still a significant portion of productions shot on film. Just as long as film is being manufactured, we’ll see the demand for it continue.
The digital revolution brought about many trends – including 3D, large format and virtual reality – that have ebbed and flowed in popularity, but I see the future of the equipment rental market being in lenses. As digital cameras continued to evolve and the formats became more varied, filmmakers had the opportunity to test out different types of lenses and instantly see high-resolution results, which has allowed them to be more experimental. Panavision has a long history of lenses, and our optics from 60 years ago are still being used today, meeting the high-quality demands of current DOPs. Cameras will always be evolving, but lenses will be the foothold that transcends industry change.
This feature was first published in the September 2024 issue of Definition.
