Filmscape Media was founded in 2005 to supply a new revolution of digital technology to the film and television industry. Six years later Filmscape has become the fastest growing digital cinema company in the country. Staying true to its roots as a 'digital back end, film front end' specialist it has supplied most of the UK's top TV networks, production companies and filmmakers.

Having a finger on the pulse of new developments in technology means Filmscape strives to supply its clients with the latest and best equipment. This made the new Red EPIC cameras top of the shopping list for 2011, and Filmscape was first in the queue. In June 2011, despite delays in production, the first two units arrived and have been in constant use ever since.

Upcoming comedy The Wedding Video starring Robert Webb and Rufus Hound was one of the first major productions to choose Filmscape for its EPIC-M's. As the seven week shoot is to be mainly handheld, the crew chose the light weight and size of the EPIC over its counterparts, as well as its stunning resolution and versatility.

The camera is also proving hugely popular with commercials and music video production, with The Saturdays' All Fired Up by Stamp Films being a perfect example. Veteran cinematographer Tony Miller utilized the camera's 300 frames per second to create fantastic high-speed images never before available on a camera this accessible.

As Filmscape MD Kevin Harvey explains, "Many UK based features have adopted the EPIC quickly for it's incredible images combined with its small size and weight. For promos and commercial work, the variety of frame rates and quality settings allow for a multitude of creative options. It's one of the most versatile cameras available."

So why Fineline? Kevin cites the way in which Red Digital Cinema handle its payments as a key reason. "As Fineline is effectively a bank it can pay Red the money in advance before the cameras are shipped. This is important for certain companies, and it's knowledge like this and the understanding Fineline has of the industry in general that made the decision easy."

And what next for Filmscape? With its new flagship premises and film/photographic studio the company can now offer location support to productions as well as full test facilities for feature films and commercials. With a massive increase in new equipment in 2011, the team are looking towards NAB next year to stay on top of their game.

www.filmscapemedia.com

While the appeal of the ARRI ALEXA camera continues to grow, the accessories that accompany it are equally important to the success of any production. FAVA Rental, a boutique rental and sales house that supplies camera equipment for 2D and 3D features, dramas, commercials, promos and corporate productions, recently purchased two ALEXA Cameras and a set of Cooke Optics' highly popular Panchro/i lenses.

"We are always looking at new technology and how it can help our clients," says Patric Ralston, Managing Director, FAVA Rental. "The ALEXA's pro-res workflow was something that we knew would be popular. We also felt that the new Cooke Panchro/i T2.8 lenses would be a good fit with the ALEXA."

The Panchro/i lenses provide the same high quality images as Cooke's prime lenses, at a lower cost – making them ideal for productions such as documentaries, independent films or second units on drama shoots. Patric concurs: "We chose the ALEXAs and Cookes because of their quality, and this combination is proving to be very popular."

FAVA approached Fineline following a recommendation from a client. "I had been aware of Fineline for some time and it seemed a good fit for us to talk with them when we decided to expand our rental side of the business," says Patric. "They understand the need to adopt new technology at the start of a cycle."

www.favarental.co.uk

Traditional Camera Company, a camera hire firm which turned 10 years old this year, has recently upgraded much of its equipment in response to the increased demand for HD and file-based cameras.

While it works with several production companies, the bulk of the company's clients are freelance camera operators. "We've noticed over the last 18-24 months that the freelancers are doing more sports-based work and therefore they are asking for HD equipment," notes Peter Young, Managing Director, Traditional Camera Company. "Of course, we have to go where the market goes."

Traditional Camera Company's most recent purchases were two Sony PDW700 cameras and a Sony HDW750, in a deal worth around £50k. "We had work waiting for them when they came in, so they have already been a great success," says Peter. "By the end of the year we'll have more card-based cameras, as we're being asked more and more for the Sony PMW500."

Peter had dealt with Fineline a few years ago following a recommendation by Sony authorised dealer Top-Teks. "I'm loyal to people and companies that give good service so I approached them again for this purchase," Peter explains. "John Bartlett was particularly helpful in facilitating a quick turnaround when we needed to supply kit for an imminent production. As a small company, that kind of service is very important."

www.tradcam.co.uk

For all the articles written about the health (or lack of it) of trade shows over recent years, they still remain the best way for getting lots of manufacturers and customers together under one roof. And when you do that, inevitably sometimes things will happen.

"We didn't go to the BVE/Production Show at Earls Court in February with the intention of purchasing a new camera," says Paul Ream, Lighting Cameraman at Track Two Limited. "However, when we played with the soon to be released Sony F3 on the Visual Impact stand, it became clear that this was the ideal camera for an ITV HD project that we were due to begin shooting just 10 days later. Fineline was on hand at the show and the deal was arranged in less than one hour!"

Track Two's trip to BVE proved expensive. In the end the company bought the Sony PMW-F3K (essentially the F3 camera body) with three Sony prime lenses. They also picked up an AJA KiPro Mini recorder, allowing them to record at the ProRes quality required for BBC/ITV broadcast HD specifications. "As we were buying a new camera we thought we'd also treat ourselves to a new HD monitor and the Sony PVM-740 OLED is the perfect fit for this quality of camera. We also bought a Lite Panels Bi-Color 1x1 LED light," adds Ream.

Track Two looked at several likely candidates before settling on the F3. "We considered several cameras and compared picture quality versus cost for the type of work our clients require. As most of our work involves HD production for television, the Sony F3 seemed the best fit. Not only is the image quality of this camera superb, but the addition of the KiPro Mini recorder on the back has resulted in a very flexible workflow."

Ream acknowledges that moving up to large image sensors and cine-style PL lenses is a steep learning curve for the traditional video operator. However, he also points out that when you get it right the pictures are outstanding and the F3 has swiftly become Track Two's clients' most popular camera. As such it has worked on numerous high-profile projects since March including When Kate Met William: A Tale of Two Lives, The Corrie Years, and they've just completed an ITV documentary looking back 30 years to Charles and Diana: The Wedding of the Century.

"We've done business with Fineline since starting our own company in 1995," says Ream. "Their support when we were a new-start operation with no trading history was invaluable. Since then, Fineline has been involved with many of our major equipment purchases and the team's knowledge of the television industry and our requirements has never failed to impress. Sam Baker dealt with our recent purchase of the Sony F3 kit and the speed at which we were able to confirm the deal gave us a huge competitive advantage. Track 2's F3 was on the road and working before most of our competitors could even buy one, and that was largely because of Fineline's service.

"I'm confident the F3 will keep us busy for some time to come, but it's clear we'll need to make further purchases if we want to remain competitive. I'm confident that Fineline will be there to support us again when we need to invest."

www.track2.co.uk

A seismic shift in technology is keeping broadcast equipment hire company S+O Media busy from their base in West London. "2010 was an unprecedented year in our ten year history," states S+O's Stephanie Keelan.

"We've worked on some brilliant shows with brilliant directors and production managers. The busy year has coincided with a time of re-investment, with new and exciting technologies redefining our working practices. The move to tapeless acquisition and HD delivery has kept the TV hire market buoyant in what for many has been a gloomy economic landscape. Hopefully we can continue to develop and grow in 2011, but it's a competitive industry so we are constantly reassessing better ways of working to ensure the best possible service for our clients."

Keelan continues, "Central to our company's success over the last twelve months has been our enthusiasm in embracing technological change and feeding that information to our clients so they can make the best choices for their production."

From Sony's F3 and its 35mm full frame sensor with PL mount lens system to what Keelan describes as the 'beautiful' Arri Alexa with its seamless direct-to-edit workflow, S+O's crews have been hard at work on a diverse range of productions. Keelan comments, "It has been a breath of fresh air to embrace high-end imagery without blowing the budget," she says. "Our crews are excited by the creative capabilities the new generation of cameras afford them. We have also enjoyed developing relationships with DIT specialists and the post production world, previously a separate entity to us once the tape had been handed to the client."

Financing for the PDW and Arri cameras, plus accessories, was put together by Duncan Payne at Fineline, who has a long-established relationship with S+O Media. "Whether it's new grip equipment or the latest in minicam technology, we can rely on Fineline to support us and to trust us in our vision," says Keelan. "They work as a company because they understand the nature of our business. They ensure that as a small independent business we can respond quickly to our clients' needs.

"Along with producing amazing pictures, the Alexa is probably the most versatile camera we've ever worked with," Keelan continues. Hers are "constantly in circulation," shooting an array of promos and commercials as well as weekly VTs for the likes of 10 O'Clock Live.

