FEATURE | RENTAL SPEC I AL
BELOW There has been further demand for cameras like the Alexa Mini and Sony’s Venice, and lenses
for large-format cinematography.
that can accommodate and service a global production. Being able to have a group of people behind the scenes that can address any needs that arise is important to us. And with Light Iron in our fold, we understand the whole process, from pre- production to post. Customers appreciate one-stop services, and a single point of responsibility. By investing in post- production, we have been able to more fully serve our clients, providing a complete portfolio of creative choices and an efficient, seamless experience all the way through to deliverables. Danny Howarth: The drama market has always been our main focus and speciality for the last 30 years. Providing bespoke packages including camera, lighting and grip kits tailored to suit each production gives us a unique position within the drama hire market enabling us to pass on efficiencies to our clients. Matt Marner: Yes it is, and in 2019 we are going to be targeting this market with a completely fresh approach: watch this space! Definition: What large-format equipment are you or have you invested in? How big is this market going to be and how quickly will it grow? Danny Howarth: We have started and will continue to invest in large-format cameras and glass. Sony Venice, Cooke S7s, Cooke 1.8x Full Frame Anamorphics as a starting point, and also looking at Zeiss Supremes and Arri Signature Primes. I
40 DEF I N I T ION | DECEMBER 20 1 8
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