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A warehouse can give your film texture before the camera rolls. It can also eat into the day if the plan stops at “we’ll work it out on the recce.”

For a smooth shoot, solve the practical questions before you book: where the camera goes, how equipment gets in, what power you need, where the crew waits, and which scenes need quiet.

Here’s a pre-production framework for planning a film shoot in a Hackney warehouse, from the first recce to the final load-out.

1. Recce with a floorplan, not just a camera

A location can look right and still be awkward to shoot. The recce is where you test both.

Walk the space with your director, DP, gaffer, sound recordist and production designer if you can. Bring the shot list. Mark the scenes you intend to shoot in each area, then check whether the room can actually support them.

Build a simple floorplan that shows:

• Camera positions and likely angles
• Cast marks and movement
• Lights, stands and grip equipment
• Power points and cable routes
• Crew working areas and clear walkways
• Holding, changing and makeup areas
• Doors, exits and access routes

Take wide photos from each proposed camera position. Check what sits behind the action, not just what’s in front of it. A column, doorway or bright window can become a problem once you frame the shot.

A floorplan doesn’t need to be elaborate. It needs to help everyone arrive with the same picture of the day.

A useful starting point is this location data sheet and recce checklist. Adapt it to your production and confirm every technical detail with the venue before shoot day.

At @38, you can recce a raw industrial space in Clapton · Hackney · London E5. The main floor and studio room sit across two connected spaces, with a stated capacity of 170 people. The scale gives you room to plan the shooting area and the work happening around it.

2. Plan power and load-in before you book

The load-in starts before the warehouse door. Measure the full route from vehicle access to the shooting area. Check door widths, stairs, turns and any pinch points. Ask about parking and delivery access; at @38, parking is available by arrangement.

Send the venue a list of what you plan to bring: lighting, camera kit, monitors, chargers, practicals and anything else that draws power. Ask which outlets and circuits are available, and confirm the permitted setup with the venue and your gaffer. Don’t assume that several sockets mean several separate circuits.

Then draw the cable routes onto your floorplan. Keep them away from exits and working traffic where possible. Where cables cross a walkway, plan suitable protection. Keep the route from the van to the set clear so cases don’t end up stacked where the crew needs to move.

@38 has power throughout, track lighting and a dramatic lighting rig already present. Confirm what’s included for your booking and what your production needs to supply. The infrastructure is there to help you plan; it doesn’t remove the need to check the technical requirements of your shoot.

3. Lock your sightlines and camera positions

A strong-looking room gives you options. A camera plan helps you use them.

For each setup, mark the camera position, lens direction, cast marks and lighting positions. Then walk the proposed path. Can the camera move without crossing the crew’s main route? Can you change the angle without capturing equipment staging, an open door or a busy holding area?

Think about the shot size, too. A wide frame may show more of the industrial character; a tighter frame may let you control the background and work faster. At @38, dark industrial surfaces, raw brick and existing lighting give you texture on camera without a set build required.

Ask the DP and production designer to identify any small changes that would make a big difference: moving a stand, shifting a chair or hiding a cable run. Set those changes before the crew is called. A few minutes of planning beats a collection of last-minute fixes.

4. Give the crew somewhere to go

The shooting area shouldn’t have to do every job at once. Separate the working set from the places people need to wait, prep and move through.

Decide where cast will hold between setups. Plan where wardrobe, hair and makeup, production bags, monitors and spare equipment will sit. Keep the main route clear from load-in to set. If you have multiple departments working at once, agree who owns each area and how the crew will know when a setup is ready.

At @38, the connected studio room can be used for talent or changing, subject to your booking. Full exclusivity means the space is reserved for your production, with no other bookings in the way. The two connected spaces help you plan a working area and a place for the rest of the day to happen.

Keep exits clear and make the emergency routes part of the plan. They’re not overflow storage.

5. Treat sound as part of the recce

Hard surfaces are part of the warehouse look. They can also throw sound back into the microphone.

Before you book, listen in the room. Record a short sample from the planned dialogue position, then listen for room reflections, outside noise, ventilation or anything that could interrupt a take. If possible, check at the time of day you expect to film; the sound environment can change.

Talk to your sound recordist about the script. Dialogue-heavy scenes may need a different setup from action, playback or silent coverage. Plan any soft furnishings or acoustic treatment your production requires and check where they can go without interfering with camera, lighting or access.

Build a few quiet windows into the schedule for dialogue. If you can’t control the sound, plan the day around it: shoot the most sound-sensitive scenes when the room is quiet, and use noisier periods for shots that don’t depend on clean dialogue.

6. Schedule around light and setup time

Don’t schedule only by scene number. Schedule by what each setup needs.

List the scenes that depend on daylight, then check where the natural light enters and when it reaches your chosen camera positions. Decide whether you want to use it, shape it or control it. If the look depends on a specific window or time of day, put that setup in the schedule first.

Give each lighting change and camera move enough time. A warehouse may offer multiple angles, but every new setup still takes time to dress, light, check and shoot. Keep a little space between demanding setups for sound adjustments, equipment moves or a take that needs another go.

A simple schedule can start with access and load-in, move into pre-light and blocking, then group scenes by location and lighting needs. Put the most time-sensitive setups first. Leave a clear window at the end for pack-down and a final check of the space.

At @38, you can book up to 8 hours for a shoot day. Shoot bookings start from £600. Shorter studio bookings start from £175 for up to 4 hours; confirm the right space and rate for your production. Check the shoot options or book a shoot.

A quick pre-production check

Before the shoot day, make sure you can answer:

• What’s the plan for each camera setup?
• How will equipment get from the vehicle to the set?
• Has the power plan been checked with the venue and gaffer?
• Where will cast and crew wait between setups?
• Which scenes need the quietest conditions?
• Which shots depend on available light?
• Is there enough time for setup, changes and load-out?

@38 gives you a raw industrial backdrop, production infrastructure already present, full exclusivity and two connected spaces to plan around. No set build required. The rest comes down to a clear recce and a schedule that gives the crew room to work.

Planning a film shoot in Hackney? Comment below with your pre-production question. DM us or book at at38.org. We respond within 24 hours.

One shoot day can give you weeks of content. But only if you plan the calendar before you plan the camera setup.

Start with the posts you need to publish. Work backwards to the shots, formats and setups that will make them. That’s how one booking becomes a useful batch of video, stills, audio and cutaways, not a hard drive full of footage you’ll “get round to editing.”

Start with the calendar, not the camera

Map out the next four weeks. For every planned post, note the date, platform, subject, format and call to action. Keep it simple. A spreadsheet or calendar is enough.

For example, one month might need:

• One horizontal hero video for your website or YouTube
• Four short vertical clips for Reels, TikTok or Shorts
• Two still-image posts
• A set of product or behind-the-scenes details
• One audio-led clip or interview extract
• A few spare shots for stories and future edits

That list gives your shoot a job. It also shows what you don’t need to film.

Group ideas by topic or content pillar. If you’re launching a product, you might have a main introduction, a quick demonstration, answers to common questions and a few close-up details. Those are different posts, but they can come from the same shoot.

Before the shoot, label each idea must-have, useful or if there’s time. Protect the key assets first. The optional shots can fill the gaps later.

Build a shot list that connects to the month

Your shot list should tell the crew what to capture and tell the editor where each clip belongs.