Keelan is also "loving the new Sony F3", and has invested in Angenieux DP zoom lenses and CP2s for more reasonably-priced cine motion shooting kits. "We've found TV Logic's 5.6 inch monitors work a dream for accurate image referencing, and are looking forward to taking delivery of the latest rigs on the market to ergonomically combine the necessary onboard powering and field recorders with full sensor cameras for full HD," she adds. "We head further into 2011 excited by the challenges ahead and the broad range of equipment we now stock to tackle a diverse range of shooting scenarios."

www.somedia.tv

Since opening in the early 1990s Pinewood-headquartered Movietech Camera Rentals has done sterling business supporting major drama and features including The Full Monty, Evita and An Education with film cameras and accessories, but when new digital technologies came on stream the company had to quickly take stock.

"We've traditionally been a film camera rental business but we noted the trend towards digital cameras and we were very fast to expand into that," explains Managing Director John Buckley. "It was definitely the right move. We treat digital as we do film cameras with the same stringent test procedures prior to rental. We're coming to the end of a fantastic year, quite phenomenal in fact. Having moved rapidly into the digital market we're now a fairly big player with the number of single sensor cameras on our inventory."

Notably, its roster contains half a dozen Arri Alexa digital cameras which Movietech was able to put onto its books in double quick time thanks to lease purchase financing arranged by Fineline.

"[Finance Director] Linda Blake and I have a really good relationship with Fineline and with [Fineline Sales Manager] John Bartlett in particular," comments Buckley. "They spend a lot of time finding out about our business, attending the relevant tradeshows and consequently they are far more knowledgeable about our equipment than any other finance company. If I went to a bank and enquired about financing new technology they wouldn't have a clue what I was talking about, but Fineline understand why we want to invest in something which makes everything so much easier."

Making a new product available to the market as soon as it emerges is important to Buckley. "I can go to Fineline with what I need and have it all arranged within a couple of days. It's that simple."

The Alexas have proved immensely popular for commercials productions as well as for stereo 3D shoots, where its lightweight frame and 35mm imaging capabilities are sought after by directors and cinematographers.

"It's the first digital camera that is built ruggedly like a film camera," he says. "For example a lot of the menus on it are very familiar to cinematographers with experience of Arriflex camera menus. It's not so scary for technicians who are embarking on digital acquisition. Plus its imaging is of extremely high quality."

Movietech is currently supporting Martin Scorsese's Hugo Cabret which is shooting at Shepperton on Alexas with Pace rigs, as well as the 3D samurai sword epic 47 Ronin which has just begun principal photography in Budapest on Alexas under the direction of Carl Rinsch.

So successful have the Arri Alexas been for Movietech that it will be upping its quota to ten over the next few months. Buckley also has his eye on a new Optical Viewfinder which will be ready in versions of the camera shipping in the autumn.

"It's not just the camera itself which productions demand but everything that goes along with a professional location unit including monitors, lenses, grips, dollies, cranes, mounts, tripods and more," says Buckley. "I believe we're so busy because we have everything a production needs and we can supply it with an experienced and friendly team of technicians."

www.movietech.co.uk

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, Bootcamps 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 commented: '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."

www.hotcam.co.uk

Documentary cameraman Peter Allibone has his email to thank for securing the best finance deal for his new collection of lenses and peripherals. Allibone actually had funding arranged, in principle, through an acquaintance of his accountants, "but shortly before the whole transaction went through I decided to try a few other places, just to see how they compared," he explains. "As I was on the phone to one lender waiting for a quote, I downloaded some emails and one of them was a mailshot from the GTC promoting the services of its sponsors, one of which was Fineline. With timing like that, I thought it'd be crazy not to give them a try."

Allibone, who trades as Camera Monkeys, was in the market for a couple of HD lenses, but needed to marry his technical expectations to his budget. "In an ideal world we would all work with prime, or cine-style lenses," he says, "but with time and money constraints nowadays, ENG lenses present the most realistic option." As such, they have essentially become an industry standard and are expected by most production companies for documentary shoots.

Allibone opted for the Canon HJ14, "a wide lens that's been around for less than a year. I don't expect it to be superseded for some time yet," he anticipates. He also got an HJ22, which he describes as "a superb bit of kit; probably the best value for money for an everyday-use long lens." In addition to the two lenses, Allibone also bought a set of Sachtler tripod legs with an Oconnor head, a full production matte-box and other periphery items. In total, he estimates an investment of around £35k.

He had been planning to buy this equipment for some time, but had to wait for the right programme to come along as the catalyst for his investment. "I didn't want to spend that much money, only for it to sit on the shelf," Allibone explains. "Then, I started working on a 13-part series for National Geographic where I would be providing the equipment for the entire four-month shooting period. It was a perfect opportunity to get a lump of the value of the kit paid off and make the initial outlay more bearable."

Having decided to follow his email lead and check Fineline out, Allibone realised the company could offer him the best deal. "I also felt it would be better to deal with a company who were familiar with the industry and its unique workings, rather than a bank or regular financial lender," he adds.

"Sure enough, Sam Baker has been very professional and accommodating, making the effort to come and run me through all the paperwork, rather than just sending reams of it in the post. When I've had any questions or queries, I've been able to speak to Sam each time, who is familiar with my account details and what we have previously organised. This was worth a lot to me and if I decide to spend some more money like this I'd definitely use them again."

www.cameramonkeys.co.uk

The Isle of Wight is justly famous for its Festival, but there's more than that one, single event taking place in the Island's cultural calendar. This year, Jazz on the Meadow, for instance, was headlined by the jazz legend Courtney Pine, and Island-based company Heaven Sent Productions found itself with the contract to shoot the Festival along with a sudden and fairly urgent need for some new cameras to do it with. Thus, Fineline's Duncan Payne found himself one night on the 21.00hrs ferry over to the Island to do a deal with an extremely rapid turnaround on four new Sony PMW-EX1R camera kits.

Heaven Sent founder Rodney Hearth chose the EX1s for a number of reasons. "It's wrist-moveable," he says. "It's a very compact and user-friendly camera and it's definitely good to have HD capability. It's also really good in low light conditions and even though its compact, like the Sony DSRs we previously used, it's built like a brick outhouse."

Heaven Sent has forged an enviable reputation for shooting music and theatre productions – it exclusively films live events for sister companies UK Entertainment Channel and UK Arts Channel - and is now using the EX1s to happily film many of the richly diverse events on the Island and beyond. "It's a great camera for us as you can climb into corners with it and a lightweight tripod," comments Hearth. "And given some of the places we end up filming that's a really useful attribute." As for Duncan, he managed to get the 23.10 ferry back to the mainland the same night – just.

www.mitv.tv/heavensentproductions/index.htm

Title Role has built a name for itself in filming factual and entertainment programmes for terrestrial and satellite broadcasters. Traditionally, the company shot in SD using DVCAM – until the History Channel, one of its main clients, specified that it wanted material delivered in HD.

It wasn't a great surprise – as a cameraman of over 15 years standing, Technical Director, Ian Bradshaw knew that broadcasters, especially those in the US, are increasingly specifying HD, and if you want to work internationally that's the standard you have to meet. The 'nudge' from the History Channel, did however mean that a new HD camcorder had to be sourced, and fast, as Title Role already had contracts in place for upcoming productions.

Bradshaw admits to "a few sleepless nights" before settling on the Sony PDW-700 camcorder.

"I chose this camera as you can remove the disk, and you have archive footage right away," he explains. "Also there was the camera's versatility; you can transfer data to USB sticks, for example, and in action, you can view clips without losing timecode." And that's even before looking at picture quality. "The pictures were fantastic too – for Bridging Britain I filmed a lot of time-lapse footage and I was surprised by the quality of what I was seeing," Bradshaw explains.

When it came to financing the PDW-700, Bradshaw did pursue other sources of financing, including his bank, which had already successfully financed camera equipment purchases in the past. This time, it was very different. "In the financial market at the time, they just weren't interested, and crucially, didn't understand why this camera had such high value. They told me they 'couldn't sell the camera on' – they simply didn't know what to do with it."

Following a recommendation from authorised Sony reseller Mitcorp, Bradshaw then contacted Fineline, with the stipulation that a finance deal needed to be in place, quickly. "Fineline turned it all around quickly, in around two weeks from start to finish," Bradshaw recalls. "There was a lot of money involved, but, unlike the bank, they never queried it. They understood that this was the quality HD camera that we needed."

www.titlerole.co.uk

It's not often you get to be the very first person in the world to hold something in your hands, but Fineline helped Movietech to do just that, when the company was the first in the world to take delivery of a set of new Cooke 5/i T1.4 Prime lenses. Movietech, an independent camera and grip rental company based at Pinewood studios, supplies a range of 35mm and 16mm film and digital cameras, lenses, grip and crane packages, and prides itself above all on being ahead of the competition.

