1. Currently, most of the production materials used for film and TV productions aren’t fully recycled or reused. Synthetic foam and adhesives, which can be easily shaped with manual tools but can’t be recycled or reused, are still very popular within production departments. Digital fabrication could be a sustainable solution to replace traditionally used materials.
2. As any filmmaker would tell you, various departments often purchase production materials at the last minute, which production studios or managers can’t really control. The lack of coordination between departments and production managers not only increases the overall production budget but also leaves massive waste behind. One department’s waste could be another department’s useful production materials.

1. Only a small percentage of production materials used during the film or TV production will be recycled, mostly by donating them to charities. The rest is either sent to the landfill or to the energy recovery facility. Environmentally conscious crew members usually lead on reusing schemes, as productions don’t have money allocated in their budgets for end-of-use planning.
2. Lack of information and coordination (production materials digital library) between departments and production companies on what production materials are or will be available for reuse, short turnaround time, storage costs, and not enough reused materials service providers hinder the momentum towards switching to greener long-term solutions.
3. In order to reuse already existing materials, sharing platforms that list specifically what materials are available and what those materials have been used for need to be developed. Performing arts industries have been known for reusing production materials by accessing each other’s warehouses or using charities to buy the materials they need.
4. Looking at designing spaces while implementing new technologies to maximise storage is the right way to go about the skyrocketing space costs, which make dedicated warehouses to store materials too expensive. In order to cut the transport emissions, the warehouse/s would need to be located either on the studio site or really close by. Launching digitally available material passports would help productions see what materials are available and work around each other’s schedules. Material passports would also include comprehensive information on materials’ use, their source, and other required specifications.
5. Reusing already existing materials will cut costs (reusing what has already been created and focusing on designing materials for re-construction), cut the need to extract virgin materials, which is vital for preserving environmental sustainability, and initiate production-to-production support, bringing people together and making them feel like they collectively belong and work towards fully sustainable film and TV industry.
6. Responsible sourcing, either globally or locally, is the key to cutting transparent pollution, making sure the supply chain is legal and compliant with social and environmental principles, and hopefully moving towards better inclusion and representation of human, women, workers, and environmental rights.
7. Sustainable materials manufactured using biodegradable pieces are responsibly sourced and durable without impacting the environment (local and global). They also embrace long-term sustainability goals (countries and industries), making sustainable materials easily reused or recycled. (Check out my essay on Sustainability in Costume Design)
8. Whenever feasible, production materials should be sourced as locally as possible to cut down on the transport emissions and costs associated with ordering something that might not be the right fit. This not only cuts costs and waiting time, which can be extended due to logistical issues, but also allows the crew to sample the materials, which could potentially help avoid future waste.
9. Designing sets for deconstruction is paramount to reducing the need to extract new virgin materials for construction and design purposes. From the early stages of pre-production, all departments should think of how to keep the materials in the best possible condition for reusing and what their life will be after the production ends. Using parametric design software for production design will help create flexible designs with reusable components.
10. If production uses certain materials only once, biodegradable materials should be sourced.
11. Durable, long-lasting materials should be picked if the production plans to reuse the materials for other productions.
12. The benefits of switching from the traditional wasteful way of using materials on film sets include:

• financial, as reselling materials to other productions at the end would recoup some money invested,
• environmental, cutting down on emissions associated with producing new materials from virgin resources,
• social support for human and workers’ rights, local jobs, and the economy.

Conclusion

1. Money and time must be allocated at the start and end of each film and TV shoot to dispose of and re-distribute the used production materials mindfully.
2. Networks and sharing platforms must be created to keep studios and production managers aware of what is in use, what is available, and what is accessible. Those platforms should be updated in real-time.
3. Adaptation of already existing materials needs to be more acceptable and supported as one solution to prolong the life of materials. Accessibility via sharing platforms should be made easier.
4. Implementations of reuse, recycle, adapt, local supply chain and responsible sourcing of materials need to be employed at scale to make a real difference.

PS. I’m made by Made by Dyslexia, so expect small typos and big thinking.