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The Educated Consumer

Jun 1, 1997 12:00 PM, Cynthia Wisehart

How to Get More Out of Equipment Rental

According to statistics kept by PERA, the Production Equipment Rental Association, business has never been better. In a survey of 1996 rental business trends, 89 percent of respondents said their gross rental revenues for 1996 exceeded 1995; more than a third cited growth in excess of 10 percent. Among those responding, 88 percent expect to add to their rental inventory for 1997, most by 10-15 percent.

Driven in part by the Olympics and the conventions, these results continue a trend that has been developing since 1993. PERA director Ed Clare says no one is complaining about all the business. But he adds that many of his members are worried about what they see as a growing distance from their clients, a separation between the producers and crew and the rental company account executives.

"More and more, the person calling in with the order or picking it up is a production assistant, and increasingly orders are coming in at the last minute," Clare says. This can make for nerve-wracking exchanges, he says, with less opportunity for discounts. It also means fewer opportunities for dialogue, one of the value-added services many rental companies like to perform. "Many times, things come up during an intelligent discussion that can result in savings for the client, or at the very least a more efficient or trouble-free shoot. My members feel like those conversations are not taking place as much as they used to."

The dialogue is needed more than ever, rental company executives say. With technology changing at the speed of light, and rental companies blazing the trail with new gear, there is a lot to talk about. With HDTV looming, and post in transition from analog to digital, it also is wise to discuss rental in the context of the entire project, including the expected post path and anticipated shelf life of the final product.

Without such dialogue, opportunities to make a shoot more efficient-even cheaper-are sometimes missed. "For example," says Hector Lopez, rental coordinator for the Orlando office of Vaughn Broadcast, "if someone's doing a limited amount of handheld and mostly working on sticks, they may not have thought about certain options. They might ask for an entire lightweight support configuration for the camera. That's $500, when for $65 we could set them up so the bridge plate from the tripod will just slide onto the shoulder. That may be all they need depending on their application."

Smart producers use their rental company as a resource and a business partner, says Don Colantonio, X-Games chief for ESPN. Unfortunately being a savvy rental customer takes what most clients don't have-time. In a perfect world, everybody would study all the new technological developments. Producers would call up their rental company a month in advance with a detailed budget, storyboards, and equipment lists from everyone from the DP to the video assist operator. They'd chat the whole thing over with the rental agent, explore two or three alternatives, come down for a demo, maybe bring the DP along. Right, as if.

Sometimes it actually does happen that way. But more likely the advertising agency will agree on a concept at the 11th hour, the crew will be hired the night before the shoot, and an inexperienced production assistant will show up with a list. "Sometimes they don't even know the name of the production company they're working for," points out Mike Hodgins of Hollywood lighting manufacturer/rental house Mole Richardson. "They know the movie or the spot they're on, of course, but a lot of times they don't actually know who hired them."

Richardson, like many others, says there is great opportunity for a motivated PA to learn the ins and outs of equipment. Geoff de Lissovoy, division manager of Bexel's brand new Northwest office, adds that along with the ever-changing technology, there are certain basics that will always hold true. A survey of producers and rental house executives produced the following guidelines for producers to consider before calling their local rental house.

KNOW THE JOB

What are you shooting? "A basic question, but many times the person who calls us doesn't actually know," de Lissovoy says. Obviously, producers don't always feel like having a heart-to-heart with the rental agent about their highly confidential sub project for Disney.

"But the more they can tell us, the better," says Guy Jaconelli, president of HB Group, North Haven, Connecticut. "That means: Does weather matter? Are you shooting wide, is it tabletop, are you shooting a computer screen, is it talking head, will you be close or in the back of an auditorium? Do you have to shoot outside for eight hours straight? Does anything need to be waterproof? Are you shipping to multiple cities? If we know some of the specifics, we have the chance to offer substitutions that might save money, or help build a package that's more efficient. We might spot something the client didn't think of, we might be able to make some element go more smoothly. For example, if we know you're going abroad we can give paperwork support for carnet. You'd be surprised how many people don't even mention that they're going out of the country."

Another common stumbling block, Jaconelli adds, is not thinking about the end product. "We're reminding a lot of our customers that if they want their documentary to still be airing in two years, they should be aware of the coming standards. The might want to consider shooting widescreen-like the Sony DVW widescreen. It allows the producer to shoot 4:3 or 16:9 and can also be upconverted to high def."

"A sophisticated producer starts from post and works back," adds Bexel's de Lissovoy. "We can help problem-solve. For example, maybe stooting digital is ultimately cheaper because it's lighter and the shipping costs are a big factor, but if a client isn't planning digital post then it could be a problem for quality. We like to just walk through the whole job and consider everything-tape stock, weight issues, transfer issues for post, all the details."

KNOW YOUR SCHEDULE

Rental contract standards championed by PERA and now widely adopted mean that orders placed later in the day open up the possibilities of overtime. Of course in real life, everything it seems, comes down to the last minute.

