An Introduction to Phillip Covell
Phillip Covell
Senior Executive | Film, TV & Media | Technology & Innovation | Growth, Transformation & Leadership | Speaker & Strategist
Updated - September 2024
With over 30 years of professional experience and 25 years in senior management across Film, TV, and Media, I have had the privilege of working with some of the most influential broadcasting corporations, production studios, independent producers, camera rental facilities, and equipment manufacturers in the world.
My expertise encompasses international brand-building, business development, strategic vision, leadership, and operations management, with a specific focus on Film, Broadcasting, Digital Media, and TV Equipment. I offer a wealth of experience in general management, stakeholder relations, and high-level negotiation.
Film, TV & Media Consultant: I currently operate as a consultant, applying my extensive knowledge to broadcasting, streaming, production, equipment rental, and other industry-related services. I’m always on the lookout for exciting and profitable business ventures within the sector, leveraging my vast network and deep industry knowledge.
Recent Achievements:
Career Highlights:
AVTN | NewsNet247: As CEO, I spearheaded the effort to establish a global multimedia news network focused on Aviation and under-served markets with strong demographics, planning bureaus in London, New York, Singapore, and Amsterdam. I led fund-raising for £218M, presenting to investors, securing a conditional offer of $20M, backing for an IPO, and gaining a unicorn valuation of over $1.2BN. Overseeing financial and organisational strategy we projected average growth of 6.49%, revenues exceeding £300M by year four, with dividends over 6%, supported by 2.7 million data points. I also developed our global strategy to reach 540M households, championed AI and blockchain solutions, and masterminded our cutting-edge technology and multicultural editorial strategy. I was responsible for building strategic partnerships with over 100 contributors and stakeholders. Despite significant progress, the project faced challenges relating to Brexit, U.S. Media policy, and the rise of the “Fake News” phenomenon, leading to its closure.
LEQ: As founder, I pursued business across camera hire, production, creative services, and sale. I transitioned operations, enhancing existing strategies while collaborating on productions with clients like the BBC, Channel 4, ITV, and Sky, and expanded our client base to include Bloomberg, CBS, CNBC, National Geographic, and NBC. Over the first five years, rental revenues grew by an average of 9.6%, before a shift of focus to sales with 43% average growth. I secured and managed contracts for a wide range of projects, from scripted and unscripted productions to feature films with budgets up to $115M, TV dramas, documentaries, commercials, music videos, concerts, motorsports, and awards shows. Notably, I delivered a specialist equipment and training contract for a $10M ITN/Accenture EMEA News project, and successfully advised a leading VFX company on securing a $2.8M technology sale for a high-profile studio project in China.
The Lightweight Equipment Co. (Era II): As Managing Director, I led the establishment of operations, set the strategic direction, and achieved a 47% increase in rental revenues over two years. One of my key accomplishments was securing a £155K production equipment contract for the Sydney Olympics, while also elevating the company’s brand profile with a $250K investment in Aerocrane. I secured prestigious production contracts, supplying equipment and creative crew to the BBC, Channel 4, IMAX, ITV, NHK and Sky. Additionally, I developed $500K in strategic partnerships with VFG Group, collaborating with teams in the UK, US, and Australia across equipment hire, sales, manufacturing, and finance, and achieving cost savings of up to 14% on imports. I also conducted due diligence for a £7.4M acquisition of 36 local television broadcasting licenses, forming recommendations for the Local Broadcasting Group subsidiary, backing the CEOs rejection of the deal which was supported by the Board and Institutional Investors. I also averted a $250K sale collapsing, by securing a new vendor after a US supplier breached a Chapter 11 court order.
VFG Ireland: I was handpicked to launch VFG Ireland, VFG Group’s first international base, establishing operations in Dublin, recruiting and developing a high-performing team, that achieved first-year revenues of £2.2M, contributing to 10% of revenues of £21.9M and overall corporate growth of 109% with a group valuation of over £100M. I successfully equipped Hallmark’s $23M budget Animal Farm, and negotiated and won contracts with the BBC and RTE. I controlled a multi-million-pound equipment fleet, delivering high levels of service to B2B clients, and built trust and mutual understanding through successful negotiation with the Irish Trade Engineering & Electrical Union.
The Lightweight Equipment Co. (Era I):
I Launched the company as a VFG spin-off, delivering agile management roles and production services for VFG PLC and its clients. I contributed to delivery of VFG’s average growth of 93% and revenues of £14.5M in this period, as VFG grew into a multinational with over 500 personnel and 11 regional operations, raising further investment through an IPO on the AIM. I delivered asset integration for VFG acquisitions valued at over £4M, as the group added 5 operations and 10 businesses. Managing specialist equipment operations across regional teams, I successfully delivered special projects for the CEO, and negotiated over £1M of technology procurement and disposals for VFG in the U.S. marketplace. During this time, I acquired and grew a top-tier client list of broadcasting corporations, production studios, and independent productions. Additionally, I conceived and developed impactful advertising campaigns, marketing media and corporate communications for VFG.
Video, Film & Grip Co (VFG PLC): I began my professional career as a founding member of the VFG team, contributing to average growth of 79% and revenues of £1.4M in this period, financed by Venture Capital. Our client list included leading broadcasting corporations, production studios and independent producers. The company grew to include operations in East, West and Central London, Pinewood and Shepperton Studios, Manchester, Cardiff, Bristol, Dublin, Belfast, and Glasgow, with offices in Los Angeles and Sydney. We worked on notable Feature Films, TV Dramas, Documentaries, Commercials, as well as News and Factual productions.
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Points of Interest:
Throughout my career, especially during my leadership of the AVTN | NewsNet247 project, I have cultivated extensive connections that span government departments in the UK, US, Europe, and APAC, as well as major film studios, international broadcasting corporations, financial institutions, airlines, airports, and aircraft manufacturers. These relationships also extend to various global corporations and industries.
