GEAR HEAD Everyone loves a huge slew of the latest kit, but working leaner has its benefits
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editors Jim Blackstock, Zanna Buckland & Minhaj Zia Editorial director Roger Payne EDITORIAL ADVERTISING Sales director Sam Scott-Smith +44 (0)1223 499457 samscott-smith@bright.uk.com Sales manager Gabrielle Pitts +44 (0)1223 492244 gabriellepitts@bright.uk.com DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Junior designer Hedzlynn Kamaruzzaman Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
You don’t need to be an environmental activist like Greta Thunberg to do your bit for saving the planet. Even if you’re tired of hearing about climate change and sustainability, cutting waste simply makes sense for everybody: it saves you money and helps others. In this issue, we’re looking at what independent filmmakers and production companies can do to become a little bit greener. But don’t worry – we’re not here to lecture you about the irony of buying fresh avocados for lunch flown from the other side of the world on a gas-guzzling jet, or the environmental cost of mining lithium for electric car batteries charged by fossil fuel-powered power stations. Instead, we’re sticking to work-related solutions. Most owner-operators already run lean operations out of necessity, especially compared to Hollywood blockbusters with massive crews and endless kit jetting around the world. Most of us are already forced to run tight businesses with low expenses and minimal travel. Zoom or Teams video conferences have become the norm when talking to clients or crew. However, one major filmmaking expenditure is equipment. While fresh cameras, lenses or lights might help you tap into new markets, if this is just for an incremental upgrade, it’s worth considering whether dropping cash on new kit is the best thing to do. After all, the equipment will not be an asset, but a depreciating liability that needs insuring and maintaining – even though it might not be used for many hours per week. If you can get away with older-generation kit or find a used version of a current camera, you’ll be saving yourself some money. If you really do have a genuine need for the latest wonder cam or lens, investigate renting it as a first option. That way, it’ll be fresh, fully charged and ready to go. Either way, getting rid of your old equipment and cascading it down to the next generation of creatives not only frees up cash, but helps the talent of the future. What’s clear is that there is no magic-bullet solution which suits everyone. So we’re taking a look at the best options for you, what and where to buy used, as well as what would make an ideal rental choice right now.
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ
Pro Moviemaker is published bimonthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT (unless otherwise stated), but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.
ADAM DUCKWORTH, EDITOR IN CHIEF
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