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Sustainable Practices Checklist (Peach & Peach+) The PEACH (Production Environmental Actions Checklist) & PEACH+ (with added measures) include practices that each department can implement throughout production. Go through the document with each department in prep to start your planning, and then again at wrap to find out what was achieved.

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We decided to take our fandom to the next level - to figure out exactly who is the fastest and most furious character of them all, and how much damage has accumulated over the span of the franchise. With the help of classic car consultant Nacho Llacer to valuate some of the coolest vehicles on show, we dove into over 13 hours of dedicated movie watching to calculate just how fast, furious, and costly all seven movies are.

Overall, it was the 'good guys' who proved to cause the most destruction, with a £2,772,489 Lykan Hypersport being the most expensive car that was totalled by Vin Diesel's character, Dominic Toretto, following that unbelievable Abu Dhabi skyscraper chase.

It's not just cars that get banged up during the series, with various locations taking some serious hits due to the family's exploits. Significant building damage certainly increased in Furious 7, with Dom's house being blown up, a car park collapsing, not to mention the aforementioned Abu Dhabi skyscraper-hopping causing untold levels of destruction.

Tokyo Drift is the anomaly in many ways, it featured neither Paul Walker nor Vin Diesel and it took a detour into traditional racing territory. This third film was more concerned with amazing driving skill than blowing lots of things up, hence why the level of damage drops considerably.

After the fourth movie, it seems that cars alone didn't cut it anymore. The stakes were raised higher by tanks, helicopters (being hit by cars), aeroplanes (having cars driving out of them), and a variety of vehicles being blown up in increasingly creative ways (a bus careering off a cliff!).

As any fans of the franchise will know, Fast 5 heralded a new direction for the Fast and Furious films, with the focus shifting from street racing to crime, the level of destruction skyrocketing, and the number of cast members reaching frankly ridiculous heights. Aided by the outrageous final heist, the level of damage reached astronomic levels in this fifth outing. This also marked the moment that the franchise took a step back from CGI, opting for more visual effects and real life stunts - making the spectacular crashes of the last three movies even more impressive.

Things escalated pretty quickly from Fast & Furious onwards, with each movie competing with the last to include the most spectacular and outrageous chase scenes (dropping cars from airplanes, anyone?). Fast & Furious 6 took the biggest leap in terms of car and building devastation with Owen and his henchmen responsible for dozens of obliterated vehicles.

Deckard's reign of destruction in Furious 7 ensured this outing topped the damage stakes, as well as the value of the supercars (a Maserati Ghibli, Nissan GT-R, and Aston Martin DB9 among the highlights for petrol heads) speeding around the United Arab Emirates rising to unbelievable new levels.

It seems like more destruction equals a better box office return, as the earnings for each film increase with every new release (after Tokyo Drift). The unbelievable carnage of Furious 7 certainly paid off at the box office, as this latest instalment became the fourth-highest grossing film of all time before being toppled by Jurassic World.

It's not surprising that cars are the main area of destruction for Brian and Dom, while Mia was the only character who just caused damage to a building after Fast 5 saw her accidentally directing the bank vault into the path of an unfortunate shop. Vince was a tough call, but we thought he redeemed himself enough to be part of the good guys after joining the team in Fast 5.

Our research proves that each movie did, in fact, get faster, more furious, and a whole lot costlier, with a grand total of £419,446,914 worth of colossal damage! Surprisingly, Jason Statham's character, Deckard Shaw, caused the most damage out of everyone, even though he only played a major role in Furious 7 (seeking vengeance after his brother, Owen, was thrown from a plane in Fast & Furious 6).

The latest trailer for The Fate of the Furious has got us extremely excited for the next instalment. It's great to see a return of Vin Diesel, Dwayne Johnson, and Jason Statham, while Kurt Russell joins the mix and there's even rumours that Eva Mendes may reprise her role as Agent Monica Fuentes.

A closer look at the trailer has given us more questions than answers. Will Dom betray his family by teaming up with new villain, Cypher, played by Charlize Theron? Have the rest of the good guys retired into normal lives? Will Deckard finally avenge his brother? Why is Hobbs in prison?! We're excited to see how the epic story finally pans out and we're sure it will receive the spectacular ending it deserves.

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We decided to take our fandom to the next level - to figure out exactly who is the fastest and most furious character of them all, and how much damage has accumulated over the span of the franchise.

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'The Expendables 2' Fined For Damaging Protected Bat Habitat In Bulgaria

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UPDATE 10 AM: I have now learned that it was a contractor hired by The Expendables crew to trim the shrubbery in front of Bulgaria 's Devetashka Cave that was fined and not the production itself. As for the movie's producers, I hear they are taking the environmental concerns seriously and met today with representatives of local environmental organizations.

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In 2020, during a year of isolation and grave turmoil, Chloé Zhao released Nomadland, an adaptation of the book by the same name, which recounts stories from the growing number of nomads taking to RVs and camping, traveling across the United States and making homes on the road. The story is a slow burn, one held together by a quiet, eloquent intimacy shared between fellow travelers-virtual strangers-who have found themselves alone, together.

Large portions of the film are shot in the Badlands of South Dakota. Reds meet yellows and browns for miles and miles; the land dips and rises in succession, a grandiose, yet humble offering that serves as a backdrop throughout the film, almost as its own character. And as Fern (Frances McDormand) strolls through the park at dawn with a gas lamp to help light her way to the bathroom, surrounded by sprawling land and camp sites of fellow travelers, you're struck by her solitude. You're also struck by the RVs, the diesel in their tanks, and the juxtaposition of their existence against the natural backdrop.

Then, if you're like me, you consider what's on the other side of the camera, the diesel-run generators, trailers, and transportation vehicles, as well as the accumulation of waste left behind by film productions.

Indeed, more often than not filmmaking harms the very land it works so hard to encapsulate. From hundreds of thousands of miles in airline travel to different far-flung locations, to generators that keep equipment and trailers running for days on end, to food waste from feeding an entire cast and crew multiple meals a day, the requirements of keeping a film set running are taxing on the environment. And in particular, we ought to consider the fact that-in the case of Nomadland and other films like it-filmmaking in National Parks, while it has been cited by certain Indigenous people as beneficial to tourism and their local economies, is another aspect of colonization. Most often, non-Indigenous filmmakers attempt to tell stories with a landscape of stolen land. Of course, as the United States goes, this can be said of any film set, but there's a particular responsibility when filming in National Parks, as they remain largely untouched by massive technological endeavors and human-made structures that so often hasten climate change. And we don't have much untainted land left.

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In 2020, during a year of isolation and grave turmoil, Chloé Zhao released Nomadland, an adaptation of the book by the same name, which recounts stories from the growing number of nomads taking to RVs and camping, traveling across the United States and making homes on the road.

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Virtual Production: Why your next project should be virtual | disguise

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Explore the benefits of virtual production can bring to your next project and find out why you should consider introducing virtual production into your work.

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The Amazing Spider-Man 2 -Sustainability Reel

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The United Nations Intergovernmental Panel on Climate Change (IPCC) issued its Summary for Policymakers this week. It captured the analyses of Working Group I to the 6th Assessment Report. I had a chance to review it on Monday, and it says all of the things that I expected it to say and with the necessary sense of urgency. Here's the problem. I am "report fatigued." We need action.

Bangkok, THAILAND: Bert Metz, co-Chairman of Intergovernmental Panel on Climate Change (IPCC) ... [+]
AFP via Getty Images

The report stated that it is unequivocal that human influenced has warmed the land, ocean, and atmosphere. It also used strong words of certainty and convincing graphics to make the case for anthropogenic factors related to increased temperatures, sea level rise, Arctic sea ice loss, stronger tropical cyclones, intense rainfall, drought, and so on. As a scientist, I absolutely understand the necessity of these periodic reports. Rigorous, peer-reviewed scientific assessments are needed in the same way that the Food and Drug Administration boosts our confidence in vaccines and other drugs. Twitter theories and "personal research on Google" does not cut it when the fate of our planet is at stake.

If you are interested in what the latest IPCC Summary says, you can find numerous articles about the report with a quick Internet search or visit the IPCC report website. My intention herein is not to write another article highlighting what many of us have warned about for years. We are living climate change. It is not about polar bears or the year 2100. It is about household kitchen table issues, equity, justice, national security, energy, water, and public health.

LODWAR, KENYA - NOVEMBER 09: A young boy from the remote Turkana tribe in Northern Kenya stands on ... [+]
Getty Images

I admit it. I have report fatigue so this commentary may border on a slight rant. There will be a burst of coverage this week, some Twitter squabbles about minutia, and the various narratives will come from respective corners. Things will relax back to pre-report release, and then the next report will inevitably be released by the National Climate Assessment, some IPCC committee, a Professional Society, or a National Academies study. The reports have essentially said the same thing for the last decade but with an increasing sense of urgency and confidence. Over time, our scientific understanding, models, and observations get better. The Earth is also giving us pretty clear signals with the extreme weather events, oceanic changes, and other responses.

As we move forward, I hope to see more focus on:

Actionable policy discussions centered on the solutions space and not stifled by 2,4, or 6-year political cycles.

Realistic timetables and planning for transitioning to a renewable energy economy.

Local, state, regional, national, and international efforts to address the disproportionate burden that will fall upon vulnerable, poor, and marginalized populations.

Media coverage on a routine basis rather than for episodic events like the release of an IPCC report or the U.S. leaving the Paris Agreement. There is a climate change related story of relevance almost every day about the economy, health, national security, infrastructure, justice, transportation, agriculture, and so on.

Integration of climate into non-traditional arenas like faith-based communities, schools, non-science agencies, and community organizations.

An Apollo- or Manhattan-Project level initiative to address climate change, solutions, and equity issues.

To be fair, I know some of these things are happening but not with the urgency needed. A big takeaway for me, an actual climate scientist, from the latest IPCC Summary is that many things are happening as predicted decades ago or on faster time scales than can be explained by natural variability alone. The virus of climate change is here. It is spreading, mutating, and anchoring within our society for the long haul. We need a vaccine right now.

376713 20: (FILE PHOTO) The deployment of scientific experiments by Astronaut Edwin Aldrin Jr. is ... [+]
Getty Images

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Report Fatigue - Commentary From A Climate Scientist On The Latest IPCC Summary

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The United Nations Intergovernmental Panel on Climate Change (IPCC) issued its Summary for Policymakers this week. It captured the analyses of Working Group I to the 6th Assessment Report. I had a chance to review it on Monday, and it says all of the things that I expected it to say and with the necessary sense of urgency.

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-talk about this

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Chapter 1
- General facts about film production carbon costs.
- Soundstages, what they are and their problems, material use.
- Shooting on location, building sets there and traveling to the location, why its a problem.
- Set material end of life waste, food waste.
- Damaging the environment and land.

Chapter 2
- Virtual production, green screen vs led walls and why they're better but also the environmental cons too. Combat travel and material costs.
-Powering sets using clean energy and waste management. Sustainable sourcing of materials along with end of life set recycling.
- Food alternatives on set, vegan.
- Benefits to being more eco besides the obvious, quicker, cheaper. Funding options, Eco jobs/groups.
- Getting people to change, why don't they change?
- Greenwashing, Carbon offset a scam?
- Thoughtful location

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Exploring the environmental effects of contemporary film production within set design and how to make it more sustainable?

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Exploring the environmental effects of contemporary film production within set design and how to make it more sustainable?

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The unsustainable nature of set design within modern film making.

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The unsustainable nature of set design within modern film making.

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Studying the effects on the environment of set design within modern film making.

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Studying the effects on the environment of set design within modern film making.

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The complexity of sustainable filmaking.

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The complexity of sustainable filmaking.

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Environmental impacts of blockbuster films

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Environmental impacts of blockbuster films

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need to narrow down.

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Carbon offsetted
Made using its clean energy

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Not Black and white to solve the issue. Look at climate cycles and the anthroposcene

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Not Black and white to solve the issue. Look at climate cycles and the anthroposcene

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e.g cost savings to be more sustainable

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Peoples view on climate change changing

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How the power is generated on location?
How they travel to the location?
Environmental damage to nature and land?

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How much wood used? Source of the wood?
Statistics
Other materials used?
Lighting on set?
How it's all powered?

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- Clean energy
- Environmental checklists
- Groups to support
- Virtual set production

Fix is also its own issue

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How do they work?
How they're made? Sustainable materials?
How much power do they use?
Computer rendering power consumption.
How often can they be used?

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- Props
- Explosions
- Car Crashes
- Set waste from nonrecyclable materials
- Food on set and waste
- The future
- Why is it like this way? cost etc
- who is responsible?

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- Shooting on location

- The future,

Description in the vid, essay for analysis

Essay for why, angles  solutions

Focus on location, can link to the rest of it

- Mando “solving the problem”

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Chapter 1 and 2 individual points
Chapter 4 research
Make doc
Chapter 3
Chapter 4
Intro, Conclusion

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Gather more research
- reports on stats
- news articles
- look at info about solutions

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- Listent to podcasts
- Watch Docs
- Look at possible interview ideas

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- Plan and attend interview
- Look for gaps in research
- start planing video, whats needed, gather archive footage structure narrative

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- Start video production

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- Start written diss (intro)
- finish up video
- Do 1 chapter of diss

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- Do remaining chapters

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- Do conclusion
- Hand in and cry

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Namibian environmental groups are furious with the makers of the new Mad Max film, claiming they they've seriously damaged the fragile ecosystem of the Namib Desert -- a region that is undergoing severe stresses as a resulte of climate change.