"Movietech has been using Cooke lenses for a long time now," explains Movietech MD, John Buckley, "so we know how good they are. For us, it's important to be synonymous with new technology, so when the lenses came out we acted fast to get to the front of the queue of companies we knew would all be wanting the new lenses."

The Cooke 5/i T1.4 Prime lenses include /i technology, and are designed for all PL-mounted professional motion picture film and electronic cameras. The /i technology provides camera operators with information on lens setting, focusing distance, aperture and depth of field, hyperfocal distance, serial number, owner data, lens type and focal length in both metric and footage measurements.

"We've always dealt with Fineline and they've put together many different kinds of deals for us – too many to list. In that time, we've built up a good relationship with John Bartlett, who looks after us really well," Buckley explains. "We had our new lenses in a matter of weeks, and the only reason it wasn't sooner was because Cooke was very meticulous in checking they were perfect before they were sent. The lenses have really lived up to our expectations."

www.movietech.co.uk

The Cruet Company is no stranger to the big time, supplying equipment and crew for a number of high-profile productions, including Masterchef and The Apprentice. However, the company also works with corporate clients, all striving to capture that elusive professional look without blowing the budget. Satisfying both groups of clients, while staying on top of the latest technology, meant the company identified several pieces of new kit in which it wanted to invest.

In all, Cruet's shopping list included two Sony PDW F-800 camcorders, four Canon HD lenses and two Canon 5D DSLR camera kits. Cruet usually finds itself starting work on its large broadcast projects in the autumn, so summer tends to be the time when MD Emma Dow and her team start to assess what kit they might want to invest in. "We're quite selective about what we purchase – we won't go out and buy something new for the sake of it," Dow maintains. "I think the current economic climate makes it particularly important to spend time on buying decisions, and discuss them with clients and technical specialists."

The Sony camcorders were purchased to supplement Cruet's existing stock of PDW F-700 cameras, while the Canon DSLRs were purchased specifically for a corporate client – many of whom, Dow explains, are on the look out for a budget-friendly format in which to shoot. "The client didn't, however, want to buy and use DSLRs themselves, as they rely on us for guidance and support," she explains. "We offer comprehensive, 24-hour technical support, so they preferred to have us supply both the kit and the support. For clients that might have shot in DigiBeta in the past, for example, shooting on DSLR is a good alternative, as they can still achieve a high quality result with the right lenses and post," she adds. "I think they could become a lot more popular; it's an interesting route to follow."

Having identified the kit to use, it made sense for Dow to go to Fineline for the financing. "We have used them before and they're really good people to deal with, but most essential is that they understand the business – they're not just finance people or sales people," she explains. "We're not a very big company, so it's important too that they offer us backup. It's also crucial that as well as having a good relationship with us, Fineline is also well-known by both the companies supplying the kit to us, and by the manufacturers who made the kit in the first place."

www.cruet.com

When Seablue Media MD, Anthony Palmer, acquired his Sony PMW-EX3 camera with Fineline financing, he was buying much more than a piece of kit – he was updating his entire business. Seablue Media produces videos for a range of clients, from national organisations to smaller local businesses, for TV, web and DVD. It's an end-to-end production service, with Palmer delivering hands-on services ranging from scriptwriting to editing, as well as high-quality video.

Palmer's new EX3 has already been in use on a one-hour Keo Films documentary for BBC4, which he describes as "a real visual feast". The doc, Hidcote (working title) on which Palmer doubles up as director and DoP, explores Hidcote Manor garden, one of the most influential English gardens of the last hundred years. "The EX3 was great for this, delivering fantastic shots of the garden and at the same time being very portable and discreet," says Palmer.

Palmer has also used the EX3 on a series of 30 short information videos, of up to two minutes each, all shot in HD, teaching people to sail. The intention is that iSail will be available to download to iPhones and other mobile devices.

Palmer decided to purchase the EX3, he explains, having shot in HD himself and having seen the camera used by colleagues, who rated it as a reliable and professional piece of kit. But besides delivering good-looking pictures, Palmer also wanted the EX3 to herald a new era of tapeless workflow for Seablue. "We had been working with a tape-based workflow, and as I edit myself, I decided it was time to change to a new way of working," he explains. "Talking to post houses, they were full of enthusiasm for working tapeless, so I decided to look into it."

Having settled on the EX3 camera, Palmer contacted authorised Sony dealer Creative Video, as well as Fineline as they manage Sony's 0% finance programme. With deadlines approaching for two projects for which Palmer planned using his new EX3, time was tight, but as he explains; "Fineline had all the paperwork completed within a week. They were efficient, clear and well-organised, which is what I'd hoped for, as colleagues had recommended them to me. It was important to me that I dealt with a company I knew I could trust."

www.seabluemedia.co.uk

The Tour de France is one of the most intriguing and arduous sports events in the world. Twenty teams of nine cyclists race some 3500km around France in an event that often ends up being won by a mere matter of seconds in a mass sprint on the Champs Elysees in Paris after a whole three weeks of heroic effort. More a game of high-speed chess than anything, it climbs up gradients that cars struggle with in both the Alps and Pyrenees, thinks nothing of travelling 200km plus in a single day, and hosts sprint stages that are won in 40mph bursts of astonishing speed.

But if it's tough on the cyclists it's tough on the crews as well, as a huge broadcast operation weaves its way across the country documenting every agonised turn of the pedals. Freelance cameraman Liam MacLeod knows this better than most, having just completed his fifth tour for production company V Squared which produces ITV4's coverage of the event and clocking up 6,600km in the process.

"There's nothing quite like it," he says. "From a broadcast point of view you can only describe it as epic."

MacLeod, who also lists Sunset + Vine amongst his other major clients, works with the start crew who film overnight breaking stories and mini-featurettes before then driving to join the other crew working at the finish. They then head on to the following day's start, hence the sheer amount of France he sees every year.

This year he's been filming Le Tour with his new Sony PDW-700 XDCAM bought via Fineline after he was let down by his bank at the eleventh hour ("They just don't understand the industry and that's £60k of business that's walked out of their offices for good," he says).

"It's an excellent camera," he adds. "It worked well as a studio camera going SDI into the truck and it's also great in the field. One of its most useful features is that you can record proxy recordings onto a memory stick, which meant that I could look at rushes on a laptop in the car as we headed to the next location.

"Plus, of course, the pictures are incredible," he adds. "It's a stunning bit of machinery really."

Beyond the pictures, Macleod's reasons for purchasing the camera make sound economic sense too: not only will its HD capabilities allow him to move further into the feature and documentary fields, but also, as he points out, owner/operators are very much ahead of the game in the freelance cameraman market. "To sub-hire and remain competitive while you line up equipment and absorb that extra cost can be very difficult," he says.

liam.macleod@mac.com

Broadcast video facilities specialist Electra TV turned to Fineline when it spotted a prototype of Sony's SRW-9000 HDCAM SR camcorder at NAB last year. The company makes the annual technology pilgrimage to Vegas to check out the latest and best kit to hit the market, and the new camcorder impressed visiting MD, Doug Urquhart. He had originally been planning to purchase two more HDW F900R cameras to add to the company's existing tally, but on seeing the SRW-9000, decided to wait to invest in the newer unit.

Electra works on a range of shows, from Top Gear to comedies and drama. Set up in 1984 to specialise in location filming, the company now provides expert crew and high-end gear that production companies know will get a result on-screen. The SRW-9000 only adds to that reputation, Electra's becoming the first one available in the UK.

As Urquhart explains: "The cameramen come to us because they know they can get the best kit and therefore the best pictures. We knew we were always going to have a good market for the SRW-9000 camera," he adds, with good cause. The camera was recently at work in Bahrain, at the opening Formula One Grand Prix, capturing fast-moving footage for use in an upcoming TV production, with a possible cinematic release slated. The production, for a US client, demanded "the best camcorder possible," Urquhart explains.

Which is exactly the reputation that Sony is chasing with the unit, which couples a rugged one-piece camcorder body with state-of-the-art 2/3-inch IT CCD and the proven high-quality of HDCAM SR tape. But despite always seeking out the newest and best kit for his broadcast clients, Urquhart is adamant that Electra is not just a technology business, but rather is primarily about its people.

"Putting people together is the basis of what we do," he explains. "When it came to putting together the finance for the Sony camera deal, the decision to use Fineline was as much about people as numbers. Fineline has a very good relationship with Sony, as authorised finance partners to Sony's Financial Services, but it also has a very good relationship with us, which was very important."