As a prominent social media commentator, I regularly share curated articles and insights on Film, TV, Media, and Aviation, another area of personal interest. With a follower base of over 4,000 on Twitter(X), primarily from the business community, and more than 2,700 followers and 2,500 connections on LinkedIn, my reach and influence in these areas are significant.
My career has afforded me the privilege of attending exclusive events and collaborating with global leaders, including Heads of State, Vice Presidents, Senators, Members of Parliament, Ambassadors, Diplomats, and industry leaders across Film, TV, and a range of other sectors. This broad expertise in Film and TV, combined with proven general management and business development skills, positions me as a valuable resource to the industry, contributing strategically at both operational and executive levels.
My Background
I’m a second-generation member of the Film & TV Industry, and I quite literally grew up in and around camera equipment and production. I’m the son of industry veteran Tony Covell, former MD of Cinefocus, and CEO of VFG PLC respectively. Cinefocus was established the year I was born and provided the environment that I grew up in and foundation for my lifelong connection to the world of Film & TV.
My earliest memory of being on a production set is from 1977, when I was just 3 years old, during the filming of People & Pubs, a documentary presented by Jon Pertwee (known for Doctor Who and Worzel Gummidge). From as early as I could reliably carry the lightest equipment without dropping it, usually a lens or filter box, I was helping load and unload gear from company vans during weekends and holidays.
In 1979, at just 5 years old, I was introduced to many of the industry’s significant international business leaders and cinematographers for the first time at the BKSTS ‘Film ‘79’ Exhibition. I would later do business with many of these individuals or work with them on productions, some of whom we have sadly lost since. That same year, I was fortunate enough to be invited to join the crew filming Concorde’s take-off for what became an iconic TV commercial.
At the age of 8, I was introduced to Gerry Anderson for the first time, visiting the set of Terrahawks for which my father and his team designed and built the cameras. I earned my first £50 in Film & TV, cleaning the cases after the equipment returned from production. In the same year, I achieved second place in Junior Cook of the Year, the forerunner of Junior MasterChef.
In the meantime, I continued to immerse myself in the industry, learning the trade through hands-on tasks such as cleaning equipment, sweeping the workshop floors, accompanying drivers on equipment deliveries to productions, and of course, making copious amounts of tea and coffee. My natural curiosity drove me to absorb everything I could. At an age when most kids were dreaming of what their career would be, I was already pursuing mine.
At the age of 14, I began my professional training seriously, servicing my first film camera, lens and camera dolly. I began attending professional training courses, and conferences and worked on my first production, a film to raise money to save the Hackney Empire. Throughout my teens I deepened my knowledge of equipment and management during weekends and holidays, and by 16, I was answering the office phones. I also attended the famously wet IBC Exhibition held in Brighton. My training extended to sound, learning the art of sound recording and sound mixing for film at Cine Lingual Sound Studios observing dubbing and mixing on episodes of Inspector Morse and Michael Winner’s film, Dirty Weekend, and through courses at Pinewood Studios, under the tutelage of Graham Hartstone (Superman, A Passage to India, Aliens)
During this period, Cinefocus revolutionised the UK industry by introducing ground-breaking, Academy Award-winning equipment such as Moviecam, the Egripment Tulip Crane, and the Panther Dolly. The company supplied gear for major productions including Aliens, Clockwise, Wish You Were Here, Caravaggio, Sherlock Holmes – Sign of Four, Worzel Gummidge, Fraggle Rock, Dick Turpin, Last of the Summer Wine, as well as iconic commercials and pop videos for the likes of Duran Duran, Queen, Mick Jagger, David Bowie, and Tina Turner to name a few. Cinefocus also secured significant crewing, newsreel, and documentary contracts with major broadcasting corporations. While other kids were doing paper rounds, I was already building my career in Film & TV.
At 17, much to the dismay of my Headmaster, I took a month off from my A-Levels to assist my father, Tony Covell, and a small team in establishing Video Film & Grip, which later became VFG PLC. While in the Sixth Form, I co-wrote, produced, and directed two plays. After leaving school, I began working full-time at VFG. From the age of 18, I consistently attended major industry exhibitions such as IBC, NAB, Photokina, and many more. I also pursued professional training, completing certified courses from Leeds Metropolitan University, Sony, Kodak, Steadicam, and others, alongside further training with the BBC and BKSTS, soon becoming a member.
I attended the first GBCT (Guild of British Camera Technicians) training course under the tutelage of the late Tony Garrett, a distinguished Assistant Cameraman whose credits included Lawrence of Arabia. I became a member of the Guild soon after, later serving on the Board for one year.
I’m proud to have learnt the craft of cinematography from many legendary cinematographers, including family friends Tony Imi BSC (British Society of Cinematographers) known for The Slipper and the Rose, The Sea Wolves, Buster and Billy Williams BSC know for Little Women, On Golden Pond, and Gandhi for which he won the Oscar.
In 1995 I moved to Los Angeles to train with Industry-leading companies like Panavision, Clairmont Camera, Chapman/Leonard, and Aaton Hollywood. I also had the unique opportunity to join the crew of the TV drama series E.R. for several episodes with Directors Mimi Leder (The Peacemaker, Deep Impact) and Chris Chulack (Seal Team) plus the series finale Motherhood, Directed by Quentin Tarantino.
As a consequence of my involvement in camera equipment rental, I have by default gained considerable experience working in technical, creative and production roles on over 300 Film & TV productions, supporting the specialist equipment that I and the companies I have been associated with supplied. I have travelled to some 33 countries and protectorates, and many cities in the course of my life and career, but the two main centres of my career have however been, London and Los Angeles.