Yes, you can rent an exotic car for a music video in New York. The car is the quick part. What takes time is getting your city permit, insurance and coordinating the schedules of the talent and crew. The music industry loves exotic cars, and a video lets filmmakers highlight a car in stylish ways a film might not. The budget may be smaller than commercials but the visuals still need to be stunning.
Choose a car that sets the mood. Hip-hop videos often feature Lamborghinis and Ferraris, pop videos focus on luxury cars and convertibles, and a rock video uses the car as a symbol; a red Ferrari sets a different mood than a black one. Don’t gloss over choosing what car you want - white cars photograph well and stay cooler in summer, and a dark paint job makes a dramatic night shot, but needs careful lighting to really capture detail. And think through if the car’s the main character, or just part of a scene.
What does a premium car cost? One NYC company lists daily rates from $1,500 for a Rolls-Royce Cullinan, Lamborghini Huracan, Ferrari 488 Spider or McLaren 720S. Expect a refundable deposit ranging from $2,000 to $10,000, on the main renter’s credit card. Of course more things factor into the price than the car. New York adds a 12% tax on car rental charges on top of sales tax. If the car is used as a background prop, the cost may be lower than a hero car in close-ups. Renting a parked car is cheaper than a driving scene in most cases. For a multi-day shoot, clarify the price per day with some downtime, since days the car waits around usually cost less than days with filming involved.
Film Permit
Is a permit needed if a car is used as a prop vehicle? You need a film permit from the Mayor’s Office of Media and Entertainment. The same goes if you need parking privileges for your production vehicles, or will want to set up any camera gear besides handheld or tripod. There’s times you don’t need one. That’s when you’re using only handheld or tripod gear, not claiming exclusive use of any city property, no prop vehicles, stunts, or police uniforms are in play, and you don’t need parking privileges. Permits from the city are $500 for each 14-day stretch of a project, and aren’t refundable. You need to apply for them at least two business days in advance - or seven business days for filming in Times Square.
When it comes to getting a permit, you start with insurance. A broker will send proof of liability to the Film Office 48 business hours before you file the permit application online. The car’s owner may want commercial general liability with hired auto coverage that extends to their car, and a certificate naming them as additional insured before the car reaches your set. You’ll pay for any damage to the car during filming.
Driving shots raise the stakes. Expect the car’s owner to require hired auto physical damage insurance. A handler from the rental side might move the car between takes. A handler matters most for an expensive hero car or a challenging driving sequence, and in general, crew members shouldn’t be moving a high-value exotic around. If you want stunt driving, be prepared for specific insurance riders, and be ready to pay for them.
You’ve done a scene a dozen ways, and your director still wants that aerial shot. Don’t even dream about taking off or landing a drone in NYC unless you’ve submitted an NYPD application at least 30 days in advance, and 14 days in rare cases.
Where do you want it shot? Midtown skyscrapers and yellow cabs make for iconic scenery. DUMBO cobblestones with Manhattan Bridge views provide their own energy. You might also consider FDR Drive or West Side Highway for moving shots - if you can manage it early morning or late evening to dodge traffic. Times Square is hard to permit. If quieter suits you, Red Hook and the Navy Yard offer less foot traffic. For capturing skyscrapers in motion, try the Brooklyn, Manhattan and Queensboro bridges. And if you dream of beach views, look toward the Rockaways.
Does the driver’s age ever matter for the rental? In New York a rental company can’t turn someone away only because they’re 18 or older if the insurance has an option at that age, but may pass along the added premium linked to age.
Set the Dates for Production, Then Line up Insurance
Work in this order: Set the dates for production, then line up insurance.
Then there’s the day itself. If a photo or video camera is going to capture every swirl mark, spot of dust or smudge of glass, the car needs to show up as detailed as possible. Schedule it to arrive well before call time so the team has time to prep it. If call time is 6 AM the car needs to show up before then, not minutes beforehand. And for an overnight shoot it should arrive the evening beforehand and only leave the next day. Always come ready to accommodate if the creative vision changes on set.