Decarbonisation Report

There has been a shift in recent years, in the creative community's perception of itself. Creative practitioners everywhere are starting to understand our role as provocateurs and influencers, and how this gives us a unique part to play in the response to the defining moment of our time - rising to the challenge of climate change. Film and TV professionals are no different, and there has been a groundswell movement from crew and production companies on the ground towards transitioning to more environmentally responsible practices. This shift in perspective is vital as it is our film-makers, our documentary-makers, who drive the societal narrative through their story-telling. At Native, we've long understood the importance of the cultural and creative sector in a re-learning of our societal cultural values. Our sector-wide work thus far, including climate action projects with An Comhairle Ealoin, a Sustainability Toolkit with Skillnet Ireland, Sustainable Festival Guidelines with Failte Ireland, as well as multiple carbon footprint assessments and recommendations for a range of creative organisations, exemplifies this.

Working on this project with Screen Ireland to collate a suite of carbon footprint analyses across various productions, and with the insights of a range of key industry stakeholders both in Ireland and internationally who so generously gave us their time, has allowed us to gain a clear picture of where Ireland's screen industry stands today. There's been huge progress, thanks to the hard work of champions across film and TV, the Screen Greening Project and the Sustainability Guild. This report aims to capture what's already been done, and provide context and evidence for a pathway forward. 

It is worth noting however, that current efforts across the sector are still fragmented. There are pockets of action and innovation everywhere, but these are siloed, and climate considerations often remain an afterthought. We need urgent, coordinated, cohesive action to tackle the escalating environmental crisis. 

This report aims to spark renewed efforts towards comprehensive climate action. Responding to environmental destruction over the next decade will require collaboration at a scale never seen before. Ireland’s Screen Stakeholders have the potential to lead this charge, using the industry’s influence and advocacy to foster multidisciplinary partnerships and innovative practices. 

We look forward to supporting the Screen sector and the wider Cultural and Creative Industries in taking the necessary steps with the courage and vision needed in the decade of decarbonisation. Much has been done, and there is much still to do. But we can do it, if we work together. 

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Megan Best, CEO, Native Events

About this report

Why we created this report

Ireland’s screen industry has made significant progress towards sustainability and climate action in just a few short years, the result of the dedication of the Screen Greening Coalition. It is now time to assess the state of play with carbon calculations across the sector, and to devise the next steps. 

How we created this report

This report was created over the course of a year of extensive research and engagement between 2023 and 2024 with Ireland’s screen and audiovisual industry. Working with a steering committee, we identified productions for inclusion in an in-depth carbon footprint analysis exercise, and sought out industry representatives to consult with for key stakeholder insights. 

The process was revealing in terms of impact areas, great progress, knowledge gaps, privacy and permissions concerns and the wider implications of coming transformation in this fast-changing sector. 

Access to data for industry benchmarking is problematic, but even through this analysis, indicators emerge for focus areas and change, to lay the foundation and starting points for pathways to decarbonisation. 

How to use this report

Our roadmap is intended for Ireland’s Screen Stakeholders, to help to understand the impacts of the industry and to begin to outline the strategic steps it can take in the coming decade of decarbonisation.

The sector is eager for change, and will need considerable support to continue pushing forward with climate action. This support should come in the form of enhancing supply of alternative equipment and infrastructure, through working closely with industry providers. 

SETTING THE SCENE FOR A LOW CARBON FUTURE

The Creative Industries as a Pathway to Decarbonisation

At Native Events, we believe that creative practices, events, and cultural activities possess the unique power to ignite imaginations and drive societal change. Arts and culture engage our hearts and minds, speak to our core values, and inspire our responses to the world around us. The 6th Assessment Report of the Intergovernmental Panel on Climate Change (IPCC) highlighted that "behavioural and cultural changes represent a substantial overlooked strategy that have been left out of many transition pathways." This underscores the critical role that creative industries can play in fostering these changes.

At COP27 in Sharm-el-Sheikh, a landmark decision recognized the importance and fragility of culture and heritage in the face of climate change. This acknowledgment is a significant step towards integrating cultural considerations into climate action strategies. The 2015 Lancet Commission report on planetary health framed the interconnected crises of pollution, climate change, and biodiversity loss not merely as policy failures, but as failures of imagination. This perspective resonates deeply with the creative community, which has long understood that culture and story-telling are the catalysts for change.

Creative industries, including the screen sector, are uniquely positioned to drive sustainability initiatives and influence public perceptions and behaviours. Through compelling storytelling and innovative content creation, the screen industry can raise awareness about climate change, promote environmentally responsible practices, and inspire collective action. As a cultural force, it has the power to shape societal values and encourage the adoption of more sustainable technologies and lifestyles.

Furthermore, the transition of the screen industry to environmentally responsible practices can serve as a powerful model for other sectors. By implementing better production methods, reducing energy consumption, and minimising waste, the industry can demonstrate that it is possible to maintain high-quality production standards while significantly reducing environmental impact. This leadership role can catalyse broader change across the creative sector and beyond.

The potential of creative industries to contribute to decarbonisation is immense. By leveraging their unique ability to connect with audiences on an emotional and intellectual level, they can foster a deeper understanding of the climate crisis and galvanise action towards a more sustainable future. The cultural and creative sector's engagement in sustainability is not just a complementary effort but a crucial component of the global response to climate change.

Global Screen Industry Summary

The Sustainable Production Alliance (SPA) was founded in 2010 to drive sustainability initiatives and reduce the environmental impact of film and television productions. SPA is a coalition of leading film and television production companies, including major studios such as Sony Pictures Entertainment, Amazon Studios, Amblin Partners, Fox Corporation, NBCUniversal, Netflix, Paramount Global, Participant, Village Roadshow Pictures, The Walt Disney Company, and Warner Bros. Discovery. 

