CAMERA HIRE TOP 10
KIT
fleet still remains incredibly strong, so we won’t be getting rid of them in a hurry,” says Run Hire. Film Store Rental says, “the Alexa Mini remains as popular as ever. After the release of the Mini LF and now the Alexa 35 there was conversation about its longevity, but as an S35 camera that many ops are used to working with it continues to perform well in the rental market.” Shoot Blue too says “the Alexa Mini has proved that it is still relevant and in demand.” ProVision says, “the Venice seems to have held firm across 2022 as a staple choice for 4k+ production.” At the high end though, most of the excitement is
about the uptake of the Venice MkII and particularly the new Alexa 35. Origin says it expects “a surge in demand for the new Alexa 35 and Venice MkII in 2023 – especially within Natural History.” Verve reports that “everyone is very excited by
the Alexa 35 and there has been a large investment across most rental houses we have spoken with.”
247Kit.tv says clients are “looking forward to getting their hands on our long-awaited Arri S35.” But the transcendence of the S35 could be a
slow burn. “Although the Alexa 35 was arguably one of the most anticipated industry announcements in recent years, we do not expect it to immediately take over on those ongoing shows which have been used to hiring Alexa Mini cameras,” says S+O. And, says Dynamic, “it’s a fantastic camera with great colour science but I wonder how long it will keep DP’s interest before they return to the Full Frame look we’ve all become accustomed to.” For many, the real news
is the explosion in lens choice over recent years. “The choices of lenses available now is unprecedented,” says ProVision. “With an abundance of new lens manufacturers coming to fruition rivalling the long-established producers, and the re-housing options bringing new/old optics to the market, the optical choice is endless.” As Film Store Rental points out: “As much as
01 SONYFX9
02 Average Day Rate £237
Top 5 hire from
247Kit.tv, Alias Hire, Bluefin, Filmstore Rental, Hotcam, New Day, No Drama, Origin, S+O Media, Shoot Blue, The Kit Room, The London Camera Company, Verve
Hired for
THE PAST YEAR WAS PLAGUED
BY SUPPLY CHAIN ISSUES
The Real Manhunter (Bluefin); Bear Grylls (Film Store); Warrior Island - BBC, The Bidding Room - BBC, Gordon Ramsay: Future Food Stars – BBC (Hotcam); Grow with Aldi - C4, Worst House on the Street - C4 (LCC); Live Rugby Union / Various Promos (New day); Hollyoaks for Lime Pictures, Cobra for Sky, Commercials for Sugar Free TV, MTP, Milkmoney, MBP, Sticker Studios, The Chase Factual shoots for Ricochet, Beyond Productions, Chief, LS Films (No Drama); Big Zuu, Selling Super Prime, Outsiders (S+O); The Apprentice – Fremantle Media (Verve); Branded content films for numerous agencies, including LadBible, Conde Nast (Shoot Blue)
camera manufacturers push their latest innovations, and as much as we in the industry pore over them, the reality is that the casual viewer will only notice a stylistic choice as a result of lens selection,” “We are finding that with the diminishing
differences between cameras there is a real emphasis on lens choice and filtration,” says Shoot Blue. “There has been a flurry of vintage lens options which our users really want to take advantage of. For cinematography lenses, there is a huge choice and the conversation with our clients is usually more centred around the lenses than the camera. Perhaps a top 10 lens rental survey for next year!”
Sony’s FX9 has climbed to the number one spot of this year’s Top Ten Rental Cameras survey. And that’s because, says Bluefin, “the FX9 seems to be the go-to camera for TV documentary work.” At The Kit Room too, it’s the FX9 that
rules in docs “For us the Sony FX9 continues to dominate documentary shooting.” Hotcam points to the FX9, along with the FX6 and FX3 “making a clean sweep in the fact ent space. We don’t foresee this changing as this product range over-specced for terrestrial delivery and is on spec for most VOD platforms.” The FX9’s Netflix approved spec, means it’s a lower cost alternative to higher end
models, says Verve. “Although the Venice and Mini LF are Sony and Arri’s flagship cameras, generally they are cost prohibitive for most shoots that require more than a single camera. The Netflix approved FX9 offers incredible results for its price so is usually the staple of non-scripted entertainment.” New Day too says that “last year we were
seeing a lot of clients shooting with the FX9 and FX6 for productions, rather than the high-end cameras like the Reds and Arris.” The London Camera Company says “the
FX9 has now become the industry work horse for broadcast factual entertainment TV. In the past we noticed DOPs hiring and using F5/F55 and self shooters generally favouring the FS7. Whereas now both DOPs and self shooters are using FX9 and FX6.” Film Store Rental says the FX9 “has
firmly displaced the FS7 MkII. As with the FX6 it generates lovely images and works fantastically with Sony G Master glass and PL Cine glass alike depending on the use case. We’re seeing it used more in multicam and studio situations with the FX6 preferred if you’re on the move.”
Origin also says the FX9 and FX6 have
displaced the FS7 for many. “Demand for the Sony FX9 and FX6 cameras has grown steadily as operators/production companies phase out their older FS7 workhorse.” However, it may be the FX6 that takes the
crown. “After much deliberation and client input, we are finding that the FX6 has more flexibility, versatility and is more desirable to the majority and so we will be purchasing these instead of the FX9’s,” says Run Hire.
Spring 2023
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