Companies looking to find a finance partner for the first time shouldn't underestimate the 'people factor', adds Urquhart. "You don't want to work with someone who can only talk about the money," he advises. "Financiers also need to understand your business, have good relationships with the manufacturers and deal with you in an upfront and very clear way, with plenty of explanation if you need it. It's good to go with a personal recommendation, and I'd certainly recommend Fineline to others.

www.electra-tv.com

Illustrating the fact that Fineline can help businesses at both ends of the scale, the company recently underwrote the purchase of a Sony EX-1 and EX-1R for MTBcut Productions. Set up by ex-mountain bike downhill racer Stu Thomson, MTBcut undertakes all manner of creative video commissions, but understandably has carved itself a major niche in filming the downhills that Thomson used to compete in himself before an ankle injury forced him out of the sport.

"One of the main contracts we have is to follow the World Cup race team of cycling retailer Chain Reaction," says Thomson. "The events run Thursday to Sunday and we film every day and upload a video to the web every evening, editing on Final Cut on a laptop. Turnaround is therefore very important and the EX will greatly help us increase our logging speed."

With DVD production a consideration too, Thomson saw HD as definitely the right way forward, with the added bonus that it will boost the web-video quality as well. Fineline's willingness to do business with a small company that had only been trading for a couple of years was also a bonus. "They have a real understanding of the industry," comments Thomson. "Plus a real advantage was that we could do all the negotiations up to the signing itself by phone and email, meaning I didn't have to disrupt my shooting schedule."

www.mtbcutproductions.com

Sony's F35 camera is one of the most advanced digital cameras currently available. Featuring a Super 35mm size CCD sensor, the latest entrant to the company's CineAlta product range delivers 4:4:4 picture quality, variable filmrates up to 50 frames-per-second and what the company – and DoPs that have used it – refer to as 'extraordinary' dynamic range and latitude.

Top Teks is the single UK dealership authorised to supply the camera. It used Fineline recently when it purchased two complete systems, comprising the camera itself coupled with a SRW-1 portable HDCAM SR recorder and peripherals, for its own fleet to supply and support the UK hire market.

"The F35 Channels, at over £200K a piece, are a long-term investment and it makes sense to finance them over a period of time," explains Sales Director, Mike Thomas. "This enables us to budget properly for the equipment, comparing cost against return over each year allows us to be competitive."

Thomas reports that demand for the F35 channels is diverse, coming from a mix of commercials, high-end TV drama – they've been used on Doctor Who recently, for instance – and film, with both channels currently out on long contract hire to a high-end facilities company.

"I've dealt with Fineline for a long time," he says. "They have an understanding of how our business works and are familiar with the types of kit we buy and sell. It's good to deal with people you trust and like."

www.top-teks.com

As any filmmaker knows, the lens is where it all starts: get that right and everything else follows. Which is precisely why lenses such as the Angenieux Optimo are quite so popular',and why Filmscape Media has recently bought one.

Angenieux has been one the main leaders in the design and development of zoom lenses in the film world for seven decades now. An Angenieux zoom filmed Neil Armstrong's first steps on the Moon, and its top of the range Optimo 24-290mm is now being used by DoP Barry Ackroyd, who shot the multi-Oscar winning The Hurt Locker, on Ralph Fiennes' Coriolanus.

The lens is a serious bit of glass – 11kg in weight and around £50k to buy. The one Ackroyd is using has been supplied to film rental company Ice Film by Pinewood-based digital film specialists Filmscape Media, who in turn bought the unit with help from Fineline.

"We've used Fineline from day one," comments Filmscape MD, Kevin Harvey. "Their rates are competitive and the company is very flexible."

Filmscape concentrates mainly on sub £1m feature films, with Harvey reporting little downturn in the market despite the wider economic climate. Virals too are proving popular, with a 'significant' uplift in work over the past year.

"There were only 25 of these lenses in the country, and now there are 26," says Harvey. "We've also used it to shoot beauty material for UEFA's Champions' League competition, and we're finding it's a popular choice for both commercials and feature films."

www.filmscapemedia.com

Highlighting the use of broadcast equipment beyond the traditional broadcast space, Minicams has recently been involved in a ground-breaking project at The Clinical Exchange medical training facility near Guildford. The company specialises in supplying minicams and robotic head systems, which are in increasing demand for observational documentaries such as The Family II. For The Clinical Exchange, meanwhile, it found itself installing all the infrastructure required to support up to six remotely-controlled Sony BRC-H700P robotic cameras.

The HD robotic cameras are hired in by the facility on an ad hoc basis. "The project demanded HD because the clinic wanted to be able to project the images live from the operating theatres and ultrasound treatment room on a large screen elsewhere. That way they can have more students watching the same procedure," says Minicams MD, Nick McLachlan. "They also needed the detail that HD provides as some of the surgery, such as varicose vein procedures, takes place at the micro level."

The cameras were purchased via Fineline. "They were efficient, very helpful, and overall a pleasure to deal with," says Nick McLachlan. "And as a result we've set up what we think is a fairly unique and valuable training facility."

www.minicams.tv

A new breed of hire companies are carving themselves out a niche in the industry that no-one knew existed until recently. Small, flexible and with a distinct emphasis on customer-service, their leanness has enabled more of them than anyone would have forecast to ride out the recession, and some of them even prosper while doing so.

Pro Motion is a case in point. With two offices in Waterloo and Brighton and an impressively extensive inventory, the company has gone from strength to strength in a mere four years. It has seen the current febrile economic climate as an opportunity as much as anything, and with some help from Fineline has been able to invest ready for the upturn.

The new kit list started with some Sachtler tripods. "It's their reliability that stands out," says company MD, Duncan Martin. "We have some tripods of theirs that are over four years old and we rarely have any technical issues with them. Secondly, there is very good brand awareness in the market place for Sachtler so it's a relatively easy sell for us."

Crucially, Fineline was able to arrange a 0% finance deal on the tripods. "That was very important," relates Martin. "When the deal was struck we, along with everyone else, were in the midst of the economic doom and gloom, and so to be offered a deal for finance with 0% interest was a very attractive offer.

"Fineline offered us a deal that no other finance company could facilitate, but also I have been very impressed with their efficiency and the coordination of the lease agreement with us and the reseller," he adds. "We would happily use them again."

Pro Motion also recently added to its fleet of Sony EX-3 camcorders. "We had a particular project that came up and it just made sense for us to buy a camera and spec it to our clients' needs. It's still out now on long-term hire," says Martin.

He's a big fan of the cameras, citing picture quality and workflow as their main advantages. "They are a bit more expensive than the tape-based Z1 cameras to hire but you more than make up for that in the time you save and you have zero tape costs. We find they are being used in all manner of genres, from doco to corporate, and they make a great second camera to the HD 422 disc-based cameras."

www.promotionhire.co.uk

One of the trickiest aspects of maintaining a successful hire business is keeping both abreast of the technology and ahead of the competition. Kit, especially in the current atmosphere of transition to HD and IP-based workflows, dates rapidly, and customers naturally want the newest and the best for their projects.

Barry Bassett, MD of London-based VMI, has spent two decades keeping the company at the forefront of some tumultuous industry-wide changes, and estimates that it has to invest between 25 and 35% of annual turnover on updating kit. "It's a high proportion, but HD kit especially dates quickly and keeping up with the technology is a constant challenge," he says.

Not surprisingly, he adds that having a good credit line is critical to the business. "The technology changes quickly and clients can be very fickle. When something great is released, it is very important that we have the product on the shelves cased, accessorised and ready for hire when our clients make the call to order it. The purchase due to timings or cost might have to financed quickly and having an existing relationship and line of credit means that funding is one less thing to have to worry about. A good thing in these changing times."

Among VMI's latest purchases – conducted via Fineline – was a set of Cooke S4/i Prime lenses that have been hard at work in the features and commercials markets since their acquisition earlier this year. "DoPs revere Cooke lenses because of their 'look'," says Bassett. "It is an intangible quality which Zeiss lenses don't have – DoPs frequently favour the Cookes because they simply look 'better'!"

More tangible is the relationship that VMI has with Fineline. "They are a straightforward finance company who are very easy to deal with," says Bassett. "There is a lot of trust which has been built up over the years and that makes dealing with them simple. They also understand media and we are a media company, so the fit is very good."

www.vmi.tv

Life Goes On - feature shot by Stormglass Productions. Shot by DoP Robert Shacklady on the RED using VMI's new Cooke lenses.

Launched at NAB earlier this year, Sony's PDW-F800 is the latest addition to its popular tapeless XDCAM 422 range. It has created a significant buzz since launch – mainly due to its abilities to shoot at 24p for that convincing filmic look and also to be over and under cranked – and, thanks to Fineline, ProCam TV is the first company in the UK to offer it for hire.

