Studio Summary PDF.Pages

Total Page:16

File Type:pdf, Size:1020Kb

Studio Summary PDF.Pages Studios & Build Space in the English Regions The guide below outlines the wealth of studio and build space in the English regions, outside London. England has a highly developed studio infrastructure and boasts some of the largest and most famous sound stages in the world as well as some less well-known gems. Crea?ve England can help your produc?on source studios, build space, crew, facili?es, loca?ons and filming permissions. Studios over 20,000sq ft Studio Sound Stage Stage 1 Stage 2 Stage 3 Stage 4 Other Stages Region Pinewood Studios Yes 59,000sq ft (41ft) 30,000sq ft (50ft) 19,140sq ft (35ft) 18,150sq ft (35ft) 16 South Longcross Studios No 42,000sq ft (50ft) 17,628sq ft (30ft) 12,375sq ft (35ft) South Black Hangar Studios No 32,000sq ft (33ft) South Shepperton Studios Yes 30,000sq ft (45ft) 18,000sq ft (40ft) 15,000sq ft (40ft) 12,000sq ft (25ft) 9 South The Sharp Project No 29,800sq ft (27ft) 10,530sq ft (25ft) 6,200sq ft (25ft) 3,702sq ft (25ft) North West Warner Bros. Leavesden Studios Yes 23,400sq ft (30ft) 23,400sq ft (30 ft) 31,200sq ft (45ft) 33,600sq ft (30ft) 14 East The Bottle Yard Studios No 21,700sq ft (27ft) 17,000sq ft (27ft) 16,000sq ft (27ft) 12,400sq ft (27ft) 3 South West *Height in brackets Studios between 10 - 20,000sq ft Studio Sound Stage Stage 1 Stage 2 Stage 3 Stage 4 Other Stages Region LS- Live No 17,664sq ft (54ft) Yorkshire Studio 81 No 16,000sq ft (17ft) Yorkshire Elstree Studios Yes 15,770sq ft (49ft) 5,500sq ft (25ft) 3,844sq ft (25ft) 4,980sq ft (32ft) 4 East Burley Road Studios Yes 14,000sq ft (13ft) Yorkshire Dock 10 Studios Yes 12,500sq ft (46ft) 7,500sq ft (37ft) 6,250sq ft (37ft) 4,500sq ft (36ft) North West Maidstone Studios Yes 12,000sq ft (26ft) 6,000sq ft (26ft) 2,000sq ft (26ft) 500sq ft (12ft) South The Space Project Yes 11,194sq ft (30ft) 10,634sq ft (30ft) 10,128sq ft (21ft) 10,128sq ft (21ft) 1 North West BBC Elstree Yes 11,200sq ft (29ft) East *Height in brackets To find out more call us on 0208 324 2311, email produc?on@crea?veengland.co.uk or visit www.crea?veengland.co.uk/produc?on Studios 5 - 10,000sq ft Studio Sound Stage Stage 1 Stage 2 Stage 3 Region The Backstage Centre Yes 9,386sq ft (49ft) East North Light Film Studios No 8,859sq ft (15ft) 5,038sq ft (15ft) 2,562sq ft (15ft) Yorkshire Nottingham University Studios No 8,000sq ft (30ft) 2,000sq ft (30ft) East Midlands Former ITV Granada Studios Yes 7,890sq ft (39ft) 5,288sq ft (39ft) 4,462sq ft (30ft ) North West The Pie Factory Yes 6,800sq ft (25ft) 5,500sq ft (25ft) 3,000sq ft (25ft) North West Epic Studios Yes 6,000sq ft (15ft) 1,000sq ft (15ft) East Millenium Studios Yes 5,564sq ft (32ft) East Prime Studios Yes 5,159sq ft (13ft) 2,064sq ft (16ft) Yorkshire *Height in brackets Underwater Studios Underwater Studios Tank 1 Tank 2 Region Pinewood Underwater Stage (Exterior Tank) 56,000sq ft (3.6ft) (Underwater Stage) 2,178sq ft (20ft) South Black Hangar Studios 5,000sq ft (10ft) South Warner Bros. Studios Leavesden 3,600sq ft (20ft) East Fleetwood Nautical Campus 2,230sq ft (13ft) North West The Underwater Studio 1,200sq