Key achievements of SPA

Green Production Guide (GPG): Created in partnership with the Producers Guild of America, the GPG provides tools and resources for sustainable production. It includes a vendor database, carbon footprint calculators, best practices checklists, and educational resources.
Sustainable Entertainment Education Series (SEEDS): This series promotes sustainability education within the industry, increasing awareness and adoption of sustainable practices.
Recognition: SPA members have received accolades such as the Environmental Media Association's Green and Gold Seals for their commitment to sustainability.

European initiatives

In Europe, the Media and Audiovisual Action Plan, adopted by the European Commission in December 2020, marks a significant milestone. One of its key actions, "Towards a climate-neutral audiovisual sector," aims to reduce net greenhouse gas emissions by at least 55% by 2030. This initiative has led to the development of a unified CO2 emissions measurement methodology, fostering consistency and comparability across the EU. The establishment of common tools and green standards has facilitated the greening of the audiovisual sector, encouraging best practices and the adoption of sophisticated measurement systems.

National efforts

Ireland has emerged as a leader in sustainable film and TV production, driven by the Screen Greening project, RTE’s SDG championship and ISO certification, work undertaken by Virgin Media Ireland and TG4. Since 2019, more than 400 productions in Ireland have undertaken a carbon footprint assessment with Albert, with more than 200 achieving certification. 

Screen Ireland published its Sustainability Plan in 2022, and commissioned the Future Ready Film project -  a Proactive Communication and Engagement on Emissions Reduction in the sector which ran over the course of 6 months in early 2023. It also published a toolkit and a set of Sustainability Standards for film production later the same year. 

Response from Irish Government and State Agencies

Ireland has made significant progress in tackling climate change through comprehensive policies and legislative actions. Central to these efforts is the Climate Action Plan, introduced in 2019, aiming to mitigate impacts on the environment, society, economy, and natural resources.

In October 2020, the Climate Action and Low Carbon Development (Amendment) Bill was introduced, enhancing Ireland’s climate framework:

• National 2050 Climate Objective: Sets a legally binding target for a climate-resilient and climate-neutral economy by 2050.
• Economy-Wide Carbon Budgets: Introduces five-year carbon budgets, starting in 2021, with emissions ceilings for various sectors, covering 2021-2035.
• Annual Climate Action Plan Revisions: Requires annual updates and a National Long-Term Climate Action Strategy every decade.
• Regional and Local Climate Action Plans: Mandates local authorities to develop and update five-year Climate Action Plans.
• Climate Change Advisory Council: Enhances the Council’s advisory role and carbon budget proposals.
• Oireachtas Accountability: Requires ministers to report annually on their sectors' climate action progress

The Climate Action Plan 2021 (CAP21) builds on legislative foundations, positioning the public sector as a leader in climate action. Key targets include a 51% reduction in greenhouse gas emissions by 2030 and climate neutrality by 2050.

The Climate Action and Low Carbon Development (Amendment) Act 2021 mandates all public bodies to align with national climate goals. Despite its small share of emissions, the public sector acts as a catalyst and advocate, demonstrating effective climate action in buildings, transport, waste, and energy. Promoting green procurement practices also incentivises sustainable products and supply chains.

The Public Sector Climate Action Mandate supports this leadership, applicable to most public bodies. It outlines primary climate action objectives and is reviewed annually. The first mandate, included in CAP21, was approved in July 2022, updated for CAP24 in December 2023, and will be reviewed for CAP25.

Ireland's strategic approach, marked by robust legislation and progressive action plans, underscores its commitment to comprehensive climate action. Clear targets, accountability, and exemplary leadership pave the way for a sustainable future. This framework supports the screen industry and other sectors in their decarbonisation journey, ensuring a cohesive effort to meet national and global climate objectives.

Emission Scopes in Audiovisual Production

Understanding and categorising carbon emissions is essential for developing effective decarbonisation strategies. The Greenhouse Gas (GHG) Protocol defines three scopes of emissions:

Scope 1: Direct GHG emissions

• These are direct emissions from sources that are owned or controlled by an organisation. Examples include fuel combustion in furnaces, boilers, or company-owned vehicles.

Scope 2: Indirect GHG emissions

• These are indirect emissions from the generation of purchased electricity consumed by the organisation. While the emissions occur at the power plant, they are attributed to the organisation that uses the electricity.

Scope 3: Other indirect GHG emissions

• Scope 3 emissions encompass all other indirect emissions that occur in the value chain of the reporting company, including both upstream and downstream emissions. According to the Sustainable Production Alliance (SPA) whitepaper published in January 2024, the “minimum boundary” for TV show and feature film content refers to Scope 3 emissions generated directly from the creation of this content. These emissions must be included when entities within the production's value chain consolidate their emissions.

Scope 3 Emissions for Productions

The SPA examined the 15 Scope 3 emission categories through the relevancy criteria provided in the Greenhouse Gas Protocol Corporate Value Chain (Scope 3) Accounting and Reporting Standard (GHG Protocol Scope 3 Standard) to determine which categories should be considered relevant to a TV show and feature film content’s lifecycle. For clarity, the production of TV show and feature film content is treated as a "product," encompassing the phases of pre-production, principal photography, and post-production. This approach helps distinguish emissions associated with specific productions from those related to an entertainment company’s broader operations.

Upstream Scope 3 Emission Categories

These emissions occur before production begins and include:

• Purchased Goods and Services: Emissions from producing goods and services bought by the organisation.
• Capital Goods: Emissions from producing capital goods used in production.
• Fuel- and Energy-Related Activities: Emissions from extracting, producing, and transporting fuels and energy purchased.
• Upstream Transportation and Distribution: Emissions from transporting and distributing purchased goods and services.
• Waste Generated in Operations: Emissions from waste disposal and treatment.
• Business Travel: Emissions from employee business travel.
• Employee Commuting: Emissions from employees commuting to work.
• Upstream Leased Assets: Emissions from operating leased assets not included in Scope 1 or 2.