For each asset, include:

• Post date or week
• Platform and format
• Hook or subject
• Set, wardrobe and props
• Orientation: vertical, horizontal or both
• Must-have details: lines, actions or product shots
• Call to action

Give each shot a short ID that matches your calendar. Something like Wk2-Reel03-HookA-Vertical is easier to find later than final_take_new2.

Write each video as a set of small parts: opening hook, main point, proof or example, and close. Capture a couple of opening lines if the hook matters. You can choose the strongest one in the edit instead of reshooting the whole piece.

This is where the calendar and production plan meet. The calendar tells you what needs to go out. The shot list tells you what to capture.

Batch by setup, not by post date

The calendar runs in publishing order. The shoot day shouldn’t.

Film all the content that shares the same camera position, lighting, background and wardrobe before changing anything. Record your talking-head pieces together. Then capture product demonstrations. Then portraits and stills. Finish with close-ups, cutaways and behind-the-scenes moments.

That means less time moving lights and resetting the camera. It also gives your editor a more consistent set of footage.

A simple run of day might look like this:

1. Set up and test the main interview or presenter angle.
2. Record the hero video and its short supporting clips.
3. Capture alternate hooks, direct-to-camera answers and clean audio.
4. Switch to product, hands-on or demonstration shots.
5. Take stills and thumbnails while the lighting is already set.
6. Capture detail shots, transitions and behind-the-scenes footage.
7. Check the shot list before packing down.

Leave time for a few pick-ups. A schedule with no breathing room tends to lose the very clips that make the edits feel complete.

Film vertical and horizontal deliberately

A horizontal shot is not automatically a good vertical shot after cropping. The subject may end up too far to one side, or essential details may disappear outside the crop.

Decide which format each asset needs before you roll. Capture vertical for vertical-first posts. Capture horizontal for websites, YouTube and other wide placements. For key moments you need in both formats, frame and record each version intentionally, with a second camera or a planned second take.

Keep the main subject clear of the edges. Check the framing on the actual camera monitor, not just in your head. If you’re planning to add captions, graphics or platform text, leave room for them too.

Capture the material between the lines

The main speech is only part of the content. Cutaways and details give your editor options, help cover edits and make a post feel specific to the shoot.

Get close-ups of hands, tools, packaging, surfaces and small actions. Film someone entering the room, resetting a prop, adjusting a light or checking a monitor. Take a few wide shots to establish the space, then tighter details for pace and texture.

For audio, record a clean version of spoken lines where you can. Leave a moment of silence before and after each take. Capture room tone if your edit needs it. And if you’re filming a podcast or interview, record separate short extracts that can stand alone as clips, not just one long conversation and the hope that something usable is hiding in it.

A few useful details can stretch a hero shoot into multiple edits. They can also carry a post when the main footage needs to be trimmed down.

Use one booking to create more than one look

A single room can produce a consistent batch. Two connected spaces can give the month more range.

At @38, you can move between a raw industrial main floor and a cleaner studio room on the same booking. Use the darker surfaces for brand, lifestyle and editorial footage. Switch spaces for interviews, talking-head clips or review formats. Purple, red and blue lighting gives the industrial setting its own character, with no set build required.

That variety can help your calendar feel less repetitive without adding another location or a travel day. Plan which content belongs in which space before you arrive. Then batch each look, rather than switching back and forth for every post.

For current options, see Content @38 and Shoots @38. Studio-room content sessions start from £175 for up to 4 hours, with up to 8 hours available. Rates depend on the space and booking, so check the details before you plan your production budget.

Turn the footage into a publishing plan

After the shoot, match the selects to the calendar. Keep the shot IDs, edit notes and final filenames connected. Make one folder for each planned post, with its footage, stills, caption and CTA together.

Then work through the month in order:

• Pick the strongest hero asset first.
• Cut the short clips from the planned hooks and answers.
• Add stills and detail shots to posts that need a visual break.
• Schedule evergreen material around campaign dates and launches.
• Keep a small reserve of unused clips for stories or last-minute gaps.

Don’t assume every clip needs to become a post. A useful batch is not the largest possible batch. It’s a set of assets you can edit, approve and publish without turning the month into one long production backlog.

If you’re looking for a video production studio in London or a creative space in East London for a content day, @38 is in Clapton · Hackney · London E5. Tell us your formats, team size and preferred date. We respond within 24 hours. Book a content day or explore the space at at38.org.

What would you batch into one shoot day: video, stills, audio, product details, or something else? Comment below and tell us what’s on your shot list. You can also DM @38 or book through at38.org.

A product shoot doesn’t have to start with a white infinity cove. Raw concrete, exposed brick and steel can give your images texture before you add a single prop.

At @38, you can shoot against dark industrial surfaces with atmospheric purple, red or blue lighting already in the space. No set build required. Just bring your product, your team and a lighting plan.

Based in Clapton · Hackney · London E5, @38 offers shoot bookings from £175 for up to 4 hours and from £600 for a shoot day. See the shoot space and booking details.

Let the surface do some of the work

A white background gives you a clean starting point. Concrete gives you a starting point with character.

Use a concrete floor or plinth to bring weight and texture to a product shot. Set a piece of skincare, footwear, tech or packaging against exposed brick for a rougher frame. Add steel when you want a harder, sharper edge. These surfaces create contrast with polished packaging, clean product shapes and carefully placed props.

Keep the composition deliberate. Pick one hero product. Give it space. Use a slab or plinth to raise it from the floor, then decide where the texture should sit in the frame. A strong surface can carry a shot without crowding it.

Make texture part of the composition

Texture works best when it helps you look at the product, not away from it.

Start by placing the product where the surface changes the image in a useful way. A rough concrete edge can anchor a compact object. A brick wall can give packaging a sense of scale. A steel detail can echo a product’s material or shape.

Then look at your shadows. A single controlled light can pull out the grain in concrete and create a clean cast shadow. Move it a little at a time. Watch how the shadow shifts across the surface, and whether it makes the product feel grounded or just obscures it.

You can also use the space’s coloured lighting to add atmosphere. Purple, red and blue light can work well on a background or surface in a campaign image. Keep it off product details that need accurate colour. For colour-sensitive work, light the product neutrally and bring the coloured wash in around it. Check a test frame before the full shoot.

Glossy products need controlled reflections

Glossy packaging, glass, chrome and polished plastic reflect whatever is around them, including your lights, walls and crew. In a dark industrial room, that can be an advantage. It can also turn into a series of distracting highlights if you don’t shape what the product sees.

Start with a large, diffused source. It creates a broader, smoother highlight than a small bare light. Then add white cards to lift the dark side of the product, or black cards to create a controlled dark edge. Move them while watching the reflection through your camera. Small shifts can change the shape of the highlight.

Separate the product from the background where you can. Keep background light from spilling across the object, and flag light that’s creating unwanted glare. The aim isn’t to remove every reflection. It’s to make the reflections work for the shot.

For a deeper technical walkthrough, read this guide to photographing reflective products. It covers the same basic principle: shape the reflections rather than simply adding more light.

Build contrast without losing the product

A dark backdrop can give your product image depth. It can also swallow the product if its tone is too close to the wall or floor.

Look for separation. A pale label against dark brick. A light edge along a black object. A distinct shadow under the product. Use a soft side or rear light to define the product’s outline, then check that important surfaces and labels still read clearly.

