Green
matters
Environmental sustainability
and film production: an overview
of current practice
Bigger Picture Research
March 2020
2
Contents
5 Forewords
8 Executive summary
9 Research background
10 Key findings
11 Other future research options
12 1 Introduction
13 1.1 Climate change 101
16 1.2 UK feature film production
19 1.3 Cross-industry cohesion
20 1.4 Carbon footprinting
27 1.5 About this report
28 2 UK Feature film production activity
29 2.1 Sustainability in practice
31 2.2 US Studio-backed productions
36 2.3 Independent productions
40 3 Production studios and the film supply chain
41 3.1 UK infrastructure and services
42 3.2 Production studios
45 3.3 Supply chain
48 4 Advocacy and support for sustainability
49 4.1 Sustainability focused advocacy
50 4.2 Trade associations and representative bodies
52 4.3 Public bodies and support agencies
58 5 Discussion
59 5.1 Recap
61 5.2 Levers for change
3
Appendices
71 Appendix 1: Carbon footprinting and Certification
71 A1: albert
74 A2: PGA Green Production Guide and EMA Green Seal
80 Appendix 2: Green is Universal summaries
83 Appendix 3: US Studios, CSR and sustainability
89 Appendix 4: Green developments in UK production studios
96 Appendix 5: Dresd case study
97 Appendix 6: albert, PGA Green Production Guide, AdGreen,
Creative Carbon Scotland and Julie’s Bicycle
103 Appendix 7: Green Screen
105 Acknowledgements / About Bigger Picture Research
4
List of tables
16 1 UK feature production, 2018
21 2 albert carbon footprints and certifications
24 3 EMA Green and Gold Seal awards for
UK Studio-backed features
26 4 Environmental actions taken by NBCUniversal
UK Studio-backed features in recent years
46 5 Listings in the albert Sustainable Suppliers Directory
67 6 Five Levers for Change
72 A1 Albert certification scoresheet categories
73 A2 High scoring best practices
76 A3 EMA Green and Gold Seal Awards in 2019
76 A4 EMA Green and Gold Seal Awards for feature films, by studio in 2019
77 A5 PEACH (and PEACH+) scoring by department
78 A6 Top scoring best practices, PEACH
5
Forewords
In November this year, COP26, the UN climate change conference,
is taking place in Glasgow. World leaders will be under huge pressure
to agree formal commitments to tackle climate change, and all eyes
will be on the UK. Addressing the impact of the climate emergency
has never been more urgent globally and the need for action is
headlining government and social agendas.
The climate emergency is an existential issue for all of us, and all
industries have a role to play in fostering best practice and driving
behavioural change. But given the power of our artistic output on
screen, film and television, our industry has an even greater role to
play in influencing and forging shifts in the ways we relate to one
another and the world, in our values and behaviours.
Yet at the same time as a sector, we must acknowledge that
production can be wasteful and resource intensive; countering this,
professionals in all areas of the industry are seeking to create
positive change.
Our current strategic plan, BFI2022, recognises the lead role played
by BAFTA and albert, the industry-led consortium, to enable every
part of the screen industry to eliminate waste and carbon emissions
from production. Our partnership with BAFTA will support us as we
work within film and the creative industries to create a culture of
environmental responsibility, commensurate with the challenge
we face.
The BFI is committed to incorporating best practice in sustainability
across our funded activities. We also take the environmental impact
of our own operations seriously, and have recently pledged to work
towards reducing our own emissions to net zero. In October we
joined other major arts and cultural organisations in signing up to
Culture Declares Emergency.
As part of our commitment to deliver change, the BFI has
commissioned this overview of UK film production activity and
environmental sustainability to help support the sector reach net zero.
It documents and describes current practices to inform further steps
that can be taken in terms of policy and immediate interventions;
signposts good practice which should be shared more widely; and
includes comments from production professionals on experiences,
attitudes and the actions needed to make change happen.
6
Forewords
The key findings highlight a lack of consistent data monitoring of
carbon emissions across industry, without which it is difficult to
effect and monitor change; a lack of cohesion and coordination in
carrying sustainability best practice from production to production;
infrastructure upgrades which would be required to reduce the
energy consumption of studios; and the need for better signposting
to existing grassroots and regional organisations supporting
green production. The report strongly recommends fast-tracking
the collation of carbon footprinting data across a sample of film
productions to inform cross-industry efforts.
As a result of this research the BFI has set up a joint project with
BAFTA and the design, engineering and architectural specialists
ARUP to map the current film production eco-system in order
to provide a helpful source of information and knowledge on
more sustainable solutions for both studios and industry working
on location.
We hope that it will be just one of many initiatives produced by this
research; as we gain a fuller picture of the impact our industry has on
the living world, it becomes easier to target interventions and design
system changes that will drastically reduce our carbon emissions.
Please join us in this industry-wide drive for change.
Ben Roberts
Chief Executive, British Film Institute
7
Imagine walking on to location, silent except the sound of the crew.
Imagine walking into the studio, lights ablaze but air fresh and cool.
Imagine sitting in the production office, safe in the knowledge that
the only impact of the activity co-ordinated is cultural. Imagine it,
because it is where we are heading – powered by the wind and the
rays of the sun.
The journey ahead is a long one indeed, but one the industry
must travel down with great speed. And why not? Addressing
environmental sustainability in the industry is the single most positive,
unifying, exciting and necessary challenge laid before all those who
work in it. Furthermore, is the only possible way our industry can
move forward – sustaining creativity for generations to come.
The key to unlocking this version of the future is hope and
knowledge. Not a blind hope, but a steely determination and
a stubborn optimism. And the knowledge to speak with conviction
about the nature of our problems.
The pickle we are in is down to poor planning. No exit plan exists
for the majority of materials and resources that enter our industry.
Little consideration is given to the carbon emissions created from
generators, or where beautifully crafted props spend the rest of their
days. Fixing this is our principal challenge, and one that represents
a great opportunity for service providers, studios and facility
companies. For while production can create a swell of enthusiasm,
only those who provide services can deliver infrastructure change
on the scale that is required.
This transition is neither a story of sacrifice nor of duty. This is simply
about building an industry that works more efficiently, creatively and
collaboratively. We believe our future industry will exclusively contain
individuals and organisations who realise this, the others falling away
with the passing of time. See you on the other side.
Aaron Matthews
Industry Sustainability Manager, BAFTA
Executive
summary
9
Research background
The BFI commissioned this research to create a snapshot of UK film production
activity and environmental sustainability. In a relatively short fieldwork period
over the summer of 2019, the aim was to document and describe current
practices and identify future research opportunities.
Evidence-gathering involved desk research alongside consultation interviews with
20 experienced and well-placed practitioners and industry representatives including
Production Managers, Location Managers and Environmental Coordinators as well
as executives at production studios and supply chain vendors; trade associations/
representative bodies; and public agencies and local authorities.
‘Because of Extinction Rebellion and all those [crew] with
teenage children who are talking about it, it feels like it’s
easier to have that conversation about sustainability.’
Trade association source
‘Everyone [in film production] is working under pressure.
Everyone has to get their jobs done quickly and the set
turned around quickly. The priority is being ready to shoot.
Everything else is secondary to that.’
Production studio source
10
Key findings
A step change is needed in industry efforts to help meet the UK’s legally binding
carbon reduction commitments. Tighter regulation and obligations are likely in the
near future. Attitudes to environmental sustainability are changing in the film industry,
but current approaches lack strategic co-ordination. There is a risk of industry
disengagement unless messaging and support are in tune with corporate thinking,
and the commercial and practical realities of feature film production in the UK.
• The UK is transitioning to a carbon neutral economy but is not on target to its meet long-
term legal commitments. There is minimal regulation at present, and industry is left largely
to its own devices. Given the need to meet the UK’s legal obligations, this is likely to change
in the near future.
• Climate change is an issue of concern in the film industry and there is growing recognition
of the challenges posed. But it remains a low priority in the face of other commercial
pressures (including the squeeze on studio and crew capacity resulting from the current
production boom).
• In the UK, the albert Consortium (led by BAFTA) aims to unite the production sector
around a strategy to achieve zero-carbon, zero-waste. While albert has made significant
strides in raising awareness of sustainable practices and changing behaviour in the
television industry, more needs to be done to engage the film production community to
achieve zero-carbon, zero-waste.
• The situation is complicated by the fact that the major US studios who make films
in the UK use an alternative system of carbon calculation and sustainability certification
hosted by Production Guild of America (PGA). This overlaps with albert’s approach,
but there is no common standard and sustainability practices can vary widely from
production to production.
• This is exacerbated by the lack of publicly available data about the scale of the environmental
challenge facing those involved in film production and current sustainability practices.
Without hard data informing strategic planning and consensus-building, the film production
industry as a whole will struggle to gear its response in a way that manages continued
growth while taking proportionate and effective action. To address this, the report proposes
fast-tracking the collation of carbon footprinting data across a sample of film productions
of all sizes and types (including those currently using albert’s and the PGA’s carbon
calculators), for data modelling to inform cross-industry efforts.
11
Other future research options
Unilever’s Five Levers for Change model offers a simple but effective way of recasting
our understanding of the challenge posed by environmental sustainability and thinking
about future courses of action. In the first instance, this means considering what
factors stop industry practitioners from adopting a new behaviour (barriers); how to
get them to start a new behaviour (triggers); and ways to help them stick with the new
behaviour (motivators).
The present research highlighted some of the more notable barriers, including perceptions
around the additional time and costs involved; a tendency to stick with tried and tested
production methods, products and services; a general lack of awareness and low prioritisation
of sustainability; and limited green infrastructure and supply chain options.
Current understanding rests largely on data from the television industry, yet targeted action,
informed by the practical realities of different types of film production activity, is likely to be
more successful than general initiatives. Practitioners working at different levels in film
production, and within different departments, will face their own specific barriers, and require
different triggers and motivators to help overcome them. There may be common elements,
but bespoke support (including tools and resources) is more likely to succeed if it takes account
of the specific circumstances and challenges of each production role and department.
In view of this, the report closes by suggesting ways of framing appropriate research questions
(linked to the five levers for change) as the basis for building cross-industry consensus around
the kind of strategic planning and implementation envisioned by the albert Consortium.
Introduction
1
13
1.1 Climate change 101
1.1.1 Ever since The Climate Change Act (2008) passed into law, the UK has staked its
claim to be a leading player in the international fight against global warming.
1.1.2 The 2008 Act established the world’s first long-term, legally binding framework
to cut carbon emissions, requiring reductions of at least 100% by 2050. The UK is also
signatory to The Paris Agreement (2015), a wider legal commitment for the global
response to climate change.
1.1.3 Though doubters question whether the UK has set ambitious enough carbon reduction
targets (along with every other country), or is doing enough to meet present obligations,
the scale of the challenge within the current legal framework remains daunting. Every person,
every household, every group, every business, every organisation, every government and
every intergovernmental organisation is required to take concerted action if the dire predictions
of scientific consensus are to be averted.
2
Naturally, that includes every player in the global
film industry.
1
https://www.theccc.org.uk/tackling-climate-change/
2
See IPCC for details about prevailing scientific opinion on climate change (https://www.ipcc.ch).
3
Carbon budgets are targets set for five-yearly periods until 2032, which restrict the amount of greenhouse gas the UK can legally
emit each period. https://www.theccc.org.uk/tackling-climate-change/reducing-carbon-emissions/carbon-budgets-and-targets/
‘There is good scientific evidence to show the climate
is changing because of emissions of greenhouse gases
resulting from human activity.
The bulk of emissions derive from our demand for energy.
The largest contributor is carbon dioxide (CO2), emitted
when fossil fuels are burnt to meet those demands.
There are also other emissions attached to industrial
processes and agriculture.’
The Committee for Climate Change
1
14
1.1.4 The scale of the challenge has been forcefully articulated by The Committee for
Climate Change, the independent body established by the 2008 Act to advise government
and monitor progress against the UK’s legal obligations. While the UK is on track to meet
the third carbon budget for the period 2018-2022,
3
it is expected to fall short of the target
for 2023-2027 (which straddles the next BFI strategic plan period) and beyond. According to
the Committee, a significant step change in behaviour is required to get back on track:
1.1.5 Against this backdrop, the present report casts an eye over current practice in the UK film
production sector. It is based on desk research and consultation with industry representatives,
including the review of published statements and environmental policies, web sites, research
reports and other publicly available documents from UK and international sources; and
telephone interviews with experienced production crew members, production studio executives,
trade associations and representative bodies, public agencies and other organisations and
companies active in this area.
1.1.6 The research focus is deliberately narrow, looking at environmental impact in isolation from
other aspects including social and economic sustainability. There are good arguments for taking
a holistic approach to environmental, social and economic development, which lies at the heart
of the UN’s Sustainable Development Goals
4
, but for reasons of practicality the research takes
environmental sustainability as the main object of study.
1.1.7 Within that broad area of interest, particular attention is given to the challenge of climate
change and efforts to reduce greenhouse gas emissions, most notably carbon dioxide.
‘We talk in terms of carbon because it’s a unit that
everything can be converted into, no matter what type
of emission or greenhouse gas we’re talking about.’
Jo Coombes, Carbon Emissions and Production:
the Magic Numbers, APA, February 2018
‘Meeting future carbon budgets and the UK’s 2050 target
to reduce emissions by at least 100% of 1990 levels will
require reducing domestic emissions by at least 3% of
2018 emissions, that is 50% higher than under the UK’s
previous 2050 target and 30% higher than achieved on
average since 1990.
This is an indication of how substantial the step up in
action must be to cut emissions in every sector.’
The Committee for Climate Change
4
https://www.un.org/sustainabledevelopment/sustainable-development-goals/
15
1.1.8 So while other environmental impacts present legitimate cause for concern (e.g. air quality
and public health; plastic pollution in the oceans and marine protection; habitat degradation
and the conservation of biodiversity), this research has bracketed them in order to highlight
action around climate change (while acknowledging that these issues are inter-related, and
efforts to address, say, air quality by limiting diesel engine/generator use can also contribute
to carbon reduction).
1.1.9 Like all industrial processes, film production requires the input of energy, raw materials
(e.g. for construction and catering), and transport for travel and haulage. All of these can involve
carbon emissions linked to the use of fossil fuels and carbon-intensive technologies, as well
as yielding other environmental effects. Added to this, waste is inevitably produced throughout
the production process, which carries its own carbon load (e.g. used set materials and
redundant assets).
1.1.10 As such, the challenge facing film production, as for all other sectors, is taking the
necessary steps to reduce, reuse and recycle as much as possible while remaining a viable
business enterprise. The UK’s albert Consortium, led by BAFTA, has a suitably ambitious
goal in this regard:
‘The majority of the UK’s greenhouse gas emissions
arise from our production and consumption of energy –
whether that’s driving cars, manufacturing goods
or simply boiling a kettle. Emissions can be lowered
by becoming energy efficient and by switching to
low-carbon fuels. Both will be necessary to meet
UK carbon targets, along with action to tackle
non-energy emissions.’
The Committee for Climate Change
‘We’re working to unite the production industry
around a single strategy outlining the route to a
zero-waste and zero-carbon industry infrastructure [...]
The challenge facing the industry is how it can continue
to grow while shrinking its footprint, a trend already
underway in other industries.’
albert Annual Report 2018
16
1.2 UK feature film production
1.2.1 UK feature film production is booming thanks to inward investment features attracted to
the UK’s highly skilled workforce, its world-class studios and facilities and by a favourable tax
regime(and aided by the dollar exchange rate).
5
1.2.2 The latest BFI Statistical Yearbook observes that “[d]ue in part to a competitive tax
regime, the number of UK films receiving final certification has risen substantially over the
10-year period, 2009-2018. [T]he impact of the extended tax relief for film introduced in 2014
is evident, with the number of inward investment films shooting in the UK increasing from an
annual average of 37 (2009-2013) to 64 (2014- 2017)” (BFI Statistical Yearbook 2019).
1.2.3 These achievements are a source of considerable pride and admiration, both inside
and outside the UK. But there is a view that the UK has a particular responsibility for
environmental protection, by virtue of its historic relationship with US Studio productions
(as explained in 1.2.5 below):
1.2.4 To illustrate the character of UK feature production activity, consider the fact that in
2018 over 200 feature films were made, with total UK spend of £1.96 billion. Although inward
investment features numbered 53 that year (24% of the total), they accounted for two-thirds
(67%) of all UK feature production spend:
Table 1: UK feature production, 2018
Number of productions Value of UK spend (£ million)
Inward investment films 53 1,600
Domestic UK films 150 331
Co-productions 19 23
TOTAL 222 1,960 million
Source: BFI Statistical Yearbook 2019
‘The UK on the whole now holds a lot of responsibility
in paving the way with sustainability measures on an
international level. [W]e also have a good opportunity
to push the international film industry forward by
implementing new measures and systems that perhaps
other countries haven’t been able to do so far.’
Production crew source
5
The BFI defines an inward investment film as “one which is substantially financed and controlled from outside the UK and which
is attracted to the UK by script requirements (e.g. locations) and/or the UK’s filmmaking infrastructure and/or UK film tax relief”
(BFI Statistical Yearbook 2018).
17
1.2.5 Within these numbers lie some very large productions, backed by US studios:
3 features had budgets in excess of £30m, and 19 were classified as UK Studio-backed.
6
It follows that, in respect of feature films, inward investment features in general, and big-
budget US Studio productions in particular, are likely to be responsible for the largest share
of the UK production sector’s environmental impact due to the scale of shooting activity
involved (section 2.2 describes the range of sustainable practices currently undertaken by
UK Studio-backed productions).
1.2.6 That doesn’t absolve smaller productions, including UK domestic features, of their
responsibility to reduce carbon emissions, but it highlights the need for proportionate responses
across all types of production while pointing to where changes in approach could bring the
largest environmental benefits at a macro level.