"The PDW F800 has a range of innovative features, most notably variable frame rates," explains Andrew Black, Client Relations Manager at ProCam TV. "There is no doubt that tapeless is the way the whole industry is going, and having a variable frame rate function gives the F800 a significant edge over other tapeless cameras in the market place. The camera is a cost-effective asset for high-end productions, it ticks all the right boxes."

As such, Black reports that interest in the unit is coming from all sectors of the market. "We've had interest in the F800 from corporate, broadcast, and we have even had some enquiries from the features market, which can only be a good thing. Interest in tapeless as a whole though is gaining momentum – there is no doubt that the landscape of production is changing."

ProCam TV's place in that landscape is changing too, the company having just moved to a purpose-built facility in the shadow of the old Battersea Power Station building. The new premises is divided into two units with vehicles, crew and testing bays housed in one; and kit, bookings and technicians in the other. The two units cover 9500 and 3000 square feet respectively.

"We can now offer off-street parking to clients, we have dedicated space for client meetings, and production meeting space can be offered to our clients – this gives us an edge over our London competitors," says Black. "New space has allowed us to re-evaluate our check-in and check-out areas, which are now stringently controlled with a full-time dedicated manager in each area overseeing all equipment in and out of the building. These changes coupled with our ISO 9001 accreditation keep our focus solely on quality and exceeding client expectations."

The company has a long-standing relationship with Fineline. "Fineline understands our business," says Black, simply. "This makes things easier for all concerned. Great service, friendly staff and a continued commitment to our needs makes them a great choice when looking to procure leasing."

www.procamtv.com

One of the perennial problems in the broadcast industry is that while, in an ideal world, all productions might want to shoot on 35mm, very few actually have the budget to do so. Luckily there is some increasingly innovative technology coming onto the market that allows productions to achieve a convincing filmic look at digital prices.

This is precisely why West London based hire company S+O media recently bought a clutch of Sony PMW-EX3 camcorders and accessories with the assistance of Fineline.

"There has been a quiet revolution in the lens adaptor market and more and more people are switching on to the ease with which they can now shoot with fast film lenses and tapeless workflow," says S+O's Olly Wiggins. "It's a popular combination for shortform work, especially commercials and internet virals, as people can achieve a high-end look for a more modest outlay. As word gets out how easy it is to work with the format, production companies are switching to using the technology for everything from documentaries to sketch shows."

The Letus35 Adaptors can be used with either photographic stills lenses or 35mm prime lenses to achieve a narrow depth of field ensuring the viewer's eye is drawn to the object in focus. "With the right DoP you can achieve a stunning image that defies any budget constraints that may have previously compromised the quality of a project," says Wiggins. "We're finding as a result that even when demand is slow the EXs are still going out."

S+O Media is responsive to its customers' needs and relies on a quick turn around to provide new and innovative ways for producers to work with the latest technology. The company has used Fineline a number of times over the last couple of years to finance an array of cameras from HDCAM to XDCAM. "Kit hire is an on-demand process, so timeframe is all important. Fineline and the suppliers they work with all understand that – it's all very straightforward."

www.somedia.tv

Young Voices is one of those things that, unless you stumble across it via your kids or friends with kids, will be completely off your radar. Essentially it's an organisation that involves children in music by staging what are effectively the largest school concerts in the world. Schools rehearse separately, then come together to perform massive regional concerts of massed choirs in front of an audience of doting – and usually extremely impressed – parents. The concerts also involve some big name stars, and the last four years have seen the inclusion of Katherine Jenkins, Lee Ryan, Joss Stone, Lemar, Beverley Knight, Heather Small, Des'ree, Pop Stars The Rivals winner Keith Semple from One True Voice, and X-Factor winner Alexandra Burke.

Nick Pudsey of Pembrokeshire Video Productions has been involved in filming the eight-strong yearly programme of concerts since 2004. "The DVDs are bought by parents and, as they are a memento of the evening, obviously HD was the way forward," he says.

A long-time and loyal Panasonic user, Nick decided to invest in a HPX-500 P2 camera from DS Video in Cardiff, financed by Fineline.

"Nothing was too much trouble for Fineline," he comments. "We found that they could relate not only to us, but to what we were doing and the equipment we were buying as well."

The equipment has performed well too, which it needs to do when so many children are singing their hearts out in front of its lens.

"I'm probably still slightly getting to grips with tapeless," Nick confesses, "but it definitely has its advantages. We don't have to rely on tape, we don't suffer dropouts, and with no moving parts the wear and tear on the camera will be much less. Also, the quality of the camera and the pictures we're getting out of it are very good and, so far, everything has performed first-class."

www.pembrokeshirevideo.co.uk

Trevor Hotz is a BAFTA award winning sound recordist who set up HotCam with colleague Alistair Cameron, in 1998. HotCam's enviable client base includes Syco productions, and recent work includes all of the regional shoots for Britain's Got Talent. Trevor has also been employed by the Canadian version of How Do You Solve A Problem Like Maria, Britain's Got Talent and X Factor in the UK as a technical supervisor.

The Deal

As part of a general upgrade to HD, HotCam recently agreed an HP deal with Fineline for Canon HD lenses. Trevor Hotz explains: "We felt it was a good time to update much of our kit to HD, we knew we would certainly require HD lenses in the future, they can also be used on SD cameras which means we can fulfil client requirements in both HD and SD"

Trevor had been an established client of Fineline since 1999, and Duncan Payne knew Trevor from his days at Mitcorp and Charter Broadcast, and the introduction was also endorsed by John O'Riley at BPS who supplied the lenses to HotCam.

Paul Taylor, manager of HotCam in London explains: "We have a long history of working with Fineline, always find them very helpful, prompt and efficient, and they did a great deal"

The Work

As well as the 'backward compatibility' of the Canon HD lenses, HotCam will be using the lenses on its HDX 900 Panasonic cameras and new Sony HDW-790 and 900R HD cameras in both the UK and New York.

David Crute has been a DoP and steadicam operator for nearly 20 years and has owned Rock Steadi Pictures for 15 years. Up to now he has only invested in generic equipment like steadicams that he could use with both film and video.

The Shroud of Turin

David spends a vast amount of time shooting on location and has little time to arrange the purchase of specialist kit. Choosing the right equipment, however, is vitally important for Rock Steadi Pictures and never more so than when David was commissioned to shoot a unique BBC documentary about the Shroud of Turin, following new evidence coming to light regarding its authenticity as well as new dating evidence.

David explains: "For the Vatican to allow the cloth to be filmed was unheard of. The last time it was photographed was 20 years ago and it maybe another 10 years at least before it is seen again. We wanted to ensure we captured the images in the best possible way on HD."

On Choosing HD

After Vatican approval was secured, David selected the Sony HDW-790 HD Camera, which he describes as: "The best documentary, high-definition camera around" along with an HD lens.

With a price tag of around £30,000, the HDW-790 HD is no small investment and, with this in mind David opted for a three year lease deal. He comments: "I have a long standing relationship with Fineline and it was around Christmas time, we were mid production and needed kit in a hurry. Duncan at Fineline and Paul Brown at Visuals together were able to sort this all out while I was using a hired camera on locations such as USA, Israel, Oxford and of course Turin."

David continues: "I felt it was time to invest in HD as most of my Digibeta clients wanted HD and a lot of my film clients wanted to save money."

Cardiff-based Wild Dream Films has an enviable reputation in the international broadcast market. Its documentaries have aired in over 40 countries worldwide, its Ancient Discoveries series is one of the top rated series on The History Channel, its 35mmm shorts have aired at film festivals and been sold to HBO and Channel 4, and it's even produced children's period comedy and drama.

Set up by producer/director Stuart Clarke, who cut his teeth many years ago on Byker Grove, it recently bought a second Sony HDW-F900R CineAlta camera, the jewel in the crown of Sony's HD broadcast line up.

"The F900 is the leading camera in high definition production, and that's why we wanted to buy it," says Clarke. "To have two of them makes us extremely advanced in television technology terms. We can produce cutting edge HD programmes and it puts us right at the forefront of world production. In order to produce for the American market HD is an absolute necessity and without the finance from Fineline we would have found it very difficult to acquire the camera.

"Normal banking procedures cannot always apply when you're trying to buy specialist equipment," he continues. "Fineline has an immediate under­standing of the amount of money required to get that technology, however. Normal loan companies would probably have declined us because of a lack of knowledge."

Owning two F900Rs allows Wild Dream to be much more productive, either allowing it to shoot two programmes concurrently without incurring additional hire charges, or simply saving on set-up time and boosting flexibility when both are out on the same shoot together.

"The quality is outstanding," says Clarke. "And if you want to compete at that level you have to be at the forefront of technology and you have to have the latest equipment. You have to lead and you have to make the investment, it's as simple as that."