The Namib Desert is a vast swathe of land along the Atlantic coast, stretching from northern South Africa to southern Angola.

Estimates put it at between 50 to 80 million years old, making it the oldest desert in the world, and its extremely low annual precipitation renders the plant and animal life there dependent on marine fogs for water. The infamous Skeleton Coast has claimed thousands of ships over hundreds of years. As harsh and unforgiving environment as there is, it was chosen by director George Miller as the perfect place to film his post-apocalyptic sequel.

Mad Max: Fury Road -- which, like the first three films in the franchise, depicts a post-apocalyptic future world where law and order have broken down after fossil fuel supplies began running out -- has been in development hell for a decade. A sequel set shortly after the events of 1985's Mad Max Beyond Thunderdome, it stars Tom Hardy in the lead role (with Mel Gibson now too old to reprise it) alongside Charlize Theron.

However, the economic boost the film has brought to Namibia has done nothing to lessen the anger of the country's environmentalists and tourism officials, who claim the production crew wrecked the delicate desert landscape in July and December 2012.

The movie was being filmed in an area that was recently named as the Dorob National Park. Parts of it are designated for tourism, while others are set aside for particular species of endangered animal and plant life. The extremely dry environment in the desert makes any changes in the ecosystem extremely perilous -- less than 10mm of rain falls on the Namib Desert every year, and it can take decades for small lichens and mosses to build up where condensation occurs during fog. It is alleged that the Mad Max film crew damaged areas which are meant to be protected from human activities, threatening lizards, geckos, chameleons and "the rare lithops cactus".

Jon Henschel, an ecological scientist hired by the Namibian Coast Conservation and Management (Nacoma) Project to study the damage the environment suffered from the film crew, found that parts of the desert until now untouched by vehicles had been driven over, leaving tracks -- in one area a "ploughing device" had been used. Even worse, to try and level the tracks as they left, the crew had dragged nets across the ground, ripping out small plants.

However, the Namibia Film Commission has reacted angrily to the claims, even taking out a full-page advert in a national newspaper to state they give the film and its crew "a clean bill".

The ministry of environment's permanent secretary Simeon Negumbo also told AFP that "the experienced, dedicated team used tried and tested methods like vehicle and hand-dragged fishing nets, tyres, brooms, chains, ropes and leaf blowers, which worked perfectly in the area".

Coincidentally, climate change -- and its bizarre weather -- drove the film crew to Namibia in the first place. Fury Road was originally meant to be filmed in Australia (where the three other films were also filmed), but after a decade of severe droughts unexpectedly heavy rainfall has turned the landscape around the mining town of Broken Hill into one of blooming wildflowers. Miller was forced to move production to Namibia in search of a landscape dry enough for his film.

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Fragile Namibian deserts 'damaged' by Mad Max film crew

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Namibian environmental groups are furious with the makers of the new Mad Max film, claiming they they've seriously damaged the fragile ecosystem of the Namib Desert -- a region that is undergoing severe stresses as a resulte of climate change.

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What's the carbon footprint from film production and the movie industry? Intrigued by finding out the answer, we at GoClimate partnered up with some of the best freeskiers in the world, The Bunch, to calculate the carbon footprint of their seventh movie Is there time for matching socks. And started to dig into the emissions of the world of film making.

What is the carbon footprint of the film industry? Photo: Donald Edgar

Findings - carbon emissions from creating films

What we found out is that film productions in general do unfortunately not map their carbon footprint. Or, in the cases where the carbon footprint has been calculated, the data has not been made public.

According to a Swedish study all big studios in the US track their carbon footprint, with a couple of them making it public. But, when we dug deeper into this, looking at the carbon footprint of Disney Studios in particular, only the emissions from The Walt Disney Company as a whole is presented. Numbers related to the film production are not separated and publicly available.

According to the Guardian (2020) the average film is estimated to produce 500 tonnes of CO2eq. The detailed data from the Swedish series shows a carbon footprint of 240 tonnes CO2 for the full production, 40 tonnes per episode of 45 minutes.

We found data from a few recent wintersport films. Burton's production, , had for example a carbon footprint of 1060 tonnes.

Our calculations of The Bunch film production Is there time for matching socks ended up at 41 tonnes. To find out how they manage to keep the emissions so low compared to other films, click here. The full climate report for the film can be found here.

The carbon footprint of producing the film Is there time for matching socks was 41 tonnes.

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What's the carbon footprint from film production and the movie industry? Intrigued by finding out the answer, we at GoClimate partnered up with some of the best freeskiers in the world, The Bunch, to calculate the carbon footprint of their... #carbonfootprint #climatechange #emissionsfromfilm

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The Bunch, a group of amazing freeskiers, just released their seventh film "Is there time for matching socks". During the entire production a main focus was to keep the greenhouse gas emissions down. We talked to The Bunch members Magnus and Alric to get some insights and key learnings on how to make a sustainable film.

Is there time for matching socks - a carbon offsetted film production. Photo and graphic design: Alric Ljughager

The film was shot in Sweden, Norway, France, Russia, Switzerland, Japan and Canada during 171 days and resulted in 41 tonnes of CO2 emissions. That is 459 tonnes below the average film production and probably way below a big screen play' emissions. So, what did they do differently?

Climate-friendly options for producing films

Hello The Bunch, how did you keep the carbon footprint at a minimum?
We mainly ate vegetarian and vegan food resulting in a high intake of potatoes and beetroot salad in Russia :). There's definitely room for improvement in some countries when it comes to trying to cut down on meat. But overall it was an interesting experience.

We also decided to take the train whenever possible. We travelled to the Alps and back from Stockholm, Sweden twice. And we spent 70-80 hours on Russian trains going to both Kirov and Sochi.

How was your experience spending such a big amount of time on the train?
It was a great experience with lots of fun memories. It does of course come with a bit of hustling and it's more time consuming than travelling by plane, but the benefits outweigh it. Most of our time was spent in the dining car playing cards, talking to Russians and challenging them in arm wrestling. That would not have happened on a plane. It was really memorable and gave us great laughs.

For a 2-3 week long trip, spending a few more days on traveling isn't a big deal. We really like to fully experience the local culture and not only check in to a hotel, spend days on the mountains without seeing any locals at all and then take the next flight to another mountain. On the opposite, we love to shoot in the middle of the streets in a city, it creates really interesting encounters which wouldn't have taken place on another set.

In what other ways do you take climate action?
Even if this is the first movie production we have calculated the carbon footprint for, we have always been conscious about the way we travel and what we eat. We have turned down offers to go to the US and Japan just to avoid the emissions it would cause. We sell thrifted The Bunch merchandise on our website, we have an Insta account we're we sell pre-loved stuff as helmets and skiis and we are promoting veggie food and a healthier lifestyle via #healthgangofficial.

The Bunch. Photo: Alric Ljughager

We at GoClimate are really impressed by The Bunch showing true leadership within the film industry. Our findings are that emissions caused by a production rarely are taken into consideration and when they are, numbers are not public. They are also great role models within the wintersport world, where transports with planes, helicopters and big cars are causing big amounts of greenhouse gases.

Transportation is the highest emission factor

In this film production the majority of the travels were made by train. The return trip from Sochi, Russia, was done by plane. A few seconds of the movie was shot in Japan by one of the Bunch members, who was there on another assignment. The emissions from that trip were also included in the calculations. The Canada trip was not planned but since there was no snow in Scandinavia and The Bunch's Hackel was competing in Xgames realski with a tight deadline they made the decision to go there to finish up the X Games video. They filmed some shots for " Is There Time for Matching Socks" in between shooting for Xgames realski. That trip included three round trips from Stockholm to Quebec, which generated a big part of the overall emissions for the film.

The diet consisted of around 30% vegan food, 60% vegetarian food and 10% meat.

The carbon footprint by category

The full climate report can be found here.
Read more about the carbon footprint of the film industry here.

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How to make a sustainable film - behind the scenes

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The Bunch, a group of amazing freeskiers, just released their seventh film "Is there time for matching socks". During the entire production a main focus was to keep the greenhouse gas emissions down. We talked to The Bunch members Magnus and Alric to... #carbonfootprint #carbonfootprintoffilm #film

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ENVY Co-Founder Natascha Cadle and ENVY Advertising’s MD Greg White contemplate the role of post production in the effort against climate change

Carrying bottles to the supermarket to refill; never leaving home without a stash of reusable bags; and travelling around on bikes instead of carbon fuelled cars. This isn’t a glimpse into a greener future but a look into the past.

“Growing up in Holland, sustainable choices were just second-nature – they were the norm,” said Natascha: “The first time I saw masses of plastic bags at the supermarket, I was 18 years old and I couldn’t believe my eyes. The blasé attitude towards single-use plastics was astonishing.”

The Dutch have been ahead of the UK for decades. Home to more bikes than people and with airports running on 100 per cent wind energy since 2018, eco-friendly travel is practically woven into the culture. Even the roads that energy-efficient bikes cycle on are green, having been built out of plastic waste.

Once in London and refusing to let good habits slip, Natascha stayed environmentally conscious. “We launched ENVY in 2006 with sustainability in mind,” she explains. “Our filtered water has always come in glass bottles and we use paper or reusable bags. Back then, the council didn’t even have a recycling initiative, so we paid a company to responsibly dispose for us.”

Society is finally catching up and, luckily, more accessible solutions to the plastic problem are being offered, but saving the planet is sadly not as simple as unquestionably adopting clean habits. What should you do when eco-friendly practices threaten to compromise your level of professionalism? This is the tough conundrum currently being faced by hundreds of post-production houses and other businesses.

One major cause of conflict in post-production, as identified by MD of ENVY Advertising Greg White, is reliance on electrical equipment always being switched on. He comments, “Switching off risks all sorts of problems from computer crashes to back-up failures. Add to that the variety of differing hours between employees and clients in conflicting time zones and its near-on impossible to find a time when everything stands still. Electricity-wise, it’s a real fine balance in finding where to draw the line.”

The advertising industry as a whole is built on fast-paced practice. Jobs fly in and out the door at great speed with emphasis on the quickly accessible – and the fast food and drink that goes with it. Traditionally, less thought has been given to long-term, sustainable choices and advertising is still very much behind other areas such as broadcast when it comes to green policies and practices.

In the past couple of years, vast improvements have been made. The younger generation especially has been a driving force behind this. We’re employing and working alongside a much more conscious generation who are demanding to see changes.

The TV and advertising industries should be taking advantage of the huge power they have to shift public perception. “We are seeing more and more projects coming through our doors that explore the sustainability theme,” Natascha says, and with the introduction of Albert, an association that supports everyone working in film and TV to understand their opportunities to create positive environmental change, more is being done to ensure that the production of a project is created in as green a way as possible. “ENVY became an Albert affiliated company as soon as they heard about it and progression has been made as more and more companies are joining. A lot of productions need to be Albert certified to be able to work with some of the biggest broadcasters such as the BBC, ITV and Sky now.”

“As a post house, however, it is difficult to cut your carbon footprint due to the reliance on electricity but you can certainly make changes,” Greg points out. “From switching to a green energy supplier and being mindful of which documents to print, to encouraging eco-friendly transport options and donating food waste to City Harvest or Olio, there are plenty of small yet significant changes that can be made.”

“Offering employees and clients a welcome pack that outlines your policies is a great way to clearly explain your company protocol, ensuring that everyone is on the same page and understands their responsibility. As an employee, don’t just assume that the company you work for is doing all the hard work for you – we are all responsible for change.”

Natascha is hopeful that innovation will drive further change: “Sometimes a lack of suitable alternatives is part of the problem as we are all dependent on what is available to us in our area. But keep researching and staying on top of the latest developments and you’ll find something that works for you. I found these incredible plant-based straws that are really efficient and I’m hoping that more companies will be providing high quality alternatives in the near future.”

There is certainly a shifting attitude within the industry that is being felt right from the top with the brands, down through production, post, and the rest. As long as everyone does their part at every level to change longstanding, harmful habits, a huge and impactful difference can be achieved. Natascha concludes: “As an industry, we have the creative power to change people’s attitude towards sustainability and our planet. So let’s do more than just advocate sustainability through mere words. Take action.”

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Achieving a Sustainable Future in Post - Envy

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ENVY Co-Founder Natascha Cadle and ENVY Advertising’s MD Greg White contemplate the role of post production in the effort against climate change

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Research Summary. The U.S. film industry plays a crucial role in the American culture as well as the economy. In fact, Hollywood is still the number one film industry in the world. Netflix and Amazon Prime are also huge. However, the COVID-19 Pandemic has also had a major impact on the industry. According to our extensive research:

In 2020, box office revenue was only $2.09 billion for the North American film industry.

While this might seem like a lot, it was actually down from $11.32 billion in 2019.

As of April 2021, 60% of North American theaters reopened for the first time in six months. However, U.S. box office revenue is still 76% lower than it was the same month prior to the Pandemic.

The Film Industry is worth $42.5 billion, being vastly overtaken in the entertainment industry by Gaming, which is now worth $145.7 billion.

Black Widow was the best-selling movie of 2021, with a total gross income of $183.3 million.

