Lighting can really make or break a production or live event. From corporate videos to blockbuster movies to theatrical lighting to touring bands, the right lighting is integral to setting the tone and mood of the content. Get it right, and it's part of the story. Get it wrong, and it becomes a distraction from the message that you want to get across.
Of course, there is a vast range of lighting types for different looks and uses, from tungsten to fluorescent and LED to daylight simulators, and an equally dizzying array of accessories from grips and ballasts to frames and diffusion cloths. Hire companies need to carry a wide range of equipment to meet clients' needs, which can be costly. Corporate users might only need to hire in a small amount of lighting for their video work, but if new content is required on a regular basis it may be worth considering purchasing a basic set of lights to save money in the long run. Theatres need a variety of fixtures and filters for different productions, as well as readily available spares to ensure that the show can go on despite a blown bulb or faulty cable.
At Fineline we know our lampheads from our luminaires and understand that one fixture isn't necessarily the same as another. We also understand budgets and schedules, and can arrange flexible payment packages that suits your work schedule and requirements.
Examples
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Direct Lighting bright new stock
Right kit in the right place at the right time sums up Steve Knight's business. Steve is Managing Director of Direct Lighting, London's photographic, film and television production lighting rental company and he understands the challenges and demands of his business.
Steve remarks: "Pulling together crew, kit and models and being ready to shoot at almost a moment's notice can be a logistical nightmare for photographers and film makers. Our business is ensuring we have the right kit available and can deliver immediately. No shoot will wait around if we can't deliver there and then."
Steve's business depends on having the best equipment and consumables in stock and available, and his team at Direct Lighting have established a reputation for reliability.
"Customer loyalty is hard to win and easy to lose. If we cannot meet the demand just once we may never see that customer again. That is why we carry a substantial stock of every type of equipment and are the largest stock holder of flash rental equipment in the UK"
Carrying so much kit has financial implications, so when Steve wanted to upgrade his stock he contacted Fineline. Steve continues: "I wanted to add 30 Profoto Pro-7a flash equipment to our stock. I had never done business with Fineline before, but was aware of them through reading their Preview newsletter. In fact it was the Preview that prompted me to call them."
Fineline director Gareth Wilding takes up the story: "Steve's business is about continual technology refresh and ensuring he has the inventory to cover all requirements. Like most people in the business we knew Direct Lighting and were delighted to have the opportunity to work with them."
Direct Lighting's list of credits stretches from front covers of magazines such as Vogue and GQ, to billboard advertisements for feature films such as James Bond, and Harry Potter. Television credits include Auf Weidersehen Pet, Messiah and Prime Suspect. Commenting on the company name Steve reflects: "Anyone new to the business will think that we only do lighting. Thankfully we are well known for providing camera bodies, lenses and accessories for both conventional and digital stills cameras and all consumables such as film, lighting gels and filters, Colorama, tapes and even paint. Our objective is to simplify everyone's life by offering as many products and resources as possible from one order point."
With huge stock of rental equipment, 24 hour-aday operation, 60 staff, 20 vehicles and 2,000 vehicle journeys per month Steve and his team are regularly in the right place at the right time with the right kit.