"Order ahead when you can," says Tom Dickinson, VP of sales, at Bexel, Burbank. "Two to three weeks if possible. You'll get a better package, better deal, better conversation." On the other hand, Bob Wexler of Wexler Video, Burbank, says that last minute can be a good time to get a deal at his house, if-and it's a big 'if'-"clients can be flexible about what equipment they'll use."

If he has idle gear on hand, Wexler says he's more likely to make a deal. "If you're not locked to the type of camera, we can do a great package-the BVP-90 is every bit as good as BVW-400."

"Communicate with your rental house," says producer Bob Doran of Cornerstone Entertainment, New Canaan, Connecticut. "Book gear tentatively in advance, just let them know it's not set in stone yet. Be honest and keep them appraised; don't pretend it's definite and then cancel at the last minute." Doran also says that knowing your schedule can open up possible bargaining opportunities. "Can you return the camera to them for a couple of days in the middle of your project, can you use it during the week when it isn't so busy?"

KNOW WHAT EVERYBODY ON YOUR CREW NEEDS

"We'll get people who say 'we don't need a video tap because we have a video assist guy and he has his own gear,'" says Vaughn Broadcast's Lopez. "Much of the time that means from the B & C back, but not the actual video tap, so I always ask: 'Does he really have a video tap?' It's best for whoever's ordering the equipment to get a list faxed back from everybody, even when they say they have their own gear. The DP may have his own filters, but they should still be noted on the list because we want to be sure the matte boxes we're supplying are the right size."

"Have the DP call us if there's doubt about anything," says HB Group's Jaconelli. "Most DPs are willing to take the time to make the call, and they won't charge you for it."

PLAN FOR BACKUP "There are cheap, effective systems for backup," says Bexel's Dickinson. "Take a DVCPRO in a bag so if you have problems you're covered. Sometimes I'll send it along for free-I don't want to take the 2 a.m. phone call from Peru."

People often forget the translation devices that they need to get in and out of formats, Dickinson adds. "They're easy to forget, expensive to add on later. The Sony DSC 10-24 scan converter is a great product; it allows you take image from a computer to a non-computer device-like VHS or a monitor. It's great for quick buyoff."

KNOW YOUR BUDGET "The big guys come in with a budget-they know exactly how much everything is going to cost, they've factored in shipping, expendables, the whole thing," says Bexel Northwest's de Lissovoy. "That's something everyone should try to do. There can be a lot of hidden costs-if you're on a 10-city tour, you may find out that, depending on weight, something that appears cheaper may not be because of shipping. A budget should be thorough and realistic, so you don't waste time getting bids on stuff you'll never be able to afford."

"Bring in your rental company when you're putting budgets together, let them bid it with you," says producer Doran, "then when there's a last-minute change, or something you didn't think of, they are in on it too and share the responsibility. They'll know they missed it too, or they'll really understand it was a last-minute change and will help bear the burden."

KNOW WHAT YOU DON'T KNOW

Everyone knows technology is changing at light speed. Not everyone wants to ask the questions or betray any ignorance. But acting cool about tech is one of the great missed opportunities. Obviously many producers, DPs, etc., know exactly what they want and don't feel like having a big discussion. But for many, the rental house can be an ongoing source of information.

"Declare your ignorance and state your wish to be educated," says Doran. "If you're just starting out, say so, and indicate that you want to build a relationship and you expect some help." Doran says his ongoing relationship with his vendor means "I can call up and say I've heard about a new gyro zoom, and can I try it out? Can I take out a lipstick camera for a day? Have them set up free demos. Take your clients in for demos. Some of them are interested in that. You make the rental company become educators. If you pretend you already know everything, you can't take advantage of that."

"It wouldn't hurt a PA to swing by on an off day and sit down with the manual," HB Group's Jaconelli adds. "We can't give them an engineer, but one can be around to answer questions. Or maybe an assistant cameraperson is trying to build a reel. If we know them and have a mutual relationship, they might come in and borrow a camera for a weekend. We'll invest in the growth of our steady clients, because that's investing in our growth."

And while you're learning about technology, don't underestimate the power of basic cinematic skill when it comes to getting the most out of any tool, says Bob Zahn, president of Broadcast Video Rental, New York. "People who are fluent in film, who understand light and shadow, and can apply film techniques to video, are getting much more out of the video formats than anyone expected."

KNOW YOUR BARGAINING STRENGTH

"Try to look ahead at your business and identify your areas of bargaining strength," says Hector Del Valle, production manager at Fidelity Investment, Boston. "Is there a camera you will be using a lot this year? Do you have something you'll need long term? Tell your rental company that and tell them you want a discount on that particular piece." When Fidelity decided to build an in-house facility for their media production, Del Valle says they went to their rental house and explained that they planned to buy cameras in about a year, and would need to rent frequently in the interim. Fidelity got a good discount, and as it turned out was able to buy the cameras sooner. "We kept them informed, just so there were no hard feelings. It's important to do that so you're not seen as always crying wolf, always angling for the discount and not being honest."

"I look at every element in a package" says Mark Van Veen, producer for Eastfilms, Providence, Rhode Island. Maybe I don't need some of the lights and can get more batteries instead. Maybe there's a mic I don't need that can save me. My vendor is flexible about the package. But don't piece your shoot together with pieces you've nickel and dimed from different sources. That is a nightmare in the making. Because no one is invested in your success. Packages are really your best bargaining tool. "People make the mistake of cutting deals for individual pieces of the pie," Bexel's Dickinson concurs, "and they give up leverage that way."