Pilot Film & Television Productions has spent nigh on two decades at the forefront of international travel programming production and has built up some serious Air Miles in the process. Set up by Australian Ian Cross in 1989, it now has over 300 hours of material in its archive, its award-winning Globe Trekker series (also known as Pilot Guides) is now approaching its 13th series and broadcasts to 30 million viewers in over 40 countries, and it has a burgeoning plethora of other travel-related titles on the go too, covering everything from world food to festivals to golf.

Director Bob Baker is, understandably therefore, a regular on the Fineline golf days, but the links with the company go much deeper than that.

"We spend something like £100 to £150k every three years or so on upgrading kit and we've always said to Fineline, 'Give us a good deal and we'll stay with you'. And they've always given us a good deal; in fact a better deal than anyone else."

The latest round of upgrading has seen the company spend a six figure sum in switching to high def, which is critical if it wants to remain a front-runner in the global marketplace. Top of the list was a Sony HDW 790 camera, but Pilot has also backed this up with monitors, decks, a Sony Z1E HDV camcorder, and an HD upgrade to its existing Final Cut Pro edit suite.

"Bringing the online edits in house not only helps us to reduce costs but also keep a greater control over the output. By having these facilities in the building we are able to monitor all aspects of the format and keep things totally consistent," says Baker.

The cameras have already been used successfully on three shoots, which are currently being edited.

"Shoots for the Caribbean Islands, Utah and Colorado, and the Falklands have all been filmed on HD," says Baker. "The kit allows us to still deliver in standard def to broadcasters who require this, but also futureproof our sales and the quality of the images by shooting HD. Inevitably more and more broadcasters will insist on the better HD quality and so the purchase of this kit was essential to us. Pilot has always kept up with new technology and, with the help of Fineline, we shall continue to do this."

The job of a Director of Photography is a complex one requiring complex kit, so when DoP Stuart Graham recently found the need to purchase some new lenses he turned to Fineline for the finance.

Stuart decided to push the limits of what most DoPs have in their kit bag and purchase the full range of Arri Master Prime lenses. Dubbed Dreamcatcher and developed in close collaboration between ARRI and Zeiss, these herald a new generation of high speed prime lenses with more speed, more resolution, more contrast and virtually no breathing.

Stuart decided straight away that purchasing the full set would give him a creative advantage and ability to push the boundaries of his work. Currently working in the high-end world of commercials and looking at longer form drama work, purchasing the total set of 14 Master Prime lenses was able to give him the flexibility when on any type of shoot.

The lenses have been put to use straight away in South Africa, New Zealand, Canada and London for clients as diverse as Muller, Honda, Nicorrette, Specsavers, Bakers, Zyrtec, Landrover and the BBC with a TV Licensing campaign.

One of the main advantages of the new lenses is the ability to shoot in any type of lighting situation for example a candlelit dinner scene at T1.3 will be rendered as well as a high-contrast shot in the snow at T22.

"For me to invest in new equipment it has to have a major draw to it and this set of lenses offered so many. As a set they have struck so many firsts," he comments.

For Stuart the investment was a big one and so he turned to Fineline for the finance. Having worked with them since he started in the business, he knew they understand DoPs, and would know how best to structure the deal. "Fineline understand the peaks and troughs you can get in this industry which made it even easier to do this deal," he concludes.

When Alias Smith & Singh decided to test the HDCAM waters with its first Sony F790, it turned to Fineline to help with the cost

Alias Smith and Singh is ten years old next year. Set up by Mike Smith and Balvinder Singh Sanghera, in that time has grown organically from a small start-up to a medium-sized hire company with a great reputation for service. Crewed by nine staff, it runs an impressive lease fleet including 60 VTRs, 20 plus cameras, lighting kits, video legalisers, HD converters, Final Cut Pro and what Smith, refers to as: "lots of other bits. If it's cost-effective for us to buy it and hire it then we'll do it."

As the company has grown, inevitably the cost of the kit it's buying and hiring has increased too. "In the early days the equipment we were buying cost a lot less," Smith explains. "We would be spending £20 to £30k per lease, now we're spending £50 to £100k."

The latest purchase to tip the higher end of those scales is a brand-new Sony HDW-F790 HDCAM camera, which the company is hiring out as a complete shooting kit. "It's our first HDCAM camera," says Smith. "We've got Z1s and EX1s, but this is the first high-end camera we've launched into. It's quite a gamble for us and has a whole new learning curve, we're not afraid to admit that, but it's gone very well.

"A lot of this industry is based around people, the people you know, get on with and have relationships with," he continues. And this works both ways: it works for Alias Smith & Singh's customers who come back and hire their kit time and time again, and it works for the companies that we have professional dealings with, like Fineline. "We've known Fineline pretty much since we set up and they've financed something like 80% of our leasing stock," he says. "So they've had a big chunk of our business over the years, and we've done that purely on the relation­ship and the trust that we have with them. They will always be our first port of call and their advice extends all the way to how to deal with accounts and develop a proper accounting system and how to move onto the next phase of the business too."

When Linx Productions had a filming assignment suddenly come up in Kabul, it needed to hurry through its expansion plans for a brand-new Sony HDW-F900 and it needed to do it fast.

Linx Productions has been in the business for over a decade now. It works with a variety of clients covering anything from low-budget internal comms to fullblown international news, but has recently acquired something of a specialisation in working for Non Governmental Organisations such as development agencies. This often takes it slightly off the beaten track.

"We were in a hurry as one of our assignments was just coming up, the Enabling Environment Conference in Kabul," explains the company's Faridoun Hemani. "There are not that many opportunities to go to Kabul and film, so we wanted to make sure we got the right equipment to shoot the projects and not have to worry about filming there again for a while."

The F-900 had been on Hemani's shopping list for a while. "Our DoPs and other cameramen have all recommended this camera, and there is a demand for it," he says. "We could have gone for the XDCAM-HD or another product, but there seemed to be a greater demand by clients for this range of cameras.

"As we repurpose a lot of material we shoot for such clients, we need to ensure it has a long shelf life. So we have invested in the F-900 to shoot material that can be used in the future," he adds.

Future-proofing is, of course, one of the main selling points of the HD format and Linx is currently in the middle of an extensive HD upgrade process. The company has just spent "a lot of money" on upgrading its SNG antennas and has already upgraded one truck to full HDcapability, not to mention that fact that all of its production and editing suites are currently going through an HD overhaul.

But back to the F-900. "Our bank could have also financed the purchase," admits Hemani, "but Fineline works in our field of media, and it was much easier explaining the kind of equipment we were purchasing to them than to the bank. Besides, the deal had to be done very quickly, and Fineline understood our needs immediately. In addition, Fineline works with some of our suppliers, so these suppliers felt very comfortable about releasing the goods before the agreement was signed on the dotted line - which meant we could go ahead and start putting the equipment to use while the bureaucracy worked itself out."

www.linxproductions.com

Making films isn't cheap. Even the lowest budget feature requires a certain amount of readies to get it off the ground, and if you're serious about your story you'll want the best quality kit you can afford.

Enter Filmscape Media – a company that understands the needs of film-makers of all wallet sizes.

After completing a film degree, Kevin Harvey found it impossible to get even the lowliest job on a film set, so, enterprisingly, he decided to see if he could hire out his own camera – a Canon XL1. Seeing a niche in the market for high quality equipment at an affordable price, he set up Filmscape Media in 2004 to supply broadcast film equipment and grips.

The key to the company's philosophy, according to Harvey, is accessibility. "We want to ensure that new technology is available to all, regardless of budget – whether you're making a £1000 short or a £100k feature, we will supply the best kit for the job," he says.

Earlier this year the team decided to add to its range of equipment in order to offer a broader choice to clients. They approached Mitcorp to supply a Sony HDW-790 camera kit which includes a set of Arri Zeiss Ultra Prime lenses, plus some Sony HVR-Z1E camera kits, Panasonic AG-HVX200 DVCPRO HD camera kits, a Kinoflo lighting kit and other general production equipment.

When it came to financing the deal, Mitcorp introduced Filmscape to Fineline. "We needed a fairly substantial sum to purchase the kit," says Rowland Kimber, Harvey's business partner and co-director of Filmscape. "Fineline really understood what we were trying to do and offered us a flexible approach." As the amount required was quite large for one lender to underwrite, Fineline was able to syndicate the facility with two other funding partners.

The diversity of Filmscape's client list, including leading ad agencies BBH and Fallon, independent film company Rok Media and the team behind the Gumball 3000 Rally, is testament to its open-door policy. "We like our clients to see us as people they'd have a beer with, not just as 'the kit supplier'," says Harvey.