Downstream Scope 3 Emission Categories

These emissions occur after the production process and include:

• Downstream Transportation and Distribution: Emissions from the transportation and distribution of sold products.
• Processing of Sold Products: Emissions from the processing of sold intermediate products by downstream companies.
• Use of Sold Products: Emissions from the use of sold products by consumers and businesses.
• End-of-Life Treatment of Sold Products: Emissions from the disposal and treatment of products sold by the organisation.
• Downstream Leased Assets: Emissions from the operation of assets owned by the organisation and leased to other entities.
• Franchises: Emissions from the operation of franchises not included in Scope 1 or 2.
• Investments: Emissions associated with the organisation's investments.

By categorising emissions into these scopes, we can better understand the sources of GHG emissions within the screen industry and develop targeted strategies to reduce them. This structured approach ensures that all relevant emissions are accounted for, paving the way for a comprehensive decarbonisation roadmap.

Carbon Calculators in the Audiovisual Sector

The film and television industry, with its global reach and significant environmental impact, has increasingly embraced tools designed to measure and mitigate carbon emissions.

In February 2022, the European Commission issued a statement titled “Towards a unified measurement methodology of CO2 emissions in the European Audiovisual Sector.” This initiative stemmed from the Media and Audiovisual Action Plan adopted in December 2020, which aimed to support the resilience and competitiveness of Europe’s media and audiovisual sectors. Action 6 of the plan, “Towards a climate-neutral audiovisual sector,” focuses on sharing best practices and establishing common tools and standards to align with the EU’s goal of reducing net greenhouse gas emissions by at least 55% by 2030.

A stakeholders’ dialogue on Greening the audiovisual sector was launched in June 2021, gathering professionals across the value chain and public sector representatives. This initiative found that measuring emissions with different calculators does not allow comparability and benchmarking of results, ultimately weakening their effectiveness. Consistent measurement methodologies and benchmarks are crucial for the sector to reduce its carbon impact. 

As a result, leading organisations across the EU such as Albert, Ecoprod, Eureca, KU Leuven and others, agreed to work together to develop a unified CO2 emissions measurement methodology. The methodology will focus on a limited number of categories, feature an open-source approach, and function as either a stand-alone tool or a plug-in for existing calculators. It will promote access to a basic set of standards across the EU, harmonise data and benchmarks for comparability, and undergo yearly updates to address emerging needs.

For the purposes of this project, we undertook the carbon footprint calculations using both the Albert tool and the ImpactAll tool by Circular Unity. We also spoke with the team at Yamdu and KlimAktiv, who are working on the EU-commissioned carbon calculator, due for first release in early 2025. 

Albert

The Albert Carbon Calculator, developed by BAFTA's Albert project, is a vital tool for the film and TV industry to measure and mitigate their carbon footprint. Launched in 2011, Albert supports sustainable practices within the screen industry. The calculator's methodology, detailed in its fourth iteration released in October 2024, incorporates comprehensive updates to ensure accuracy and global applicability. The tool uses emission factors from sources like the UK's DEFRA and global academic resources, covering a range of greenhouse gases such as CO2, CH4, and N2O. Users input activity data (e.g., electricity usage) which the tool multiplies by emission factors to calculate the carbon footprint, helping productions make informed decisions to reduce their environmental impact.

ImpactAll

ImpactAll, developed by Circular Unity, is an advanced sustainability management tool designed to automate the measurement of carbon emissions across scopes 1, 2, and 3, with scope 4 forthcoming. Created to streamline sustainability efforts and align with Sustainable Development Goals (SDGs), it reduces manual calculation time by 70%. The tool includes automated supply chain management, fan/visitor footprint estimation, and multilevel benchmarking, allowing comprehensive and accurate environmental impact assessments for businesses, events, and projects.

Eco Prod

Carbon'Clap, developed by Ecoprod, is a carbon calculator for the film and TV industry, launched in 2012 and redesigned in 2022. The tool measures the carbon footprint of audiovisual projects by analysing physical and financial data, helping identify high-impact activities. This aids in making informed decisions to reduce greenhouse gas emissions. Certified by the Centre National du Cinéma et de l'Image Animée (CNC) and used by major French broadcasters, Carbon'Clap is free for industry professionals and supports reporting to stakeholders. It incorporates updated methodologies and an improved user experience for precise and comprehensive environmental impact assessments.

Klimaktiv

The KlimAktiv Green Shooting Calculator is a specialised tool developed to assist the film and TV industry in accurately measuring and managing their carbon emissions. Developed by KlimAktiv, the tool was commissioned by MFG Medien- und Filmgesellschaft Baden-Württemberg mbH in cooperation with Südwestrundfunk (SWR). The development process involved collaboration with screen industry professionals to ensure its applicability to the unique requirements of audiovisual productions.

The methodology of the Green Shooting Calculator is based on internationally recognised standards, including the Greenhouse Gas Protocol’s Product Life Cycle Accounting and Reporting Standard and ISO/TS 14067. This ensures the reliability and accuracy of its calculations. The tool leverages a comprehensive database of emission factors from reputable sources such as ecoinvent and other scientific institutions. These factors are regularly updated to reflect the latest data and maintain precision in carbon footprint calculations.

Users input detailed production data, and the calculator processes this information to identify and quantify the emissions from various production activities. The intuitive interface and structured data entry process facilitate easy use, while the reporting function allows for automatic generation of comprehensive reports, which can be exported in various formats for stakeholder communication and funding applications.

Spotlight on: Albert

The Albert Carbon Calculator is a pioneering initiative by BAFTA's albert project, established in 2011 to guide the screen industry towards environmental sustainability. The calculator aids production companies in understanding and reducing their carbon footprints by providing a detailed assessment of emissions associated with film and TV production. Its latest version, released in October 2023, represents the fourth major update, incorporating the most extensive changes to date to enhance accuracy and specificity.

The tool calculates emissions based on the input of raw activity data from production activities, such as electricity consumption or fuel use. This data is then multiplied by emission factors sourced from reliable entities like the UK's Department for Environment, Food and Rural Affairs (DEFRA) and global academic studies. The emission factors cover the seven major greenhouse gases outlined in the Kyoto Protocol, including carbon dioxide (CO2), methane (CH4), and nitrous oxide (N2O). These emissions are reported in tonnes of carbon dioxide equivalent (tCO2e), a standardised unit reflecting the global warming potential of each gas.

