This is our editorial picks list — gear we think should join the program next.
Our team's picks for what to bring into the program next — gear we see real demand for across our own TVC, video, and event production work, not guesswork.
Editorial picks, not a guarantee of returns or bookings — reviewed and refreshed periodically. Each pick below links straight to its catalog listing, or lets you propose it if it's not there yet.
Not our opinion — this is what the marketplace is actually doing: what gets booked, what is nearly bought, and who clients rate highest.
No part-funded gear right now — every item is either untouched or fully owned. See what is open for partners →
No crew reviews yet — ratings appear after the first completed booking. Browse the crew directory →
The workhorse camera for TVCs and corporate video right now — full-frame sensor, internal ND, dual-base ISO, and broadcast-grade codecs in a body small enough for run-and-gun. Clients increasingly ask for this look by name.
A matched set of cine primes is one of the biggest gaps between a corporate-video look and a true TVC look — clients paying for a commercial-grade shoot expect it, and a shared set spreads a cost few solo shooters can justify alone.
Already proven in-demand on shoots we run — smooth handheld and vehicle-mount work is requested on nearly every TVC and brand-film brief, and having a second unit means it's rarely the bottleneck.
Aerial shots are now a default ask on real estate, construction, and large-scale event briefs, not a special request. A dedicated cinema drone (vs. a consumer one) covers the color-matching and dynamic-range demands TVC clients expect.
Director and client video villages are now standard on TVC sets — every additional transmitter directly reduces downtime waiting to share the monitor.
LED walls have largely replaced projection for corporate events, product launches, and concerts — high upfront cost, but also the single highest-demand rental item we turn away when we don't have enough panels in stock.
Every live event needs sound, and a proper line array (not just speakers) is what separates a professional-sounding event from a rough one — near-constant demand across our event bookings.
Static lighting kits cover basic needs, but moving heads are what clients mean when they ask for a 'concert look' — increasingly requested for product launches and gala events, not just concerts.
Hybrid events (in-person plus livestream) are now the default ask, not the exception. A dedicated multi-cam switcher is what makes a broadcast-quality stream possible instead of a single static webcam feed.
Every multi-department live show runs on comms — stage manager, LX, sound, and video all need to talk in real time. More units directly means larger shows we can crew without renting last-minute from a third party.