How to source sustainable set materials for an eco-conscious African production

A sustainable screen production begins long before the first camera rolls. Set construction, dressing, props, costumes, packaging and transport can create a sizeable material footprint, particularly when a production moves between cities or works with limited local supply. Thoughtful sourcing reduces waste while keeping money, skills and creative value within the communities where filming takes place.

For producers in Australia working with African partners, the task involves more than choosing recycled products from a catalogue. It means understanding local markets, respecting cultural materials, planning for reuse and building a reliable chain of suppliers across different countries. The strongest approach treats sustainability as a production standard that supports artistic quality, worker safety and responsible storytelling.

Start with a materials brief

The first useful document is a materials brief linked to the script breakdown. It should identify every physical requirement: flats, timber, paint, foam, fabric, furniture, food packaging, signage, set dressing, practical props and temporary structures. Add quantities, dimensions, intended use, expected lifespan and the likely destination after wrap.

Separate materials into three categories: items to hire or borrow, items to purchase for repeated use, and items that must be fabricated. This simple distinction can prevent a production from buying objects that already exist in a local rental warehouse, theatre store, community hall or independent art department. It also makes the budget easier to assess because disposal costs and transport can be considered before approval.

Set a hierarchy for decisions. Preserve existing objects first, hire second, buy durable reclaimed materials third, and fabricate from renewable or recycled inputs only where the design requires it. A sustainable set does not need to look visibly “green”; careful sourcing should serve the world of the story rather than announce itself through rough finishes or predictable natural textures.

For Australian producers, early conversations with a production designer in Johannesburg, Accra, Nairobi, Lagos, Cape Town or Dakar can reveal what is realistically available. Australian terminology can differ from local practice: a “skip” may be called a dumpster or waste container, while “hard rubbish” is understood more readily in some Australian councils than in international crews. Agree on terms, quantities and responsibility for collection before procurement begins.

Build a local and regional supply network

Local purchasing reduces freight, customs delays and unnecessary packaging, but “local” should be defined carefully. A supplier near the shooting location may still import most of its stock, while a regional fabricator may use locally recovered timber and employ skilled craftspeople. Ask where materials originate, who processes them, how they are treated and whether offcuts are retained for future work.

Potential suppliers include theatre and exhibition contractors, demolition salvage yards, joiners, upholstery workshops, market traders, furniture rental companies, sign makers, costume departments, agricultural cooperatives and recycling enterprises. Universities, cultural centres and community arts organisations may also have reusable stock. Partnerships work best when the production offers a clear hire period, prompt payment and proper credit rather than treating community resources as informal donations.

A supplier register should record contact details, material categories, prices, minimum orders, lead times, transport options and end-of-life arrangements. Include a field for labour and cultural considerations. A woven mat, carved object, beadwork panel or ceremonial garment may carry meaning that cannot be reduced to a unit price. The ethics of traditional rituals offers a useful reminder that material choices can affect representation and community trust.

In Australia, procurement often runs through established hire houses and national hardware chains, with invoices, public liability requirements and delivery windows built into the process. African productions may rely more heavily on independent workshops, informal traders or trusted personal networks. Neither model is automatically more sustainable. The key is to document agreements, pay fairly, check quality and maintain a transparent chain of responsibility.

Choose materials for repeated use

Timber is often the backbone of a film set, yet new sheet goods can become expensive waste after a few days. Design flats and platforms to standard dimensions so they can be dismantled and reused. Use screws rather than permanent adhesives where structural safety allows, label components, and keep an inventory of lengths and panels after wrap. Reclaimed timber can be valuable, but it must be inspected for rot, pests, nails, chemical treatment and load-bearing weaknesses.

Paint selection also requires care. Water-based low-VOC paints can reduce fumes in enclosed locations, but “eco” claims vary between suppliers. Order accurate quantities, save unopened tins and keep colour references for future productions. Do not wash brushes or rollers into stormwater drains. A designated wash-out area, settled solids and responsible disposal are small operational details with a meaningful environmental effect.

For scenic finishes, consider paperboard, cork, natural fibres, reused textiles, clay-based surfaces and mechanically fixed panels. Avoid materials that shed microfibres, release hazardous dust or are difficult to separate at disposal. Foam, glitter, PVC and composite laminates may be necessary for a particular design, but they should be specified deliberately rather than used by default.

The following comparison can help a production team evaluate common choices before a purchase order is issued:

Plan for climate, safety and transport

A material can appear sustainable at the point of purchase and still perform badly in the field. Humid coastal locations, heavy rainfall, dust, heat and intense sunlight affect timber, paper, adhesives, textiles and electrical components. In Australia, a set built for a dry warehouse in Melbourne may need different protection when transported to Darwin during the wet season or to a remote location in Western Australia.

