London Calling!

5. September 2017

montageCentre Screen are excited to announce big changes to the way our London studio will be operating from the autumn. This week we say goodbye to our Shoreditch office, and begin a new, more flexible approach to our business in the capital.

Cloud-based production apps, video-call meetings, and superfast broadband mean we can think again about how we work in London, and we’ve used the opportunity as a springboard to make some clever operational changes. We will be retaining a bricks and mortar hub in Spitalfield’s Second Home, but client presentations and creative meetings can be held – well, where ever we want them to be held, and where ever best suits our clients and our collaborators. Whether we’re meeting at our new hub, over coffee in Bermondsey or The Museum Quarter, or presenting in a Soho cinema space, this new approach promises flexibility to adapt to current and future projects. It’s a hybrid form of organising that allows us to meet our clients’ needs, while giving our established ‘creative collective’ of London-based collaborators the 21st century flexibility and autonomy they deserve.

From a client perspective, the transition will be seamless. We remain committed to a high-level presence in the capital, and Executive Producer and Company Director Lisa O’Neill will continue to lead new and ongoing collaborations in London, guaranteeing an agile, dedicated response to the needs of clients, both nationally and internationally.

Similarly, it’s business as usual up north in Manchester with our in-house team, and Executive Producer and Company Director Hayley Walsh and Finance Director Trevor Hayes overseeing production, operations, and back-office functions.

We look forward to working with you in the future as we have in the past, and if you have any questions or would like to meet up in London, Manchester, or anywhere else for that matter, then we’d love you to get in touch!


24. March 2017


We’re delighted to announce exciting developments here at Centre Screen. As part of our long-term strategy to preserve the company’s creative standards and quality of service, a management buyout has been agreed with longstanding employees and Company Directors Hayley Walsh, Lisa O’Neill and Finance Director Trevor Hayes. All three of them have been an integral part of Centre Screen for many years and have been working together most recently as the core leadership team of our studios in Manchester and London.

Founders Dave Postlethwaite and Paul Kucharski will continue to work very closely with Hayley, Lisa and Trevor to ensure that the values and culture instilled when they founded Centre Screen in 1986 will remain at the company’s heart. They’re delighted that the business is moving forward with a new generation of leaders who know the business, staff and clients so well and who are perfectly placed to build on the longstanding reputation Centre Screen has as one of the world’s leading producers of digital media and audio visual communication.

Founded over 30 years ago, Centre Screen has seen its work featured in locations including the Sydney Tower Australia, the Olympic Museum in Lausanne, the Tower of London, The National Museum of Oman, Stonehenge Visitors Centre and, opening soon, the House of European History in Brussels. The management buyout, as Dave Postlethwaite explains, will preserve the ethos of creative excellence and professionalism behind these successes. “The exciting thing for me is that Centre Screen will remain a private independent business answerable only to its staff and clients – a creative force that remains energised and focused on serving its clients in an intensely personalised and focused way.”


3. November 2016

RSC: The Play's The Thing - Press Night

The curtain has gone up on one of our latest projects: The Play’s the Thing – the Royal Shakespeare Company’s permanent exhibition at its home in Stratford-upon-Avon. It’s been fun and challenging, and we’ve enjoyed working with The Hub, Kossmann.dejong, Darius Wilson Associates, and DJ Willrich. But, as with every theatrical production, before the doors opened to the public, the press got a preview of the show.

And their verdict? “A hit – a very palpable hit!” (Hamlet, Act V, Sc. 2).

What’s On chose our interactive version of (RSC Artistic Director) Gregory Doran’s desk as one of their highlights, and described the exhibition as:

“…not just for the die-hards: The Play’s The Thing is both a brilliant introduction for the uninitiated, and a great way for fans to find out more about the process of staging Shakespeare…presented in a fun, accessible style that’s sure to spark the imaginations of kids and grown-ups alike.”

The Evening Standard praised the exhibition’s interactivity, finding it…

”…agreeably hands-on… the real highlight is a virtual costume store that uses Wii (it was Kinect, actually – CS) technology to let us don a range of RSC clobber. I pranced around in John Gielgud’s cloak and hose from the 1950 production of Much Ado About Nothing.”

And the Telegraph – which also enjoyed our costume interactive – was impressed by the exhibition’s ability both…

“…to introduce a new generation of children to Shakespeare; and to offer enough to beguile adult fans… for children, the digital aspects will unquestionably be the winners.”

