While the market for traditional telecine may be in decline as production moves away from film and video tape and towards digital formats, there is still a requirement for datacine technology and digital intermediates. There is also a large global market for image restoration of archive material, as broadcasters look to their existing assets for monetisation opportunities.
Similarly, although many predict the end of film it is still loved by many film-makers; there is no reason why film and digital capture cannot exist side by side, each providing different but equally valid qualities to diverse genres. However, in a digital world the film must be converted to a suitable format for digital post, mastering and distribution, and the technology in this field is rapidly developing to become ever more precise. There is requirement for grain reduction, dust and scratch removal and image stabilisation, and the capability to process SD, HD, 2K and 4K data.
The machines that do this work are big ticket items, but essential to create and process the best possible images. With Fineline's background in media finance, we have watched the evolution of the technology and understand the need for more powerful equipment. We can help you with a tailored finance package that will allow you to keep pace with technology and changing demands.
Examples
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Forward the Revolution
It is fair to say that the current economic climate has probably hit the post production sector harder than any other part of the industry, which means that, the days of of companies buying kit on the off chance that their clients might be interested in what it does are long gone. Investment now has to be in the right kit at the right time, which is exactly what JCA TV's purchase of a Pandora Revolution Basegrade colour correction suite is: bought to satisfy specific customer demand following JCA's recent move into film restoration.
"The Revolution supports both our digital and linear workflows. The powerful grading system supports all the functionality required for film based grading, ie telecine well as realtime data colour correction up to 4k and beyond," states Nick Pannaman, co-MD.
The Revolution was bought via Fineline ("We have strong relationship over many years with the Fineline team who are always responsive no matter how much we pester them," says Pannaman) and has already been hard at work.
"The primary use is focused in supporting the restoration and archive markets although we are doing the odd DI for our sins," he says. "We have delivered a number of fully restored feature films for Blu-ray release, fully graded on the Revolution and restored using our multiple restoration suits. All passed QC on first submission which is testimony to the quality of the team and its resources."
As one of the companies managing to not only keep it's head above water in the tumult but thrive as well, JCA's Commercial Director, Matt Bowman, unsurprisingly has views on what a modern post company needs to do to remain successful.
"Traditional post has changed dramatically over recent years with moves towards cheap standalone products rather than expensive post builds," he comments. "Whilst this has placed huge constraints on companies with ongoing costs associated to traditional systems, JCA has found that our quick and professional response, and an agnostic approach, has delivered new opportunities to strengthen relationships with both existing and new clients. We are service providers and, as such, must listen to the market and respond rather than trying to force square pegs into round holes."
And the company's new Revolution is a perfect example of a round peg very much fitting into a round hole.
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Dragon roars in South Wales
Dedicated film post house takes off
Developing a business from scratch takes courage and a fierce determination to succeed. Tony Ray has taken on that challenge and launched Dragon Digital Intermediate Ltd.
Managing Director Tony Ray sets the scene, "The catalyst for starting our business was the proposed £180m project for Dragon International Studios by a group led by Lord Attenborough on an old vacated mining site near Bridgend. They are building a film and TV production facility, together with a 'media village' of independent businesses, to provide low cost, high quality services and offer an alternative to the UK's traditional media centres. This development which is due to open in 2007, inspired me to establish a full- service Digital Intermediate facility".
With introductions from Lord Attenborough and his own significant network of contacts, Tony soon had the momentum to set up Dragon Digital independently.
Tony continues, "It was obvious from our research that the world was crying out for Digital Intermediate and in the end we couldn't wait for the Studios project to get off the ground."
Martin Stanley from Fineline takes up the story, "Tony had obtained the backing of the Welsh Development Agency, and investment from Wales Fund Managers and so had a solid business platform. We were delighted to provide the £1.2m asset finance facilities to cover the new capital acquisitions that include a Quantel iQ system, an Arriscan film scanner, an Arrilaser film recorder, a da Vinci Revival film restoration system and a Lipsner Smith CF 8200 film cleaner."