1.2.7 Wider developments have already influenced the way production activity is organised and
delivered, and consequently its environmental impact. On the one hand, modern consumer
culture has become ever more reliant on disposability and built-in obsolescence, and film
production activity is not immune to the pervasive nature of its most visible manifestations, like
single-use plastics and throwaway fashion.
1.2.8 On the other hand, technology can drive efficiencies and reduce the use of consumable
items such as paper (e.g. paperless production office systems and online callsheets), as well
as enabling set-less production with a lower environmental footprint than construction-based
shoots (e.g. through the use of computer-generated scenery and motion capture).
1.2.9 Arguably the move from shooting on 35mm film to digital storage over the last decade or
so has had some beneficial environmental effects, although largely as a by-product of workflow
and technological developments and the draw of long-term cost efficiencies rather than the
drive towards carbon reduction.
6
UK Studio-backed = “UK film wholly or partly financed and controlled by a US Studio but featuring UK cast, crew, locations,
facilities, post-production and often UK source material” (BFI Statistical Yearbook 2018).
‘If you want to do anything about [sustainability] you have
to persuade people not in Pinewood, Leavesden
or anywhere like that, but in Burbank [...] The amount
of money we spend on indigenous British film is a drop
in the ocean compared to the total amount being spent.’
Trade association source
18
1.2.10 The current boom in shooting activity has consequences for the UK’s production
infrastructure. Capacity is being stretched, with studio space and skilled crew at a premium
leading to cost pressures. Skills shortages which have emerged through the production boom
are being addressed by the BFI’s Future Film Skills Strategy and ScreenSkills.
1.2.11 According to some of the well-placed sources consulted for this research, factors such
as this, which have an immediate commercial imperative, push environmental sustainability
lower down the priority list of key decision-makers.
1.2.12 This echoes the classic dilemma at the heart of sustainable development: how to reduce
carbon emissions while at the same time managing industrial growth and allowing businesses to
contribute to collective prosperity.
1.2.13 Production studios, facilities companies and other providers of products and services
in the film supply chain are at the sharp end of this challenge. While some environmental
regulations already govern the way suppliers conduct their business, the government has been
reluctant to introduce too many enforceable rules.
1.2.14 That is very likely to change in the near future, in order to keep the UK on target to meet
its legal obligations for carbon reduction. For now, the onus is on businesses in the supply chain
to decide how green to make their offer.
1.2.15 As commercial operators, many start from the position that new business models
and fresh investment can only be justified if there is demand for more environmentally friendly
products and services. In other words, if there is any compelling prospect of securing some
competitive advantage in the market and/or an appropriate return on investment.
1.2.16 Some businesses have taken a more proactive approach to environmental sustainability,
as part of their corporate social responsibilities or in direct response to government and local
authority policies (in the case of publicly owned and managed companies). In consequence,
there is little consensus about environmental sustainability and no uniform approach in the film
production supply chain.
‘My feeling is that sustainability is a low priority.’
Trade association source
19
1.3 Cross-industry cohesion
1.3.1 This lack of consensus reflects a broader point about cross-industry cohesion. Despite
the best efforts of the likes of the albert Consortium, the diffuse and diverse nature of film
production at different budget levels provide few points at which sustainable practices can
develop and take hold from production to production.
1.3.2 Added to this, the US Studios active in UK production have their own approaches linked
to the PGA Green Production Guide programme.
7
1.3.3 Given the particular character of the UK film production sector, it is difficult to establish
the type of institutional or corporate memory necessary to make the most of the Plan-Do-Act-
Check model at the heart of environmental sustainability management systems (even among the
relatively small number of larger, slate-driven production companies at work in the UK).
1.3.4 Factors that mitigate against this include the itinerant nature of the film production
workforce (made up largely of freelancers); the range of company structures operating in film
production, including extensive use of Special Purpose Vehicles (SPVs); and the varied nature
of funding and finance sources (in contrast with the more homogenous commissioning model
common in TV).
1.3.5 Although this research highlights many examples of good practice across the film
production sector, there is very little co-ordination (including between US-based and UK-based
industry initiatives) and this stems from the lack of cross-industry buy-in and ownership:
1.3.6 Recognising this, the albert Consortium has recently taken the view that the accumulation
of best practices at the level of individual productions is insufficient on its own to meet the scale
of the challenge the UK now faces. “Large strategic interventions” by key industry players are
now called for (albert Annual Report 2018).
‘Who is owning this plan of a zero-carbon industry future?
No one – that plan doesn’t exist at the moment, and no
one is telling people which bits to contribute.’
Representative body source
7
https://www.greenproductionguide.com
20
1.4 Carbon footprinting
1.4.1 One pre-requisite for cross-industry action is a firm grasp of the scope and scale of
the strategic challenges posed by climate change. There is little that can be achieved through
collective approaches without an informed view about the contribution of particular film
production activities to carbon emissions, and the cumulative impact of these across all
UK feature productions.
1.4.2 Without this, it is difficult to provide credible answers to a number of fundamental
questions that are essential for advocacy and consensus-building across the industry
(as well as for winning over individuals and businesses to take appropriate action on their
own productions):
• What is the contribution of feature film production to UK carbon emissions
in any given period?
• Is this contribution growing, and at what rate?
• What are the main drivers of film production’s environmental impact, and what
are the principal barriers to addressing them?
• What measures are most successful at reducing the impact of film production?
• Which actions are desirable, and which are essential?
• What scale of response is required to achieve any long-term, strategic goal for
the industry as a whole (whether this is zero-carbon, zero-waste by 2050 or
some other common target)?
1.4.3 That is why the two most commonly adopted, free-to-use industry programmes
supporting sustainable production in the UK (albert and PGA Green Production Guide)
have at their heart a suite of tools for carbon calculation (see Appendix 1 for an overview
of albert and PGA Green carbon calculators, and Appendix 6 gives details of their wider
industry programmes).
1.4.4 Taking the example of albert, the early carbon calculator tool developed in-house at the
BBC was intended to compare the environmental impact of different programme genres and
production activities, to see which areas had greatest impact.
1.4.5 Yet as one consultee for this research noted, “just because I weigh myself, doesn’t
mean I put myself on a diet.” That’s why certification and other ways of documenting,
verifying and recognising best practice achievements have been developed alongside
carbon measuring tools.
1.4.6 The original carbon calculator model has since been refined and extended but the
logic remains the same. Carbon footprinting during pre-production is used to identify the
largest contributors to carbon emissions, informing decisions about what action can be taken
to minimise or mitigate these. An equivalent footprint taken after a production wraps then
shows what effect these strategies had on actual emissions. This is instructive at the level of
an individual production, and it also holds the potential for gauging industry-wide impact by
collating individual footprints into a single dataset.
21
1.4.7 Over time, with enough records of individual productions at different budget levels and
involving the full range of shooting activity in studio facilities and on location, this aggregated
dataset can provide valuable insights into the effect of different activity (at every stage of
production and by different departments) as well as allowing macro trends to be observed.
1.4.8 The difficulty from a film perspective is the existence of a significant blindspot in the
carbon footprinting data record. albert has an extensive dataset going back eight years for TV
and commercials, but relatively few records for feature film production. This is illustrated by the
pattern of footprinting and certification over the last two years:
1.4.9 This is likely to change in time, as albert’s footprinting process is now mandatory for
BFI Film Fund supported projects (including production and completion funded feature
projects, BFI/Doc Society funded documentary projects and BFI Network supported shorts;
see section 4 for further details).
1.4.10 Meanwhile PGA Green’s tools (PEACH, PEAR and PLUM) are used extensively by all
the major US Studios, including on UK Studio-backed features, but data is retained in-house for
use only by individual Studios and not shared or pooled to create an aggregate picture.
1.4.11 There is little appetite among US Studios to adopt albert’s tools for their UK-based
productions, not least because the PGA Green system is used right across their US domestic
and international slates, and data for internal benchmarking and comparison has accumulated
over a number of years.
1.4.12 In the case of the present research, which draws on a review of desk research sources
and consultation with a wide range of industry representatives, two strident views come across:
1. Film production is resource-intensive and wasteful, and its environmental impact is large.
2. Steps are being taken by industry to address this.
Table 2: albert carbon footprints and certifications
Footprints Certifications
Film for cinema TV/other Film for cinema TV/other
Sept 2017/18 5 700 0 70
Sept 2018/19 4 1,400 1 200
Source: BAFTA/ albert Consortium
22
1.4.13 Most of those consulted believe more can and should be done to reduce film production’s
impact, but there are diverging views about what type of action is required, at what order of
magnitude, who should take responsibility, and how financing and business models should
adapt to facilitate this.
1.4.14 But because of the current blindspot in film-specific data, the exact scale of the
environmental impact of UK feature film production is currently unknown, and unknowable at
an aggregate level. Just as importantly, the precise effect of different carbon reduction measures
to mitigate or reduce this impact is also unknown and unknowable at a collective level.
1.4.15 If all film productions went carbon-zero and zero-waste overnight, and all future activity
was guaranteed to follow the same path, this would be a purely academic point. In such
circumstances, an open and transparent system of carbon measurement and tracking would
be redundant.
1.4.16 However, during this transitional period, where individual industry players and cross-
industry groups are grappling with decisions about if, how, where and when to channel time
and resources into action to help meet UK carbon reduction targets, an evidence-based
approach has considerable merit. Without hard data it is impossible for the film production
industry as a whole to gear its response in a way that manages continued growth while taking
proportionate and effective action.
1.4.17 Notwithstanding the above commentary, we are able to glean some useful insights from
available albert and PGA Green footprinting and certification reporting.
1.4.18 Drawing on its extensive TV and commercials dataset, BAFTA’s albert Annual Report
2018 states “there is no doubt that more productions are taking more action than ever [but] the
data does not suggest that we are on track to peak the sectors’ overall emissions from 2020 in
line with global expectations and requirements.”
23
1.4.19 The report helpfully identifies three key macro trends, with salutary implications for
industry efforts:
1. Industry-wide carbon footprint is increasing.
“There is little doubt that some of this can be explained through improved data recording,
but this alone is unlikely to explain how footprints have doubled in the last seven years.”
2. Impacts linked to electricity use are falling as the UK sees an increase
in renewable power.
3. Impact from travel is increasing, “specifically air travel”.
“The overall rise of 10% seen between 2016 and 2017 can be explained almost exclusively
through increased air travel.”
1.4.20 By analysing patterns within the albert dataset using variables including production
type, budget size, departmental emissions and type of production activity, the report also calls
attention to particular factors affecting environmental impact:
• “Larger production budgets result in larger carbon footprints”;
• “Productions with the highest shooting ratios are less carbon efficient”;
• “ The production office and transportation of people have a consistent impact across
all styles of programme making”;
• “When generators are used, they have large negative impact on the size of the
carbon footprint”;
• “The carbon impact of materials (sets, paper, construction) is relatively small in
comparison to the other impacts measured”.
1.4.21 Important though they are, these general points are based (in the most part) on TV and
commercials production. No equivalent, film-specific overview examining macro trends and the
role of particular factors in sustainable production activity is currently available.
1.4.22 The albert Consortium plans to continue upgrading its carbon footprinting tools,
including improved data analysis functionality. For example, there is presently no mechanism to
generate data on specific environmental actions taken by albert certified productions, showing
which are most commonly adopted and what impact they have. This is planned in due course,
along with other more powerful ways of interrogating the data.
1.4.23 Given the limited nature of public domain reporting, useful insights from PGA Green
footprinting and related EMA Green Seal awards are still harder to come by.
24
1.4.24 As a starting point, it seems safe to assume that all UK Studio-backed features use
PGA Green reporting tools. We know from EMA records published online that 14 feature films
receiving a Green or Gold Seal in 2019 were shot wholly or in part in the UK.
8
Of these, 11
(79%) achieved a Gold Seal award, and eight (57%) had a named Sustainable Production
Representative in their credits (see section 1 for more information about this role):
Table 3: EMA Green and Gold Seal awards for UK Studio-backed features
Film Studio EMA award
Sustainable
Production
Representative* Credit
Aladdin Disney Gold Aashish Gadhvi Environmental
Coordinator
Artemis Fowl Disney Gold Aashish Gadhvi Environmental
Coordinator
Dumbo Disney Gold Louise Marie Smith Environmental
Coordinator
Maleficent: Mistress of Evil Disney Gold Louise Marie Smith Environmental
Coordinator
Star Wars Episode IX Disney Gold Unknown Unknown
Fast & Furious Presents:
Hobbs & Shaw
NBCUniversal Gold Louise Marie Smith Sustainability Manager
Last Christmas NBCUniversal Gold Louise Marie Smith Sustainability Manager
The Voyage of Doctor Doolittle NBCUniversal Gold Unknown Unknown
Yesterday NBCUniversal Gold Elmar David Assets & Sustainability
Coordinator
Cats NBCUniversal Green Elmar David Assets & Sustainability
Coordinator
Downton Abbey NBCUniversal Green Unknown Unknown
Rocketman Paramount Green Unknown Unknown
Spiderman Far From Home Sony Pictures Gold Unknown Unknown
Wonder Woman 1984 Warner Bros Gold Unknown Unknown
Source: EMA, Bigger Picture Research
*Named credit on IMDb
8
https://www.green4ema.org/ema-green-seal-recipients
25
1.4.25 A Green Seal award is achieved by scoring 75 points out of a possible 200, and the
Gold Seal requires 125 points. Yet we cannot say by what means any individual production
achieved its score, or how UK Studio-backed features collectively fared against the list of best
practice actions contained in the PGA Green Production Guide reporting tools. As with the
albert system, there is no way of judging how widely carbon emission reductions vary between
productions scoring the same number of points.
1.4.26 Just as importantly, there is no way of knowing the size of the combined carbon footprint
of UK Studio-backed features in any given period, or what difference was made by the best
practice actions taken.
1.4.27 It is, however, possible to catch a glimpse of UK Studio-backed feature activity from
records published on the Green is Universal web site maintained by NBCUniversal.
9
Here, the
Studio publishes an overview of actions taken by its Green and Gold Seal awarded productions,
including those shot wholly or in part in the UK.
1.4.28 Appendix 2 summarises those actions taken on UK shoots for seven features awarded
a Green or Gold Seal in the last two years (Fast & Furious Present: Hobbs & Shaw; Yesterday;
Mary Queen of Scots; Johnny English Strikes Again; Mamma Mia! Here We Go Again;
Jurassic World: Fallen Kingdom; Darkest Hour).
10
9
https://www.greenisuniversal.com
10
There is no way of determining how comprehensive these summaries are, so they have to be taken at face value.
It is possible that additional actions were taken but omitted from public reporting.
26
1.4.29 Actions taken by these productions are listed in Table 4, with the most common
involving composting and recycling, reusable water bottles, use of 100% recycled paper
and the donation of unwanted food:
Table 4: Environmental actions taken by NBCUniversal UK Studio-backed features
in recent years
Action
Number of
features taking
action
% of
selected
features
Composting and recycling programme 6 86%
Reusable water bottles 6 86%
100% recycled paper used 5 71%
Catering team: unwanted food donations 5 71%
Wardrobe team: clothing donations 4 57%
Use of LED set lighting 4 57%
Use of biodiesel heaters 3 43%
Props and set dressing teams: unwanted asset donations 3 43%
Construction team: materials donations 2 29%
Using office and construction materials from previous productions,
or reclaimed period props
2 29%
Issuing crew green tips & competitions 2 29%
Digital distribution of scrips and schedules 1 14%
Use of hybrid cars for crew vehicles 1 14%
Transport: No idling policy 1 14%
Incorporation of environmental messaging on screen 1 14%
Using re-chargeable batteries 1 14%
Re-purposing sets after use 1 14%
Carbon offsetting 1 14%
Making other charitable donations 1 14%
Source: GreenIsUniversal.com, Bigger Picture Research
27
1.5 About this report
1.5.1 Each section in the remainder of this report looks at the matter of sustainability and film
production from a particular vantage point, picking up on the main ideas and themes outlined
above.
1.5.2 Section two looks at current approaches to addressing environmental impact made by
(a) UK Studio-backed features and (b) UK independent productions. This is followed in section
three with an overview of action taken by UK production studios and developments in the wider
supply chain.
1.5.3 Section four examines the issue of cross-industry cohesion from two perspectives:
what industry bodies and trade associations are saying and doing around environmental
impact; and the space currently occupied by public bodies and other support agencies.
1.5.4 The report closes with a summary of the main barriers to the wider adoption of green
production practices identified through desk research and consultation interviews. This is
brought to a conclusion with some preliminary thoughts on identifying possible levers for
changing behaviour as the basis for further discussion and research.
UK feature film
production
activity
2
29
2.1 Sustainability in practice
2.1.1 As the quote above indicates, the extent to which filmmaking engages in sustainable
practices varies from production to production and from company to company, but is
“definitely increasing” according to one senior production studio source. While sustainability
may be a relatively low priority in the film production sector, the issue appears to be
gaining traction.
2.1.2 In the absence of hard data to corroborate this view, a statement like this chimes with
much of the other consultation evidence gathered for this research, suggesting a plausible
basis in reality rather than just wishful thinking:
‘The practices on productions vary so much from film to film.
They’ve got different policies. They’ve got different people working
on them. They’ve got different positions and viewpoints.’
Production studio source
‘Some productions have different attitudes to others.
But on the whole people care a lot more.’
Production studio source
‘I certainly feel that crews are much more on side than
they were in the past.’
Production studio source
‘We’re definitely seeing an uptick in the number of people
who are interested [in sustainability]. The scope of
people that are interested has changed. Now it is not
just people who care about the environment, but people
from all departments. They all want to know that what
they are doing is helping in some way, or at least
is less harmful.’
Production studio source
‘From where I started, five or six years ago, it was very
much a push against the tide. But now, the last few
productions I’ve been on, quite a lot of people have
come up to me and asked questions about how they
can make their department greener.’
Environmental Coordinator source
30
2.1.3 Admittedly, these comments were made with reference to UK Studio-backed productions,
and it is harder to discern the growth (or otherwise) of sustainable practices in independent film
production, a point returned to below.