For reflective products, you can bring in narrow white highlights or dark reflections to show shape. For matte products, a little raking light can reveal surface detail. Each material responds differently, so take a test frame and adjust one thing at a time. Light, flag, card, angle. Then shoot.

Save set-building time

Building a backdrop takes more than the build itself. You need time to source materials, dress the set, adjust it for the product, then clear it when you’re done.

At @38, dark industrial surfaces, exposed brick, steel and concrete are already part of the space. You can move between looks by changing your framing, product position and lighting, not by building a new set from scratch. For a campaign with a consistent industrial direction, that means more of your booked time can go toward the shots.

The venue has two connected spaces, giving your team room to work across different setups. Use one area for the main product frames and the other for prep or a change of look. There’s also a studio room available for talent or changing, with full exclusivity for your shoot.

Explore the shoot space to check the surfaces and setup, then book your shoot.

Plan the day around the shot list

Before you arrive, sort your products into groups: matte, glossy, reflective and transparent. That gives you a useful order for the day. You can keep similar lighting setups together rather than rebuilding your approach for every item.

Make a quick list of the frames you need:

• Hero product images against concrete, brick or steel.
• Close-ups that show packaging and surface detail.
• Wider campaign images with negative space for copy.
• Alternate angles or colour treatments for social and paid media.

Pack the essentials for your workflow: camera and lenses, tethering setup if you use one, product-cleaning cloths, cards or flags, and any props specific to the brief. Ask about your equipment and access requirements when you enquire. If you’re unsure which surface suits the product, arrange a site visit before shoot day.

@38 is a working creative space, not a blank cyclorama. That’s the point. You get texture in the frame without having to build it first.

Book your product shoot in Hackney

For your next campaign, choose the surface that supports the product: concrete for weight, brick for grit, steel for a harder edge. Then shape the light around it.

Shoot bookings start at £175 for up to 4 hours, with shoot days from £600. You get a raw industrial setting, two connected spaces and a backdrop that’s already there.

What product would you shoot against concrete? Comment below and tell us. DM us or book your shoot at at38.org. We respond within 24 hours.

A second room isn’t spare space. It’s a way to keep your shoot moving while talent gets ready, clients review footage and kit stays off the set.

At @38, you can use two connected spaces as a main floor and a holding or prep room. You get full exclusivity for your booking, so the rooms work as one production base, not a shared space with other activity around you.

For the dedicated studio room, rates start at £175 for up to 4 hours, with bookings of up to 8 hours available. Main-floor shoot hire is priced separately; check the shoots page for current options.

One room shoots. One room keeps the day moving.

When everyone and everything has to fit on the main floor, small delays spread. Talent waits beside the camera. Hair and makeup pauses when the crew needs to reset. Cases creep into the frame. Clients step around stands to see the monitor.

A second room gives each part of the day somewhere to happen.

Use the main floor for the setup in front of the camera. Use the connected room for talent holding, preparation, wardrobe changes or a quiet client base. Keep equipment and bags in a designated area rather than in the shooting lane.

The point isn’t to fill every room. It’s to stop one task from blocking another.

Stagger call times by readiness, not habit

Calling everyone at the same time can feel safe. It can also leave talent waiting for hours while the crew finishes lighting or works through earlier shots.

Build the schedule backwards from each person’s camera time. Work out how long they need for hair, makeup, wardrobe and a final touch-up. Then set their call time around that, not around the general crew call.

For example, if Talent A needs to be ready for an 8:30 camera start, call them early enough for their prep and a small buffer. If Talent B is not needed until 10:00, give them a later call. They can arrive, prep and wait in the holding room while the first setup runs.

Keep the call sheet clear about the difference between arrival, hair and makeup, wardrobe, ready and on-set times. A call sheet guide can help you structure those details. Adjust the timings to your crew, look and production. There’s no useful universal call time.

A holding room only helps if people know when they’re needed. Give talent a clear contact for updates, and tell them where to wait. When the schedule shifts, one person can move the next ready person to set without sending a whole group onto the main floor.

Run hair and makeup while the crew builds the first setup

The first setup often needs attention before the first shot. Camera, lighting and art may be setting angles, checking exposure or adjusting the frame while hair and makeup work through the first talent.

Put those tasks in parallel. Let the crew prepare the main floor while talent gets ready in the second room. When the setup is close, bring the first person through for a final check.

Then keep the rhythm going: one person shoots, the next gets ready, and the following person waits off the main floor. If a look needs a touch-up or a wardrobe change, it happens without turning the active set into a prep station.

Agree the room setup with your team in advance. Decide where hair and makeup will work, where wardrobe changes happen, and where talent waits once they’re ready. A simple status list (arrived, in prep, ready, on set) can make handovers clear without adding another complicated production system.

Give clients and agency a base outside the set

Clients need to see the work. They don’t need to stand inside every camera reset.

A separate room gives the client or agency team somewhere to review options, check the schedule or take a call without adding traffic around the camera. It also gives the crew more room to work through changes.

Set expectations before the day: who can access the main floor, where the client team will be based, and how they’ll review images or video. If a live monitor is part of your production, decide where it goes and who is responsible for it. Don’t assume the holding area automatically includes a monitor or extra production equipment. Confirm what you need when you book.

Keep kit accessible, not in the way

Kit storage is a small decision with a big effect on room flow. Cases left beside the camera become obstacles. Items scattered across a prep area get harder to track.

Choose a clear, out-of-the-way area for cases and bags. Keep only the kit needed for the current setup near the working floor. Label shared chargers, wardrobe items and accessories, and agree who can move them.

Keep access routes clear. That matters when talent is moving between rooms and crew are carrying equipment. At wrap, do a final kit check before the last case leaves the building.

A sample schedule with room to flex

Use this as a starting structure, not a fixed template:

Time	Main floor	Holding / prep room
08:00	Crew access and first setup	Hair and makeup prepare
08:30	Lighting and camera checks	Talent A starts prep
09:15	Shoot Talent A	Talent B starts prep
10:15	Reset or review	Talent C waits, ready to go
10:30	Shoot Talent B	Talent C gets final touch-up
11:30	Next setup	Talent A changes or is released

The timings depend on your setup, number of looks, prep requirements and how many people can work at once. The useful part is the overlap: the next task can start before the current one finishes.

And when a shot runs long? Talent can wait somewhere comfortable and ready, rather than on the edge of the set. When the crew moves faster than planned, the next person can be called forward. That’s how a second room buys back the afternoon, not by magically shortening every task, but by stopping the whole schedule from waiting on one room.

Book a shoot space that works as a base

At @38, the dark industrial surfaces give the main floor its look without a white-box build. The connected room can handle holding and prep, keeping talent and support tasks off the active shooting floor. You book the space exclusively, so your team can plan the rooms around the shoot.

Find us at Clapton · Hackney · London E5. Studio-room bookings start at £175 for up to 4 hours, with bookings of up to 8 hours available. For main-floor shoot rates and details, visit Shoots @38. You can book a shoot or DM us with your format and date. We respond within 24 hours.

How do you run call times on shoot day: one general call, or staggered by talent and prep? Comment below with what works for your team. Then DM @38 or book at at38.org to plan your next shoot.

You’ve finished the first setup. The crew is moving lights. Your next look is waiting on a rail. You need somewhere to sit, check your face, change and take a breath, without leaving the building.

