ROUND TABLE
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
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
NEW FOR OLD Many creatives want to mix cutting-edge tech with legacy equipment
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