2.1.4 According to the albert Consortium, one thing that unites productions of all sizes is the
existence of a ceiling effect limiting their carbon reduction efforts. Analysis of albert carbon
footprinting data (mainly involving TV and commercials) shows that productions are only able to
reduce their carbon footprint by up to 20% before they run into factors beyond their immediate
control (whether shooting in studios or on location, and in the wider supply chain).
2.1.5 If this analysis is correct, the extent to which productions can unilaterally influence the
industry’s carbon emissions may be limited in scope, necessitating a joined-up approach with
production studios, supply chain companies and locations.
31
2.2 UK Studio-backed productions
2.2.1 There are no mandatory requirements on US Studios to operate sustainable production
practices in a particular way, either in the US or internationally. The Majors prefer to manage and
regulate their own activity in this area, collaborating with the PGA to design a common system
for recording sustainability actions while recognising good practice through the Environmental
Media Association Green Seal awards (see Appendix 1).
2.2.2 The approach taken by US Studios is driven by their publicly stated Corporate Social
Responsibility policies. The statements below give a flavour of the positions adopted by the
five largest global businesses with film divisions active in UK production, and additional details
of each Studio’s approach can be found in Appendix 3:
‘[US] studios are taking more of an interest in their
own targets.’
Production studio source
‘Our filmmakers change, our crew members change.
The city that we’re filming in changes, that means the
vendors and supply chains change. So very early on we
decided to collaborate and work together as an industry.
Together [...] we are sharing the same pool of filmmakers,
of crew, of suppliers. So we thought we could make more
change faster if we worked together and tackle it as
an industry rather than individual companies.’
Shannon Bart, Sustainability Director, NBCUniversal
11
‘NBCUniversal is committed to sustainability. Our Green is
Universal initiative brings an environmental perspective
to everything we do, informing and entertaining our
audiences while driving more sustainable practices into
our own operations.’
NBCUniversal (Universal Pictures and Focus Features)
http://www.greenisuniversal.com
‘Sony Pictures is committed to playing our part towards
greater environmental responsibility. We believe in
leaving our world better than we found it, aiming to
reduce our ecological footprint by pursuing policies
and actions that combat climate change, preserve
natural resources and protect the health and safety
of our community. We have several programs
in place that support our sustainability goals.’
Sony Corporation (Sony Pictures Motion Picture Group)
https://www.sonypictures.com/corp/corporateimpact.html
11
Speaking at AtlanticLIVE event, October 2018. https://youtu.be/JPUBpw1JIMo
32
2.2.3 The Studios have corporate teams in the US with dedicated responsibility for sustainability
practices, led by senior executives.
2.2.4 These executives and their teams oversee and co-ordinate Studios’ activities across their
global production slates. Budgeting and procurement policies tend to be organised centrally,
helping to ensure a consistent approach is taken within each corporate structure.
2.2.5 In the UK, Studio-backed productions commonly take on a UK-based Environmental
Coordinator or equivalent (also known by other role descriptors, e.g. Sustainability Manager).
‘Paramount’s green initiative encourages eco-friendly
behavior and business practices throughout the company.
The Green Action Team, a coalition of employees
representing a range of departments, drives the effort
and has spearheaded a variety of projects.’
Viacom (Paramount Pictures)
https://www.paramount.com/giving-back-news/tags/119/
environment
‘At Disney, our commitment to environmental stewardship
focuses on using resources wisely as we operate and
grow our business. We also provide philanthropic grants
and expertise to save wildlife, inspire action, and protect
the planet.’
The Walt Disney Company (The Walt Disney Studios,
20th Century Fox, Lucasfilm, Marvel Studios, Pixar)
https://www.thewaltdisneycompany.com/environment/
‘Creating Responsibly and Sustainably means we act
ethically and with integrity and work to reduce our
environmental impact as we serve an increasingly
global audience.’
WarnerMedia (Warner Bros. film company & studios,
including Warner Bros. Studios Leavesden)
http://www.timewarner.com/company/corporate-
responsibility
33
2.2.6 They are hired as crew, working within the Production Office and liaising with the Unit
Production Manager (UPM), Production Manager and Production Supervisors, as well as
with Heads of Department and others. Their role is to manage each production’s approach to
sustainability in line with the Studios’ corporate policies:
2.2.7 The role of Environmental Coordinator first developed in around 2013/14 and is becoming
more defined now. According to sources consulted for this research, prior to 2013 this area of
responsibility lay with Production Assistants and was not especially well resourced.
2.2.8 UK Studio-backed features now have dedicated budget lines for environmental action,
which covers everything from Environmental Coordinator fees to procurement of green kit,
responsible waste management and environmental messaging for crew.
2.2.9 Environmental Coordinator contracts vary from Studio to Studio: sometimes it is a full-
time role, and on other productions it is part-time. There is currently no standard division of
labour across all Studio-backed productions: on some, the Environmental Coordinator manages
all aspects of sustainable activity; on others certain responsibilities are retained by individual
departments (catering, transport, locations) and the Coordinator role is more about ensuring a
common approach is taken.
2.2.10 Typically, the Environmental Coordinator comes on board in pre-production with around
10 to 12 weeks prep. The Coordinator works with departments as they start-up, setting a waste
management plan and other processes as part of a coherent strategy for each studio facility
and location shoot (where applicable).
“I complete the PEACH form in conjunction with the HoDs
or coordinators. Usually I go and meet them in prep and
run through it so we have our intentions set out, if there’s
a barrier to doing something I can help to facilitate it.
Find the correct vendor/product/ ask Production to allow
for increased spending to achieve something etc.
On wrap I circle back to see how the intentions worked
out in practice.”
Environmental Coordinator source
34
2.2.11 Another important task during prep is identifying green vendors and options in the supply
chain for green procurement:
2.2.12 During production, the Environmental Coordinator works with Production Assistants as
part of a sustainability team on shoot days:
2.2.13 The PA role entails setting up and maintaining recycling and composting facilities, water
stations etc., and the involvement of these environmental team members is important:
‘Where are we getting all the timber to build these sets?
What kind of fuel are we using? What is our policy on
water use and energy use?’
Environmental Coordinator source
‘The big franchise films have the budget to carry an
environmental team. Their operations are so large it
becomes its own department.’
Environmental Coordinator source
‘There needs to be someone [managing] it and then a
Production Assistant. If a Production Manager sees me
moving recycling bins around and then I go into their
office and ask them to spend money on something,
they’re not going to take me seriously. You can’t do both:
moving recycling bins or working out strategically where
your money is best spent.’
Environmental Coordinator source
35
2.2.14 According to sources, production studio shoots are often easier to manage than location
work, which often takes additional effort because appropriate services are not always easily
accessible.
2.2.15 At wrap, the Environmental Coordinator’s main task shifts to information gathering and
reporting using the PGA Green Production Guide tools described in Appendix 1. Coordinators
complete PEACH and PEAR reporting on behalf of some productions, while US-based
executives complete the forms for other Studios, with information supplied by UK Coordinators.
2.2.16 Alongside carbon footprinting data, the final wrap report may also include a summary
of activity that worked well, with notes on anything that could be improved upon by future
productions. The report forms part of the wrap folder delivered to a Studio at the end of
production.
2.2.17 There is evidence that US studios are making use of the information and data collected
through the PEACH and PEAR process, beyond simply recording and rewarding action on
individual productions. One source with an insight into the way Studios operate could point
to examples where procurement decisions were influenced by Environmental Coordinator
feedback, informing global strategic sourcing policies that ultimately fed into UK contracts for
waste management and catering.
36
2.3 Independent productions
2.3.1 These two quotes illustrate the prevailing view of those consulted for this research: that
while some good practice certainly exists among independent productions, the adoption of
environmentally aware approaches is uneven and faces a number of impediments.
2.3.2 The obvious barrier cited by many is the potential for additional costs involved, and the
very real budgetary constraints faced by smaller, independent films. Not only are the finances
of such productions often quite precarious (usually involving multiple sources), which means
hard pressed producers already have enough on their plate before considering sustainability
as an option; but pressure within budgets means it may be hard to carve out specific lines for
environmental action. Difficult choices are often called for:
‘The US Studios are not where there might be a problem.
I suspect the Studios know what they are doing.
It’s probably the independent, lower budget films that
struggle more with knowing how to measure their
impact or what that all means.’
Trade association source
‘It feels like the US Studios are getting into a good place
to make all that happen. Where it is difficult is for an
independent film that doesn’t have a specific studio
or distributor behind them. So there’s no fixed policy,
there’s no one pushing for sustainability to happen on
sets. There’s no one taking responsibility for that, unless
you’ve got a particularly active producer.’
Production studio source
‘This all comes down to: what are you going to do with
your money? Are you going to put it on screen and try
and improve your product to make it commercially viable,
or not?’
Trade association source
37
2.3.3 While Environmental Coordinators who work with UK Studio-backed productions also
offer their services to independent producers, it remains the case that relatively few productions
take up the opportunity:
2.3.4 According to one Coordinator, the limiting factor of tight budgets is compounded
by the lack of compulsion to take a greener route:
2.3.5 This reflects the fact that, unlike in the case of TV commissions where albert footprinting
is a requirement for final payment to be made by the main UK broadcasters, by and large there
is no direct equivalent requirement for independent films to take action to reduce their carbon
emissions.
2.3.6 That said, there are publicly funded support schemes for independent productions that
make carbon footprinting and the adoption of good practice a funding requirement.
12
‘[Independent productions] run very tight on the number
of people they have, because that’s an expense. So as
soon as things wrap up, it’s the first thing that gets
dropped. Because people are working 16 hours a day
already, are they going to stay an extra hour to start
filling in the environmental paperwork that no-one is
necessarily asking for?’
Environmental Coordinator source
‘Usually for independents there isn’t the budget to
support a sound waste management strategy [let alone]
any other initiatives.’
Environmental Coordinator source
‘One thing I’ve found in recent years, is persuading UPM’s
to take on someone full-time to do sustainability, when
they’re often under pressure to cut costs.’
Production crew source
12
Including recent changes to the BFI Film Fund guidelines for production and completion funding mentioned previously
(see section 4 for further details on these and other public support schemes).
38
2.3.7 One such scheme is Film London’s Green Screen, run in partnership with Greenshoot,
a private consultancy specialising in supporting sustainable production in TV, film and
commercials (see section 4 for more detail about Green Screen).
2.3.8 Greenshoot has been active in this space since 2009, contributing to an early report on
the subject published by the Greater London Authority and Film London (Green Screen, 2009).
Although it is difficult to confirm on the available evidence, Greenshoot is likely to be the largest
private provider of sustainable production advice and support currently active in the UK.
13
2.3.9 In addition to managing Green Screen, Greenshoot provides services direct to
productions at all budget levels, including advising clients, managing asset donations and
providing training for green runners (“We’ve supported over 160 productions, with budgets
ranging from £5,000 to £100m”, Greenshoot web site).
2.3.10 Working with Jane Burston of Carbon Retirement, Greenshoot also developed
a proprietary carbon footprinting tool, to help identify both carbon and cost savings for
productions they work with.
2.3.11 Comprehensive data on the extent and nature of sustainability practices undertaken
by independent productions are just as hard to come by as they are for UK Studio-backed
features. That said, publications produced by Greenshoot help to shed light on practical
examples.
2.3.12 A 2014 report prepared by Greenshoot and published by Cine-Regio (Sustainability in
Vision)
14
features case studies from various European countries of independent productions
funded by regional and national agencies across Europe. The report concludes:
“These examples of best practice show that progress is definitely being made and they can
go towards forming the basis of sustainable production moving forward.
• Establishing a recycling system in the production office
• Use of recycled paper
• Emailing call sheets on all productions
• Use of FSC wood in set construction. However, chain of custody not established
• Donation of set and/or props on wrap
• Recycling of on-set waste as legislation required it
• Respect for the environment during location shooting
• Employing local crew
• Reduce food miles by sourcing ingredients locally
• Ban plastic water bottles.”
13
Greenshoot is by no means the only private consultancy advising independent productions about sustainability practices.
Freelancer Amelia Price, a former Locations manager, came to attention during the present research after moving into
sustainability consultancy in 2019 (http://ameliaprice.co.uk/). Services include: Carbon Calculator Paperwork Delivery; HoD &
Crew ‘Short, Sharp, Shock’ Course; Carbon Offsetting Advice; Ethical Product Placement; Individual Film Environmental Policy;
Producing your Green Production Memo and any other paperwork; Supplier Liaison; and Department Specific Advice.
14
https://www.cineregio.org/publications/green_regio_report_-_sustainability_in_vision/
39
2.3.13 Greenshoot was also instrumental in trialing BS 8909
15
on behalf of the BFI, resulting
in a 2015 report with three feature production case studies: City of Tiny Lights (Sixteen Films),
Free Fire (Rook Films) and Swallows & Amazons (Harbour Pictures).
2.3.14 These cases illustrate some of the ways that independent productions can introduce
measures to reduce their carbon emissions by implementing a Sustainability Management
System and using a Green Runner during production. In the example of Free Fire, this led to
a reduction in carbon emissions of 10% (no equivalent data are available for the other case
studies).
2.3.15 The report concludes that “more emphasis should be placed on practical ‘hands on’
support in the supply chain within the filming sector.” It also recommends that independent
productions should allocate a green budget during prep, mirroring the approach taken by US
Studios (“If there is a line allocated the desire will go hand in hand and cost savings will be seen
across the sector”).
15
The British Standards Institute specification for a Sustainability Management System for film (see section 4 for further details).
Production
studios and
the film
supply chain
3
41
3.1 UK infrastructure and services
3.1.1 As noted in the introduction, UK production is buoyant and studio space is at a premium
as new developments (and re-developments) ramp up across the UK.
• Pinewood is expanding with six new sound stages at its Buckinghamshire site, and
recently announced a long-term agreement with Disney to take stages, backlot and
other production spaces. The company is also developing Shepperton with the addition
of 16 new sound stages, having signed a 10-year residency agreement with Netflix.
• Other existing studio expansions are underway or planned at Space Studios in
Manchester and Wardpark Studios in Scotland.
• There are also proposed new studios in Birmingham (Mercian Studios), Barking and
Dagenham (Dagenham East), Liverpool (The Littlewood Building and Twickenham
Studios), Edinburgh (Edinburgh Caledonia Film Studios), and several new sites in
Northern Ireland are being considered, including the Michelin Ballymena tyre factory and
Shackelton Barracks.
3.1.2 These and other developments represent significant and long-term investment across
the UK’s production studio estate. While it should be recognised that companies of all sizes are
adopting greener practices for their own operations, and offering more environmentally friendly
services to visiting productions and tenants, it is impossible to say on present evidence how
much of this investment is directed at reducing carbon emissions.
3.1.3 Elsewhere in the wider film production supply chain, new products and services with
green potential are entering the market but it is hard to build a comprehensive picture of all that
is available, and at what cost/benefit.
‘Demand for content [is] unprecedented [and] all different
kinds of facilities are benefitting [...] We are running at
pretty much 100% capacity.’
Andrew M. Smith, Corporate Affairs Director,
Pinewood Studios
16
16
As reported in Screen International, 28 August 2019.
42
3.2 Production studios
3.2.1 In a recent thought piece, Aaron Matthews (albert’s Head of Industry Sustainability) sets
out a number of ways that production studios might help their clients to drive carbon emission
reductions on a grander scale than at present.
3.2.2 Three arenas for action by production studios are identified (materials, energy and travel),
with the suggestion that costs for green services should be passed on to productions:
3.2.3 As documented below, the present research found evidence that a number of production
studios are already taking action along these lines (often in addition to other measures).
Materials
Objective:
“Comprehensive material reprocessing streams in place; materials that cannot be
processed within these streams do not enter the industry.”
Studio action:
“Support productions with the responsible recycling and disposal of all of their
waste and assets and charge for the provision of this service.”
Energy
Objective:
“The maximum amount of energy is generated on-site, all energy purchased is
from a 100% renewable tariff and the impact of any additional energy created or
purchased is carbon offset.”
Studio action:
“Generate power on-site, ensure there is plenty of power across the complex
and purchase 100% renewable energy, and charge for this service.”
Travel
Objective:
“Vehicles chosen are the lowest impact possible; the impact of any remaining
travel is carbon offset.”
Studio action:
“Ensure provision of zero carbon vehicle charging and charge for this service.”
‘We are proud of [our] progress but realize that more
can be done. That’s why we continually strive to reduce
our environmental footprint, including through energy
savings and sustainable production methods.’
Jon Gilbert, President, Worldwide Warner Bros.
Studio Facilities
17
Future proofing your studio in a changing climate, August 2019 https://wearealbert.org/2019/08/01/future-proofing-your-studio-
in-a-changing-climate/
43
3.2.4 The prevailing view from those production studio sources consulted echoes the words of
Jon Gilbert quoted above: that, by and large, production studios want to contribute to industry
efforts around climate change.
3.2.5 Nonetheless, it is also the case that some of the production studios consulted for this
research feel they have limited options to take bolder action.
3.2.6 In part this is due to the nature of their commercial relationship with productions, and
wariness around being seen to impose green practices on visiting productions.
3.2.7 It also reflects some of the practical challenges involved, including the difficulty,
and therefore expense, of retrofitting older studio buildings and facilities to the latest
environmental standards; or the fact that large backlot areas do not easily lend themselves
to power grid upgrades capable of reducing diesel generator use and taking advantage of
renewable energy supplies.
‘We definitely want to be able to offer [sustainable
options] regardless of production demand because
we want to be doing it anyway. Thankfully for us,
there is more and more desire from the productions
to get on board.’
Production studio source
‘We as studios are very limited in what we can push on
the productions. We can deal with the type of power they
are using. Transport is taken out of our hands because
ultimately everything is going electric. We can guide
waste management but we can’t actually get involved in
it. In terms of the green credentials of productions, we as
studios are quite limited in telling productions what they
can do. We can advise, we can offer support. But the root
has to come from the productions themselves.’