U.S. Film Industry Statistics by: Customer | Employment | Pandemic Numbers and Post-Pandemic Predictions | Production

General U.S. Film Industry Statistics

The COVID-19 Pandemic has hit the film industry hard. But, seeing as movies are still being produced, it can be hard to tell just how rough things have been. Overall, the current status of the industry seems to walk the tightrope between precariousness and absolute catastrophe. Here are some insights our research uncovered:

U.S. Film Industry Customer Statistics

Customers have always been the most crucial aspect of film industry success. After all, the inability for consumers to go to theaters was a huge hit to the industry throughout 2020. The question is, are customers still interested in the traditional film industry? Here are some insights our research uncovered:

Gen Z sees the most movies, with 43% reporting that they've seen a movie within the past month.
Though it might be surprising when you consider digitization, the younger generations actually go to the theaters more often than the older ones.

Only 34% of those in Gen X had seen a movie within the past month, and the number was even lower for Boomers. Of course, COVID-19 could have a hand in this, as older generations might feel less comfortable going out.

U.S. Film Industry Employment Statistics

Due to the sheer size of the film industry in the United States, there are many people who rely on it for employment. Unsurprisingly, the COVID-19 Pandemic has had a huge negative effect. Here are the facts:

U.S. Film Industry: Pandemic Numbers and Post-Pandemic Predictions

The void left by the Coronavirus Pandemic has impacted the Film Industry in a huge way. Instead of attending theaters, many are switching to online streaming services to receive their entertainment. Here are the facts:

U.S. Film Industry Production Statistics

Despite the impacts of the Coronavirus Pandemic, the film industry continues to produce movies and other media. While production did slow down, there were still some major movie releases. Here's what we found:

U.S. Film Industry FAQ

1. Is the U.S. film industry the largest in the world?
Yes and no. While Hollywood is still the largest film industry in the world, the 2020 Coronavirus Pandemic severely affected American theaters. Due to that, China has overtaken the U.S. in box office revenue by 33%.

2. How much is the movie industry worth in the U.S.?
The movie industry in the U.S. was worth $91.83 billion as of 2020 and has continued to grow throughout the Pandemic. The industry is expected to have a CAGR of 4.1% from 2018 to 2025.

3. How many people does the film industry employ in the U.S.?
The film industry employs roughly 2.1 million people across a wide range of job types, fields, and salaries.

4. How much does the film industry contribute to the U.S. economy?
The film industry provides a substantial contribution to the U.S. economy. Pre-Pandemic, Hollywood contributed $504 billion to the U.S. GDP or 3.2% of the goods and services portion of GDP.

Conclusion

With U.S. box office revenue being 76% lower immediately after theaters reopened, the film industry has a long way to climb to recover from the COVID-19 Pandemic. In fact, at only $2.09 billion, box office revenue is down 82% from 2019.

However, it's not all doom and gloom for the film industry. The industry is expecting to experience a CAGR of 8.3% between 2021 to 2027. And, that number is even higher for online streaming, in which experts are predicting a massive CAGR of 21.0% from 2021 to 2028.

Overall, it's clear that the American public might be moving away from theaters in favor of streaming services like Netflix, Hulu, and Disney+.

Sources

1. Statista. " Box office revenue in the United States and Canada from 1980 to 2020. " Accessed on September 21st, 2021.

2. Observer. " Reality Check: The Film Industry Is Still in Grave Danger. " Accessed on September 21st, 2021.

3. Raise Your Skillz. " Gaming Industry vs. Other Entertainment Industries (2021). " Accessed on September 21st, 2021.

4. Allied Market Research. " Motion Picture Industry by Genre. " Accessed on September 23rd, 2021.

5. Statista. " Film Industry - statistics facts. " Accessed on September 23rd, 2021.

6. Statista. " Frequency of going to movie theaters to see a movie among adults in the United States as of June 2019. " Accessed on September 23rd, 2021.

7. Statista. " Number of frequent moviegoers in the United States from 2017 to 2019, by ethnicity. " Accessed on September 23rd, 2021.

8. Statista. " Leading cinema circuits in the United States and in Canada as of February 2020, by number of screens. " Accessed on September 23rd, 2021.

9. The Hollywood Reporter. " Hollywood, Creative Industries Add $504 Billion to U.S. GDP. " Accessed on September 24th, 2021.

10. Motion Picture Association. " Driving Economic Growth. " Accessed on September 24th, 2021.

11. Zippia. " Theater Usher Overview. " Accessed on September 4th, 2021.

12. Variety. " Hollywood's Great Depression: Meet the Entertainment Workers Left Jobless by the Coronavirus Pandemic. " Accessed on September 4th, 2021.

13. ScreenRant. " How Much Streaming Services Actually Grew During 2020. " Accessed on September 4th, 2021.

14. Grand View Analysis. " Video Streaming Market. " Accessed on September 4th, 2021.

15. Televisual. " Global content spend hit record high of $220bn in 2020. " Accessed on September 4th, 2021.

16. Wikipedia. " List of most expensive films. " Accessed on September 4th, 2021.

17. Investopedia. " Why Movies Cost So Much To Make. " Accessed on September 4th, 2021.

18. Grand View Analysis. " Movies and Entertainment Market. " Accessed on September 4th, 2021.

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U.S. Film Industry Statistics [2022]: Facts About The U.S. Film Industry

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Research Summary. The U.S. film industry plays a crucial role in the American culture as well as the economy. In fact, Hollywood is still the number one film industry in the world. Netflix and Amazon Prime are also huge. However, the COVID-19 Pandemic has also had a major impact on the industry.

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Verifying Bodies

Companies operating in the field of environmental certification, or public entities with experience in environmental issues, qualified to verify compliance with the sustainability criteria towards obtaining GREEN FILM certification.

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GREEN FILM - Rating system for sustainable film production

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Companies operating in the field of environmental certification, or public entities with experience in environmental issues, qualified to verify compliance with the sustainability criteria towards obtaining GREEN FILM certification.

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GreenEyes is a sustainability consultancy, working across the Film, TV and Media Sector.

We look at a project's lifecycle as a whole, from script stage, through pre-, production, post- to all the way the final windows of festival, sales and distribution.

Our approach is to make strides wherever we can, in a 'sustainable' way, by supporting, and regularly communicating with all departments from the get go, in order to learn how best we can make their supply chain and waste usage greener. We deploy trained sustainability runners and coordinators to supervise the shows and enable crew to pick up the pace and understand why we do what we do. We provide all signage and communicational materials and regular data for the production to keep track of the progress (or lack of it).

Our motto is: 'livable sustainability'. We will assess your project, and help you devise a tailored, effective plan how to be more carbon neutral. We provide a calculation and a detailed report at the end of the project.

We are constantly on the look out for new, and innovative technologies, partners to work with (so do get in touch!). Our goal is to find solutions, that work for everyone - the film crew, the producers and Earth. We also keep in mind the economical restraints, consider the local differences in each territory and strive to build a balanced strategy that aids the production flow whether it's a 6 month shoot or a 3 day commercial.

Our founders are experienced green stewards themselves, who learned their craft by sweat and laughs, digging through the waste on blockbuster studio projects, as well as smaller independent productions.
Our mission and goal as environmental professionals is 'REUSE, REDUCE, RECYCLE'. We love what we do and strive to bring this passion and enthusiasm with us, wherever we go.

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GreenEyes is a sustainability consultancy, working across the Film, TV and Media Sector. We look at a project's lifecycle as a whole, from script stage, through pre-, production, post- to all the way the final windows of festival, sales and distribution.

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GOOD PLANET MEDIA: sustainable, healthy and ethical living through media

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GOOD PLANET MEDIA: sustainable, healthy and ethical living through media

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Like many producers passionate about the environment, Michael Kaliski felt one of the best ways to create change was to create films with an environmental message. But after years of producing "conscious content" that seemed to reach only a niche audience, Kaliski had an aha moment: to reach a larger audience, he had to get the message of sustainability into films and shows people were already watching. He chose to focus on some of the most important, yet subtle, messaging found in film and TV - advertising - with the goal of inspiring people to make better consumer choices for the planet.

It started with a simple idea - "What if we have Brad Pitt drinking out of a reusable water bottle in a film instead of drinking a Mountain Dew out of a plastic bottle?"

"We imitate what we see in real life and on screen," observes Kaliski, "and that's where we take our social cues from, our heroes. And our heroes aren't just Iron Man; our heroes are Julia Roberts in a romantic comedy. I think this initiative could create a massive shift ... which is crazy to say, but I think it has that potential."

For Kaliski, that massive shift began with his founding of the first-ever, greenproduct-placement company, Good Planet Media. Good Planet places and integrates healthy,...

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GOOD PLANET MEDIA: sustainable, healthy and - ProQuest

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Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.

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Headnote

NEW YORK-BASED EARTH ANGEL EMELLIE O'BRIEN ON HER EXPERIENCES AS AN ECO SUPERVISOR

Making movies without making a mess" is the motto of eco supervisor Emellie O'Brien. The company she co-founded, New York-based Earth Angel Sustainable Production Services, made The Amazing Spider-Man 2 the most eco-friendly tentpole movie in the history of Sony Pictures. Besides greening theatrical feature film productions such as Noah by Darren Aronofsky and Gods Behaving Badly by Jon Turtletaub, Emellie also makes a sustainable impact on prime time TV shows shot in New York City.

HOW DO YOU HELP PRODUCTIONS BECOME SUSTAINABLE?

I always tell crew members that I am a resource-not an enforcer. My approach is to make sustainability easy, engaging, and accessible. I do this through a variety of ways but mostly by being present. The crew responds more positively when they see that someone is actively monitoring the sustainability efforts and taking it seriously. I also offer incentives to crew members who go above and beyond to make the production more sustainable.

DO YOU SUGGEST WHAT IS PRACTICABLE FOR A SPECIFIC PRODUCTION?

I read the script and I meet with department heads, and I assess all of the practical/logistical concerns. When...

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How Film London supports the sustainable growth of the UK production sector

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How Film London supports the sustainable growth of the UK production sector

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Fostering international relationships between filmmakers, production companies and other industry colleagues is baked into the DNA of Film London.

It is a well-worn truism the British know how to cope with rainy days, but the UK film and high-end TV production industry has proved they can weather multiple storms. Despite challenges such as the Covid-19 pandemic and the UK's withdrawal from the European Union, figures published by the BFI Research and Statistics Unit in February revealed a record $7.05m (£5.64bn) film and high-end TV production spend in the UK in 2021. And that growth is felt keenly in London, which has recently hosted a variety of shoots for features such as Cruella, Last Night In Soho and Boiling Point, and small-screen productions including The Crown, Killing Eve and Luther.

While London and the southeast of England are extremely popular shooting destinations, the city is also home to what Adrian Wootton, chief executive of Film London and the British Film Commission (BFC), describes as an "industry concentration" of essential services such as legal, insurance, finance and sales agents. "We are one of the most important production hubs on Earth because of all of these interrelated services, suppliers and talent," says Wootton. "We want to make sure that it is all as frictionless as possible."

To achieve this, Film London hosts initiatives such as the Upstream IP market (held annually in February) and the Production Finance Market (PFM), returning October 11-12 this year. They are designed to work in tandem to connect filmmakers with content and financiers.

"Upstream is our steadily growing early-stage IP market," says Helena Mackenzie, head of inward investment and business development at Film London."Our aim is to find fresh, innovative IP which, in the right hands, can be developed into film or TV productions.

"When those nurtured projects have been developed further, and producers are actively looking for finance and/or sales representation, the next stage would be the PFM," says Mackenzie. "We...

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How Film London supports the sustainable growth - ProQuest

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Fostering international relationships between filmmakers, production companies and other industry colleagues is baked into the DNA of Film London.

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The Sustainability & Film Relationship

Sustainability is important to every industry, especially film, as each production (with an average $70 million budget) produces a carbon footprint of 3,370 metric tons . With increasing global awareness and accountability of companies' impacts on climate change, reducing waste and carbon footprint takes precedence. Different TV productions have a varying impact on the environment, as shown in Figure 1. Certain factors can affect how much a production will emit, such as the number of cameras used to shoot an episode and having multiple filming locations. As these factors often increase with a larger production budget, so does the average carbon emission. This trend is presented in Figure 2. Both graphs exemplify that TV and film productions create an abundance of carbon emissions, significantly affecting the atmosphere. However, carbon emissions are not the only aspect of sustainability the film industry must focus on. Sustainable Development Goals (SDGs) provided by the United Nations (UN) show that practicing sustainability involves much more than climate change. While the film industry is making many strides towards greener productions, there are many issues that have yet to be addressed. Such issues include livable wages (), gender equality (), and responsible production and consumption (). These are a few of the most prevalent ways that the film industry can follow the path of sustainability per the UN guidelines.

Climate Action: COP26

COP26 (2021 United Nations Climate Change Conference) is a pivotal conference that took place between October 31 and November 12, 2021 in Glasgow, United Kingdom. During this conference, 200 nations gathered to talk about the Paris Climate Agreement (PCA) with a focus on climate financing and creating new and more ambitious sustainability goals. addressed that in order to meet the original PCA (2015), carbon emissions will have to be cut down at least 45% by 2030 to stay below the +1.5C goal. The outcome of this conference is a new deal called the Glasgow Climate Pact , which addresses the changes that must occur in order to avoid a climate disaster. Many countries made new goals to make the switch from fossil fuels to alternative energy, as well as 100 world leaders agreeing to end deforestation by 2030 . Other goals the new climate pact addressed was restoring and conserving habitats (ex. Amazon Rainforest), as well as collaboration between countries and their resources.

