The image professions are asked to go green. As of March 31, 2023, any audiovisual production wishing to obtain funding from the CNC (Centre national du cinéma et de l'image animée) is now required to provide a carbon emissions assessment.

This measure, which will condition the allocation of public aid from next year, aims to support the ecological transition of the sector, which includes cinema, television and advertising.

In France, these activities generate 1.7 million tons of carbon equivalent emitted each year, including the distribution of streaming videos, according to Ecoprod, a specialist in environmental issues in the audiovisual sector. France 24 spoke with Alissa Aubenque, project manager at this association that trains professionals in the sector in good practices.

France 24: Ecoprod has developed one of the tools available to productions to assess the carbon footprint of their project. How does it work and what is its purpose?

Alissa Aubenque: This tool, named Carbon'clap, is a free online calculator designed for professionals in the sector. It has just been approved by the CNC, as part of the "Action Plan", to accelerate the ecological and energy transition in the audiovisual sector. This plan now requires productions to provide two carbon production assessments for each project: an upstream forecast balance and a final balance once the project is completed.

Our tool aims to facilitate this process for professionals. They must enter a number of criteria, such as the number of kilometers traveled, the modes of transport used, the electricity consumption or the amount of waste produced. We prefer direct measurements because they allow a more accurate calculation, but it is also possible to report budget data, for example for the production of costumes. The impact is of course not the same if you invest this money in 'fast-fashion' or recycled material but it still makes it possible to establish an estimate.

The software converts this data into CO2 production and provides an overall assessment. The aim of this approach is twofold: to raise awareness and involve the sector's players while collecting data that will make it possible to set, in a second step, reduction targets.

Are there any particularly problematic aspects of audiovisual production today that require specific action?

Audiovisual production has the particularity of bringing together a very wide number of activities including the use of offices, filming activities, set productions but also post-production activities up to the broadcast itself.

We have defined about fifty criteria to bring productions to good practices. Among them, the use of generators, which supply the filming with electricity, poses a particular problem.

These large oil-fired engines are very polluting, noisy and sometimes cause leaks. But as the teams move a lot and it is sometimes difficult to predict the filming locations in advance, they are still massively used, including in large cities where electrical connection is possible. The problem is that the timelines for the temporary connection are very long, so we are working with the communities to address that.

Transport is, of course, another major concern. In this area it is essential to think the right questions upstream: should we really shoot this scene abroad or can we recreate it here in France? Planning is also essential to bring together filming locations and promote the use of public transport for at least part of the crew.

In reality, the environmental issue must be taken into account from the writing of the script. It is not a question of restraining creativity, but of finding a fair trade-off between the artistic qualities of the film and its ecological impact. There are also many aspects to improve that have nothing to do with the film itself, if only to reduce the amount of meat during the meals served to the teams.

The AcSB announced its action plan in 2021, isn't that a little late, given the importance of the issues? How is this new approach, aimed at including environmental criteria from the outset in project design, perceived in the sector?

In our sector, as in many others, awareness has been gradual and the AcSB's announcements have marked a turning point. Our association, which has been working on this issue since 2009, now brings together 250 companies who are well aware that the future of their industry is at stake.

We have conducted many studies to indicate the way forward, but a lot of work remains to be done to structure effective action, through training and teamwork. To do this, it is essential to include all our businesses, but also to develop bridges with other industries, such as entertainment or construction, to optimize the storage and recycling of set materials in particular.

The audiovisual sector is far from being the most polluting industry in France. But its ecological impact remains difficult to assess today because it is diluted through many other sectors, hence the meaning of our approach.

In addition, our industry is highly publicized and this exhibition gives us a special role. Our sector is a vector of imagination. We must promote the climate issue through our works, while setting an example ourselves.

The summary of the week France 24 invites you to look back on the news that marked the week

I subscribe

Take international news with you everywhere! Download the France 24 app