Production studio source
‘Essentially we rent the box to them. Whether that box is
offices, workshops, stages, backlot. What they then do
with that space is down to them.’
Production studio source
‘Retro-fitting sustainability is really difficult and really
expensive.’
Production studio source
44
3.2.8 Other changes have not been possible to date because existing contracts with energy
suppliers, waste management companies, etc., have to run their course before greener
alternatives can be negotiated and signed.
3.2.9 On the other side, visiting productions want to minimise their rental period as far as
possible (to manage costs), which places time constraints on tasks such as asset disposal
and waste management at the end of a shoot. There are systems for expediting this process,
reducing skip hire costs in the process as less material is destined for landfill, but many studios
are reluctant to get directly involved in this if implementation takes up valuable space on site.
3.2.10 Clearly, there exist some differences of opinion around where responsibility should lie:
with production studios or with productions themselves. Even this is an oversimplification,
as both sides would agree that production studios and their clients bear some responsibility;
the question to be resolved is where the line should be drawn.
3.2.11 Then again, it is not true to say that production studios sit on one side of the
argument and productions on the other, because views are not uniformly shared either way.
The consultation exercise found there are many shades of opinion on both sides.
3.2.12 Undoubtedly there is scope for greening studio operations in a number of ways,
and many of the approaches favoured by albert are already in evidence, e.g.:
• Switching to renewable energy supplier;
• Providing grid power to the backlot;
• Changing to LED lighting;
• Dedicated recycling facilities as part of waste management plan;
• Integrated transport planning, including electric vehicle charging points and
public transport options.
3.2.13 Real world examples derived from desk research and consultations are given in
Appendix 4, which identifies the key actions taken by two of the largest UK operators
(Pinewood Studio Group and Warner Bros. Studios Leavesden), along with environmental
developments in smaller facilities around the UK, including examples Z Studios’s VEKTAR
Project in Stockport, which aims to operate on a zero carbon basis in the very near future.
‘One thing that crops up all the time is at the end of a
production, the mass of stuff [left over]. They are all
about quick, easy ways to dump it.’
Production studio source
45
3.3 Supply chain
3.3.1 The UK production sector benefits from a well-developed supply chain. A number of
companies offer green technologies and services, either alongside more traditional and carbon-
intensive options or as the sole focus of their business founded on sustainable principles.
18
3.3.2 Other companies, such as Sargent-Disc, are using sustainable features to differentiate
their products and services in the market. Sargent-Disc’s Digital Production Office
19
is a
productivity tool that makes a virtue of its green credentials:
3.3.3 It is impossible to say for certain how many such companies are active in the UK, or what
green products and services are most commonly available in the market, as no single source
provides a comprehensive list and new examples arise all the time.
‘You can definitely see a change in the way [productions]
are managing some of their suppliers on set. The way
they’re dealing with catering. The way they are dealing
with raw materials. And also the paperwork: call sheets
are mainly online now.’
Production studio source
‘Sargent-Disc’s approach to more sustainable production
involves replacing paper processes with low-energy,
paperless and mobile-friendly solutions; removing the
need for multiple emails and manual circulation of
hard copies. Modern society consumes many natural
resources and so it has become more important to
maintain the three main elements of sustainable
practice: economic and social development, and
environmental protection.’
18
Dresd, a set and props reclamation and sustainable services company, is a good example of the latter, and is profiled as a case
study in Appendix 5.
19
http://www.digitalproductionoffice.com
46
3.3.4 In the UK, the albert Consortium’s Sustainable Suppliers Directory
20
comes closest to
offering a one-stop-shop for such information, with listings for 38 companies (the PGA Green
Production Guide also offers an online Green Vendor listings service, with a handful of UK
entries
21
). The largest number of companies found in the albert Directory provide products and
services in catering, energy, and waste management:
Table 5: Listings in the albert Sustainable Suppliers Directory
Sustainable supply area
Number of companies
in Directory
Catering and catering supplies 5
Energy 4
Waste management and recycling 4
Transport, courier and travel 3
Lighting 3
Camera/crane/grip 3
Water 3
Studios 2
Construction and sets 2
Other* 9
Source: albert Consortium Sustainable Supplier Directory
* Data storage, access platforms, product placement, physical effects, post production, office supplies
20
https://wearealbert.org/search-suppliers/
21
https://www.greenproductionguide.com/green-vendors/
47
3.3.5 albert also publishes Costume Designer Sinéad O’Sullivan Kidao’s Costume Directory
online, which provides an open resource connecting “designers and buyers with suppliers and
brands who prioritize sustainability, environmental responsibility and fair trade”.
22
In addition,
albert recommends suppliers through its affiliate designation, including companies like Pinewood
MBS Lighting, which provides lighting services for every production on the Pinewood lot.
3.3.6 The AdGreen web site also lists named suppliers in a Resources section, covering areas
such as waste management and low energy lighting. A similar resource is offered by Greenshoot
on its Ethical Suppliers page, which includes details of four companies.
3.3.7 As for commercial production directories, Kays has a search function containing the category
‘Environmental Sustainability’, which brings up two records (for AdGreen and Greenshoot). The keyword
search also yields a single record apiece for ‘Environmentally friendly lighting’, ‘Sustainable fuel’,
‘Sustainable props’ and ‘Sustainable sets’.
26
3.3.8 The Knowledge, which houses details of over 500 UK suppliers, lists 12 companies in the
‘Environmental and Recycling Services’ category.
27
3.3.9 Despite the free availability of these information sources, it remains difficult to grasp the full range of
alternatives to carbon-intensive products and services, or to easily compare them in terms of cost, utility,
reliability and user-experience.
3.3.10 This means anyone looking for inspiration or practical information either has to put in considerable
effort to research options themselves or rely on word of mouth recommendations, which may be hit or
miss. Neither route is especially practical during a busy pre-production period, especially for lower budget
productions with more limited scope for R&D and experimentation.
22
https://www.sineadkidao.com/the-costume-directory
23
https://www.pinewoodgroup.com/pinewood-today/news/pinewood-mbs-lighting-are-named-as-the-first-ever-albert-affiliated-
lighting-supplier
24
http://www.adgreen-apa.net/resources
25
http://www.greenshoot.com/services/suppliers
26
https://www.kays.co.uk/
27
https://www.theknowledgeonline.com
‘We’re delighted to be the first-ever albert affiliated
lighting company. We constantly engage with
cinematographers, crews and colleagues from all areas
of our industry to make sure we make available the very
latest advances in lighting technology. We currently
have almost four thousand low energy products out on
production and with power savings of up to 92%, every
single one of them is directly helping with albert’s aim
to create sustainable production’.
Darren Smith, Pinewood MBS Lighting Managing Director
23
Advocacy and
support for
sustainability
4
49
4.1 Sustainability focused advocacy
4.1.1 The albert Consortium, led by BAFTA, is the most prominent player advocating for, and
supporting, sustainable production activity in the UK.
4.1.2 As noted in section 2, PGA Green Production Code tools are widely used by UK Studio-
backed feature productions, rather than albert’s carbon calculator and certification, yet these
two approaches have complementary features.
4.1.3 For example, they share the common goal of spurring and guiding the adoption of green
practices, which lies at the heart of their respective certification systems. To this end, the
certification checklist model encourages productions to take certain defined actions and to
ask suppliers about their sustainability credentials. The aim is to lower a production’s carbon
emissions and raise awareness among crew and cast members, while harnessing demand for
green products and services to drive changes in the supply chain.
4.1.4 This approach is not confined to film and television, as other players active elsewhere
in the UK arts and creative industries take a similar approach, ensuring cross-sector action
and partnership work is possible. For example, AdGreen, a volunteer-run advocacy group for
individuals and companies working in commercials, works closely with albert, including co-
hosting events around the UK.
4.1.5 In the arts and cultural sphere, Julie’s Bicycle is a charity that started life in efforts to
address carbon emissions by the music industry. It provides tools and resources along similar
lines to albert and manages the environmental reporting of Arts Council England funded
National Portfolio Organisations. Through its Creative Green programme, Julie’s Bicycle works
with a number of film exhibitors including Curzon Cinemas, HOME in Manchester, Tyneside
Cinema and The Barbican. Julie’s Bicycle also partners albert in the Creative Energy project.
28
4.1.6 In a similar vein, Creative Carbon Scotland provides accreditation, advice and guidance
about sustainability to Creative Scotland’s Regularly Funded Organisations, and the
organisation is currently advising Screen Scotland about introducing sustainable practices
into its funding requirements.
4.1.7 Appendix 6 gives further details about albert, PGA Green, AdGreen, Julie’s Bicycle and
Creative Carbon Scotland. The remainder of this section looks at advocacy and support from
two other perspectives:
(a) trade associations and representative bodies;
(b) public bodies and support agencies.
28
https://www.juliesbicycle.com/creative-energy-project
50
4.2 Trade associations and
representative bodies
4.2.1 Desk research and consultation with industry representatives indicate that trade associations
and representative bodies are alert to the issue of sustainability but in many cases it is not
considered to be a priority of their memberships or governing bodies at the current time.
4.2.2 The fact that few such bodies have taken an active role in this area (at least until recently)
may be due to the presence of programmes like those offered by albert and others described
above, which do most of the heavy-lifting around advocacy and support.
4.2.3 That said, events are moving quickly, with several trade associations and representative
bodies publishing sustainability positions in the last few months (with more planned). Among
bodies representing different interest groups and crafts within film production there is some
openness to the idea of greater collaboration and cross-industry working, although there is no
clear path to achieving this beyond the networking opportunities already on offer.
4.2.4 Trade associations and representative bodies who take a more prominent stance on
sustainability are listed below, illustrating the range of approaches taken currently:
BECTU
• Issued a public statement on climate change in September 2019 (in concert with
Prospect, of which BECTU is a sector).
29
Web page includes briefing for reps/officials
on what action can be taken, climate change policy position and policy on low-carbon
energy and a Just Transition.
• BECTU Freelancers Fair in June 2019 included a session on sustainable filmmaking
with a contribution from Roser Canela-Mas of albert.
• BECTU has also hosted a training course for environment reps on ‘bargaining for a
sustainable workplace’.
30
• More recently, BECTU endorsed screen industries’ involvement in a global ’climate
strike’ on 20 September 2019.
‘There was a clear impression from the digital content
sector that carbon impacts were not particularly a focus
for clients, trade associations or representative bodies.’
Scoping Study on Carbon Reduction Strategies for the
Craft and Digital Content Sectors of the Arts and Creative
Industries in Scotland, Creative Carbon Scotland, 2017
‘We will be using the September climate week of
action to highlight our support for tougher action on
carbon emissions and to create a low-carbon society.
This includes encouraging members to stage events
on September 20 and during the week of action
to show out support.’
Bectu press statement
51
Directors UK
• Web site hosts a page on Sustainable filmmaking, with information about carbon
literacy, footprinting, training opportunities and tips tailored for directors.
31
• Directors UK is an albert affiliate and Chair Steve Smith is an albert Ambassador.
The organisation supports the recently launched Planet Placement initiative promoting
onscreen environmental messaging.
32
Pact
• Has no formal policy statement on sustainability but news section includes references
to albert and training opportunities e.g. Carbon Literacy for producers by BAFTA,
and Pact will promote similar opportunities to members when they arise.
• A Pact representative sits on albert Consortium industry group.
The Production Guild (PGGB)
• Web site includes reference to Dresd, PGA Green Production Guide and Pinewood Studios
Environment policy. Sits on industry working group.
• In the past, sustainability has featured in Production Manager and Location Manager
training promoted by PGGB and delivered by Film London and Greenshoot.
Production Managers Association (PMA)
• The PMA is beginning to engage with sustainability and has been involved in industry
working parties. Website has sustainability page listing sources of information
and support.
34
• A group of members is developing PMA thinking around sustainability as part of wider
policy review, including setting up a green steering group. A new position is likely to be
adopted later in 2019.
29
https://www.prospect.org.uk/climate-crisis
30
https://www.bectu.org.uk/training-development/courses/157
31
https://www.directors.uk.com/campaigns/sustainable-filmmaking
32
https://wearealbert.org/planet-placement/
33
https://productionguild.com/members-hub/member-resources/sustainability/
34
https://www.pma.org.uk/sustainability/
‘The Production Guild works to make sure our members,
affiliate companies and productions have the most
up to date knowledge and advisers when it comes to
shooting green.’
33
52
4.3 Public bodies and support agencies
4.3.1 Public bodies that support independent film production (through direct funding and other
programmes), as well as working to attract inward investment features to the UK, have taken
various measures to promote the adoption of sustainable practices over the years.
4.3.2 There has been little consistency in the methods employed in the UK, and efforts to share
best practice and adopt common approaches are being spearheaded in Europe by organisations
like Cine-Regio and its Green Regio subgroup.
35
4.3.3 As early as 2007, the UK Film Council published a report by Dr Emma Gardner to inform
the development of an environmental plan for film.
36
4.3.4 After taking on lead responsibility for film in 2011, the BFI picked up the baton with the
development of BS 8909, a specification for sustainability management system standards
produced by the British Standards Institute. Although BS 8909 remains active, and has
proponents including Greenshoot, there is little evidence of widespread use in film production:
4.3.5 The BFI launched its first sustainability strategy in 2012, and between 2015 and 2017 it
supported green runners on 14 of its funded productions (working with Greenshoot).
4.3.6 The organisation’s current strategic plan recognises the lead role played by BAFTA and
the albert Consortium:
‘If the UK film industry can become a leader in
sustainability then we will have a real competitive
advantage internationally for years to come.’
John Woodward, CEO UK Film Council, May 2010
‘I remember wondering how well [BS 8909] fits into
the reality of the production process. I had forgotten
that it existed.’
Environmental Coordinator source
‘While the BFI concentrates on diversity, we welcome
the lead from BAFTA to take over leadership on
environmental sustainability, ensuring increased adoption
of the internationally leading environmental objectives
across the UK film industry.’
BFI 2022: Supporting UK Film 2017-2022
35
https://www.cineregio.org/subgroups/green_regio/
36
https://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/uk-film-council-developing-and-environmental-strategy-for-uk-film.pdf
53
4.3.7 Nonetheless, action is being taken in this area, including a re-launched sustainability page
on the BFI website, a new sustainability policy and publication of a BFI Sustainability Summary
2018/19. The BFI has also signed up to Culture Declares Emergency.
37
4.3.8 The most significant changes have been made to BFI Film Fund guidelines (updated
in summer 2019), which require projects awarded production and completion funding to
undertake albert carbon footprinting (both before and after production for production awards,
and post production for completion funding).
4.3.9 The onus is on productions to identify areas of biggest carbon emission and to take
action. Production teams are encouraged to go through albert carbon literacy training and seek
albert certification, but there is no requirement to do so. Submission to the BFI of an approved
carbon calculation is required to trigger the final funding payment as part of the delivery
materials for funded projects.
4.3.10 The BFI Doc Society Fund already requires projects awarded funding to undergo carbon
footprinting, in line with Doc Society’s proactive stance towards climate change (having declared
a Climate Emergency by signing up to Culture Declares Emergency).
39
4.3.11 BFI Network short film guidelines are in the process of being updated, to include a similar
carbon footprinting requirement.
4.3.12 Working with the BFI Film Audience Network, the BFI has also recently published
sustainability tips for film exhibitors.
40
“All productions in receipt of BFI funding are required
to complete a BAFTA albert carbon prediction prior to
production and a final calculation once post-production
is complete.
The prediction and online materials will enable you to see
which of your activities will generate the most carbon
emissions, and to identify actions to reduce these before
you enter production.
Your final calculation needs to be submitted to us
as part of the BFI delivery materials. In addition,
we encourage you to seek full albert Sustainable
Production Certification for your project.”
BFI Film Fund
38
37
https://www.bfi.org.uk/about-bfi/policy-strategy/sustainability
38
https://www.bfi.org.uk/supporting-uk-film/production-development-funding/production-funding
39
https://docsociety.org/climate-emergency/
40
https://www.bfi.org.uk/supporting-uk-film/distribution-exhibition-funding/environmental-sustainability-film-exhibition
54
4.3.13 The BFI hosts the certification unit to qualify productions for the UK’s creative sector’s
tax reliefs (for film, high-end television, animation programmes, children’s television programmes
and video games). The cultural test for film, which provides one route for projects to qualify for
relief, includes no formal provisions for environmental sustainability, however the guidelines (last
updated in 2015) highlight the issue as follows:
4.3.14 Film London works closely with Greenshoot on sustainability initiatives, including the
Green Screen scheme (details in Appendix 7) and the Interreg Europe funded Green Screen
EU project.
41
4.3.15 The aim is to help London retain a competitive advantage for attracting inward
investment productions. Film London is also keen to prepare crews and production companies
for any forthcoming environmental legislation and regulations.
4.3.16 All projects awarded Film London Microwave funding are required to take part in Green
Screen, as are their shorts funded through the BFI Network Short film fund. Film London also
receives ACE funding, and the organisation is certified by Julie’s Bicycle.
4.3.17 In addition, Film London operates a Locations Discount Scheme in partnership with
key locations, which offers a 3% to 5% discount on filming fees to productions signing up
to Green Screen.
42
4.3.18 Agencies in other home nations are also active in this area, responding to the policy
frameworks of devolved administrations. Ffilm Cymru Wales is currently drafting a Green Cymru
policy, in line with its recently published plan linked to the Well-Being of Future Generations
(Wales) Act 2015, which embeds concern for the environment within seven well-being goals.
‘Sustainability in film is important, be it encouraging
skills and talent development, making films in an
environmentally sustainable way, or ensuring that works
are available to future generations. Filmmakers are
encouraged to read Annex D for further information
about how to help through the Skills Investment Fund,
the Voluntary Deposit Scheme and the Greening
Film Initiative.’
British Film Certification: Schedule 1 to the Films Act 29185
Cultural Test Guidance Notes
41
https://www.interregeurope.eu/greenscreen/
42
Participating locations include: Network Rail, Harrow School, The May Fair Hotel, Freemasons’ Hall, The Honourable Society
of the Inner Temple, Royal Botanic Gardens at Kew, Borough Market, Somerset House, Senate House and English Heritage.
