Fineline's industry expertise leads to financing
an abundance of ARRI ALEXA cameras
01/09/11
Fineline Media Finance has assisted 12 companies to purchase more than 30 ARRI ALEXA digital cameras in recent months. People turn to Fineline due to its industry knowledge built up over many years, its flexible approach to each individual purchase, and its excellent relationships with leading manufacturers like ARRI.
Electra TV, a hire company that provides entire production packages of crews and equipment for a variety of broadcast genres, recently worked with Fineline to purchase two ARRI ALEXA cameras with various accessories.
"The ALEXA gives film-quality pictures without having to have a film-sized budget, it arguably provides the best pictures you can shoot – absolutely astounding," says Doug Urquhart, Director, Electra TV.
Urquhart adds, "We have worked with Fineline before. Duncan [Payne, Fineline Area Sales Manager] knows the industry very well so he understands where we are coming from. In this business it really is about people you know, like and trust."
Fineline has also financed ALEXA cameras for rental companies and freelance camera operators including ARRI Media, Digital Garage, Take Two, Filmscape, Camera Facilities, VMI, MovieTech, Indie Films, FAVA, Film and Sales Taskforce, Shooting Machine, Video Europe, S+O Media and On Sight.
Gareth Wilding, Sales and Marketing Director, Fineline, said, "We work hard to keep at the forefront of new technological developments and to understand our customers' requirements, and it's clear that the ALEXA is something the industry was waiting for. We are very pleased to have assisted these companies with their investments and anticipate working with many more in the coming months."
www.electra-tv.comHD Magic for Fountain
03/08/11
Fountain Studios is the largest purpose-built production studio in the UK, boasting a 13,000 sq.ft space that can be used as one large studio to seat over 1000 people, or split into two separate and soundproof studios of 6,500 sq.ft each. With comfortable production offices, well-appointed dressing rooms, and a licensed restaurant that has to be experienced to be believed, it's no wonder that some of the biggest entertainment shows - including The X Factor and Britain's Got Talent - choose to set up home there.
Over the last couple of years Fountain has undergone a complete studio upgrade in response to ever-increasing demand for HD facilities, such as the recent magical entertainment show, Penn & Teller: Fool Us. The latest installation of a second Sony MVS studio mixer for the gallery, purchased with assistance from Fineline, completed the final phase of the upgrade. This particular model also provides the studio with an element of future-proofing for 3D production.
"We chose Fineline to assist us with this purchase largely due to their close association with Sony," says Mariana Spater, Managing Director, Fountain Studios. "They certainly have good industry knowledge, and this combined with their competitive rates made them attractive for this final stage of our upgrade."
Mariana adds, "Duncan Payne was very efficient and made the whole transaction very smooth."
www.ftv.co.ukAlexa achieves success
03/08/11
Even by Chris Openshaw's own admission, it took Arri a while to realise that digital acquisition was the future. Once it had though, and once it had poured all its years of experience and heritage of innovation into building a camera for the new technology, it certainly did it properly. The Alexa was, of course, the result, and Openshaw and fellow cameraman Will Pugh now own one, courtesy of Fineline.
"It not only produces outstanding images for its size, but has an interface that is highly interactive and familiar," he says. "It is clear that from the high demand for the camera it has had a major impact on other manufacturers such as Red and Sony. For us it was worth the wait."
For Openshaw, the camera is also proving gratifyingly popular with clients. Since purchasing it in May he's used it to shoot a new BBC comedy drama written and directed by Peter Capaldi, as well as some second unit work on ABC mini series Combat Hospital in Morocco.
"People ask for it because it has taken the market completely by storm and there is nothing else that comes close," he says. "Red have produced the next generation of their camera, the Epic, which will possibly change the marketplace. But for TV drama, commercials and top end documentaries, at the moment this is clearly the market leader."
Openshaw adds that with the forthcoming introduction of the Alexa Studio and the Alexa M models (the latter an intriguing camera system with a separated head and body) this demand will undoubtedly filter up into high budget feature film production."
"The camera has performed incredibly well," he says. "I was astounded looking at the pictures off the monitor and indeed later in the grade. Not only does it handle the dynamic range like film, but it also renders natural colours and textures in a very filmic way. The camera has a base sensitivity index of 800ASA which allows you to shoot with less light or use natural light obviously taking into consideration the aesthetic or practical requirements of the film. Because the menu is so interactive it is easy to navigate through all the settings and using SxS media makes data transfer extremely quick and easy."