That’s what a green room is for. Not decoration. Not spare floor space. A working room that makes the time between takes easier for the people on camera.

At @38, the shoot space has two connected areas: the main floor and a separate studio room used as the green room for talent and changing. Your shoot is exclusive, so the space is yours for the booking. Find details on shoots at @38.

A room away from the set

A set is busy by design. Crew move through it. Lights shift. People talk over the next shot. That’s useful when you’re filming, less so when you’re trying to reset.

A green room gives you a quieter place to wait between setups. You can look over notes, sit down, collect your thoughts or simply have a few minutes without the camera pointed at you.

For presenters and interview guests, that pause can make the next take feel less rushed. For models, it means a calmer place to prepare for the next look. For everyone, it means a break that doesn’t involve walking down the street and trying to work out when the crew needs you back.

One room to shoot. One room to reset.

A mirror you can actually use

You don’t need a complicated dressing setup to do a quick hair, makeup or wardrobe check. You do need a mirror you can see yourself in, with light that lets you see what’s going on.

That distinction matters. Colourful lighting can give a set its look, but it’s not always helpful for checking makeup or skin tone. Keep the green room’s task light clean and even. Use the moody colours on set, where they belong.

Before the shoot, ask what the room has and what you should bring. If you need a specific mirror, makeup light or styling station, sort it out before call time, not while the crew is waiting for the next setup.

Somewhere for your bag and wardrobe

Your belongings shouldn’t end up in the camera path, under a table or in a corner you can’t keep an eye on. Give bags a clear place to go. Keep wardrobe separate, hung up and easy to find.

A simple rail, hangers and a little room to move can make outfit changes less stressful. A full-length mirror helps you check the complete look before you head back to set. If you’re bringing several looks, label or separate them in order. Small bit of prep. Much less rummaging.

Privacy matters here too. If you need to change, check in advance how the room will be used and agree a clear arrangement with the producer or crew. A closed door, a screen or a simple “changing” signal can help protect your space. Don’t assume everyone knows when you need the room to yourself.

Charge your phone. Keep the next call within reach.

Between setups, your phone might be how you check a running order, keep in touch with your agent or just take five minutes to yourself. A charging point nearby is a practical detail worth checking before you arrive.

Keep your phone and personal items in the green room rather than scattered around the set. If you’re expecting a call from production, agree how the crew will get your attention when it’s time to return. You get a quieter break; they can still keep the day moving.

If you’re organising the shoot, put a charger where people can reach it and keep cables out of walkways. No one needs a trip hazard between the chair and the door.

Water and a proper pause

A glass of water is basic. On a longer shoot, it can be easy to forget to drink when you’re moving between looks, retakes and conversations. Keep refreshments easy to find, and check what’s available before the day. If you have dietary requirements or need something specific, mention it in advance.

A seat matters too. A green room doesn’t need to feel like a lounge. It should simply give you a place to sit down, take a drink and let your shoulders drop for a minute.

That’s particularly useful when you’re on camera for hours. A short pause can help you focus on the next setup rather than pushing through on autopilot.

Privacy without leaving the building

A real break doesn’t always mean leaving the venue. Sometimes you just need a minute away from the lens, the crew and the noise of a changeover.

At @38, the main floor and studio room are connected, with the studio room used as a green room for talent and changing. You can step away from set without leaving the shoot space. Full exclusivity means the booking is yours, no other shoot running through your space at the same time.

The room still needs a simple plan. Let the crew know when you need privacy. Keep the route between the green room and set clear. And if you’re a producer, tell talent where they can change, where to leave their things and how you’ll call them back.

For more on preparing a talent-friendly space, Live Group’s green room checklist is a useful reference.

A quick check before you book

Before the shoot, ask:

• Is there a separate room where I can get away from set?
• Can I check hair, makeup and wardrobe in suitable light?
• Is there somewhere for my bag and clothing?
• Can I charge my phone and keep it nearby?
• Will water and refreshments be available, or should I bring my own?
• How will the crew protect my privacy when I need to change?
• How will I know when it’s time to return to set?

Clear answers make the day easier. If you’re booking on someone else’s behalf, share the plan with talent before they arrive. A green room works best when nobody has to guess how to use it.

A shoot day with room to reset

@38 is a raw industrial creative space in Clapton · Hackney · London E5. Two connected spaces give your shoot a main floor and a studio room to use as a green room for talent and changing. Shoot bookings start from £175 for up to 4 hours, with bookings of up to 8 hours available. Check the shoot details and book.

What’s the one thing you always want in a green room? Comment below. Then DM @38 or book your shoot at at38.org. We respond within 24 hours.

A location fee is only the starting point. Before you commit, check what the rate covers, how long you have the space, and what gets charged on top.

At @38, shoot bookings start at £175 for up to 4 hours. Shoot day rates start at £600, with bookings of up to 8 hours available. You get a raw industrial space in Clapton · Hackney · London E5, with dark surfaces and production infrastructure already in the room. No set build required.

See the shoot space and booking options. We respond within 24 hours.

How film location fees are usually structured

There’s no single London rate card for a warehouse location. The quote can depend on the space, the booking length, the size of your crew, access times and what your production needs.

Common pricing structures include:

• A fixed rate for a set booking: for example, a 4-hour or 8-hour slot.
• An hourly rate with a minimum booking: useful for smaller shoots, but check whether setup and pack-down count toward the minimum.
• A negotiated production fee: often used when the shoot needs unusual access, extra rooms, overnight work or more operational support.

Published listings show how much the rates can vary. Shutterhouse White House, for example, publishes separate half-day and full-day rates. The Warehouse at Chocolate Studios lists several booking lengths. These are examples, not a standard London tariff. Always check the current quote and the terms for your dates.

Four hours or eight? Book for the whole production window

A 4-hour booking can work for a lean setup: small crew, few lighting changes, limited kit and a clear shot list.

But the clock usually includes more than filming. You may need time to load in, dress the space, light the scene, record takes, reset, pack down and leave the room as agreed. If those tasks all have to fit inside four hours, your schedule needs to be realistic.

An 8-hour booking gives you more room for multiple setups, changes to lighting, talent breaks or a scene that takes longer than planned. It can also prevent a cheaper short booking from turning into an overtime bill.

Ask the venue to confirm:

• When your access starts and ends.
• Whether load-in and pack-down sit inside the booked hours.
• Whether a “day” means 8, 9 or 10 hours.
• What happens if you run over.
• Whether early access or a late finish is available.

At @38, you can book up to 4 hours from £175, or enquire about a shoot day from £600, with bookings of up to 8 hours available. Confirm your exact slot and requirements before signing.

What’s normally in the location fee?

The location fee is usually for access to the space, during the agreed booking window. Depending on the venue, it may also cover standard utilities, basic cleaning or use of existing furniture and facilities. Don’t assume those extras are included unless the quote says so.

At @38, the shoot space has power throughout, a dramatic colour-wash lighting rig, track lighting and raw brick, dark wood and industrial surfaces. There’s also a studio room available for talent or changing, and parking by arrangement. The existing look is part of the location: you can shoot against its real surfaces without building a set.

That’s the difference between a blank room and a space with a visual identity. Your production can focus on camera, light and performance rather than dressing every wall.

View the shoot space details.

What might be billed on top?

Get these items written into the quote. A small addition can affect your budget, especially if you only discover it on shoot day.

