Produce something beautiful, every time

Spacious, high-spec rooms that can be dressed for any occasion. Use them for meetings, production offices, edit suites or even screenings. A sociable bar area at street level and break-out spaces on the upper floors make Gravity House in Soho, London a great place to be creative.

Cutting Rooms

Perfect for offline editing, our 40 individual production spaces come fully kitted out with the latest Avid and EVS technology, and are supported by our friendly technical staff and full runner service.

VFX/Production Space

Gravity House Frith Street offers versatile, multi-functional rooms for all your film, TV and photographic needs. Choose from the powerful Nitris DX Media Composer or Final Cut Pro – both available on PC or Mac.

On Site Support

Our friendly and knowledgeable engineers are on hand on site 24/7 to help you with any technical issues you may run into.

10 Gb+ Connectivity

Connection to the outside world is provided through our dedicated high-speed internet solution, making the management of your digital media swift, stable and painless.

Our unique space

Comprehensively fitted-out, Gravity House on Frith Street in Soho, London offers a revolutionary new solution for post-production teams large and small. Combining the expert skills of our engineering team with our 30-year experience in post-production industry, we’ve created a facilities house that’s both practical and luxurious – and simply an enjoyable place to be.

Your media is kept safe and secure in an air-conditioned and backed-up server room, with friendly staff on hand to help with any technical issues you may run into. A unique access card will allow you, and only you, access to the room you’re working in, and each floor is covered by CCTV and monitored by security throughout the night.

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Everything you'd expect, and more

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24/7 Secure Access

Key-card access to all rooms for added security. Facility operational throughout the night.

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On-site support

Expert technical and engineering support available 24/7.

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Fully Air Conditioned

Helping you keep your cool when the deadline approaches.

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Hospitality Service

Coffee, sandwiches, or just a friendly chat. You’re part of the family.

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Screening Space

Ultra-modern rooms for all your screening needs.

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Breakout Spaces

Take a break and relax in comfort. Breakout space on every floor.

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Ultra Fast Internet

Super-stable, super-fast 10GB internet connectivity.

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Monthly Events

Regular social evenings so you can network and hang out with your peers.

A beautifully crafted space

Gravity House in Soho, London has the feel of an exclusive club. Immerse yourself in this high-energy, highly productive environment, working alongside teams creating the latest BAFTA-winning TV dramas, Hollywood blockbusters and more.

Ranged over five floors, the facility includes a large bar at street level where you can relax and socialise between jobs in the company of like-minded professionals. Four of the upper floors have fully furnished communal areas, and the fifth is home to two luxury rooms that offer amazing views over Soho and the rest of London.

What’s more, we’ve also picked a team of highly skilled hospitality staff to cater for all your day-to-day needs. No task is too big or too small; from the initial meet and greet, to making cups of coffee or organising specialist lunches – our hospitality team is happy to help.

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The world we helped you create