Talking about quick and easy, Openshaw says Fineline put the deal together in the same manner, speedily and with a minimum of fuss. "I have financed a number of cameras through them and it's always good to have someone you know to deal with," he says. "They understand better than high street banks the nuances of the business and respond accordingly."
The digital switchover - are you ready?
05/04/11
As you are no doubt aware, by the end of 2012 all production industry wireless radio mic and IEM receiver / transmitter equipment will be required by law to switch to the new Channel 38 (606-614 MHz) or venue specific frequencies allocated for wireless use in the UK.
The main consequence of this switch from Channel 69 is that the vast majority of the UK's stocks of wireless microphones, which are essential tools for content production in the creative industries and beyond, will soon be rendered unusable.
In 2010 Fineline was approached by Sennheiser, the microphone equipment manufacturer, which was looking at how best to help its clients when this major change happens. The result was a 0% finance deal over a two year period which will apply to Channel 38 compliant wireless purchases, and includes the following models Sennheiser G3 GB 100, 300 and 500 series models: Sennheiser 300 series IEM models and Sennheiser 2000 series.
One company to take up this opportunity is Capital Sound which provides professional live sound equipment for concerts, tours and major events in Europe and the UK including respected acts such as The Killers, Stereophonics, Grace Jones and Julie Andrews to name just a few. Additionally Capital has just announced it will be meeting the sound requirements for Take That's already sold out UK tour in 2011. One of the reasons it leads the field is its continued re-investment in new, state of the art audio equipment and this includes the recent purchase of Sennheiser 2000 series IEM systems, together with associated antenna systems.
Paul Timmins from Capital Sound comments on the purchase, "The decision was part of the initial phase of our changeover to the new 38 systems and we believe that they will form the basis of our core inventory of IEM systems for the next 10 years."
These have already been put to use with a number of touring artists, such as James, Hurts and Duran Duran, and Capital is already seeing the new equipment featuring on specifications.
Commenting on why they took the decision to use Fineline, Paul adds, "It was through the recommendation of Sennheiser and the extremely competitive financial deal proposed, enabling us to finance the product over a period of time that was beneficial to us."
Another company that has had to reinvest in new equipment is Thames Audio which supplies sound equipment to the theatre and corporate sectors. MD Graham Simpson says that although the switchover has forced them down a strategic reinvestment path it will be beneficial in the future. The company has used Fineline before but saw the promotion as a good time to speak to them again and importantly get the deal done quickly as it's a very busy and demanding time of the year for them. It also took advantage of the promotion to consolidate its Channel 69 RF stock to comply with the trade-in schedule agreed with Equiniti.
The switchover won't just affect concerts and theatres, but also smaller events such as corporate meetings, weddings and parties. London based Peachy Productions is an expert in this field and has taken advantage of this offer to make the switch also adding some d&b Audiotechnik speakers into the Fineline finance package.
So, if having read this you think you need to replace your equipment, now is the time to speak to Fineline about the packages and deals on offer.
www.sennheiser.co.ukCreative finance helps large and small do business
18/03/11
The recession has bitten almost every company at every strata of the industry, but even when finding funds for investment is hard, new technology purchases might be just the ticket to keep business ticking over.
That was the situation faced by prospective customers of Snell's Alchemist Ph.C-HD motion compensated standards converter who were gifted an innovative free interest repayment package, which enabled all sides to do business.
"These small to medium sized post production facilities wanted to buy directly from us, rather than from a reseller," explains Snell Sales Manager, Ian Ellis. "The Alchemist Ph.C-HD is a sophisticated product and they wanted to be close to us in order to access our level of expertise."
Handling smaller companies in a direct sale can be tricky for manufacturers, though they clearly don't want to turn the business away. Simply because of the size of turnover they pose a credit risk and cashflow can also be problematic.
"By partnering with Fineline we devised a strategy that effectively greenlit these deals," says Ellis. "It gave the post guys the flexibility to make the investments fit with their business needs and in several cases the interest free saving, over two or three years, was a significant factor in helping them decide to place the order.
"We were reassured that there was a source in place for the facilities to pay for the units at the end of the day. If you're selling a £100,000 box you can't just ship it and assume you are going to be paid. This option removes the risk about credit and makes it easier for us to do business with smaller companies."
Although the package has been underwritten for the Alchemist a similar arrangement could be made for the Archangel Ph.C – HD real-time video restoration system.