Numerous great ideas and challenges came out of COP26, showing that countries need to revise their own climate goals and reinvest in alternative practices that are hurting the environment ( ex. deforestation ). Every country must realize that in order to avoid what scientists are predicting, they will need to pool together resources and change their own goals on climate action. The film industry is no exception and will have to make greater strides towards sustainability in the next decade.

Productions: Large vs Indie Studios

Addressing differences between large and independent studios plays a large role in the path to sustainability for the film industry. Large film studios have a much greater impact on the environment, yet also have the resources to be more sustainable and set a precedent for smaller studios in the future. For example, large production studios are able to hire eco-managers or sustainability coordinators to help implement sustainable practices. On the other hand, independent films tend to be more sustainable for many reasons - the most influential is production size. Independent productions usually have a smaller budget films produced by studios such as Disney or Sony, meaning that they have less money and resources throughout the process. Emilie O'Brien , an eco-manager, states that most of the time, having a sustainable production relies on who is producing the film. Every film is able to practice sustainability with minimal change, but it all depends on who is in charge. Emilie is the co-founder of Earth Angel , and helps productions by monitoring and assisting in sustainable efforts on film productions.

""I always tell crew members that I am a resource - not an enforcer. My approach is to make sustainability easy, engaging, and accessible. I do this through a variety of ways but mostly by being present - the crew responds more positively when they see that someone is actively monitoring the sustainability efforts and taking it seriously.""

- Emilie O'Brien, Co-Founder of Earth Angel

Pioneers in Greening the Industry

Green Production Guide

Other aspects of the Green Production Guide include their Green Film School Alliance (GFSA). The GFSA is a collaboration between film schools across the country to integrate sustainable practices in film at an educational level. GFSA recently launched a program called , which is a collection of sustainable practices for every department on a production to follow in order to be considered sustainable. Having an area that focuses on education of sustainable practices follows another SDG about quality education and life-long learning. Education is another way organizations can work towards sustainability in the film industry.

There are similar companies based in and outside of the US that have similar missions to the GPG, but approach the subject in different ways. Some focus on providing eco-managers and other focus on the overall energy consumption patterns of the entertainment industry. Two notable organizations that also engage in this work are Sustainable Production Forum and Green Filmmaking .

Earth Angel

Green Film Shooting

Based in Germany, the Green Film Shooting focuses on the energy and resource consumption of all media outlets in Europe. Energy consumption is a much larger goal for them because it also means cost efficiency. Their website is also a forum where industry professionals can share ideas of how to combat energy consumption in media. Since Green Film Shooting addresses the whole media industry , it is important to note that this includes IT management, cinemas, commercials, and broadcast technology. While different from Earth Angels and the GPG, these sectors are still important, as they directly relate to the film industry.

Green Screen

Green Screen is another organization based out of the EU focused on helping create sustainable practices within the European film industry. Many of these organizations have similar goals, what differentiates them is mainly location and policies in place in their specific regions. Green Screen is partnered with eight different filming regions throughout the continent, some include Belgium, Romania, France, and Sweden. Since this organization is a part of the European Union, there are certain policies in place (not specific to entertainment) that Green Screen is working towards with their different partners around the continent.

Sustainably-Made Films & TV Shows

Addressing the harm that the film industry puts on the environment is an important step in changing norms and producing more environmentally conscious films and TV shows. The following list shows and films have been labeled sustainable productions, and are accompanied with an explanation as to how they achieved recognition of sustainability. While this is a non-exhaustive list, it shows similarities and differences between studios and how they approach environmental issues on set.

Call of the Wild (Disney, 2020)

The key areas during filming that made the most difference were the small changes around the set. Reusable water bottles were widely available throughout production. Avoiding single-use plastics saved the production $33,000. Another small change is proper food waste management . Leftovers were donated, saving 1,515 pounds of food from being thrown into a landfill. Production sites are often destroyed once filming is done, which is extremely wasteful. During this film, Disney made their Call of the Wild sets permanent for future use to avoid this. Lastly, since their many filming locations were considered long-term, the crew was able to use solar energy and electric powered vehicles throughout the production.

Amazing Spider-Man 2 (Sony, 2014)

The Amazing Spider-Man 2 was awarded the Green Seal by the Environmental Media Association, an organization that analyzes film submissions based on their sustainability practices on set. This award shows the public that the film industry can implement environmentally safe practices during the production process. As more films that receive this award are analyzed, it is clear that they share a commonality in the small changes they make. The Amazing Spider-Man 2 had a sustainability manager on set to support a sustainable production processes. One thing that made this film stand out was that their sustainability practices were documented on Twitter (@EcoSpidey) for audiences and fans to see.

End-of-filming sustainable accomplishments included redirecting 52% of materials , that would have otherwise ended up in a landfill, for reuse. The production made effort to save materials for future productions or for donation , adding up to 49.7 tons of materials. On set, there was a mandatory switch from single use plastic to reusable water bottles for everyone. Lastly, they donated 5,862 meals to local shelters during filming to prevent food waste. Overall, sustainability saved the film's budget around $400,000. These numbers show that planning for sustainability is not costly and is, in fact, quite easy when done properly.

Jurassic World: Fallen Kingdom (Universal, 2018)

Jurassic World: Fallen Kingdom was filmed in two different locations: the UK and Hawaii. Travel can add up to almost a quarter of total emissions of the average film production, which is why having two locations can be such a costly decision if sustainability is not being considered. However, this did not deter the production team from making those small changes to offset the carbon footprint from traveling.

First, all vehicles on set were hybrid in order to cut costs on fuel consumption (another area that greatly raises emissions ). Another way the crew was environmentally conscious was using LED lighting during 75% of filming. And previously mentioned, reusable water bottles and food management were two other ways the crew was able to practice sustainability. Food was donated to shelters in the UK and to local schools in Hawaii, saving up 145 kilos of food that otherwise would have been wasted. So far, there are trends throughout these three productions that show proper management and planning are key to environmentally friendly productions.

The Woman in the Window (Twentieth Century Fox, 2019)

Twentieth Century Fox partnered with Earth Angel for the production of The Woman in the Window to be sustainable. The organization helped create incentives to recycle and create less waste. With 86% of waste redirected from landfills, this film was the greenest production in the company's history. During the filming process, the crew recycled anything they possibly could, which led to saving 13 lbs of electronic waste and donating 86,000 pounds of materials by the end of production. Overall, 73% of waste was redirected from landfills and 17,000 lbs of food was donated to shelters. The film also practiced the use of hybrid vehicles and avoiding single-use plastic water bottles.

The Mandalorian (Disney, 2019)

The Mandalorian worked to be sustainable in a different way than most films nowadays. Instead of waste management and reusable water bottles, the crew used technology to avoid creating a large carbon footprint. By using virtual backdrops that fit the Star Wars universe, the crew was able to save money and time by not having to travel to all of the locations that Star Wars productions have used in the past. Although unforeseeable, it was immensely helpful during , as traveling became nearly impossible. Since no sets were built and traveling was not part of the production cost, its footprint was about 30 tons less than a production of similar size. Virtual productions are a technology that still needs to be explored (ex. Jungle Book and Lion King), as not many studios have used them before. Covid-19 may change this due to regulations that limit how many people can be on set at a time, making virtual stages more convenient.

""Today in our current lockdown situation, people can be in different places, and we can network everyone together so they can be virtually in the same space and doing a virtual scout in a location that either never existed or they've never been before,""

- Rob Bredow, Senior Vice President and Chief Creative Officer at Industrial Light & Magic

What works

After analyzing the previous productions, there are clear trends throughout their processes that helped them be sustainable. Partnering with different green organizations such as Earth Angel and The Green Production Guide has helped studios learn and implement sustainable practices with greater ease into their film sets. One constant between all of the productions is proper planning. By slowing down and focusing on proper management of materials, studios are able to save money ( ex. Amazing Spider-Man 2 ) and materials from going to landfills. Many of the changes stated above seem minute in the grand scheme of an entire film production, but it shows that these small changes make a large difference in their carbon footprints and emissions.
The most important component of a sustainable production is the crew being committed to changing their habits and working towards the same goal. Emilie O'Brien states that it can be difficult to have people change their habits, but if an eco-manager is on set, it shows that they are wanting to change. Additionally, since larger studios are creating the most waste, it is important that they acknowledge their impact and work to change their practices. One example of this are "Sustainability Statements," which are usually found on most companies' websites. Some tend to be more ambitious than others ( vs ), which relates to the accountability issue raised at COP26. Many world leaders who attended COP26 believe that change will not happen until it is actually seen, which can also be said of large film studios in the industry.

remaining work to be done

During the COP26 conference, many leaders stated that collaboration is key to fighting climate change. Larger countries emit much more greenhouse gases than smaller countries, causing smaller countries to demand reparations for the harm that larger countries have caused at their expense. This inequity can be compared to the carbon emissions of large film studios and those of independent studios. Since climate change is a subject of vital importance, the best way to make the greatest changes is by working together. The same can be said about studios' resources. Most studios have recently been partnering with green organizations to work on reducing their carbon footprint , but they should also be looking into partnering with each other for their resources. This is outside of the norm in the entertainment industry, which tends to be fast-paced and extremely competitive with goals create as much content as possible. For example, Disney created permanent sets during their production of Call of the Wild that can be used for future productions, but they did not explicitly state if it could only be used for Disney productions or not. Collaboration between studios will be the next big step towards sustainability for the film industry to address.

The Paris Climate Agreements and the COP26 conferences help shine a light on what needs to be addressed immediately for the world to continue on. But hile climate action is one of the most important aspects of sustainability at the moment, there are many other aspects of the SDGs that need to be met in order to create a sustainable world. In order for the film industry to follow the United Nations Sustainable Development Goals (SDGs) by 2030, problems relating to wage and gender inequality pose a large barrier to true sustainability in the film industry and the world in general.

IATSE

Recently, the IATSE union local to Los Angeles held a regarding wages. Livable wages are an important aspect of having a sustainable world, and the film industry must address it immediately. This strike emulates how low pay wages affect industry professionals who have to have multiple jobs in order to make a living. Workers who have come forward saying they rely on family and friends for income because of how low their wages are in comparison to the cost of living. In a survey of 1,000 IATSE members , 79% said they were making below fifty thousand a year, which is considered rent-burdened in the state of California. The goal of the strike is to give higher wages for industry workers and to have longer turn-around between jobs. Turnaround refers to the amount of time between the end and beginning of a shift and the time between the workweek and weekend. For this particular IATSE strike, is to have a 10-hour turnaround for day to day and 54-hour turnarounds between work week and weekend. Wages are set to rise by 62% for the lowest paid workers by 2024, which will raise the quality of living for many industry professionals in the Los Angeles area.

Gender Equality

Gender equality is another important SDG to address in the film industry. Covid-19 has hindered gender equality in all industries, as every have stepped down to take care of their family, as opposed to 1 in 5 men who have done the same during the pandemic. In the film industry, only 14% of films were considered to have a cast that was gender-balanced as of 2019. Netflix in particular has released reports about investing in education for underrepresented groups in film such as women and BIPOC. This dives into not only the SDG about gender equality but also the SDG about quality education and life-long learning for all. This shows that there are plenty of ways the film industry should address sustainability other than climate action.

Film's sustainable future

There are many different ways that the film industry can work towards sustainability. Climate action is the most important of these issues, especially with being released via the COP26 conference and other goals including the UN's 2030 goal for SDGs. One key subject from the COP26 conference that should transfer to the film industry is collaboration. While great strides toward creating sustainably-made films during production have been made, collaboration of resources between studios can further this path towards waste reduction in the industry. Large film studios have the funds and labor to be more sustainable and therefore set a precedent for other studios to follow. There are also many resources through green organizations for studios to use to further their knowledge.

Currently, there are many great examples of green productions and more will follow in the future. Even with the pandemic, studios have been able to create sustainable productions via technology (ex. The Mandalorian) and proper planning. Covid-19 has shown that plan properly leads to increased use of sustainable practices, even if it began mainly to planning a production in order to follow Covid-19 safety protocols. There have been many pros and cons to the pandemic, but for the film industry, it has helped normalize sustainable practices on set. The future of the industry relies on holding studios accountable for their actions and carbon footprints, similar to the COP26 idea of large countries being accountable for their actions on climate change. Hopefully the next few years will show greater advancements in these ideals and practices of sustainability in Hollywood and worldwide.

+ References

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Al Jazeera. "Infographic: COP26 Goals Explained in Maps and Charts." Infographic News | Al Jazeera. November 04, 2021. Accessed November 29, 2021. https://www.aljazeera.com/news/2021/11/4/infographic-cop26-climate-summit-goals-explained.

Barnes, Brooks. "After Pandemic, Film Industry's Hollywood Ending May Have to Wait." The New York Times. March 07, 2021. Accessed November 29, 2021. https://www.nytimes.com/2021/03/07/business/box-office-hollywood-pandemic.html.

"Behind Every Film Production Is a Mess of Environmental Wreckage." VICE. Accessed November 29, 2021. https://www.vice.com/en/article/3kxjvk/behind-every-film-production-is-a-mess-of-environmental-wreckage.

Billen, Mark. "The Film Production Process: Step-by-step." FXhome. July 26, 2021. Accessed November 29, 2021. https://fxhome.com/blog/film-production-process-step-by-step.