ALI & AVA
ALI & AVA
Gravity Media supplied offline edit facilities, storage and support to the production crew of Ali & Ava – a British feature film starring Adeel Akhtar and Claire Rushbrook.
Find out more
KILLING EVE
KILLING EVE
Gravity Media supplied the production crew of BBC drama Killing Eve with offline edit suites, storage and backup solutions.
Find out more
I CARE A LOT
I CARE A LOT
Gravity Media provided two Avid Media Composer systems, Nexis shared storage and edit support.
Find out more
RUPAUL'S DRAG RACE UK
RUPAUL'S DRAG RACE UK
Gravity Media supplied Avid Media Composer facilities for RuPaul’s Drag Race UK, as well as a large-scale data ingest rig.
Find out more
THE CAPTURE
THE CAPTURE
Gravity Media provided three Avid Media Composer systems to the production team, alongside shared storage and edit support.
Find out more
GENTLEMAN JACK
GENTLEMAN JACK
Gravity Media supplied cutting rooms, storage and support to the post-production crew of Gentleman Jack.
Find out more
THE CROWN
THE CROWN
The eagerly anticipated fourth series of The Crown hit Netflix in the winter of 2020, with fans able to stream all 10 episodes from 15 November.
Find out more
THE CIRCLE
THE CIRCLE
The Circle is a Channel 4/Netflix reality TV programme where contestants are based in apartments in the same building and can only communicate with each other via ‘The Circle’ – a voice-activated social media platform. The aim is to avoid being ‘blocked’, and come out as the most popular player.
Find out more
THE DIG
THE DIG
The Dig, based on real-life events, follows the journey of wealthy landowner Edith Pretty (Carey Mulligan) as she hires a self-taught archaeologist Basil Brown (Ralph Fiennes) to investigate mysterious formations in the grounds of her property in England.
Find out more
BREAK
BREAK
Released in July 2020, Break is a UK thriller filmed in locations across the UK and in China, starring Rutger Hauer in his last screen role.
Find out more
A DISCOVERY OF WITCHES
A DISCOVERY OF WITCHES
A Discovery of Witches rates an impressive 8.0 on IMDb. First launched in 2018, this drama/fantasy/romance series is based on the eponymously named novel from the ‘All Souls Trilogy’, written by Deborah Harkness.
Find out more
CAPTAIN AMERICA: CIVIL WAR
CAPTAIN AMERICA: CIVIL WAR
Political involvement in the Avengers' activities causes a rift between Captain America and Iron Man.
Find out more
TROY: FALL OF A CITY
TROY: FALL OF A CITY
Few stories in history are as well-known as the feud of Troy and Sparta, as told by Homer in the annals of Greek mythology. The show retells the story of the 10-year siege of Troy in a Netflix/BBC co-production described as “an epic story of love and war, intrigue and betrayal”.
Find out more
THE IRON LADY
THE IRON LADY
An elderly Margaret Thatcher talks to the imagined presence of her recently deceased husband as she struggles to come to terms with his death while scenes from her past, from girlhood to prime minister, intervene.
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GUNPOWDER
GUNPOWDER
British activist Guy Fawkes and a group of provincial English Catholics plan to blow up the House of Lords and kill King James I in the early 17th century.
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BRITANNIA – SEASON 1
BRITANNIA – SEASON 1
Plot summary: In 43 AD, the Roman Army returns to crush the Celtic heart of Britannia – a mysterious land ruled by warrior women and powerful druids who can channel the powerful forces of the underworld.
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ALI & AVA
THE CLIENT

BBC Films

THE PROJECT

To supply offline edit facilities, storage and support to the production crew of Ali & Ava – a British feature film starring Adeel Akhtar and Claire Rushbrook.

THE APPROACH

Gravity Media provided two Avid Media Composer suites with shared storage and edit support at Gravity House in London.

THE OUTCOME

Enveloped in music and imbued with humour, Ali & Ava is a compelling contemporary love story written and directed by Clio Barnard. It’s a drama about two lonely people – Ali and Ava – who meet through their shared affection for Sofia (6), the child of Ali’s Slovakian tenants, whom Ava teaches.

Ali & Ava had its world premiere at the Cannes Film Festival in July 2021. Its general release date is yet to be confirmed.

KILLING EVE
THE CLIENT:

The BBC

THE PROJECT:

To supply the production crew of BBC drama Killing Eve with offline edit suites, storage and backup solutions. 

THE APPROACH:

Gravity Media has supplied all post-production equipment for the show since the beginning, supporting the post team with a number of Avid Media Composer suites and shared storage, installed at Molinare’s post-production facility in Soho. 

THE OUTCOME:

Killing Eve is a spy thriller TV series that has picked up a number of awards at the Emmys, BAFTAs, Screen Actors Guild Awards and Golden Globes. There have been three seasons of the show to date, with the fourth series due in 2022.

The show has been highly successful in both the USA and UK, receiving critical acclaim for both the first and second series – particularly for its writing and the lead actresses’ performances.

I CARE A LOT
THE PROJECT:

To supply the editorial team of American comedy thriller I Care A Lot with offline edits and storage.

THE APPROACH:

The Gravity Media team provided two Avid Media Composer systems, Nexis shared storage and edit support, from July 2019 through to March 2020.

THE OUTCOME:

Starring Rosamund Pike, Peter Drinklage and Eliza Gonzalez, I Care a Lot follows the antics of a con woman who makes a living as a court-appointed guardian, seizing the assets of vulnerable elderly people, only for her to get mixed up with a dangerous gangster.