Power. Ask what sockets and power capacity are included. If you’re bringing high-draw lighting or specialist equipment, confirm the load before booking. You may need a separate supply, distribution, electrician or generator. “Power available” doesn’t necessarily mean every setup can run from the venue’s standard sockets.

Overtime. Find out when overtime begins and how it’s calculated. Venues may charge a flat hourly fee, a percentage of the booking rate or a higher rate for late-night access. Ask whether you need approval before running over.

Security. Clarify whether the venue’s standard access arrangements are enough for your shoot. Extra staff may be required for overnight kit, vehicle movements, crowd control or open entrances.

Cleaning and waste. Routine cleaning and production clean-up are different things. Ask what condition the space must be left in, and whether rubbish removal, deep cleaning or a damage deposit applies. Props, food, fake blood, smoke and liquids can all change the answer.

External suppliers. Generators, lighting and grip, toilets, parking, catering, barriers and specialist access equipment may need to be hired separately. Check whether you can bring your own suppliers and whether the venue has any required or preferred suppliers.

Exclusivity: make sure the space is yours

For a short film, another booking or event happening nearby can create noise, movement and interruptions. Ask whether your hire is exclusive, which areas are included and whether other people will be using the building during your slot.

Get the answer in writing. “Exclusive use of the main floor” may not mean exclusive access to every room, entrance or parking space. If you need a quiet holding area, changing space or somewhere for kit, list it in the booking details.

At @38, the shoot booking is exclusive. The main floor gives you the raw industrial look; the studio room can be used for talent or changing. Confirm the areas you need when you check availability.

Questions to ask before you sign

Send the venue a short, specific brief. Include the date, crew size, cast, vehicle count, equipment, power needs, access times and any effects or materials you plan to use.

Then ask:

1. What exactly is included in the location fee?
2. How many hours are included, and when does the clock start?
3. Are load-in, setup and pack-down part of those hours?
4. What is the overtime rate, and do you need to approve it in advance?
5. What power is available, and are there limits or extra charges?
6. Are cleaning, waste removal, security and parking included?
7. Is the space exclusive for the full booking?
8. What deposit, insurance and cancellation terms apply?
9. Can you bring your own suppliers and equipment?
10. What condition must the space be left in?

Ask for an itemised quote. It makes the real cost easier to compare than two headline rates with different inclusions.

Plan the space. Then plan the spend.

A location rate is only useful when you know what it buys. Compare the booking hours, access rules, power, cleaning, security and overtime, not just the number at the top of the quote.

At @38, rates start at £175 for up to 4 hours and £600 for a shoot day. Bookings of up to 8 hours are available. You get dark industrial surfaces, power throughout, a colour-wash lighting rig and a room with character already on camera.

Based in Clapton · Hackney · London E5. Check the shoot space or book a shoot. You can also DM us through at38.org. We respond within 24 hours.

What’s your biggest question about film location hire in London: overtime, power, exclusivity or the day rate? Comment below.

From £175 for up to 4 hours. Up to 8 hours available. At @38, you can film in two connected spaces: a dedicated studio room with controlled acoustics, and a raw industrial main floor with dark surfaces and atmospheric lighting. No set build required.

If you’re searching for a video production studio in London or a recording studio in Hackney for a sit-down interview, start with three things: where the camera goes, how you’ll capture clean dialogue, and how you’ll shape the light. Get those decisions right, and the room’s brick, timber and industrial details become part of the frame, not a problem to hide.

Find the frame before you light it

Don’t set the chair against the first interesting wall you see. Give the subject some distance from the background. Even a couple of metres can add depth, soften the texture and give you more control over how much light reaches the wall.

Place the camera slightly across the background rather than square-on. Brick lines, timber, beams and other surfaces can create depth when they lead into the frame. Keep the subject off-centre if they’re looking towards an interviewer, and leave space in front of their eyeline. For direct-to-camera delivery, a centred composition may feel more natural.

A medium close-up is a useful starting point for a talking-head interview. Keep the eyeline near the lens and check the edges of frame for distracting highlights, visible cables and equipment you don’t want on camera. The warehouse can provide plenty of texture; you don’t need to include every detail in every shot.

Before the full interview, roll a short test. Ask your subject to speak, turn their head and gesture as they normally would. Check the framing, focus and exposure while they move, not just while they sit still.

Boom or lav? Listen to the room

Industrial rooms can have hard surfaces that reflect speech. That reflection may sound like an echo or a hollow ring in your recording. The closer your microphone is to the speaker, the more clearly it can capture their voice compared with the sound bouncing around the room.

For a seated interview, a boom microphone just outside the top of frame is often a good first choice. Position it above and slightly in front of the subject, aimed towards their mouth. Keep it as close as your frame and lighting allow. A microphone left several feet away will hear more of the room along with the voice. RØDE’s interview audio guide also recommends a boom or lavalier for a stationary talking-head setup.

A lavalier microphone clipped to the subject gives you a compact option, and it can work well when the boom can’t stay close. But check for clothing rustle, cable taps and changes in sound when the subject turns. If you can, record both: boom as your main track and lav as backup. Monitor them on headphones before rolling.

A mic choice won’t fix every room reflection. Listen in several positions before you start. If a spot sounds especially live, try a different position or add practical acoustic control close to the speaking area: a rug underfoot, or suitable blankets or panels near reflective surfaces. Keep all treatment clear of exits, fire equipment and crew routes. Record a short test and a few seconds of room tone so you know what you’re working with in the edit.

For more on boom placement, see RØDE’s guide to boompole use and best practices.

Light the face. Keep the room in control.

Start with a soft key light to one side of the camera and slightly above the subject’s eye line. Aim it at the face, not the entire room. A flag, grid or careful adjustment can help limit spill on the wall behind them.

Set exposure on the subject first. Then decide how much of the background you want to see. Keep it dark enough to separate from the face, but not so dark that all the texture disappears. A restrained edge light or coloured practical can pick out a section of brick or timber without flooding the whole space.

Watch reflective surfaces. Metal, glass and polished areas can throw bright hotspots back into the lens. Move or flag the light, change the camera angle, or soften the source. Check the image on your monitor at the exposure you’ll actually record; the room may look different to camera than it does to your eye.

Use the space you have

A raw location doesn’t need to become a constructed set. Choose a backdrop that supports the story. Exposed brick and dark timber can give a campaign interview a strong visual identity. The cleaner studio room can suit a more neutral talking-head setup. In the industrial space, a controlled wash of colour can shift the mood without changing the location.

At @38, you can move between two connected spaces in one booking: the dedicated studio room, and the industrial main floor. The studio room is suited to interviews and media production, with controlled acoustics. The main floor brings dark industrial surfaces and atmospheric lighting. A Pioneer DJ setup is also available if it fits your story or you want music-related details for cutaways.

You get different visual options without building a backdrop from scratch. See the Studio @38, Shoots @38 and Content @38 pages for the room and booking details.

A quick interview setup check

Before your subject arrives, confirm the basics:

• Frame: Choose the subject’s eyeline, background and camera position.
• Sound: Listen on headphones. Test the boom and lav, if using both.
• Room: Check for HVAC, nearby activity and other noise that may interrupt takes.
• Light: Shape the key on the face and control spill on the background.
• Movement: Record a short test with natural speech, head turns and gestures.
• Backup: Check recording levels, available media and room tone before the first question.

