ROUND TABLE
production in the UK is buoyant and the positive outlook here is largely attributable to those kinds of productions. Overall, the mood is cautiously optimistic. DEF: What are the key pressures you’re facing right now, and how are they reshaping the way you operate? JA: Pricing pressure and compressed production timelines are the two biggest factors. Clients expect faster turnaround and more for less – without compromising quality. We’ve responded by streamlining our logistics, investing in real-time availability tools and expanding our prep facilities to handle tighter schedules. We’re also working more as consultants on productions, helping clients select kit that balances budget, creativity and practicality. JB: The unpredictability of projects is a huge factor right now. On the commercial side in particular, plans shift rapidly, often at the mercy of global instability. As a result, we’ve had to dial up our agility, both in how we schedule and how we staff. We’re investing in a more diverse mix of premium quality kit, including greener power options, and we’re building stronger, more responsive partnerships with our clients. Cross- training the team has been a game changer too. It means we can respond faster and smarter when plans change. We’re also putting even more emphasis on the quality of service. It’s never just been about delivering equipment; it’s about delivering peace of mind. That includes anticipating needs, offering tailored support and being ready to step in with creative solutions when things
get complex. The landscape might be demanding, but it’s also pushing us to be sharper and more dynamic. JC: The key pressure we’re facing, as always, is adapting to a rapidly changing industry. We’re being more deliberate in how we deploy our assets across regions, and investing in technology to improve efficiencies. We’re also having to lead more consultative conversations with productions to educate and align on value, rather than just rate sheets. BB: In short, the TV industry has changed for a multitude of reasons, and AI is threatening to alter it even further. These pressures have resulted in a marked decline of the rental industry. Rental companies are struggling to adapt, and those who haven’t adapted quickly enough have gone out of business. Since cameras have become more affordable and recent closures of rental companies have flooded the industry with second- hand equipment, clients have been incentivised to buy rather than hire. Production budgets are also in decline, and this is occurring while camera tech is improving. The inevitable migration to using cheaper equipment is another challenge for rental companies, as our costs aren’t shrinking! Manufacturers are still keen to push new models every year, so, from the perspective of rental companies, this means our regular business model of spending upwards of £1m per year to invest in the latest tech has become much harder to achieve, and is partly the reason for the high level of recent business failures. Our challenge is to find the best balance for buying the latest kit,
while sweating our existing plant before the tech is replaced with a new model. Perhaps the biggest threat is the growing importance of owners and operators wanting to rent their own equipment for production to bolster their earnings. This isn’t a new issue, but has become so prevalent of late that rental companies find themselves swimming in ever-shrinking pools. I remember a memorable hire when the production company kept reducing their comprehensive package until it shrank to just a trolley, but still asked to book a test room so they could test their equipment, as it was being supplied by many different members of the crew and they wanted to make sure everything worked together. We weren’t very impressed. DE: Our main pressure at the moment is making sure we have enough crew members with the right skills. To help with that, we’ve started hosting product training at our Tring office to upskill crew. This helps them become more knowledgeable and gives them an introduction to the wider industry. DH: Rental companies have felt the effects of 18 turbulent months, triggered by the SAG-AFTRA strike, limiting strategic investment as the industry recovers. At the same time, technology continues to accelerate and equipment options continue to widen, making purchase choices complex and risky. There’s pressure to respond quickly to filmmaker needs, but also consider inventory investments very carefully. Other pressures include competitive price discounting in an increasingly crowded market and a growing amount of privately-owned equipment, both of which chip away at margins. In general, there’s a burgeoning trend of productions having equipment requirements far in excess of their budgets. DEF: Beyond access to gear, where do you see rental companies adding real value today? JA: Gear is just the start. The real value is in support – technical guidance, flexible service and fast problem-solving when things change, which they always do. At CameraOne, our clients lean on us for
TWO STEPS FORWARD VMI (left) are running production bootcamps which are training new freelancers, while ARRI Rental (far right) is helping to support recovery in the industry
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