ft (20ft) East *Depth in brackets To find out more call us on 0208 324 2311, email produc?on@crea?veengland.co.uk or visit www.crea?veengland.co.uk/produc?on Build Space over 70,000sq ft Build space/four-wallers Pillars Space 1 Space 2 Space 3 Space 4 Space 5 Region Cardington Studios No 223,300sq ft (130ft) East Studio CAB- B Yes 161,000sq ft (25ft) 75,000sq ft (23ft) West Midlands Discovery Park Ltd No 73,000sq ft (13ft) South *Height in brackets Build Space between 30 - 70,000sq ft Build space/four-wallers Pillars Space 1 Space 2 Space 3 Space 4 Space 5 Region Coltishall No 50,000sq ft (30ft) 50,000sq ft (30ft) 50,000sq ft (30ft) 50,000sq ft (30ft) 50,000sq ft (30ft) East Deafinitions Mixed 48,000sq ft (25ft) 23,000sq ft (16ft) 7,400sq ft (16ft) Yorkshire Hill Barton No 42,283sq ft (26ft) South West The Yorkshire Studios No 34,500sq ft (35ft) 34,500sq ft (35ft) 27,132sq ft (28ft) Yorkshire Five Farnborough International No 33,906sq ft (23ft) South Bentwaters Parks No 31,813sq ft (25ft) 5,000sq ft (30ft) East *Height in brackets Build Space under 30,000sq ft Build space/four-wallers Pillars Space 1 Space 2 Space 3 Space 4 Space 5 Region Dunsfold Park Hangars No 19,000sq ft (24ft) 2,756sq ft (19.5ft) South The Sauce Factory Yes 14,500 (20ft) 14,500 (20ft) 11,800 (32ft) 10,800 (20ft) North West *Height in brackets To find out more call us on 0208 324 2311, email produc?on@crea?veengland.co.uk or visit www.crea?veengland.co.uk/produc?on .
Recommended publications
  • Manchester's Business Improvement District (Bid)
    MANCHESTER’S BUSINESS IMPROVEMENT DISTRICT (BID) 2018 – 2023 DRAFT BUSINESS PLAN MANCHESTER TODAY • Second most visited city in England • £3 billion worth of major property by domestic visitors developments in the pipeline, including at St John’s, Old Granada Studios, • Third most visited UK destination by Mayfield, NOMA and Kampus international visitors, an increase of 30% between 2006 and 2016 • £1.5 billion tram line expansion, with more than £1.85 billlion allocated to • 40 million visitors to Manchester’s transport improvements over the next retail district every year, spending five years, including the transformation over £900 million of Manchester Airport • 100,000 strong student population, • 2,300 new hotel rooms across Manchester the UK’s largest city centre coming on board, increasing • 50,000 city centre residential population, supply by 25% a rise of 20,000 over the last decade, • £11 million worth of development with more than 10,000 new apartments forthcoming at Manchester Arndale, in development the UK’s largest inner city shopping centre IN 2016, LONELY PLANET RATED PART OF THE PICTURE ARE THE 400 MEMBERS OF MANCHESTER ONE OF THE EVERY SUCCESS MANCHESTER’S BUSINESS IMPROVEMENT DISTRICT. HAS A STORY TOP TEN PLACES TO VISIT IN TO TELL... THE WORLD. SINCE 2013, THEY HAVE BEEN WORKING TOGETHER, THROUGH CITYCO, TO SUPPORT CITY CENTRE GROWTH AND ENHANCE THE RETAIL OFFER. 2 3 MANCHESTER BID: THE STORY SO FAR YOUR VOICE, YOUR VIEW, AND OUR SHARED VISION As the end of the BID’s first five years approaches, it seems fitting to celebrate the successes we’ve already had, and to look to the future.
