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.
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.