The methodology behind the calculator includes the categorisation of emissions into three scopes: Scope 1 (direct emissions from owned or controlled sources), Scope 2 (indirect emissions from purchased electricity, heat, and cooling), and Scope 3 (other indirect emissions such as business travel and waste disposal). Additionally, the tool features specific benchmarks for different aspects of production, from office energy use to transport and material consumption, all tailored to provide a comprehensive overview of a production's environmental impact.

To encourage the use of renewable energy, the calculator applies a zero-emission factor for certified renewable electricity. This approach is designed to motivate production companies to switch to greener energy sources. The tool's database is updated annually to ensure it remains aligned with the latest scientific guidelines and data sources, maintaining its relevance and accuracy in a rapidly evolving field. Overall, the Albert Carbon Calculator is an essential resource for the screen industry, fostering informed decision-making and promoting sustainable practices to reduce the environmental footprint of film and TV production.

Spotlight on: ImpactAll

ImpactAll, a cutting-edge tool from Circular Unity, was developed to revolutionise sustainability management for businesses, organisations, and events. Recognising the complexities and time-consuming nature of manual carbon footprint calculations, ImpactAll was engineered to automate these processes, significantly enhancing efficiency and accuracy. The tool measures emissions across scopes 1, 2, and 3, with scope 4 integration on the horizon, ensuring comprehensive coverage.

The methodology behind ImpactAll involves automating data collection and processing, reducing manual effort by 70%. This is achieved through features like supply/value chain automation, which engages suppliers automatically and provides real-time insights into their environmental performance. The tool also includes a fully automated fan/visitor footprint calculator, estimating the environmental impact of event attendees with up to 95% accuracy when integrated with major ticketing platforms.

ImpactAll’s multilevel benchmarking capability allows users to compare environmental impacts across different locations, events, and brands within their organisation. This ensures meaningful insights by normalising data to avoid unfair comparisons. By aligning with Sustainable Development Goals (SDGs), ImpactAll supports users in achieving broader sustainability objectives while making informed, responsible decisions.

Overall, ImpactAll stands out for its ability to handle complex sustainability assessments effortlessly, providing businesses and organisations with the tools needed to manage and reduce their environmental impact effectively. This innovation paves the way for a more sustainable future, simplifying the journey towards environmental responsibility.

Albert VS ImpactAll

In this study, notable differences emerged between the ImpactAll tool and the Albert Carbon Calculator, especially in their application within the film industry.

• Materials: Albert, though offering fewer material options, is better tailored to the film industry. For instance, paint is an option in Albert but not in ImpactAll. Conversely, batteries can be entered by weight in ImpactAll, while Albert allows entry by unit. Albert also supports entering materials by spend, a feature absent in ImpactAll. Despite ImpactAll’s broader list, materials form a minor portion of overall data entries.
• Staff Travels: Albert provides greater flexibility for entering staff travel data, allowing entries by fuel or spend, whereas ImpactAll faced issues with logging travel data, especially the By Origin/Destination function. Albert’s ability to name each travel entry individually simplifies data management.
• Freight: ImpactAll calculates freight distance from the supplier to the production location, while Albert allows specific entries for distance, fuel, or spend. Both tools offer reliable data for carbon auditing, though Albert’s naming functionality enhances data management.
• Food & Beverage: Albert offers more options for food and beverage entries and raises critical considerations, such as the conversion of methane emissions and the inclusion of organic versus non-organic food.
• Energy: Albert distinguishes between non-filming spaces, filming spaces, and post-production for energy use, offering an estimation feature based on days and workers, although using actual bills will always be more accurate.

Overall, Albert is more user-friendly and versatile for the film industry, whereas ImpactAll, although more complex, offers a wider range of data types, specifically in materials use. For the purposes of the carbon footprint assessments in Part 4 of this report, we used the data from the Albert tool only. The reason for this is because, in nearly every case, the information was entered into Albert by the productions themselves for the purposes of creating their carbon footprint report, meaning that this is the most likely source of accurate data. The carbon footprint reports we created with ImpactAll for this project show variance and discrepancies in comparison to the Albert reports, this due to the fact that we were retrospectively entering the information, working backwards from the Albert reports. This may have led in some cases to errors in accounting, and as such we felt it more appropriate to work with one consistent dataset.  

Our Approach

Originally commissioned for a six-month duration, the project was structured into three sequential phases: Scoping, CO2 Analysis, and Stakeholder Consultation. Its objective is to delineate a carbon footprint for the sector and formulate reduction strategies in alignment with sustainability objectives.

Scoping

The initial phase involved forming a steering group with key stakeholders from the industry to guide the project's direction and ensure the relevance and applicability of our findings. This group's engagement was crucial for defining the project's scope, identifying data sources, and facilitating access to necessary information from the industry.

Steering group members included:

• Two Sustainability Ambassadors for Screen Ireland
• A representative from Screen Producers Ireland
• A representative from Coimisiún Na Meán
• Waste Contractor to Ireland’s Screen Industry
• Transport Contractor to Ireland’s Screen Industry
• Representative from Animation Ireland

However, challenges arose early, with less than anticipated participation in steering group meetings, leading to delays in decision-making, especially concerning the selection of productions for our CO2 analysis. This phase's flexibility, although planned, led to prolonged periods of negotiation and consensus-building, impacting the project's timeline.

CO2 Analysis

This central phase involved collecting data on energy consumption, fuel usage, waste generation, and other relevant activities from selected productions to calculate the industry's carbon emissions. Despite developing a robust methodology and employing advanced technology for accurate and reproducible results, data collection proved significantly more challenging than anticipated.

Challenges encountered:

• Delays in selecting productions for analysis.
• Slow data acquisition due to difficulties in securing introductions to industry stakeholders and lack of requisite permissions from some productions.
• Complexity in accessing Albert data and the necessity for permissions, especially from entities outside Ireland, highlighting data sharing challenges and GDPR concerns.