Launched in September 2020 at the Toronto International Film Festival, the movie is currently available to stream on Amazon Prime Video.

RUPAUL'S DRAG RACE UK
THE CLIENT:

The BBC, World of Wonder Productions

THE PROJECT:

To supply Avid Media Composer facilities for RuPaul’s Drag Race UK, as well as a large-scale data ingest rig.

THE APPROACH:

With a number of episodes taking place on location, three of Gravity Media’s engineers looked after the capture solution with 500+ terabytes of storage alongside eight Avid Media Composer Suites.

After the location record, the production team moved to Gravity House, Frith Street, for the offline edit, occupying four rooms for 18 weeks before heading back to the US for the online.

THE OUTCOME:

RuPaul’s Drag Race is an Emmy-award-winning US reality TV series that has been running since 2009. The show documents the search for the next big drag act, and sees RuPaul play the role of host, mentor and head judge as contestants compete in different challenges each week.

The UK version of the show is currently in its third series, with the first two seasons available to stream on iPlayer. Season three debuts in 2022.

THE CAPTURE
THE CLIENT

The BBC.

THE PROJECT

To support post-production on The Capture – a six-part mystery crime-drama series starring Holliday Grainger, Callum Turner and Laura Haddock. 

THE APPROACH

Gravity Media provided three Avid Media Composer systems to the production team, alongside shared storage and edit support.

THE OUTCOME

The Capture was written and directed by Bafta Award-winning filmmaker Ben Chanan, and was made for BBC One by Heyday Television and NBCUniversal International Studios.

Set in present-day London, Holliday Grainger stars as Detective Inspector Rachel Carey, who’s assigned to arrest and charge Special Forces Lance Corporal Shaun Emery (Callum Turner), who’s looking to clear his name of a horrific crime supposedly captured by CCTV.

The series premiered on BBC One in the UK in September 2019, and received positive reviews from both critics and audiences. It was announced in June 2020 that a second series has been commissioned.

GENTLEMAN JACK
THE CLIENT

The BBC and HBO.

THE PROJECT

To supply cutting rooms, storage and support to the post-production crew of Gentleman Jack – Sally Wainwright’s dramatization of the life of LGBTQ+ trailblazer, landowner and diarist Anne Lister.

THE APPROACH

The production and editorial team handled the fine cut of Gentleman Jack at Gravity House from May 2018 to February 2019, safely steered by post-production supervisor Beewan Athwal (Line of Duty, Doctor Foster). The production team took four offline edit suites, with shared storage and edit support. 

THE OUTCOME

Gentleman Jack first aired on BBC One in May 2019. The eight-episode series has enjoyed very positive reviews in the media, with a rating of 8.2 on IMDb and 90% on Rotten Tomatoes. The series is currently available to watch on BBC iPlayer.

THE CROWN
THE CLIENT

Left Bank Pictures, an award-winning independent film and television production company, and Netflix.

THE PROJECT

To supply multiple Avid Media Composer suites networked to a central Avid Nexis Storage Solution, all installed in our serviced cutting rooms in the heart of Soho, London.

THE APPROACH

Our state-of-the-art facility at Gravity House on Frith Street was home to The Crown’s post-production team for a full year. The team took over the entire first floor of the five-storey building from August 2019 to August 2020, allowing them to work closely and efficiently together with little interruption. Remote working solutions were also engineered to help the teams continue to work during the worst of the COVID-19 pandemic.

Comprehensively fitted-out, Gravity House offers a revolutionary new solution for post-production teams large and small. Combining the expert skills of our engineering team with our 30-year experience in the post-production industry, we’ve created a place to work that’s both practical and luxurious ‒ and simply an enjoyable place to be. Gravity House offers networked suites of cutting rooms with the creative atmosphere that helps inspire the offline process. Our extensive inventory of powerful hardware means that we can also kit out the rooms for other creative purposes, such as VFX.

THE OUTCOME

The eagerly anticipated fourth series of The Crown hit Netflix in the winter of 2020, with fans able to stream all 10 episodes from 15 November.

All of the main cast from series three returned for season four, including Olivia Colman as Queen Elizabeth II, Tobias Menzies as Prince Philip and Josh O’Connor as Prince Charles. Season four also welcomed new cast members taking on some iconic British figures, including Gillian Anderson as Margaret Thatcher, Emma Corrin as Princess Diana, and Tom Byrne as Prince Andrew.