Brodsky, Katherine. "Hollywood Studios Target Sustainability as Big Production Goal." Variety. January 29, 2020. Accessed November 29, 2021. https://variety.com/2020/film/spotlight/walt-disney-sony-nbcuniversal-hollywood-studios-target-sustainability-as-big-production-goal-1203482088/.

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Dennis, Brady, and Sarah Kaplan. "At COP26, Nations Speed Climate Action but Leave World Still Headed for Dangerous Warming." The Washington Post. November 14, 2021. Accessed November 29, 2021. https://www.washingtonpost.com/climate-environment/2021/11/13/cop26-agreement-climate-change-glasgow/.

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Einhorn, Catrin, and Chris Buckley. "Global Leaders Pledge to End Deforestation by 2030." The New York Times. November 02, 2021. Accessed November 29, 2021. https://www.nytimes.com/2021/11/02/climate/cop26-deforestation.html.

European Union. "Sustainable Development Goals Guide for the Filming Sector." Sustainable Development Goals Guide. European Union Development Fund. Accessed September 19, 2021. https://www.interregeurope.eu/fileadmin/user_upload/tx_tevprojects/library/file_1576852213.pdf.

Fuster, Jeremy. "IATSE Deal Gives Lowest Paid Workers 62% Raise to $26 Per Hour, Union Says." TheWrap. October 18, 2021. Accessed November 29, 2021. https://www.thewrap.com/iatse-deal-living-wage-hollywood/.

Gillett, Georgina Rannard & Francesca. "COP26: World Leaders Promise to End Deforestation by 2030." BBC News. November 02, 2021. Accessed November 29, 2021. https://www.bbc.com/news/science-environment-59088498.

Girkout, Alexa. "'The Amazing Spider-Man 2' Honored for Environmental Efforts." The Hollywood Reporter. April 04, 2014. Accessed December 09, 2021. https://www.hollywoodreporter.com/movies/movie-news/amazing-spider-man-2-honored-692925/.

"Green Film School Alliance: Green Production Guide." Green Production Guide |. August 16, 2021. Accessed December 09, 2021. https://www.greenproductionguide.com/gfsa/.

"Green Production Guide." Green Production Guide |. July 13, 2020. Accessed October 19, 2021. https://www.greenproductionguide.com/.

"Greening Production on Disney Film, "Safety"." The Walt Disney Company. December 15, 2020. Accessed November 29, 2021. https://thewaltdisneycompany.com/greening-production-on-disney-film-safety/.

"Green Screen." Interreg Europe. November 11, 2021. Accessed November 29, 2021. https://www.interregeurope.eu/greenscreen/.

"Go Behind the Scenes to See How "The Call of the Wild" Went Green on Set." The Walt Disney Company. June 05, 2020. Accessed November 29, 2021. https://thewaltdisneycompany.com/go-behind-the-scenes-to-see-how-the-call-of-the-wild-went-green-on-set/.

Heidsiek, Birgit. "At Cannes, New Innovations for Green Production in the Spotlight." Cineuropa, July 21, 2021. https://cineuropa.org/en/newsdetail/408044/.

"Home." Green Filmmaking. November 06, 2019. Accessed November 29, 2021. https://greenfilmmaking.com/.

"Home Page: Green Production Guide." Green Production Guide |. November 11, 2021. Accessed November 29, 2021. https://www.greenproductionguide.com/.

Hub, IISD's SDG Knowledge. "Guest Article: How the Film and TV Industry Is Working Towards Sustainability: SDG Knowledge Hub: IISD." SDG Knowledge Hub. November 4, 2020. Accessed October 19, 2021. https://sdg.iisd.org/commentary/guest-articles/how-the-film-and-tv-industry-is-working-towards-sustainability/.

Hub, IISD's SDG Knowledge. "2021 Production Gap Report: Net-Zero Pledges Not Reflected in Fossil Fuel Production Planning: News: SDG Knowledge Hub: IISD." SDG Knowledge Hub. October 25, 2021. Accessed October 26, 2021. https://sdg.iisd.org/news/2021-production-gap-report-net-zero-pledges-not-reflected-in-fossil-fuel-production-planning/

"Inclusion Takes Root at Netflix: Our First Report." About Netflix. Accessed December 09, 2021. https://about.netflix.com/en/news/netflix-inclusion-report-2021.

Keilbach, Judith, PhD. "How Can We Make the Dutch Film Industry More Sustainable?" Universiteit Utrecht. June 04, 2021. Accessed September 12, 2021. https://www.uu.nl/en/news/how-can-we-make-the-dutch-film-industry-more-sustainable

Lee, Janet W. "How 'The Mandalorian' Creators Reduced Production Footprint Through Technology." Variety. September 25, 2020. Accessed November 29, 2021. https://variety.com/2020/tv/news/the-mandalorian-variety-sustainability-series-1234783200/.

Lidz, Franz. "As Earth Warms, Old Mayhem and Secrets Emerge From the Ice." The New York Times. November 02, 2021. Accessed November 29, 2021. https://www.nytimes.com/2021/11/02/science/climate-change-archaeology.html?campaign_id=190&emc=edit_ufn_20211103&instance_id=44497&nl=updates-from-the-newsroom®i_id&segment_id=73423&te=1&user_id=bdd5221f84b06945290ef88d77bb4d93.

Low, Elaine. "Living Wage Effort Continues Ahead of IATSE, AMPTP Contract Talks." Variety. July 15, 2021. Accessed November 29, 2021. https://variety.com/2021/tv/news/living-wage-local-871-iatse-1235016313/.

Ranniger, Gwen. "Ocean Plastic Pollution." EHN. November 15, 2021. Accessed November 29, 2021. https://www.ehn.org/ocean-plastic-pollution-2654378379.html.

Sáez, Cristina. "Eco-Friendly Practices in the Film Industry." CCCB LAB. February 07, 2019. Accessed October 19, 2021. https://lab.cccb.org/en/eco-friendly-practices-in-the-film-industry/.

Says:, Maura Klein, and Name *. "The Girl with the Green Hand." Green Film Shooting. February 06, 2015. Accessed November 29, 2021. https://greenfilmshooting.net/blog/en/2015/02/06/the-girl-with-the-green-hand/.

"Seven Charts That Show COVID-19's Impact on Women's Employment." McKinsey & Company. April 20, 2021. Accessed October 19, 2021. https://www.mckinsey.com/featured-insights/diversity-and-inclusion/seven-charts-that-show-covid-19s-impact-on-womens-employment.

"Social Responsibility." Environment. Accessed December 09, 2021. https://www.sony.com/en_us/SCA/social-responsibility/environment.html.

Spangler, Todd. "Hollywood Studios Release Carbon-Emissions Report, Showing Wide Variance Among Productions (EXCLUSIVE)." Variety. April 01, 2021. Accessed November 29, 2021. https://variety.com/2021/film/news/sustainable-production-alliance-carbon-emissions-report-1234942580/.

"Sustainability." About Netflix. Accessed December 09, 2021. https://about.netflix.com/en/sustainability.

Sustainable Production Alliance. "SPA-Carbon-Emissions-Report." Sustainable Production Alliance, March 1, 2021. https://www.greenproductionguide.com/wp-content/uploads/2021/04/SPA-Carbon-Emissions-Report.pdf

"Sustainable Production Forum: Greening Film and Television." Sustainable Production Forum | Greening Film and Television. Accessed November 29, 2021. https://www.sustainableproductionforum.com/.

"THE 17 GOALS | Sustainable Development." United Nations. Accessed October 19, 2021. https://sdgs.un.org/goals.

"'The X-Files' Returns for Season 11 and Continues to Break New Ground in Sustainable TV Production." Green Production Guide. Accessed October 28, 2021. https://www.greenproductionguide.com/wp-content/uploads/2020/06/XFiles-S11.pdf.

"Twentieth Century Fox Goes Green Behind the Scenes of Upcoming Drama Film "The Woman in the Window"." The Green Production Guide. Accessed November 12, 2021. https://www.greenproductionguide.com/wp-content/uploads/2020/06/Woman-in-the-Window.pdf.

"Union Seeks Hollywood Ending for Film Industry's Tale of Exploitation." The Guardian. September 07, 2021. Accessed November 29, 2021. https://www.theguardian.com/us-news/2021/sep/07/hollywood-film-industry-union-wages-conditions.

"What COP26 Did and Didn't Accomplish." Council on Foreign Relations. November 15, 2021. Accessed December 09, 2021. https://www.cfr.org/in-brief/cop26-climate-outcomes-successes-failures-glasgow?gclid=Cj0KCQiA-qGNBhD3ARIsAO_o7ynV5qciB2qkkYJEx2K3k6DkoempY5EE0dbFW2uSyAi0uAWvN2RD-ecaAnWDEALw_wcB

Tagged: Film, sustainability, public policy, environmental change, Advocacy, climate change

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The Impact of Emerging Sustainable Practices in the Film Industry - AMT Lab @ CMU

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Sustainability is important to every industry, especially film, as each production (with an average $70 million budget) produces a carbon footprint of 3,370 metric tons . TV and film productions create an abundance of carbon emissions, significantly affecting the atmosphere. However, carbon emiss

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As the lead body for film in the UK, we embrace best practice and take seriously our responsibility to co-ordinate a UK-wide sustainability strategy for all parts of the film sector.

The BFI undertakes work with external experts to support vital research in this area.

Research and reports

Commissioned in 2019, the purpose of A Screen New Deal is to share innovation and knowledge. As film and television production restarts following a worldwide shutdown as a result of the COVID-19 pandemic, there is an opportunity to look at introducing new ways of working on set and on location, consider our approach to materials and resources and learn how innovation is working for other industries. The report sets out a route map for positive action to achieve sustainable practices that support wellbeing, environmental restoration and economic prosperity.

The report is a collaboration between the BFI, BAFTA albert and leading global engineering and design firm specialist Arup. The project was funded through the BFI’s Research and Statistics Fund, which is supported by National Lottery funding.

Climate science shows that we need to not just reduce our impact but exchange it for positive impact. Profound change is required. For its size, the film production industry produces significant emissions and requires systemic change to reach net zero carbon emissions and to be environmentally sustainable.

Our evidence review ‘Green matters — Environmental sustainability and film production: an overview of current practice’ provided a snapshot of UK film production activity and the kinds of levers that could help change behaviour in production. ‘A Screen New Deal: a route map to sustainable film production’ takes that work further, outlining an alternative vision for the future of film production that acknowledges the importance of change across all aspects that influence physical film productions. It looks at 5 key areas: production materials; energy and water use; studio buildings and facilities; studio sites and locations; and production planning. Case studies from other industries that could be adapted to work for the film production industry are also explored.

BFI and industry

Our commitments:

Supporting BAFTA’s albert* guidance and initiatives for greater sustainability in the UK film, television and games sectors

A requirement that all productions which receive BFI funding must complete and submit a BAFTA albert* carbon calculation on completion of the project

We are also joining other major arts organisations in recognising and voicing our commitment on this globally important agenda by declaring a climate emergency. You can find our full declaration here. We are supporting Culture Declares Emergency and looking at how we can build on our work to date (see pdfs below) by making further improvements across our own operational activities, to put it centre stage in our role as a cultural leader, and in supporting and working with industry.

* BAFTA albert is an online resource for the film and television industries to take action on environmental sustainability. It includes a calculator to estimate the carbon footprint of a screen production.

BFI domestic — annual targets

We monitor and measure the carbon generated by BFI activities and reporting the results annually to DCMS. We review our own sustainability targets annually and in 2019/20 these will cover:

Waste management – we are refreshing guidance to staff on the use of recycling streams and maintaining our zero to landfill policy

Energy – our energy consumption in absolute terms continues to fall year on year. We are currently trialling the overnight shut down of air handling units at our Master Film Store to further reduce our energy usage

Renewable energy – we are committed to using renewable energy to power our properties

Resource consumption – we are looking to replace the use of paper towels at our head office with energy efficient dryers. In the first year this will achieve carbon savings, but will be less impactful longer-term as the national grid moves away from fossil fuels

Biodiversity – we have partnered with local beekeeping trusts and now have four hives based on our sites. The BFI National Archive in Berkhamsted, Hertfordshire is using bee-friendly planting to improve invertebrate biodiversity

Bicycles – we have cycle shelters at all sites and staff have free access to Santander bikes for travel between sites.

Further information

Contact us for more information about sustainability at the BFI.

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As the lead body for film in the UK, we embrace best practice and co-ordinate a UK-wide sustainability strategy for all parts of the film sector, including the publication of research and reports.

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Sustainability in Film Production | Mo-Sys Academy

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The film industry consumes significant resources, but tech is helping to make it greener. Read about how the film industry is becoming more sustainable.

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A landmark BFI study has called for the film industry to step up attempts to address its environmental impact - including the possible mandatory reporting of carbon emissions.

"It is clear that resource consumption and associated carbon emissions are underreported by productions, and in some cases not reported at all. The industry needs to take significant steps to change this," concludes A Screen New Deal, the first wide-ranging survey since a 2006 UCLA study that has so far been virtually the sole yardstick for the sector's ecological toll.

Blockbuster films with budgets of over $70m (£53.5m) produce an average of 2,840 tonnes of CO 2 per production, the new report reveals - a figure equivalent to the amount absorbed by 3,700 acres of forest in one year.