55
4.3.19 Meanwhile, Screen Scotland (which sits within Creative Scotland) is currently working
with Creative Carbon Scotland on a project looking at (a) the feasibility of adding environmental
criteria to funding schemes (based on a review of international models); (b) mapping
sustainability practices in film in Scotland. This work is linked to Creative Scotland’s statutory
requirements under the Climate Change (Scotland) Act 2009.
43
4.3.20 Industry practitioner Mairi Claire Bowser, leading this work with Creative Carbon
Scotland, contacted national and regional funds across Europe and found evidence that a
number of funding agencies are either planning to develop, have developed or are currently
developing specific support mechanisms around sustainability. Notable examples include
Vlaams Audiovisueel Fonds (VAF) in Belgium
44
and Trentino Film Commission in Italy
45
(see
Screen Scotland/ Creative Carbon Scotland report on publication for full details).
4.3.21 Both Film London and Ffilm Cymru Wales are members of the Cine-Regio network,
which has authored several publications promoting best practice. These include Sustainability
in Vision (2014), drafted by Greenshoot in partnership with Screen South, Film i vast,
Ffilm Cymru Wales and Film I Skane; and Cine-Regio Green Report 2017: On Sustainability
In The European Regions, which provides a digest of best practices across Green-regio
members in the following areas:
• Training
• Incentives and support
• Green rewards and certification
• Green suppliers guides
• Tools for productions
• Carbon calculators
• Green post-production
• Industry collaboration and partnerships
• Green productions
• Green cinema (exhibition)
4.3.22 Green Screen EU, a five-year partnership project (2017-21) involving Film London and
seven other support agencies in European film-making regions, shares this mission to promote
best practice in sustainable production across Europe.
43
https://www.creativescotland.com/resources/our-publications/policies/environment-policy
44
https://www.vaf.be/flanders-audiovisual-fund
45
https://www.trentinofilmcommission.it/it/film-fund/
56
4.3.23 Current projects include a report on supply chain innovations (due for delivery in late 2019),
which reviewed over 400 products and services designed to reduce carbon emissions in
audiovisual production. The final report includes 25 innovations across 12 fields of application:
• Air purification
• Audio / video signal transmission
• Broadcast
• Building HVAC management
• Energy management
• Fixed (building) energy generation
• Lighting
• Logistics / transport
• Off-grid power supply
• Waste management
• Workflow pipeline
• Workflow software
4.3.23 Another Green Screen EU project, which is being led by Film London, is exploring the
feasibility of grid hook-ups for filming crews working on location in London. The goal of the Grid
Project is to install mains powered electrical cabinets at the top eight Unit Base locations to
reduce their dependence on diesel generators. The project estimates that CO2 emissions could
be reduced by up to 97% as a result. Arup is finalising the feasibility study for the project, and
Film London is working in partnership with the Mayor’s Office to identify sources for funding for
the project.
4.3.24 Organisations dispensing National Lottery and other public funding are not the only
public bodies with an interest in sustainability. Many local authorities around the UK maintain
film offices to attract and facilitate shooting activity in their area. This activity usually falls under
Councils’ business development workstreams, but there is evidence that local authorities’
environmental obligations and policies are a consideration in the activity of some film offices.
4.3.25 The question of how film offices currently deal with sustainability matters across the UK
was put to Film Office: UK members (FO:UK).
46
Responses received to date show there is little
consistency in the approaches taken, with very few examples of incoming productions asking
about environmental services or local requirements. However, among film offices consulted for
this research there is a common interest in learning more about sustainability and developing
policies and practices in future:
Glasgow Film Office
The Glasgow Film Office is aware of the sustainability initiative led by Film City Glasgow, which is
part funded by Glasgow City Council.
47
The Council has introduced a number of measures such
as a Low Emission Zone in the city centre, green waste management practices, etc. – although
none of these are exclusive to production activity.
46
Surrey Film Office has lead responsibility for FO:UK at the present time: https://www.surreyfilmoffice.co.uk/film-offices-uk-fouk/
47
http://www.filmcityglasgow.com/PFS.
57
Kent Film Office
Kent has no local facilities companies for film as they tend to be London-based. Productions
are required to observe the Council’s waste management strategy, but there are no equivalent
requirements for vehicle emissions or energy use. Kent County Council has a general
environmental policy that the film office adheres to.
Screen Cornwall
A new screen agency in start-up mode, and keen to develop environmental guidelines for local
and incoming productions. Interested in signposting sustainability best practice in the industry.
Surrey Film Office
Surrey Film Office has no specific sustainability policy for filming. Surrey County Council has a
recycling policy in place, but this does not yet extend to filming in the region. The film office is
not aware of companies in the local supply chain offering green services but would be keen to
see further research on this.
Torbay Film Office
Torbay Film Office is in development and has been exploring sustainable filming as part their
code of conduct. No environmental policy has been agreed for filming at this stage, but TFO
encourages productions to consider waste management on location (such as recycling plastics
and glass) and using energy efficient kit wherever possible.
The Film Office’s approach is aligned with the principles of Torbay Council’s Municipal
Waste Management Strategy 2008-2025, which focuses on waste from households, parks
and beaches (Torbay is an award-winning authority for recycling and working with partner
organisations to maximise recycling achievements).
Torbay Council has an energy and climate change strategy (2014-2019) with a focus on
reducing carbon emissions, energy efficiencies, and sustainable transport. As the strategy
is due for renewal, there may be an opportunity to include other environmentally friendly
approaches in areas such as filming.
Discussion
5
59
5.1 Recap
• Public awareness around environmental sustainability continues to grow, and climate
activism is gathering momentum, including film industry-targeted campaigns such as
#FilmStrikeforClimate and the Culture Declares Emergency movement.
49
• Against this background there is common agreement across the industry that film
production can be wasteful and resource intensive, and more measures are needed
to reduce carbon emissions in line with targets.
• Despite legislation on climate change dating back over a decade, this remains a
transitional period, characterised largely by voluntary actions, ahead of the arrival of
more muscular regulation over industrial practices in the near future.
• Action is being taken in the UK production sector through two parallel approaches,
which overlap but cannot claim to be fully complementary:
(a) UK Studio-backed productions working to PGA Green Production Guide standards
underscored by global corporation CSR;
(b) independent productions taking advantage of albert/Greenshoot/Green Screen-style
approaches.
• Attitudes and behaviour among industry professionals are changing in light of this,
but views vary on the pace and effectiveness of such changes, and the division of
responsibility across the sector:
‘We are [...] a temporary circus [...] It’s like throwing
a wedding every single day, and you’re feeding people
breakfast and lunch and all of the waste that can come
out of that.’
Shannon Bart, Sustainability Director, NBCUniversal
48
‘As an industry we are incredibly wasteful. We are at the
forefront of people’s imaginations and people’s minds [...]
so we can be industry leaders.’
Environmental Coordinator source
‘Considering the scope of environmental impact that any
film production makes, there’s huge opportunity for them
to change and I don’t think that what they are doing is
anywhere near as much as the impact they could have.’
Production crew source
‘The reality is, we’re paying lip service to this issue. It’s just
when you’re in it you realise the waste. We will take over
massive sites, build large sets and then demolish them
the next day [...]
At the end of the day, we’re consuming too much.
Let’s find another method of doing it. Even though these
methods will cost, initially, a little more, we’re closing our
eyes to the fact that we’re wasting money and resources.’
Production studio source
48
Speaking at AtlanticLIVE event, October 2018. https://youtu.be/JPUBpw1JIMo
49
https://www.facebook.com/FilmStrikeforClimate and https://www.culturedeclares.org
60
• There is a wariness around the issue of sustainability in film production circles,
including among US Studios active in the UK and the production studios and
suppliers that service them. In this context there is a danger of disengagement from
potential joint action if sustainability messaging and support initiatives are out of
step with corporate thinking, commercial realities and the day-to-day practicalities
of production.
• Among those working on productions of all sizes, it remains the case that positive
action tends to be driven by committed individuals, who do not always have the
authority, responsibility or reach to influence change across all departments.
• There is a belief among those consulted that the scale of change required to meet
current or future targets means that everyone has a responsibility to act. It cannot
be left to a coalition of the willing.
‘I’ve been increasingly frustrated by the lack of anything
happening, really. It’s getting a tiny bit better. On the jobs
where we’ve got somebody doing green stuff it is better,
but it does vary massively depending on if you’ve got
somebody pushing it.’
Production crew source
‘A lot of times you will have that above-the-line, somebody
[for whom] this is really key [...] and they really want to
see you do a lot of different things. And then you have
really engaged and supportive below-the-line people,
whether it’s lighting people who embrace LEDs and new
technologies, to the genny op and electrical people who
are willing to take a risk and use something other than
a diesel generator to power their sets.’
Lisa Day, Environmental Sustainability Manager at
The Walt Disney Company
50
‘It is very much a young person-led movement within the
industry. And they don’t necessarily have the [influence]
that someone with 30 years of experience has.’
Environmental Coordinator source
50
Speaking at AtlanticLIVE event, October 2018. https://youtu.be/JPUBpw1JIMo
61
5.2 Levers for change
‘[R]eal change requires many people to be informed and
empowered. We have a model with five levers of change
to help consumers make more sustainable choices, to
change their behaviour.
Fortunately, that same model also works really well
to help to create a necessary mindset change with
colleagues.
Adapting your systems and processes is a start, but you
also need to engage and empower people.’
Anniek Mauser, Sustainability Director, Unilever Benelux
51
5.2.1 The preceding sections present a snapshot of some of the more noteworthy
developments in the way that film production is addressing sustainability. It provides
a starting point for thinking about a broader programme of research to inform strategic
planning for cross-industry action needed at this moment and beyond.
5.2.2 One way to frame the next stage of research is to employ the Five Levers for Change
conceptual model developed by Unilever. This helps when thinking about how to change
behaviour at all levels, from individual practitioners, to productions and across the sector
as a whole.
52
5.2.3 The model has two stages leading to the design and implementation of practical
interventions. The first involves the systematic identification of the main barriers, triggers and
motivators that hinder or help change to occur.
BARRIERS – what are the things that stop people from
adopting a new behaviour?
TRIGGERS – how could we get people to start a new
behaviour?
MOTIVATORS – what are the ways to help them stick with
the new behaviour?
Five Levers for Change model, Unilever
51
https://changeincontext.com/sustainable-change-is-hard-work-even-at-unilever/
52
With thanks to Jo Coombes of AdGreen for an introduction to this model.
https://www.unilever.com/Images/slp_5-levers-for-change_tcm244-414399_en.pdf
62
5.2.4 Some of this evidence came to light through the present research, but the task remains unfinished.
For example, the chief barriers to the adoption of sustainable practices cited by consultees, and apparent
from the desk research, include additional time and costs; a natural tendency to stick with the tried and
tested; a general lack of awareness and low prioritisation; and limited green infrastructure and supply
chain options:
Additional time and costs
• There is a common perception that sustainable practices can be more time consuming
than traditional methods (from planning and procurement to delivery), and therefore
more costly.
• Immediate and longer-term cost savings are rarely understood or acknowledged.
• This is coupled with the assertion that green products and services often carry
a price premium.
‘It’s time and money. Because everything is booming
and everyone is so busy, and everything is happening
so last minute, people don’t have the time to look into
things. If anything takes a little bit more effort that what
they normally do, of if they think it’s going to be more
expensive, they don’t bother.’
Production management source
‘I know quite how wasteful productions can be [...]
I could see how difficult it was for productions even just
to recycle rubbish on set. It was always so much easier
to shove everything into a black plastic bag, put it in
a bin and walk away from it.’
Production studio source
‘[T]here is a general lack of knowledge of the most
effective ways to achieve carbon and cost savings
and how carbon emissions are measured.’
Scoping Study on Carbon Reduction Strategies for the
Craft and Digital Content Sectors of the Arts and Creative
Industries in Scotland, Creative Carbon Scotland, 2017
‘Anything that is green or has an environmental tag on it
tends to be more expensive. So that’s an issue we face.
Trying to get producers and production managers to buy
into something that is going to cost more money.’
Environmental Coordinator source
63
• Cost is an issue at all budget levels, not just for smaller, independent productions.
‘Budgets are very tight in production now, so anything
you’re talking about that’s going to cost extra money
becomes an issue.’
Lisa Day, Environmental Sustainability Manager at
The Walt Disney Company
53
‘In setting up a sound waste management plan, it should
be able to save you money in the long run. But as soon as
people see three different lines for waste rather than just
one line for waste in the budget, they get worried.’
Environmental Coordinator source
‘The potential cost/benefit of being green is not as great
as it could be.’
Environmental Coordinator source
‘Productions are always going to look for ways of cutting
costs, and things like rubbish collection is going to
come low down the priority list when you’re putting
a budget together.’
Production studio source
‘Hopefully we’ll get to a position where it’s easier,
quicker and cheaper to go the eco route. I don’t think
we’re there yet.’
Trade association source
‘While there’s raised awareness [in the industry],
how that translates on the ground depends on money
and budgets.’
Trade association source
53
Speaking at AtlanticLIVE event, October 2018. https://youtu.be/JPUBpw1JIMo
64
Sticking with the tried and tested
• Behavioural change always requires breaking free from the powerful clutches of
established work patterns and settled ways of doing things.
• Although the industry continues to witness significant technological change, film
production remains, in many important respects, quite a traditional enterprise.
• There are compelling forces against risk taking by different departments, which leaves
little room for the adoption of new approaches:
‘It’s a very traditional industry. People have done things
the way they’ve always done things.’
Production studio source
“People are used to doing things a certain way, and they
know that it’s going to work. And now on production,
the time that it takes to do stuff is absolutely critical.
You only have a day in a location a lot of times, you have
a lot of work to do [...]
So if something goes wrong, suddenly your power source
goes down and that takes you a while to fix [...] you are
literally bleeding tens of thousands of dollars having
everything on hold [...]
So it does take a bit of bravery on the part of people
working on the show to be willing to be that first person
to step out and give something new a try.’
Lisa Day, Environmental Sustainability Manager at
The Walt Disney Company
54
‘It’s that comfort level. That this new light is going to
look good on camera. Or this new sustainable building
material is going to hold up and not start bending the
day after you’ve built it and the day before you’ve got
to shoot it.’
Shannon Bart, Sustainability Director, NBCUniversal
55
‘People in the industry do care and do want to make
a change, but because the industry is made up of
individual practitioners, we need the support of
productions to be able to make the change. But there
is also a feeling that people don’t want to stick their
necks on the line too much.’
Production crew source
54
Speaking at AtlanticLIVE event, October 2018. https://youtu.be/JPUBpw1JIMo
55
Ibid.
65
• This is also tied to the notion that new practices can pose a threat to vested interests in
traditional carbon-intensive methods, or feed anxiety about job security if new skills are
called for:
Lack of awareness and low prioritisation
• There is a pervasive lack of awareness about sustainability and what role individual
practitioners can play, which albert carbon literacy training and similar initiatives address
head-on (there is some evidence this is beginning to change).
• This leads to the issue having a low priority, unless positive action is encouraged and
enforced on productions.
• Even where systems are in place, it may not always be easy to get crew to observe a
waste management plan in a responsible way (“this is the one thing that is very difficult
to get people to buy into”, according to one Environmental Coordinator source).
• The risk of cross-contamination in recycling areas is a perennial problem (e.g. food
waste being intermingled with other waste).
Limited green infrastructure and supply chain options
• A lack of green facilities and technologies, whether on location or in studio spaces or
backlots, means productions are limited in the actions they can take.
• Some production studios and suppliers have taken steps to reduce their own carbon
emissions, while offering productions the opportunity to follow suit; but by no means all.
‘Everyone needs to be reassured their jobs will be safe.
And that’s the problem. They won’t risk their jobs.’
Trade association source
‘It tends to be the stuff that we don’t have control over
that I find are the biggest hurdles. Not because [US]
Studios don’t want to do it.’
Environmental Coordinator source
‘We can’t put [grid power hook-ups in Unit Bases]. It’s
a piece of infrastructure that doesn’t belong to us.
Because we rent and move around so much.’
Environmental Coordinator source
‘If [production] studios made it easier for productions to
be green, then I do believe productions would look at it.’
Supply chain source
“The reality is, a production can only reduce its carbon
footprint by about 10-15% before they reach barriers
beyond their control. There is only so much ownership
you have for a production that lasts in most cases less
than a year. There are only so many things you can change.”
Trade association source
66
5.2.5 The present research has less to say on the question of what triggers are needed to
help people adopt sustainable practices in the first place, and to motivate them to continue on
subsequent productions.
5.2.6 This question can only be properly answered by looking in depth at the issue from
particular perspectives in film production (along with a more detailed assessment of barriers
than has been possible here).
5.2.7 That is because generic answers cannot usefully be translated into practical interventions
and support programmes. Targeted action, informed by the practical realities of different types
of production activity, are likely to be more successful than general initiatives. Practitioners
working at different levels in film production, and within different departments, will face their own
specific barriers, and require different triggers and motivators to help overcome them. There
may be common elements, but bespoke support (including tools and resources) is more likely to
succeed if it takes account of the specific circumstances and challenges of each production role
and department.
5.2.8 It is also the case that agents other than the production management and crew have an
important part to play, including production studios, facilities companies, public funders, local
authorities, locations, trade associations and representative bodies, film financiers and the major
US Studios (among others). The next phase of research needs to consider the barriers these
players face, and the triggers and motivators that could bring about true cross-industry action
to address sustainability in a meaningful way.
5.2.9 The second stage in applying the Five Levers for Change model involves developing an
action-plan that takes account of the barriers, triggers and motivators identified. These are
translated into five levers, which have been found by behavioural scientists to work best in
concert to bring about desired changes.