    [Show full text]
  • E-Guide Filming in London & the South East
    e-Guide Filming in London & the South East London’s most iconic film locations Creating reality: What London’s studios can offer filmmakers The changing face of film: SFX, Make-up & Prosthetics Production Intelligence: What’s shooting? IN COLLABORATION WITH ... FILMING IN LONDON AND THE SOUTH EAST DESPITE VARIOUS HURDLES, LONDON AND THE SOUTH EAST STILL CREATE TOP PRODUCTIONS Britain’s TV and film production industry is on the rise. Recently the UK has seen a dramatic increase in the amount of home-grown and international productions that have been filming here, specifically at studios and locations in London and the South East. he worldwide reputation of the UK and Film London, said that drama as a filming destination has always production in London is up by 50% Tbeen strong, however, lately it on ten years ago. A huge margin if you has been so popular that line producers consider the major studios around the are worried the supply of great studios world which are readily available. and crew cannot match the increasing The thriving state of the industry also demand. throws a spanner into the works. At the same time, the recent closures With the high increase in productions of Teddington, Wimbledon, Waterloo filming, the demand for skilled crew has and other studio spaces signify the increased. Line producers have been increasing attitude of landlords to turn hard pressed at times to fill certain their land into real estate. The dramatic roles, as crew is frequently booked increase in house prices in areas on other projects. This is certainly associated with certain studios makes something the industry has to fix if it more feasible for land owners to cut London and the South East are going studios loose, thus capitalising on the to be seen as continuing dominant current revenue opportunities available.
    [Show full text]
  • Pinewood Gives Free Bfi Membership to All of Its Staff to Honour Studio's
    PINEWOOD GIVES FREE BFI MEMBERSHIP TO ALL OF ITS STAFF TO HONOUR STUDIO’S 80TH YEAR London, 30th September 2016: Pinewood Studios has long been regarded as a jewel in the crown of the UK’s rich film heritage and as the iconic studio celebrates the start of its 80th anniversary year, it was announced today that all full-time staff across the group will receive free membership to the BFI to honour the date. Amanda Nevill, CEO of the BFI said: “Pinewood is part of our film heritage, and at 80 years old is more active and successful than ever and plays a huge role in the creative success of the UK film industry. We are very excited that they have chosen to mark this special birthday by giving the gift of BFI Membership to every single member of their staff! We so look forward to giving them all a very special 80th years across the BFI Player, BFI Southbank and the BFI London Film Festival. Happy Birthday Pinewood!” Commenting on marking the celebrations, Andrew M. Smith, Corporate Affairs Director for Pinewood Group plc said: “As we enter our 80th year, we felt it fitting to mark the occasion by giving colleagues membership of the BFI. Pinewood is a cornerstone of the film industry here in the UK and we are proud to have helped shape it.” The BFI membership will provide staff with the best way to enjoy the special events, previews and screenings at the BFI London Film Festival, BFI Flare: London LGBT Film Festival and at BFI Southbank all year round with priority booking, no booking fees, exclusive programme guides and 10% off food and drink at BFI Southbank.
    [Show full text]
  • The Factory, Manchester
    THE FACTORY, MANCHESTER The Factory is where the art of the future will be made. Designed by leading international architectural practice OMA, The Factory will combine digital capability, hyper-flexibility and wide open space, encouraging artists to collaborate in new ways, and imagine the previously unimagined. It will be a new kind of large-scale venue that combines the extraordinary creative vision of Manchester International Festival (MIF) with the partnerships, production capacity and technical sophistication to present innovative contemporary work year-round as a genuine cultural counterweight to London. It is scheduled to open in the second half of 2019. The Factory will be a building capable of making and presenting the widest range of art forms and culture plus a rich variety of technologies: film, TV, media, VR, live relays, and the connections between all of these – all under one roof. With a total floor space in excess of 15,000 square meters, high-spec tech throughout, and very flexible seating options, The Factory will be a space large enough and adaptable enough to allow more than one new work of significant scale to be shown and/or created at the same time, accommodating combined audiences of up to 7000. It will be able to operate as an 1800 seat theatre space as well as a 5,000 capacity warehouse for immersive, flexible use - with the option for these elements to be used together, or separately, with advanced acoustic separation. It will be a laboratory as much as a showcase, a training ground as well as a destination. Artists and companies from across the globe, as well as from Manchester, will see it as the place where they can explore and realise dream projects that might never come to fruition elsewhere.