And what's next for this enterprising company? Not ones to rest on their laurels, they are now planning to open a studio to produce commercials and pop promos, followed by a 4k post production facility – and both, of course, will be accessible and affordable for all.

www.filmscapemedia.com

"I wouldn't have the business I have if it wasn't for Fineline!" Samuel Martin, Decode's founder and Managing Director unequivocally states.

"We have been in business for just over 3 years and without financing we would have never got off the ground. Fineline worked with us in those early days when we had no credit record and very little business to justify their faith in us. We are now a substantial business, but we still need finance to keep us moving forward and keep us competitive."

Decode is a rapidly developing broadcast equipment hire, production and post production company. Fineline has helped them finance a range of production equipment for hire including Zeiss film lenses, grip and production kit (tracks and dollies) and broadcast equipment.

Decode's Account Manager at Fineline, Chris Biggs, explains, "When we first started dealing with Decode, the company was of a very modest size, with a very limited range of financial information available. As such, we had to put facilities together based on our knowledge of the specific equipment being funded, the hire and production markets and the potential of the business to succeed.

We recently helped Decode fund a wide range of film equipment, including a couple of follow focus units and two sets of Zeiss 35mm film lenses. Purchased directly from an American supplier, these presented shipping, foreign currency and importation issues. We were able to accommodate their needs due to the flexible way in which we structured the deal and the bespoke nature of the documentation we put together."

Samuel takes up the story,"We now supply equipment to all the UK's main terrestrial TV channels, the BBC, ITV and Channel 4. One of our most recent projects involved hiring out dollies, cameras and lighting kit for the BBC's Moon Monkeys TV pilot produced by leading indie production company Avalon TV. We have supplied camera equipment to a couple of other pilots from BBC and have recently been involved in an increasing number of TV productions and music videos.

Our production and post production side of the business is getting a facelift in the coming weeks. We are expanding our facilities by taking over the entire building where we are based and renovating a new floor to accommodate a production office and a couple of Avid Adrenaline HD suites.

We are also installing a grading suite to complement our production department, that has recently completed post work on commercials from Unicef and Oxfam's Make Poverty History campaign. On the music video front we have recently finished editing and grading videos for Jamaican artist Luciano, pop artist Vicky Nolan and many more.

There are plenty of interesting developments to come in the months ahead as Decode settles down and all the new aspects of the business take shape. In three years we have come from nowhere. Fineline helped make it happen."

www.decodeuk.com

"We probably would not be where we are today if it was not for Fineline" says Keith Littler, founding father of Little Entertainment Company Ltd

Established in Cheltenham since 1988, Keith comments "When we started nearly 20 years ago we had to overcome two problems – breaking away from Soho and getting finance. The first was a bit of a gamble, but proved in the end not to be a problem. Finance was a bit tougher. Banks were not willing to invest in a media start-up business with hardly any track record. Fineline took a different view. The only thing we had to offer was reputation, and fortunately that was enough for Fineline to back us and kick start our business."

Little Entertainment Company is now one of the world leaders on all aspects of animated children's programme production, from casting, scripts and music, right through to a complete post-production and mastering service.

Credits include Watership Down, Casper the Friendly Ghost, and many projects for the BBC including Lazytown and Little Red Tractor. Keith continues "Our business is based on trust and relationship, both internally and externally. Our team of 26 are all responsible people, understand our business and our business ethics, take responsibility and get on with the job. Our relationship with Fineline is just the same – having been together since the start they are part of our team. We always need new kit, and a phone call is all that is needed to sort the finance. We don't have to dot every 'i' and cross every 't' – they know us and the kit we want. But they also know that the deal has to be competitive, and that is the basis of our relationship."

Gareth Wilding, Fineline Director adds "Finance is a competitive market and having worked with Keith for so many years we are able to tailor a package that fits their financial position and forecasts. Last year we completed a package for four Sony digital camcorders and three SADiE audio editing systems. A couple of calls was sufficient to put the whole deal in place."

Jim Gross, UK Sales Manager of SADiE, comments "We are a world leader and pioneer in the development of PC based digital audio work station products. We work with many of the world's leading studios, like Little Entertainment Company, where top class professional audio facilities are required. In putting this deal together all three parties worked together to get the best result for the client."

Keith summarises "Gareth typifies our relationship with Fineline. I can pick up the phone at any time and discuss all manner of commercial issues and know that I will get constructive and positive support. And without Fineline we may never have got started!"

www.littleentertainmentcompany.co.uk

In five short years zero db has grown from a start-up to a major provider of broadcast television facilities. Formed in 2000 by broadcast cameramen James MacDonald, Tom Webster and Steve Green together with editor Chris Shaw, zero db offers a comprehensive range of production and post production facilities from their brand new premises in Queens Park, North London.

Geoff Axtell, Business Manager of zero db states, "Blind Date was our first major project where we did all the location shoots. Since then we have expanded the business and now supply crews, equipment and editing services to a list of blue-chip clients including BBC TV, ITV Talkback, Celador, Tiger Aspect, Pett Productions and Seek. Currently we are editing Bullrun 2005 (10 x 30' for Bravo) and Britain's New Top Model (10 x 1 hour – a Thumbs Up Production for Living)

zero db also handle most of the production work for Queen. Geoff explains, "We've worked closely with Queen Productions over the years shooting new material when needed and editing their hugely- successful DVD collection – including Queen on Fire – Live at the Bowl. As I speak we're just days away from finishing off their exciting new Night at the Opera DVD.

The growth of the business necessitated the move to larger premises. Geoff goes on to explain "Occupying the whole building gave us the opportunity to have it purpose built to our own specification. We have five edit suites, all with the latest equipment, and a separate machine room housing all the hardware. When it came to updating our kit for the new facility we naturally talked to Fineline."

Gareth Wilding from Fineline takes up the story "Fineline has worked with zero db since its inception, financing cameras and Avid editing systems, and we were eager to assist with their acquisition of various routers, switchers, plasma screens and tape decks in the new building."

Jochen Gorth of Fibretroopers, who supplied the equipment comments "Fibretroopers have been supporting zero db's equipment for the last few years and are proud to be associated with their success. For this particular project we had just one weekend to move, install and be operational. Working closely with zero db we met this critical objective, which underlined the value of our joint teamwork. Fineline's involvement with the project was beneficial as their flexible and efficient handling of the commercial issues allowed us to concentrate on the job in hand."

Geoff concludes "Our move to Queens Park demonstrates our commitment to the future and investment in new technology. With over 4,000 sq ft we have the capacity to run our own projects and at the same time provide facilities for other production teams. Whether production or post-production we believe the way to providing the best service to our customers is through first class facilities matched with top class technicians. Fineline has played its part in making our ambitions come true."

www.zerodb.tv

The arrival of the latest HD camera technology is bringing a new dimension to programme making. But new technology comes at a price, and for independents that can present a challenge.

Freelance lighting cameraman Simon Fuller, has travelled the world in search of news stories. HDCAM represents the next quantum leap in television production and for Simon that makes the technology a 'must' for his work.

Simon comments: "The quality of my work is important to me and delivering the best possible images is the standard I work to. HDCAM delivers more control of detail, contrast and colour and that means more opportunity to explore the creative side of television making. The Sony HDW-750P with Canon HDTV lenses give me high quality shots with the portability I need."

Having established a global reputation for his coverage of news, current affairs sports and corporate television, Simon's recent work in Beslan has been nominated for an award by Australian Broadcasting and he is also credited for his filming in Afghanistan.

But it doesn't end there. Simon's work now takes him into documentaries and the new shooting kit brings further opportunities to explore his creative talents. News is driven by an unremitting deadline that foreshortens such creativity and Simon can now work in areas that allow him to develop his programming talents.

Simon reflects on the part Fineline played in his new equipment acquisition: "I sent a general enquiry by email to Fineline and within 5 minutes Gareth Wilding was on the phone to me. What impressed me was their knowledge about the equipment I wanted to purchase and the eagerness to answer all my questions."

"Taking on a commitment like this is a daunting prospect but I quickly felt reassured that I was in good hands. Throughout the negotiations we kept in constant touch and this level of communication removed any doubts that this was a good move."

Gareth adds: "Simon is an Australian national, which would cause a problem for most traditional financiers, but, because we understand the nature of the media business and the people in it, we are not fazed when a request comes in that is a little bit different. Added to which, we love cameramen!"

Simon is now broadening his reach and adding more qualities to his already impressive CV. The continuing move into areas such as documentaries will allow him to further develop his creative abilities, and make the kind of programmes that don't have a 6pm deadline.

www.simonfullerpictures.tv

New technology prompts move into television drama

Crew and Rental facility VMI Broadcast has concluded a major deal with Fineline Media Finance which will propel them into the forefront of their market as a supplier of audio and visual equipment to the television industry.