"Fineline has a thorough understanding of Snell's market and equipment," adds Ellis. "We've worked with them over a number of years and we value their agility. If I need to run some numbers by them I can have a good dialogue with them at any time of day. The bottom line is that Fineline enabled us to do business."
Fineline Continues Expansion with Two New Staff Appointments
26/01/11
Fineline Media Finance has started the New Year with two new staff appointments, continuing the company's expansion and meeting the growing demand for its services. Simon Curlew, has 20 years experience in asset finance and banking and joins as Area Sales Manager. Richard Ivey joins Fineline from Alico Wealth Management and will be supporting the sales team as the Accounts Executive Administrator.
Curlew's experience comes from working with many of the major banks and commercial lenders, including Lombard, RoyScot Trust, Bank of Scotland, HSBC and Barclays, as well as running his own brokerage. During this time Simon has developed an interest in the broadcast and film industry and has brought with him a number of established customer relationships. Ivey was a Senior Administrator for two years at Alico Wealth Management, an insurance company based in Croydon, Surrey. Before that he spent four years at ING Lease providing technical and legal support on asset finance arrangements.
Gareth Wilding, Sales and Marketing Director, Fineline comments; "These appointments to our sales and support team are due to the continued growing demand for our services. Fineline's ability to provide specialist financial solutions supported by technical knowledge of the broadcast and film industries provides a compelling reason for media companies and freelancers to chose us when seeking finance."
Avanti hits the HD big time
18/11/10
Welsh production company Teledu Avanti has evolved into a major player in the British live production market, winning regular work for a range of clients, from regional broadcasters to global players. Recent work includes coverage of the Ryder Cup opening concert for Sky, Ysgoloriaeth Bryn Terfel (live mainstream OB) for S4C, and Wakestock for S4C, Channel 4 and Sky.
This roster of high-profile work has come with its own demands, however – not least, the requirement to deliver material in HD. It was this that led the company to decide the time was ripe for it to make a considerable investment in HD kit, to be used both in OB applications, as well as in Avanti's own studios at the former Corona Victorian bottling works, The Pop Factory in Porth.
After securing financing from Fineline, Teledu purchased eight new Sony HXC-100 camera channels, with the corresponding Sony HXCU-100 camera control units and RCP-750 remote controls. Other camera gear includes six Sony HDVF-550 large viewfinders and eight HDVF-200 monocular viewfinders, six Vinten Vision 250 heads and tripods, along with seven Fujinon HD lenses with zoom and focus control. The Panasonic AV-HS450E vision mixer also made it on to the shopping list, alongside four JVC DT-V171 HD monitors and Convergent Design CF recorders. The list is topped by the Quartz HD Topas video router, Sony HDW-M2000/20 HDCAM VTR, as well as the OB vehicle in which all the kit resides.
According to Avanti’s CEO, Emyr Afan, the time had come for the company to make the move to HD "as the majority of our programmes are high-quality and entertainment-based, so we needed to complement our programming with HD kit and move to tapeless. We invested in outboard, including HD monitoring, matrix and tapeless data recording too."
Avanti opted for a large amount of Sony kit as Bevan believes the manufacturer offers "a proven record, not to mention excellent value for money in the current climate." He admits that the outlay for the entire kit list – estimated at some £750k – is a substantial amount to be investing in the current unpredictable economic environment, but believes that Teledu's "consistent quality, headline names and a dedicated team" has placed it in a sufficiently secure position to absorb such an outlay.
A proven track record was a factor Fineline was also able to bring to the finance aspect of the deal, with Afan pointing to the fact that "Fineline understands our business and is able to think out of the box, which basically makes things happen in a pleasant and efficient way."
As for Avanti’s future plans, including those for its historic Pop Factory premises, Afan remains enigmatic, saying only that there are 'lots' of plans. "Watch this space," he advises.
Cheeky Monkey Moves to XDCAM
18/11/10
In an industry renowned for its glamour, sometimes the reality of getting business done is a little more prosaic. Certainly Baldock Services on the A1 in Hertfordshire isn't the most exotic location ever, but it was the perfect place for Cheeky Monkey Films' Paul Edwards to sign his latest deal with Fineline for a new Sony PDW-700 camcorder and HDVF-C30WR colour viewfinder.
"I'd just returned from filming in Spain and only had 24 hours before I was off out of the country again, and that was the only way we could find time to meet face to face and do the deal," he says.