Revised Strategy (March 2024):
The project shifted focus to obtaining a snapshot of the emissions profile in high-intensity areas of the industry in Ireland, particularly TV Drama and Feature Film, over a 24-month timeframe.

The ultimate aim is to have comprehensive, in-depth carbon footprint calculations and reports for 8 TV Drama and 7 Feature Film productions, totalling 15 productions.

Key Industry Stakeholder Consultations

In this phase of the research, interviews were conducted with a diverse group of stakeholders from Ireland’s screen industry and beyond.

Participants included:

• A Sustainability Ambassador for Screen Ireland
• A representative from Screen Producers Ireland
• A representative from Coimisiún Na Meán
• Waste Contractor to Ireland’s Screen Industry
• Transport Contractor to Ireland’s Screen Industry
• Three RTE employees with responsibility for sustainability and climate action
• A representative from Virgin Media
• An environmental media scholar and cultural historian
• The project lead and project manager for the EU audiovisual calculator project at KlimAktiv Representative from Green Film Tools, also working on the EU audiovisual calculator project

These discussions provided critical insights into the sector's current state regarding sustainability and carbon reduction efforts. The collective feedback and data gathered are integral to shaping a comprehensive and actionable decarbonisation roadmap tailored to the unique needs and challenges of Ireland’s screen industry. 

For the purposes of this project, our research team obtained as much information as was available in the context of carbon footprint calculations from 15 film and television productions, which were filmed in Ireland between August 2021 and April 2024. In some cases we had raw data - i.e. litres of fuel used, numbers of trips, numbers of meals etc. In other samples, we only had the emissions reports from previously undertaken carbon footprint calculations via the Albert carbon calculator tool. 

Our analysis of the carbon footprints of 15 film and television productions, which were filmed in Ireland between August 2021 and April 2024, yielded significant insights. The data used for this analysis were supplied taken from Albert reports for the purposes of carbon footprint calculations.

The total estimated emissions for these productions amounted to 1458.36 tCO2e. The two genres focused on for the exercise were TV dramas (total 920.8 tCO2e) and feature films (total 537.6 tCO2e). The emissions hotspots identified for these two genres were slightly different, as is detailed in Table 1.

The following pages depict the emissions areas with associated CO2e calculations shown in tonnes for the largest and smallest carbon footprints included in our analysis for both TV Dramas and Feature Films. Also included are bar graphs for all productions, by genre, to illustrate the varying emissions areas. Additionally, we have included a pie chart to show the combined footprints of the productions, in order to display the ‘emissions hotspots’ in these genres. 

It is worth noting that the following pages depict a relatively small sample of productions over a 32 month time-frame and as such cannot be taken as truly representative of the industry as a whole, but rather an indicative dataset based on the information available to the study. 

This production was in the ‘large budget’ category in our analysis, i.e. a budget rangeof between €5m - €15m. Production dates for this were from end August 2022 to end April 2023.

The information received for this production was quite detailed, in that it included KWh of energy used (both on location and in non-filming spaces), road transport based on fuel spends, air travel by passenger km and differing levels of accommodation.

Data received also included details on materials use, including spend on timber, and estimates on glass and textiles used, which made it stand out in our analysis.

Additionally, catering data was detailed in terms of dietary choices with a breakdown of 515 vegan, 1,106 vegetarian, 3,132 chicken, 490 lamb, 925 fish,1,039 pork and 1,427 beef meals.

It was rare to see this level of detail in reporting in the TV Dramas included in our analysis.

Studios and Filming Spaces

Representatives from various studios indicated they had undertaken comprehensive audits of their operations with support from the Sustainable Energy Authority of Ireland. For instance, RTE, the national broadcaster, is guided by Ireland’s Climate Action Plan and focuses significantly on energy management within buildings and its transmission network, with 50% of their energy usage attributed to the latter. Retrofitting buildings and systems is a priority for RTE, which includes installing heat pumps and eliminating gas boilers to meet their 2030 energy targets. Virgin Media has similarly overhauled its operations by powering transmission masts with wind and solar energy, investing €400,000 in replacing all windows and doors, installing 760 solar PV panels, EV charging points, and LED lighting in all offices and studios.

Broadcasters in Ireland - RTE, TG4, and Virgin Media - use Albert certification extensively for some of their productions. However, one stakeholder noted that while Albert is effective, it does not address the impacts of radio or online content and lacks detailed Scope 3 emissions tracking. It primarily focuses on individual productions rather than the broader broadcasting industry.

Transport and Logistics

Stakeholders raised significant concerns regarding road transport, with many having commenced feasibility studies on transitioning to electric vehicles (EVs). The primary
challenge highlighted was the lack of EV charging points, especially in the West of Ireland. The unpredictable nature of the broadcasting business, especially when responding to news stories as they happen, also complicates consistent EV use, as bigger vehicles and 4x4s are often required due to the weight of equipment and the needs of camera crews. Thus, the transition to EVs remains a work in progress.

Waste Management and Material Reuse

Virgin Media has implemented several sustainability initiatives, such as donating old studio lights to community groups and artists, reducing office printers to two, and adopting an in-depth supply chain and procurement policy. They also created a new 6 o'clock news set entirely from salvaged materials and now donate all old sets to schools and colleges. Their catering focuses on local, in-season food, and they have banned cling film.

At a studio in the West of Ireland, the company reuses materials and props as much as possible due to budget constraints. They maintain a large storehouse and an inhouse carpenter to facilitate reuse. The costume department is proactive in sustainability, often purchasing second-hand items and receiving donations from other productions and closing stores. They trialled vegan meals but met resistance, with younger crew members being more open to dietary changes than older ones. RTE has
initiated paperless projects, such as the Fair City production, to reduce waste.

Despite these efforts, some studios, like the one in the West of Ireland, have not yet formalised their climate action or sustainability policies. However, all stated that they see opportunities in training crew members and reducing travel by keeping work local, as well as incorporating sustainability themes into production narratives.

Awareness and buy-in are apparent at Virgin Media, although they pointed out that suppliers of sustainable and circular infrastructure are still lagging.

