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Guinness World Records Smashed – Green Plan
Outline Productions
Design
Our set was mostly made up of two steel structures that were hired in for the pilot as well as the main 5 week production on the first series of Guinness World Records Smashed and the Christmas Special. The structure was hired in from a company called Serious Structures who provide staging for many TV productions and concerts.
The two structures were joined by under-lit walkways which were hired from Alistage. These decks were hired in for the pilot and series.
This decision meant that there was minimal waste at the end of production as the majority of the staging was returned to be re-hired.
We had two large projector screens that were hired in for both the pilot and for the series.
Compared to most other projector manufactures, Panasonic have made it their duty to ensure they have manufacturing methods that minimize the impact on the environment. For example, no polyethylene is used in any of the packaging. There is a lead reduction in the lens technology. Most available projectors have a standby button where as the Panasonic Projectors we used have a direct power off only function which eliminates excessive power consumption, up to 50% less than most leading projector brands.
We put down a very large stage floor at Pinewood Studios, as the flooring provided by the studios was not suitable for our uses. Our Production Designer liaised with the Production Designer/Production Manager of the previous show ‘Beat the Star’ and they agreed that the flooring they had been using would stay. This saved us laying entirely new flooring. We just added to the existing floor and made it good. Both our production and the previous production benefitted not only financially but crucially this minimised the impact that Guinness World Records Smashed and Beat the Star made on the environment.
Lighting
There were approximately 198 lighting fixtures used to light our series at Pinewood Studios. 25% of these (i.e. 49) were Tungsten lamps. All the Tungsten fixtures were individually dimmable which means that the load had diversification (i.e. not all on at once, and not all on at full power, and when the lamps were using varying levels they were using variable power consumption. The Tungsten fixtures were turned off when not in use.
32% or (64 fixtures) were LED based product - producing an incredible amount of light with very little power consumption. All the LED fixtures are electronically dimmable so further reducing power consumption as they were turned off when not in use.
25% or (50 fixtures) were fluorescent based, and again dimmable so not only was there a certain amount of diversification, and efficacy - they could be turned off or dimmed when not in use.
Both the LED and fluorescent fixtures have relatively low heat generation which reduces air conditioning costs (where applicable).
Only 18% (i.e. 35 fixtures) were “discharge” lamps - lamps that you turn on at the start of the day and typically leave on for long periods. These lamps produce a lot more light output per watt than an equivalent wattage of tungsten fixture, and so have a high efficacy, which is why we used them in the mix.
All the moving lights and LED products have colour changing ability and so avoided the need for colour filters. This was beneficial as filters are comprised of a hydrocarbon based material which is generally not recyclable for lighting uses after use on the production.
If the LED fixtures had been replaced Tungsten fixtures to produce an equivalent light output - a rough estimate would suggest an additional 33kW of power would have been required.
If the Fluorescent fixtures had been replaced with Tungsten fixtures to produce an equivalent light output - a rough estimate would suggest an additional 78kW of power would be required.
Rather than looking at the split of fixtures by volume, we can look at the approximated kW values (based on the sum of all the kW ratings, which assumes everything is at full all the time - so a little misleading, but interesting comparisons never the less):
57.5% of the potential power draw was for Tungsten fixtures
22.5% of the potential power draw was for Discharge fixtures
11.8% of the potential power draw was for LED fixtures
8.2% of the potential power draw was for Fluorescent fixtures
Drawing some conclusions from this - while 32% of the fixtures were LED products they represent only 11.8% of the lighting load. Similarly, 25% of the fixtures were fluorescent but they represent only 8.2% of the lighting load. From this you can see the considerable power savings resulting from using this type of product.
Production
Cars/Couriers
The majority of cars that were used on our production were hybrid and from Go Green Cars. The courier/people carrier company that we used was GLH. GLH contribute to ongoing projects to balance their carbon emissions.
There were occasions when needing transport for local trips that it was appropriate to hire local cabs instead of London based cabs coming to Pinewood, as would have been vastly more expensive.
We encouraged public transport and ride sharing, where possible.
Catering
We did not use Styrofoam cups or plates on Guinness World Records Smashed. Instead, we provided paper cups, paper or china plates and wooden cutlery for the crew catered meals.
These were supplied to us by our contracted catering firm; however the mark up on this items were approximately 20 % more expensive than the less environmentally friendly products and on some occasions more.
We also provided the crew and production with named drink bottles throughout the production rather than have bottled water in plastic bottles.
No large water coolers were provided and everyone’s personal bottles and urns were filled with tap water.
Water jugs were provided for presenter’s rooms/green rooms and meetings rooms and tap water was used.
We used mugs rather than paper cups in the production office.
Bins
Studio - We provided 3 different types of recycling bins on set and in the offices for various waste flows including wood waste. These were supported by Pinewood and their cleaners and operated by an outside company at a cost to production.
Stationary
Most paper goods (wherever possible) were recycled. All schedules, release forms and call sheets were printed double sided. Unfortunately there was not recycled coloured paper available for order for scripts.
We encouraged virtual call sheets to minimise waste.
On site transport - The Golf Buggy
We hired an electric golf buggy to run contributors and celebs around site.
Props
Wherever possible props have been stored for re-use or recycled. We re-purposed items across the series to avoid waste.
We donated 300 raw fish that were gutted for a show record to London Zoo to feed the penguins after we used them, at a (refrigerated) transport cost, rather than waste them.
We used electric cars for stage stunts and low emission cars otherwise.
The torches used in a feature of a show used rechargeable batteries.
Close to 300 nuns costumes used in the show were donated to a charity.
Studio Appliances
We bought recycled appliances where possible (with PAT testing, etc) and no appliances were thrown out.
Fountain Studios is committed to minimising the impact of its activities on the environment and work, alongside production companies to ensure that the harmful environmental effects of all our operations are reduced where possible.
For all our clients, Fountain is able to provide a full mixed recycling service which is used throughout the studio, our restaurant and bar area. We recycle as much as we can from water bottles to scripts to sets.
Sky One’s production Noel’s HQ was able to take advantage of our recent upgrade to High definition. Our new vision mixer and lighting desk provides much more energy efficient circuitry than its predecessors.
Fountain measures its impact on the environment and sets targets for on going improvement. Following Sky one’s Fabergas show, our Energy Performance certificate confirmed our efficiency and carbon footprint and has provided new ideas with which we can work towards minimising future energy consumption.
Fountain, in April worked with Sky’s on one of it’s most recent production called the Cube. With an audience of over 450, water conservation is a paramount environmental concern. Regular maintenance and observation ensures that water consumption is kept to a minimum, but public conveniences have been fitted with sensoflushes to ensure water usage is kept to the required amount which has saved the studio approximately over 2234 cubic meters per year.
Following the interesting points raised at the Sky Environmental Seminar, Fountain was able to provide production on Sky one’s production of “Sell me the Answer” a new hybrid car company for all taxi and courier needs.
Fountain aims to be more efficient in its usage of non-renewable energy as part of a regular assessment of it’s environmental impact and are proud to work in cohesion with Sky and all production companies to ensure a greener world that future generations can enjoy and make great TV within!
Sensoflush water preservation
Recycling-water bottles scripts and
Batteries given to crew
Energy performance certificate
WEEE directive
Printer cartridges
Hybrid car company Griingo
