A GUIDE TO ENVIRONMENTALLY SOUND FILM & VIDEO PRODUCTION
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section 1
THE GUIDE

INTRODUCTION
THE SCRIPT
THE PRODUCTION OFFICE
THE DIRECTOR
LOCATION
TRANSPORTATION
CASTING
THE ACTOR
CATERING
CRAFT SERVICE
ART DEPARTMENT
WARDROBE
MAKEUP AND HAIR
CAMERA DEPARTMENT
GRIP AND ELECTRIC
SOUND DEPARTMENT
STILL PHOTOGRAPHER
FILM SUPPLIERS AND THE ENVIRONMENT
WORKING WITH ANIMALS
POST-PRODUCTION
PROMOTIONAL MATERIALS
A TEN POINT SUMMARY

section 2
APPLICATION

MAKING "NO TELLING"

section 3
APPENDIXES

WHAT'S WRONG WITH....?
13 X-RATED COMPANIES LIST
BIBLIOGRAPHY / FURTHER READING
NOTES

section 4
INDEXES

SOURCE GUIDE BY PRODUCT
SOURCE GUIDE A-Z
INDEX
CREDITS

RUNNINGOUTOFROAD.COM

INTRODUCTION

We hope to see independent filmmakers and film companies take advantage of a few simple, smart, conscientious ideas that will improve their workplace and help them make alternative cinema on and off the screen. As Hollywood has always taken its initiative from up and coming independent producers and directors, the introduction of low impact practices into the world of independent and alternative film production will assure its arrival in Hollywood, if for no other reason than that it's good business.

WE WILL OFFER TIPS AND RESOURCES on how to make film and video production a less wasteful enterprise. We will show that in-all aspects of filmmaking there are low impact alternatives that can be explored, and that with proper planning, the crew and staff of a film production can help reverse the trend of waste and over consumption that has marked the film industry-for decades.

REDUCE, REUSE, AND RECYCLE are the three basic tenets of the environmental movement. These simple concepts can be applied over and over again, and give insight into low impact solutions to all of the difficult problems that arise during the filmmaking process.

ECONOMY VS. ECOLOGY: Many low impact items will initially cost more than their mainstream market counterparts, but they will often outlive and outperform them as well. This is the case with compact fluorescent light bulbs, rechargeable batteries, and ceramic mugs and plates. Many of these items are expensive because there is limited demand for them: They do not advertise nationally, they are products of smaller companies. This book is about factoring environmental sustainability into the evaluation of a product and .its, worth.

PRESS: There are a number of special interest groups which may be interested in your efforts and may be willing to write articles in papers that otherwise would take little interest in your production. You can promote low impact ideals, and establish your film in the alternative-press as well.

PLANNING AHEAD: While this-guide should enable any producer to make low impact choices in the course of a production, it is worth considering recruiting someone who will oversee the complete environmental aspect of your production by helping the production manager and heads of each department set up systems that will facilitate your low impact efforts.

ENGAGE AN ENVIRONMENTAL CONSULTANT. If you can not afford a professional, perhaps a student of environmental studies would be interested in applying some of his or her knowledge "in the field" for little or no pay. Such a person will, be able to handle the inquiries of all the department heads, spend time connecting with alternative vendors, setting up recycling systems, and so on.

START EARLY. Environmental considerations should be- established during pre-production and built into all your plans. As with all aspects of film production, the more prepared you are, the more success you will have.

 

TO THE ENVIRONMENTAL CONSULTANT

The environmental consultant should make the environmental solutions as appealing and convenient for the cast and crew as possible. Most staff and crew members have other concerns, and the further they become involved in the filmmaking process, the less they will be thinking about the environmental aspect of the production.

One of the most useful things you can do is provide a statement of purpose to them at the start of production. This will enable them to get an overview of the production’s environmental objectives. The value of this can not be underestimated. The filmmakers are not your captive audience; they must be convinced like any other members of society to embrace change. Be prepared to receive a spectrum of responses.

Once into production, when the pressure is high, people become resentful of environmental considerations that distract them from their work. Establish their trust early on. You do not want to seem like the environmental police.

A GUIDE TO ENVIRONMENTALLY SOUND FILM & VIDEO PRODUCTION