by Els Rientjes
It is mid-May 2019 and I’m in a meeting with executive producer Marjon van Welzen and production manager Diana van Wegen at production company Blazhoffski. It’s two weeks until their first shooting day of a major new drama series. More than 80 shooting days are planned between June 1st and the end of November for a series that is ambitious in appearance, but low in budget. On the wall of their office is a series of portraits of the cast. Largely young faces, with a few open spots where negotiations are still under way.
Blazhoffski has stated they want to make sustainable production a habit, which is why Green Film Making has this discussion with the heart of this production.
Dutch production company BlazHoffski wants to produce as sustainably as possible and asked Green Film Making to consult their productions. And so on June 4th, sustainability manager Els Rientjes met with executive producer Nicolle Weenink and production manager Yara Graber, who were scheduled to shoot their third series of The Big Escape, a big reality game show with Dutch celebrities, in September.
photo: Summer With Rana by Sanne Vogel
By Sustainability Manager Els Rientjes
In January 2015 I took over from Strawberry Earth and founded the Green Film Making Foundation. Now, 4.5 years later, I look back on a time of hard work, a lot of pushing and pulling, but also a time of meeting many professionals from the industry who really want to work together towards a different approach. Together we made beautiful films and shows produced in a more sustainable way.
photo: Set of Les Misérables (BBC, 2018) reclaimed by DRESD
Whether it’s a police station in 1980, a medieval alleyway or the inside of a space shuttle; a lot of time and material goes into making a fitting decor. Unfortunately, all this beautiful work is usually not very long-lived. Two years ago the conclusion of our workshop “Art Department, Costumes and Make-up” was that there is a great need for a shared set depot and prop house, a revival of the former NOB. Specifically because there is a desire from the industry to reclaim sets and to reuse them instead of throwing them away. And a lot can be gained in the art department in terms of reuse, recycling and upcycling.
Slowly but surely the range of alternatives for the diesel generator is growing. Especially the silence of an electrical unit suits a set on location really well. In addition to the True Hybrid, GreenBattery, Wattsun and Greener, that are already known in our sector, The Green Generator and Volta Naos are being used in the construction and event sectors. With its maximum 10 kVA, the Volta would fit well on a smaller set and the Green Generator provides the necessary certainty and power for a larger production with fewer movements. Green Film Making visited The Green Generator’s home base just outside of Amsterdam. And location manager Ralf Wentink is investigating the possibilities for using the Volta for the production of an English mini-series to be shot on Dutch soil.
The Wattsun, a portable, plug and play power supply, is now for rent through Locatiewerk and Het Licht. Location manager Rob IJpelaar has already tested this battery system shortly on the set of Talpa’s Meisje van Plezier. There was a shoot at Schiphol airport, where the space was limited and a lot of care had to be taken with the surroundings. The little Wattsun worked perfectly for the lighting in the clothes and makeup van.