A clean interview doesn’t depend on hiding every industrial detail. It depends on making deliberate choices about which details make the frame, and which sounds make the recording.

Film your interview at @38

@38 is in Clapton · Hackney · London E5. Studio room bookings start at £175 for up to 4 hours; bookings of up to 8 hours are also available. Check rates and room details on the Studio @38 page, or book the studio. We respond within 24 hours.

What’s your interview setup: boom, lav, or both? Comment below with the camera, sound and lighting choices you’d use in a warehouse. To plan your shoot, DM @38 or book at at38.org.

November in London gives you less daylight to work with each week. Sunset moves from around 4:33pm at the start of the month to about 3:55pm by the end. And that’s before cloud, narrow streets or neighbouring buildings take their share.

If you’re planning a winter shoot, build the schedule around the light you can actually use, not the daylight you hope might show up. Then decide what needs natural light, what can be lit indoors, and what you can shoot after dark.

At @38, you can book a dark industrial interior with exposed brick, steel and concrete, plus atmospheric purple, red and blue lighting. From £175 for up to 4 hours. Up to 8 hours available. Find the details on our shoots page.

London winter light doesn’t wait

The trouble isn’t just the early sunset. London winter light can be low, flat and inconsistent. A bright morning can turn grey by lunch. A promising shaft of sun can disappear behind a row of buildings before your subject is ready.

In November 2026, London sunset is around 4:33pm on 1 November and around 3:55pm on 30 November. Civil twilight continues after sunset, but the quality of the light changes quickly. Use the London November daylight table to check the dates you’re planning around.

That gives you a moving target. Your best natural-light window might be a soft morning glow through a high window, or a brief warm stretch in the afternoon. Either way, travel, setup and talent changes eat into it.

Don’t plan a winter shoot as if you have a long summer afternoon. Choose the shots that depend on daylight first. Then give the rest of the day a lighting plan that doesn’t depend on the weather.

Plan the shortest daylight window first

Start with the shots that genuinely need natural light. That might be a product image where you want a particular window reflection, a portrait with soft ambient light, or a sequence that needs to match an existing daylight scene.

Put those shots at the front of the call sheet. Be specific: name the setup, the talent, the camera position and the approximate time you want to start. “Shoot portraits before lunch” leaves too much room for drift. “First look at 9:00, window portraits by 9:30” gives the crew something to work to.

Next, build in the things that can quietly push you behind:

• Access and unload: Get cases, stands and clothing into position before the key light arrives.
• Set and camera checks: Confirm framing, exposure and focus before talent is on set.
• Hair, makeup and wardrobe: Let the team prep while the room and equipment are being set.
• Travel and changeovers: If you’re using two setups or two spaces, include the move in the schedule.
• Weather and building shade: Have an indoor lighting alternative ready. Don’t wait until the light disappears to invent one.

For a short booking, decide what is essential and what can be cut. A focused shot list beats an ambitious one that runs out of daylight halfway through.

Use indoor light as the plan, not the backup

Once daylight fades, you don’t have to stop shooting. You need a setup you can control.

A blackout-capable interior helps you shape the light without fighting a changing window. You can hold a look from frame to frame, keep continuity between setups and repeat the shot if you need another take. Full light control also makes it easier to build distinct images during one booking: a clean portrait, a saturated editorial look, then a darker campaign frame.

The important bit is to test the lighting before the shoot day. Decide which sources are doing the work, where they sit, and how the colour should read on camera. Check the result on the camera monitor rather than relying on how dramatic the room looks to your eye.

At @38, the dark industrial surfaces give the light somewhere to land. Exposed brick, steel and concrete hold colour and texture without another set build. Purple, red and blue lighting can become part of the image, not a workaround for a grey afternoon.

A dark interior is not a compromise

A winter shoot doesn’t have to imitate summer. Darker interiors can give you a more deliberate image, with deeper shadows, controlled colour and visible texture. Instead of chasing the last strip of daylight, you can choose a look and keep it consistent.

That’s useful for fashion, portraits, music visuals and product work where mood matters as much as an even, bright background. Brick and concrete create texture in the frame. Steel adds hard lines. A wash of red or blue can shift the same corner into a different scene.

It also means you don’t need to spend the first hour building a backdrop. Choose your angle, place the subject and shape the light. Keep the composition simple. Let the space do some of the work.

The answer will depend on your brief. If the whole concept relies on a specific natural-light effect, schedule that first and check the weather. If the look can be created with controlled interior lighting, plan for that from the start rather than treating it as a rescue option.

Work the day in blocks

A clear shoot schedule helps you use both natural and controlled light without making every setup feel rushed. Try this structure:

Block 1: daylight-dependent shots. Start with the images you can’t recreate easily under artificial light. Keep the setup tight. Photograph the priority frames before moving on to optional variations.

Block 2: indoor transition. As daylight drops, move to the lighting setup you’ve already planned. Use the changeover to review images, adjust styling and reset the space.

Block 3: controlled looks. Shoot the frames that benefit from darker atmosphere, saturated colour or consistent exposure. You can repeat them without waiting for the sky to cooperate.

Block 4: final checks. Leave time to capture missing details, review the shot list and pack down. A rushed final ten minutes can undo a well-planned day.

For a short booking, arrive ready with the equipment and references you need. @38’s two connected spaces give you room to plan different parts of the shoot without trying to force every look into a single corner. The space is exclusive to your booking.

Book for the shoot you’re actually making

Before you book, write down three things: which shots need daylight, which setups can use controlled lighting, and how many changes of look you need. That tells you whether you need a focused session or more time for multiple setups and talent.

At @38, shoot bookings start from £175 for up to 4 hours, with bookings of up to 8 hours available. We’re at Clapton · Hackney · London E5. See the shoots space and booking details, or book a shoot. We respond within 24 hours.

Planning a winter shoot day? Comment below with your best tip for working around short daylight, whether it’s an early call, a tighter shot list or a lighting setup you can repeat. Then DM us or book at at38.org to check your date.

New Year’s Eve needs more than a room with tables, a bar and a clock on the wall.

It needs a setting with its own energy.

A raw industrial space gives you that from the start. Exposed brick. Dark timber. Steel. Concrete. Room for the lighting to work. Room for people to move.

At @38, you get a 170-person capacity venue in Clapton · Hackney · London E5, with full exclusivity, a staffed bar, security, DJ equipment and two connected spaces. Evening and weekend packages start from £2,500.

If you are looking for a warehouse event space in London or an industrial event space in London for New Year’s Eve, October is the booking window. Dates start moving early. The concept, layout and production plan need time to come together.

Here is how to build a night that keeps people in the room.

Start with the room, not the decorations

A hotel function room gives you a finished template.

Usually, that means carpet, banquet tables, neutral walls and a layout designed for predictable events. It can work. It can also feel like every other New Year’s Eve.

A raw industrial venue gives you more control.

You can build the night around the structure already there. Use the brick as a backdrop. Let the steel frame catch colour. Keep the floor open for dancing. Use furniture to create smaller zones without closing the room down.

The room does not need to look finished before you arrive. It needs to give you something to work with.

That is the difference.

At @38 Shoots, the main floor includes raw brick, dark wood, industrial textures and a dramatic purple, red, teal and blue lighting rig. No set build required. The space already reads on camera and in the room.