    [Show full text]
  • Case Study ITV
    Case Study ITV Case Study ITV “The main benefit of moving to Fujitsu and their VME services is risk mitigation. In moving to Fujitsu from our incumbent provider we get access to a very rare resource base for VME development and support. This provides us with a path enabling us to keep our critical Artist Payments System application running and allows us to keep our options open when VME as a product is end dated in 2020.” Anthony Chin, Head of Technology - Finance Systems, ITV The customer ITV is an integrated producer broadcaster and the largest commercial television network in the UK. It is the home of popular television from the biggest entertainment events, to original drama, major sport, landmark factual series and independent news. It operates a family of channels including ITV, ITVBe, ITV2, ITV3 and ITV4 and CITV, which are broadcast free-to-air, as well as the pay channel ITV Encore. ITV is also focused on delivering its programming across multiple platforms including itv.com, mobile devices, video on demand and third party platforms. ITV Studios is a global production business, creating and selling programmes and formats from offices in the UK, US, Australia, France, Germany, the Nordics and the Netherlands. It is the largest and most successful commercial production company in the UK, the largest independent non-scripted indie in the US and ITV Studios Global Entertainment is a leading international distribution The customer businesses. The challenge Country: United Kingdom ITV receives revenue from advertising, its online, pay and interactive Industry: Broadcasting business as well as from the production and sales of the programmes Founded: 1955 it creates and holds rights to.
    [Show full text]
  • Transatlantic Spaces: Production, Location and Style in 1960S-1970S Action- Adventure TV Series
    Transatlantic spaces: production, location and style in 1960s-1970s action- adventure TV series Article Accepted Version Bignell, J. (2010) Transatlantic spaces: production, location and style in 1960s-1970s action-adventure TV series. Media History, 16 (1). pp. 53-65. ISSN 1469-9729 doi: https://doi.org/10.1080/13688800903395460 Available at http://centaur.reading.ac.uk/17666/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/13688800903395460 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Transatlantic spaces: Production, location and style in 1960s-70s Action-Adventure TV Series Jonathan Bignell Abstract This article argues that transatlantic hybridity connects space, visual style and ideological point of view in British television action-adventure fiction of the 1960s-70s. It analyses the relationship between the physical location of TV series production at Elstree Studios, UK, the representation of place in programmes, and the international trade in television fiction between the UK and USA. The TV series made at Elstree by the ITC and ABC companies and their affiliates linked Britishness with an international modernity associated with the USA, while also promoting national specificity. To do this, they drew on film production techniques that were already common for TV series production in Hollywood.
    [Show full text]
  • * Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
    * hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film
    [Show full text]
  • What Is a Lighting Director?
    What is a lighting director by Martin Kempton What is a lighting director? Simply put - a lighting director designs the lighting for multi-camera television productions. He or she instructs the crew of electricians in their work in addition to guiding the team of operators who usually sit with the LD in the lighting control room. All this while working closely with the director and the rest of the production team to deliver the best possible pictures. However, there's rather more to it than that, and on this page on the website I explain where LDs work, what kinds of shows LDs work on and give some of the background to what we do. It's important to point out right away that simple 'illumination' is actually a relatively unimportant part of our work. Current TV cameras are capable of operating in very low light levels so it would be quite possible to see what was going on in most studios simply by switching on the houselights. Fortunately, producers and directors realise that the result would look pretty awful. Another thing is also worth making clear – a lighting director is not an electrician. He or she might have been once, but an LD is not another name for a crew chief or gaffer. Most television LDs do not have electrical qualifications, although some may have. In any case, this is not a requirement of the job. The electrical supervisor (gaffer) is in charge of realising the LD’s design in the studio from the rigging and electrical point of view.
    [Show full text]
  • (2020). Pinewood Studios, the Independent Frame, and Innovation
    Street, S. (2020). Pinewood Studios, the Independent Frame, and Innovation. In B. R. Jacobson (Ed.), In the Studio: Visual Creation and Its Material Environments (1 ed., pp. 103-121). University of California Press. Peer reviewed version Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available via University of California Press at https://www.ucpress.edu/book/9780520297609/in-the-studio . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Pinewood Studios, the Independent Frame, and Innovation Sarah Street, University of Bristol British director Darrel Catling reported to the British trade press in February 1948 on the Independent Frame (IF), a new system of film production that had been launched at Pinewood Studios. Catling had recently used it to make Under the Frozen Falls, a short children’s film that had benefited from the IF’s aim to “rationalize that which is largely irrational in film making.”1 He described how his film had been very carefully pre-planned in terms of script, storyboards, and technical plans. Several scenes were pre-staged and filmed without the main cast who were later incorporated into scenes by means of rear projection. Special effects were of paramount importance in reducing the number of sets that needed to be built.