Design for the actual climate and location rather than overbuilding. Use shade, raised storage and ventilation where appropriate. Keep cardboard and untreated textiles away from damp floors. Specify non-toxic pest control and avoid sealing moisture inside timber. Fire performance must be taken seriously, especially for fabric, foam, thatch, paper and temporary structures. Local regulations, venue rules and insurer requirements should be checked before construction begins.

Transport planning can deliver rapid environmental savings. Consolidate deliveries, use returnable crates, avoid repeated small trips and schedule supplier collections around crew movements. If a production crosses borders, assess customs requirements and biosecurity rules early. Australia’s strict biosecurity controls mean untreated wood, plant matter, soil and some natural fibres may be delayed, treated or refused at the border. Shipping a supposedly sustainable material from overseas may carry a larger footprint than sourcing a suitable local substitute.

Create a transport map showing supplier, collection point, vehicle type, distance, load size and return route. For African productions working across several countries, regional sourcing may be practical for specialist items, while bulky basic materials should usually come from near the set. A producer can then compare the full cost of a material rather than its shelf price alone.

Design for reuse and responsible handover

Reuse should be planned at the design stage, not left to a last-minute clearance day. Draw scenery in modules, choose fasteners that can be removed, keep fabric cuts large enough for future use and record the original supplier. A digital asset register with photographs, dimensions, condition and storage location allows later productions to find what already exists.

Agree on ownership before fabrication. The producer, production company, art department, community partner or supplier may each have a legitimate claim to different items. Contracts should state whether materials are returned, donated, sold, stored or dismantled. If a community workshop creates props or decorative pieces, clarify credit, payment, reproduction rights and future display.

Donation can be useful when it responds to a real need. A school, theatre group, community centre or training programme may welcome sturdy furniture, fabric or tools, but unwanted stock should not be pushed onto organisations that lack storage or disposal resources. Effective distribution depends on scheduling, clear quantities and volunteer capacity. Practical lessons from organising a meal distribution also apply to a set clear-out: identify recipients early, pack items logically and assign people to manage collection.

Set dressing with cultural, religious or historical associations needs an additional handover protocol. Items should not be removed from a community or displayed in a new setting without permission. Where a design uses locally significant forms, consult appropriate cultural advisers and record consent. Sustainability includes protecting knowledge, dignity and relationships, not just diverting waste from landfill.

Measure what the production leaves behind

A credible sustainability record needs a simple baseline. Track the weight or volume of purchased materials, hired items, reused stock, donated goods, recycling and residual waste. Also record major freight movements, paint quantities, timber purchases and the number of items returned to inventory. Perfect data is rarely possible, but consistent estimates are more useful than broad claims.

Assign one person to maintain the materials register, with department heads responsible for weekly updates. The art department can record scenic materials, costume can track textiles, production can manage packaging and transport, and locations can report waste arrangements. Photographs of labelled storage and completed handover forms provide useful evidence for funders, broadcasters and festival partners.

Avoid treating offsets as a substitute for good procurement. A production that buys carbon credits while sending usable set walls and furniture to landfill has missed a more direct opportunity. Prioritise reduction, reuse, repair and recovery before considering any residual emissions strategy. Share results honestly, including materials that could not be recovered and the reasons why.

Australian productions increasingly encounter sustainability requirements from broadcasters, screen agencies, councils and location owners. Similar expectations are growing across African film and television markets as producers seek stronger professional standards and international partnerships. A clear materials report can support grant applications, co-production discussions and organisational learning while giving crew members a practical model to follow.

Put the plan into production

Make the sourcing system visible through a short procurement policy issued with the call sheet or department brief. It can require hired or reclaimed options to be checked first, prohibit unapproved disposal, identify safe storage procedures and nominate the person who authorises new purchases. Keep the policy realistic: crews need fast decisions, reliable materials and a clear route for exceptions.

Before filming, hold a materials meeting with the producer, production designer, art director, locations manager, costume lead, transport coordinator and local sustainability contact. Review the asset register, confirm suppliers, test finishes, check fire and biosecurity requirements, and agree on the wrap destination for every major item. This meeting is where creative ambition becomes a workable production method.

During filming, label reusable components, protect stock from weather, collect offcuts by material type and record any substitutions. At wrap, photograph the remaining inventory, separate hazardous products, return hired goods, complete agreed donations and weigh residual waste. Pay suppliers and community partners promptly, including any agreed collection or repair costs.

The concrete next step is to create a script-linked materials register with one row for every planned set item, then mark each row as hire, borrow, reclaim, fabricate, purchase, reuse or recover before the first supplier is contacted.