Devni Acharya, senior consultant on the circular economy at Arup, the company that conducted the research for A Screen New Deal, says that an accepted standard for measuring a production's footprint is still lacking. "The first step is to creating a consensus for reporting [emissions], and the second step is perhaps to make it mandatory," she says. "But there's a few steps before we get to that point."

The study, produced in collaboration with the Bafta-led consortium behind carbon calculator Albert, gathered data from 19 tentpole productions in the US and the UK, related to two different production companies, and interviews with 50 people from across the industry. But this data was anonymised; even for Arup, not just in terms of what was published, demonstrating the continuing reluctance within the industry to be fully accountable for the ecological side. Accusations have followed from this that current sustainability practices amount to nothing more than greenwashing.

Around 51% of emissions were related to transport, the report found, with 30% of that accounted for by air travel and 70% by land. The rest was due to energy consumption, with 34% of the average blockbuster's CO 2 emissions going on mains electricity and gas, and 15% on diesel generators.

The report is restricted solely to film production - and does not account for later stages in a film's life cycle, such as distribution. With the current exponential demand in streaming video - responsible for producing 300m tonnes of CO 2 in 2018, approximately the same as the national output of Spain - there is growing concern around its ecological cost.

Acharya says the report focuses on production in order to provide the best possible blueprint for change in this area - and is hopeful this will happen. "I feel very optimistic, especially at this point in time," she says. "Nations and specific industries are all talking about a green recovery, and we have a really unique opportunity to create change in the industry from here onwards. I hope the report provides real direction for that."

Many of the report's recommendations on digital production processes, such as use of collaboration platforms for planning schedules and even shooting scenes, have already seen increased uptake during lockdown and as global film production resumes. The Russian production company Bazelevs has been promoting its platform Screenlife, which allows directors to stage drama inside a panoply of text browsers and video chat windows. In the UK, footage horror Host, shot using remote methods, has been a critical success.

As well as such digitised methods, the report gives recommendations and case studies for sustainable practices in four other areas of film production: production materials, energy and water, studio building and facilities, and studio sites and locations. This guide has been designed to allow film-makers to address their ecological impact in a more systematic way that has so far been attempted.

Many film productions currently employ eco-consultants to ensure their set is run on ecological lines, through the likes of recycling production materials. But their effectiveness is often limited, as the report points out: "In reality, the people appointed to these roles often lack the agency to integrate with the decision-making power of production managers, who perceive their recommendations as an imposition."

"One way to empower eco-consultants is to get them involved in the pre-planning phases, where key decisions are made: the sets to be constructed, how supplies are procured, locations," says Acharya. "Getting them involved from the beginning where they can change those decisions would be really great."

The report expands on a previous BFI study, Green Matters, but such panoramic overviews remain rare, partly because of the difficulty of auditing a secretive industry. The €2m European Green Screen initiative, which ends this year, offers advice on good practice, but has not attempted to comprehensively measure the footprint of film production on the continent.

The 2006 UCLA study estimated that Hollywood produced 15m tonnes of CO 2 annually - though the industry has grown considerably since then.

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BFI study calls on film industry to urgently reduce emissions

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A landmark BFI study has called for the film industry to step up attempts to address its environmental impact - including the possible mandatory reporting of carbon emissions. "It is clear that resource consumption and associated carbon emissions are underreported by productions, and in some cases not reported at all.

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The cinematography of The Revenant captures the splendor of epic, frozen landscapes, and also the tough conditions of survival - and filming - in such a frigid environment.

The Revenant was primarily filmed in Alberta, Canada. The 11 months of shooting were notoriously complicated.

Mexican director Alejandro González Iñárritu ( Birdman, Amores Perros) was very clear from the beginning: it would not be a green-screen production; 93% of the movie takes place in exterior locations.

All actors are happy having hot tea and relaxing in a studio between shoots. This would not be the case in The Revenant: the filmmakers were looking for remote locations to give the feel of wilderness in snowy virgin conditions.

The weather was a major issue for this project. At first, The Revenant was only to be filmed in an extensive area near Calgary in Alberta, plus a scene shot in the neighboring state of Montana in the USA. However, due to the lack of snow, the production had to move to the southern tip of South America in Argentina.

Welcome to the most complete guide to the filming locations of The Revenant that you can find. Contains no spoilers!

Image by
Most of The Revenant was filmed in Kananaskis Country, an area of parks and reserves in the Canadian Rockies situated west of Calgary. The scale of the landscapes is overwhelming.
Brendan Bell

The spectacular scenery of Alberta's Bow Valley can become an extreme place in winter.

Lead actor Image courtesy of Leonardo DiCaprio declared that, only in this movie, he had to do 30 or 40 of the hardest scenes of his career.
20th Century Fox

Image courtesy of 20th Century Fox and
The Revenant crew built the fort Kiowa in Dead Man's Flats near Canmore in Spray Lakes Road, with Castle Rock in the background.
Anne Elliott

The strange church in ruins, the frontier fort, the Pawnee village, and the mountain of buffalo skulls were sets built for the occasion on location.
Image courtesy of 20th Century Fox

Another added difficulty for this project was the will of the film director to shoot only in natural light.

Days are short during the winter season, and traveling to the distant sets took so much time that the team had only a couple of hours a day for filming.

Iñárritu commented that this is an incredible landscape, but the worst place for a producer to shoot a film.

A battle scene was filmed nearby in the Indian Morley reserve, part of the Stoney Nation.

The reserve is located along the Canadian Pacific Railway, between the scenic Trans-Canada Highway and the Bow River, pictured.Image courtesy of 20th Century Fox and
Cszmurlo

According to Screen Daily, a crane and horses were transported up to 8,000 feet to shoot a scene near Fortress Mountain Resort.

Some planes bombed the area in Fortress Mountain to provoke the avalanche featured in The Revenant.
Image courtesy of 20th Century Fox

Fitzgerald sees a meteorite streaking across the sky in the Badlands of Drumheller, located northeast of Calgary.
Image courtesy of 20th Century Fox and Mathew

In British Columbia, the Squamish Valley was used to film the sequence of the bear attack.

According to YVRShoots, the shoot took place near the river in Derringer Forest.

The scenes with the group of trappers walking, hunting, and setting a fire camp were also filmed here in the Squamish Rainforest, in a place called Shovehouse Creek.

Image courtesy of 20th Century Fox and Mike

Now we move to the Kootenai Falls near Libby in Montana, USA. The dramatic sequence filmed here took ten days to complete.

This is the same location as the 1994 film The River Wild with Meryl Streep. According to this local newspaper, the director of photography edited the background of the falls with footage of snowy hills filmed in Argentina.

The last scenes of The Revenant were shot on the southern tip of South America. The small Olivia river near Ushuaia (Tierra del Fuego, Argentina) was the unplanned final set to end such an arduous and challenging production.

Film director A.G. Iñárritu stated that he will never again make another movie like this, because "I am a crazy man, but not stupid".

NOTICE: If you're using this information on your website, please credit and link to this page as a source.
*****

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Filming Locations Guide: Where was The Revenant filmed?

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The cinematography of The Revenant captures the splendor of epic, frozen landscapes, and also the tough conditions of survival - and filming - in such a frigid environment. The Revenant was primarily filmed in Alberta, Canada. The 11 months of shooting were notoriously complicated.

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Movie sets- like this Hobbiton Village from Lord of the Rings- can transform natural landscapes into magical sets. Alastair Bull/AAP

The motion picture industry has come a long way since the silent movies of yesteryear. The use of CGI and special effects capture our imaginations, but have these reduced the environmental impacts associated with filming?

The recent release of Mad Max: Fury Road has rekindled discussion about damage to sensitive sand dune environments, reportedly caused during the film's production on the Namibian coastline.

The environmental credentials of the motion picture industry have been questioned before. Films set in natural environments, such as The Beach (2000), the Lord of the Rings trilogy (2001-2003) and The Hobbit trilogy (2012-2015), have all received scrutiny.

Real-world impacts

The overall impact of film production is a combination three key factors: scale, extent and duration. Scale refers to the local, regional, national or global context. Extent refers to the size of the impact, or the area being affected. Duration considers how long the environment will be exposed to any impacts.

Globally, the motion picture industry contributes directly to greenhouse gas emissions (GHG) through travel and other fuel consumption associated with productions. Research from UCLA shows that the GHG burden varies depending on the scale. This study revealed that the industry has a relatively high regional impact, but this is reduced at a countrywide level and compared with other industries.

Locally, direct environmental impacts of filming may disturb wildlife and habitats, through sound and light pollution, trampling vegetation, constructing sets and increasing waste generation. Film production impacts are typically considered and mitigated against through permitting processes.

In New Zealand the Department of Conservation has established a code of practice for filming on conservation lands. The Namibia Filming Commission manages filming permits in Namibia, and approved Mad Max with rehabilitation requirements for any environmental damage.

In Australia, Hollywood blockbusters - including Scooby Doo (2002), Peter Pan (2003) and San Andreas (2015) - are often filmed on the Gold Coast in Queensland. The facilities at Village Roadshow Studios and the range of natural environments are major drawcards.

Filming in City of Gold Coast locations is managed by the local authorities. New guidelines covering filming in conservation reserves were published in 2013. These guidelines prohibit access to some conservation areas, and all activities require prior approval, environmental impact assessments and plans to mitigate any potential impacts.

Dead Men leave no trace?

Filming is currently under way on the Gold Coast for Pirates of the Caribbean: Dead Men Tell No Tales (2017). What environmental impact is this production having, and how significant are these compared with other industries in Queensland?

While authorities tried to keep the locations of some of the filming under wraps, as a local it is hard to overlook massive production sets. Once locations are known, it is possible to quantify the footprint of these shoots using before/after satellite imagery.

The extent of the production footprint is about 7.4 hectares for the "pirate village" (the first set of images below) and 4ha for the "greenscreen" set (the second set of images). In both cases the landscape prior to filming could not be considered "natural habitat", and direct environmental impacts may be negligible. However, these are not the only impacts to consider - local residents may complain of sleepless nights from lighting or noise, and the waste generated.

A landscape with a thousand cuts

How then do these impacts compare with other land uses? To put the film industry impacts in perspective I made a quick comparison by producing similar before/after snapshots of the coal seam gas (CSG) industry and urban developments in Queensland.

Without getting into the controversy surrounding CSG mining, each CSG well site removes about 1ha of habitat. In Queensland there are more than 8,900 well sites, of which about 11% are producing gas. The exploration impacts of those not in use remain, and all up amount to almost 9,000ha, albeit not necessarily all in natural habitat. Roads used to access these sites are another impact on the landscape, and contribute to habitat fragmentation.

Urban development is another major land use that affects our natural environment. Residential expansion to accommodate burgeoning human populations often removes important wildlife habitat. While retaining habitat fragments and corridors in these new urban landscapes might mitigate some impacts, it also introduces others such as the potential for increased road mortality.

The film industry can and does impact the natural environment. Generally, these impacts are likely to be small in extent and duration when on location, particularly compared to other land uses. Mitigation requirements and habitat restoration following filming can reduce the negative effects.

Furthermore, the film industry also injects revenue into many economies and once filming is complete can boost tourism to areas, as visitors travel to see the locations they saw on the big screen. Of course increased visitation to protected areas may result in greater impacts to these areas, but that is a story for another time.

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Eats, shoots and leaves: what the movie industry does to 'location'

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The motion picture industry has come a long way since the silent movies of yesteryear. The use of CGI and special effects capture our imaginations, but have these reduced the environmental impacts associated with filming? The recent release of Mad Max: Fury Road has rekindled discussion about damage to sensitive sand dune environments, reportedly caused during the film's production on the Namibian coastline.

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THE State Government is investigating allegations the Pirates of the Caribbean production has illegally let toxic liquids flow into a Gold Coast creek.

THE State Government is investigating allegations that the production of Pirates of the Caribbean has illegally let toxic liquids overflow into an Oxenford creek.

Mukiri Productions Australia, the Australian company set up by Disney to oversee the film's operations, is facing a fine of up to $110,000 for the unlawful dumping.

Last night a company spokesman said he was not aware of the complaint, nor the investigation.

The complaint includes photos of alleged paint and chemical residues overflowing into the creek behind Village Roadshow studios.
CABARITA WOMAN STEALS KISS FROM PIRATE KING GALLERY: PIRATES OF THE CARIBBEAN ON THE GOLD COAST
Ducks are also seen swimming next to a chemical barrel allegedly dumped in the water.

A source who has been working on the Pirates set said the pollution was where painters, sculptors and special effects specialists washed their materials.

"There are portable washing stations where all the painters, sculptors, specialist technicians go and wash things out.

"It is a two-storey type of setup. You have a set of stairs up to a tank there. You wash your dirty water into a container at the bottom.

"That container can hold up to maybe 3000 litres of water or plaster or dirt.

"When these containers are full, a forklift picks them up and takes it to the tip.

"Sometimes they are allowed to overflow. So instead of changing it every week, they let it overflow for two or three weeks and the dirty water goes into the creek."

The source said he wasn't completely sure of all the chemicals in the water but said it included oil, acetone, paint, resin, polystyrene and expanding foam.

"We call it an environmental disaster, that's how we talk about it on the set. Most people don't care. If you question your job, you're fired."

The State Government's Department of Environment and Heritage Protection said depending on the nature of the potential contamination, the latest matter may be referred to the Gold Coast City Council for further investigation.