Streaming, Data Storage & AI

The cohort identified streaming as a significant source of Scope 3 emissions for the industry. The financial and environmental costs of cloud storage are major concerns, alongside questions about the most sustainable systems and platforms to use. Global data centre electricity demand is projected to more than double between 2022 and 2026, with AI playing a major role in this surge. Currently, data centres account for over 1% of global electricity use, and this figure is expected to rise as storage capacity grows from 10.1 zettabytes in 2023 to 21.0 zettabytes in 2027. The energy-intensive nature of AI training and its perpetual operation contribute significantly to this trend. Additionally, the expansion of AI in film and TV production is expected to significantly increase the industry's carbon footprint in the coming years. Using AI to improve processes like file compression, encoding, transmission, and virtual production workflows powered by LED volumes and 3D technology could reduce emissions.
Replacing location shoots with virtual, AI-generated sets and using AI to optimise shooting schedules and travel routes may also lower net energy use. While AI has the potential to improve sustainability in some areas of film and TV production, its massive energy demands and the industry's accelerating adoption of generative AI models will likely lead to a substantial rise in the industry's environmental impact in the near future.

It was also noted that the upcoming Corporate Sustainability Reporting Directive (CSRD) is predicted to present challenges in aligning sustainability efforts with data protection requirements. Another hurdle for decarbonisation is the possibility that productions might simply opt to offset in order to achieve Albert certification without making substantial changes. Furthermore, the ethics and responsibilities of investors and advertisers are undergoing transformation.

Further Insights from Industry Suppliers

The transport contractor we spoke to for this study highlighted a significant increase in diesel usage and costs over the years. Separate budgets and insufficient planning for different departments often lead to inefficiencies, such as extra, unnecessary trips for small items. While electric cars are used when possible, their limited range often requires using more vehicles to cover the same distance as one diesel vehicle, making it challenging to convince productions to switch. A carbon calculator is in use by this contractor to track diesel consumption and aims to use HVO and electric cars when possible, though technological limitations remain a barrier. They suggested that
facilities should be provided with systems for solar power, such as trailers fitted with solar panels or mobile solar banks. Advancements in solar power are significant, and
implementing them would make a substantial difference.

Waste management was another critical issue, with approximately 90% of waste from shooting crews originating from catering. The type of materials used, whether compostables or plastics, significantly impacts waste management outcomes. Effective segregation and compostable materials lead to better results. Some caterers and production managers proactively engage in sustainable practices, while others lack awareness or provide incorrect information about materials. Proper segregation can make 80-90% of office waste recyclable. However, much of it ends up in solid fuel recovery due to improper sorting. Key challenges include the high cost of sustainable alternatives, lack of infrastructure, and insufficient advance information from producers for planning and investment in greener options. Effective training for caterers and sustainability officers, along with full-time, on-set sustainability personnel, is necessary to ensure proper implementation and engagement.

Challenges with Equipment and Grants

Participants in our consultation reported a wide range of equipment quality in the Irish film industry, with much old stock still in use. Suppliers like Irish Film Location Facilities primarily offer older, less energy-efficient equipment. Engaging suppliers and trialling new equipment, such as battery packs and solar-powered lights, has been beneficial, but the adoption of these technologies is still inconsistent across the industry. Production managers and Heads of Departments (HODs) often stick with
familiar equipment and suppliers, lacking proactive engagement with new energy-efficient technologies unless advised by sustainability advisors. The transition to energy-efficient equipment is further hindered by inadequate grants. Existing grants are insufficient to facilitate significant changes, particularly in the creative sector, which has been overlooked compared to the public sector and construction. There has been some transition to HVO (Hydrotreated Vegetable Oil) fuel, though diesel
remains prevalent due to cost. Supply issues also affect the consistent use of HVO.

Timber, usually FSC-certified, and metal scaffolding are commonly used in construction. The reuse of materials depends on available space and time, with some materials being reused until they are no longer viable. Efforts are made to work with charities and prop houses to extend the lifecycle of materials. The industry is moving towards better practices in material reuse and circular economy principles. Initiatives like the costume warehouse and prop 360 are examples, but more clarity and
support from tax incentives and policies are needed.

In addition to the above, it was noted during the consultations that funding and investments for screen and film production in Ireland currently comes from a range of different sources, which are currently not aligned in terms of sustainability and climate targets and reporting, and which run over different timeframes. This leads to varying levels of reporting, frustration and expense for production crews, and double-reporting in some cases. Currently, film and TV production funders operating in the Irish context are:

• Section 481 tax relief
• RTÉ
• TG4 funding
• Screen Ireland funding
• CnaM Sound & Vision funding
• Creative Europe Media funding
• Irish Language Broadcasting Fund
• Cine4 funding
• Virgin Media Television funding
• Private financing including co-productions funds from other European countries or tax incentives

Post Production Company Insights

The organisation that took part in the consultation has a sustainability policy that includes measures for recycling, using renewable energy, and reducing paper use. They use Flow Gas, which claims to provide 100% renewable energy. The company emphasises recycling and repairs equipment to extend its life. They also promote recycling within the company, using various waste separation bins. They support electric vehicle use by providing electric charge points at their facility, and several staff members use electric cars. While they have not conducted a formal carbon footprint assessment, they are aware of their significant energy usage due to 24/7 server operations. They used 1,542 kilowatt-hours of electricity in 2023. Although they support remote work, they prefer having staff on-site for operational efficiency. The company is located close to public transport, which facilitates commuting. They prioritise sustainability in procurement, opting for glass bottles over plastic and using water coolers to reduce waste. They have a policy for ethical and sustainable purchasing decisions. The company highlights excessive data storage as a significant issue, with data centres consuming a large portion of energy. They suggest that data centres should generate their own sustainable electricity. They advocate for the electrification of heavy transport, particularly trucks used on film sets, and suggest that production equipment should also transition to renewable energy sources where possible.

