RENTAL HOUSES
I tend to approach rental houses in the same manner as I do when searching for airlines: sure, there’s some I prefer, but at the end of the day it’s going to come down to price. That said, each rental house provides its own benefits and unique approach to your rental needs.
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Camera AmbassadorIn addition to having a dog that occasionally roams around the space, Camera Ambassador does a great job catering to smaller budget productions. They tend to offer a fair amount of wiggle room to negotiate, especially if you are a member of IFP Chicago - which gives you a 20% discount. CA also just started a Community Builders Grant and has several events in their space. They also have grip trucks that are loaded up with lighting gear.
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Magnanimous RentalsMagnanimous has a very big selection of gear that varies in range for all levels of production. I am constantly seeing flash discounts on select items on their social media, which is certainly worth the follow. Some of the smaller gear can also be rented without the need for separate insurance. Magnanimous also runs two small studios that can be rented out for fairly reasonable prices. They also sponsor The Martini Shot, a monthly meetup for industry professionals.
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Eleven04 ProductionsEleven04 is one of the newer rental houses in Chicago that specifically aims at helping independent productions. Though they don't have quite as big a selection as the other houses, their rates are certainly competitive and worth investigating.
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AbelCineThough I haven't personally had much interaction with them, AbelCine provides many resources for filmmakers and cinematographers aiming to elevate their knowledge to a more professional level. This includes various workshops and community events.
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BarbizonWhile many rental houses naturally tend to favor camera gear above all else, Barbizon is where you go for lights. I've been on a few shoots where we were in need of a last-minute piece of G&E gear and Barbizon was able to save the day with ease. Good one to keep in your phone.
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Additional Rental Resources
Additional Thoughts
A lot of people say that one of the best things you can do as an indie filmmaker is to befriend a rental house. As a result, you may find yourself taking advantage of discounts and specials you otherwise wouldn't have even know about. Some of my best relationships with a rental house in Chicago have been with Camera Ambassador, which let me use one of their RED Epics for a project for free (not counting insurance). Though all of the rental houses above are competitive and provide discounts at different times, there is the never-ending struggle of gear needs vs. gear hook-ups with friends and what is absolutely needed in order to get a production off the ground. A lot of the time we settle with what a friend's corporate workplace gives them access too. Which is fine, if it gets the job done. At the end of the day, it's usually a combination of multiple resources, rental houses, and favors. It is worth noting that ShareGrid, the online rental portal that connects individuals with gear, is sometimes the most budget-friendly option (and easiest way to deal with insurance). Most of these rental houses also contain their own profile on ShareGrid.
One major question as an indie filmmaker, however, is determining what level of production your independent project is going for and how you wish to execute it. For freelancers who work in camera such as myself, there is always the debate about whether you should own your own gear or if continuing to rent is worth the the cost. In many instances it's not. Just buy the gear (and maybe list it on Sharegrid). For my project with CA, the rental was worth it not only because the base camera package was provided in-kind, but shooting with the RED created a look that coincided with the moody horror film we were trying to make. Furthermore, it strengthened my relationship with CA (which helps with future productions) and even gave me a little bit of local promotion. There is a difficult balance when dealing with rental houses, cinematographers, and producers - all of whom have very different goals. There is a minimum requirement of gear for every production, but I tend to find that these expenses are the most exaggerated part of independent budgets. This is because many of our indie DPs are used to working lower-level positions on big sets and indie producers don't know enough about what the production really needs from a technical standpoint. So when the DP wants to use all the toys, naturally the producer says "okay" and moves on to the next expense. Personally, I'd rather spend more money on my cast and crew - which is where the real magic happens. At the end of the day, no matter where the gear comes from, the camera is one of the least important parts of the process. If your story isn't there to begin with, all the toys in the world won't help you, and more creativity can be achieved when you set limitations on yourself.
One major question as an indie filmmaker, however, is determining what level of production your independent project is going for and how you wish to execute it. For freelancers who work in camera such as myself, there is always the debate about whether you should own your own gear or if continuing to rent is worth the the cost. In many instances it's not. Just buy the gear (and maybe list it on Sharegrid). For my project with CA, the rental was worth it not only because the base camera package was provided in-kind, but shooting with the RED created a look that coincided with the moody horror film we were trying to make. Furthermore, it strengthened my relationship with CA (which helps with future productions) and even gave me a little bit of local promotion. There is a difficult balance when dealing with rental houses, cinematographers, and producers - all of whom have very different goals. There is a minimum requirement of gear for every production, but I tend to find that these expenses are the most exaggerated part of independent budgets. This is because many of our indie DPs are used to working lower-level positions on big sets and indie producers don't know enough about what the production really needs from a technical standpoint. So when the DP wants to use all the toys, naturally the producer says "okay" and moves on to the next expense. Personally, I'd rather spend more money on my cast and crew - which is where the real magic happens. At the end of the day, no matter where the gear comes from, the camera is one of the least important parts of the process. If your story isn't there to begin with, all the toys in the world won't help you, and more creativity can be achieved when you set limitations on yourself.