WATCH THE FULL VERSION OF THIS ROUND TABLE AT FEEDMAGAZINE.TV
NEAL ROMANEK: What are the positive changes that could come for businesses having to go zero carbon?
BRANDON COOPER: We saw it during the pandemic. On a commercial set, you used to have 30 crew members – plus 20 client agency people on every set, every day. A lot of these people were coming from out of town, or out of country. They’re flying, driving and consuming when on-set. Suddenly, client agency staff are watching streams from a set virtually, but able to stay involved creatively and make approvals. I don’t know if it will necessarily continue that way, but instead of 20, maybe you only have two or three. So, we start reducing the number of bodies travelling, and how many people are consuming on-set. We can also start looking at the media. We’re still moving media around like we used to move film cans. At the end of the day, after working 15 hours, I used to take 20 cans of film to the lab and drop it in a slot. Now, I’m doing the same thing with hard drives. We’re in a digital age, so why are we doing that? There’s so many different ways – and if everybody puts their drop in the bucket, all of a sudden you start seeing measurable success. LIAM HAYTER: The actual footprint of the technology is shrinking, just by moving to software. What used to be a large-scale OB van, can now be done in much smaller, more efficient vehicles, with a little crate that slots in the back. And customers that have started to build around software with an NDI mindset, have gone from events in auditoriums where they had to turn everything inside out, to using their own in-house AV. That live feed can be pulled directly into the post facilities, to be edited or archived without having to shuttle content around. You can just send a cameraman with maybe a few PTZ cameras to the site, which is going to be pretty liberating. PETER SYKES: There’s an opportunity with an increase in virtual production – with LED screens used in a central film studio
somewhere, and game engine technologies feeding the screens that map to the camera movement. Backgrounds can then track what the cameras are doing. And the actors can see the set that they’re working in and, again, it removes the need for people to travel. BRANDON COOPER: Remote production can save on the environmental impact on locations. Sets are like a travelling circus. They roll into a location and wreak havoc on the habitat. A lot of this is about open minds – it’s taking technology and using it to your advantage. Not just to increase workflow efficiency, but be environmentally more sound. It takes a producer with an open mind, who can move away from the traditional way of doing things. A new way of considering, setting up and executing your production, regardless of size.
So, that’s equally as important. We can have all the mechanisms in
place to be able to do it, but it takes a producer with an open mind to be able to embrace it, then make sure that their productions follow. IAN MCDONOUGH: A lot of technology out there offers more efficiency – not just from a carbon and power perspective, but from a time point of view. They can be very economical, with regards to both costing and accessibility. We are looking for a better experience around sustainability and power, but should build it around efficiency and that user feedback.
Global greenhouse gas emissions by gas
Methane 16%
Carbon dioxide (fossil fuel and industrial processes) 65%
Nitrous oxide 6%
Carbon dioxide (forestry and other land use) 11%
F-gases 2%
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