5.2.10 To illustrate this, Table 5 begins the task of mapping out a set of research questions
necessary to consolidate and extend existing approaches in pursuit of multilateral solutions
across the whole sector. Action is already being taken using one or more of these levers,
but it currently lacks:
• consistency of approach among those leading the way;
• universal buy-in across the full range of interested parties;
• targeting within specific crafts/ specialisms/ departments/ roles/ supply chain
positions etc.
67
5.2.11 The questions in Table 5 are by no means exhaustive, and merit further discussion and
input from a representative group of interested parties from across the industry.
Table 6: Five Levers for Change
Lever Example research questions
Lever 1:
Make it UNDERSTOOD
This lever raises awareness
and encourages acceptance
• Do people know about climate change and environmental sustainability
in film production?
• Do they believe it’s relevant to them?
• How relevant and effective are existing training and information sources?
• Are there any gaps?
• Are the right people getting the right messages (including those with
budgetary responsibilities)?
Lever 2:
Make it EASY
This lever establishes
convenience and confidence
• Do people know what to do and feel confident doing it?
• Can they see it fitting into their professional practice?
• Are the means to changing behaviour accessible and in their control
(and if not, what do other players need to do?)
• Are there good practice models that can be shared more widely?
Lever 3:
Make it DESIRABLE
This lever is about connecting
behaviour to professional
goals, status and job
satisfaction
• Will doing this new behaviour fit with their actual or aspirational self-image?
• Does it chime with how they relate to others in the industry, or want to?
• What is the best way to promote a positive culture around sustainability
in film production?
• Is there a role for trade associations, representative bodies and other
industry groups?
Lever 4:
Make it REWARDING
This lever demonstrates the
proof and payoff
• Do people know when they’re doing the behaviour ‘right’?
• Do they get some sort of reward for doing it?
• How do you communicate the benefits of an intangible concept like
carbon emission reduction, and link it directly to professional experience
and rewards?
• What may be needed in addition to certification systems?
Lever 5:
Make it a HABIT
This lever is about reinforcing
and reminding
• Once people have made a change, what can be done to help them keep
doing it?
• How do you ensure production management and crew are able to carry
good practice into new productions?
• What is needed to make sustainability actions as commonplace as
health & safety?
Source: adapted from Five Levers for Change, Unilever
68
5.2.12 The five levers model demonstrates why awareness raising is not sufficient on its own.
Likewise, it is no good making support or green procurement options available if people are
unaware of them or do not know how best to take advantage of them.
5.2.13 The model reminds us that behaviour needs to change for good, not just for the duration
of a single production, and that the benefits of sustainable practices must be tangible, not just
aspirational (in film production, cost savings are always going to be an important inducement,
but there may be others).
5.2.14 A research programme along the lines outlined above would naturally complement
albert Consortium’s call for action in the 2018 Annual Report, by helping to flesh out the
respective areas of responsibility outlined for different interest groups, in order to build
consensus around what a workable division of labour looks like, and identifying the conditions
necessary for success:
5.2.15 In parallel to this, further effort is needed to collate standardised carbon footprinting
data that is truly representative of all types of film production and shooting activity in the UK,
at different budget levels, for the reasons set out in the Introduction.
5.2.16 This may be an unrealistic proposition given the limited number of film records currently
held by albert and the reluctance of US Studios to share PGA Green Production Guide reporting
or adopt a common standard in the UK.
Funders and broadcasters:
Guide and stipulate sustainable alternatives
Productions:
Implement and request sustainable alternatives
Studio facilities, suppliers and locations:
Offer sustainable alternatives
Production departments:
Implement and innovate sustainable alternatives
Talent:
Champion sustainable alternatives
Albert Annual Report, 2018
69
5.2.17 As an alternative, and provided sufficient cross-industry goodwill exists, the next stage of
research could fast track data collection by working with a sample of productions over a given
period, collating a standardised dataset that would include anonymised records to respect
the commercial in confidence nature of footprinting data. At the same time productions would
be free to use any existing reporting system (such as albert or PGA Green) in line with their
preferred approach, along with data pooled in the standardised dataset for the specific purpose
of data modelling to inform cross-industry strategic planning.
5.2.18 Further detail on this needs to be worked out, requiring consultation across the industry,
but would mark an important step along the way to ensuring that future action is evidence-led.
Appendices
71
Appendix 1: Carbon footprinting
and certification
A1: albert
Calculator is hosted online (https://calc.wearealbert.org/uk/). Productions sign-up for free
in pre-production and enter required information.
A Standard user account is used to submit data; a Reviewer account from the same
company/ production office double checks the information; for TV productions, a Broadcaster
account user can review footprints for work they have commissioned; an Auditor account
allows for independent verification of data.
Information is requested about the following aspects of production activity:
• Spaces
• On location
• Travel and transport
• Other fuels
• Materials
• Disposal
• Accommodation
• Postproduction
The initial data entry generates a carbon footprint prediction. Users then pledge to take
certain actions to reduce their production footprint.
After the production wraps, a final footprint is calculated based on user inputted data.
The final footprint is only approved once the Auditor has signed it off.
Certification is optional. Productions can receive a one-, two- or three-star rating depending
on what actions they put into practice.
The star rating is based on a certification scoresheet, which varies according to the type of
production (a maximum of 195 points are available for the most impactful productions).
The score sheet has 55 best practice items, across 16 categories of activity. The largest number
of points are available for learning activities (e.g. has the production achieved a 10% carbon
reduction against the relevant genre/production method or a previous series?); vehicle policy
(e.g. If applicable, has the production reduced international air travel and / or mainland UK air
travel?) and communication (e.g. Does the editorial content of the production contain any on-
screen messaging regarding sustainability or environmental issues?):
72
Table A1: albert certification scoresheet categories
Category
albert points
available %
Learning 25 13
Vehicle policy 22 11
Communication 17 9
Accommodation and crews 15 8
House power 15 8
Power generation 14 7
Design and construction 13 7
Catering 10 5
Management 10 5
Office environment, consumables and waste 9 5
Planning 9 5
Lighting 9 5
Waste 8 4
Edit 7 4
Additional activity 6 3
Office buildings 6 3
Total 195 100
Source: albert Consortium
73
Productions achieving 30% of the total points available achieve a one-star rating; a score
of 45% of the available points secures a two-star rating and a three-star rating requires
60% or more points.
Activity that scores points will either reduce carbon emissions; and/or share best practice
with production and supply chain; and/or promoting sustainable production ideals more widely.
A number of actions are mandatory to achieve albert certification.
Information supplied for certification is independently audited. Productions must provide
documentary evidence for a random selection of actions they have pledged to undertake.
Once the certification rating has been awarded, the albert certification badge can be
displayed on screen.
Table A2: High scoring best practices
Category Best practices Points
Communication Does the editorial content of the production contain any on-screen
messaging regarding sustainability or environmental issues?
10
House Power Is mains power used from a 100% renewable sourced energy tariff? 10
Power Generation Have low-carbon power generators been used? (e.g. waste
vegetable oil generators, fuel cells or solar)
10
Accommodation & Crews Has the production used local crews and/or equipment to reduce
travel and accommodation cost?
10
Learning Has the production achieved a 10% carbon reduction against the
relevant genre/production method or a previous series?
10
Vehicle Policy If applicable, has the production reduced international air travel and /
or mainland UK air travel?
8
Lighting Have low energy lights been used during the shoot? 7
Vehicle Policy Have low-carbon emitting vehicles been used to transport cast and
crew? (e.g. Unit Drivers, Hire cars, Taxis, Couriers)
7
Planning Will any of the production staff or crew attend free Carbon Literacy
training?
6
Additional activity Will any additional activities be undertaken and will they reduce
carbon emissions or promote sustainability?
6
Learning Have you created audience or industry facing comms about the
productions approach to sustainability?
6
Source: albert Consortium
74
A2: PGA Green Production Guide
and EMA Green Seal
PGA Green Production Guide offers a suite of three sustainability tools:
• Production Environment Accounting Report (PEAR), a carbon calculator.
• Production Environmental Actions Checklist (PEACH), a list of best practices
linked to the award of EMA Green Seal ratings.
• Production Lumber Worksheet (PLUM), tracking the source and use of
construction lumber.
All three tools are based on spreadsheet templates available for free online.
PEAR originally launched in 2011. Current version developed for PGA Green by ENVIRON
International Corporation and updated in 2014.
Carbon calculator to measure environmental impact based on data about utilities, haulage
and travel. The spreadsheet has tabs for six different carbon emissions sources:
‘About ten years ago we came together with the Producers
Guild of America and their PGA Green Committee, the six
major studios at that time and the Producers Guild, and we
created the sustainable production alliance [...]
The more we could align the things we were doing and
align the tools we were using, the faster we could spread
sustainability through our industry.’
Lisa Day, Environmental Sustainability Manager
at The Walt Disney Company
56
56
Speaking at AtlanticLIVE event, October 2018. https://youtu.be/JPUBpw1JIMo
Electricity
Total electricity used for all locations
Natural Gas and Heating
Total natural gas and/or heating oil used for all locations, if appropriate
Fuel
Fuel used for equipment (e.g., generators) and vehicles
Hotels & Housing
Number of days and location of hotels, houses and condos rented
during the production
Commercial air travel
Passenger miles and routes (if applicable) travelled on commercial
airlines
Charter & helicopter flights
Fuel, hours or distance travelled on charter jets and helicopters
75
PEAR also tracks waste management, donations, and procurement of consumables like water
and paper, and the spreadsheet includes additional tabs for environmental accounting and
report metrics in these areas.
Having populated the relevant data, the spreadsheet auto-generates an Environmental
Accounting Report that includes:
• Carbon Footprint Summary providing a CO2 emissions total in metric tons and
breakdown by source (utilities, fuel, air and housing), and CO2 emissions per shooting
day for feature productions (with breakdown by source);
• Comparison of production footprint with equivalent annual energy use from homes,
annual emissions from vehicles, gallons of gasoline and the number of trees grown
for ten years;
• Overview of other measures for waste diversion, recycled paper content, water bottle
usage and donations.
Two spreadsheets are available for PEACH (PEACH and PEACH+). Productions select one
or the other to complete, depending on the level of their sustainability ambitions. PEACH
contains 93 best practice items while PEACH+ is more comprehensive and incorporates
181 additional items.
Both require input from HoDs and coordinators in all main departments. It is the overall
responsibility of a named Sustainable Production Representative (SPR), who completes data
entry at Prep and again at wrap.
Points are scored according to which best practices are adopted at wrap.
The spreadsheet auto generates a dashboard summarising the points scored in each
department.
It also allows free text explanation for actions taken or not, and to identify any good practice not
listed in the template.
PEACH actions incorporate the EMA Green Seal Checklist, so productions can complete the
form and submit to EMA to be considered for an award.
There is a non-refundable $150 application fee for each Green Seal submission. A score of 75
points means achieves EMA Green Seal; 125 points are required for the Gold Seal.
To date in 2019, EMA has awarded Green and Gold Seals to 180 productions, 52 of which
were feature films (table A3). 62% of these film awards were for Gold Seal (Table A4).
76
https://www.green4ema.org/
Environmental Media Association (EMA) is a non-profit organisation
that campaigns on environmental sustainability through
celebrity role-modelling, social media messaging and dedicated
programmes including the EMA Green Seal for Production, EMA
Seals for Hospitality, Fitness and Business, EMA School garden
program and large-scale events.
EMA Green Seal is a recognition programme for feature and TV
productions, based on self-assessment using the PEACH and
PEACH+ tools in the Green Production Guide.
Table A3: EMA Green and Gold Seal Awards in 2019
Department All productions % Feature films %
Green Seal awards (75+ points) 97 54 20 38
Gold Seal awards (125+ points) 83 46 32 62
Source: EMA
Table A4: EMA Green and Gold Seal Awards for feature films, by studio in 2019
Studio Green Seal % Gold Seal % Total
Disney 3 30 7 70 10
Fox 4 40 6 60 10
NBCUniversal 5 50 5 50 10
Warner Bros 5 56 4 44 9
Sony Pictures 1 13 7 87 8
Paramount 2 40 3 60 5
Total 20 38 32 62 52
Source: EMA
77
Actions taken by production, transportation and construction departments represent the largest
share of the total points available (Table A5), and the highest scoring best practices are listed in
Table A6:
Table A5: PEACH (and PEACH+) scoring by department
Department
PEACH points
available %
Production 28 14
Transportation 25 13
Construction 21 11
Catering 18 9
Craft Service 16 8
Electric 13 7
Locations 12 6
Accounting 9 5
Camera 8 4
Props 8 4
Set decoration 8 4
Costume and Wardrobe 6 3
Assistant Directors 5 3
Greens 5 3
Sound 5 3
Special effects 4 2
Make-up 3 2
Art 2 1
Grip 2 1
Hair 2 1
Total 200 100
Source: PGA Green Production Environmental Accounting Checklist (PEACH)
78
Table A6: Top scoring best practices, PEACH
Action area Best practices Points Dept.
On screen Have writers incorporated dialogue or action that portrays
or advocates for environmental responsibility? If Yes,
briefly describe the storyline and include scene or episode
number(s) if applicable.
5 Production
Administration Did you track the production's environmental impact using
an accepted methodology (i.e., PEAR, albert)?
5 Accounting
Energy Was at least 30% of your lighting package energy efficient
set lighting such as LEDs? If Yes, confirm who provided the
percentage.
5 Camera
Catering Did you implement a plan to reduce red meat and/or
participate regularly in a completely vegetarian day (e.g.
Meatless Mondays)? If Yes, please explain.
5 Catering
Waste management Was leftover food donated to local food banks and/or
charities? If Yes, provide names of recipients.
5 Catering
Materials Did you use FSC Certified Lauan/meranti or a vetted
sustainable alternative (e.g., RevolutionPly)? If Yes, include
supplier name
5 Construction
Materials Were the majority of sets built with reused or repurposed set
materials or modular blocks, or was minimal set construction
done? If Yes, please explain.
5 Construction
Waste management Were sets and set materials given to another production or
vetted non-profits for reuse? If Yes, include recipient(s) and
describe donated materials.
5 Construction
Waste management On location, did you significantly reduce individual bottles of
water by supplying water jugs?
5 Craft service
Energy Was at least 30% of your lighting package energy efficient
set lighting such as LEDs? If Yes, confirm who provided the
percentage.
5 Electric
Energy On location, did you utilize house power or tie into the grid
instead of using generators? If Yes, provide examples.
5 Electric
Waste management Was compost collected on location? If Yes, include compost
vendor name.
5 Locations
On screen On screen, did you incorporate sustainable behaviors?
e.g., reusable water bottles and shopping bags. If Yes,
provide examples.
5 Props
On screen Did you incorporate sustainable behaviors on-screen?
e.g., recycling bins, environmental themed messaging
in background. If Yes, provide examples.
5 Set decoration
Energy Were low-carbon fuels such as biodiesel (B20 or greater)
or renewable diesel used in generators and trucks?
If Yes, include vendor and/or product name.
5 Transportation
79
PLUM is a spreadsheet tool completed by the Construction Coordinator for tracking the use
of Lauan/Meranti plywood and its alternatives (e.g. RevPly), measuring the extent to which
productions use sources that are sustainably harvested, recycled, reclaimed or reused. The
focus is on plywood because of its impact on biodiversity.
Table A6: Top scoring best practices, PEACH continued
Action area Best practices Points Dept.
Energy Did you use solar powered trailers that can run without
tying in or using generators? If Yes, include vendor, make,
and model.
5 Transportation
Waste management Did you ensure recyclables were collected at each location?
If Yes, include waste vendor name.
4 Locations
Energy For base camp, did you tie into the electric grid? 4 Transportation
Source: EMA
80
Appendix 2: Green is Universal summaries
Fast & Furious Presents: Hobbs & Shaw (EMA Gold Seal award)
• Dedicated sustainability manager for London shoot
• Compost and recycling programme in the office and on set.
• Crew provided with reusable water bottles to reduce the use of plastic.
• 100% recycled content paper was used where available.
• Heaters ran on renewable diesel made from 100% used cooking oil.
• Construction team donated a truck full of dirty polystyrene from their sets to Scenery
Salvage to be recycled and reused.
• Costume department donated over $45,000 worth of wardrobe to TRAID, Smart Works,
Suited and Booted, Whitechapel Mission, and Smalls for All.
• Crew also held a clothing and toiletry drive for the Croydon Refugee Day Centre.
Yesterday (EMA Gold Seal award)
• Production team set up a comprehensive recycling and composting program and
established digital distribution for scripts and schedules.
• When printing was necessary, they used 100% recycled content paper.
• Provided crew with green tips and facts on call sheets, as well as contests between the
different departments during production.
• Cast and crew were supplied with reusable water bottles.
• Set was lit with a large amount of LED set lighting.
• Transportation implemented a strict no-idling policy for their drivers and many crew used
public transport.
• Set Decoration team incorporated environmental messaging on screen, including
environmental posters on the school set.
• Donated 2,860 lbs of excess catering and set decoration food to City Harvest London.
• Costumes, Set Dec, and Props donated several boxes of clothing and home goods to
the non-profits Dress for Success and British Heart Foundation.
• Construction department donated $6,000 worth of leather tapestries to a Firefighting
Charity fundraiser.
81
Mary Queen of Scots (EMA Gold Seal award)
• Comprehensive recycling program in their offices and on set.
• Production office used 100% recycled content paper and electronic distribution for a
significant amount of their paperwork.
• Many office and construction materials were passed onto them from the Universal
Pictures’ film Jurassic World: Fallen Kingdom.
• Reusable water bottles were distributed to crew at the start of production.
• The Sound Department used nearly all 99.9% rechargeable batteries throughout the
entire film.
• Props Department donated 10 boxes of props and furniture to the Phyllis Tuckwell
Hospice.
• Production donated historical research books, clothing, and shoes to the Sam Beare
Hospice shop, and any non-perishable food from the film was donated to
Runnymede Foodbank.
• The film’s director, Josie Rourke, donated 112 trees to Trees for Life on behalf of the
cast and crew, to be planted in the Scottish Highlands, one of the filming locations
in the movie.