    [Show full text]
  • The Production of Religious Broadcasting: the Case of The
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenGrey Repository The Production of Religious Broadcasting: The Case of the BBC Caitriona Noonan A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy. Centre for Cultural Policy Research Department of Theatre, Film and Television University of Glasgow Glasgow G12 8QQ December 2008 © Caitriona Noonan, 2008 Abstract This thesis examines the way in which media professionals negotiate the occupational challenges related to television and radio production. It has used the subject of religion and its treatment within the BBC as a microcosm to unpack some of the dilemmas of contemporary broadcasting. In recent years religious programmes have evolved in both form and content leading to what some observers claim is a “renaissance” in religious broadcasting. However, any claims of a renaissance have to be balanced against the complex institutional and commercial constraints that challenge its long-term viability. This research finds that despite the BBC’s public commitment to covering a religious brief, producers in this style of programming are subject to many of the same competitive forces as those in other areas of production. Furthermore those producers who work in-house within the BBC’s Department of Religion and Ethics believe that in practice they are being increasingly undermined through the internal culture of the Corporation and the strategic decisions it has adopted. This is not an intentional snub by the BBC but a product of the pressure the Corporation finds itself under in an increasingly competitive broadcasting ecology, hence the removal of the protection once afforded to both the department and the output.
    [Show full text]
  • For Immediate Release
    FOR IMMEDIATE RELEASE BOND 22 STARTS PRODUCTION TODAY AT PINEWOOD STUDIOS, LONDON CULVER CITY, Calif., Monday 07 January 2008 — Producers Michael G. Wilson and Barbara Broccoli of EON Productions Ltd, Sony Pictures Entertainment and Metro-Goldwyn- Mayer Studios announced today the start of principal photography on the eagerly anticipated 22nd James Bond adventure. Daniel Craig reprises his role as 007 in the film which is directed by Marc Forster and follows the success of CASINO ROYALE, the latest and highest grossing film in the series. Starring alongside Craig is an impressive international cast led by the critically acclaimed French actor Mathieu Amalric as the sinister villain, and the Ukranian actress Olga Kurylenko who plays 007’s leading lady. Returning to Bond 22 (working title) from CASINO ROYALE are Judi Dench in her role as M, Jeffrey Wright as Felix Leiter and Giancarlo Giannini as Mathis. Newcomer to the Bond franchise, Gemma Arterton, will play the role of MI6 Agent Fields. Commenting on the announcement, Wilson and Broccoli said "We are fortunate to continue in the Bond tradition of attracting the finest international actors for our starring roles. Mathieu in the role of Dominic Greene, a leading member of the villainous organization introduced in CASINO ROYALE, will be a powerful counterpart to Daniel’s portrayal of Bond. Olga Kurylenko will play the dangerously alluring Camille, who challenges Bond and helps him come to terms with the emotional consequences of Vesper’s betrayal." MGM and Sony Pictures will share distribution rights worldwide with Columbia Pictures and Sony Pictures Releasing International distributing the film to theaters worldwide on November 7th, 2008.
    [Show full text]
  • About Pinewood Group
    Press Release: Pinewood Group Refocuses International Strategy London, 12pm, 21st August 2019: Pinewood Group today announced it has sold its equity in Pinewood Atlanta Studios to its joint venture partner in Atlanta. This move comes as Frank Patterson, President of the Studios in Atlanta, has started investing in content companies, while Pinewood Group continues to focus on studio infrastructure. Pinewood will provide sales and marketing support for the Studios in Atlanta for a period of up to 18 months. The Studios will remain branded and operated as a Pinewood facility during this time. Paul Golding, Chairman of Pinewood Group Limited, said: “Pinewood is known across the world as a leading-provider of studio space and over the last six years, Pinewood Atlanta Studios has become the second largest purpose-built facility in the US. As our partners in Atlanta look to expand their focus and invest in content development, we have agreed to sell our equity in the Studios. Pinewood will continue to prioritise its core business of providing studio infrastructure, including extensive growth plans in the UK and expansion in key international markets.” This announcement will have no impact on productions shooting at the Studios, which will continue to be led by Frank Patterson. “The Pinewood Group has been a great partner, building the best facilities in the world for us in Atlanta,” said Frank Patterson, President of Pinewood Atlanta Studios. “I came on two years ago to build content opportunities at the same time the Pinewood Group changed ownership and decided to focus on providing studio accommodation. We’ve got some exciting investments in the pipeline on the content creation side of the business so this a truly great time for the industry in Atlanta.
    [Show full text]