International Perspective

Concerns were raised about the use of the Albert carbon calculator. Accessibility of anonymised data for benchmarking the industry and a shift from actual carbon emissions calculations and reporting towards a focus on programming and content about broader sustainability issues are causes for concern. Governance and the lack of critical oversight in the industry, especially regarding embedded biases and the role of big tech companies, were also noted. The rise of virtual studios and data centres
highlights issues of foreign corporate gains and the environmental impact of these technologies. Significant changes in the film and screen industry are expected, driven by new sustainability policies and practices. The industry is experiencing a shift in the frameworks and metrics used to measure sustainability, driven by the convergence of different media sectors. Major studios, through the SPA and its PGA Green Production wing, are increasingly taking control of the sustainability discourse, shaping the narrative and practices in the industry. There is a growing danger and evidence of "Green Data Capitalism," where big tech companies dramatically increased their bandwidth usage from 10% in 2010-2015 to 60% in 2020, raising concerns about sustainability and control.

EU Audiovisual Calculator Project

A consultation was conducted with the project lead and project manager for the EU-commissioned audiovisual calculator project at KlimAktiv. This tool is being built as a partnership between Yamdu and KlimAktiv. Yamdu.com functions as a production management hub for production companies to collaborate in the cloud on various productions, including commercials, documentaries, series, and feature films. KlimAktiv is supplying carbon emission factors and calculations for the tool, which will be available in Q1 2025, with continuous development until 2027. It is not necessarily expected to replace Albert because the national calculators will be on a deeper level. The tool will focus on consumption-based factors, such as the litres of diesel burned rather than kilometres driven or the costs of driving a car or train. It will include national factors for aspects like accommodation and catering, which are typically complicated to measure, especially in the film industry. Currently, there has been no decision on whether the Commission will require nations to report on all sectors. The aim is to have comparable data that can be shared anonymously. However, the big production houses, such as Netflix and Universal, are not currently feeding into the development of the EU-commissioned tool. One of the key missions of the European calculator is to have comparable and anonymous data that can be shared. The calculator must also be GDPR-compliant.

Emissions 'Hotspots'

Ireland’s Screen Industry - Key Impact Areas

Although the carbon footprint assessment undertaken by our team was not a large enough sample to create an industry baseline, several key impact areas do emerge with consistently high emissions profiles. It will come as no surprise to see road and air travel feature here, and energy on location - traditionally powered by diesel generators - is another obvious culprit.

The following section offers spotlights and insights from the study in each of these areas, and each area will need to be given specific focus when devising a pathway forward. Although we only included 15 productions in this carbon footprint assessment, certain patterns of behaviour do appear when analysing the data. This, taken in tandem with the insights gained from our industry stakeholder consultations, begins to reveal the pathways for change - both operational and attitudinal.

Some fantastic examples of progress do exist in the screen industry, and as such we have included references in
here to the work already underway in studios and productions across the country. These as a comparison to where
practices are still below optimal, to help us to start on the pathway to consistent and sustained progress.

It is worth noting here that we did not include a dedicated section on waste management, or post production. Waste management and disposal - although one of the most visible aspects of production and often a real bugbear for production managers and crews - makes up a relatively small portion of the overarching carbon footprint of nearly every production in our analysis. It is the manufacture and distribution of goods, and particularly single-use goods, that is a major driver of climate change. Waste, particularly waste packaging, contributes moreso to the pollution
crisis and needs to be tackled. But it is our belief that by employing the waste hierarchy, starting with refusal and
then reuse, that the need for a focus on waste management should be eliminated.

Additionally, we haven’t included a focus on post-production activities, as these tend to form a very small portion of
the carbon footprint of Film and TV production in Ireland, according to the current study.

Staff Travel: By Road

Travel by road made up 54% of the reported carbon emissions in the combined carbon footprints of the 8 TV Drama Productions, and 15% of the combined carbon footprints of the 7 Feature Films included in our analysis.

This reflects challenges in the wider operating system in Ireland, which is only beginning its transition to low-carbon mobility across the island. The EPA reports that transport was Ireland’s second largest emissions sector in 2022, preceded only by agriculture.

Transport and logistics were significant areas of concern among stakeholders. The primary challenge highlighted was the lack of EV charging points, particularly in the West of Ireland. The unpredictable nature of the broadcasting business also complicates consistent EV use, as vehicles and 4x4s are often required due to the weight of equipment and the needs of camera crews.

Increased diesel usage and costs, inefficiencies from separate departmental budgets, and the limited range of electric cars were noted. Including fuel consumption in departmental budgets could increase awareness and efficiency. Many in logistics lack understanding of the cost implications of their actions. Training and more conscious budgeting could improve efficiency, although this would require significant systemic and cultural change.

Energy on Location

Energy on location made up 8% of the reported carbon emissions in the combined carbon footprints of the 8 TV Drama Productions, and 18.8% of the 7 Feature Film Productions included in our analysis.

Energy consumption emerged as a critical area for decarbonisation. Studios are focussing on retrofitting buildings, installing heat pumps, and eliminating gas boilers to meet 2030 energy targets. Virgin Media has made significant
investments in sustainable practices, including wind and solar-powered transmission masts, solar PV panels, EV charging points, and LED lighting.

However, it was noted that the industry uses a mix of old and new equipment, with inconsistent adoption of energy efficient technologies. Inadequate grants and investments hinder significant changes, particularly in the creative sector.

Solar power advancements for trailers and mobile solar banks were suggested as potential solutions to these challenges. There has been a shift in diesel consumption towards HVO (hydro-treated vegetable oil), however the actual carbon emissions savings, and the long-term benefits of switching to this alternative fuel source warrants further investigation.

Food & Beverage

The carbon emissions impacts of Food & Beverage were reported for 6 of the 8 TV Drama Productions, and all of the 7 Feature Film Productions included in our analysis. Despite this impact area not being considered for
every production, it still made up 11% of the combined footprints in the TV Dramas, and 8.3% of the combined Feature Films carbon footprint.

