Spaces and facilities
Rooms on a working lot, and the ones we can reach beyond it.
Our own rooms are at Pinewood, with an East London access point at 3 Mills. Around them sit the facilities of a live studio — stages, workshops, production offices, screening theatres and a film laboratory — and beyond that a set of venues we book regularly across the country.
These are working spaces before they are hire spaces. What is available depends on what is already booked, and we will tell you straight.
What we can put in a room
Space is the easy part.
Most organisations can find you a room. The reason people come to us is what arrives with it: a technical package, crew who are on units now, and the ability to run a working day in the space rather than a presentation about one.
01
Our own rooms
Test rooms, light-tight rooms, bench and rigging space, prep and secure storage in the Ken Adam Building.
02
On the lot
Stages, workshops, production offices, wardrobe, hair and make-up, screening theatres and a film laboratory, walking distance away.
03
Elsewhere in the country
East London, the North West, and venues we book for events, showcases and teaching days.
04
Your room, our unit
A stage, a college workshop, a community hall. You provide power, a floor and a door that locks; we bring the unit.
Pinewood
The Ken Adam Building, on the lot rather than beside it.
The operating base. Test rooms and light-tight rooms for handling film, bench and rigging space with power and monitoring, prep space for packages going out and coming back, and secure storage in between. It is where a manufacturer’s product gets benched before it goes in front of a unit, and where a camera department preps before a shooting day.
Our rooms
Technical rooms, used daily.
Bench work, teardown, prep, loading and teaching. Our own courses, test days and productions run in them, and they are available around that.
Studio site rules apply: access is controlled and visitors are booked in ahead. We pass the conditions on before you commit, not after.
Around them
A live studio, in walking distance.
Stages and workshops, production offices, wardrobe, hair and make-up rooms, preview and post-production theatres, a motion picture film laboratory, catering, a multifaith room and 24-hour security.
None of that is ours. All of it is the reason a technical day here closes in a day rather than a fortnight — test in the morning, screen it graded in the afternoon, and process the negative on the same site.
The Indie Film Hub
Independent film now has a home on the same lot.
Pinewood opened the Indie Film Hub on the west side of the lot, officially opened by the Culture Minister in September 2025. Two stages of 8,960 sq ft at 30 ft to the grid, with production offices, workshops from 1,000 to 12,000 sq ft, wardrobe, hair and make-up rooms and lounge space adjacent to them. It was announced for filmmakers using the UK Independent Film Tax Credit and has since taken independent productions more broadly.
It matters to us for one reason. The productions it exists for are exactly the ones that cannot carry a full prep at a rental house, cannot fund a camera test, and cannot afford a trainee who has never touched the kit. We are on the same lot.
A test day without leaving the site
Lens tests, format comparison, look development, make-up and costume against the format, and a methodology test for a rig or a move — run in our rooms and on our unit, minutes from the stage you are prepping on. The material can be graded and viewed at scale on the lot the same day.
Technical support that scales down
Camera, lighting, grip, sound and data, supplied and crewed against what an independent schedule can actually carry, quoted in writing with the exclusions on the page. Where we do not hold it, it comes in through the supply chain on the same quote.
Crew who have been prepared properly
Trainees who arrive having held the grade on a production simulation, understood a call sheet and handled the equipment. That is a different proposition from a work placement, and it is the one an independent unit can actually absorb.
Social value the bid already needed
Publicly funded and commissioned work increasingly has to evidence skills and community benefit. A named, asset-locked delivery partner on the same lot makes that a paragraph rather than a problem.
Beyond the base
Where else we work, and what each place is for.
| Where | What it is | What runs there |
|---|---|---|
| Pinewood Studios, Iver Heath | Our base, in the Ken Adam Building, on a working lot | Test rooms and dark rooms, bench and prep, teaching, storage, test days, camera tests and the Futures Festival. |
| 3 Mills, East London | A creative hub inside a working studio site in Bow | The East London way in for people who cannot travel to Pinewood regularly: workshops, read-throughs, rehearsal, teaching days and studio simulations. |
| Liverpool and the North West | Where the work started | Teaching days, community sessions, screenings, workshops, location-based production simulations and regional units. |
| Central London | Venues booked for events and showcases | Industry events, showcases, lectures, briefings and panels — including learned-society and institutional venues around Westminster and St James’s. |
| Anywhere with a room and a door that locks | A host provides the space; we bring the unit | Production simulations, technical modules and workshops. Units have run across England, Wales and Scotland. |
Sites carry their own access rules and their own costs. We quote the job, not the postcode.
The LED volume from the floor, landscape on the wall
Screening and review
Somewhere to actually look at it.
Half the value of a test day is destroyed by reviewing it on a laptop. An image decision made on a small display is a decision you will revisit in the grade, at a much worse moment.
There are preview and post-production theatres on the lot with 4K projection and surround monitoring, up to a 122-seat house. We book them for test reviews, cohort screenings, showcase evenings and cast-and-crew screenings, and we can build the day so the material is graded and on a screen before everybody goes home.
Booking
How a booking works.
01
Tell us the place, the dates and the use
Which site, the dates and whether they are fixed or hopeful, what you are doing in the room, and how many people are in it. If equipment or crew are involved, say so — they are quoted alongside, not inside.
02
A call, then a written quote
If it is something we can do, a call settles the detail and a written quote follows with the scope, the days and the assumptions on it. There is no rate card. The price is quoted for the job and nothing is booked until you have said yes.
03
The site’s own rules
Studio sites carry their own rules on access and on who may be on the lot. Visitors are booked in ahead. Third-party venues carry their own terms and their own costs, and we pass both on before you commit.
04
If we are the wrong answer, we say so
Where another facility fits your job better, we will name it. A booking that does not work is worse for us than a booking we did not take.
Next
Tell us what you are doing in the room.
The site, the dates and the use, and you get a written quote. If you are prepping a production on the lot, say which stage. We can often run the whole thing without you leaving the lot.