Johnny English Strikes Again (EMA Gold Seal award)
• Lighting package on the film was roughly 75% LED.
• Production used biodiesel made from used cooking oil to heat marquees.
• The production office used 100% recycled content paper and crew significantly
reduced single use plastics by bringing their custom Johnny English water bottles
to set every day.
• The production team implemented a recycling and compost program both in the office
and on set, including custom signage to help educate crew.
• Production ran a friendly green competition among departments for the duration of the
shoot.
• The Wardrobe department won the official “gold star” for their green efforts, including
their donation of $20,000 worth of costumes to the Trinity Hospice Charity.
• Catering and Set Dressing donated 800 lbs. of excess food to City Harvest, equaling
667 meals to those in need.
82
Mamma Mia! Here We Go Again (EMA Gold Seal award)
• Production partnered with local company Charlie Spotless to educate crew and
implement a waste diversion program that included recycling, composting, and
waste-to-energy. This effort resulted in a 99% diversion rate for on set waste,
meaning zero materials were sent to landfill.
• Heaters were powered with biodiesel from OnBio made from used cooking oil.
• Crew had reusable water bottles and most office paper contained
100% recycled content.
• Majority of the set lights were LEDs.
• Production donated clothing, shoes, and household items to Cancer Research,
Changing Pathways, and Help Refugees.
• Excess catering was donated to the local non-profit City Harvest, who in turn served
it to Londoners in need.
Jurassic World: Fallen Kingdom (EMA Gold Seal award)
• UK cast and crew were supplied with reusable water bottles.
• Production office carried 100% white recycled content paper, and saved paper by only
printing upon request.
• Production created customized “dinosaur-themed” signage for their recycling bins.
• The majority of cast vehicles were hybrids, and approximately 75% of the UK lighting
package was LED.
• Jurassic World: Fallen Kingdom helped to launch a UK food donation program for
excess catering. The production and NBCUniversal sustainability team worked together
to partner with the non-profit organization City Harvest London to successfully donate
over 320 lbs of food throughout the course of production.
Darkest Hour (EMA Green Seal award)
• Offices were set up to minimize waste. Best practices included recycling, plumbed in
water coolers, and replacing disposable food service products with washable glasses,
dishes, and cutlery.
• On set, reusable bottles were supplied to crew
• As a period drama, nearly all set dressing and props were obtained second hand,
reducing the need to purchase new. When building sets, the construction team utilized
sustainable building materials such as FSC Certified Plywood.
• In wrap, sets from the film’s “War Rooms” found a second life on the RMS Queen Mary,
where they will be transformed into a restaurant.
• Set Dressing and production supplies such as shelving and furniture were donated to
three local non-profits: Shelter (housing assistance,) Dad’s House (food bank), and the
British Heart Foundation.
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Appendix 3: US Studios, CSR and sustainability
NBCUniversal
From the Green Is Universal web site
http://www.greenisuniversal.com/learn/about-us/film-production/
‘Universal Pictures and Focus Features are committed to reducing the environmental impact
from filmmaking activities. To assist in this effort, NBCUniversal developed a Sustainable
Production Program which empowers our film divisions to integrate sustainable best practices
across their productions.
At the foundation of the program are easy to use infographics which illustrate sustainable
production best practices. These practices span across all production operations and equip
filmmakers and crewmembers with the tools to take action and reduce impact. To view
the infographics and learn more about our sustainability program, click here. To find more
sustainable production tools and resources, check out GreenProductionGuide.com.’
Universal Studio Lot follows Green Is Universal, and has policies in the following areas:
• Commuting
• Dining recycling Program
• EV charging on the Lot
• Food Donation Program
• LED set lighting
• Transportation dept.
• Zero waste recycling Program
https://www.universalstudioslot.com/green-is-universal
From the NBCUniversal Sustainable Production Guide (http://www.greenisuniversal.com/site-
content/uploads/2011/04/NBCU_GIUTVGuide.pdf):
‘NBC UNIVERSAL OFFSETS FOR FILM AND TELEVISION POLICY
NBC Universal has prioritized the reduction of environmental impacts of the production process
over the purchasing of GHG offsets. There are many benefits to this strategy (local, community,
national, planet). Once a full emissions impact reduction plan has been implemented and all
efforts have been made to reduce the GHG impact of a production, then the purchase of an
offset to bring the production to carbon- neutral status may be supported.’
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Paramount Pictures
https://www.paramount.com/giving-back-news/tags/119/environment
“The Green Team is a 15-member coalition, representing every major division within the
company, working towards a three-pronged strategy:
• Educate employees to live the most sustainable lives possible
• Ensuring the lot operates in an environmentally sustainable way
• Ecologically responsible content and production
ENVIRONMENT
Whether around the studio lot, on location for production or in our daily lives “Green. It’s
paramount to us.”
Green. It’s paramount to us.
Paramount’s green initiative encourages eco-friendly behavior and business practices
throughout the company. The Green Action Team, a coalition of employees representing a
range of departments, drives the effort and has spearheaded a variety of projects.
Highlights include:
• E-waste and cellphone recycling
Each year, employees turn in hundreds of items including old VCRs, telephones,
computers, televisions & other electrical equipment. The safe recycling of these items
prevent hazardous materials from entering our landfills. In celebration of Earth Day, the
Green Action Team organized a cell phone recycling drive on the lot. Collection bins
were placed at the main studio gates and food service locations, collecting dozens of
old phones & chargers.
• Green volunteering
In coordination with the Paramount Volunteer Crew, employees spend hundreds of
volunteer hours working on various environmentally friendly projects, including mulching
& harvesting at a community garden, cleaning up the beach and the LA River, and
planting trees at local schools.
• Electric vehicle charging stations
In 2012, Paramount installed four electric vehicle charging stalls on the studio lot. These
charging stations are available for use 24 hours a day/7 days a week and open to all
Paramount Pictures’ employees and guests. Why drive electric? Electric vehicles emit
few to zero emissions while driving on battery power.”
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Sony Pictures
https://www.sonypictures.com/corp/corporateimpact.html
SUSTAINABILITY
“Sony Pictures is committed to playing our part towards greater environmental responsibility. We
believe in leaving our world better than we found it, aiming to reduce our ecological footprint
by pursuing policies and actions that combat climate change, preserve natural resources and
protect the health and safety of our community. We have several programs in place that support
our sustainability goals.
Road to Zero is Sony’s global environmental plan, striving to achieve a zero environmental
footprint throughout the life cycle of our products and business activities. For more information
about Sony Corporation’s global environmental initiatives, visit the environmental section of
Sony’s CSR Web site.
Sony Pictures and its productions are committed to minimizing their impact on the environment
by modeling sustainable behaviors both behind the scenes and on-screen. To support our
corporate environmental targets, our Sustainability team works with features and television
shows under its Sustainable Production Program , establishing environmental impact-reduction
strategies at the core of each production’s operations. Further, we take opportunities to
positively portray sustainable behaviors on-screen, when appropriate.”
SONY PICTURES ENTERTAINMENT SUSTAINABILITY
http://www.sonypicturesgreenerworld.com/about
MISSION
“Through ‘Sony Pictures A Greener World,’ the environmental initiative of Sony Pictures
Entertainment (SPE), the studio seeks to reduce its ecological footprint by pursuing sustainable
activities and partnerships that combat climate change, preserve natural resources and protect
the health and safety of our communities around the world. By engaging with its employees,
partners and customers, SPE is focused on improving its environmental sustainability
throughout all of stages of its business, including film and television productions, as well as
supply chain, facilities, distribution, and procurement choices.
Sony Pictures’ efforts contribute toward Road to Zero, Sony Corporation’s global environmental
plan, which aims to achieve a zero environmental footprint throughout the lifecycle of the
Company’s products and business activities by the year 2050. Sony Corporation recognizes
the importance of preserving the natural environment for future generations, thereby
ensuring a healthy and sustainable planet for all. For more information on Sony Corporation’s
environmental efforts, visit www.sony.net/eco.
As part of its Sustainable Production Program, the studio’s Sustainability Department works
with its direct production features and U.S.-based Sony Pictures Television scripted television
shows to support Sony Pictures’ corporate environmental targets. Establishing environmental
impact-reduction strategies is at the core of each production’s operations. Further, on-screen
opportunities are seized when content-appropriate to positively portray sustainable behaviors.
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OUR MISSION:
CARBON
Complete a Production Environmental Accounting Report.
BEST PRACTICES
Adhere to environmental impact-reduction actions by department; complete checklists, and
support industry eco-friendly vendors.
ON-SCREEN
Raise awareness by modeling sustainable behaviors and showcasing eco-messaging.
LUMBER
Purchase FSC Lauan (meranti), Revolution Ply® and/or other approved, environmentally–
sustainable ply products.
FOOD/WATER
Donate excess, unserved food and request waste vendor to compost food waste. Reduce to
strive to eliminate disposable water bottle purchases.
ALTERNATIVE POWER
Reduce the use of fossil fuels and promote alternatives, specifically solar and renewable fuels to
lower carbon emissions. Encourage the use of energy-efficient technology such as LEDs.”
‘In 2001, Sony Pictures Studios (SPS) was certified under ISO 14001, a systematic framework
for managing the impacts an organization has upon the environment. SPS has since maintained
that certification each year since, actually expanding certification to additional Sony Pictures
sites worldwide. SPS remains the first and only major studio certified to this international
standard.
Key priorities that make up the ISO 14001 commitment include:
Management commitment
Reduction of environmental impacts through:
– Water Conservation
– Energy Management
– Waste Management & Reduction
– Pollution Prevention
Compliance with legal and corporate requirements
Employee engagement”
(http://www.sonypicturesgreenerworld.com/green_ops/iso-14001)
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The Walt Disney Company
https://www.thewaltdisneycompany.com/environment/
A COMMITMENT TO THE PLANET
‘At Disney, our commitment to environmental stewardship focuses on using resources wisely as
we operate and grow our business. We also provide philanthropic grants and expertise to save
wildlife, inspire action, and protect the planet.
Our commitment to environmental stewardship focuses on using resources wisely and
protecting the planet as we operate and grow our business. Scarcity of natural resources and
threats to ecosystems and biodiversity are serious environmental issues. These challenges
demand fundamental changes in the way society, including the private sector, uses natural
resources. We strive to meet our long-term goal of attaining a “zero” state of net greenhouse
gas emissions and waste, while conserving water resources when and wherever we can.
In 2018, we successfully reduced our net emissions by 44%. By 2020, we aim to reduce net
emissions by 50%.
In 2018, we diverted 54% of waste from landfills and incineration. By 2020, we aim to divert
60% of waste.
In 2018, we reduced potable water consumption by 5.8% compared to the 2013 baseline.
Plastic use:
By 2019, the company will eliminate single-use plastic straws and plastic stirrers at all owned
and operated locations across the globe.
“Conservation isn’t just the business of a few people. It’s a matter that concerns all of us,” said
Walt Disney, and the Company’s commitment to environmental stewardship today is as strong
as it was when Walt spoke these words.’
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WarnerMedia
http://www.timewarner.com/company/corporate-responsibility
‘Our company prides itself on being the place where the world’s most talented creators and
journalists tell their stories. Purposeful Storytelling is about our diverse and original content that
helps to deepen the conversation on issues that matter in society.
Engaging with Impact is about the many rich and varied ways we engage with our communities,
including helping to develop the next generation of storytellers from diverse backgrounds. It is
also about how our employees give back, which is a key part of our culture.
Creating Responsibly and Sustainably means we act ethically and with integrity and work to
reduce our environmental impact as we serve an increasingly global audience.
Tracking Our Impact
— Making films and television shows with a smaller environmental footprint
— Safer studios and facilities
— Collaboration across our industry to support diverse enterprises
Impact Highlights
• $1.75m in energy cost reductions in 2016
• 17% decrease in direct and energy-indirect GHG emissions from 2013 to 2015
• $1.09m in energy cost reductions in 2015
• 20+ countries where we have offices that participated in the 2016 Earth Day Power
Down in a coordinated effort to conserve energy’
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Appendix 4: Green developments
in UK production studios
Pinewood Group
The Pinewood Group web site has a page setting out their sustainability initiatives.
The company has committed to a 50% reduction in carbon emissions from 2010/11
baseline by 2030.
Energy
• Pinewood takes a number of steps to minimise its own energy use on the site.
• Productions are billed separately for their energy use, so in theory there is a financial
incentive to reduce power consumption.
• Productions shooting on the lot must use Pinewood MBS lighting, the first albert
affiliated supplier, which has made significant investment in low energy LED lighting.
• Solar panels are available on K Block and Q Block at Pinewood Studios, which can
generate up to 32kW per hour.
• The Pinewood Group does not currently use a 100% renewable energy supplier but is
considering the option when the current contract ends.
Transport
• The Pinewood site operates an integrated transport plan, including shuttle buses to
four nearest stations, removing an estimated 100k car journeys from the road annually.
This reduces environmental impact and minimises disruption to local residents and
businesses.
• The Group also provides electric vehicle charging points at Pinewood and Shepperton
studios.
‘Dedicated to contributing to a sustainable future for the
screen-based industries, the Pinewood Group now leads
the way in sustainable film and TV studios.’
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‘Energy is important to everyone at the studio, from
lighting sets to heating offices, everyone uses energy
each day. As a studio, we try to use energy as sustainably
as possible and we’ve invested in renewable energies
and energy efficient technologies.’
‘Sustainable travel is better for the environment and for
our roads and Pinewood promotes the use of sustainable
modes of transport to and from the studios for visitors,
staff and clients.’
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All quotes in this section are taken from: https://www.pinewoodgroup.com/studios/pinewood-studios/sustainability
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Waste
• Waste management for the company and tenants is undertaken by a contractor.
The broker guarantees zero waste to landfill.
• Productions are responsible for managing their own waste.
‘We aim to reduce the amount of waste we create and
to increase the amount that is recycled. Purpose-built
recycling centres at both Pinewood and Shepperton
ensure the maximum amount of material is sent for
recycling, the number of lorry movements are reduced
and that no waste is sent to landfill.’
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Warner Bros. Studios Leavesden
Warner Bros. Studios Leavesden has a web page describing it’s principal sustainability
initiatives. The Studios’ approach aligns with its parent company’s corporate social
responsibility policies.
WBSL is responsible for the sustainability of its own activities on site, while visiting productions
manage their own waste and energy use in studio and workshop spaces.
WBSL encourages the adoption of more environmentally friendly practices wherever possible,
by advising and assisting clients. This has included working with local charities to enable
productions to donate assets to good causes.
Energy
• Utilities are billed separately in sound stages and workshops but are included in office
rental charges.
• 100% of electricity used on site is sourced from a renewable supplier (up from 73%
renewable under the previous contract).
• WBSL has undergone extensive re-development since 2010, and all buildings are
certified as good or very good by BREEAM (the sustainability assessment method).
New builds are designed for maximum efficiency to save energy and water.
• Low energy LED lighting is being retrofitted across the site.
• Productions use WBSL’s lighting division for filming, and the company has invested
heavily in LED (and will continue to do so on a demand-led basis).
• No mains power supply is currently available for use by productions on the studio’s
extensive backlot, but WBSL has begun a programme to introduce power source
hook-ups to reduce the amount of generators on site.
Transport
• The on-site multi-storey car park has 24 EV charging points.
‘Warner Bros. Studios Leavesden is fully committed to
promoting good sustainability practice, to reduce the
environmental impacts of all our activities and to assist
and encourage our clients and partners to do the same.’
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‘We care about the impact we have on the environment
and strive to reduce our Co2 emissions by promoting
the use of public transport, use of electric vehicles with
multiple EV charging points on-site and running a cycle
to work scheme for employees.’
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All quotes in this section are taken from: https://www.wbsl.com/studios/about/sustainability/
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Waste
• WBSL operates comprehensive recycling schemes across the site and has a dedicated
recycling centre.
• WBSL staff are provided with stainless steel reusable water bottles to reduce single-use
plastics.
• Waste management is included in the rental price of offices used by visiting productions.
In rented stages and workshops, productions are responsible for waste management.
• WBSL has approved four waste management companies for productions to choose
from, guaranteeing the destination of waste leaving the site.
• All WBSL company waste is either recycled or burned and converted into energy.
Most waste from productions is treated similarly, but a small proportion that includes
polystyrene used in set building goes to landfill (as there are currently no alternatives
for disposal).
‘We are passionate about preserving the environment
through effective waste management and recycling
schemes across the site. We ensure the maximum
amount of material is sent for recycling and are proud
to say we are a zero-landfill site.’
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Z Studios: The VECTAR Project
https://www.vectarproject.co.uk
The VECTAR Project is leading the re-development of Z Film Studios in Heaton Mersey,
Stockport, with advice from The Tyndall Centre for Climate Change Research at the
University of Manchester.
Project mission:
1. To be completely carbon neutral by 2020
2. To adopt a number of leading-edge technologies, eliminating carbon emissions in the facility
and providing new support facilities which will allow any production or film company to
reduce the resources they consume
3. To work with clients and provide them with the tools to enforce positive alignment across all
their advertising agencies, film companies, directors and crew – so that there is little or no
excuse to waste resources the planet cannot afford
4. To act as a development centre to provide the template for other facilities both in the UK and
overseas to adopt a comprehensive approach to improving the global performance of the
industry in helping to save the planet
The project involves upgrading the existing site and facilities housed in a 30-year-old building.
The first phase, supported and part-funded Greater Manchester GC Business Growth Hub,
included upgrading studio lighting to ultra-efficient LED and installing a 11kWp rooftop solar
system.
By 2020 the facility will produce all its own energy. Once complete, the switch to full LED lighting
is expected to reduce the studio’s annual carbon emissions by 72 tonnes (saving more than
£32,000 a year). The solar system will reduce emissions by a further 1.9 tonnes and (saving an
additional £1,000 a year), and there are plans to expand this significantly in future.