For New Year’s Eve, that matters. Guests should feel the atmosphere as soon as they walk through the door.

Plan the countdown as the main event

Midnight should not arrive by accident.

Build towards it from the moment doors open.

A simple structure works:

• Arrival: lower-energy music, clear lighting, bar service and content capture.
• Build: stronger DJ sets, deeper colour and more movement across the room.
• Final 15 minutes: simplify the lighting and focus attention on the DJ booth or countdown point.
• Midnight: one clear audio, lighting and visual cue.
• After midnight: change the look and move straight into the next track.

The countdown does not need to be complicated. It needs to be coordinated.

The DJ, lighting operator, host, bar team and security should all know what happens at 23:50, 23:59 and 00:00. If you are using a projection, LED screen, confetti or haze, test the cue before guests arrive.

The best countdown moments feel like part of the night. Not a pause in it.

Use lighting to change the room

The room can look different at 20:00 and 00:05 without moving a wall.

Start with a restrained look. Deep blue or teal across the industrial surfaces. A little amber around the bar. Enough light for people to arrive, find friends and order a drink.

As the night moves on, bring in purple and red. Increase movement around the DJ booth. Let colour draw guests towards the dancefloor.

At midnight, change the entire balance.

A brighter colour shift. A full-room wash. A clean burst of light. Then settle into a new look for the first track of the year.

Avoid lighting every corner evenly. Darkness creates depth. It also makes the brighter moments land harder.

If you are capturing video, speak to the lighting operator before the event. Constant strobes, total blackouts and fast colour changes can make footage difficult to use. Plan a few camera-friendly cues around the important moments.

The right lighting does two jobs:

1. It makes the room feel larger and more atmospheric.
2. It gives guests something worth recording.

Sound needs to carry the night

A New Year’s Eve party is only as strong as its sound.

The DJ setup at @38 includes Pioneer CDJ decks, turntables and a professional mixer, with a full PA and monitor system. That gives the DJ a familiar setup and gives the room enough structure for a serious night of music.

The programming should still have shape.

Do not start at full volume. Let the first set create room for conversation. Move into higher-energy tracks as the dancefloor fills. Save the biggest transition for midnight rather than using every peak too early.

Make sure the DJ has:

• A confirmed running order.
• The midnight track or sequence ready.
• A backup USB.
• A clear signal for the final countdown.
• Enough monitor volume to work without pushing the main system too hard.

If you are adding a host or live performer, build the changeovers into the schedule. A silent gap at 23:58 will be remembered for the wrong reason.

Make the bar part of the flow

The bar should be easy to find but not positioned where it blocks the room.

Keep the main route clear between the entrance, bar, dancefloor and second space. Use the bar as an anchor along one side of the venue rather than creating a barrier through the centre.

For New Year’s Eve, speed matters.

Keep the menu focused:

• Beer and cider.
• Wine.
• Spirits and mixers.
• A short cocktail list.
• Sparkling wine or prosecco for midnight.
• Water where people can reach it without joining the main queue.

Pre-batched serves can help. So can a dedicated midnight drinks plan. If every guest orders a complicated cocktail at 23:59, the bar becomes the bottleneck.

A staffed bar keeps the service moving. Security gives the room another layer of control. Both teams should receive a clear briefing before doors open, including the countdown window, guest numbers, emergency routes and any areas that need extra attention.

The operational details are not separate from the atmosphere. They protect it.

Give guests somewhere else to go

A 170-person room still needs different speeds.

Some guests will stay on the dancefloor all night. Others will want to talk, take a call, cool down or reset without leaving the venue.

Use the second space as a quieter zone or green room. It can support:

• Guest holding.
• Artist or DJ preparation.
• Coat and bag overflow.
• A calmer seating area.
• A separate content setup.
• A place for guests who need a break from the main room.

At @38, the studio room is independent from the main floor. For an event, that separation gives you a useful second environment without booking another location.

Think about the guest journey as a loop:

Entrance → bar → main room → second space → content moment → main room.

Avoid dead ends. Keep doors and routes visible. Make sure the second space feels intentional rather than like somewhere guests have accidentally wandered into.

You do not need to fill every corner with furniture. A few deliberate choices work better: a low-lit seating area, a clean route to the toilets, a well-positioned photo or video point and enough space around the bar.

Build content moments into the night

New Year’s Eve creates its own content.

The countdown. The first dance of the year. The room at full capacity. The DJ booth. The bar at midnight. Guests reacting to the lighting shift.

You do not need to cover the venue in branding to capture useful material.

Set up one or two clear content points. Use the architecture as the background. Keep the lighting consistent. Make the route easy so guests can step in, capture something and move on.

For professional coverage, plan for:

• A wide shot of the main room.
• A close shot of the DJ booth.
• Crowd reactions during the countdown.
• Bar and arrival footage.
• Short vertical clips for social.
• Stills of the room before guests arrive.
• A few quieter moments between peak periods.

Tell the lighting and camera teams what needs to happen at midnight. If the visual cue is too dark or too fast, the footage may not be usable. A short technical briefing can save the entire aftermovie.

The best event content is not always the loudest moment. Empty-room details, hands on the decks, glasses being poured and guests arriving can give the final edit structure.

Book the space before the plan gets expensive

The earlier you book, the more control you have over the night.

You can confirm the date, define the guest number, plan the bar, brief the DJ and build the countdown properly. You also avoid forcing the event into a room that was never right for it.

@38 offers full exclusivity, so there are no other bookings competing for the space. You get the main floor, the second-space option, the staffed bar, security and the production setup in one raw industrial venue.

Evening and weekend packages start from £2,500.

Explore Content @38 if you need both spaces for guest flow and content capture. For venue details and the main floor setup, visit Shoots @38. You can also book or enquire directly.

Located at Clapton · Hackney · London E5.

We respond within 24 hours.

Make midnight feel like it belongs to your event

A strong New Year’s Eve event is not just a party with a countdown added.

It has a room with character. A clear music plan. Lighting that changes with the night. A bar that keeps moving. Somewhere to step away. A moment at midnight that everyone understands.

That is what a raw industrial space gives you.

Not a finished template. A starting point.

If you are planning New Year’s Eve, comment below with your plan or your biggest booking question. Then DM @38 or book at at38.org.

A film location is more than four walls and a booking confirmation.

You need to know when you can load in. Where the crew can reset. What power is available. Whether the green room is actually private. What happens when your 8-hour day becomes 9.

This is the part most location listings leave out.

If you are comparing film location hire in London or looking for a video production studio in London, use this guide before you sign anything.

Start with the hire rate

The base rate usually covers the space for a defined period.

That might be:

• Up to 4 hours
• Up to 8 hours
• A full production day
• A set number of crew members
• Exclusive use of one room or the full venue

The wording matters.

“Day hire” does not always mean 24 hours. It normally means a fixed access window agreed with the location. Your load-in, shoot, strike and exit all need to fit inside it unless you arrange additional time.

At Shoots @38, the main floor starts from £600 for up to 4 hours. Full-day access is available for up to 8 hours, from £1,100. The space is exclusive to your production during the booking.

For shorter interviews, livestreams and controlled media work, the independent studio room starts from £175 for up to 4 hours. Full-day studio room bookings are available for up to 8 hours.

