Hiring a piano for a film set, studio or photography shoot.

The production brief

Start with what the camera sees.

A production piano enquiry is different from a concert or home rental enquiry because the visual requirements drive the choice. Tell the piano provider:

• What the camera sees: full instrument, keyboard close-up, background prop, or an instrument that must be both seen and played. Finish, colour and period matter for camera.
• Type and size: a grand, an upright, a baby grand. The visual footprint on set is part of the set design, not just the music.
• Playable or not: if the instrument must produce sound on set, it needs tuning after the move. If it is a prop or will be dubbed, it still needs to arrive in visual condition but the acoustic standard is different.
• Finish: polished black, satin, wood grain, white. Specify the finish the production needs and ask what is available for your dates.

Music Companion has supplied a grand piano to a Mediacorp television studio set, photographed among the LED columns on the events page. That is one documented placement; ask what can be confirmed for your production.

02

Schedule and logistics.

A production runs on a call sheet. The piano must arrive, be placed, be tuned (if playable) and be ready before the first shot. Confirm the following with the piano provider:

• Load-in time: when the piano arrives at the venue. Ask how much time is needed between arrival and the instrument being ready on set.
• Tuning window: if the instrument must be performance-ready, the tuner needs time after the piano is in position and before the crew starts work around it. Confirm how this fits the call sheet.
• Set changes: if the piano moves between setups, confirm who moves it and whether it needs attention after each move.
• Collection: when the piano is picked up. Confirm whether it is collected the same day or held, and the access arrangements.

Send the call sheet or at least the load-in, shoot and collection times. The logistics depend on the schedule and the venue.

03

On set: handling and access.

The instrument is on loan for the production. Agree the following in writing before delivery:

• Who may touch the piano: the performer, the piano provider's crew, and who else. Restrict access during setups to avoid accidental damage from equipment, cables or set pieces.
• Surface protection: agree how the instrument surface is protected during lighting and rigging work around it.
• Food and drink: keep them away from the instrument. A spill on the keyboard or inside the case is a serious problem.
• Damage and liability: agree in writing what happens if the instrument is damaged during the production. Confirm whether the production's insurance covers the instrument, or whether additional cover is needed.

04

Photography and still shoots.

A photography shoot has some of the same requirements as a video production and some different ones:

• Reflections: a polished black surface reflects studio lights, crew and equipment. Discuss the lighting plan with the photographer and the piano provider. A satin finish reflects less.
• Styling: if props are placed on or near the instrument, agree what may touch the surface and what may not. Flowers, candles and liquids near a piano are production choices with real consequences for the instrument.
• Positioning: decide the final position before the piano arrives. Moving a grand on set after it is assembled takes time and crew.
• Duration: confirm the full timeline with the piano provider, including setup before the first shot and collection after the last.

Music Companion has also documented an upright delivery to The Columns Gallery for an exhibition, photographed on the events page and in the gallery delivery video. Each production context has its own logistics.