Amongst the major acquisitions is equipment from Quantel and ARRI. "We are delighted that Dragon Digital has chosen iQ to take them into the digital film laboratory business," said Quantel Sales Director Martin Mulligan. "More than 400 movies ranging from small independents to big budget blockbusters have already been touched by iQ. Its incredible versatility means that iQ is becoming the backbone of more DI businesses worldwide than any other system."
And Allan Fyfe of ARRI adds, "Digital Intermediate has become the buzzword in the motion picture post production industry. The sophisticated task of the DI process is to combine the known advantages of film as the preferred medium for acquisition, archiving, distribution and projection, with the digital post production process. Tony and his new team will be working with the very best technology."
Tony explains about Digital Intermediate, "This new technology provides us with more control and greater creativity which means higher quality and a far better end product. Some of the latest films, from the biggest Hollywood blockbusters to lower budget independents, have been produced using Digital Intermediate technology and the quality is outstanding."
Tony adds, "We have already been commissioned to work on a number of significant and high-profile archive projects one of which involves restoring and grading shots taken from various sources, and compiling a final, restored negative. This is a tremendous endorsement of our approach to using state of the art technology by talented and experienced people."
Martin Stanley concludes, "We enjoy the part we play in the media industry, and helping companies such as Dragon Digital get off the ground gives us a real sense of satisfaction."
The last word is with Tony, "We are the only company in the World solely dedicated to Digital Intermediate. Without the help of people like Fineline we would still be just a dream."
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Lip Sync spends £2 million on the "Lip Sync Digital Lab"
Fineline Media Finance helps finance the latest scanning and editing equipment, including the revolutionary Quantel iQ
Since summer 2003, Lip Sync Post has invested £2 million in its "Lip Sync Digital Lab," including scanning and grading equipment. This huge investment has enabled the company to stay right at the forefront of the industry, establishing itself as a premier media service provider.
Fineline Media Finance has provided funds of £950,000, enabling Lip Sync to purchase two Northlight film scanning systems by FilmLight, five Sony DVW-A500P Digital Betacam recorders, two Arri Laser Cine Film Recorders and a Quantel iQ Digital Intermediate system.
Said Norman Merry, Lip Sync's Financial Director: "We have worked with Fineline for over seven years and have an excellent relationship with them. They understand our business and know what solutions we need to grow. They always deliver on what they promise, they provide competitive and solid finance packages and with the backing of The Rothschild Banking Group behind them - I am always completely confident in their range of funders."
The new equipment completes Lip Sync's Digital Lab. The company can now provide either a comprehensive solution to its customers or finish individual sections of the post acquisition process, from the storyboard, through the DI stage, on to the distribution of the finished image.
The Lip Sync Digital Lab is housed in a fully refurbished 2,500 square foot area of their existing Wardour Street premises. Six rooms have been created, including a Despot room, where film is digitally cleaned, an editorial area and a state of the art luxury grading suite with surround sound and cinema screen.
"The "Lip Sync Digital Lab" is an exciting and ground breaking project, and is the way forward for us. Demand for the services has proved strong and projects recently completed already include; Harry Potter – The Prisoner of Azkaban, Terry Gilliam's Brothers Grimm and Five Children and It.
"The skills of the people who work with our Digital Lab enable our clients to get the true benefit from the equipment. We know that more work will be attracted to the Digital Lab as people realise the complete solution capability that we now offer," said Norman.
Peter Hampden, Lip Sync Founder & Director added: "Now that we have the Quantel iQ to complete the Digital Lab, we can provide the complete digital intermediary process. The iQ is a fantastically flexible machine that provides a clean, quick and versatile approach to the modern media world. We looked at the alternatives, but the iS does everything that we require and was the best option for us. Our customers are happy with the end results in terms of quality and cost of production. We are happy that we can provide a first class, cutting edge service to our customers, while attracting new clients and growing our business."
About Lip Sync
Located in the heart of Soho, the awardwinning Lip Sync stable of companies forms a widely respected and increasingly familiar wheel in the UK film and media machine.
From its beginnings in the 1980s, the group has grown into one of the broadest media service providers in Britain.
Lip Sync Post offers a host of in-house equipment facilities and staff, from award winning sound mixing and post production through to 3D animation and CGI.