Food and beverage practices are therefore highlighted as an area for improvement. According to our stakeholder consultation, approximately 90% of waste from shooting crews originates from catering. Proper segregation and the use of compostable materials lead to better waste management outcomes. The issue of food waste also arose - some catering is supplied on shoots as a box-ticking exercise and crews simply prepare their own meals when they know the catering will not be to a minimum standard, leading to high volumes of food waste.

Virgin Media focuses on local, in-season catering and has banned cling film. The West of Ireland studio has trialled vegan meals, with mixed acceptance among crew members.

Effective training for caterers and sustainability officers, along with full-time, on-set sustainability personnel, is necessary to ensure implementation and engagement with carbon emissions reduction initiatives in this critical area.

Materials

Materials made up 4.1% of the reported carbon emissions in the combined carbon footprints of the 8 TV Drama Productions, and 14.4% of the combined carbon footprints of the 7 Feature Films included in our analysis.

Materials used on set and in productions represent a difficult dataset of upstream Scope 3 emissions to track. The facility within the Albert carbon calculator tool for entering information about materials use is well-tailored to the industry. For example, paint used can be entered, as well as batteries and paper. Albert also supports entering materials by spend.

The reuse of materials is another critical area for sustainability. Virgin Media donates old studio lights to community groups, has reduced office printers to two, and uses salvaged materials for new sets. The West of Ireland studio reuses materials and props as much as possible, often purchasing second-hand items.

Timber, usually FSC-certified, and metal scaffolding are commonly used in construction. Efforts are made to work
with charities and prop houses to extend the lifecycle of materials. However, more support from tax incentives and policies is needed to encourage better practices in material reuse and circular economy principles.

Industry initiatives like the Circular Costume Ireland and Props 360 are examples of progress in this area, however
these are independent, small-scale operations which will need support to reach the impact required in the industry.

Carbon Footprint Reporting

Current State of Play in Ireland’s Screen Industry

The analysis of carbon calculations for productions included in this study revealed significant gaps and inconsistencies, primarily related to data entry into the Albert carbon calculator tool. One of the most notable issues
was the lack of data regarding materials used in productions. This absence also extended to the corresponding data for the freight required to transport these materials. The question arises: did the selected productions genuinely not use materials, or was this aspect simply overlooked during the completion of Albert?

It is plausible that the industry has not fully recognised the impact of material usage on carbon footprints and, consequently, has not prioritised this in their carbon reporting. Alternatively, it could be that the infrastructure
necessary to accurately account for material usage is currently lacking.

Another critical issue identified during data collection was the occurrence of data entry errors within Albert. These errors often led to overestimation of emissions associated with specific production activities, highlighting the need for enhanced training on the proper use of the Albert tool within the industry.

Furthermore, the variances in the level of detail provided during data entry suggest that a standardised approach, coupled with best practice guidelines, should be developed and disseminated. Such a standardised approach would ensure more consistent and accurate carbon reporting across the industry.

It is also important to acknowledge the considerable variations in sustainability knowledge within the industry. When this knowledge gap is combined with a lack of resources - be it human, time, or financial - the consistency and reliability of carbon reporting are significantly compromised. Despite a strong desire within the industry to adopt
sustainable practices, these challenges must be addressed to achieve meaningful progress in carbon reporting.

Focusing Efforts

The journey to decarbonisation for Ireland’s screen industry has already begun, with several initiatives underway. These include the Sustainability Ambassadors Programme, the Sustainability Standards, the Sustainability Innovation Fund, and widespread awareness and uptake by crew on the ground. To build on this momentum, next steps should focus on specific impact areas to lay a clear pathway to decarbonisation.

Decarbonisation Priorities

The carbon footprint analysis undertaken by our team, although not as
wide in scope or as detailed as we would have hoped, has given us insights
into priority areas for next steps.

DATA

Better and more detailed data is needed across a broader range of
productions in a specific timeframe, in order to provide a baseline for the
industry as a whole.

TRAINING

Training programmes for production crew and HODs are needed, with
sustainability and climate action also forming part of film production
college courses going forward.

ROAD TRAVEL

Significant investment in the transition to EVs is required. For national
broadcasters this is already underway, however support is needed for
smaller productions.

AIR TRAVEL

A dedicated campaign towards land and sea transport options - especially
when short-haul distances are required.

RENEWABLE ENERGY

Significant investment in making the switch to solar-powered trailers, and battery banks, for on-location shoots.

FOOD & BEVERAGE

Training and minimum standards for crew caterers.

MATERIALS

Upskilling the workforce to better understand the impacts of materials use.

Conclusion

In reflecting on the findings of this report, it is clear that the screen industry in Ireland, and indeed across Europe, stands at a pivotal moment. Our analysis of the carbon calculators currently employed by the industry, coupled with a look ahead at emerging trends, provides a comprehensive understanding of where we are and where we need to go. This report draws on extensive consultations with key stakeholders in Ireland, Europe, and the US, offering a broad perspective on the challenges and opportunities ahead.

The carbon footprinting exercise with 15 feature film and TV productions revealed significant emissions hotspots within the industry. From this, the next step will be to formulate a series of recommendations to guide the sector over the next decade. These should include a robust industry-wide communications and engagement campaign, ongoing carbon footprinting exercises, and comprehensive training and higher-level education programmes. Additionally, we propose a multi-disciplinary,
cross-departmental project to align funding streams and requirements, targeted campaigns with industry providers focussing on road travel, renewable energy, and catering, a revised approach to air travel, various insetting schemes, and the establishment of a circular economy hub for materials and textiles redistribution.

Achieving the necessary transformative change in the sector will require substantial resources, a concerted effort, and significant investment. To meet the ambitious targets of Ireland's Climate Action Plan - 51% reduction in carbon emissions by 2030 and net zero by 2035 - a massive collective effort is necessary. Initial
investments must be front-loaded to catalyse progress across multiple impact areas, with the benefits expected to become evident by 2030 when a second industrywide carbon footprint assessment should be conducted.

The challenges ahead may seem daunting, but we have no choice but to rise to the occasion. By learning from the past and looking to the future, we can become the greatest generation, meeting this critical moment with resolve and determination. There is no alternative but to succeed.