Water expert Dr Prasanthi Hagare said paints could be toxic, especially those with heavy metals.

"The level of toxicity depends on the concentration of these metals," she said.

"Polystyrene doesn't dissolve and it remains in the creek and creates problems in terms of the habitat like for the birds.

"They pick it up and swallow it ... they can get affected immediately."

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department of environment and heritage protection

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Pirates investigated for toxic waste dump

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THE State Government is investigating allegations the Pirates of the Caribbean production has illegally let toxic liquids flow into a Gold Coast creek. THE State Government is investigating allegations that the production of Pirates of the Caribbean has illegally let toxic liquids overflow into an Oxenford creek.

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The filming of the latest Mad Max action feature in the world's oldest desert has caused a major outcry, with environmentalists accusing filmmakers of damaging Namibia's sensitive ecosystem.

The Namibian government was delighted when the director George Miller chose to shoot his post-apocalyptic sequel, Mad Max: Fury Road, starring Charlize Theron, in its country, bringing in 370m Namibian dollars (£27m) to the economy, employing about 900 local staff, and paying 150m Namibian dollar in taxes.

The film, the fourth Mad Max feature, was shot in the Dorob national park, in the Namib desert, along southern Africa's Atlantic coast. Scientists estimate the area to be between 50m and 80m years old.

A leaked environmental report claims film crew damaged sensitive areas meant to be protected, endangering reptiles and rare cacti.

The independent researcher appointed to write the report, the ecological scientist Joh Henschel, says public consultation prior to filming was insufficient.

"It all happened without an environmental impact assessment," he said, "so it's difficult to assess the extent of the impact without a baseline."

Henschel said the decision to grant permission to film was made before the country's newest enviromental legislation was promulgated. This, he says, would have prohibited it.

He said the film crews had driven over untouched areas of the desert, and then tried to erase their tracks by sweeping the area smooth.

"They are doing the best of what they can do under the circumstances, but they can't undo the damage done, to the environment and their reputation," he said.

Henschel said the film studio had hired a scientific team of its own to deal with the situation.

The government-run Namibia Film Commission is concerned the negative publicity will damage its lucrative film industry.

Florence Haifene, the commission's executive secretary, said all the environmental requirements had been met. "We don't want a bad image painted of our country, especially when the allegations are unverified and untrue," she said.

In response to reports about the alleged damage, the commission placed a full-page advertisement in a state-owned newspaper denying the claims.

The coastal watchdog Nacoma (the Namibian Coast Conservation and Management Project) said the leaked report had been commissioned by the government in response to complaints during filming, but that it was just a draft that still needed to be finalised.

"[The leak] has been a bit of an embarrassment. It's difficult and premature to make judgments," said the co-ordinator Rob Brady. "It's still being reviewed by other scientists."

Brady said other films had been filmed in the same area before it was designated a national park. "But unfortunately," he added, "this is a type of film that is quite destructive, racing vehicles and such over different sites."

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Mad Max: Fury Road sparks real-life fury with claims of damage to desert

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The filming of the latest Mad Max action feature in the world's oldest desert has caused a major outcry, with environmentalists accusing filmmakers of damaging Namibia's sensitive ecosystem.

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February 2009
Click here to view or download a PDF of this report.

Report by:

Larry Engel,
Filmmaker and Professor, School of Communication, American University

Produced by:

Filmmakers for Conservation

The Center for Environmental Filmmaking,
American University

The Center for Meda & Social Impact,
American University

With funding from:

Support from:

And additional funding from:

The Center for Environmental Filmmaking,
American University

Welcome to the Code of Best Practices in Sustainable Filmmaking. This site currently contains the Code's Principles (see below) as well as its checklists, carbon trackers, and Web resources. These may be downloaded from the Code. We are working to create an independent website for this project, where we will provide comprehensive and interactive resources for those interested in sustainable filmmaking. Check back at sustainablefilmmaking.org for updates.
Feel free to reproduce this document in its entirety. To excerpt, employ fair use.
Throughout the writing of this code, we worked to minimize the energy and resources used. The writing and research were done almost exclusively without paper, and travel was almost eliminated through use of VOIP telephones, e-mail and file-sharing. Since print copies have been held to a minimum, we hope that you will circulate this code electronically.

The CO ₂ emissions created in the research, writing, and production of this code have been offset to Gold Standard.

INTRODUCTION

Filmmakers historically have played an important role in raising critical issues for society, including environmental threats from climate change and over-exploitation of resources. Increasingly, filmmakers have adopted pro-environmental practices in their own production. This code provides tools for filmmakers to measure whether their practices are as sustainable as they can be throughout the production process. Accompanying online checklists, trackers, and Web resources provide a summary of current approaches that implement that rationale.

We realize that this is only the beginning of doing business differently than the way we did it in the past. Currently most producers, broadcasters, and distributors do not acknowledge the true costs of environmental impact that arise from producing and distributing films. Nor is there yet an independent certification process, or board, for our profession as there are for other industries and professions. However, we believe that articulating current best practices and helping those in our field better estimate how our actions impact environment and climate are sound beginnings to a much larger discussion in, and beyond, our profession.

Inevitably, filmmakers create carbon debt with our work. However, as in other industry sectors, we can take action immediately to reduce consumption and waste in our profession; to educate peers, employees and interns; and to support policies that register the true environmental costs of production.

How This Code Was Created

This code is based on the results of a global survey of best practices in sustainable filmmaking, conducted by American University, involving more than 175 filmmakers and companies. The survey was aided by national and international filmmaking organizations, including Filmmakers for Conservation, the International Documentary Association, Real Screen, Women in Film and Video (D.C. Chapter), and the Producers Guild of America. In addition, author Larry Engel, assisted by faculty and students, conducted a number of interviews with leaders in the field and surveyed the Web. Finally, author Andrew Buchanan consulted a range of experts and also checked numerous Web sites covering sustainability and film and television production.

The code and associated materials were reviewed for scientific validity by experts in the field of climate change, carbon reduction, and sustainability (see Scientific Review Board). In addition, filmmakers from around the world reviewed it to ensure the information was both clear and relevant.

BEST PRACTICES

The premise governing the Code of Best Practices in Sustainable Filmmaking is to minimize the amount of resources used and carbon created-the current critical measure for climate change-in producing our own work. Therefore, we honor that premise by limiting print production of this code and by using the Web to distribute it, provide additional information, update documents, and encourage interaction. Our goal is to reduce the load we place on the planet and reach carbon neutrality-that is, to add no new carbon into the environment-both by decreasing our energy and materials consumption and by offsetting that which cannot be eliminated-that is, by funding entities or projects that add no carbon into the atmosphere, or what is commonly called "carbon offsetting." To do this in part, we need to calculate our carbon footprint-a measure of how much carbon is produced throughout a project's life or a company's work.

In addition we should also work to calculate and reduce our ecological footprint-a broader measure of how our activities use and affect the planet's environment and its resources. This footprint is a newer one than the carbon footprint and while gaining more attention in the scientific community, it is not yet fully established as a working tool. (We expect to include this measure online, when available and reviewed by our advisory board.)

ONE: Calculation

PRINCIPLE: Know how much energy we are actually using.

We can do this by calculating to the greatest extent feasible actual energy inputs, even when they are underpriced or not recognized in the market, throughout the production process.

Our best tool for long-term planning is good baseline information. We need to know how much carbon we are adding to the atmosphere to be able to measure success in reducing it. Therefore, good information on carbon costs, transparently shared with colleagues, employees, and trainees, is critical. Even if we cannot act immediately to reduce our carbon costs, we should identify them in developing our calculations and budgets.

LIMITATIONS: We often lack good tools to do these calculations. The science of calculating carbon costs is still emerging, and today's carbon and environmental trackers are in a constant state of evolution and refinement. Further, much of our work is done under contract to companies or clients with budgeting guidelines that do not acknowledge real energy inputs. Even when we cannot observe this principle, we should do our best to educate our colleagues about the production and accounting practices we think are the most helpful and responsible. Finally, many of our suppliers are not ready for carbon calculations. They need to know that we regard this as a high priority, and that we will choose alternatives if available. (Download our document How to Use Carbon Trackers," and for a partial list of carbon calculators download our Web Resources document here.)

TWO: Consumption

PRINCIPLE: Lower overall carbon debt and environmental impact by using less.

We can reduce consumption throughout the production process, from using re-useable water containers to buying in bulk to choosing minimalist packaging. We can build conservation into every production decision we make. We can involve our teams more firmly by incorporating their own best suggestions for minimizing waste, re-using and recycling material, and producing with sustainability as a core objective. (See Checklists)

LIMITATIONS: We are in a high-tech profession with fast obsolescence. Sometimes we need to invest in technology that is carbon-expensive in order to do the best work possible or work that our clients demand.

It can be difficult to identify the most responsible conservation practices and to balance priorities. For instance, to minimize recycling it may be wisest to use shared food containers; from a health perspective, it may be wisest to have individual containers. (And sometimes we can find new solutions, for instance requiring our staff to carry re-useable water bottles and dishes marked with their own names.)

To be effective, sometimes our work requires carbon-expensive choices such as glossy posters or eye-catching press kits. We need to understand those choices as carbon-expensive ones, while also understanding the requirements of our businesses.

THREE: Travel

PRINCIPLE: Reduce the carbon debt created through travel.

We can minimize and consolidate travel at every step in the production process, from trips to the supplies store to carpooling on the shoot to Internet conferencing in lieu of appearances at nonessential festivals. We can make travel costs a central feature of carbon-planning throughout our work process-for instance in deciding to hire locally, seek alternatives to jet travel, carpool or use mass transportation. (See Checklists.)

LIMITATIONS: The terms of our work often require face-to-face interactions, and we are (with luck) sometimes faced with a carbon-expensive choice, such as a transcontinental trip to pick up an award. We need to see these choices as the choices they are and to ensure that we make them only when we see them as critical to the health of our work.

FOUR: Compensation

PRINCIPLE: Since we cannot completely eliminate our footprint, we should compensate for it through organizations that offer a carbon reduction equal to our carbon production.

We can use carbon offsets (the chance to pay for an action by someone else that reduces the world's carbon footprint) as a last resort, after minimizing inputs everywhere possible. Carbon offsets are an important feature of becoming carbon neutral, since we inevitably produce a carbon footprint, however small.

LIMITATIONS: Many companies offer carbon offsets without proof of their reliability in delivering the reductions your money is supposed to buy. We should use reliable (Gold Standard) offsets that rely on acknowledged renewable-energy technologies, such as wind and solar. (For a partial list of carbon calculators and offsetters, download our Web Resources here.

These four principles do not exhaust the range of ways that filmmakers can reduce their carbon footprints, the ways in which we can let our example serve as a model, or the ways in which we can touch others with our concern. They reflect the most common areas in which filmmakers today are reducing their carbon footprint and taking the initiative to behave responsibly in the face of the environmental challenge. Filmmakers are discovering daily new ways to make contributions to meeting that challenge.

TOOLS FOR SUSTAINABLE FILMMAKING

This part of the code presents three sets of tools that help filmmakers put the code's principles into action:

* Checklists provide actions needed to create a sustainability plan.

* Carbon trackers allow individuals to track production activities that use energy and produce carbon emission and are meant to be used in conjunction with Internet carbon calculators.

* Web resources include environmental and sustainability-related URLs, carbon calculator sites, and suggested carbon offsetters, including Gold Standard ones that are recommended by WWF-UK.

We have provided instructions on how to use checklists and trackers, along with some sample checklists. Through comments and feedback, we look to regularly revising and improving them. Further, a FAQ section will compliment the code on our website.

The checklists and trackers may be downloaded as Excel documents or PDFs and used offline on local computers. Web Resources may be downloaded as a PDF.

Checklists

The idea behind the checklists is simple-to make it easier for you to assess and minimize your production's impact on climate change.

Complete the Principles and Practices Checklist first.

The Principles and Practices Checklist contains sets of actions needed to create a comprehensive overall plan to cut emissions and resource use. Download the entire checklist as a PDF or an Excel Document here.

Then choose one of two tracks: either the Basic Track or the Advanced Track.

* The Basic Checklist is meant for individual filmmakers and small production companies that are generally pressed for time.

* The Advanced Track is meant for those who have become comfortable working with the basic tools and for larger organizations where different people manage different parts of the process.
Choose either:
The Basic Track
The Basic Checklist is a simple 'one- stop' set of actions to cut emissions and resource use. It combines elements of the 3 more detailed checklists in the Advanced Track.

Download the Basic Checklist as a PDF or an Excel Document.

The Advanced Track
The Office and Preproduction Checklist - download it as a PDF or an Excel Document

The Location Checklist - download it as a PDF or an Excel Document

The Postproduction Checklist - download it as a PDF or an Excel Document

These three more detailed checklists consist of actions to cut emissions and resource use in the areas indicated by their names. They demand more time, but they allow more thorough and accurate information to be collected.

If you first choose the basic track, you may then decide for your next production to use the advanced checklists for your climate impact accounting.

Each item in the checklists has a "Yes" tick-box and a space for you to record what remedial actions you and your team are going to or did take.
Best practice is to do everything on the lists-but in the real world that's a very big task. Don't give up. Just do as much as you can, and try to do more on your next production.
Currently there's no certification scheme for sustainable production. However, best practice is to have your efforts become "sustainable monitored," so the checklists have an optional box for a reviewer to sign.