Such flexibility is a Fineline hallmark, and one of the reasons why Edwards was happy to deal with them again this year, two years after funding his last HDCAM camcorder with the company.
Edwards has a wide range of different clients that keep him glued to a hectic, globe-trotting schedule, but he is probably best known recently for his work on Location, Location, Location and its spin-off, Phil Down Under. In fact, he jetted off to Australia with the new PDW-700 and colour viewfinder (which he says is the best he's ever seen and "is as sharp as my big HD monitor") at the start of November for two months' filming of the second series of Phil...
"Phil Down Under will be edited back in London while we're still on location, and moving to disc is going to save the production money as we can simply clone the disc for safety and courier the original back to London – all of which will be much cheaper and easier than it would be to do the same process on tape," he says.
"Plus I also think discs have a definite advantage over memory cards on a busy production. Handing over £1000s worth of cards and not knowing when you'll get them back or finding yourself frantically downloading all your material before getting on a plane is never good."
Owner/operators are always facing an uphill battle to keep up with new kit, but Edwards has found that working with Fineline, who in this instance funded the shooting kit through the 0% finance programme they run on behalf of Sony, is a good way of ensuring his equipment never falls behind. It worked for him before, it works for him now, and it will probably work for him again.
"I'll pay the PDW-700 off over two years on the Sony 0% deal and probably then be looking to upgrade again," he says.
Fineline assist Presteigne Charter in becoming the UK’s biggest 3D hire company
14/10/10
It’s all about 3D at the moment and Presteigne Charter, one of the world’s leading broadcast dry hire and systems rental specialists, has staked its claim in the market with the largest ever investment in Sony 3D production systems. Always an early adopter of cutting edge technology, Presteigne Charter turned to Fineline to scale up its 3D production portfolio. The deal, which totals around the £1.4million mark, includes 13 Sony MPE-200s 3D Processor boxes, 10 HDC-1500R camera systems, as well as a mix of Sony HDC-P1 POV cameras, LMD-4251TD 3D LCDs and monitors and a Sony MVS-8000X vision mixer.
As well as its long standing relationship with Fineline, Mike Ransome, CEO of Presteigne Charter, cites Duncan Payne's extensive technical knowledge as a major reason for choosing them as their finance partner. He adds: "When making such a major investment we need the best partners us. Sony provides this with its pioneering quality standards in 3D and Fineline provides a financial and industry knowledge that is second to none."
Mike adds why they chose to make the major investment at this time; "Following Sky and Sony’s high profile 3D format trials this summer, we believe the media and broadcast sector is at tipping point and it is now critical that we build momentum for 3D content production across the industry. Our investment in cutting-edge Sony 3D technology will position Presteigne Charter at the forefront of 3D hire in the industry."
As a true driver of 3D content production for all sizes of business, Presteigne Charter was mindful that it wanted to provide a scalable range of solutions which would make affordable 3D production accessible to all. With this in mind, it chose to combine high precision rigs with Sony’s HD compact multi-purpose HDC-P1 POV cameras, which allow for smaller footprint camera positions, thanks to Sony’s multi-cameras control network. In addition to Sony HDC-P1 cameras, Presteigne Charter invested in 13 of Sony’s MPE-200 3D processor boxes. This flexible, open-architecture 3D image processor box, works with a growing number of rig and lens manufacturers to correct stereo source misalignment in real time, ensuring high quality 3D in live environments.
Duncan Payne’s relationship with Presteigne Charter is long established as a supplier, employee and customer. "Presteigne Charter has always been a progressive, forward-thinking business. I still have a lot of friends there, and putting this deal together has been an easy and straightforward process. Our association with Sony has also helped Presteigne, with a seamless link between equipment supplier and finance supplier."
Getting The Look
14/10/10
In 2010 Thomas Urbye, founder of The Look post-production made what some people say was the brave decision to move premises and expand his high-end grading facility. The decision wasn’t without reason though as The Look which started in 2007 had been growing steadily, grading some very high profile drama, commercials and feature work and Thomas was winning accolades such as the being voted into the Top 25 Colourists in the UK by his peers - the highest ranked from a boutique facility. Thomas had worked with Fineline since he founded the company so he turned to them to support the move as The Look’s finance partner.
The Look’s move to Rathbone Street involved major building renovations especially as they wanted to create a top class, boutique environment with the latest technology. This involved the creation of 2 cinema grading suites, one with 14 seats and another with 8, plus 2 extra cutting rooms and a superb reception that wouldn’t be out of place in a top hotel.