This lavish drama series chronicles the life of the royal family from around 1979, finishing up in the early 1990s. With the series offering breathtaking production values, we’re proud to have hosted The Crown’s production team since the first episode was aired in 2016. Season five will arrive in 2022.

THE CIRCLE
THE CLIENT

The Farm for Channel 4 and Netflix.

THE PROJECT

The Circle is a Channel 4/Netflix reality TV programme where contestants are based in apartments in the same building and can only communicate with each other via ‘The Circle’ – a voice-activated social media platform. The aim is to avoid being ‘blocked’, and come out as the most popular player. 

Gravity Media was contracted to look after post-production equipment on the project – specifically, to build and support the record, logging and editorial side of the rig. Working in close collaboration with our client, it wasa four-month project that required us to create an entire TV facility in an abandoned building in Manchester, UK, involving eight EVS servers recording permanently, nearly a petabyte of storage, and some 30 edit suites all running 24 hours a day. 

There were 10 contestants with an apartment each, and each apartment had around 10 cameras in (115 cameras were used in total). We took about 40 feeds a day, all day, which meant for every hour of production there were 40 hours of record to pick from – about 60-70 terabytes of media each day.

THE APPROACH

The rig was built within an old University of Salford building in Greater Manchester, just opposite the block of flats used for the show. We took all the equipment to site in July 2020: the racks for the EVS and Avid gear; the desks for the edits to go onto; all of the furniture ‒ and the whole setup was rigged and remained in place until the end of November 2020. The initial rig took 10 days with four Gravity Media engineers, before handing over to a single Gravity Media engineer who remained onsite, alongside our client’s team, to refine and troubleshoot until the end of the project.

Before we took anything to the location, it was all designed, configured and tested at our post-production HQ in Southwood, Hampshire. This involved the main core and all the edits, so we could stress-test the workflow, as well as test the Avid Interplay side of it too, so it had an ultimate failover if there are any server issues. This meant everything arrived on location effectively preconfigured and requiring minimal adjustment once there. We also ran a bootcamp at the start of production, to show the editors how things were laid out and to make sure they were comfortable with the system. 

Key to the setup was that the client requested full redundancy for the record system. We therefore set up four EVSs for the permanent record, and another four recording for backup. On top of this, we also backed up our media storage, so we also had 16 Avid NEXIS units running too – about 960 terabytes of capacity; half for the record and half for the backup. 

We then had 15 edit suites divided into finishing suites and story edits, with a producer edit in each suite running alongside (30 edits in total). The main editor station was configured with an HPZ8 Gen4 workstation connected to two 24-inch monitors, a 14-channel mixing desk with VO, Genelec studio monitors for audio monitoring, and PVM monitors for client monitoring. We also had three titles machines that only did screen effects, and there were seven ingest edits all feeding in. The gallery sat at the top, which was doing the logging, and which involved another 10 IPDirectors just for monitoring each of the apartments. At any one point, there were about 40 or 50 suites or laptops in use, and they were running 24 hours a day. The production team also worked 24 hours a day, in two teams working 12-hour shifts.

THE OUTCOME

Our support to The Circle was delivered efficiently and effectively, with no major issues over the entire project duration. We were particularly impressed with the flawless performance of our EVS machines, which ran non-stop for 16 weeks without missing a beat. 

What’s more, the whole rig was built in the middle of the pandemic, when a lot of personnel had been furloughed, so there was a much smaller crew and everyone had to work with safe-distancing in mind. 

The 2021 series ran over 21 episodes from 16 March to 9 April, airing six nights a week at 10pm on Channel 4. The £100,000 prize ultimately went to contestant Natalya, who successfully catfished as a paratrooper called Felix.

THE DIG
THE CLIENT

Clerkenwell Films/Netflix.

THE PROJECT

To supply multiple Avid Media Composer suites networked to a central Avid Nexis storage solution, all carefully configured and installed at the client’s own premises in west London.