We are including all of the Principles and Practices Checklist below as an example of what the online checklists look like.

How to Use the Carbon Trackers

If you're planning to assess and/or offset a production's carbon emissions, it's important that you know what they are. The carbon trackers provide a way to keep track of your activities that create CO ₂.

We've provided two versions of the tracker. The first is a basic one for use by small productions or those short of time. The second is more advanced, and therefore more suitable for use by line producers and production managers on larger productions.

Once you have completed production, the figures collected in the tracker can be entered into an independent online calculator or one used by your chosen Gold Standard offset supplier. Alternatively, some offset providers might use your completed tracker as a basis from which they would do the calculations offline.
Best practice is to calculate the amount of emissions a planned production is likely to create; the tracker can help you do this. Then, when steps have been taken to reduce the emissions to the minimum, the tracker can again be used to assess the actual reduction of energy and resources used during the production's lifecycle.
At the moment, different offsetters have different online calculators. Many may not include all the elements included in the code's trackers, and all will have slightly different formats for inputting data. But whatever their format, an accurately completed code tracker should contain all the information you need to calculate your production's carbon footprint to an acceptable level of accuracy.

One important note: These spreadsheets only help you keep track of energy and carbon-related activities; they don't calculate your production's CO ₂ emission activities. This calculation must be done via online carbon calculators (download our list of Web Resources here). However, we are working to develop an online calculator specifically for television and film production.

Remember that doing even a few things to cut carbon emissions and resource use is better than doing nothing at all.

The Basic Carbon Tracker is a spreadsheet for recording energy and resource use by small productions. A small sample is below.

Download the Carbon Tracker as a PDF or as an Excel Document.

The Advanced Carbon Tracker is a spreadsheet for more accurate recording of energy and resource use, suitable for larger or more complex productions. Download it as a PDF or as an Excel Document.

Web Resources, Including Carbon Calculators and Offsetters

The list of Web sites provided on our Web site is not all-inclusive. Inclusion or exclusion does not mean that the Center for Social Media, the Center for Environmental Filmmaking, or Filmmakers for Conservation is endorsing or not endorsing a particular company or organization. Download our list of Web Resources as a PDF here.

SCIENTIFIC REVIEW BOARD

Paul Barton
Director of the Office of Environmental Sustainability
Monash University
Melbourne, Australia

Jack Cunningham, MSc
Head of Corporate Responsibility and Environment
ITV
London, England

Kiho Kim, PhD
Chair, Department of Environmental Science
American University, Washington D.C.

Krystal Rypien, PhD
Scripps Institution of Oceanography
Marine Biology Research Division
La Jolla, California

Jessica Santangelo, PhD
Director, Gladie Cultural-Environmental Learning Center
Cumberland Ranger District U.S. Forest Service
Stanton, Kentucky

Jennifer Witherspoon and Andy Wunder
Environmental Defense Fund New York, New York

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Code of Best Practices for Sustainable Filmmaking - Center for Media and Social Impact

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February 2009 Click here to view or download a PDF of this report. Report by: Larry Engel, Filmmaker and Professor, School of Communication, American University Andrew Buchanan, Producer Produced by: Filmmakers for Conservation The Center for Environmental Filmmaking, American University The Center for Meda & Social Impact, American University With funding from: The Ford Foundation Support from: WWF-UK [...]

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A single soundstage can lead to 4,000 hectares of deforestation, according to research from UCLA. This is due to the use of ‘lauan’, a lightweight plywood which is easy to work with, but often unsustainably harvested from rainforests. To put that in perspective, a common sports field is 1 acre in s…

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Green Shoots: Environmental Sustainability and Contemporary Film Production

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Green Shoots: Environmental Sustainability and Contemporary Film Production

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Green screen  environmentalism and Hollywood cinema (Ingram, David) (z-lib.org)

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The anthropocene - TJ Demos book T. J. Demos - Against the Anthropocene. Visual Culture and Environment Today

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Virtual production experts Final Pixel provide invaluable insight into the burgeoning world of virtual production.

Final Pixel’s Monica Hinden, Chris McKenna and Michael McKenna join Broadcast Tech editor Jake Bickerton to talk in-depth about what virtual production offers producers; the long list of advantages for filmmaking in an LED Volume stage; and the planning and approach required to maximise the potential of virtual production.

The Final Pixel team bring to life the world of virtual production through real-life examples, showcasing where they have worked with a wide range of clients across a variety of genres to create fully immersive environments that make great use of real-time, in-camera VFX.

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Safety and Sustainability 12th May 2022 @ The Media Production and Technology Show

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Safety and Sustainability 12th May 2022 @ The Media Production and Technology Show

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Join the First Option/ERM team in discussion with senior producers to examine the practical challenges of trying to ensure not only the safety, wellbeing and mental health of their crews, but also the social and environmental impacts of production.

Speakers

Paul Greeves, Managing Director - First Option Safety Company

Lynette Woods Reynolds, Line Producer

Andie Clare, Director of Production - Icon Films

Jonathon Bradbury, Head of Safety Services - First Option Safety Company

Susanne Baker, Partner Technology Partner - ERM

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Practical
Encompass the whole thing.
-Intro into set making
-The problems it causes
-The solution to the problems
-The problems with those solutions in the conclusion

Written
Can repeat myself from the doc.

Intro (300 words)

Chapter 1 (1000 words)
Size of the problem
- How sets are made or travelling to location
- The stats showing the problem comparing them to real world examples terms of carbon production
- Other important impacts such as waste and damaging the land

Chapter 2 (1000-1250 words)
Solutions
- Virtual production to combat travel co2
- Powering sets using clean energy
-Sustainable sourcing materials and Set end of life recycling, minimal waste
-Food alternatives and waste management
-Funding options. Environmental jobs/groups/checklists and benefits to sustainable productions such as cost-saving

Problems with solutions
-Virtual production green?
-Greenwashing, Carbon offset a scam?
-Getting people to transition is tough, people are set in their ways
-More grey areas?

Chapter 3 (750-1000 words)
- Analyse the doc, things it misses.
- Reflect on it as it was someones else.
- Critical review of it.

Chapter 4 (500 words)
Carbon neutral essay
- Why to make this work carbon neutral?
- Calculating the carbon costs.
- How i went about it?

Conclusion (300 words)

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Chapter 1 (1000 words, 200 per point)

Intro into how film sets are made.

Sets are built, on location, in a soundstage. People travel for filming across the globe.

Having an impact, Carbon cost.

How the impact of these are meassured and what it means.

What is the overall impact of this. Stats and examples comparing to real world usage.

How sets are specifically bad for the enviroment?

Soundstages

What are they?

Why they are used?

Land usage?

Linked to deforestation, materials used.

Shooting on location

Explain what that means and all the different kinds of location shooting.

Biggest issue will be the travel to the set from all the crew.

Getting the gear and materials to the set?

How they’re powered?

Material usage

Sets use a lot of raw materials to build stuff.

Wood, deforestation, other materials

Salt for snow maybe?

Explosives?

Car crashes etc and the waste for them?

Other Impacts such as damage to land etc

Mad max damanging lands

Toxic spills from pirates

Complaints from neighbours, noise disruption etc

Disrupt wildlife

Disrupt farms, causing animals to give birth early etc

Chapter 2 (1000 words, 200 per point)

Virtual Production

One of the key ways some production companies are working towords more sustainable set design practices is Virtual Production.

What is vitual pro, and why is it different/ better than green screen?

How its helping the cause?

What are some of the draw backs of virtual production, from a practical standpoint and environmental.

On set Logistics

Powering Sets

How sets are powered currently.

How it can be done better?

Food

Vegan alternatives on set, better waste management

Set waste, sourcing and recycling of materials

How sets can switch to sustianble wood sources etc

Use reycling and better waste management

Set Location

How use of thoughtful planning of locations can help.

Examples of storing the gear near the set to save on driving costs.

Government Help and Other Benefits etc

Eco groups to help

Eco Funding

Eco Jobs created

Can be cheaper

Can be Quicker prodcution

Greenwashing and Carbon offsetting

What is carbon offset?

Carbon offseting productions is simple and easy to do, easiest way to make carbon neutral

Always better to prevent than offset though. Planting trees takes years to get benefits.

Some carbon offset companies are a scam with no proof etc, look for carbon reducing offsets too.

Lead on to greenwashing, what is it?

Why might production companies do it?

Getting people to change?

Why changing the indistry is hard

The people who run it are set in there ways, why?

Why people struggle with change?

Chapter 3  (500 words)

Critcal Analysis of my practical work

Chapter 4 (500 words)

Making my work sustainable

Why should I?

How i calculate the costs?

How i went about it?

How i could do better?

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Practical
-Intro to sets
-Problems
-Solutions
-Brief Problems with solutions

Written
Chapter 1
-Why there's a problem at such scale

Chapter 2
-Problems with solutions, why wont they actually solve the problem if they're even implemented

Chapter 3
-Case studies of positive change

Conc
-Carbon neutral essay

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Documentary

The Problem

-Statistics of CO2 emissions from film production, then set design

-Sound stages linked to deforestation (wood use)

-How Sets are powered

-Traveling to set locations across the globe

-Energy use on set

-Food on set and waste

-Damage to land

The Solution

-Brief information on solutions

-Organisations

Written

The Problem

-Brief overview referring back to the video with some key stats

- Any other bits of information that didn’t make it into the video will go here

The Solution

-Powering the sets, clean energy or tap into the grid

-Virtual production

-Food alternatives and waste management

-Set end of life recycling, minimal waste

-Sustainable sourcing materials

-Funding options

-Environmental jobs/groups/checklists

-Benefits to sustainable productions such as cost-saving

Problems with solutions

-Greenwashing

-Virtual production green?

-Getting people to transition

-More grey areas

Examples of positive change

-Films that have good sustainable practices

-Carbon neutral companies

-Change is slowly coming

-Making this essay carbon neutral

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Set Designer or someone on the team?

Someone who works with Led Panels

Environmental film groups

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Cello music in

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Behind the scenes :  Mad Max : Fury Road

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The Revenant | "A World Unseen" Documentary | 20th Century FOX

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Where to now? Artists and climate change

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Where to now? Artists and climate change

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Anna Higgins, Saroj Patel, Heath Lowndes, Emily Steer

- Transport: biggest impact
- Where does the money come from?

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Join our panel of artists and campaigners as they discuss what role the future generation of artists have in tackling the issue of global warming and climate change.

Please note: this is an online event but capacity is limited

With climate change one of the major concerns of our time and a recognition that much more needs to be done, expectation seems to be that the environmentally conscious ‘next generation’ will address this crisis. Artists have been at the forefront of addressing the social and political issues of the moment, so how does this impact on the work and practice of the rising generation of artists? From subject to sustainable practices, what choices do the next generation of artists have in how they approach their practice? Do environmental concerns affect creativity and careers and how can the art sector encourage a more sustainable approach for the future?

In this online event, join artists Anna Higgins and Saroj Patel, Heath Lowndes (Gallery Climate Coalition), and Emily Steer (Elephant Magazine) as they discuss what role the next generation of artists could have in this challenge, and their responsibility to influence change through their work.

Anna Higgins’ image-based practice incorporates found archival and contemporary material that is abstracted and re-contextualized through methods of collage, painting and film photography to form new perspectives and poetic interpretations. Her recent solo exhibitions have included ReadingRoom, Melbourne and Mackintosh Lane, London, and was the 2021 Artist in Residence at the Australian Archeological Institute, Athens. Higgins is currently a student of the post-graduate program at the RA.

Saroj Patel creates intricately detailed, tactile sculptures which invite playful audience interaction. Working with a range of materials rooted in Indian traditions as well as found items such as bicycle wheels, she explores connections between people, animals and the environment. Recent exhibitions include ‘Observational Realities’ (2022) at Clifford Chance, London, which was part of her 2020 win of the Clifford Chance Sculpture Prize. She graduated from Central St Martins, London, with an MA in Fine Art in 2019.

Heath Lowndes is Managing Director of Gallery Climate Coalition, an international charity and membership organisation set up to provide sector-specific resources and guidelines on environmental sustainability. Heath is also a co-founder of PACT (Partners on Arts and Climate Targets), a global collective established to set standards and align targets amongst organisations working at the intersection of culture and climate action.

Emily Steer is the editor of Elephant, a magazine for modern life which explores how politics, the internet and creativity collectively shape our world. Elephant was the first magazine to join the Gallery Climate Coalition. Emily previously worked as online curator at Art Wednesday, and she has contributed to titles including Munchies, i-D, AnOther, Time Out and the Telegraph

There will be an opportunity for audience questions at the end of the event.

If you are unable to join at the time of the streaming, a recording of the event will be available to ticket holders in the weeks following.

The event will be accompanied by speech-to-text transcription courtesy of Stagetext.

● Fully booked

● Cancelled

Tuesday 12 July 2022

6.30 — 7.30pm

Online

£8 (£5 concession)

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Where to now? Artists and climate change | Event | Royal Academy of Arts

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Join our panel of artists and campaigners as they discuss what role the future generation of artists have in tackling the issue of global warming and climate change.

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0:00 / 58:36•Watch full video

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Sustainable TV Studio Production - Myth or Reality?

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0:00 / 1:23:27•Watch full video

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#TDF24 | How to Foster Sustainable Film Production for Documentaries: Challenges and Incentives