ROUND TABLE
FP: Although not industry-focused, the Science-Based Targets initiative (SBTi) deserves a mention as it’s a framework that supports organisations in the private sector to set science-based emissions- reduction targets. Other media industry- specific organisations, aside from albert, also focus on sustainability. One example is Green Spark Group, which has helped productions like The X-Files to implement more sustainable production practices. There are also measurement tools that specialise in sustainable production. Prodo – a Holli venture – is one such tool; it’s designed to integrate carbon emissions information into production workflows, making data visible through dashboards for more effective reports and decision-making. BB: A sustainability group was set up in the late 2010s by a camera assistant called Jason Henwood, which was then further developed and formalised by myself, that represents a consortium of several rental companies collaborating with the sole aim of meeting regularly to share best practice for reducing our collective carbon emissions. The group shares all its findings openly and useful resources are available to anyone who is interested. You can find out more at rentalsustainability.tv. Def: In what ways do you envisage sustainability initiatives evolving within film production over the next decade, and what role do you believe technological advancements will play in driving these changes? FP: Filmmaking, and the wider media industry, is in a different position to a lot of other industries. It can inspire positive change, raise awareness about environmental, social and economic issues – and even encourage a shift towards more sustainable behaviours and practices. I expect we’ll see more initiatives within the film industry that set out to create positive changes in consumer behaviour through the use of sustainable storytelling blended with a sustainability ethos. In terms of technology’s role, we’re already seeing the technology around carbon measurement advance. This is an area where we’ll see a lot of progress in the coming months and years,
environmental impact and promote social responsibility. In order to measure progress along this journey, companies first need to measure and assess their current impact. Only then can they establish evidence-based targets and define the actions required to meet those targets. Rather than reinvent the wheel, it makes sense to use the carbon calculation tools and certification provided by organisations like albert, mentioned already, to do this.
particularly with the ability to measure carbon impact in real time. This will allow businesses to assess the current impact and make data-driven decisions for immediate improvements. While not focused on production, it’s perhaps helpful for filmmakers to be aware of bodies working at the other end of the supply chain – such as Greening of Streaming, Humans Not Robots and DIMPACT. These organisations work to address and reduce the energy consumption of streaming. Filmmakers could learn from them and work hand in hand with the rest of the supply chain to reduce emissions on devices – perhaps by tackling the brightness issue of content, which could have a big impact on energy consumption of streaming peripherals, without prejudicating their original creative intent. BB: I hope filmmakers and producers will consider that their decision about equipment choice and image size can make a marked effect on both their budget and environmental footprint. Considering viewers rarely (if ever) see productions on anything but HD or heavily compressed 4K, there is little advantage in acquiring at 6K or 8K, though people often do. Aside from additional memory cards, more transfer time, more media resource for safety copies and in post, more render time and, ultimately, more cost, larger image files demand greater data storage, data movement, post-production rendering and FX. In turn, this means more energy use and a greater carbon footprint. Bigger isn’t always better if the end user can’t see a difference, especially if cost and extra CO2 emissions don’t justify it. An argument could be made for sticking with 6K in all but the most epic projects.
Def: Are there any resources, tools or organisations you would recommend to filmmakers aiming for sustainability?
PDC: BAFTA albert has great resources, including a green production handbook, Carbon Action Plan and various training opportunities. The BFI, BFC, Film London and other organisations also all have relevant resources and working groups on sustainable production.
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