THE APPROACH

Gravity Media supported the post-production team with Mac-based Avid edit suites and shared storage for the editor and assistant, as well as engineering and technical support. When the global pandemic hit in March 2020, the Gravity Media team supplied extra systems to enable the post-production team to continue working from home. 

THE OUTCOME

The Dig, based on real-life events, follows the journey of wealthy landowner Edith Pretty (Carey Mulligan) as she hires a self-taught archaeologist Basil Brown (Ralph Fiennes) to investigate mysterious formations in the grounds of her property in England. With the help of his apprentices Peggy (Lily James) and Stuart (Johnny Flynn), Brown ultimately stumbles on the remains of a Viking burial site.

The film was released in January 2021, and has been nominated for five BAFTAs: Best Screenplay; Outstanding British Film of the Year; Best Production Design; Best Costume Design; and Best Make-Up & Hair. The film scores 7.1 on IMDb.

BREAK
THE CLIENT

Break was produced by Scanner-Rhodes Productions, a UK feature film production company active in both domestic and international markets.

THE PROJECT

Gravity Media was commissioned to support post-production on the feature, supplying multiple Avid Media Composer suites networked to a central Avid Nexis storage solution.

THE APPROACH

We hosted the Break production team at our multi-functional post-production facility Gravity House, located on Frith Street in London’s Soho. This dedicated post-production facility boasts 40 offline rooms that can be dressed for any film, TV or photographic need, from editing to production meetings to private screenings.

THE OUTCOME

Released in July 2020, Break is a UK thriller filmed in locations across the UK and in China, starring Rutger Hauer in his last screen role. The story centres on Spencer Pryde (Sam Gittins), a gifted snooker player who’s wasting his talents, choosing instead to indulge in petty crime with his friends, but when things begin spiralling out of control, he seeks sanctuary in the one place he feels safe – the local snooker hall. While there, Pryde is presented with an opportunity to turn his life around after a chance encounter with a Chinese stranger named Qiang (David Yip).

Break also stars Jamie Foreman and Luke Mably in key roles, and features appearances by British snooker star Jack Lisowski, Chinese sensation Liang Wenbo and World Snooker Champion Ken Doherty.

The film was made with the support of World Snooker and Matchroom, and premiered in London.

A DISCOVERY OF WITCHES
THE CLIENT

Bad Wolf, the British TV production company founded in 2015 by former BBC executives, Julie Gardner and Jane Tranter.

THE PROJECT

Gravity Media was engaged to support the post-production work on the Sky Original fantasy series A Discovery of Witches.

THE APPROACH

Gravity Media’s post-production engineers Andrew Emmerson and Jason Bloomfield built four Avid-based edit suites for the Witches production team at Gravity House on Frith Street in London, and continued to provide technical support for the duration of the edit. In addition to the four suites, we also supplied a production office space for the post-production supervisor and their team.

THE OUTCOME

Now in its second series, A Discovery of Witches rates an impressive 8.0 on IMDb. First launched in 2018, this drama/fantasy/romance series is based on the eponymously named novel from the ‘All Souls Trilogy’, written by Deborah Harkness. Teresa Palmer portrays Diana Bishop, a historian who discovers a bewitched manuscript in the Bodleian Library, and as she attempts to unravel the secrets this book holds about magical creatures, she is forced back into the world of magic.

A third series is currently in production.

CAPTAIN AMERICA: CIVIL WAR
THE CUSTOMER:

Runway Boutique LA/Marvel Studios

THE PROJECT:

To supply multiple Avid Media Composer suites, networked to the production’s Avid storage system on location in Berlin, Germany.

THE APPROACH:

Gravity Media – then branded HyperActive Broadcast – supplied numerous edit suites to the Berlin branch of Rise Visual Effects Studios involved in the film. The requested equipment was checked, packed and transported to Berlin by a dedicated Gravity Media logistics specialist, who drove through the night to ensure it arrived in good time for the Gravity Media engineering team waiting on location.

Each system was then installed in various cutting rooms and connected to the Marvel Studios storage solution, allowing the editorial staff to quickly access, export and transfer media between each other.

Gravity Media also supplied top-of-the-range editorial desks and Herman Miller chairs to the production’s editorial staff, meaning editors had maximum comfort to help them do the best possible job.