The majority of the media-related costs for the move were financed by Fineline and Thomas comments on why he choose them; "Fineline are the most professional finance company in the industry without a doubt. As well as the Rothschild connection, Gareth’s level of professionalism and helpfulness is unsurpassed and so we have continued to work with them and will do in the future."
With work about to start on the major new BBC drama 'South Riding' shot on the new Arri Alexa, Thomas and his team of 5 are now settled into the new premises and looking forward to an exciting time ahead.
HotCam goes HD with The X Factor
05/08/10
Broadcast rental and crewing company HotCam has recently supplemented its equipment inventory with a major investment in high definition acquisition, principally based around 10 Sony PDW-F800 XDCam camcorders, as part of its project to take Talkback Thames' light entertainment extravaganza The X Factor fully HD this year.
HotCam facilitates the equipment and crewing for all the UK auditions, boot camps and judges worldwide location shoots, all of which were previously shot on DigiBeta. With ITV's requirement that the show transition to HD, and given that these auditions take place in some of the largest venues in the country, HotCam's MD, Trevor Hotz decided that a fibre-based system was the best route to take.
"As the shows are getting bigger, so are the venues and consequently cable lengths become more of a challenge with copper," comments Hotz. "However, cable runs with fibre can happily be up to at least two kilometres long, which means we can set up in these venues exactly the way the production wants us to."
The fly-pack fibre system that HotCam has developed involves kit from 10 different manufacturers, and includes additional Sony PMW-EX3 kits and fibre systems. This innovative configuration means that the camcorders can be used not only on PSC shoots but also in a multi-camera set up.
This new system that Hotz instigated for The X Factor is a significant financial investment for HotCam but as Hotz comments, "in turn it provides many advantages that are passed on to our client, including picture quality, much improved efficiency with rigging and de-rigging times, increased flexibility and communication, for example allowing key personnel such as Engineer, Luke Chantrell and Lighting Director, Mark Kenyon to sit next to one another whilst setting up and recording the show." Chantrell comments, "Normally I don't get excited about engineering but this new system excites me."
As ITV's decision to migrate to HD for The X Factor required immediate responsive action, Hotz says, "From getting the green light we had to guarantee the finance and purchase of all the equipment and peripherals within a couple of days before production commenced. We've dealt with Fineline for over ten years and their industry knowledge and experience meant they were able to respond just as quickly as we needed them to."
New Arrivals
05/08/10
Congratulations to Fineline Credit Manager Garry Pearce and his wife Claire on the arrival of their twins this afternoon. Daniel Mason Pearce was born at 1.17pm followed by his sister Bronte Ruby at 1.39, weighing 5lbs 15oz and 5lbs 8oz respectively.
Fineline Media Finance Welcomes Three New Staff
17/06/10
Fineline Media Finance has recruited three new members of staff as it expands further within the media industry finance sector.
Sam Baker is Fineline’s new Sales Executive. Sam brings with her a wealth of broadcast experience after nine years with reseller Top-Teks Ltd, in both equipment sales & business development roles. She also gained an insight into asset finance with a role at Siemens Financial Services, and has managed her own business.
Garry Pearce joins Fineline as Credit Manager. His last position was with Deutsche Leasing, and prior to that he spent several years in the risk environment including a role at BMW Financial Services.
As Programme Administrator, Donna Sharpe oversees the back-office requirements of Fineline’s captive supplier finance programmes. Prior to joining Fineline she worked in various financing roles, most recently with SGB Services Ltd where she spent two years working as a credit administrator and analyst. Donna is studying part time and has recently passed the first module of the ICM Foundation Level Course.
Gareth Wilding, Sales Director, said, "As the industry continues to recover from recent economic stresses, Fineline’s specialist approach to asset finance has never been more in demand, so we are delighted to welcome Sam, Garry and Donna to the team. They will help us continue our growth and remain at the forefront of the media finance sector."
Fineline Is Gold Sponsor Of Vision Soho Fun Run
15/06/10
Fineline is proud to sponsor the Vision Charity’s annual Soho Fun Run, which takes place on 8 July 2010. The ‘run’ is really a three-legged stroll around Soho, visiting facility houses along the way and answering quiz questions. Participants then return to Soho Square for a well-deserved party. All money raised goes to the Vision Charity for blind, visually impaired and dyslexic children. Click here for details of how to enter. http://www.visioncharity.co.uk/events_detail.php?id=33
