INDUSTRY
Barry Bassett, managing director of VMI, considers the future of production kit rental FIRESIDE CHAT EVOLVING TO SURVIVE
T he production kit rental sector has faced significant upheaval in recent years, with numerous companies shutting their doors. The combination of cheaper high-quality equipment, shifting production trends and economic pressures has forced the industry to rethink its approach. As we navigate this challenging landscape, rental companies must evolve not only to remain relevant, but also to ensure they continue providing value to filmmakers and production crews. THE CHANGING FACE OF PRODUCTION Back in 2010, acquiring a broadcast documentary shooting kit could cost upwards of £150,000. Today, an entry- level Sony FX3, small tripod and pair of AF lenses can be purchased for just £10,000. The affordability of the equipment raises a fundamental question – why would anyone choose to rent? The answer lies not just in cost, but in access to a huge range of high-quality, specialised tools that will enhance storytelling. Despite the marketing emphasis on high-resolution cameras (4K, 6K, 12K), beautiful images are not solely the
result of pixel count. Dynamic range, lenses with character, well-executed composition and sophisticated lighting all comprise visually compelling work. However, many producers overlook these aspects in their drive for cost- cutting and efficiency. Rental companies must position themselves as more than just providers of gear; they must be curators of artistic tools. Cinematographers need access to a diverse selection of lenses, including anamorphic glass, lenses with unique flares and those that bring a distinctive character to a production. Movement is another critical element – dollies, sliders, jibs and gimbals are all integral to cinematic shots. Lighting remains paramount in shaping mood and storytelling, requiring not just lights themselves but a variety of modifiers, flags, bounce kits and projection tools. Beyond equipment, the ‘right tool for the job’ argument is crucial. A DOP who owns a camera may prefer to use it for most projects, but it might not be ideal for every production. Rental companies that foster strong relationships with production teams – offering tailored solutions rather than simply pushing
their most expensive kits – will be able to secure long-term loyalty. THE INDUSTRY IN CRISIS Despite the value rental companies bring, lots are struggling due to industry- wide shifts. An issue here is the ongoing race to the bottom in pricing. Certain producers relentlessly negotiate, pitting rental houses against each other in pursuit of the cheapest deal. This unsustainable approach hollows out the industry, forcing companies to operate on razor-thin margins or close down. As one industry veteran noted, everyone deserves to make a living, and aggressive cost-cutting will only lead to fewer reliable suppliers in the future. The recent wave of closures has already had some real, tangible effects
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