Fineline has provided finance packages totalling £750,000 to enable VMI to invest £650,000 in the purchase of market leading High Definition (HD) equipment and £100,000 to increase its hire stock of DV camera equipment.

Barry Bassett, Managing Director VMI Broadcast, said: "This is a really major investment for us. VMI is the first hire company to make a major investment in the latest generation High Definition equipment and - combined with our continuing investment in DV equipment - we are now in a really strong position to become the market leader in the provision of the widest selection of camera formats for hire. We see the purchase of the HD equipment as a significant growth opportunity, and one that will allow us to increase our revenues and substantially grow our business."

Barry continued: "This purchase would not have been possible without the help provided by Fineline and we are absolutely delighted with the way they have supported us and made the purchase of this equipment easy and trouble free."

The Sony HDW-750P camera provides a better quality of image in High Definition format for only a small increase in cost. Features of the camera include; smaller lighter units with lower power consumption than other HD cameras; film-look progressive scan (25P); better compatibility with non HD equipment and sophisticated menus for controlling the look of the camera. In terms of quality it compares favourably with 35mm or 16mm, but at lower cost.

"The Sony HD cameras are the latest and greatest thing to happen to the UK television industry. They provide five times the quality of the equivalent Digital Betacam cameras, and they are also smaller and lighter. The inclusion of this kit to our product suite will enable us to move into television drama, so we will be in a position to expand our client base as well as position ourselves way out in front of our competitors." said Barry.

Equipment financed by Fineline in this latest contract includes: five Sony HDW-750P HD Camcorders, two Canon HJ21 x 8 BIRS Lens, three Canon HJ11 x 4.7 BIRS Lens, one Canon HJ11x 4.7 BKLL Lens, two Canon HJ21 x 7.5 BIRSD Lens, one Canon HJ2 1x 7.5 BKLL Lens, one Avid DS HD Editing System, two Sony High Definition 24" Monitors, one Sony HDM2000 High Definition player/recorder, three Sony High Definition J3 players/sound kits and O'Connor Ultimate tripods.

VMI specialises in the rental of professional broadcast equipment and crews to the television industry. The company was founded in the early 1980's and is based in Golders Green, north London. VMI has supplied equipment and advice to countless TV programmes including Boys & Girls, Tales of the Unexpected, Top Gear and The Money Programme.

www.vmi.co.uk

Fineline funds kit for orang utan documentary

Crew and Rental facility VMI Broadcast has concluded a major deal with Fineline Media Finance which will propel them into the forefront of their market as a supplier of audio and visual equipment to the television industry.

The Creation Company, crew and equipment provider to the broadcast industry, has recently completed a project to film a documentary on the endangered orang utans for Granada's This Morning programme. The one hour documentary, filmed on location in Borneo, is due to be aired on ITV in 2004. Fineline financed the purchase of the Sony DVW790 Digital Betacam Camcorder used for the shoot.

The Relationship

The Creation Company has been working with Fineline since 1996, when Fineline provided finance for the first Digi Beta camcorder. Since then, The Creation Company has benefited from over £600,000 of finance support, covering the purchase of Digi Beta camera equipment as well as accessories, such as the recently purchased 38 foot jib.

"Fineline are very easy to work with," said Steve Montgomery, Managing Director and founder of The Creation Company. "They provide the best deals within the market and really know and understand the industry and equipment. This is essential – they know how much the kit costs and what that in turn means to us."

"Fineline will be flexible in situations where other finance providers are not so human. Take paper work – as working cameramen, we are hardly ever here in the office to receive and sign the paperwork. This can be a nightmare, but Fineline has always sorted out a reasonable solution."

"On tour" with Varsity heroes

The Creation Company has recently completed filming an international documentary on the build up to one of the most eagerly anticipated events on the amateur sporting calendar – the annual Oxford vs Cambridge Varsity Rugby Match. The fly on the wall documentary was filmed on Digital Betacam, with funding for the camera provided by Fineline.

"The documentary was one year in the making," commented Steve. "We spent one year with the student teams in the build up to the big game and went on tour with them to Japan and Argentina."

"The project culminated in the filming of the Varsity match clash in December 2003, which ended in an 11-11 draw, the first time the teams have drawn since 1965."

The Creation Company is aiming to sell the documentary internationally to audiences in Australia, New Zealand, South Africa and Argentina, as well as to UK and US broadcasters.

On holiday

The most recent addition to the Digi Beta stock at The Creation Company, which was also purchased with the help of Fineline, will be used solely on one specific contract with TUI - the parent company of Thompson's Holidays.

The camera will be used to shoot the promotion material for all Thompson's holidays across all their international locations. In December 2003 the camera was used to shoot a ski trip in Italy and in January 2004, the camera was on location for a shoot at a luxury resort in the Maldives.

"The TUI project is a brand new, three year contract for us and with the help provided by Fineline we have been able to buy in a new camera and fully dedicate it for use just with this one client."

The Creation Company

Founded in 1996 by professional cameramen Steve Montgomery and Scott Drummond, The Creation Company has built up an impressive range of clients in both the broadcast and production fields.

With a regular contract to supply cameramen and kit to Sky Sports, The Creation Company also works with all major broadcasters in the UK, including terrestrial and satellite channels.

Other work includes the filming and production of documentaries, such as the International Varsity project and a programme on the Beckhams for ITV, which was aired on Christmas Eve 2003.

Corporate work is another specialisation. Publicis, the parent company of communications and advertising house Saatchi and Saatchi, work with The Creation Company to produce their in-house promotional material.

In early 2004, The Creation Company hope to commence work on a project with US based Discovery Channel, necessitating the purchase of their first High Definition camera, with the help of Fineline.

"The finance provided by Fineline over the years has really helped us grow our business and move forward. We are looking forward to working with them again later in 2004."

www.creationcompany.tv

The Plant Room team is off to Brazil next month to shoot the Pirelli Calendar promotional film with new equipment funded by Fineline.

This will be the fifth year that the leading provider of equipment and crew to the television and broadcast industry will work on the world-famous project. However, 2004 will be the first year that The Plant Room team will use its newly purchased Steadicam unit on the Pirelli project and this time the shoot will be in High Definition and Super 16.

Finance from Fineline has enabled The Plant Room to buy a Sony DSR 570 camera and a Steadicam, full spec broadcast kit to meet the upturn in demand from clients for DSR work.

The camera will also be available to hire out to other freelance cameramen, broadcasters and rental companies, and so will help to increase revenues for The Plant Room.

Said Founder Phil Bradshaw: "Now that we own this equipment ourselves, it means that we no longer have to hire it in if it is necessary for a job. The help provided by Fineline is allowing us to gradually add to our equipment stock and expand our business. Fineline know us now and know our business, and this makes it very easy to do business with them."

Whenever founders Phil Bradshaw and Chris Woods need assistance for any high value equipment purchase to add to their stock, Fineline is their first choice for finance partner.

"We have worked with Fineline since we started The Plant Room in 1999. Our first digi beta kit was purchased with help from Fineline and since then we have received in the order of £100,000 of finance from them," said Phil.

"We have always found Fineline very competitive within the market place. We know they can deliver and they are very professional to do business with," added Phil.

New Equipment

The addition of the Steadicam to The Plant Room's range of equipment will offer Phil the opportunity to undertake more of this kind of work and become more involved in this niche area.

Both the Sony DSR 570 and the Steadicam have already been used on several projects in the UK. The DSR 570 has recently been used to shoot a community based project in London and the Steadicam unit will be used to shoot the promotional film for The Making of the Pirelli Calendar, 2005, in Brazil in March 2004.

About The Plant Room

The Plant Room provides kit and/or crew to clients based in the UK or overseas for a whole host of projects, including television work, corporate videos and documentaries.

Recent projects have taken Phil to work on the European premier launch of The Return of the King, the last in the Lord of the Rings trilogy in Berlin. The Plant Room has worked with Creating Sunshine Production Co. on a corporate video for SJP, Wealth Management Agents, in Dubai, and The History Channel in the US has recently commissioned a six week around the world shoot, using kit and crew from The Plant Room.

Phil worked on a one day shoot for Avalon TV Production company to produce the Electronic Press Kit (EPK) for Jerry Springer, The Opera and each year The Plant Room shoots "junkets" – or celebrity snap shot interviews – for the major European film festivals in Cannes, Venice and Berlin.

In addition to the more straight forward line of crew and kit rental, The Plant Room team also undertakes projects in High Definition and skiing and helicopter work.

Other clients include Carlton, BBC, CH4, SKY, NHK and National Geographic.

www.tvplant.com