The Irish Times - Friday - The Ticket - - Feature -

As Tom Con­roy ex­plains, set construction ac­counts for a huge pro­por­tion of the po­ten­tial waste on a film set, so it’s im­por­tant to ad­here to the best prac­tice guide­lines of re­cy­cling and reusing set el­e­ments, sourc­ing sus­tain­able tim­ber, and leav­ing lo­ca­tion shoots in as good a con­di­tion as they were found.

Also, sim­ply by re­plac­ing tung­sten lights with high ef­fi­ciency Com­pact Flu­o­res­cent Lighting (CFL), pro­duc­tions can re­duce power de­mand by about 60 per cent, and also re­duce their need for cool­ing sys­tems.

Dig­i­tal film­ing is still in its rel­a­tively em­bry­onic stages, but as cam­eras such as the Red One con­tinue to rev­o­lu­tionise cin­e­matog­ra­phy, the re­liance on film, and the waste and chem­i­cals that go along with it, will be phased out.

The rise of dig­i­tal edit­ing can re­sult in a cleaner post-pro­duc­tion process, but con­versely data cen­tres to store all that dig­i­tal video now ac­count for half of the emis­sions of post-pro­duc­tion. The ef­fi­ciency of data cen­tres is in­creas­ing all the time, but big, pro­ces­sor-in­ten­sive servers de­mand a sur­pris­ing amount of en­ergy. Moore’s Law should see a rel­a­tively steady im­prove­ment in this re­gard, how­ever.

Ah, the tal­ent – more than likely the last as­pect of film-mak­ing to be greened. Bob Zemeckis might by try­ing his hard­est to dig­i­tally re­place the act­ing class, but odds are we’re go­ing to be stuck with pam­pered film stars jet­ting around the world for a few gen­er­a­tions yet.

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