If you’d like to see for yourself, tickets are now on sale online or at the Royal Shakespeare Theatre in Stratford-upon-Avon. And if you’d like to know more about Centre Screen’s work on this or any other project – please get in touch!

RSC: The Play's The Thing - Press Night

Fire! Fire – The Visitors’ Verdict

11. October 2016

"Fire! Fire!" Museum of London

[photo credit: ©Museum of London]

It’s always good to get feedback on our work – and the most important comments of all are the ones we get from the visitors who actually see, hear and touch our installations.

Which is why we’re particularly pleased with the responses that the Museum of London were kind enough to pass on to us, from visitors who enjoyed their Great Fire of London exhibition – Fire! Fire! – designed by Skellon Studio – and our AV and interactive multimedia installations.

Here’s what a few of them had to say…

“…delighted with everything I saw…    It was innovative and imaginative…”

“I spent  two hours there  and was very sorry when I suddenly found myself at the exit!… I am recommending it to all my friends!”

“… great for kids and really immersive… well done on a great experience.”

“I’ve seen other attempts at interactive displays in museums, but nothing as imaginative and effective as what you pulled off.”

“Hats off to you! We left with smiles on our faces.”

If you’d like to find out more about this, or any other of our projects – past, present or future – then please get in touch!

[photo credit: ©Museum of London]

[photo credit: ©Museum of London]

Centre Screen Sets Museum of London Ablaze! – “FIRE! FIRE!”

2. September 2016

"Fire! Fire!" Museum of London

[photo credit: ©Museum of London]

To mark the 350th anniversary of the Great Fire of London, the Museum of London has mounted a major new exhibition: “Fire! Fire!” – and Centre Screen is fanning the flames with a range of AV and interactive multimedia installations.

At the heart of the exhibition, designed by Skellon Studio, is the City Ablaze wall: a two–projector panoramic view of the fire devastating the city. Centre Screen deployed a range of techniques, from specially commissioned illustration to advanced layering and masking methods, to recreate not only the chaotic patterns of flame but also create a genuine sense of 3D solidity on a 2D print.

The Baker’s House, meanwhile, is a projection-mapped installation featuring actors filmed against green screens. Set inside the infamous bakery on Pudding Lane, it tells how the Great Fire began. Also using projection mapping is an animation showing the spread of the blaze across the city, projected onto a giant loaf of bread!

Exhibition curator Meriel Jeater describes the whole experience as having a “story-book atmosphere that gives the sense of walking into another time”. Blending contemporary woodcuts with cutting-edge visual techniques, Centre Screen’s work has played a key role in creating that atmosphere, and we are delighted to have been involved in the Museum’s commemoration of this legendary disaster.

The exhibition is open until April 17th 2017, between 10am and 5:30pm. Tickets are available online – and if you’d like to find out more about our work, please do get in touch!

"Fire! Fire!" Museum of London

[photo credit: ©Museum of London]

"Fire! Fire!" Museum of London

London’s Tower Bridge Exhibition Opens

29. March 2016

One of the world’s most iconic landmarks, London’s Tower Bridge, opened its revamped visitor experience on Good Friday with a new film and set created by Centre Screen.

The film, atmospheric soundscape and set build will transport visitors back in time over a hundred years, when London’s streets were so overcrowded that a new river crossing was desperately needed to alleviate the strain on London’s road network.

Centre Screen commissioned Skellon Studio and Scena to bring this prestigious project to completion in the bridge’s North Tower.




Photo from the software installation and set build.

London’s iconic Tower Bridge Exhibition

24. February 2016

Centre Screen are delighted to announce that, in collaboration with Skellon Studio, they have been awarded the contract to design and produce a new film installation in London’s iconic Tower Bridge Exhibition. Located on the bridge’s north tower high above the Thames, the film is made up of original footage from the late 19th and early 20th century and will act as a cornerstone in the visitor experience, providing audiences with a glimpse of the bridge’s historical and cultural urban legacy.

Tower Bridge

Victoria & Albert Museum open their new gallery

11. December 2015


Centre Screen were delighted to attend the relaunch of the Europe 1600 – 1815 Galleries at the Victoria and Albert Museum.

Centre Screen created four interactives for the exhibit including ‘Trades’, where visitors can learn more about the production of artefacts in the exhibit;

FullSizeRender copy

‘Terrible Trades’, a game where young museum-goers can play as a gilder, seamstress or tanner; ‘Design A Wig’, where users can design their own elaborate headpieces, and an annotated version of the Brussels Ommegang painting.

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