That gives you two connected spaces to work with:

• A 170-capacity main floor with raw industrial surfaces
• An independent studio room for sound-sensitive work, talent holding or changing

The right option depends on your production. Not just your shot list.

What the location hire rate usually includes

Every venue sets its own terms. Get the inclusions in writing.

A standard film location or studio hire rate will often include:

Exclusive use

You should know whether your booking covers:

• One room
• The main floor
• Multiple connected spaces
• The entire venue
• A private green room
• Shared corridors or facilities

Exclusivity is not a minor detail. If another booking is happening next door, your sound, access and crew movement can all be affected.

At @38, the booking is exclusive during your session. No other production is using the space at the same time.

Standard access

The rate should state when you can enter and when you need to leave.

Ask whether the stated hours include:

• Crew arrival
• Equipment unloading
• Set dressing
• Camera tests
• Talent prep
• Strike and load-out

A shoot that starts at 9am does not help if you need 90 minutes to unload and build before the first setup.

Existing surfaces and fixtures

A raw location should give you something to shoot against without a full set build.

At @38, that means:

• Raw brick walls
• Dark wood floors
• Industrial metal and concrete textures
• Atmospheric coloured lighting
• Track lighting for your own equipment
• A built-in DJ booth and Pioneer DJ setup
• A studio room for talent, changing or controlled recording

The surfaces are already doing some of the work. You can arrive with a camera, lighting plan and wardrobe instead of building an entire environment from scratch.

Basic power

Standard power sockets are often included. That does not mean every production load is covered.

For a small crew, interview setup or photo shoot, normal sockets may be enough. Larger lighting packages, heaters, catering equipment and multiple charging stations can change the requirement quickly.

Ask for the power specification before booking.

Do not assume that “power throughout” means three-phase power, unlimited draw or permission to bring in a generator.

Toilets and basic facilities

These are usually included, but confirm what is available to your crew and talent.

Also ask about:

• Wi-Fi
• Water
• Kitchen access
• Heating
• Furniture
• Makeup stations
• Changing areas
• Waste disposal

The details become important after six hours on set.

What usually gets billed on top

The hire rate is only one line in the production budget.

These are the extras that catch people out.

Overtime

Overtime can apply to the space, the venue manager, security and cleaning team.

It may be charged by:

• The hour
• Half hour
• Part hour
• A higher late-night rate

Ask what happens if your crew is still packing down after the agreed end time. A final shot at 5pm can become a full overtime hour once the kit is off the floor.

Build strike time into the booking. Not just filming time.

Early access and late load-out

Early access is often a separate booking.

So is staying late.

If you need the space from 6am for lighting, or your van cannot leave until 10pm, put those hours into the initial quote. Do not rely on a casual agreement over email.

Confirm:

• Earliest load-in
• Latest load-out
• Whether doors open during your paid time
• Whether overnight equipment storage is possible
• Whether the venue manager must remain on site

Heavy power and technical support

Standard power and production power are different things.

You may need additional costs for:

• High-draw lighting
• Three-phase power
• Distribution boards
• Cable ramps
• An electrician
• A venue technician
• A generator and fuel
• Additional power usage

At @38, power is available throughout the production areas. Your equipment list still matters. Send it before the booking so the venue can confirm what is workable.

Security and supervision

Extra security may be required for:

• Large crews
• Overnight kit
• Public-facing shoots
• External doors
• Valuable equipment
• Late-night working
• Traffic and crowd control

Some venues also require a location manager or site representative to stay with the production. That person may be included, or they may be billed separately.

Ask who is responsible for opening, locking up and monitoring access.

Cleaning and reinstatement

Normal use should be clear.

So should abnormal use.

Extra charges can apply for:

• Fake blood
• Food and liquid spills
• Glitter and confetti
• Dust or powder
• Paint
• Mud
• Large amounts of production waste
• Wall or floor damage
• Furniture moved without permission

Take reference photos when you arrive. Leave the space as you found it. If you are planning anything messy, say so before the day.

The green room is part of the production

A green room is not just somewhere to put coats.

It can be used for:

• Talent holding
• Wardrobe changes
• Makeup
• Quiet breaks
• Client review
• Interview preparation
• Storing personal items away from the camera floor

Ask whether the room is private and whether it is included in the hire rate.

At @38, the studio room can work as a separate, controlled space for talent and changing. It can also support interviews, livestreams and sound-sensitive recording. That separation keeps the main floor available for lighting, crew movement and larger setups.

One room shoots. The other resets.

That is often more useful than a bigger single room.

Equipment already in the room

A location with existing infrastructure can save time. It can also create confusion if nobody confirms what you are allowed to use.

Ask for a clear list.

At @38, the production environment includes:

• Atmospheric coloured lighting
• Track lighting
• Power throughout
• Raw industrial surfaces
• A Pioneer DJ setup
• A studio room with controlled acoustics
• Existing furniture and visual elements, subject to the booking

The Pioneer setup can function as a working DJ station or a built-in visual element. If you need to move it, connect additional equipment or use it on camera, confirm the terms in advance.

You should also clarify what is not included:

• Cameras
• Lenses
• Tripods
• Grip
• Professional lighting kits
• Sound recordists
• Camera operators
• Production assistants
• Catering
• External generators
• Specialist set construction

The location provides the room and its existing infrastructure. Your production supplier provides the rest unless agreed otherwise.

Questions to ask before you sign

Send these questions before paying a deposit:

1. What exactly does the hire rate cover?
2. How many hours are included?
3. Do those hours include load-in and load-out?
4. Is the booking fully exclusive?
5. Which rooms are included?
6. Is there a private green room or changing space?
7. What power is available?
8. Are heavy power or technical support charged separately?
9. What are the overtime rates?
10. Can equipment be left overnight?
11. Is parking available for vans?
12. Are security or site supervision costs required?
13. What counts as standard cleaning?
14. Are external suppliers allowed?
15. Is VAT included in the quoted rate?
16. What deposit is required, and when is the balance due?

A good location should answer these directly.

At Book a Shoot @38, the booking process includes a 20% holding deposit to confirm the slot. Ask for the full booking terms before you commit.

Compare like for like

London location rates vary by size, postcode, facilities and production type.

Marketplaces such as Tagvenue, Hire Space and Peerspace can help you compare the market.

Do not compare hourly rates alone.

Compare:

• Total access time
• Load-in flexibility
• Exclusive use
• Green room access
• Power
• Existing lighting
• Parking
• Cleaning
• Overtime
• Travel from your base
• Whether you need to build a set

A cheaper room can cost more once you add equipment transport, set dressing, overtime and additional crew.

The location with the most useful infrastructure is not always the one with the lowest headline rate.

Book a space that is ready to shoot

You should not need to explain the same production details three times.

Tell the venue:

• Your shoot type
• Crew size
• Equipment list
• Access requirements
• Power requirements
• Talent and changing needs
• Planned finish time
• Any external suppliers

At @38, you get a raw industrial setting in Clapton · Hackney · London E5. Dark brick. Wood. Metal. Atmospheric lighting. Power throughout. Two connected spaces. No set build required for the right brief.

Shoot hire starts from £600 for up to 4 hours. The studio room starts from £175 for up to 4 hours. Up to 8 hours is available.

Book a Shoot Day or visit at38.org. We respond within 24 hours.

What is the one film location hire question venues never answer clearly? Comment below with your question. You can also DM @38 with your production brief and book through at38.org.