"Here's how you get a big discount at Vaughn Broadcast," says rental coordinator Lopez. "If we know you're going to use local Orlando people for crew, there will be a discount. If you're participating in the local economy, then everybody wins."

DON'T RENT A PORSCHE WHEN A HONDA WILL DO

"The BVW D-600 is kind of a buzzword now, but the BVW 300A is fine," notes Jaconelli. "We get a lot of requests for Digital Betacam DVW-700," says John Rule of Rule Broadcast Systems, Boston, "but it may not be necessary, depending on your post and your end product. If you aren't doing digital post, it may just be a waste of money."

"Finish on the Avid," says Lopez. Or try the Media 100 instead of an Avid, Rule says. "It's great bang for the buck." Consider the new 16mm Vision stocks from Kodak, Lopez adds, "especially if you can use one of the new Ranks for transfer." And from Rule: "If you're doing a machine-to-machine, cuts-only edit, it still may be easier and cheaper to do it on a small Betacam edit system."

"People may think they can't afford the new Arriflex 535B, 435, and SR-3," says Lopez. "But if they are shooting a TV monitor or video wall as part of the shoot, they may be cheaper because they won't need an external synch box; the synch control is built into the camera."

New digital master controls that allow the storage of a central "look" for all the cameras on a job, are a real time saver, says BVR's Zahn. "Camera setups are menu-driven," he explains, "the details are stored on an Eprom card." Even the most detailed setup can then be recreated exactly in minutes.

For the high-end user, Dickinson says the Tektronix Profile is a winner. This summer, Bexel is conducting a four- to six-city training tour to show how it can replace two costly devices, both the EVS Slo mo and Sierra Video Labs Quick Frame DDR, simultaneously. "It's more economical, lighter weight, more robust, cheaper." The tour will also offer training in the Abekas Dveous.

KNOW YOUR RENTAL COMPANY

Ask around. Get recommendations. Reputation counts. "Caveat emptor," says producer Van Veen. "What are their hours? Is there anybody there when you call? What are their emergency backup provisions? Is their stock cheap, but never available?"

"Stay on top of your vendor; don't expect that any one person knows it all and don't expect there to never be a problem," says DP Morris Cooperman. "I've lost my cool once or twice, when things have gone wrong, but the important thing is what happens after that. Do they take a serious interest in your problem; does it stimulate problem solving and improvements?"

"Don't assume that equipment is equipment," says Rule. "Every rental house has a different ethic, and their identity is reflected in the quality of rental equipment and maintenance." "And never, ever take something on the second leg of a road trip," ESPN producer Colantonio cautions. It not just whether the equipment will work or not, it's hidden flaws like timecode synch that could mess you up later. "Make sure you're dealing with a company that brings the gear back and services it thoroughly every time."

MAKE SURE YOUR RENTAL COMPANY KNOWS YOU

Find a house that is the right size to value you as a customer, Cooperman suggests. That's not to say that the big houses can't service the little producers. "You can pay premium money. But that doesn't necessarily buy you premium service-especially if they don't know you, if you don't represent a proportionally important amount of business to them."

"For example, I remember one very complicated shoot. We were originating in Ultimatte, outputting to PAL, NTSC, and hard drive simultaneously out of the back of the camera. We needed some specialized gear which we got from a very big house across the country. And it broke right at the close of their business day. I called them, and they were honest about how much they were willing to extend themselves. 'You are never going to mean enough money to us,' was basically the response; 'We're going home.' That's fair. They work hard, too, and at some point they have to go home. But you have to find a rental company where you do represent enough business to be important to them. That's the relationship I have with my main vendors."

BUILD RELATIONSHIPS

"My reputation rests on the strength of my relationships with my vendors. My suppliers are my reputation," says Van Veen. "It also pays to keep in good communication with your vendors, because inevitably you will come up against a PSA or jobs that are a little light on the dough. It may not happen this year, but it will happen next year. And you are going to want a sympathetic ear and a rock bottom price on the other side of the phone."

"My freelancer ass depends on the fact that nothing breaks down," Cooperman adds, "and if it does, my problem will be an urgent priority. If you don't walk into a rental shop and feel they share that priority, you're in the wrong rental house. What we're selling is not just our creative work. We're selling 'everything is going to be OK.' That's what I'm buying from my rental company; more importantly it's what my client is buying from me."

Consider carrying insurance against equipment loss and damage. Just as in the case of rental cars, purchasing insurance from the rental company can be expensive, usually 10%.

Cash flow is the lifeblood of the rental business, and upfront payment should rate a discount.

The Production Assistants Association offers seminars and educational visits to rental companies. For more info: 310.659-7416.

The Production Rental Association Web site at www.productionequipment.com has thumbnail profiles of dozens of member companies, news, even a lost equipment list. PERA also offers seminars such as an annual Society of Operating Cameramen remote head/crane training.

© 2008 Penton Media, Inc.