In Broadcast - October/November 2011 - 28

WWW.INBROADCAST.COM | OCTOBER/NOVEMBER 2011

InSTUDIO
Arena-style Shows Boost Stage Bookings
Cont.
“We have genuinely good value facilities with transparent pricing and no hidden extras,” says Andy Woodruff who manages a 1,300sqft and a green-screen space at Camberwell Studios. “We aren’t as well resourced as some studios but we get a lot of corporate work and music videos and we are prepared to be very flexible in the use of space.” Paintballing, hog-roasts, fire and water have featured there in recent months. “We plan to upgrade the studios, making them better sound proofed and with a green screen in the larger studio so they are suitable for a wider array of productions,” he adds. The Wimbledon Studios inherited facilities from the days of The Bill and has undergone a £150,000 facelift. “The challenge was to upgrade the studio into a genuine commercial entity, one that can accommodate up to seven different productions onsite at the same time,” says MD Piers Read. “The first priority was to enhance the quality of the sound proofing in our two largest stages which required a 40ft acoustic wall built between them. We now have two fantastic stages that are genuinely sound proofed with DB ratings which are broadcast quality.” All studios need a unique selling point to compete for work whether that is location, capacity or service. The sheer scale of Pinewood’s site

3 Mills Studios complex has a diverse client base

enables it to achieve a flexibility of studio and stage space, onsite infrastructure and expertise that sets it apart from competitors. “We can work with customers to offer greater value for money. For example, deals on packages where post production is bought alongside studio space,” says Darbyshire. “We also have the capacity to offer production companies office space to develop pilots or establish regional offices. Pinewood recognises the challenges production companies are facing in bringing new formats to market and is working hard to help indies develop new financial mechanisms. Derek Watts feels 3 Mills is fortunate in having a diverse client base which includes film, television (Disney’s Frankenweenie and Endemol’s Million Pound Drop) theatre, music, commercials, photography and events. “We have significant usage by

Wimbledon Studios has undergone a facelift

theatre rehearsals such as Billy Elliot the Musical and the English National Opera, which we will continue to cultivate,” he says. Music video and tour rehearsals are also strong and clients have included Lady Gaga and The Strokes. 3 Mills is also home to the London 2012 Opening and Closing Ceremonies team. The unique selling point of Wimbledon Studios, according to Read, is over 50 permanent standing sets, including hospitals, police stations, a courtroom, a prison set and a House of Commons set. It recently hosted Kudos’ BBC spy drama Morton, Baby Cow’s comedy drama Starlings (Sky 1) and feature Run For Your Wife. “No other studio in the UK can offer a combination of such ‘hard to find locations’ and sound stages, with modern equipped production facilities, all under one roof,” he says. “The sets are all immaculately dressed with props standing by to be used, so saves productions time and money compared to filming on location. In the near future the studio will be making strides to move into the light entertainment sector. “Our Media Village houses a growing number of i n d u s t r y related clients, including

Decode and Firebelly Films offering stereoscopic rigs as well as onsite training facilities with 3D experts. We are very keen to promote the studios as 3D specialist and have our eye on future technologies in production and broadcasting. Portbury says Mediahouse is especially good at providing a bespoke service with creative and cost effective solutions to client queries and requirements. “We offer a wealth of expertise and professional experience across every aspect of production from studios to transmission,” she says. “Mediahouse supports its clients in using and adapting to new methods of production and media management.” TVC also houses the latest HD and 3D equipment, plus motorised scenery hoists and lighting grids enabling fast turnaround of productions. Thomas says: “We’re proud of the experience of our core team, whose problem solving skills are second to none and who know the facility inside out. Customers can really depend on them to guide them through the whole production process and provide valuable advice and insight – whether launching a new show, introducing a new look or working with new technologies. “We’ve been absolutely thrilled with the level of demand out there,” says Read. “I sense that last year the industry stabilised and there’s massive confidence flowing back into the production sector.” However, if TV commissions again drop to the levels of 2009-10 while UK capacity increases then there may be hard times yet for the studio sector.

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In Broadcast - October/November 2011

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