Other developments include moving to paperless production (scripts, shooting boards and
production documentation will exist live on digital devices); providing a 10GB high-speed data
network at the facility as an alternative to hard drives (and dispensing with the need for a DIT);
plastic-free catering in the studio using locally sourced, plant-based food; and implementing a
rainwater reclamation system.
Funding is currently being sought for subsequent development phases involving the latest
technology, including replacing conventional constructed sets with virtual ‘digital sets’ and
reducing air and other travel by using 8K 3D cameras in sound stages and other areas to allow
executives and key creative talent to be ‘virtually’ on set.
‘The VECTAR Project has been created to be a first in true
carbon neutral studio film production in the city region,
employing technology and work methods that will ensure
minimal impact on the planet without compromising
quality of content.’
Tom Henderson, Director, The VECTAR Project
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Other studios
The Bottleyard Studios, Bristol
• Owned and managed by Bristol City Council. Approach to sustainability is linked to
Council policies.
• Has a dedicated page to ‘Sustainable practices’ (https://www.thebottleyard.com/about/
sustainable-practices)
• Supports albert and is included in a case studies on albert web site.
• Advises productions on sourcing local crew and suppliers, and assists with set
repurposing and storage.
• Undergoing a rolling programme updating facility lighting to LED, and has solar power
generating capacity.
Ealing Studios, London
• Took part in pilot during development of BS 8909 and featured as a case study.
• Member of albert’s Creative Energy scheme, and working with albert on model for zero
carbon, zero waste studio.
Film City Glasgow, Glasgow
• Film City Glasgow was awarded funding from Glasgow City Council and Creative
Scotland for a Programme For Sustainability (http://www.filmcityglasgow.com/PFS)
• Enabled studios to change the way the facility operates and inspire the wider screen
industries in conserving energy and reducing emissions.
• Included publishing tips on sustainable location shooting in Scotland, a sustainable
procurement policy, travel plan and environmental policy.
The Maidstone Studios, Kent
• Worked with Screen South and Greenshoot on a case study for the Sustainability in
Vision report for Cine-Regio published in 2014.
• Recommendations for future activity included development of a sustainability policy;
launching a green procurement campaign and maintain a database of green suppliers;
allocating tasks to a green studio coordinator; undertake energy and fuel reduction
programme; and institute a recycling scheme.
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Mercian Studios, Birmingham
• Planned new studio development currently seeking finance.
• Led by Steven Knight, who has green ambitions for the project:
Space Studios, Manchester
• Makes reference to albert on web site (“Space Studios Manchester is working with
albert to promote environmental sustainability in the broadcast industry.”)
Sunbeam Studios, London
• Takes a proactive to sustainability (http://www.sunbeamstudios.com/sustainability/)
• Manage eco-measures through 8 steps of Refuse, Reduce, Reuse, Rehome, Recycle,
Replace, Rot & Respect.
• Member of albert’s Creative Energy scheme.
• Initiatives include free re-cycling for visiting productions; upcycling unwanted assets and
resources to local projects; Fair Trade procurement; encourage use of push bikes and
foot power for deliveries and pick-ups whenever possible; catering using healthy, locally-
sourced food; use hybrid vehicles, and organise client’s taxis to be hybrids whenever
possible; host education events and train assistants on sustainability policy.
Twickenham Studio
• Home to Karma Crew & Creative, a London- based multi-platform video production
company and digital content provider offering a full film and production service to
agencies, broadcasters and direct to brand. “We are committed to sustainability, both
environmental and educational. We are a low energy use company.”
‘I want [the studio] to be green. We will contribute to the
grid, rather than withdraw from it, by burning biomass.
We can have bird sanctuaries on the roofs of the studios.
There will be no plastic bottles. Every vehicle that’s
under the control of the studio will be electric.’
Steven Knight
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Appendix 5: Dresd case study
Based in South Wales, Dresd offers a number of sustainable production services.
The company has studio space on four stages, along with workshops and other spaces
for hire by productions.
In addition, Dresd supports productions (whether using its site or shooting elsewhere) with
the aim of achieving zero waste to landfill by:
• overseeing and monitoring the production process, ensuring that sustainable best
practice methods are adopted;
• collaborating with productions to identify sustainable materials and possible routes
of re-distribution;
• encouraging the design of sets to increase their reusability and lifespan (building with
recycling in mind);
• helping to ensure materials can be donated to charity;
• Provides a waste report at the end of production to feed into footprinting and
certification paperwork.
Dresd also offers a set clearance service, with complete derig and site clearance. This includes
asset collection, with the potential for costs to be offset against any reusable props acquired
by Dresd. Materials collected by the company can be hired back into the industry, offering a
cheaper option for productions than buying new and reducing consumption.
The site has 50,000 sq ft of secure physical storage for all set materials, alongside containers
and other storage. Goods that are no longer needed by productions are automatically sorted
and stored by Dresd.
‘We provide the broadcast industry with a viable, cost-
effective and sustainable alternative to set waste being
sent to landfill or waste to energy. We are a certified
albert supplier and recommended by the BBC, helping to
support an environmentally sustainable future for the TV
and film industries.’
59
59
http://www.dresd.co.uk/
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Appendix 6: albert, PGA Green Production
Guide, AdGreen, Creative Carbon Scotland
and Julie’s Bicycle
albert Consortium
https://wearealbert.org
Established 2011, emerging from a carbon calculator developed for BBC productions, and
governed by an industry consortium led by BAFTA. Funded by industry fees, enabling all
resources, tools and training to remain free of charge at point of use.
albert objectives:
1. To enable every part of the screen industry to eliminate waste and carbon emissions
from production
2. To empower industry creatives to make editorial content that supports a vision for a
sustainable future
The commissioning directorate (BBC, ITV, C4, Sky and Netflix) supports the development and
implementation of albert’s strategy and industry wide objectives.
The wider consortium supports the creation of albert’s strategic projects, tools and initiatives.
Consortium membership includes commissioning directorate members plus Elephant House
Studios, Hat Trick, Warner Bros, Endemol Shine Group, IMG, Freemantle, Viacom, Tinopolis,
UKTV, all3media and NBCUniversal.
The albert consortium currently works with three industry partners providing specific green
services: Green Tomato Cars, Sargent Disc and Good Energy.
albert also extends its reach via:
• Ambassadors (individual creatives who take a proactive role in sustainability),
• International Partners (Screen Greening, Ireland; Focus op Groen, Netherlands; Greener
Screen, UAE; Reel Green, Canada)
• Affiliates (Aurora Media, Bad Wolf, Blast! Films, Bronte Film & TV, Cactus TV, Caryn
Mandabach, Crackit Productions, Curve Media, Darral MacQueen, Envy Post
Production, Evolutions, Expectation Entertainment, Films@59, Five Apples, Fulwell 73,
Icon Films, Input Media, ITN Productions, IWC Media, Keo, Kindle Entertainment, Locate
Productions, Me and You Productions, October Films, Open Mike Productions, Plimsoll
Productions, Raise the Roof, RDF, Rough Cut, Sid Gentle, Silverback, Sister Pictures,
Splice, Suite TV, True North, Vice)
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In addition to the carbon calculator and certification system (see Appendix 1), albert offers a full
range of complementary services:
• Carbon literacy training and events around the UK (sessions on sustainable production,
and on-screen representation);
• Production Handbook on the albert web site tailored for different departments
(Production, Producers + Directors, Lighting + Camera, Sound, Post Houses,
Production Design, Costume, Hair + Make-up, Studio Facilities); supported by case
studies;
• Planet Placement guide to content creation with on-screen sustainability messaging;
• Creative energy scheme with Good Energy (currently adopted by Argonon, Babycow
Productions, Bad Wolf Studios, BAFTA, Band Films, Blast Productions, Cactus, CPL,
Directors UK, Dog Years, Ealing Studios, eOne, Films @ 59, Greenwich Studios,
Halo Post, IWC Media, Kode, Lime, LS Productions, Mammoth Screen, Neal Street
Productions, One of Us, Rawcut, Rocking Horse Pictures, Sargent-Disc, Silverback,
Snow Years, Splice Post, Studio Lambert, Sunbeam Studios, Take 2, The Edge, The
Edit, The Farm Group, The Incentive, The Purity Works, Windfall Films and Zigcam
Films);
• Education partnership with screen education institutions delivering ‘Applied Skills for
a Sustainable Screen Industry’ module (Arts University Bournemouth, Birmingham
City University, Canterbury Christ Church University, Confetti Institute of Creative
Technologies, University for the Creative Arts, University of East Anglia, Glasgow
Caledonian University, University of Hertfordshire, National Film and Television School,
Learning on Screen, University of Leeds, University of Lincoln, London College of
Communication, Staffordshire University, London College of Communication, Sheffield
Hallam University, UWTSD Swansea College of Art);
• Carbon offsetting scheme offering advice about the process and market providers
through ‘offset club’ meetings hosted every six months.
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PGA Green Production Guide
https://www.greenproductionguide.com
Developed from the work of PGA Green, which started life as a chapter of East Coast PGA
members in 2007 before becoming a PGA national committee in 2009.
The Guide was developed in 2010 with seed funding from a number of major studios.
It now has primary support from Disney, Amblin Partners, 20th Century Fox, NBCUniversal,
Paramount Pictures, Sony Pictures Entertainment, Warner Bros, Amazon Studios, HBO,
Netflix, CBS & Participant Media.
Intended as a resource for production professionals looking to reduce their environmental
impacts and carbon emissions.
Works in partnership with other organisations, including Environmental Media Association,
Rocky Mountain Institute, and the albert Consortium led by BAFTA.
Green Production Guide features a searchable database of vendors offering green products
and services. Also offers a range of free resources:
• Cost benefit analysis report, April 2014
• FAQs
• Useful links
• List of EMA Green Seal recipients
• Research reports
The PGA Green Production Guise Toolkit contains the PEAR, PEACH and PLUM tools
described in Appendix 1 along with:
• Practical guidance and an introduction to greening production, as well as
e-memo templates, flyers and signage and donations guidance;
• Infographics for best practice in offices, production studios and on location.
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AdGreen
https://www.adgreen-apa.net
Inspired by the work of albert, Jo Coombes (Head of Production at LS Productions, formerly
a freelance production manager) started AdGreen in 2014 to help improve sustainability
practices in the advertising industry.
AdGreen receives strategic support from the APA but is currently unfunded and relies on the
voluntary efforts of individual practitioners.
The AdGreen website provides free access to a range of practical production tips and
resources, as well as an email newsletter and social media presence:
• How to Add Green to Your Shoot: Takes you through the key bits of the site
• Get Inspired By Others: Case studies from production staff going green on real jobs
• Five Easy Things: Start with these to reduce waste
• Office Checklist: Get your house in order and tell your staff and freelancers
• Resources: Including printable bin signage, text for your call sheet, rehoming directory
for props, sets, costume, food and more
• Switch to Renewables: Make a big change and get green power for your office
• Sustainable Production Agreement: Use this to make commitments on your shoot and
communicate to the ad agency
• FAQ: Answers on recycling, reusing drives, water bottles, carbon offsetting and more
The project has grown and now co-hosts a regular programme of events, networking
opportunities and training in collaboration with albert, APA and IPA. This includes two
Green Production Get Togethers per year; Green Zone at the annual Focus trade show;
and APA Masterclasses.
‘AdGreen exists to support the advertising industry’s
transition to environmentally sustainable production
methods; working in collaboration with trade bodies and
other industry organisations to accelerate the adoption
of best practice.’
www.adgreen-apa.net
AdGreen’s vision is for all UK advertising content to
reflect sustainable living and be made in a way that
benefits both people and planet, delivered against the
following objectives:
– To reduce the environmental impact of the
production process
– To allow consumers to engage with sustainable
living via the content we are producing
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Creative Carbon Scotland
https://www.creativecarbonscotland.com
Creative Carbon Scotland provides Creative Scotland’s Regularly Funded Organisations (RFOs)
with advice about sustainability and accreditation. Since April 2018, Creative Scotland has
required all RFO to develop plans to reduce the carbon emissions related to at least one aspect
of their activities. Organisations supported through Open Project Funding and Targeted Funding
are also encouraged to do the same.
Creative Carbon Scotland works across the arts with individuals and organisations including:
• Artists, craftspeople, technicians and producers
• Visual art and craft galleries, studios and workshops
• Literature organisations, publishers and libraries
• Theatres
• Music venues
• Screen production companies and cinemas
• Touring companies
• National performing arts companies
• Festivals
• Arts agencies
• Funding bodies and local authorities
Creative Carbon Scotland provides training in carbon measurement, reporting and reduction,
and provide free tools and resources including for carbon counting and a web-based expenses
claim system to track travel-related carbon emissions. Creative Carbon Scotland also works at
a strategic level.
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Julie’s Bicycle
https://www.juliesbicycle.com
Julie’s Bicycle has three elements to its offer:
1. Consultancy, carbon calculation (Creative IG Tools) and certification (Creative
Green Programme);
2. Manages environmental reporting for ACE NPOs (around 800 organisations
in England. Pilot project looking at target setting for around 30 NPOs);
3. Policy and strategy (including working with local authorities and GLA).
Offers its Creative Green tools for free, and encourages venues to switch to renewable energy
suppliers (through the Creative Energy scheme with albert).
Carbon and environmental calculator designed to help organisations record and understand the
impacts of venue, office, tour, production, event or festival. Includes measures of energy use,
water consumption, waste generation and recycling, travel and production materials. Results
inform a bespoke environmental strategy and organisational priorities.
Creative Green certification recognises and celebrates environmental best practice of events,
venues, museums, galleries, festivals and offices. Organisations are awarded between one
and five stars based on points awarded for commitment, understanding and improvement.
Enrollment fees begin at £1,250 + VAT, and include:
• Training and learning workshops
• Access good practice and learning from peers
• Marketing of sustainability achievements
• Independent assessment of environmental performance
• Support from Julie’s Bicycle environmental experts
• Entry to the Creative Green Awards
Certificated organisations include a number of film exhibitors: Curzon Cinemas and Tyneside
Cinema as well as mixed arts venues like HOME and The Barbican. Julie’s Bicycle is currently
working with Curzon cinemas on a consultancy basis, including advising about the sustainability
of new build sites.
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Appendix 7: Green Screen
Earliest iteration of the scheme was launched in 2009 by Film London with funding from
Creative Skillset.
Environmental consultancy Greenshoot was involved at an early stage and formally joined as
sustainability partner in 2014. Scheme is supported by the London Filming Partnership and
London’s Borough Film Services.
Online platform www.green-screen.org.uk launched in 2016, with the aim of creating a simple,
easy-to-use online sustainability process for productions.
The scheme is open to TV commercials and productions, shorts and feature films.
Productions pay an administration and assessment fee of up to £485 depending on production
size and budget.
Once registered, productions gain access to sustainability resource guides and tools (including
a bespoke crew memo), along with tips tailored for each production department.
Process begins during the development or pre-production stage, when the producer commits
to implementing an environmental management system based on the principles of ISO 14001
and BS 8909.
The management system involves measuring and monitoring activity against objectives set
out in an environmental action plan using a PLAN-DO-ACT model. Evidence, including carbon
footprinting using Greenshoot’s proprietary carbon calculator, is uploaded to Green Screen as
part of the certification process.
Two certification levels are currently available: Green (entry level) and Silver (introduced in early
2019). A Gold level is planned.
Certification is dependent on meeting a set of mandatory requirements in addition to
achievement against a production’s own action plan.
‘Green Screen provides any production with a simple,
practical and cost saving environmental programme,
helping to make our industry more sustainable.’
www.green-screen.org.uk
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Entry level (Green) mandatory requirements:
1. The producer will complete this Environmental Policy which will generate the Crew
Memo that goes on the first day’s call sheet.
2. Appoint a Green Steward to oversee the environmental programme and a green
contact in each dept.
3. Implement a production recycling programme.
4. Won’t use polystyrene in the catering dept.
5. Donate any unwanted production assets (food, props, clothes, etc.) to charity.
6. Implement a ‘Switch Off’ energy reduction campaign.
7. Implement a no-idling policy for all vehicles.
The production must also choose a minimum of 3 strategies from the following;
We will distribute call sheets, MOs and RAs electronically.
We will always print and copy double sided (if printing is essential).
We will eliminate plastic water bottles by providing water coolers and personal canisters.
We will recycle all batteries.
We will donate any unwanted scenic flats to film schools
We will run a composting programme for all food waste.
We will organise car-pooling or minibuses when travelling to set.
We will hire a portable biodiesel or solar generator.
We will reduce food miles, buying locally.
We will use rechargeable batteries.
Productions can also use additional Greenshoot Consultancy services for industry training and
education and bespoke environmental onset strategies.
Intermediate level (Silver) mandatory requirements:
8. Eliminate plastic water bottles by providing water coolers and personal canisters
and/or ask crew to bring water canisters from home.
9. Distribute call sheets, MOs and RAs electronically.
10. Complete the Silver level tracking form (Silver offers productions to take part
in industry research programmes including energy and fuel tracking, waste and
single use plastic bottles).
Taking on a green runner/steward is the most important requirement, and over 240 new entrants
have been trained in sustainable production under the scheme. As part of the certification process,
producers recruit a trained green runner/ steward from a list maintained by Green Screen.
Productions meeting all mandatory requirements and their own action plan goals are awarded
the official Green Screen stamp, for display on screen and in promotional materials.
Between January 2016 and June 2019, 304 productions signed up to Green Screen.
291 achieved Green level certification, and one achieved Silver level. The majority of
certified productions are television commercials (239, 82%).
Since 2016, 17 Film London microwave films have been certified, along with 7 independent
films, 8 films supported by the BFI Film Fund and 7 student or short films.
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Acknowldgements
The author wishes to thank everyone who took part in the research,
contributing their professional views and insights on the condition
of anonymity. Desk research, online searches and interviews were
undertaken over the summer in 2019, and all information was
correct at the time of writing.
About Bigger Picture Research
Bigger Picture Research is a consultancy run by Jim Barratt
providing research, evaluation and strategic planning services
to the creative industries, arts and culture sectors.