THE OUTCOME:

Captain America: Civil War went on to take over $400m at the box office, at the time the fourth-highest grossing film for Marvel Cinematic Universe.

TROY: FALL OF A CITY
THE CUSTOMER:

Kudos Film & TV/BBC/Netflix

THE PROJECT:

To supply multiple Avid Media Composer suites networked to a central Avid Nexis Enterprise Storage Platform, all installed in our state-of-the-art cutting rooms in the heart of Soho, London.

THE APPROACH:

Our Gravity House – then branded HyperActive Broadcast – Frith Street facility was home for the Troy post-production team for several months. The team took over the entire third floor of the building, allowing them to work closely and efficiently together in both cutting rooms and breakout spaces.

THE OUTCOME:

The eight-part show aired on BBC One in February and March 2018.

THE IRON LADY
THE CUSTOMER:

Pivotal Post

THE PROJECT:

To supply and technically support a digital ingest solution for the production team.

THE APPROACH:

The production company approached Gravity Media – then branded HyperActive Broadcast – and asked for our assistance in supplying a digital ingest solution to ingest various digital formats into the non-linear workflow.

THE OUTCOME:

Released in 2011, The Iron Lady grossed $115m at the box office and won an Oscar for Meryl Streep for Best Actress in a Leading Role.

GUNPOWDER
THE CUSTOMER:

Kudos Film & Television/HBO/BBC Drama

THE PROJECT:

To supply multiple Avid Media Composer suites networked to a central Avid Nexis Storage Solution, all installed in our fully supported, serviced cutting rooms in the heart of Soho, London.

THE APPROACH:

Gravity Media's – then branded HyperActive Broadcast – talented team of engineers and support staff installed all the necessary systems in multiple rooms at our flagship London facility to ensure the production team could put all their creative efforts into producing this prime-time BBC Drama mini-series.

THE OUTCOME:

As reviewed by Variety magazine: “As one would expect from an HBO miniseries… the production values are outstanding. One of Gunpowder’s chief virtues, aside from its fine cast and handsome look, is its relative brevity. In an age in which thin stories are often stretched on the rack to produce 10 or 13 hours, Gunpowder lives fast, dies young, and doesn’t overstay its welcome.”

BRITANNIA – SEASON 1
THE CUSTOMER:

Amazon Studios/Sky Atlantic

THE PROJECT:

To supply multiple Avid Media Composer suites networked to a central Avid Nexis Storage Solution, all installed in our fully supported, serviced cutting rooms in the heart of Soho, London.

THE APPROACH:

Our state-of-the-art facility on Gravity House Frith Street was home to the Britannia post-production team for several months. The team took over the fourth floor of the five-storey building, allowing them to work closely and efficiently together with little interruption.

THE OUTCOME:

The editorial and VFX team had a very positive experience. David Dewar, the post-production supervisor, offered this great review:

“I was delighted to be the first tenant at HyperActive’s new Frith Street location. Editing space needs to be practical, flexible and efficient, but it also needs to be home. HyperActive Frith Street is all that. The building is well organised and rooms can be grouped as needed, but there’s also space where a busy team can relax. The location is great – close to everyone we work with in Soho and just steps off Soho Square. Services are exactly that: a knowledgeable engineering staff that is quick to respond, and a client care team that is always ready to help out. It was a real pleasure to find a new home away from home at HyperActive.”

Gravity House Floorplans

Meet the team

Meryl McLaren
Director of Media Services & Facilities, Gravity Media – UK
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Jamie Brewer
Head of Broadcast & Post Production Rental, Gravity Media – UK
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Fiona Burton
Head of Post Production, Gravity Media – UK
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Nick Bender
Business Manager Post Production, Gravity Media – UK
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Jason Tomkins
Post-Production Promotion and Development Manager, Gravity Media – UK
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Dan Boast
Engineer, Gravity Media – UK
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Cristina Andreica
Post Production Coordinator, Gravity House
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Rio Tenorio
Hospitality Runner, Gravity House
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Nathalie Empeso
Hospitality Runner, Gravity House
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How to find us
65-66 Frith Street, Soho, London W1D 3JR

Office hours
Access for clients:  24/7
Appointments:  09:00hrs - 17:00hrs, Monday - Friday

Get in touch:

Call us on: +44 20 3598 7150